Çàêàçàòü ìåðîïðèÿòèå
Îòïðàâëÿÿ äàííûå, ÿ ïîäòâåðæäàþ, ÷òî îçíàêîìèëàñü/îçíàêîìèëñÿ ñ Ïîëèòèêîé â îòíîøåíèè îáðàáîòêè ïåðñîíàëüíûõ äàííûõ, ïðèíèìàþ å¸ óñëîâèÿ è ïðåäîñòàâëÿþ ÎÎÎ «ÐÈÀ «Ñòàíäàðòû è êà÷åñòâî» Ñîãëàñèå íà îáðàáîòêó ïåðñîíàëüíûõ äàííûõ.
Îòïðàâëÿÿ äàííûå, ÿ ïîäòâåðæäàþ, ÷òî îçíàêîìèëàñü/îçíàêîìèëñÿ ñ Ïîëèòèêîé â îòíîøåíèè îáðàáîòêè ïåðñîíàëüíûõ äàííûõ, ïðèíèìàþ å¸ óñëîâèÿ è ïðåäîñòàâëÿþ ÎÎÎ «ÐÈÀ «Ñòàíäàðòû è êà÷åñòâî» Ñîãëàñèå íà îáðàáîòêó ïåðñîíàëüíûõ äàííûõ.
Îòïðàâëÿÿ äàííûå, ÿ ïîäòâåðæäàþ, ÷òî îçíàêîìèëàñü/îçíàêîìèëñÿ ñ Ïîëèòèêîé â îòíîøåíèè îáðàáîòêè ïåðñîíàëüíûõ äàííûõ, ïðèíèìàþ å¸ óñëîâèÿ è ïðåäîñòàâëÿþ ÎÎÎ «ÐÈÀ «Ñòàíäàðòû è êà÷åñòâî» Ñîãëàñèå íà îáðàáîòêó ïåðñîíàëüíûõ äàííûõ.
Äëÿ ïðèîáðåòåíèÿ ïîäïèñêè äëÿ àáîíåìåíòíîãî äîñòóïà ê ñòàòüÿì, âàì íåîáõîäèìî çàðåãèñòðèðîâàòüñÿ
Ïîñëå ðåãèñòðàöèè âû ïîëó÷èòå äîñòóï ê ëè÷íîìó êàáèíåòó
Çàðåãèñòðèðîâàòüñÿ Âîéòè
: Maurizio Molella, Filippo Carmeni (Phil Jay), G. Fontana, and Roby Santini.
: The repetitive chorus "I used to get it on / And I will go on" reinforces a message of moving forward despite past heartache. Production Credits
: This version is known for its extended arrangement, making it a staple for club DJs. A shorter "Birretta Edit" exists for radio play.
The track was a collaborative effort by major figures in the Italian music industry:
: Maurizio Molella, Filippo Carmeni (Phil Jay), G. Fontana, and Roby Santini.
: The repetitive chorus "I used to get it on / And I will go on" reinforces a message of moving forward despite past heartache. Production Credits
: This version is known for its extended arrangement, making it a staple for club DJs. A shorter "Birretta Edit" exists for radio play.
The track was a collaborative effort by major figures in the Italian music industry:
Ïîäïèñêà
Âñåðîññèéñêàÿ îðãàíèçàöèÿ êà÷åñòâà
