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To the contrary, VANTABLACK, produced by Hathaway with Phil Beaudreau, Ariza, Warryn Campbell and Eric Dawkins rotating at the controls, is closer in sound to Where It All Begins, given that the stylistic descriptors for all of the songs would have to include soul with preceding modifiers such as modern, throwback, hip-hop, folk, and pop. [4]
Vantablack is a collaborative extended play by French electronic band Dirtyphonics and Los Angeles–based electronic rock producer Sullivan King. Vantablack was released on 3 November 2017, by the independent electronic music label , Monstercat .
When light strikes Vantablack, instead of bouncing off, it becomes trapped and continually deflected amongst the tubes, absorbed, and eventually dissipated as heat. [24] CVD Vantablack was an improvement over similar substances developed at the time. Vantablack absorbs up to 99.965% of visible light and can be created at 400 °C (752 °F).
Vantablack is an extremely black chemical substance. Vantablack may also refer to: Vantablack, a 2017 dubstep extended play by Dirtyphonics and Sullivan King "Vantablack", a 2017 song by French synthwave musician Perturbator "Vantablack", a 2022 episode of Fleishman Is in Trouble
The sentence "Vantablack was an improvement over similar substances developed at the time." seems a bit odd, as no points of time have yet been mentioned at this point in the article. Maybe it should say something like "Vantablack is an improvement over similar substances developed before it"? JoaCHIP 10:39, 8 June 2019 (UTC)
Despite all the ways that the world has changed since Chris Rock stepped onstage to deliver his third special, “Bigger & Blacker,” which premiered on HBO on July 10, 1999, all you have to do ...
This adaptation of Anne Rice’s novel offers a smart update, while retaining its poignant story of a vampire questioning life, mortality and his own power.
In 1926, he became the editor of The Messenger, a socialist journal addressed to black people. There he was the first to publish the adult-themed stories of Langston Hughes. [1] Thurman left the journal in October 1926 to become the editor of World Tomorrow, which was owned by whites.