Solange Knowles Släpper Albumet ”A Seat at the Table” Nu På Fredag

Total Page：16

File Type：pdf, Size：1020Kb

2016-09-28 17:00 CEST Solange Knowles släpper albumet ”A Seat At The Table” nu på fredag Nu på fredag den 30 september släpper Solange Knowles albumet ”A Seat At The Table” på samtliga digitala plattformar. Hennes egenskrivna album släpps via Saint Records/Columbia Records och arbetet med albumet har pågått sedan 2013. Solange beskriver albumet ”A Seat At The Table” som: "a project on identity, empowerment, independence, grief and healing.” Solange avslöjade albumnyheterna i måndags genom att maila de 86 fans som registrerat sig på hennes nya hemsida www.solangemusic.com. De fick alla ta emot en poesibok med texter och bilder med namnet ”A Seat At The Table”. Ladda hem din digitala version av ”A Seat At The Table” här: http://solangemusic.com/digitalbook/ Låtlista 1. “Rise” 2. “Weary” (Additional Vocals blessed by Tweet) 3. “Interlude: The Glory Is In You” 4. “Cranes In The Sky” 5. “Interlude: Dad Was Mad” 6. “Mad” Ft. Lil Wayne (Additional Vocals blessed by Moses Sumney and Tweet) 7. “Don't You Wait” 8. “Interlude: Tina Taught Me” 9. “Don't Touch My Hair” Ft. Sampha 10. “Interlude: This Moment” (Additional vocals Devonte Hynes of Houston Texas and Lu of Carolina) 11. “Where Do We Go” (Additional vocals blessed by Sean Nicholas Savage) 12. “Interlude: For Us By Us” 13. “F.U.B.U.” Ft. The Dream & BJ The Chicago Kid (Additional Vocals blessed by Tweet) 14. “Borderline (An Ode To Self Care)” Ft. Q-Tip 15. “Interlude: I Got So Much Magic, You Can Have It” Ft. Kelly Rowland & Nia Andrews 16. “Junie” 17. “Interlude: No Limits” 18. “Don't Wish Me Well” 19. “Interlude: Pedestals” 20. “Scales” Ft. Kelela 21. ”Closing: The Chosen Ones” www.solangemusic.com www.saintheron.comwww.facebook.com/solangewww.twitter.com/saintrecor dswww.instagram.com/saintrecords Kontaktpersoner Nina Thorsell Presskontakt Senior PR Manager [email protected] 0736-827180 08-412 1700.

Copy Link

Recommended publications

Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
[Show full text]
Giuseppe Polise* BLACK WOMEN MATTER
Iperstoria – Testi Letterature Linguaggi www.iperstoria.it Rivista semestrale ISSN 2281-4582 Giuseppe Polise* BLACK WOMEN MATTER: THE #BLACKLIVESMATTER MOVEMENT, BLACK FEMALE SINGERS, AND INTERSECTIONAL FEMINISM The comeback in 2015 and 2016 of some of the most successful names on the contemporary American and global music scene coincided with the flourishing of a new season of black protest that has made its way into the artistic productions of several African American stars. Through the contributions of black women singers, in particular, such music seems to have gained unprecedented attention for its articulation of black feminist discourses that are also a major issue in the latest campaigns against systemic racism and condoned police brutality in America. In view of that, the present article analyzes the intersections and cross-fertilizations between black protest culture and US black female music in the wake of the emergence of the #BlackLivesMatter.1 Debunking dangerous narratives about black womanhood and questioning standardized norms of beauty, femininity, and masculinity, both forms of black protest, in fact, contribute to dismantling hegemonic white hetero-patriarchal ideologies that oppress the lives of black women and queer subjects who are forced to the margins of American society. If active participation ̶ i.e. mass marches, sit-ins, and national strikes ̶ is fundamental in the #BlackLivesMatter agenda, protest music complements the movement by echoing its messages on an international scale. Contemporary black women icons such as Beyoncé are using their platform of visibility to share with the audience feminist statements that lay in the fabric of the movement itself. As it will be shown, such strong connection between black women's music and protest culture has a long history: it was already witnessed in the era of Civil Rights when Nina Simone insisted on black women's experience in segregated America through her immense body of work, and again, with Lauryn Hill's Hip-Hop nationally acclaimed masterpiece The Miseducation of Lauryn Hill (1998).
[Show full text]
Perhaps a Black Girl Rolls Her Eyes Because It's One Way She Attempts to Shift Calcified Ainp Throughout Her Body
Occasional Paper Series Volume 2017 Number 38 #SayHerName: Making Visible the t/Terrors Experienced by Black and Brown Girls Article 4 and Women in Schools October 2017 Perhaps a Black Girl Rolls Her Eyes Because It's One Way She Attempts to Shift Calcified ainP Throughout Her Body Fahima Ife Louisiana State University Follow this and additional works at: https://educate.bankstreet.edu/occasional-paper-series Part of the African American Studies Commons, Curriculum and Social Inquiry Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Ife, F. (2017). Perhaps a Black Girl Rolls Her Eyes Because It's One Way She Attempts to Shift Calcified Pain Throughout Her Body. Occasional Paper Series, 2017 (38). Retrieved from https://educate.bankstreet.edu/occasional-paper-series/vol2017/iss38/4 This Article is brought to you for free and open access by Educate. It has been accepted for inclusion in Occasional Paper Series by an authorized editor of Educate. For more information, please contact [email protected]. Perhaps a Black Girl Rolls Her Eyes Because It’s One Way She Attempts to Shift Calcified Pain Throughout Her Body? Fahima I. Ife My spirit is unsettled each time I read my secondary English education students’ reflections about their placement sites. As is typically the case in teacher education programs, in each cohort most of my students are White women, and a few are White men; there are always fewer than five students of color. As they prepare to enter middle and high school classrooms as full-time English teachers, my students participate in required field experiences in schools throughout East Baton Rouge Parish, where they encounter mostly Black and Brown students from low socioeconomic backgrounds.
[Show full text]
Venues Are Finally Receiving Funds, but Crew Members Are Still Struggling
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JUNE 2, 2021 Page 1 of 27 INSIDE Venues Are Finally • Venues Are Receiving Funds, But Crew Members Receiving Government Grant Are Still Struggling Approvals... Slowly BY TAYLOR MIMS • The German Music Industry Is Tackling Piracy Through Self- Last week, the Small Business Administration fi- additional $600 or $300 a month on top of unemploy- Regulation nally began awarding grants to independent venues, ment. promoters and talent agencies as part of the $16.25 When the second stimulus package on Dec. 27, • Assessing the billion Shuttered Venue Operators Grant. The grant mixed earners who received at least $5,000 in self- Music Industry’s Progress 1 Year After can award up to $10 million per venue and is much- employment income in 2019 are eligible for a $100 Blackout Tuesday: needed support for entities that have been closed for weekly benefit on top of the $300 federal pandemic ‘We Need to Build a 14 months since the pandemic halted mass gatherings. unemployment supplement provided under the new Bigger Table’ The grants will help venues pay back-rent and help legislation. States were also allowed to opt out of the • S-Curve Records them on their way to welcoming fans back as concerts additional benefit. Inks Worldwide Pact reopen around the country. As the industry braces “There really aren’t any government programs for With Disney Music for a return to live this summer, many live music people like me,” says guitar technician Tom We- Group crew members are still struggling after a brutal year ber who has worked for Billy Corgan, Matchbox 20, • Tammy Hurt without work.
[Show full text]
Press 3 February 2021 the 25 Defining Works of the Black
TIME The 25 Defining Works of the Black Renaissance 3 February 2021 The 25 Defining Works of the Black Renaissance “I’m rooting for everybody Black.” So said Issa Rae on the red carpet at the 2017 Emmy Awards, capturing the electricity of a moment when “everybody Black” referred to quite a large group of ascendant voices—not only those up for awards that night, and not only those in Hollywood, but artists across the cultural landscape. While there has never been a shortage of Black artists making great work, the past six or so years have seen these creators claiming the spotlight like never before. Image: O.J. Made in America: ESPN Films/Everett Collection; Slave Play: Sarah Krulwich—The New York Times/Redux; Black Panther: Marvel/Walt Disney Studios Motion Pictures/Everett Collection; Getty Images In fact, the hardest part of compiling this list of 25 works that have defined the current Black Renaissance was coming to terms with what had to be left out: vital films, series, albums, books, poetry collections, plays and works of fashion. For guidance, TIME assembled some of the era’s most influential figures—artists who have also become advocates, mentors and changemakers—to help curate the list. These luminaries across disciplines voted on hundreds of works to reach a compilation of original, ambitious art, from paintings that will live in perpetuity in the National Portrait Gallery to music that became the soundtrack to a movement; books about marriage and memory and TV series that are as weird as they are wise. The works of this new canon are defined by their breadth and diversity—a movement of pop stars and public intellectuals, superheroes and screwups, horror and ecstasy, individuality and unity.
[Show full text]
Trends in American Fiction Morrison & Music
ENG 352:420: Trends in American Fiction Morrison & Music Tuesdays and Thursdays: 11:30 AM-12:50 PM Room: HAH 421 Professor: Dr. Melanie R. Hill Office Hours: Tuesdays from 1:00 PM-2:00 PM and by appointment Location: Hill Hall 512 Phone: (973) 353-5182 Email: [email protected] Course Overview: In an article in The New Yorker entitled, “Toni Morrison and Nina Simone, United in Soul,” Emily Lordi writes, “Toni Morrison was such an exceptional talent and seemed to float so high above the fray, that it’s easy to forget she was a product of her time. But she was profoundly influenced by the work of contemporary musicians. She wanted her writing to emulate, ... ‘all of the intricacy, all of the discipline, that she heard in black musical performance.’” In this course, we will explore Toni Morrison’s canonical oevure from novels, Jazz and Song of Solomon to Sula and Beloved. In addition to Morrison’s works, we will examine the intersection of African American literature and music, as well as race, gender and spirituality. This seminar will juxtapose Morrison’s renowned literature with the performances of black musicians from Nina Simone and Curtis Mayfield to Issac Hayes and Aretha Franklin. As both text and performance, prose and poetry, and literature and music, studying the works of Toni Morrison offers an excellent resource for our investigation of black literary studies. This seminar is designed to give students a profound examination of Toni Morrison’s writing, and involve students in the kinds of research that the discipline of literary studies currently demands, including: working with primary sources and archival materials; reviewing the critical literature; using online databases of historical newspapers, periodicals, and other cultural materials; exploring relevant contexts in literary, linguistic, and cultural history; studying the etymological history and changing meanings of words; experimenting with new methods of computational analysis of texts; and other methodologies.
[Show full text]
China's Influence As a Developing and Non-Market Economy on The
University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 4-2016 The Planner in Action: China’s Influence as a Developing and Non- Market Economy on the WTO Lauren Shapiro University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the Asian Studies Commons, Comparative and Foreign Law Commons, International Economics Commons, International Law Commons, International Relations Commons, International Trade Law Commons, Law and Economics Commons, Law and Politics Commons, and the Political Economy Commons Recommended Citation Shapiro, Lauren, "The Planner in Action: China’s Influence as a Developing and Non-Market Economy on the WTO" 01 April 2016. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/201. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/201 For more information, please contact [email protected]. The Planner in Action: China’s Influence as a Developing and Non-Market Economy on the WTO Abstract Chinese accession to the World Trade Organization in 2001 forever altered the international economy as it marked the political-economic diversification of international trade negotiations and law. Before the implications of Chinese accession became apparent, scholars predicted that Chinese WTO membership would greatly affect the Organization. While this thesis agrees with this general sentiment, it insists that China’s effect on the WTO is not wholly negative or positive and requires a nuanced, sub-institutional assessment to understand. Qualifying and expanding upon scholars’ pre-2001 predictions, this thesis argues that for the most part, China did not proactively cause instances of institutional weakness and organizational ineffectuality.
[Show full text]
Don't Touch My Hair
Tamara Henry New York Theological Seminary [email protected] REA Annual Meeting: 2018 “Don’t Touch My Hair”: Exploring a Womanist Pedagogy of Resistance in the Music and Art of Beyoncé and Solange Knowles Abstract: For many young Black women, aesthetic rituals and practices related to their hair serve as embodied forms of resistance that also reflect a constitutive, yet often unrecognized dimension of their spirituality. This study will highlight specifically that the art and music of two black female popular artists, Beyoncé and Solange are being utilized by young Black women not only to theologize from their unique positions in the world but also to engage in distinctly womanist pedagogies that employ a natural black hair aesthetic as a primary site of resistance to white dominance. Introduction Preoccupation with white beauty standards has a long history in the legacy of Christian tradition, especially with respect to hair. In this regard, a preoccupation with white beauty standards represents one feature of a racialized, Eurocentric aesthetic regime within Christianity that ultimately gives way to viewing white bodies as beautiful, good, and divine.1 The effects of this racialized aesthetic are particularly evident in the distinct pedagogical agenda adopted by many churches that privilege a white aesthetic and make it difficult for persons of African descent—and especially Black women—to locate themselves within the images of the Christian tradition they have claimed. Womanist scholars of religion have sought to resolve this conundrum by prioritizing Black women’s stories and experiences and reflecting them within theological, aesthetic, and pedagogical frameworks of Christianity.
[Show full text]
Envisioning Utopia: the Aesthetics of Black Futurity
DePaul University Via Sapientiae College of Liberal Arts & Social Sciences Theses and Dissertations College of Liberal Arts and Social Sciences 11-2019 Envisioning utopia: the aesthetics of black futurity Sydney Haliburton DePaul University, [email protected] Follow this and additional works at: https://via.library.depaul.edu/etd Recommended Citation Haliburton, Sydney, "Envisioning utopia: the aesthetics of black futurity" (2019). College of Liberal Arts & Social Sciences Theses and Dissertations. 283. https://via.library.depaul.edu/etd/283 This Thesis is brought to you for free and open access by the College of Liberal Arts and Social Sciences at Via Sapientiae. It has been accepted for inclusion in College of Liberal Arts & Social Sciences Theses and Dissertations by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. ENVISIONING UTOPIA: THE AESTHETICS OF BLACK FUTURITY A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Masters of Arts December, 2019 BY Sydney Haliburton Department of Women’s and Gender Studies College of Liberal Arts and Social Sciences DePaul University Chicago, IL Haliburton 1 Chapter 1: A Litany Haliburton 2 Prologue Today I’m tired. Today once again I’m laid victim to the tumultuous tug and pull of sifting through which way of being will keep me feeling alive the longest. Feeling alive and being alive I’ve come to learn are two very different things. Survival is nuanced. In an interview with Judy Simmons in 1979, Audre Lorde said: “...Survival is not a one-time decision. It’s not a one-time act.
[Show full text]
2019 ASCAP Accolades Booklet
ACC OLA DES ASCAP MEMBER ACHIEVEMENTS IN 2019 ASCAP members united our world in 2019. 2019 was another record-breaking, game-changing year for ASCAP members. Their music evolved in magnificent ways, connecting, inspiring, lifting and healing us as only music can. Here’s a look back at some of our members’ most remarkable THE achievements from 2019 and the past decade - a small sampling of the milestones met by our global family of music creators. We’ve also GOLDEN highlighted six ASCAP members from throughout our repertory who experienced breakout years in 2019. AGE Congratulations to ASCAP’s chart-topping, mold-breaking songwriters and composers – and to all of our 740,000 songwriter, composer and music publisher members – for giving us something to sing about. THE GOLDEN AGE BILLIE EILISH & FINNEAS ASCAP superstars honored across the genre spectrum 2020 GRAMMY AWARDS Highlights… logged a sold-out world tour, performed at Coachella and made her Saturday Night Live BILLIE EILISH Best New Artist debut – all with FINNEAS alongside her in her Record of the Year - “Bad Guy” backing band. The accolades kept flowing: Album of the Year - When We All Fall Asleep, Where Do We Go? the pair won the ASCAP Vanguard Award Song of the Year - “Bad Guy” in May, and were nominated for a collective Best Pop Vocal Album - When We All Fall Asleep, Where Do We Go? 11 Grammys; Eilish also picked up honors at FINNEAS the American Music Awards, Apple Music Producer of the Year, Non-Classical Awards, MTV VMAs, Teen Choice Awards and Record of the Year - “Bad Guy” Album of the Year - When We All Fall Asleep, more.
[Show full text]
Black Women Writers in Literature
ENG 352:416: Seminar in Modern American Fiction Womanifesto: Black Women Writers in Literature Tuesdays and Thursdays: 10:00 AM-11:20 AM Room: Conklin Hall 348 Professor: Dr. Melanie R. Hill Office Hours: Tuesdays from 1:00 PM-2:00 PM and by appointment Location: Hill Hall 512 Phone: (973) 353-5182 Email: [email protected] Course Overview: Exploring the distinguished literary canon of twentieth and twenty-first century African- American women writers from Zora Neale Hurston and Toni Morrison to Maya Angelou and Ntozake Shange, this course will examine black women's writing through fiction, poetry, and drama. Using Jazz, Gospel, Neo-Soul, and Hip-Hop music genres, this course will explore the performance of the black woman's voice in twentieth and twenty-first century African American literature. From writers Zora Neale Hurston, Alice Walker, Natalie Baszile, and Audre Lorde to musicians, Jill Scott, Ms. Lauryn Hill, Erykah Badu, India Arie, Abbey Lincoln, and Nina Simone, we will analyze how these writers/artists used their pens and musical voices to assert social and political freedom. As both text and performance, prose and poetry, literature and music, the novels and songs of these writers and artists offer excellent resources for our investigation of the literary and musical performance of the black woman writer. In this course, we will explore particular pieces of literature from Audre Lorde, Alice Walker, Sonia Sanchez, Ntozake Shange, Zora Neale Hurston, and Natalie Baszile that effectively mark the presence of black writers and poets from the twentieth century to present times. Juxtaposing spirituals, blues, and jazz with these works, we will also examine the intersections of literature and music in Shange’s and Angelou’s works as sound and text provide a critical framework through which we examine the breadth of the African American literary canon.
[Show full text]
Ten Years Behind NME Lines, and Beyond: Reviewing China’S Changing Role in the Global Economy Through the Issue of Trade Remedies in the World Trade Organization
MILE 11 Thesis | September 2011 Ten Years Behind NME Lines, and Beyond: Reviewing China’s changing role in the Global Economy through the issue of Trade Remedies in the World Trade Organization. Thomas Tzieropoulos Supervisor: Gary N. Horlick TZIEROPOULOS II Ten Years Behind NME Lines, and Beyond TABLE OF CONTENTS TABLE OF CONTENTS II ABSTRACT III ACKNOWLEDGMENTS IV DECLARATION V INTRODUCTION 1 1 THE ACCESSION PROCESS 3 1.1 Historical background: China and GATT 3 1.1.1 China's relations with GATT until 1986 3 1.1.2 Resuming GATT Membership: an outline of the Chinese politics of accession 5 1.2 A history of accession 7 1.2.1 GATT/WTO Accession in general 7 1.2.2 GATT years (1987-1989) and the bid for WTO original Membership (1992-1994) 9 1.2.3 The WTO years (1995-2001) 12 1.2.4 The 1999 US-China bilateral agreement on market access 15 1.3 The results of China's accession negotiations: the Protocol and the Working Party Report. 17 1.3.1 Market access versus rule-based commitments 17 1.3.2 Market access commitments 19 1.3.3 Rule-based commitments 20 1.4 The results of the accession in perspective: how China's trading partners ended in Wonderland 25 2 TRADE REMEDIES IN CHINA 'S WTO: DEALING WITH THE NME FROM WITHIN 28 2.1 Trade remedies: political safety-valve or legitimate protectionism? 29 2.1.1 Dumping and antidumping duties 29 2.1.2 Subsidies and countervailing duties 35 2.2 Trade remedies in China's WTO: special rules, and their consequences 40 2.2.1 Antidumping issues 40 2.2.2 Anti-subsidization issues 48 2.2.3 The Chinese reaction 56 CONCLUSION : CROUCHING TIGER , HIDDEN DRAGON 68 LIST OF REFERENCES 71 TZIEROPOULOS III Ten Years Behind NME Lines, and Beyond ABSTRACT This paper discusses the 2001 accession of the People's Republic of China to the World Trade Organization and its consequences.
[Show full text]

​Solange Knowles Släpper Albumet ”A Seat at the Table” Nu På Fredag

Solange Knowles Släpper Albumet ”A Seat at the Table” Nu På Fredag