Solange cranes in the sky

Juan formell y los van van – aquí el que baila gana (here he who dances wins)

Solange and I find ourselves in a transitional season. It’s early February, and the colors of Mardi Gras are blooming in the city of New Orleans. The Pontchartrain Hotel is on St. Charles Avenue, and as evening falls, the Garden District will be awash with the sights and sounds of the first Mardi Gras parade.

In addition to being a mother, daughter, sister and wife, she identifies as a performance artist. Today she has an architectural bearing: somewhat slouchy sailor pants, a structural white blouse and her afro hair presiding over it all like an electronic blonde sun. We make a few jokes about the antics of the Real Housewives of Atlanta reality show and suddenly she gets serious. «I’m very clear that I’m not interested in the entertainment industry right now,» she clarifies to me, leaning back on the couch. That may change. There may be a time when I say, ‘Hey, I love this game.’ But for now I’m not interested. Not superstitious, Solange believes in intuition. She puts her work out to show when she knows it’s finished; she delivered to her label A Seat at the Table four days before it appeared on iTunes. «I think about my perception and how many times I didn’t hear it and how many times that ruined it for me,» she says.

Solange – cranes in the sky (video)

Intenté mandarlo lejos bebiendo Intenté fumármelo como un porro Intenté mandarlo lejos bailando Intenté cambiarlo como hice con mi pelo Usé todo el crédito de mi tarjeta de crédito Pensé que un vestido nuevo lo arreglaría

J’ai tenté de boire pour m’en débarrasser J’ai tenté d’envoyer ça en l’air J’ai tenté de danser pour l’éloigner J’ai essayé de changer ça avec mes cheveux J’ai fait chauffer ma carte de crédit Je pensais qu’une nouvelle robe arrangerait les choses

I tried to drink to forget I tried to throw it a in the air I tried to dance to forget I tried to change it with my hair I burned my credit card I thought a new dress would make me feel better

Solange cranes in the sky en línea

Success or failure are two stations with stops that are always worth traveling with the right dose of calm and urgency, but a sustained effort over time is always very likely to bear good fruit.

The proof of this is in the fact that between 1983 and 2007 he presided over Clavería Transal; and from 2015 onwards, Clavería Servicios. What was the juncture that he himself forged in that interregnum between 2007 and 2015, well, creating the Hotel Ciudad de Binéfar, a radiant four-star cucumber, which has received notorious accolades.

However, rather than making an exhibition of the appreciated material offered by a firm like Clavería Servicios 2015, which can be seen in detail just by clicking on claveriaservicios.com, we believe it is more interesting to investigate how a man who, after working as a welder in his early youth and spending a few months unemployed, decided to spend the equivalent in pesetas of just under 4,000 euros to acquire the aforementioned Ebro, has come this far.

Solange cranes in the sky 2021

The film was also marked by its frequent depictions of violence, with a 2012 study by the University of Otago in New Zealand finding it the most violent film in the franchise. Considering that Dr. No featured 109 «trivial or severely violent» acts, Quantum of Solace had a tally of 250, the highest number of depictions of violence in any Bond film.[4] The study also found the film to be the most violent in the franchise.

«If you remember Chinatown, you’ll remember that if you control the water you control the whole development of the country. I think that’s true. Now it seems to be oil, but there are a lot of other resources that we don’t think too much about, but they are essential and they are very limited and every country needs it. Because every country knows raising the standard of living (and populations are growing) is the way we’re all going.»

«Because Bond plays seriously, I think the political circumstances should too, although Bond shouldn’t be a political film. I think the more political I make it, the more real it feels, not just with Bolivia and what’s happening in Haiti, but with all these companies like Shell and Chevron saying they’re green because it’s so fashionable to be green. During the Cold War, everything was very clear, the good guys and the bad guys. Today there is a lot of accumulation of good guys and bad guys. It’s not so morally different, because we all have both elements in us.»