BLACKPINK’s Lisa Reveals ‘Lalisa’ Track List With New Poster

With just days to go until the release of Lalisa, BLACKPINK’s Lisa is giving fans a glimpse at what will they’ll be getting when her solo debut arrives.

A poster announcing the track list for the single project was shared by Lisa and BLACKPINK on social media on Sunday (Sept. 5).

Lalisa, set for a Sept. 10 release, will feature two new songs: title track “Lalisa” and “Money.” Instrumental versions of both songs will also be included on the release.

According to the poster, the song “Lalisa” has lyrics by Teddy and Bekuh Boom and was composed by them and 24; 24 also arranged the track. “Money” has lyrics by Bekuh Boom and Vince and was composed by them and R.Tee; 24 and R.Tee arranged the track.

On Saturday, BLACKPINK also posted a lyric poster that showed the phrase “Catch me if you can.”

In recent weeks, Lisa shared teaser trailers for Lalisa, after confirming its release date. Lisa will perform “Lalisa” on The Tonight Show Starring Jimmy Fallon on release day (Sept. 10).

See the Lalisa track list and lyric posters below.

Remembering Adalberto Alvarez, Cuba’s Gentleman of ‘Son,’ Dead at 72 From COVID-19

Adalberto Álvarez never shied from controversy. The prolific Cuban composer, arranger and bandleader was among the first to publicly acknowledge his practice of the Afro-Cuban religion Santeria; he was wittily subversive in his socially conscious lyrics; and he was a forward-thinking musician who nevertheless embraced tradition.

No wonder Álvarez — who died of complications from COVID-19 Sept. 1 at the age of 72 — was honored last year in a tribute concert by Cuban and international artists. El caballero del son (“the gentleman of son,” the traditional Cuban music genre that had its heyday from the 1920s through the 1950s), as Álvarez was known in Cuba, endured for over four decades thanks to timeless compositions with arrangements that incorporated the traditional Cuban tres into the contemporary timba style of Cuban dance music.

A prolific composer, Álavarez contributed countless hits to the Cuban popular music canon. His last album with Adalberto Álvarez y su Son, the group he created in 1984, was released in 2018. The group performed up until the onset of the pandemic last year.

Álvarez was born on Nov. 22, 1948 in Havana “by accident” — his parents were visiting the capital from Camagüey, a province in central Cuba, and returned there shortly after his birth. As a teen, he began his musical career as a singer but was admitted to Cuba’s then recently established national music conservatory, the National School of Arts, for bassoon study. Nonetheless, Álvarez’s exceptional compositional and arranging skills became apparent quickly and his first recorded composition was “Con un besito mi amor,” by Conjunto Rumbavana in 1972.

In 1978 Álvarez helped form a new group, Son 14, and achieved his first hit song, “A Bayamo en Coche,” which begins with an a cappella section in rumba guaguancó style. He left Son 14 in late 1983 to form his own group, Adalberto Álvarez y su Son, which released its first album in 1985. The following year saw the release of one of Álvarez’s most enduring classics, “El Regreso de Maria.”

One of the things that distinguished Álvarez’s sound from that of other major Cuban dance bands of the 1970s and ’80s — like supergroup Los Van Van — was his use of the Cuban tres, a variant of the guitar intimately associated with son music. Through his use of the tres, Álvarez was able to maintain an element of traditional Cuban dance music within a contemporary and highly polyrhythmic style.

Álvarez was among the first bandleaders to openly acknowledge his practice of the Afro-Cuban religion Santería, with the 1991 hit “Y que tu quieres que te den.”

Religious practices of all origins had been taboo in atheist Cuba since the early 1960s, but in the 1990s the Castro government became more tolerant. Last year, on the eve of the 30th anniversary of the song’s release, Álvarez recalled being initiated into the Yoruba religion Ifá in 1991 and feeling the desire to write a song that captured the ceremony and rituals associated with the religious practice. A string of timba songs followed “Y que tu quieres que te den” in extolling the virtues of Afro-Cuban religion. The song was re-recorded and expanded into a much longer version in 2005, incorporating rapped lyrics and chants for various orishas (deities worshipped in Santería). By that time, initiation into Santería had become much more common and visible in Cuba, and the song became a massive hit that’s still played often at house parties.

Alvarez wrote many other songs pertaining to social issues in Cuba, such as “Un Pariente en el Campo” in 2005, a witty commentary on regionalist antagonisms between Cubans of different provinces in Havana. During the severe economic crisis of the 1990s, many eastern Cubans migrated to the capital looking for better economic opportunity. The song addresses this phenomenon in the opening verse, setting the conceit for the title and chorus of the song: everyone in the capital has “a relative from the countryside.”

Just a year ago, Álvarez’s music label, Bis Music, put together a tribute concert and accompanying album in honor of the 46th anniversary of his artistic career and the 35th anniversary of the formation of his group. The biggest names in Cuban popular music performed, in addition to Puerto Rican salsero Gilberto Santa Rosa ,who, along with other Latin music legends such as Oscar d’Leon, Juan Luis Guerra and Eddie Palmieri, have recorded versions of Álvarez’s songs over the years.

Cuban music has lost its gentleman, and one of its most brilliant composers. Rest in music, Adalberto.

Rebecca Bodenheimer is a freelance writer, ethnomusicologist, and author of Geographies of Cubanidad: Place, Race, and Musical Performance in Contemporary Cuba.

Taylor Swift Celebrates Anita Baker Getting Her Masters Back: ‘What a Beautiful Moment’

Taylor Swift is caught up in the rapture! The singer-songwriter shared her joy after Anita Baker announced that the fight for her masters had been resolved.

“What a beautiful moment, CONGRATULATIONS ANITA!!” the “Willow” singer tweeted Saturday (Sept. 4), along with two happy-crying and clapping emojis.

Baker responded, “Thank You, for Your *Fire & Support!! It Inspires us all, to move Mountains.”

A day earlier, the R&B singer had shared with fans that the battle over her catalog was over. “All My Children Are Coming Home,” she tweeted with a photo of her first five albums: The Songstress (1983), The Rapture (1986), Giving You the Best That I Got (1988), Compositions (1990) and Rhythm of Love (1994). “Impossible Things Happen … Every. Single. Day. Gratefully.”

Shortly after the announcement, she encouraged fans to “STREAM.ON.”

This isn’t the first time Swift has shown support for Baker’s fight to regain control of her own masters. In March, the soul singer tweeted that “miraculously,” she had “out-lived *ALL, of my Artist Contracts.” However, she explained, “By Law… 30yr old, Mstrs are 2B Returned, 2 Me Unfortunately, They’re gonna make me Fight 4 It. I’m Prepared, 2 do that. Please Dont advertise/buy them.” In her message, she also referenced Swift, and urged her on in her own dispute.

Swift, whose fight for control over her first six albums has been very public, tweeted in support at the time, “I’m cheering you on in your fight to get back your work, and appreciate your support so much!! Thank you.”

Swift announced in August 2020 that to get around Scooter Braun’s acquisition of Big Machine — and thus, her catalog — she would be re-recording each of her first six albums. She has since released Fearless (Taylor’s Version) in April, and has announced that Red (Taylor’s Version) will be arriving Nov. 19.

See the messages from Swift and Baker below: