Kingho Investment Co. Ltd. is a subsidiary of China Kingho Energy Group with headquarter located in Beijing, China. It is an Iron-ore Mining Company in SL.
Established in 1996 in the People’s Republic of China, China Kingho Energy Group has grown into a resources and energy group consisting of nearly 50 independent companies and subsidiaries in Kingho Inner Mongolia, Qinghai, Ningxia, Xinjiang and Overseas markets, including Sierra Leone. The Group engages in resource development and clean energy use. China Kingho Group started its diversified development by going global, developing new businesses and tapping the overseas markets around 2003. Thus far, it has become a multinational company. China Kingho is passionate to public welfare programs such as infrastructure, construction, education, medical care, poverty alleviation, disaster relief, etc. By the end of 2011, the company had directly invested and donated funds exceeding 500 million Chinese Yuan.Kingho Investment Company Limited seeks to successfully develop the Tonkolili Iron Ore Project in Sierra Leone. As of December 2011, the number of Kingho’s on-the-job employees reached over 20,000 (twenty thousand people) and its total assets were valued at almost 40 billion Chinese Yuan; while its annual output value hit over 15 billion Chinese Yuan. The company’s primarily engages in iron ore mining, conducting exploration and development of its magnificent iron ore resource in Sierra Leone. With tremendous progress in the North and Southern Provinces of Sierra Leone, specifically at Tonkolili and Pujehun Districts, the company has identified over 20million tonnes of Direct Shipping Ore, with the potential to increase this in the near future.
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In Frank Ocean’s zine, Boys Don’t Cry, he frames Blond(e) as a revisionist history of his youth — one he spent dreaming of a life a lot like the one he actually has now, head resting on tear-soaked pillowcases.
In peak Frank Ocean fashion, he’s romanticizing those years now. Bleach your hair blond and then dye it to match the Emerald City — the grass is always greener.
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Ocean talks about his obsession with cars. “Maybe it links to a deep subconscious straight boy fantasy,” Ocean muses. “Consciously, though, I don’t want straight — a little bent is good.”
Over the past four years, there were plenty of twists and turns on the journey to create this sprawling, genre-agnostic work of outsider pop. Love fails because it comes without warning, and because he overthinks it; it crashes and burns from oversharing and internalizing his feelings alike.
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When Frank Ocean looks toward the future, he sees himself regretting something that hasn’t even happened yet — there are fifty ways to leave your lover before you've ever even touched each other.
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The seventeen tracks that make up the album often feel like postcards written in a haze of smoke and then tossed in a pile that may never be sent or melodies that have soundtracked every love and loss you've ever felt. Here’s a look at each song.
1. Nikes
“Nikes” is a necessary bold opening of Ocean’s project and does a wonderful job of preparing the stage for the rest of the listening experience. A few lines have been teased over the years: “I got two versions, I got twooooo versions,” read Ocean’s tumblr puzzling July 2015 album announcement (that obviously didn’t come into fruition). Fast forward a few years later and Chance the Rapper seemed one of the few privileged with information, tweeting lyrics from the hook.
The song speaks on materialistic woes and versions of love, while honoring the late A$AP Yams, Pimp C and Trayvon Martin—perhaps the most chilling moment of the song is when Ocean says he looks just like Trayvon. Ocean unexpectedly dropped visuals for the song before the release of Blonde, and it’s a vibrant (and NSFW) music video that demands your attention throughout the clip. The video also features Ocean’s auto-tuned vocals in two pitches ('two versions') creating another element of strain and balance in the track.
In the video, Ocean wears a t-shirt emblazoned with artist Jenny Holzer's Truisms, beginning with the (sadly) always relevant warning: 'Abuse of power comes in no surprise.'
2. 'Ivy'
'It's quite alright to hate me now,' feels like it could be directed at Frank Ocean's arguably patient fanbase. 'But we know that deep down, the feeling still deep down is good.'
'Ivy' is a soft love song — Ocean chooses to have a loose grip on reality, preferring to live in a state of constant yearning. When he declares, 'good,' his overcompensating inflection sounds exactly like Taylor Swift on her ode to instability, 'Out of the Woods.'
One guitar steadily chugs forward, filling in as percussion, while the other swerves and sparkles. Former Vampire Weekend member Rostam Batmanglij wrote the instrumentals and produced the track, according to Pitchfork, and the collaboration is a long time coming — they were originally supposed to work together before his Channel Orange's release.
By the end of the track, Ocean distorts his vocals to a nightmarish effect — nothing lasts forever, especially dreams.
Auto Tuned Not The Yams Song
He originally debuted the song live back in 2003.
3. 'Pink + White'
On 'Pink + White,' Beyoncé’s voice gently rolls in the background, supporting Ocean’s lyrics that describe a lover’s teachings. “You showed me love/ Glory from above/ Where God could fear/ It's all downhill from here,” he sings, while Beyoncé gently complements the lush instrumentals. To have the largest pop star in the world play a supporting role is a testament to the amount of control Ocean exercises over his work, a process that dragged the rollout of the album and culminated into an expansive multimedia release. Despite the contributions of a wide variety of popular artists, the project is still a coherent masterpiece.
This track marks the third time the two have released a collaboration (Ocean has a writing credit on Beyoncé’s “I Miss U” and is featured on her track “Superpower”). The track is produced by Pharrell Williams, who also worked on “Sweet Life” on Ocean’s previous studio album, Channel Orange. Rumors of Tyler the Creator’s hand in producing this track are swirling, too.
4. 'Be Yourself'
'Be Yourself' is a recording of a voicemail from a concerned mom warning him of the dangers of smoking pot.
'Many college students have gone to college and gotten hooked on drugs, marijuana and alcohol. Listen, stop trying to be somebody else. Don't try to be someone else — be yourself. Be yourself and know that that's good enough.'
Based on Blonde's weed fixation, Ocean only takes some of the message to heart.
People originally thought the message was from Frank's mom, Katonya Breux, but his super cool kid brother set the record straight on Twitter.
that's not our mom! https://t.co/lZK4rrXkX0
— ryan (@BOYSDONTCRYANN) August 23, 2016
5. 'Solo'
In 2016, it's not enough for music to be spiritual, music aims at transcendence. Ocean joins Chance the Rapper and Kanye West in the choir, delivering gospel-infused anthems.
'It's hell on earth, and the city's on fire. Inhale, in hell, there's heaven.'
'Solo' samples 'Flamingo' from Todd Rundgren's 1973 album, A Wizard, A True Star, which is listed as one of Ocean's favorite songs in the zine.
6. 'Skyline To'
'Skyline To' is kind of Frank Ocean's 'Somewhere Over the Rainbow.' But instead of having Tin Man and the Cowardly Lion, Ocean has Kendrick Lamar and Tyler the Creator in his ears, as wistful as they'll ever be,'That's a pretty fucking fast year flew by.'
Taking Ferris Bueller's advice, they stop and look around at the world before it's too late.
7. 'Self-Control'
“Self Control” features vocals from Austin Feinstein, lead singer of Slow Hollows and Tyler the Creator collaborator, and Swedish rapper Yung Lean, an acoustic guitar and an ultra big helping of nostalgia. A lovesick Ocean’s got that summertime sadness, consumed by the sticky-sweet regret of a love that never had a fair shake.
8. 'Good Guy'
If you've ever wanted to wander into an empty church after a date that ended in rejection, sit down at an organ and document your loneliness on your iPhone, this is the song for you.
10. 'Solo (Reprise)'
The track features Outkast's André 3000 addressing rap’s recent ghostwriting controversies, 'I’m so naive, I was under the impression that everyone wrote they own verses.'
Auto Tuned Not The Yams Recipe
He doesn't mention Drake specifically, but he also doesn't specify that he's not talking about Drake, so draw your own conclusions.
11. 'Pretty Sweet'
'Pretty Sweet' is a wall of sound, thanks to some production from Francis and the Lights, who confirmed his involvement Twitter.
The track is a lot like listening to the sounds of a cult's dance party seeping out of a warehouse. Not that we've done that, of course.
✨💔 https://t.co/E6au68eNAV
— Francis (@andthelights) August 21, 2016
close to you
Higgs
self control
pretty sweet
good guy
✨
🌊🌊
— Francis (@andthelights) August 21, 2016
12. 'Facebook Story'
'Facebook Story' is another audio clip — this time from a French man whose girlfriend broke up with him because he wouldn't accept his Facebook friend request. The relationship was probably doomed, anyway.
13. 'Close to You'
'I'll be honest, I wasn't devastated,' sings a heavily autotuned Ocean, presenting pain as his default. The track is cover of the Stevie Wonder song with a post-808 and Heartbreak makeover by Frank and Francis and the Lights.
14. 'White Ferrari'
Cars are a persistent fixation of Ocean’s that will most likely always play a role in his art. “White Ferrari” takes on this theme and another consistent in his music—drugs and nostalgia and freedom.
“White Ferarri” seems tell the story of love—possibly a first love—and that feeling of confronting one’s adolescent emotions, relatable at any age (“Is this the slow body/ Left when I forgot to speak/ So I text to speech, lesser speeds/ Texas speed, yes/ Based takes it's toll on me”). The song is sprinkled with a variety of influences—the heavy Bon Iver and James Blake-esque verse is unmistakeable and stirring, and pieces reimagine “Here, There and Everywhere” from The Beatles (who are credited as contributors).
“White Ferarri” also touches on contradicting ideologies within a relationship (“I'm sure we're taller in another dimension/ You say we're smaller and not worth the mention”) but gracefully acknowledges that despite differences or barriers, there is still a beautiful freedom of choice in any relationship.
15. 'Seigfried'
Ocean picks up where Elliott Smith left off on the sad streets of Los Angeles, borrowing from Smith's posthumously released, 'A Fond Farewell.'
'I'd rather live outside,' he repeats, leaving room for interpretation as to what he's living outside.
With Channel Orange and the accompanying Tumblr message about falling in love with a man, he made waves as a public figure living outside the traditional image of men in the hip-hop and R&B scene, which is still recovering from a history of homophobia — which Odd Future themselves were keeping alive and well. On 'Seigfreid,' he laments, 'I can't relate to my peers.'
Ocean has declined to define his sexuality. Titling the physical copy of the album Blond (male) and the digital copy Blonde (female), he's ditching the gender binary.
Ocean also premiered the song several years ago in Germany.
Auto Tuned Not The Yams Lyrics
16. 'Godspeed'
Beyond Blonde, it’s been a year of high profile albums. James Blake’s The Colour in Anything was one of them, and the British singer did not shy away from explaining the influence Ocean had on his own project. The two co-wrote the song “Always” that appeared on Blake’s album, and in this project we can finally hear the sampled Ocean song, “Godspeed.”
The track might be the most transparent track on the album and serves as a triumphant cry of goodwill towards an old lover or friend. It’s a gulp of fresh air in an album that often feels heavy with emotion. “I let go of my claim on you, it's a free world/ You look down on where you came from sometimes/ But you'll have this place to call home, always,” he croons, finding closure in the relationship.
Following releases from Kanye West and Chance the Rapper, a gospel presence on an album seems almost standard this year. “Godspeed” fulfills this with a feature from gospel luminary Kim Burrell. As some have pointed out, Ocean posted a video of Burrell in 2007, where he wrote about being intimidated by those who were able to sing freely in church. “Church was the hood Julliard to me,” he explained. “All the coldest musicians came out of there. the lady in the video…summa cum laude,” describing Burrell.
In the accompanying magazine, Ocean includes a screenplay with the same name and similar lines. “It’s basically a reimagined part of my boyhood. Boys do cry, but I don’t think I shed a tear for a good chunk of my teenage years,” he wrote, describing the story. “It’s surprisingly my favourite part of my life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had it’s rough stretches too, but in my rearview mirror it’s getting small enough to convince myself it was all good. And really though… It’s still all good.”
17. Futura Free
At the beginning of “Futura Free,” we hear Ocean’s high-pitched vocals retracing his origin story. His voice is pitched but his words don’t need much effort to unmask and allude to the inner workings of Ocean’s mind more than any track of the album. He ain’t making minimum wage, and now he’s making 600k. He used to have a job, but hasn’t held one since 2009. He used to smoke, but doesn’t anymore.
Throughout the track, Ocean tells rather than shows. One of the most meaningful moments of the verse is when he breaks down his problems with the transactional nature of music today, claiming that he should be the one paying listeners to see him play because of the therapeutic process of performances.
“I'm just a guy I'm not a god,” he sings. “Sometimes I feel like I'm a god but I'm not a god.” And in the song, he speaks on two god-like, and intensely revered musicians that were murdered: 2Pac, by a gang member, and Selena, by a president of her fan club. Despite this fear, he speaks bluntly on sex (evading an outright admission regarding his speculated bisexuality) and drugs.
But the highlight comes after the silent interlude. Ocean’s little brother, Ryan Breaux, conducts an interview with the singer and was mortified to realize that it had made the album. And while due to vocal pitch changes it’s hard to tell who is speaking to who, the peek into the conversation is a touching moment, particularly since he evades the press so well. Skateboarder Sage Elsesser also makes an appearance towards the end.
Interestingly enough, it’s hard to tell who exactly utters the last words of the album, but Ocean leaves the heavy questions up, for personal interpretation, last.
“How far is a light year?”