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"Single Ladies" by Beyonce: A Compositional Analysis
Written by Keith Freund 46 COMMENTS
Thanks to all of you over at Reddit for voting up this article. If you are a self-taught musician, you may find it helpful to check out my Solfege To Intervals Translation Chart to follow the melodic analysis.
This week, I'm going to break down the music theory behind one of the most unusual pop songs to come out in years: Beyoncé's "Single Ladies."
(Click here to open the music video in a new window.)
Tempo: 87 BPM*
Key Signature(s): E major, E minor
Special Songwriting Devices Used: No back beat, Polytonality (technically polymodality**), Resolution using a Minor 6 chord, Starting a melody on sol
Several months ago, I was having a conversation with a friend of mine about whether or not this single would flop. Pop music has certainly gotten interesting over the past 5 years, but this song was, well, too interesting. To put it bluntly: "Single Ladies" is just downright bizarre. And yet as time went on, I began to see that it has what I call the Spice Girls Factor–designed to make groups of adolescent girls dance around in their bedrooms, sing into hairbrushes, and post videos of the whole ordeal on YouTube for their friends to watch.
To start, let's take a look at the groove. In pop music, there is almost always some kind of clap, snap, or snare on beats 2 and 4, also known as a back beat (read my post on back beat options here). "Single Ladies" breaks the mold, especially for a pop song, with claps on every 8th note, which gives the song an uptempo-feel. In fact, to me these claps give the song more of a "1 feel" rather than strictly 4/4, which would mean every quarter note is an equally strong beat. Normally only beats 1 and, to a lesser extent, 3, are considered strong beats. Strong and weak beats become important when understanding how melodies and chord changes affect perceived key signature or tonality. This "1 feel" theory is reinforced by the dancing in the music video, in which the choreography consists largely of Beyoncé jolting around on every beat.
But it doesn't stop there.
There is a snare drum in this song, and like virtually all hip-hop out right now, it's not used as back beat. However, where normally hip-hop draws the line at syncopated southern-style fills or dotted 8th note patterns a la "A Milli", there is a snare hit on the last 8th note of each measure (AKA the "and" of beat 4). This, combined with the 8th note claps, plays a big role in giving "Single Ladies" its memorable feel.
Now let's move on to the harmony. During the song's call-and-response section ("All the single ladies, all the single ladies"), she sings solfege syllable*** sol (as in do re mi fa sol) then riffs on mi, re, and do. Sol is a very common beginning note for a pop melody, adding strength (rather than color) to the harmony. Also note that she skips fa, which is common practice for melodies sung over a root chord because it forms a weak interval, a perfect fourth.
As I talked about in last week's analysis, in traditional harmony and counterpoint, we only need a major or minor third interval to imply a chord. Beyoncé does exactly that during the verses: solidly establishing the key of E major by singing only an E and a G# with the occasional F#. The only "music" during the verses is a pitched noise, though the notes are indistinguishable, keeping in line with the current pop minimalism trend (see: 5 Pop Songs With No Music).
Pretty basic stuff so far. Now here's where things get really interesting:
During the chorus, a bass synth comes in and goes from B to C, which is the bVI chord borrowed from the key of E minor. I will be talking a lot about borrowing chords from related keys and tonalities (aka modal interchange) in future Compositional Analysis posts, but what makes "Single Ladies" downright bizarre is that the melody doesn't reflect this change in harmony at all, so what we've got is music in E minor and a melody in E major. This is called polytonality**, a technique normally reserved for highly esoteric jazz and classical music.
The result is a striking juxtaposition: a nursery rhyme-esque melody with a powerful, sinister bassline beaneath it, creating a bitter, almost shocking melancholy which underscores the "strong woman" image for which Beyoncé has become an archetype. The melody is distinctly feminine and "cute" while the bassline is aggressive and forceful (usually thought of as masculine traits). It is probably no coincidence that the bassline enters with the line, "if you like it then you shoulda put a ring on it." Here, the woman asserts her control over a man.
All this being said, she could not have pulled this song off were it not for a sparse arrangement, an exceptionally catchy beat, and the clout of being a well-established, top female artist, not to mention a role model for a generation of young, ambitious women.
Some music scholars might take issue with my assessment, in fact some don't believe in polytonality at all, saying our ear cannot perceive two tonalities at once. With an arrangement this sparse, though, their case holds little weight.
But just for the hell of it, I'm going to do a standard harmonic analysis of this tune anyway, as if it were all in one key. Things often get vague when it comes to analyzing modern pop music because the harmonies are so fragmented. You rarely hear a full triad or seventh chord in rap and dance-oriented R&B these days (though I believe this trend is about to change) and "Single Ladies" is no exception. The result is often some funky looking chords with half the notes missing. Perhaps these bizarre changes serve to support my theory that we are hearing two different things simultaneously rather than this harmony:
Hypothetical functional analysis
1st Measure: V (no3), IV-/b3, III+ (no #5)/3, bVI (no3)
2nd Measure: V (no3), IV (no3), IVmaj7 (no3), IV-6 (no3)
Chord chart
1st Measure: B (no3), A-/C, G#+/3 (no+5), C (no3)
2nd Measure: B (no3), A (no3), Amaj7 (no3), A-6 (no3)
Chords in laymen's terms
1st Measure: B with no third, A minor first inversion, G# augmented first inversion with no (augmented) 5th, C with no third.
2nd Measure: B with no third, A with no third, Amaj7 with no third, A minor 6 with no third.
Here, the two chords to watch are III+/3 and IV-6. The third chord in the progression does sound like a III augmented in that it is especially dissonant, but it's also not functioning in a way that augmented triads are supposed to function (such as leading to the IV chord). And unlike major and minor triads, you are technically supposed to have the fifth when it comes to augmented or diminished chords. Augmented and diminished fifths cannot be implied. This again leads me back to polytonality because we only have two notes from the chord.****
The very last chord in the chorus sounds like it's implying an A minor 6 chord (minor triad with a major sixth–A C E F#), though only the sixth is present. I say this is minor six rather than a II-/3 because I hear a strong pull back to the I, something a IV-6 has and a II- does not.
I hope you've enjoyed this analysis. I realize that this song is not for everyone, but it's very important for songwriters to think about songs like Single Ladies, the songs that stretch the boundaries and yet are still wildly successful. It can speak volumes about how people connect with music, the future potential of music, and the realm of what is "commercially viable" (if you care about that sort of thing).
Buy Beyoncé's "Single Ladies" on iTunes
*While I have the tempo listed at 87 BPM, you could certainly argue that "Single Ladies" is in the upper 160-200 BPM range, making the claps quarter notes and the kick drum pattern repeating every 2 bars. For the sake of discussion, though, I chose to analyze this song at a typical hip hop tempo. This makes the snare and kick drum patterns one instead of two bar phrases.
**As many readers have pointed out, it's actually more accurate to call this polymodality because the 'tonal center' is still E even though the scale is different from E minor to E major.
***Maybe it's because I'm a guitarist and singer, but I like to think of melodies in terms of solfege syllables because they are instantly transferrable from one key to the next.
****The third chord could also technically be a III/3 chord, but in every music course I've ever taken, teachers have advised against analyzing something as a major III chord, let alone an inversion of it. Such a chord does not exist in any mode, so it could not be borrowed. The only other real possibility would be if it had a flatted seventh, making it a V7/VI- chord, but there is no indication that this is the case nor is that possibility even within the scope of this post.
Compositional Analysis, Featured Articles
46 Responses to ""Single Ladies" by Beyonce: A Compositional Analysis"
Erlend says:
I just need to express a huge thankfulness after reading these articles! I love to see that someone shares my fascination for both sound engeneering and music theory and embraces different genres! Ah, delight!
andyd says:
i respect the analysis, but the song is so simple…. you're supporting a very uncreative corporate agenda by reading into the song as if it's on the bleeding edge of sophistication.
the polytonal bass is a concept that's existed since the birth of electronic dance music.. it's really nothing that new and "bizarre".
no… beyonce did not invent this technique, and the song is only decent at best. please analyze some REAL music…
Erlend– Thanks for the kind words. Always good to connect with like minds.
Andyd- Real music is for suckers…
But seriously, I don't mean to imply that this song was intended to be sophisticated. More than likely it was a pragmatic choice. For example, the writer(s) may have decided the chorus needed to be edgier but wanted to keep the singalong vibe so they just decided to go for something completely different than everything else out there on the radio. And if there's anyone that can pull off something different, it's Beyonce.
Personally I'm not too concerned with who invented this technique or how new it is. It's like I always say: everything has been done, but not everything has been done well.
@andyd: it's worth noting the contrast between this song and the majority of pop. Unfortunately, the only useful part of your contribution to this article is noting the history of a particular part of the song. Don't get me wrong, I am thankful for that.
This corporate agenda you speak of, it is fed to all of us, and most accept it without thinking. This article gives insight into what is actually being told to us. The author went into detail concerning how certain moods are conveyed to us, WHY we feel certain ways, or to put it in your terms: how we are made to feel certain ways by the song. For this reason I don't understand why you denigrate this article, for it teaches us how we are manipulated.
That is as real as it gets. Fuck you and your REAL music. This is what the rest of the world listens to, know it, use it.
Fyrshroud says:
Great article! Lemme guess, Berklee? Anyhow, I do have a quick comment regarding the analysis of the chorus. I haven't had time to sit down and dissect it completely, but a cursory listen to the chorus suggests more of modulation there as the perceived 2nd chord has an augmented quality to it so I would argue that the analysis of a poly chord is not the best one in this case (I may change my mind after I listen again but I'm at work so I can't spend too much time on it!) Also re: the III+ (no 5) analysis: I respectfully submit that without the 5th present you cannot analyze the given chord as an augmented since the defining note of the chord (in this case the #5) is missing. I do agree that it is probably wrong to label it as a III Maj in which case I would treat it either as an upper structure of a different chord or a borrowed chord where the chord quality is clearly defined.
Loved reading it tho! Keep it up! It's been 10 years since I've had read/teach this stuff and my brain is completely rusty.
Thoughtful. I think you get to the core as to why the song is popular – the chorus works in part because it breaks current pop rules. However, I don't really hear it as polytonal. It is really more of a hybrid scale with an E major tetrachord followed by a tetrachord that could be thought of as either Am or Em. This is a common scale in film writing – Thomas Newman uses it all the time – but is rarer in pop music. To be properly polytonal I think you'd have to have a full major and minor scale superimposed. These are not. What's clever is that the vocal and the bassline together make the scale. Part of the appeal of the song is that everything about the harmony is implied through lines – there are no chords. Normally something that simple would have a simplistic harmony and it doesn't.
@Fyrhroud: I agree with what you're saying about it not really being augmented and that was something that I had to stop and think about before I published this, that without an augmented fifth you can't really call it an augmented chord or say that one is implied. I only decided to keep it because I played an augmented chord along with the song and it sounded perfectly in line with how I hear the song, didn't seem to add much new color for some reason. But it seems like we are in agreeance that in the end our ideas of what it could be implying are not entirely precise, because if you turned this song into a more full arrangement it would certainly be a different song. It's just two notes. Hell, it's "the Single Ladies chord." Thanks for your input and welcome.
@Michael–We're getting into some heady stuff here, but I definitely buy that. Hadn't thought about hybrid scales in a while, probably because I don't do film music like you do. Cool site and thanks for commenting.
Hey guys, thanks for all the comments on the site. Keith and I are stoked that we can provide articles of interest to many out there.
Regarding Andy's comment: the real reason for writing this article isn't to hail it as a work of monumental or unique genius. It is simply a song that is popular which many of our clients and readers have heard and might have thought "What makes this song so catchy?" or "What makes this song sound different?" or even "What makes this song so horrible?"
There is a lot to be gained by waxing academically about any piece of music regardless of your personal feelings toward it.
Whether or not it was the first to do any of this stuff is somewhat irrelevant for our interests. It is current and fairly ubiquitous–that is why it is here. We aren't music historians, just practictioners, critics, and academics trying to glean actionable information from something many people have heard or have access to.
So if you love the song, maybe you've learned something useful you can use in the future. If you hate the song, maybe you've learned what NOT to do by reading this article. If you are just a music fanatic (like us) who only read this article because learning anything about music in any capacity interests you no matter the subject, then this article is really intended for you.
A Pop Concession « D4: The Blog says:
[…] is actually as bVI, as he previously mentioned whilst intoxicated at a party. Have a look at the whole analysis – it's pretty amazingly […]
csahar says:
Ah, I appreciate your enthusiasm and I love how good an ear you have. I enjoyed most the rhythmic analysis.
What I disagree with is the piece is polytonal. Why not think of the flat VI as modal mixture. Wherein you borrow from the E minor scale as you said. That the melody doesn't change is not strong enough argument for polytonality as the melody and the flat sixth do share the tonic note E. Also, these chords do not destabilize the sense of major – just gives the melody much greater intensity.
What I think is interesting about the flat VI is how it serves as a deceptive cadence (eg V – a form of vi rather than I) for a coloristic effect that supports the lyric. So a good example of a great device to use to maintain momentum and harmonic interest AND, in this case, using sound to highlight a portion of a lyric you said in your analysis.
As for the A C E F# chord. I think it is a ii with the F# acting as an anticipation of the V. In fact if you play F#ECA to F#D#B- then G#BEG#, you get good old ii V i6. But what is interesting harmonically is omitting the third of the dominant you maintain this implication of modal mixture by making the the mode of the chord vague.
So in sum I think you were pinpointing the right things harmonically but using the wrong term. I'd say this song is a good example of "modal mixture" – you borrow chords from a different mode without destabilizing the mode set throughout most of the song. Polytonality would require far more foreign chords or consistent alteration of two modes – eg – C major/ E major chords alternating for some time to set up two keys. In this case the modal mixture contributes to create an "edge" to this upbeat anthem of a woman asserting control. Modal mixture is a fun is a fun improvisation technique too – just take Frere jacques and flatten or raise the third in subdominant or dominant chord and flat VI once in awhile you turn to this lullaby quite easily into something a little more edgier.
Correction –
For the ACEF# chord I agree it is a iv with an added 6 – not a diminished ii. Then it makes sense my comment the F# anticipates the V.
Such chords can be tricky to analyze. In this case I changed my mind as iv is in keeping with the use of modal mixture (eg using a chord from E minor). Also, the F# serves to make the harmonic movement smoother as the A-E moves up to B-F#, without it you'd get movement of two open 5ths, which makes harmonic movement less subtle compared to moving from a major 6th to a perfect 5th. The F# does not serve as a root of the chord.
Keith Freund says:
I don't want to spend too much time on this, because I could go on forever, but for everyone on forums and in the comments saying the chorus is a modal mixture or something similar, here is my response:
I am very skeptical of the idea of both modal mixtures AND polytonality, but I'm confident that most pop fans and non-musicians hear it as the latter for a number of reasons (mentioned in the article) and also because I listen to the music that they do and rarely listen to classical or jazz.
And to the people saying I'm implying too many notes, yes, you're right. I'm not being completely accurate. But if I were, I'd really have no theoretical way or point of reference to explain the approximate fuctionality of this stuff.
The uber repetitive call and response nursery rhyme chant is offset by a very interesting arrangement. Beyonce (or her producers) seem to specialize in the interesting juxtapositions of simple tunes and cutting edge arrangements. 'Lose my breath' by Destiny's Child has a similar feel. Of course there is quite a tradition in hip hop for this kind of thing, Prince and Jam and Lewis era Janet Jackson spring immediately to mind.
Great analysis, even better (if somewhat overly semantic) discussion! Thanks for all the hard work. The compositional analyses are my favorite section in your blog.
I gotta ask though (along with Fyrshroud's) – are you guys Berklee alums? Your harmonic analysis reeks of standard Berklee nomenclature (and as I current student myself, I say that with all the affection in the world…).
At any rate, keep it up! Pop music SHOULD be dissected and analyzed, in order to exploit its possibilities to the max!
Cool site, just found it linked from this Metafilter thread: http://www.metafilter.com/85045/America-Responds-to-Kanye-West#2743098
Two thoughts on your analysis: I agree with those who say it isn't quite accurate to call it polytonal. I would go for modal mixture, but at most it's polymodal. If the tonal center remains E, even if two clearly different modes based upon E are occurring, there is only one tonal center, therefore not polytonal in the strictest sense. Of course, there is no Correct in analysis with these kinds of nomenclature decisions, only those more or less clear. With that in mind, I think it's more appropriate to label either mixture or polymodality.
Regarding your rhythmic analysis, if you consider the tempo at c. 160, the bass does emphasize 1 & 3, which is how I imagine the beat was conceived (all the beat-makers I've talked to about it think of the "four-on-the-floor" fast tempo, at any rate). That also means that the snare is marking beat 4, which is very common in dance music.
More importantly, though, I wanted to respond to this commentor's statement: "please analyze some REAL music…", and the sentiment it represents, and I say this as a bona fide classical musician with multiple music degrees and a keen understanding of the western classical canon:
"Single Ladies" is a fantastic pop track and well worth at least some analytical attention on its intrinsic merits (but that's an argument it takes a book to make); more fundamentally, though, it is important to consider it because MILLIONS AND MILLIONS OF PEOPLE ACTUALLY LISTEN TO AND ENGAGE WITH THIS MUSIC.
One doesn't get to judge that: this is music that is actively engaging a large chunk of our culture, and it is perfectly legitimate (and important) for educated, perceptive, thoughtful musicians to listen to, think about, and otherwise engage with it in any way they may see fit. It is bigoted to think otherwise.
Isn't it just E harmonic major
Also……I heard that the video to this song is one of the greatest of all time
FixYourMix says:
@ Stuart- I agree. Polymodal is more accurate. I'll change it.
Hoontar says:
Harmonic analysis of the chorus can operate entirely within the E harmonic major scale. You've overcomplicated.
@Tom/Hoontar-
Thank you for pointing out that you can call this E harmonic major. That is true. At the same time, I try to concern myself only with the most useful ways of analyzing and understanding music, so while I could have simply slapped 'harmonic major' on this and called it a day, that's not the most useful way of thinking of this song. Are all the notes within the harmonic major scale? Yes. Do we hear the song as being in a single scale? Not in my opinion.
I agree with Keith, much clearer to point out that 2 modes are happening simultaneously, calling it the harmonic major misses an important distinction because it is the clash of the two modes that make the track harmonically interesting.
(Keith, don't you love posting analyses? Nothing brings out the nit-picky musicians–myself included!–faster, it seems!)
JGC says:
Bitonality in this song seems a bit of a stretch, but "Sweet Home Alabama" has always sounded bitonal to me. Any takers?
In depth analysis of a simple song. Man… | Guitar tabs,electric guitars,acoustic guitars says:
[…] the article here and then come back to comment and let me know what's your take on […]
Shastymax says:
Nice… I'm music nerd as well… I don't really want to get caught up in all the vertical and horizontal analysis. I think without seeing a score… I wont comment because my ears aren't THAT good. Is the song interesting? It's popular… it's interesting to somebody. Not too interesting to me though because there's really nothing new under the sun. But to the person who says, "go analyze some REAL music."–You drip arrogance and you're the reason why "REAL music" isn't popular. WTF? "REAL MUSIC"?? You've got to be kidding me!
I don't care for this music in my opinion, just not for me. But to the authors… keep up the good work. I would find it more beneficial to me though if the notation you used was more clear. Why not just use commercial chord symbols? The roman numerals are great even for the laymen to understand. Those of us who have been programmed to think of music in terms of functional harmony should be able to see and hear that whilst looking at the commercial chords. Not only that but it's a lot less confusing. Even when the chords are missing pitches… you can put "omit 3" or when it's A-minor first inversion = A-/C rather than IV-/b3…(there's lots of debate concerning redundancy). I think putting the commercial chords with your functional roman analysis would be awesome! But that's my opinion…after all… simple music like this… isn't so simple now is it? Especially when something so "simple" has the ability to captivate massive hordes of people. Is the music simple? Or is the the listener who is simple?
Thanks for the blog…. i look forward to seeing more since this one just popped my cherry.
-shasty
@Shastymax- I put in the abbreviated chord symbols. Thanks for the support.
@Andyd – Relax. I'm sure the song would have both Beethoven and Mozart tapping their hands.
Very good analysis! I am so amazed by this!!!
"So we're going to skip ahead to the Single Ladies part…" « The Unpersons says:
[…] Also worth reading for the musically inclined, here's this analysis of the chord structures (or non-structures?) of "Single Ladies." […]
Great article. However what are the chords? This is what I have figured out
See saw beginning
E, A 3x
Em, A 3x then does a Em, A, B, G#, F#
Chours (if you like it then…)
B, A, G#, F#
Oh oh oh part.
B, A, E, —- not sure.
Does this sound right to anyone?
Sean Barrett says:
I read this article a while back, and it never quite made sense to me, so I finally went and counted the time and realized the chorus analysis seems incomplete. So I went and figured out the obvious notes so I could make sure I understood where your analysis was coming from. (It would be helpful to say what notes you're hearing in the song that leads to the harmonic analysis, since those of us without ears to quickly determine the notes are given a harmonic analysis with no obvious connection to the song–for example, you offer the solfege for the "call and response" part, but not the chorus.)
The chorus consists of four repeats of a descending vocal line, each one is "one measure" long in terms of the tempo in this article. The notes (in the first, unaccompanied chorus) melody are B, A, G#, F# (re mi fa sol in E). The third time through there's a rythmic shift on the third note, but I don't think there's a pitch change–this is important though because it's an important moment in the accompanied chorus.
Unaccompanied, this appears to just be riffing on the V.
Once the accompaniment starts, it goes like this: first measure, B on & of "1 and", C on 2; second measure, B on 1, A on 2; third measure B on 1, C on 2, fourth measure, B on 1, A on 2.
Oddly, the analysis offered here stops after two measures, when the most dramatic chord seems to me to be the one in the third measure on 2, but I'm not sure exactly how it's different from the first measure.
There's also harmony in the vocals of the accompanied choruses, which means there's more than two notes determining the chords. However, my ear isn't sufficient to figure out what those notes are or how they contribute.
(There's also also a synth line doubling the bass, but I can't tell for sure if it's strictly (many) octaves above or somehow varying a bit; it becomes more prominent in the third measure.)
The most interesting thing to me in listening to it and playing along to it is that the B in the bass feels like it ought to be a passing tone, but it lasts just long enough and (especially) is so much more consonant than the surrounding chords that it's "forced" to serve actual harmonic duty.
paul_o says:
Couldn't you just say that the chorus modulates to A minor and works within a melodic minor scale? Cause all the notes in the melody she sings(as well as the notes in the backing synth part)fall within that scale.
Think about it. An A Melodic Minor goes:
A B C D E F# G# A
jacomo says:
I definitely hear the snare on the "& of 3" (not the "& of 4" as analyzed above)
b . . . b . . b . . s . b b . . (bass dr, snare dr, empty 16ths)
"One" being:
– the first beat of the track
– the word "should" ("if you liked it then you should have…. )
– where the majority of the chords land
At the point (bridge?) "Don't treat me to these things…" (the most powerful and most "musical" section, IMO) a quarter note is dropped and the groove becomes:
b b . . b . . . b . . b . . s .
for 12 bars, but then returns back to the other groove without dropping or adding any beats
I would speculate that this second groove was the original, and the first thing laid down to build upon as the compositional adventure began, but it was displaced by choice, except for this one bridge passage.
Very interesting track… way out of my element musically, but kinda infectious, as is Beyonce herself.
Jharms says:
Interesting analysis on this one! I agree with most everything. The only thing I would argue with is your III5/3 with no #5. To my ear, I still interpret it at as an inversion of a major III chord, although of course you're right that this chord would have little place in classical composition.
Unless you tried applying neo-Riemannian analysis? I'm not going to take the time to try that one.
Still, enjoyed the analysis. You also might take a look at Pomplamoose's cover to Single Ladies, who flesh out the song (albeit in a bit of a different way). https://www.youtube.com/watch?v=oIr8-f2OWhs. Then again, I'm not sure whether they solve any problems with the voice leadings. Still a great song.
@Jharms- I kinda did the chords as an experiment, I don't really think it's even useful to break some pop songs down into functional harmony because I'm not sure that we hear them that way, in fact I did it mainly to demonstrate how ridiculously obscure the chord names would be and in doing so, support my idea that we're hearing two completely different things going on simultaneously rather than a complete harmony.
We have seen a resurgence in interest in this particular post since that cover came out. Thanks for reading!
This is indeed disposable music. Buy it now while it's hot kids, cuz in a year it will be "so last year". Another marketing hit! Amazing that people with short attention spans like music that is repetitive and goes nowhere. What keeps their interest?
Oh yeah…tits.
zippy says:
Paul, you sound kinda bitter, like a songwriter in the shadows whose music really "goes somewhere" … The cool transition section in this song goes somewhere: back to the repetition… Tits interest? Sure, why not? .. But I like this song for the same reason I like some Bjork and Tom Waits… because it's very DIFFERENT … nothing else like it — different = noteworthy in pop music… a reason for discussion..
After the original version, the song evolved into a much more interesting song.. Check the live video versions online (yes, hot visuals too) … google search: "single ladies ellen" and "single ladies aol" … tight band! .. sounds like they rehearse a lot… i wouldn't want to piss off the bassist or drummer.. mess with the dancers and the rhythm section will kill you!
phenelopy lenk says:
i love beyonce sou brasileira mas sou fã da beyonce,etava no show dela aqui no brasil,espero ir a mais shows da beyonce.
i like the article. i dunno what the hell this whole polytonality ordeal is. it sounds like its just the key of E maj until the chorus with the bass part. the B to C, and the B to A bass lines fit into the E hindu scale which is the fifth mode of the A melodic minor scale. the C acts as a -6 in an E mixolydian scale. doesnt sound at all like E minor to me. A melodic minor all the way baby. but im only in high school so i have no degree to back up whatever i say. so. penis.
Pianola says:
I've only heard this song a few times, but I think I see what you mean by the "B-C" bassline for an E major melody. However, don't you think it could just by the viio7 of E major? The C natural could just be the flattened seventh note of the leading tone diminished seventh chord. Personally, I don't think there's enough clues to imply polytonality. In fact, even when there is modal mixture, it only acts as a type of "borrowing" from another key. I don't think it means that it's in E minor and E major at the same time. It could just be an emphasis on a tonally altered chord.
Reba McEntire Covers Beyonce | Hollywood Pad says:
[…] Beyonce, starting to get just a tad obsessed http://twitpic.com/1z01xybitfunk: https://blog.fixyourmix.com/2009/single-ladies-by-beyonce-a-compositional-analysis/juz_rican: Poison -by beyoncesakacrawford: #nowplaying Beyonce feat. Shakira – Beautiful Liar […]
BigJoe says:
The live version she does has lots of more instrumentation, as heard e.g. in the AOL Live Sessions version here: https://www.youtube.com/watch?v=ko-B-dQKpEE – check it out!
Especially, I like the bridge. Anyone care to write out the chords of this version? Would be highly appreciated.
As a drummer (and chord noob), I'm mainly puzzled with the rhythmics of this song. I experience the "1" to be on the word "like" in the chorus, and on the first word, "up", in the verse. This means that the intro appears to lack some beats since "1" is on "single" when she starts singing "All the single ladies", as is the case after the bridge. Also, I feel the beat to be an up tempo 4/4 with the snare on the "4" in the second bar.
I agree with the concept of the chorus being like a childish chant that goes on over some dramatic chords.
Larry Elliot says:
Interesting look into the tune. The beauty of it is that the producers probably didn't think of the song's mechanics in those terms when the song was being constructed. On another note, the video is really nice. If pornography did NOT exist… single ladies would take the cake in that category.
Beyonce is a lovely woman with great dance moves. It's all subjective but Kanye West was right … Taylor Swift is a bland, mutated pop recording artist and Beyonce is a banging young lady.
Fellas,
I stumbled upon this page while trying to "compose" a single ladies costume for Halloween.
What a bunch of nerds you are! I love it! Thanks for inspring me to go dig deeper – just so I can begin to understand some of the terms you are using.
Uh uh oh!
armchairprof says:
Simple things are inherently bad/fascist. Or maybe some people like to smell their own farts.
TimmyG says:
Hey just stumbled upon this, loved the analysis, just wanted to leave my two cents:
You mention "The third chord could also technically be a III/3 chord, but in every music course I've ever taken, teachers have advised against analyzing something as a major III chord because it's not found in any mode."
You're right that it's not modal mixture, but there's nothing wrong with having a major III chord–it's called a chromatic mediant. Impressionist composers used them all the time. To cut straight to the chase, in C major the chromatic mediants are Emaj, Ebmaj, and Ebmin. (essentially all the remaining major or minor chords based on some type of E (nat or flat)). This can also be done in minor keys and can also be done based upon the submediant. Yes, some of these chords overlap with borrowed chords, but it provides for a lot of new possibilities and helps explain/analyze situations like this.
All in all though I think you are right to spell it as an augmented chord, but no need for the inversion, just make it C+(no 3).
I don't think anyone's mentioned the weirdest element of this song, and that's the repeating upward synth gliss in the groove. My band is going to play this song and I wonder if anyone with sharp ears can tell what the notes of the gliss are. Sounds like it goes up a G# and slides down off it.
As for anti-corporate Andyd, that's just silly. I listen to everything, from classical to jazz to weird experimental things, and this is simply a very interesting arrangement and production. Whether it's "simple" in some ways has no bearing as to it's musical worth. Gregorian chants were simple too (in some ways).
Barbie e os reflexos da cultura POP | ModelMuse Barbie says:
[…] "Sou tendência, uso phyna" (Imagem aqui) […]

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The US National Security Agency (NSA) is collecting nearly 5 billion mobile phone records a day for tracking purposes, according to the latest documents leaked by whistleblower Edward Snowden (pictured).
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That was 50 years ago, and if you didn't play guitar then, you darn well wanted to. If you did play — the British Invasion changed everything. British bands and their guitarists triggered a veritable Renaissance of electric guitar. The Beatles, The Yardbirds, The Who, The Kinks, The Rolling Stones, The Spencer Davis Group, The Small Faces, The Moody Blues, The Troggs, The Zombies and so many more early British Invasion bands shaped the very foundation of rock and blues-rock guitar.
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text:
Q: how to configure the powershell version used by the package manager console in visual studio? I'm on Windows 11 Pro and I'm using Visual Studio Enterprise 2022 Version 17.2.5.
The package manager console is using Powershell version 5 and I have version 7 installed on my computer, is is possible to change the version used (for version 7) ?
Thanks by advance.

A: I'm looking for the same thing.
There is an Options panel for the Terminal in VS2022, but I haven't been able to figure out what needs to be changed in there to support a different version of PowerShell.
As a stop-gap measure until you find the answer, there is a PowerShell Tools (trial) in the Visual Studio Marketplace (I'm not affiliated) that will add support for multiple versions of PowerShell into the Terminal Window along with other enhanced behaviors.  At this point I don't know what the features difference is between the free/pro versions. Perhaps it will provide a hint for you on how to accomplish the conversion.
I'm looking forward to hearing your solution to the problem.

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We are almost there! This is the final week of the Open.
It has been amazing to watch 40 odd members tackle the Open every week and I am super proud of everyone's effort.
Enjoy this last week of it, then if you have completed the Open, look at taking it easy this week and then it's back into the normal grind.
We will be starting a new strength cycle this week in our programming. This cycle will focus primarily on the Olympic lifts and Muscle Ups.
Also I will be introducing a few different tracks to choose from & also the accessories will be making a come back.
2. more of a general structure (lighter loads & options) with a focus on health & fitness for those wishing to just come in and get a workout done.
In the next 10 week block, there are 2 Deload weeks in this 10 week cycle. The first is at week 5 and the second is at week 9. Week 10 will be a testing week.
Common movements and themes in this cycle include: Power + full snatches & cleans, overhead/ front Squats, push Press/ Split Jerk and For Muscle Ups: Weighted pull-ups & Dips and skill acquisition drills.
The deload weeks will still be challenging but will move into doing some more traditional strength work to provide some variety and adaptation time. These will be welcomed as the formatting can be a little repetitive at times in this cycle, a necessary feature to maximise results.
Looking forward to moving ahead and getting back into some steady work, and if you have any further questions, feel free to email us.


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Tag: It's None Of Your Business
Caravan release 'If I Was To Fly', the first new single and animated video from It's None Of Your Business – Their new studio album out on 8th October.
Following the announcement from, Prog legends Caravan, of their new album It's None Of Your Business the band have released their first single "If I was To Fly" accompanied by an animated video courtesy of Matt Entecott (https://www.matthewentecott.com )
Founding member Pye Hastings comments "Back in 1970 we played a 3 day festival in Rotterdam alongside bands including the Byrds, Santana, Jefferson Airplane, Soft Machine, Pink Floyd plus many more but stuck right in the middle on the 3rd day was Mungo Jerry who played 'In the Summertime '- the crowd erupted and they were without doubt the hit of the day!
When I played 'If I was to Fly' to the band I said "Think, Jug Band" and because I was so impressed by the power of that simple song at the festival, I wanted to doff my cap to that style of music. The guys in the band are such good musicians that they knew exactly what I was after, and the track was recorded in the first take."
It's None Of Your Business , Caravan's first album since Paradise Filter (2013) is due to be released on CD & digitally on 8th October 2021 (15th October in USA, Canada, Germany, Austria & France) and as a vinyl LP, on 5th November, on Madfish Music. The release features 10 brand new songs including instrumental track influenced, to a degree, by the events and restrictions placed on society over the past 18 months and was recorded, between 24th June and 4th July 2021 at Rimshot Studio, Bredgar near SittingbourneIt's None Of Your Business overflows with Caravan's trademark warmth and humour and, also, a sensitivity reflecting the times in which we are living. Sitting among Caravan's typically whimsical tales Down From London and If I Was To Fly sit the heartfelt and poignant Spare A Thought and Every Precious Little Thing which looks forward to a return to normality.
Caravan are Pye Hastings (guitar, vocals). Geoffrey Richardson (viola, mandolin, guitar), Jan Schelhaas (keyboards) and Mark Walker (drums). Lee Pomeroy (ELO, Rick Wakeman and Take That) has guested as bass player, following the departure of Jim Leverton, while Jimmy Hastings has also guested on flute.
It's None Of Your Business cover and artwork has been created by renowned illustrator Bob Venables ( https://www.bobvenables.co.uk/)
It's None Of Your Business Track Listing:
01. Down From London (4.03)
02. Wishing You Were Here (3.55)
03. It's None Of Your Business (9.40)
04. Ready Or Not (4.45)
05. Spare A Thought (4.06)
06. Every Precious Little Thing (4.25)
07. If I Was To Fly (3.23)
08. I'll Reach Out For You (8.07)
09. There Is You (4.26)
10. Luna's Tuna (3.14)
Produced, engineered and mastered by Julian Hastings with assistant engineer Mike Thorne.
It's None Of Your Business is released on 8th October 2021 on CD & digitally with the LP released on 5th November through Madfish Music.
PRE ORDERS AVAILABLE NOW HERE
(https://CaravanBand.lnk.to/ItsNoneOfYourBusiness)
CARAVAN LIVE
Caravan will also be on tour, supporting the release of their new album, in the UK in October:
Wednesday 6th October Basingstoke The Haymarket
Thursday 7th October Islington The Union Chapel
Friday 8th October Gloucester Gloucester Guildhall
Saturday 9th October Brighton/Hove The Old Market
Thursday 14th October Chester The Live Rooms
Friday 15th October Leeds The Brudenell Social Club
Saturday 16th October Bury The Met
Sunday 17th October Wolverhampton The Robin 2 (Bilston)
Thursday 21st October Bury St Edmunds The Apex
Friday 22nd October Newcastle The Cluny
Saturday 23rd October Glasgow Òran Mór
Wednesday 27th October Bristol The Fleece
Thursday 28th October Exeter The Phoenix
Friday 29th October Dover The Booking Hall
Buy tickets here: https://officialcaravan.co.uk/gigs/
About Caravan
Caravan are one of the doyens of the progressive rock and the 'Canterbury scene', formed in 1968 and blending rock, jazz, folk and classical influences into a warm and distinctive sound.
Founder member Pye Hastings (guitar/vocals) remains as Caravan's guiding light and primary songwriter. Geoffrey Richardson (viola, mandolin, guitar) first played with Caravan between 1972 and 1981 and returned to the fold in 1995. Their previous 14 studio albums and numerous live recordings have seen them attract a large and faithful following and Caravan toured regularly until the restrictions of the COVID-19 pandemic. They have a UK tour scheduled for October 2021 and have interest, from abroad, for overseas tours to Japan, Canada and South America.
The legends of the Canterbury scene band are being celebrated in a lavish 37-disc box set, entitled Who Do You Think We Are, released on Madfish on 20th August.
Posted on 21st September 2021 Categories New album releases, News, Track/Video ReleaseTags Caravan, If I Was To Fly, It's None Of Your Business, The Publicity ConnectionLeave a comment on Caravan release 'If I Was To Fly', the first new single and animated video from It's None Of Your Business – Their new studio album out on 8th October.


Heat the butter in a non-sticking skillet, toss the bacon until crispy, and set aside. Cook the Ravioli according to package instructions and drain, reserving ½ cup of the pasta cooking water.
In the meantime, warm the Alfredo Sauce in a large skillet over medium-high heat. Add the Ravioli and toss to coat, adding the reserved pasta cooking water a little at a time to loosen the sauce if needed.
Add the bacon strips to the Ravioli and gently toss again; season with salt and pepper to taste. Divide the Ravioli among plates and garnish with pecans.


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Leucoma sevastopuloi är en fjärilsart som beskrevs av Collenette 1955. Leucoma sevastopuloi ingår i släktet Leucoma och familjen tofsspinnare. Inga underarter finns listade i Catalogue of Life.

Källor

Tofsspinnare
sevastopuloi

redpajama_set_name: RedPajamaWikipedia


This week we are crushing on Chef extraordinaire Vanessa Gianfrancesco!
Vanessa is quickly making a reputation for herself in the Canadian Culinary scene. With a diploma from the the prestigious Montréal culinary institute, Institut de tourisme et d'hôtellerie du Québec (ITHQ) under her belt, she has established herself as one to watch in the food and hospitality realm.
You may also recognize as the resident chef on Montreal's #1 morning show, Breakfast Television Montreal providing a variety of recipes and meal ideas to viewers all across Québec as well as on the hit Gusto television series One World Kitchen where she covers Italian and shares her love of cooking, zest for life and her unique viewpoint on the cuisine.
Vanessa is also the founder and creator of the lifestyle website Cooking With V dedicated in honor of her love and passion for food. Recently her recipes were published in a cookbook in conjunction with her show One World Kitchen. One World Kitchen: The Cookbook (written by by president and CEO of Gusto Chris Knight can be purchased at Chapters, Indigo Books and Music and Amazon Canada.
Currently, Vanessa is the executive chef, instructor and general director at Chef En Vous. Understanding the importance of philanthropy, Vanessa supports causes that are close to her heart such as SPCA de Montréal, Montreal Leukemia and Lymphoma Society and the Ronald McDonald House. Outside the world of culinary, Vanessa enjoys, entertaining, home decorating, gardening, making flower arrangements, hot yoga and of course, her second passion, travelling.
A heart of gold and magic hands in the kitchen? I'm head over heels already! Learn more about our chef d'amour below!
The best date that I have ever been on was in Italy, Whenever we travel, we always try to surprise each other with a date night; so we try to find a place that we think each of us will love. This resto that my beau found was in Capri, on a cliff overlooking the ocean. We sat there for hours, eating, laughing and chatting all while sipping some Italian wine it was perfect!
Being insulted or arguing in front of people with your partner… I don't think that it gets any worse than that. I can't stand when couples do this in front of me and I would hate if that had ever happened to me!
To dedicate one day out of the week to each other. It's funny because we can dedicate one day to a sport or organized activity but often times you put your relationship on the back burner to make everyone else around you happy. This is why you NEED to block one day per week that is your special day. Take turns on deciding what you will do together, either have a date night, or a night in…as long as it is time spent together you will benefit from it!
A great smile! That gets me every time! If a guy has a great smile chances are he has had some practice at laughing-and for me there is no better thing in life than laughing!
My mom always told me never to worry about finding the right guy because every pot has its lid. My advice is don't stress about finding someone because then you won't. Let it happen naturally, do the things you love, go to the places you enjoy and chances are you will find someone there that shares some common interests with you! I find that most people get so caught up in not finding THE one that they push away some great people! I'm not a big believer in love at first sight, I think you can be attracted to someone at first sight, but love is something that you develop over time, and trust me it is worth the wait!


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Berghain could be closing down "by the end of 2022"
Time to book those flights to Berlin and give the infamous queue one more attempt.
The legendary Berghain could be closing its doors once and for all by the end of this year.
The iconic Berlin techno haven has recently been a popular topic for conversation following the unexpected closure of its in-house record label and booking agency Ostgut Ton earlier this month.
According to Faze Magazine, a number of inside sources have already confirmed the institution's closure this year. "The Berghain is closing forever – the final end will come this year," one source claims.
Faze Magazine adds that the venue would not be taken over by another nightlife organisation upon its closure: "In this case there are different concepts, for example, passing the club on to younger hands or selling it to another operator. Apparently, this is not desirable."
According to the source, Berghain's "chapter should finally be closed" with no further iterations of the club, and the venue would not continue to exist as an art location as it did during the pandemic.
Berghain first opened under the name Ostgut in 1998, later gutted and redeveloped by founders Michael Teufele and Norbert Thormann into a techno club in 2004. The world-famous club currently has over 250 employees and dozens of residents.
Writer Chris Saunders
Banner Image Credit Unsplash
Pete Davidson's Kim Kardashian tattoos are seemingly no more
TikTok has a secret button that can make anyone go viral
We all love potatoes, but Robert Pattinson's spud based cleanse might be a step too far
Carole Baskin says 'dead' husband was found alive in Costa Rica
Alec Baldwin will be charged with involuntary manslaughter over fatal 'Rust' set shooting
UK Prime Ministers should take note of Jacinda Arden's stunning resignation as PM of New Zealand


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import {Component, OnInit, Input}   from '@angular/core';
import {LoginService} from "../../../shared/services/login.service";
import {BookingService} from "../../../shared/services/booking.service";
import {Config} from "../../../shared/config/config";

@Component({
    selector: "[booking-single]",
    templateUrl: './admin.booking.single.html',
})

export class AdminBookingSingleComponent implements OnInit {

    @Input() booking: any;
    private config = Config;
    loading :boolean;

    constructor(private bookingService: BookingService,private loginService: LoginService) {
    }

    ngOnInit() {
        this.loading=false;
    }

    cancelBooking()
    {
        this.loading=true;
        this.bookingService.cancel(this.booking.id).subscribe(response => {
            if (response.status == "success") {
                this.booking.etat=9;
            }
            this.loading = false;
        });
    }

}

redpajama_set_name: RedPajamaGithub


From space planning to visualizing one-of-a-kind pieces, there are a plethora of apps to help design your home. Creating a dream home can be overwhelming, so use your smartphone to help simplify the experience. These home design apps take the burden out of preparation and selection, so you can enjoy the creative process.
The Houzz app separates the pros from the amateurs. Houzz is a canvas to begin gathering professional design ideas to ignite your own creative process. View similar spaces to yours, to help visualize your home's potential.
"The best part about Houzz is you don't have to filter out DIY projects; everything is posted by professionals," says Eileen McGee Wetzel, interior designer with Story Hill Renovations.
If your toolbox is scarce, don't skip the most important step of hanging pictures— ensuring they hang level. This straightforward app will turn your phone into a level, resulting in a straight wall of frames.
There's no need for a tape measure when you download this digital measuring app. Take a photo of any room or item, and the app will show you the exact measurements.
"Understanding how furniture will fit in a space is crucial. Using a measuring app means you don't have to pass up a one-of-a-kind piece at a flea market or antique store, because you are afraid it would be too large or small," says Cynthia Wilson of Cynthia B. Wilson Interior Design.
Benjamin Moore's app lets you take a picture of any color that inspires you—the lake on a sunny day, a dusty rose hydrangea, fabric from your grandmother's vintage dress—and you will instantly receive its color match from Benjamin Moore's 3,300 paint colors.
"Color Capture encourages you to take a chance with a color you might have previously ruled out," says Wilson.
While creating a gallery wall looks straightforward, there can be a painstaking amount of measuring and arranging before you commit to hammering in nails. This app lets you create your "dream gallery wall," and perfect the layout to avoid patching up the aftermath of measurement miscalculations.
"Gallery walls are still strong, but getting them started is sometimes a challenge. This app lets you lay out the gallery wall virtually before you hammer in the nails. You can also purchase prints directly in the app," says McGee Wetzel.
Eliminate any lingering scale or style doubts with this app's three-dimensional functionality. Before making any expensive electrical mistakes, view how the statement chandelier you've been eyeing will look in your foyer, or avoid costly return shipping costs by determining if a set of island stools will work in your kitchen.
"This app is an easy-to-use tool to help visualize your ideas. You can take a photo of your space and try out wall colors, décor items, furniture and more," says McGee Wetzel.
Hutch was developed with the idea to "allow anyone to discover their inner interior designer." Select the room you would like to design, your preferred style and budget, and Hutch will create a photo-like rendering of a sample room with shoppable decor items. You have the ability to edit the room to best match your taste, including changing the paint color, furniture and art selections. If you are happy with the design, add the pieces to your shopping cart and purchase them directly through the app.
With the plethora of apps available at your fingertips, there is still no replacement for visualizing the item in your home. Scale is the most important element for creating a cohesive space.
"It's imperative to double-check measurements when purchasing items online. Use blue tape or stack boxes to thoroughly understand how large or small an item is for the room," says Wilson.
With the number of resources available to purchase furniture online only, the comfort factor can be a gamble. Wilson offers some tips to make sure the pieces that look perfect online provide the level of comfort and durability you need in a long-term piece of furniture.
Wilson also advises that every piece you purchase online should come with a warranty.
While downloading a curated selection of home design apps can make designing your home infinitely easier, there is ultimately no substitution to seeing a color, fabric or texture in real life.
If you're looking to keep your design experience digital but still want a closer level of guidance, e-design is a smart middle ground.
"Some interior designers have entered the digital game by offering e-design. This is a great way to get professional advice, then execute the design yourself," says McGee Wetzel.


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By AllCap Research November 25, 2019 News, OTC NewsLeave a Comment on SMC Entertainment (OTC : SMCE) Announces Fourth U.S. Patent Filing Covering Digital Packets Transmission Using Peer-to-Peer Distribution
San Francisco, California–(Newsfile Corp. – November 25, 2019) – SMC Entertainment, Inc. (OTC PINK: SMCE) ("SMC" or the "Company"), a provider of wireless communications services, digital content and media distribution solutions, is pleased to announce that White Hat Vision, LLC ("White Hat"), soon to be acquired by SMC, filed its fourth patent application with the United States Patent and Trademark Office ("USPTO").
The fourth patent, USPTO application number USSN 16/589,865, covers system and method for securely retrieving and transmitting digital packets using peer-to-peer distribution. This patent, capstone for the distribution system, focuses on users sharing content while still protecting against piracy by providing the system with customer information to further enhance user experience. White Hat has requested fast tracking application approval process.
On November 4, 2019, SMC announced it executed a Letter of Intent to acquire 100% of White Hat and its first patents licensee, Texas-based Song1, LLC ("Song1"). White Hat owns three patents that address protection against digital cyber theft across any application used to transfer data packets. The three patents, referred to as the Marshall Digital Security ("MDS"), once embedded securely in any digital transporting environment, functions transparently and strategically removes portions of a digital content packet (referred to as Fragments) rendering it to a stealth-like transmission and thereby making the rest of the packet content (referred to as Segments) useless in case of unauthorized access. Once a packet reaches its destination, the Fragments and Segments are merged together to deliver the digital content as intended to. MDS patents can be embedded in solution offerings to any deemed sensitive environment including government, healthcare, banking, research, 3D printing, media, and gaming. The need for protection against worldwide cyber extraction renders itself to the MDS stealth technology. In addition to licensing its patents, White Hat intends to vigorously pursue infringements on any of its patents. The full texts of the three patents are available on USPTO's website www.uspto.gov, patent numbers 8,719,946; 9,576,114; and 10,078,737.
Rick Bjorklund, SMC's Chairman and CEO, commented: "Further to our press releases dated November 4th and 6th, 2019 highlighting our goals, efforts and commitments to grow our company organically and thru acquisitions, we are on the right track to deliver on our vision for the benefits of SMC shareholders. Upon approval of the fourth patent, our go-to-market strategy and intellectual property portfolio would be significantly enhanced. As at 11/22/2019, our total issued and outstanding common shares are 347,000,000 representing 222,000,000 restricted shares and 125,000,000 unrestricted shares (all figures are approximate). The public float is around 75,000,000 shares."
About White Hat Vision LLC
White Hat Vision, LLC is a developer, marketer and licensor of technology solutions built around three patents, referred to as the Marshall Digital Security ("MDS"), that address digital content piracy and cyber theft. MDS targets a number of industries including but not limited to Internet and mobile transmission content, including government, healthcare, banking, research, SCATA, energy, media, and gaming. The MDS patents were developed by Mr. Marvin Marshall (https://www.linkedin.com/in/marshallmarvin) and his team of intellectual marvels. Prior to inventing the MDS patents, Mr. Marshall invented the PrePaid Phone Card technology (which he was awarded three U.S. patents). Prior to inventing the PrePaid Phone technology, Mr. Marshall invented a new mathematical method specifically for precisely balancing Dairy Ration Formulations. Also, he created a companion Dairy Management software program. This invention was highly successful and Mr. Marshall gained over 4,000 clients in the U.S., Mexico and South Africa. Available nationally documented articles featuring Mr. Marshall's inventions and technologies are Time Magazine – 1978, Tampa Tribune – 1990, TeleCard World – 1998 and the Wall Street Journal (Breakout Section) December 7, 1998.
About Song1, LLC
Song1, LLC is a developer, marketer and provider of recorded music streaming services that has licensed MDS's patents. Song1 has embedded MDS's patents in its product offerings to create more secure, faster and better commercial streaming experience. Song1 offers its services on a monthly subscription basis. Song1 plans to expand its secure streaming services by building complementary products and/or license the core technologies to other streaming service providers. For more information, please visit us at (www.song1.com).
About SMC Entertainment, Inc.
SMC Entertainment Inc. is a provider of wireless communications services, digital content, and media distribution solutions. Our multi-discipline revenue approach includes providing media and wireless internet service to under-served markets by acquiring under-capitalized WISPs (Wireless Internet Service Providers). With our recent acquisition of FiberSKY Networks, Inc., FiberSKY's primarily design concept involves the Digital Dome designs of a hybrid Internet of Things (IoT)-based broadband network system called FiberSKY™. This unique proprietary design is capable of utilizing multiple technologies for the enhancement of deploying the "last mile" of advanced high speed services to residential and commercial customers. The FiberSKY system incorporates multiple technologies such as power lines, fiber optics, licensed and unlicensed wireless frequencies and existing telecom-owned broadband back haul networks to produce an efficient and scalable broadband connection. For more information, please visit us at www.smcemedia.com, and www.fiberskynetworks.com.
SMC Entertainment, Inc.
info@smcemedia.com
This press release contains statements, which may constitute forward-looking statements within the meaning of the Securities Act of 1933 and the Securities Exchange Act of 1934, as amended by the Private Securities Litigation Reform Act of 1995. Those statements include statements regarding the intent, belief or current expectations of the Company, members of its management, and assumptions on which such statements are based. Prospective investors are cautioned that any such forward-looking statements are not guarantees of future performance and involve risks and uncertainties, and that actual results may differ materially from those contemplated by such forward-looking statements.
Tombstone (OTCQB : TMBXF) Exploration Corporation Announces Update on Progress Toward Construction of Leach Pad to Commence Operations for Phase 1 of the Bonanza Mine Project


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Q: GRUB boot question I am running Windows 7, Ubuntu 18.04, Ubuntu 19.04 in a dual *actually three) boot setup.  Why is not important.
I am using an HP pavilion dv7 laptop.
First thing, everything works just fine.
Now my issue is this.  When ever Ubuntu (i.e. 18.04) does a kernel update, you need to reboot.  OK, so I reboot, when I get to the GRUB menu, it does not reflect the addition or change in the kernel version for 18.04.  So I have to boot into the other Ubuntu (i.e. 19,04), run GRUB Customizer, then reboot back into Ubuntu 18.04, then when you get to the GRUB menu, it reflects the change in the kernel).  The reverse order in Ubuntu does the same thing, so it is not a specific issue from 18.04 to 19.04.  It does it both ways.
You area able to boot into either 18.04 or 19.04 without any problem, it just that the update will not show up in the GRUB menu.
Now this is just an irritation for me, not a problem as far as I can see.  But why is it happening, am I doing something wrong?  Thanks for any suggestions.

A: No, you're doing nothing wrong, that's the way it works.
The boot-loader will read it's configuration-file (/boot/grub/grub.cfg) from the system which installed the boot-loader, this is, following your example 19.04 at the moment. So if you have a new configuration-file in 18.04, the boot-loader will not read that file, it reads the one from 19.04.
You're doing the right thing, you have to boot into 19.04 and update grub's configuration there, that's the hassle with multiple boot systems and there is no way around that.
Sometimes a system-upgrade installs a new version of grub and then also reinstalls the boot-loader. Following your example, at the moment you use the boot-loader from 19.04. You upgrade 18.04 and during the upgrade a new version of grub is installed.
From that moment on you will use the boot-loader from 18.04.
Remember:
The system which installed grub most recently is the system from which the boot-loader will read it's configuration-file.