Monthly Archives: June 2018

JA Solar fornisce moduli semi cella per un impianto solare in Africa

PECHINO, 30 giugno 2018 /PRNewswire/ — JA Solar Holdings Co., Ltd. (Nasdaq: JASO), un produttore leader mondiale di prodotti per energia solare a elevate prestazioni, ha annunciato oggi di aver fornito moduli semi cella per un impianto solare da 6,5 MW in Namibia, Africa. Questo impianto…

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KT Corp. et GS Retail développent leurs activités RV conjointes « VRIGHT »

Players pose before starting Special Force VR: Universal War, a first-person shooting game, at VRIGHT in Sinchon on March 6.Les deux partenaires ouvrent un deuxième parc VRIGHT à proximité de l’Université Konkuk dans la partie est de Séoul
Le premier parc, situé à Sinchon, dans la partie ouest de Séoul, a attiré plus de 18 000 visiteurs en 4 mois
L’année prochaine, KT envisage de franchiser ses…

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FlipNpik Announces ICO Presale 30% Bonus for Early Birds

LONDON and SINGAPORE, June 30, 2018 /PRNewswire/ — FlipNpik, the world’s first-of-its-kind blockchain-based collaborative social media platform, with a mission to de-centralize and improve the world’s local economies, has announced today that it is launching as planned its Initial Coin Of…

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THEKEY Launches USD 20 Million Scientific Research Fund

Catherine announced the launch of THEKEY FundBEIJING, June 30, 2018 /PRNewswire/ — In order to realize the full societal benefit of the invaluable social insurance data that is increasingly being aggregated from China’s hundreds of millions of current and future healthcare patients, THEKEY, the Information Center of Ministry of…

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Hear Vic Mensa Confront Addiction, Demons on New Song '10K Problems'

Vic Mensa has unleashed a cathartic new track titled “10K Problems” where the rapper reveals his struggles with drug addiction and adapting to fame.

“Niggas asking where I been at, I gotta recap it / Relapsing D-R-U-G habits / Tryin’ move forward, depression been holding me backwards / Recovery ain’t a straight line,” Mensa raps over a blistering beat. “What’s going on, like Marvin is / I heard it through the grapevine I’m fallin’ off / I been on another planet.”

Later on the track, Mensa reveals that his father was recently paralyzed following neck surgery. “It’s a painful process watching your parents die,” Mensa says, “And niggas look at my life and think I’m in paradise.”

“10K Problems” is Mensa’s second new song this month, following the arrival of “Reverse” featuring G-Eazy and producer Marshmello. The rapper, who released his similarly personal The Autobiography in 2017, also hopped on Nile Rodgers & Chic’s new single “Till the World Ends.”

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Drake Was Once R&B's Savior. On 'Scorpion,' He Returns to the Genre He Reinvented

As news that Drake‘s Scorpion would be a double album swept around the internet this week, it was quickly followed by a tantalizing rumor – one of the two LPs would be rap, while the other would be entirely R&B. Drake became a star by mixing these forms; now he would devote himself to each individually. 

This wasn’t a completely crazy idea: Drake, under duress after being bloodied in a rap-scrap with Pusha-T, would return to his comfort zone. There was also a healthy dose of wishful thinking here from fans with fond memories of Drake’s early years, when he initiated a paradigm shift in R&B. From his 2009 major-label debut, the So Far Gone EP, through 2011’s Take Care, Drake worked heavily in the genre, but in the years since he turned much of his attention elsewhere, exploring other genres and often passing R&B digressions off to guests.

Like many of the rumors swirling before the release of Scorpion, Drake’s R&B album turned out to be largely a myth. Still, there are seven singing-heavy tracks on the second volume of Scorpion, many of which blur into a crawling stew of romantic anguish and missed opportunity; it’s the most R&B that Drake has delivered personally in years. This feels fitting, as R&B is more prominent now than it has been during any other moment in Drake’s career. He’s diving back into a genre that he almost singlehandedly re-tooled and, commercially speaking, helped revive.

When Drake started scoring hits regularly in 2009, R&B was struggling for attention in the mainstream; the dollars were all in Top 40 pop, and to a lesser extent, hip-hop. To get by during this period, R&B titans like Usher and Ne-Yo were forced to appear on numbing EDM records. “It was a point where people were saying R&B was dead,” the singer Ro James tells Rolling Stone. “But Drake showed a different perspective.”

He’s diving back into a genre that he almost singlehandedly re-tooled and, commercially speaking, helped revive.

On Drake’s singing records in those early years, some of his choices had a clear lineage: Noah “40” Shebib, his go-to producer, is on the record as a Tank fan, and you can hear echoes of Tank’s “Coldest Winter” in the beats of “Successful,” “Fireworks” and “Marvin’s Room.” But Drake redefined R&B singing with startling speed. “He made it acceptable to be simple again,” says Tiffany Fred, a Grammy-winning songwriter who has also released an entire EP of Drake covers. “He took the thought process of a rapper into singing and proved you don’t need all the theatrics,” adds Brian Warfield, one half of the writing-production duo Fisticuffs (Jazmine Sullivan, Miguel).

For decades, R&B was synonymous with vocalists who could execute virtuosic runs and slather tracks with wrenching ad-libs. “Before [Drake], when recording the hook in an R&B song, you would stack it four times, you would have background vocals,” Warfield explains. “Harmonies and ad-libs was where you got to flex your muscle, show your vocal ability and your ear.”

Drake dispensed with much of that tradition, or imported it – via samples of Nineties singers like Jon B or features with rising stars like the Weeknd. The primary vocal lines stayed approachable. “Drake doesn’t do vocal acrobatics most of the time,” Fred says. 

This democratized a genre once known for heroic feats. “Drake sets his octave lower, so it’s less flamboyant,” explains songwriter August Rigo (Kehlani, SWV). “And because it’s in an octave close to speaking, it allows everybody who can’t sing to sing a Drake song. His sing-ability is a ten.”

“He made his own lane, and the person I would compare him to in that regard is Lionel Richie”

Drake also inverted structural expectations for R&B songs. He loves Jodeci and sampled them, but a Drake ballad never erupts like a Jodeci ballad. He sings in long, graspable lines, snuggling up to notes rather than attacking and embellishing them. His song form matches this vocal approach – even in “Passionfruit,” an undeniable hit, there is no cathartic release during the hook. “Usually songs build from the verse and the chorus explodes,” Rigo says. “In Drake songs, the chorus will come in and everything will drop out – it’s kind of backwards.” R&B singers are often known for jumping up the scale; Drake is just as likely to modulate downwards.

Drake’s innovations worked like crazy. “He made his own lane, and the person I would compare him to in that regard is Lionel Richie,” says Mark Batson (Beyoncé, Anthony Hamilton). “When everyone was doing hard funk music, Richie created this smooth lane, and wrote great songs.” (Drake did Richie one better, since he was across the aisle making the modern day equivalent of hard funk – hip-hop – at the same time.) The purest example of the Drake R&B sound remains “Marvin’s Room” from 2011, surely one of the least dynamic tracks to reach Number 21 on the Hot 100. The single is magnetic precisely because Drake’s puddle of jealousy never boils over musically – there is no resolution in this R&B, no satisfyingly angsty explosion, only stasis.

An entire class of young singers took this style as gospel – here were tools they could use to survive in a world driven by hip-hop. You hear echoes of Drake in Bryson Tiller and Tory Lanez, Tinashe and Jhene Aiko, Post Malone and Kehlani, A. Chal and 6lack, Majid Jordan and PARTYNEXTDOOR, Roy Woods and DVSN (the last four are all signed to Drake’s OVO label). For years, it was impossible to turn on the radio without hearing a Drake disciple. The allure of this template was such that even R&B veterans like Alicia Keys and Beyonce, who specialize in old-school vocal displays, moderated their energy on tracks Drake co-wrote (“Unthinkable (I’m Ready)” and “Mine,” respectively).

Since all these artists were pushing Drake’s sound, it was easy for him to indulge other interests. Starting after Take Care, when singing and swinging for the charts, Drake began jetting to new genres, including Jamaican dancehall, Nigerian afrobeats and South African house. He allowed other artists to take the lead vocals on entire tracks – letting PARTYNEXTDOOR wail and moan on “Wednesday Night Interlude,” handing the mic to Sampha on the keening “4422.” And even though Drake had so much success elevating melody, he worked hard to hone a bruising, quarrelsome rap style, which carried him from “Worst Behavior” to If You’re Reading This It’s Too Late, from What a Time to Be Alive to “Free Smoke” and “No Long Talking.”

For much of Scorpion, especially the first half, this remains Drake’s mode: Head down, fists up. But the second part of the new album serves as a change of pace. The transformation is foreshadowed on the final track of Side One by Nai Palm of Hiatus Kaiyote, who harmonizes with herself during an impressive snippet of an Aaliyah cover. When Drake returns on Side Two, he is staggering around in a familiar R&B-induced stupor. “Peak,” “Jaded” and “Finesse” are wonderfully lackluster – no one could deliver the line “honestly, I can’t stand ya” with less bite than Drake. These could all be one long track, artfully deflated and eminently singable. There’s more momentum in “Summer Games,” “Ratchet Happy Birthday,” “Don’t Matter to Me” and “After Dark,” but you know these partially-committed melodic patterns and nonchalant croons – you’ve been hearing them for almost a decade.

For Drake, this part of Scorpion is both a welcome return to form and surprisingly conventional. When R&B was struggling, he helped clear a path for it move forward. But now he offers up a rigid vision of R&B – especially at a time, maybe the first in a decade, when his grip on the genre is weakening. Several young singers on the charts today, including Daniel Caesar, Ella Mai and Jacquees, owe little to Drake’s sound. And by far the most successful R&B act of the last three months has been Ty Dolla $ign, who loves the sort of vocal drama that Drake sent into exile: For Ty, the more complex harmonies and melismatic acrobatics, the better.

So when Ty shows up twice on the second half of Scorpion it feels startling and momentous, an alien incursion in Drake-land. He’s there in “Jaded,” emoting wildly somewhere behind Drake like an R&B feelings-translator. And on “After Dark,” Ty moves into the forefront, pleading and ad-libbing through an entire verse without restraint. After years of relying on Drake’s blueprints, R&B is moving on. But these two songs suggest that Drake might consider moving with it.


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Death Grips' 'Black Paint' Is the Song of the Summer

What makes a summer jam? Is it the sunniest chorus, the hottest beat, the most weeks on the charts? Do the lyrics have to be about beaches and barbecues, or is it a question of vibe? What if it’s a song on your summer playlist and no one else’s?

We believe the answer is “all of the above.” This summer, Rolling Stone’s writers will celebrate the songs that are ruling each of their worlds – from huge hits to weirder, more personal choices. Check back soon for more summer songs, and hear all our picks in the Spotify playlist at the bottom of this post.

Cardi B’s cravensexybrilliant “I Like It” is shaping up to be the consensus pick for 2018’s Song of the Summer. What’s more, it’s on track to take the trophy from DJ Khaled’s “Wild Thoughts” in the all-time contest for most shameless yet undeniable pop reboot of an already-iconic song. But “Black Paint,” from rap-rock-industrial-noise-punk computer viruses Death Grips, is worth consideration as a different kind of summer jam. Even though the whole paint-your-windows-black, ‘noided agoraphobe vibe isn’t exactly my summer feeling of choice, the aggro “I require privacy” chorus of “Black Paint” will still resonate in the relative isolation of a sunny headphone walk.

Think of it this way: “I Like It” paves the way forward with a new twist on a familiar recipe, sampling the 1967 Pete Rodriguez original whose biggest cultural moment prior to this came from a mid-Nineties Burger King commercial. Death Grips pave their road to the always-online future by pointing back to another stretch of the Nineties, the one between Woodstock ’94 and Woodstock ’99. “Black Paint” is Nine Inch Nails, the Judgment Night soundtrack, Atari Teenage Riot, Korn, Deerhoof, Onyx, Boredoms and Bomb Hip-Hop Records’ Revenge of the B-Boy turntablism albums. Plug in and paint it, black.

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7 Tips to Take Control of Your Summer Move

U-Haul Logo (PRNewsFoto/U-Haul) (PRNewsfoto/U-Haul)PHOENIX, June 30, 2018 /PRNewswire/ — Once the realtor places a sign in your yard, life changes. And when “for sale” officially becomes “sold,” the stress meter can rise as the prospect of moving merges with reality.
Summer is prime moving season as families make their big…

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Etsy to Expand its Community Across Central Europe

BROOKLYN, N.Y., June 30, 2018 /PRNewswire/ — Etsy, Inc. (NASDAQ: ETSY), the global marketplace for unique and creative goods, announced today that it has entered into a referral agreement with DaWanda, a privately held Germany-based marketplace for gifts and handmade items. As part of…

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SHAREHOLDER ALERT: Pomerantz Law Firm Reminds Shareholders with Losses on their Investment in Deutsche Bank Aktiengesellschaft of Class Action Lawsuit and Upcoming Deadline – DB

NEW YORK, June 30, 2018 /PRNewswire/ — Pomerantz LLP announces that a class action lawsuit has been filed against Deutsche Bank Aktiengesellschaft (“Deutsche Bank” or the “Company”) (NYSE: DB) and certain of its officers.   The class action, filed in United States District Court…

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