"Sunshine" redirects here. For natural lighting of interior spaces by admitting sunlight, see Daylighting. For solar energy available from sunlight, see Insolation. For other uses, see Sunlight (disambiguation) and Sunshine (disambiguation).

Sunlight shining through clouds, giving rise to crepuscular rays.

Sunlight, in the broad sense, is the total frequency spectrum of electromagnetic radiation given off by the Sun, particularly infrared, visible, and ultraviolet light. On Earth, sunlight is filtered through the Earth's atmosphere, and solar radiation is obvious as daylight when the Sun is above the horizon.

When the direct solar radiation is not blocked by clouds, it is experienced as sunshine, a combination of bright light and radiant heat. When it is blocked by the clouds or reflects off of other objects, it is experienced as diffused light.

The World Meteorological Organization uses the term "sunshine duration" to mean the cumulative time during which an area receives direct irradiance from the Sun of at least 120 watts per square meter.^[1]

Sunlight may be recorded using a sunshine recorder, pyranometer or pyrheliometer. Sunlight takes about 8.3 minutes to reach the Earth.

On average, it takes energy between 10,000 and 170,000 years to leave the sun's interior and then be emitted from the surface as light.^[2]

Direct sunlight has a luminous efficacy of about 93 lumens per watt of radiant flux. Bright sunlight provides illuminance of approximately 100,000 lux or lumens per square meter at the Earth's surface.

Sunlight is a key factor in photosynthesis, a process vital for many living beings on Earth.

Composition[link]

Solar irradiance spectrum above atmosphere and at surface

The spectrum of the Sun's solar radiation is close to that of a black body with a temperature of about 5,800 K.^[3] The Sun emits EM radiation across most of the electromagnetic spectrum. Although the Sun produces Gamma rays as a result of the nuclear fusion process, these super high energy photons are converted to lower energy photons before they reach the Sun's surface and are emitted out into space. As a result, the Sun doesn't give off any gamma rays. The Sun does, however, emit X-rays, ultraviolet, visible light, infrared, and even radio waves.^[4] When ultraviolet radiation is not absorbed by the atmosphere or other protective coating, it can cause damage to the skin known as sunburn or trigger an adaptive change in human skin pigmentation.

The spectrum of electromagnetic radiation striking the Earth's atmosphere spans a range of 100 nm to about 1 mm. This can be divided into five regions in increasing order of wavelengths:^[5]

• Ultraviolet C or (UVC) range, which spans a range of 100 to 280 nm. The term ultraviolet refers to the fact that the radiation is at higher frequency than violet light (and, hence also invisible to the human eye). Owing to absorption by the atmosphere very little reaches the Earth's surface (Lithosphere). This spectrum of radiation has germicidal properties, and is used in germicidal lamps.
• Ultraviolet B or (UVB) range spans 280 to 315 nm. It is also greatly absorbed by the atmosphere, and along with UVC is responsible for the photochemical reaction leading to the production of the ozone layer.
• Ultraviolet A or (UVA) spans 315 to 400 nm. It has been traditionally held as less damaging to the DNA, and hence used in tanning and PUVA therapy for psoriasis.
• Visible range or light spans 380 to 780 nm. As the name suggests, it is this range that is visible to the naked eye.
• Infrared range that spans 700 nm to 10⁶ nm (1 mm). It is responsible for an important part of the electromagnetic radiation that reaches the Earth. It is also divided into three types on the basis of wavelength:
  • Infrared-A: 700 nm to 1,400 nm
  • Infrared-B: 1,400 nm to 3,000 nm
  • Infrared-C: 3,000 nm to 1 mm

Calculation[link]

To calculate the amount of sunlight reaching the ground, both the elliptical orbit of the Earth and the attenuation by the Earth's atmosphere have to be taken into account. The extraterrestrial solar illuminance (E_ext), corrected for the elliptical orbit by using the day number of the year (dn), is given by^[6]

Failed to parse (Missing texvc executable; please see math/README to configure.): E_{\rm ext}= E_{\rm sc} \cdot \left(1+0.033412 \cdot \cos\left(2\pi\frac{{\rm dn}-3}{365}\right)\right),

where dn=1 on January 1; dn=2 on January 2; dn=32 on February 1, etc. In this formula dn-3 is used, because in modern times Earth's perihelion, the closest approach to the Sun and therefore the maximum E_ext occurs around January 3 each year. The value of 0.033412 is determined knowing that the ratio between the perihelion (0.98328989 AU) squared and the aphelion (1.01671033 AU) squared should be approximately 0.935338.

The solar illuminance constant (E_sc), is equal to 128×10³ lx. The direct normal illuminance (E_dn), corrected for the attenuating effects of the atmosphere is given by:

Failed to parse (Missing texvc executable; please see math/README to configure.): E_{\rm dn}=E_{\rm ext}\,e^{-cm},

where c is the atmospheric extinction coefficient and m is the relative optical airmass.

Solar constant[link]

The solar constant, a measure of flux density, is the amount of incoming solar electromagnetic radiation per unit area that would be incident on a plane perpendicular to the rays, at a distance of one astronomical unit (AU) (roughly the mean distance from the Sun to the Earth). The "solar constant" includes all types of solar radiation, not just the visible light. Its average value was thought to be approximately 1.366 kW/m²,^[7] varying slightly with solar activity, but recent recalibrations of the relevant satellite observations indicate a value closer to 1.361 kW/m² is more realistic.^[8]

Total (TSI) and spectral solar irradiance (SSI) upon Earth[link]

Total Solar Irradiance upon Earth (TSI) was earlier measured by satellite to be roughly 1.366 kilowatts per square meter (kW/m²),^[7][9][10] but most recently NASA cites TSI as "1361 W/m² as compared to ~1366 W/m² from earlier observations [Kopp et al., 2005]", based on regular readings from NASA's Solar Radiation and Climate Experiment(SORCE) satellite, active since 2003,^[11] noting that this "discovery is critical in examining the energy budget of the planet Earth and isolating the climate change due to human activities." Furthermore the Spectral Irradiance Monitor (SIM) has found in the same period that spectral solar irradiance (SSI) at UV (ultraviolet) wavelength corresponds in a less clear, and probably more complicated fashion, with earth's climate responses than earlier assumed, fueling broad avenues of new research in "the connection of the Sun and stratosphere, troposphere, biosphere, ocean, and Earth’s climate".^[11]

Intensity in the Solar System[link]

Different bodies of the Solar System receive light of an intensity inversely proportional to the square of their distance from Sun. A rough table comparing the amount of solar radiation received by each planet in the Solar System follows (from data in [1]):

The actual brightness of sunlight that would be observed at the surface depends also on the presence and composition of an atmosphere. For example Venus' thick atmosphere reflects more than 60% of the solar light it receives. The actual illumination of the surface is about 14,000 lux, comparable to that on Earth "in the daytime with overcast clouds".^[12]

Sunlight on Mars would be more or less like daylight on Earth wearing sunglasses, and as can be seen in the pictures taken by the rovers, there is enough diffuse sky radiation that shadows would not seem particularly dark. Thus it would give perceptions and "feel" very much like Earth daylight.

For comparison purposes, sunlight on Saturn is slightly brighter than Earth sunlight at the average sunset or sunrise (see daylight for comparison table). Even on Pluto the sunlight would still be bright enough to almost match the average living room. To see sunlight as dim as full moonlight on the Earth, a distance of about 500 AU (~69 light-hours) is needed; there are only a handful of objects in the solar system known to orbit farther than such a distance, among them 90377 Sedna and (87269) 2000 OO67.

Surface illumination[link]

The spectrum of surface illumination depends upon solar elevation due to atmospheric effects, with the blue spectral component from atmospheric scatter dominating during twilight before and after sunrise and sunset, respectively, and red dominating during sunrise and sunset. These effects are apparent in natural light photography where the principal source of illumination is sunlight as mediated by the atmosphere.

According to Craig Bohren, "preferential absorption of sunlight by ozone over long horizon paths gives the zenith sky its blueness when the sun is near the horizon".^[13]

See diffuse sky radiation for more details.

Climate effects[link]

On Earth, solar radiation is obvious as daylight when the sun is above the horizon. This is during daytime, and also in summer near the poles at night, but not at all in winter near the poles. When the direct radiation is not blocked by clouds, it is experienced as sunshine, combining the perception of bright white light (sunlight in the strict sense) and warming. The warming on the body, the ground and other objects depends on the absorption (electromagnetic radiation) of the electromagnetic radiation in the form of heat.

The amount of radiation intercepted by a planetary body varies inversely with the square of the distance between the star and the planet. The Earth's orbit and obliquity change with time (over thousands of years), sometimes forming a nearly perfect circle, and at other times stretching out to an orbital eccentricity of 5% (currently 1.67%). The total insolation remains almost constant due to Kepler's second law,

Failed to parse (Missing texvc executable; please see math/README to configure.): \tfrac{2A}{r^2}dt = d\theta,

where Failed to parse (Missing texvc executable; please see math/README to configure.): A

is the "areal velocity" invariant. That is, the integration over the orbital period (also invariant) is a constant.

Failed to parse (Missing texvc executable; please see math/README to configure.): \int_{0}^{T} \tfrac{2A}{r^2}dt = \int_{0}^{2\pi} d\theta = \mathrm{constant}

If we assume the solar radiation power Failed to parse (Missing texvc executable; please see math/README to configure.): P

as a constant over time and the solar irradiation given by the inverse-square law, we obtain also the average insolation as a constant.

But the seasonal and latitudinal distribution and intensity of solar radiation received at the Earth's surface also varies.^[14] For example, at latitudes of 65 degrees the change in solar energy in summer & winter can vary by more than 25% as a result of the Earth's orbital variation. Because changes in winter and summer tend to offset, the change in the annual average insolation at any given location is near zero, but the redistribution of energy between summer and winter does strongly affect the intensity of seasonal cycles. Such changes associated with the redistribution of solar energy are considered a likely cause for the coming and going of recent ice ages (see: Milankovitch cycles).

Past variations in solar irradiance[link]

Space-based observations of solar irradiance started in 1978. These measurements show that the solar constant is not constant. It varies with the 11-year sunspot solar cycle. When going further back in time, one has to rely on irradiance reconstructions, using sunspots for the past 400 years or cosmogenic radionuclides for going back 10,000 years. Such reconstructions have been done ^{[15][16][17][18]}. These studies show that solar irradiance does vary with distinct periodicities such as: 11 years (Schwabe), 88 years (Gleisberg cycle), 208 years (DeVries cycle) and 1,000 years (Eddy cycle).

Life on Earth[link]

This short film explores the vital connection between Earth and the Sun.

The existence of nearly all life on Earth is fueled by light from the sun. Most autotrophs, such as plants, use the energy of sunlight, combined with carbon dioxide and water, to produce simple sugars—a process known as photosynthesis. These sugars are then used as building blocks and in other synthetic pathways which allow the organism to grow.

Heterotrophs, such as animals, use light from the sun indirectly by consuming the products of autotrophs, either by consuming autotrophs, by consuming their products or by consuming other heterotrophs. The sugars and other molecular components produced by the autotrophs are then broken down, releasing stored solar energy, and giving the heterotroph the energy required for survival. This process is known as cellular respiration.

In prehistory, humans began to further extend this process by putting plant and animal materials to other uses. They used animal skins for warmth, for example, or wooden weapons to hunt. These skills allowed humans to harvest more of the sunlight than was possible through glycolysis alone, and human population began to grow.

During the Neolithic Revolution, the domestication of plants and animals further increased human access to solar energy. Fields devoted to crops were enriched by inedible plant matter, providing sugars and nutrients for future harvests. Animals which had previously only provided humans with meat and tools once they were killed were now used for labour throughout their lives, fueled by grasses inedible to humans.

The more recent discoveries of coal, petroleum and natural gas are modern extensions of this trend. These fossil fuels are the remnants of ancient plant and animal matter, formed using energy from sunlight and then trapped within the earth for millions of years. Because the stored energy in these fossil fuels has accumulated over many millions of years, they have allowed modern humans to massively increase the production and consumption of primary energy. As the amount of fossil fuel is large but finite, this cannot continue indefinitely, and various theories exist as to what will follow this stage of human civilization (e.g. alternative fuels, Malthusian catastrophe, new urbanism, peak oil).

Cultural aspects[link]

This unreferenced section requires citations to ensure verifiability.

Claude Monet: Le déjeuner sur l'herbe

The effect of sunlight is relevant to painting, evidenced for instance in works of Claude Monet on outdoor scenes and landscapes.

Many people find direct sunlight to be too bright for comfort, especially when reading from white paper upon which the sun is directly shining. Indeed, looking directly at the sun can cause long-term vision damage. To compensate for the brightness of sunlight, many people wear sunglasses. Cars, many helmets and caps are equipped with visors to block the sun from direct vision when the sun is at a low angle. Sunshine is often blocked from entering buildings through the use of walls, window blinds, awnings, shutters or curtains, or by nearby shade trees.

In colder countries, many people prefer sunnier days and often avoid the shade. In hotter countries the converse is true; during the midday hours many people prefer to stay inside to remain cool. If they do go outside, they seek shade which may be provided by trees, parasols, and so on.

In Hinduism the sun is considered to be a god as it is the source of life and energy on earth.

Sunbathing[link]

Sunbathing is a popular leisure activity in which a person sits or lies in direct sunshine. People often sunbathe in comfortable places where there is ample sunlight. Some common places for sunbathing include beaches, open air swimming pools, parks, gardens, and sidewalk cafés. Sunbathers typically wear limited amounts of clothing or some simply go nude. For some, an alternative to sunbathing is the use of a sunbed that generates ultraviolet light and can be used indoors regardless of outdoor weather conditions and amount of sunlight.

For many people with pale or brownish skin, one purpose for sunbathing is to darken one's skin color (get a sun tan) as this is considered in some cultures to be beautiful, associated with outdoor activity, vacations/holidays, and health. Some people prefer naked sunbathing so that an "all-over" or "even" tan can be obtained, sometimes as part of a specific lifestyle.

For people suffering from psoriasis, sunbathing is an effective way of healing the symptoms.

Skin tanning is achieved by an increase in the dark pigment inside skin cells called melanocytes and it is actually an automatic response mechanism of the body to sufficient exposure to ultraviolet radiation from the sun or from artificial sunlamps. Thus, the tan gradually disappears with time, when one is no longer exposed to these sources.

Effects on human health[link]

The body produces vitamin D from sunlight (specifically from the UVB band of ultraviolet light), and excessive seclusion from the sun can lead to deficiency unless adequate amounts are obtained through diet.

Sunburn can have mild to severe inflammation effects on skin; this can be avoided by using a proper sunscreen cream or lotion or by gradually building up melanocytes with increasing exposure. Another detrimental effect of UV exposure is accelerated skin aging (also called skin photodamage), which produces a difficult to treat cosmetic effect. Some people are concerned that ozone depletion is increasing the incidence of such health hazards. A 10% decrease in ozone could cause a 25% increase in skin cancer.^[19]

A lack of sunlight, on the other hand, is considered one of the primary causes of seasonal affective disorder (SAD), a serious form of the "winter blues". SAD occurrence is more prevalent in locations further from the tropics, and most of the treatments (other than prescription drugs) involve light therapy, replicating sunlight via lamps tuned to specific (visible, not ultra-violet) wavelengths of light or full-spectrum bulbs.

A recent study indicates that more exposure to sunshine early in a person’s life relates to less risk from multiple sclerosis (MS) later in life.^[20]

See also[link]

References[link]

Further reading[link]

• Hartmann, Thom (1998). The Last Hours of Ancient Sunlight. London: Hodder and Stoughton. ISBN 0-340-82243-0.

External links[link]

Wikimedia Commons has media related to: Sunlight

• Solar radiation - Encyclopedia of Earth
• Total Solar Irradiance (TSI) Daily mean data at the website of the National Geophysical Data Center
• Construction of a Composite Total Solar Irradiance (TSI) Time Series from 1978 to present by World Radiation Center, Physikalisch-Meteorologisches Observatorium Davos (pmod wrc)
• A Comparison of Methods for Providing Solar Radiation Data to Crop Models and Decision Support Systems, Rivington et al.
• Evaluation of three model estimations of solar radiation at 24 UK stations, Rivington et al.
• High resolution spectrum of solar radiation from Observatoire de Paris
• Measuring Solar Radiation : A lesson plan from the National Science Digital Library.
• Websurf astronomical information: Online tools for calculating Rising and setting times of Sun, Moon or planet, Azimuth of Sun, Moon or planet at rising and setting, Altitude and azimuth of Sun, Moon or planet for a given date or range of dates, and more.
• An Excel workbook with a solar position and solar radiation time-series calculator; by Greg Pelletier
• DOE information about the ASTM standard solar spectrum for PV evaluation.
• ASTM Standard for solar spectrum at ground level in the US (latitude ~ 37 degrees).
• Detailed spectrum of the sun at Astronomy Picture of the Day.

v t e The Sun Internal structure Core Radiation zone Convection zone Atmosphere Photosphere Supergranulation Granule Faculae Sunspot Chromosphere Plage Spicule Moreton wave Corona Transition region Coronal hole Coronal loop Coronal mass ejection Prominence Helmet streamer Variation Solar cycle List of solar cycles Solar maximum Solar minimum Wolf number Solar wind Flare Helioseismology Heliosphere Current sheet Termination shock Heliosheath Heliopause Bow shock Related topics Solar System Solar dynamo Solar telescope Eclipse Radiation Solar energy Spectral class: G2

DJ Antoine
MC Roby Rob (left) and DJ Antoine (right).
Background information
Birth name	Antoine Konrad
Born	(1975-06-23) June 23, 1975 (age 37)
Origin	Switzerland
Genres	Electro House, House, Vocal House
Occupations	DJ, record producer
Years active	1998–present
Associated acts	Tom Dice, Mad Mark
Website	http://www.djantoine.com/

Antoine Konrad (born June 23, 1975), better known as DJ Antoine, is a Swiss-Lebanese house and electro DJ and producer, from Beirut, Lebanon. He has had a number of successful single and album releases in Western Europe, in particular Switzerland and France. DJ Antoine's first notable release was the 2000 album Houseworks 01, and he has since released many albums in the last years. One of his releases, Jealousy (released in 2007) was one of his best selling albums.Also, In 2010, he released the summer hits "Welcome To St. Tropez (Feat. Kalenna)" and "Sunlight (Feat. Tom Dice).^{[citation needed]}

With more than 1,5 million sold albums, 34 gold records, 5 platinum awards, 1 double-platin award and owning the record label „Houseworks“, DJ Antoine is the internationally most successful DJ of Switzerland.

His career officially took off in 1995, when he opened his club called House Café in the city of Basel. This club is the benchmark for the progress of the whole scene in Basel and the cult-parties are still in fond memories. After a short tip into the Swiss Hip Hop scene, DJ Antoine had quickly switched genre, getting hooked on the Pumping-House-Wave. In 1998, he released his first album “DJ Antoine – The Pumpin’ House Mix”. 1999 “Houseworks 1” won the first gold award. After that, things started to move very fast. Until this day, DJ Antoine has produced 51 CDs, strongly establishing his music and himself in the music and clubbing scene. Since 2003 he has been hosting his own weekly radio show, which is broadcasted by radio stations all over the world.

In 2006, DJ Antoine achieved his international breakthrough with the album “DJ Antoine – Live in Moscow” and the single “This Time”. Ever since, he has been a highly demanded act in popular and trendy clubs all over the world. Gigs in New York, Chicago, Miami, Montreal, Moscow, Dubai, Bangkok, Oslo, Vienna and Cairo have turned into a regular but exciting part of his everyday life. Acknowledging his international success, All Around The World Records, the electronic music label owned by Universal Music UK, Blanco y Negro Spain, Happy Music France, Emi Music South Africa, Ultra Records USA and Kontor Records Germany signed the single “This Time” in 2009.

The many awards he won in the recent years prove that DJ Antoine is one of the best in this industry. 2001 he won the Ericsson Dance Music Award for the best and most successful artist of the year 2000 in the category „House / UK Garage / Progressive House“. In 2008, DJ Antoine created a stir with his sociocritical album “DJ Antoine –Stop!”, on which he openly spoke out against juvenile violence, calling for more civil courage. In spring 2009, the record was priced with the Swiss Music Award for “Best National Dance Album”. The following year, he defended that title with his CD “DJ Antoine – 2009” and, on top of that, received the Swiss Prix Walo. In 2010 he achieved his biggest success in Switzerland so far: For his album “DJ Antoine – 2010” he was awarded with a platinum record. This platinum record was also nominated for this year Swiss Music Award in the category “Best Album Dance National”.

In the studio DJ Antoine works with his long-term business partner Fabio Antoniali also known as Mad Mark. Well-known musicians such as Mary J. Blige, P. Diddy, Pitbull, Cindy Lauper, Robin S., Roberto Blanco and Ivana Trump have had their tracks exclusively remixed by the two artists. In 2010, DJ Antoine produced songs for Timati, Snoop Dogg, DJ Smash and Bob Sinclar. That same year, the charismatic House-legend Mr. Mike joined the team as a vocalist, also accompanying the DJ to selected performances.

Another highlight of his career is now the first collaboration with Timati and Kalenna Harper (Dirty Money) for the hit single "Welcome to St. Tropez", which was released in Germany and Austria by none other than the dance label Kontor Records.

DJ Antoine keeps setting new trends with his music, attracting worldwide attention to his brand. Labels like Maurice Lacroix, Perrier-Jouët „Belle Epoque“ champagne and the Swiss custom tailor SuitArt all trust in his image. For VIP-Events, DJ Antoine has had the chance to work with nameable partners such as Sony Ericsson, Campari, Moonlight, Edo Popken, Crysler, Dodge, Maybach, Cadillac, Moet Hennessy, J. Lindeberg, Paco Rabanne and the German TV station Pro7.

Alongside his work as a DJ, Antoine Konrad manages his own production and booking companies Global Productions GmbH and Global Bookings. For his VIP-Events, he regularly creates extensive and individual concepts, in tune with the clients and guests needs and wishes. His exclusive event concepts represent lifestyle and luxury and he inspires his customers with his ideas. His team currently consists of ten employees, all based in Switzerland. Antoine has sold over 1,000,000 CDs,^{[citation needed]} and runs his own labels, Houseworks and Egoïste. He has gained popularity all over Europe and also overseas in Canada and the United States.

Discography[link]

External links[link]

• Official site

Tom Dice
Tom Dice in Oslo (2010)
Background information
Birth name	Tom Eeckhout
Born	(1989-11-25) 25 November 1989 (age 22)
Origin	Eeklo, Belgium
Genres	Pop, Acoustic
Occupations	Singer-songwriter
Instruments	Guitar
Years active	2008–present
Labels	SonicAngel
Associated acts	The Dice
Website	Tom Dice

Tom Dice (born Tom Eeckhout in Eeklo on 25 November 1989) is a Belgian singer-songwriter, who finished second in the Flemish version of The X Factor in 2008. Dice represented Belgium in the Eurovision Song Contest 2010 final on 29 May in Oslo. Tom Dice ended up in sixth, one of Flanders best placements ever in the contest. Dice was also the first Belgian act to qualify for the final since the introduction of the semifinals in Eurovision.

[edit] Youth and X Factor

Dice learned to play the guitar as a child, began songwriting in his early teens and at the age of 15 joined band The Dice, using Tom Eeckhout Dice as his stage name.^[1] In 2008 he entered the Flemish X Factor and, with Maurice Engelen as his vocal coach, finished runner-up to Dirk De Smet.

Following X Factor, Dice became the first signing to new label SonicAngel, and in June 2009, now under the name of Tom Dice, released his first single, an acoustic cover of Leona Lewis' Bleeding Love.^[2] The single went on to reach number 7 on the Flemish singles chart during a 14-week chart run.^[3] Dice received a nomination in the 2009 TMF Awards in the category "Best New Artist", losing out to Jasper Erkens.^[4]

In May 2009, Dice began working, again with Engelen, on his debut album, which was originally scheduled for an October 2009 release, but was delayed until April 2010.^[5]

Eurovision Song Contest 2010[link]

Tom Dice performing at the Eurovision Song Contest 2010

On 25 November 2009, Dice was chosen by the Flemish broadcaster Vlaamse Radio- en Televisieomroep (VRT) to represent Belgium at the Eurovision Song Contest 2010 in Oslo, Norway. His distinctive voice and TV experience were cited among the factors behind his selection.^[6] Reaction in Belgium to the announcement that Dice had been chosen by internal means was mixed, with some feeling that an open and public selection involving different artists would have been preferable.^[7]

The chosen song "Me and My Guitar" was unveiled on 7 March 2010, and was co-written by Ashley Hicklin, Jeroen Swinnen and Dice himself.^[8] The song went to number 1 in Belgium, both on the iTunes chart and on the official Flemish and Walloon charts; it also reached number 7 in Luxembourg. Dice performed the song in the first semi-final in Oslo on 25 May 2010 and qualified for the final, in first place,^[9] making him the first Belgian act to do so in 6 years. Tom Dice finished in sixth place, one of Belgium's best placements in the contest.

Discography[link]

Albums[link]

Singles[link]

As featured artist[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Tom Dice

• Official website (Dutch)
• Recordlabel SonicAngel
• The Dice Myspace page

Esperanza Spalding
Spalding performing at the Newport Jazz Festival on August 10, 2008
Background information
Born	(1984-10-18) October 18, 1984 (age 27) Portland, Oregon, US
Genres	Jazz, jazz fusion, bossa nova, neo soul
Occupations	Musician, composer, educator, bandleader
Instruments	Upright bass, bass guitar, and vocals
Years active	2000–present[1]
Labels	Heads Up International, Hush, Merge
Associated acts	Stanley Clarke, Patti Austin, and Joe Lovano
Website	www.esperanzaspalding.com

Esperanza Spalding (born October 18, 1984)^[2] is an American multi-instrumentalist best known as a jazz bassist and singer, who draws upon many genres in her own compositions. In 2011, she won the Grammy Award for Best New Artist at the 53rd Grammy Awards,^[3] making her the first jazz artist to win the award.^[4][5]

Biography[link]

Early life and early education[link]

Spalding grew up in the King neighborhood of Portland, Oregon,^[6] a neighborhood she describes as "ghetto" and "pretty scary".^[7] Her mother raised her and her brother as a single parent.^[8] Spalding has a diverse ethnic background.^[7][9] Her father is African-American and her mother is of Welsh, Native American, and Hispanic descent.^[10] She also has an interest in the music of other cultures, including that of Brazil,^[11] commenting, "With Portuguese songs, the phrasing of the melody is intrinsically linked with the language, and it's beautiful."^[12]

Her mother shares Spalding's interest in music, having nearly become a touring singer herself.^[8][13] But while Spalding cites her mother as a powerful influence who encouraged her musical expansion, she attributes her inspiration for pursuing a life in music to watching classical cellist Yo-Yo Ma perform on an episode of Mister Rogers' Neighborhood when she was four.^[8]

By the time Spalding was five, she had taught herself to play the violin and was playing with the Chamber Music Society of Oregon.^[8] Spalding stayed with the Chamber Music Society of Oregon until she was fifteen and left as concertmaster.^[8] Due to a lengthy illness when she was child, Spalding spent much of her elementary school years being homeschooled,^[8] but also attended King Elementary School in northeast Portland.^[6] During this time, she also found the opportunity to pick up instruction in music by listening to her mother's college teacher instruct her mother in guitar.^[12] According to Spalding, when she was about eight, her mother briefly studied jazz guitar in college; Spalding says, "Going with her to her class, I would sit under the piano. Then I would come home and I would be playing her stuff that her teacher had been playing."^[12] Spalding also played oboe and clarinet before discovering the bass in high school.^[8][14] She is able to sing in English, Spanish, and Portuguese.^[15]

Spalding had begun performing live in clubs in Portland, Oregon as a teenager,^[11] securing her first gig at 15 in a blues club, when she could play only one line on bass.^[16] One of the seasoned musicians with which she played that first night invited her to join the band's rehearsals "so she could actually learn something", and her rehearsals soon grew into regular performances spanning almost a year.^[16] According to Spalding, it was a chance for her to stretch as a musician, reaching and growing beyond her experience.^[12] Her early contact with these "phenomenal resources", as she calls the musicians who played with her,^[12] fostered her sense of rhythm and helped nurture her interest in her instrument.^[16] She does not consider herself a musical prodigy.^[17] "I am surrounded by prodigies everywhere I go, but because they are a little older than me, or not a female, or not on a major label, they are not acknowledged as such", says Spalding.^[17]

Spalding had intended to play cello,^[12] but discovered the bass during a one-year stint at age 14 at the prestigious performing arts high school, The Northwest Academy, to which she had won a scholarship.^[16][18] The school was not a good fit, but the bass was.^[16] Spalding found high school "easy—and boring" and dropped out. When she was 15 or 16 years old, Spalding started writing lyrics for music for the local indie rock/pop group Noise for Pretend, touching on any topic that came to mind.^[17] Although she had taken a few private voice lessons, which taught her how to protect her voice, her primary singing experience had come from "singing in the shower", she said,^[17] before she started performing vocals for Noise for Pretend.^[12] Her desire to perform live evolved naturally out of the compositional process, when she would sing and play simultaneously to see how melody and voice fit together, but she acknowledges that performing both roles can be challenging.^[12][19] In a 2008 interview, she said, "[W]hat can be difficult is being a singer, in the sense that you are engaged with the audience, and really responsible for emoting, and getting into the lyrics, melody, etc., and being an effective bassist/band leader".^[19]

Spalding left high school at 16 and, after completing her GED, enrolled on a music scholarship in the music program at Portland State University, where she remembers being "the youngest bass player in the program".^[8] Although she lacked the training of her fellow students, she feels that her teachers nevertheless recognized her talent.^[8] She decided to instead apply to Berklee College of Music on the encouragement of her bass teacher, and did well enough in her audition to receive a full scholarship.^[13][16] In spite of the scholarship, Spalding found it a challenge meeting living expenses, so her friends arranged a benefit concert that paid her airfare and a little extra.^[12][16] Spalding's savings did not last long. Broke and exhausted,^[20] she considered leaving music and entering political science,^[13] a move jazz guitarist and composer Pat Metheny discouraged, telling Spalding she had "the 'X Factor'" and could make it if she applied herself.^[13] During her time at Berklee, her primary bass instructor was John Lockwood.^{[citation needed]}

[edit] 2004–07: Musical beginnings, teaching and Junjo

Spalding performing at the Umbria Jazz Festival in Perugia, Italy on July 12, 2007

Gary Burton, Executive Vice President at Berklee, said in 2004 that Spalding had "a great time feel, she can confidently read the most complicated compositions, and she communicates her upbeat personality in everything she plays".^[16] Ben Ratliff wrote in The New York Times on July 9, 2006, that Spalding's voice is "light and high, up in Blossom Dearie's pitch range, and [that] she can sing quietly, almost in a daydream" and that Spalding "invents her own feminine space, a different sound from top to bottom."^[21] Spalding was the 2005 recipient of the Boston Jazz Society scholarship for outstanding musicianship.^[8] Almost immediately after graduation from college later the same year, Spalding was hired by Berklee College of Music, becoming one of the youngest instructors in the institution's history,^[12] at age 20.^[22] As a teacher, Spalding tries to help her students focus their practice through a practice journal, which can help them recognize their strengths and what they need to pursue.^[12]

Her debut album Junjo was released on April 18, 2006, on the Ayva Music label.^[23][24] It was created to display the dynamic that she felt among her trio.^[17] Though Junjo was released solely under her name, Spalding considers it "a collaborative effort".^[12]

[edit] 2008–10: Esperanza

Spalding performing on December 10, 2009 at the Nobel Peace Prize Concert of 2009

When asked in 2008 why she plays the bass instead of some other instrument, Spalding said that it wasn't a choice, but the bass "had its own arc" and resonated with her.^[17] Spalding says that for her discovering the bass was like "waking up one day and realizing you're in love with a co-worker."^[12] By the time she randomly picked up the bass in music class and began experimenting with it, she had grown bored with her other instruments.^[16][25] Her band teacher showed her a blues line for the bass that she later used to secure her first gig.^[16] After that, she went in to play the bass daily and gradually fell in love.^[12]

Ratliff wrote in The New York Times again, two years later, on May 26, 2008 that one of Spalding's central gifts is "a light, fizzy, optimistic drive that's in her melodic bass playing and her elastic, small-voiced singing" but that "the music is missing a crucial measure of modesty."^[26] He added, "It's an attempt at bringing this crisscrossing [of Stevie Wonder and Wayne Shorter] to a new level of definition and power, but its vamps and grooves are a little obvious, and it pushes her first as a singer-songwriter, which isn't her primary strength."^[26] Pat Metheny said in 2008 it was immediately obvious "that she had a lot to say and was also unlike any musician I had ever run across before. Her unique quality is something that goes beyond her pretty amazing musical skills; She has that rare 'x' factor of being able to transmit a certain personal kind of vision and energy that is all her own."^[20] Andrés Quinteros wrote in the Argentinian periodical, 26Noticias on October 28, 2008 that Spalding is one of the greatest new talents on the jazz scene today.^[27] Patti Austin hired Spalding to tour with her internationally after Spalding's first semester at Berklee,^[16] where Spalding supported the singer on the Ella Fitzgerald tribute tour "For Ella".^[12] In 2008, Spalding recalled the tour as educational, helping her learn to accompany a vocalist and also how to sustain energy and interest playing the same material nightly.^[12] She continued to perform with Austin periodically for three years.^[12] During the same period, while at Berklee, Spalding studied under saxophonist Joe Lovano before eventually touring with him.^[12] They began as a trio, expanding into a quartet before joining quintet US5 and traveling across the United States from New York to California.^[12] As of 2008, she was also in the process of developing several courses for students at Berklee, including one that focuses "on transcribing as a tool for learning harmony and theory."^[12] Due to touring commitments, Spalding stopped giving classes at Berklee. She lives in New York and Austin, Texas.

Spalding performing at the Northsea Jazz Festival, 2009

Esperanza is Spalding's second studio album. Being exposed to many different cultural impressions while growing up, Spalding sings in three different languages, English, Spanish, and Portuguese.^[28] After Spalding's Grammy win in February 2011, the album entered the Billboard 200 at 138. With Esperanza, Spalding's material was meant to be more reflective of herself as an artist, with musicians selected to best present that material.^[17] Ed Morales wrote in PopMatters on June 23, 2008 that Esperanza is "a sprawling collage of jazz fusion, Brazilian and even a touch of hip-hop".^[29] Siddhartha Mitter wrote in The Boston Globe on May 23, 2008 that "the big change" in Esperanza "is the singing..... This makes it a much more accessible album, and in some ways more conventional".^[30]

On December 10, at the 2009 Nobel Peace Prize ceremonies, Spalding performed at Oslo City Hall in honor of the 2009 Laureate President Barack Obama and again at the Nobel Peace Prize Concert the following day. She was personally selected by Obama, as per the tradition of one laureate-invited-artist to perform.^[31] Spalding also was the featured final act for the opening night of the 2009 Park City Jazz Festival in Park City, Utah, one of the top jazz festivals in the country. She closed the show with a number along with bass artists Brian Bromberg and Sean O'Bryan Smith, who also performed earlier that day.^[32] As a tribute to Prince, Spalding was invited to sing along with Patti LaBelle, Alicia Keys, and Janelle Monáe. Spalding performed the 1987 hit single "If I Was Your Girlfriend".^[31][33] On February 7, 2010, Spalding became the most searched person and second most searched item on Google as a result of her appearance the previous evening on the PBS television program Austin City Limits.^[34][35]

[edit] 2011–present: Chamber Music Society and Radio Music Society

In February 2011, at the 53rd Grammy Awards, Spalding won the "Best New Artist" award.^[36] In November 2011, Spalding won "Jazz Artist of the Year" at the Boston Music Awards.^[37] Spalding collaborated with Tineke Postma on the track "Leave Me A Place Underground" from the album The Dawn Of Light in 2011.^[38] She also collaborated with Terri Lyne Carrington on the album The Mosaic Project where she features on the track "Crayola".^[39] Spalding sings a duet with Nicholas Payton on the track "Freesia" from the album Bitches in 2011.^{[40] [41]} Her next project was an album titled Radio Music Society, which she hoped would showcase jazz musicians in an accessible manner suitable for mainstream radio.^[36] With Radio Music Society, she hoped to incorporate her own musical compositions with covers of such artists as the Beach Boys and Wayne Shorter. She also plans to record an album with Milton Nascimento in the future.^[42]

Chamber Music Society was the third album by Spalding. After her surprise Grammy win, the album re-entered the Billboard 200 at number 34 with sales of 18,000.^[43] A video was made for the song "Little Fly".^[44] The song is a poem by William Blake set to music by Spalding. A vinyl version of the album was released in February 2011. This version of the album included a bonus track titled "Morning" that will be included in the tracklist of her upcoming Radio Music Society album.^[45] Chamber Music Society, inspiration from her earlier days as a concertmaster is apparent in her fusion of three-piece string ensemble with piano, keyboards, drums and percussion. As Patrick Jarenwattananon wrote for NPR Music, "the finished product certainly exudes a level of sophisticated intimacy, as if best experienced with a small gathering in a quiet, wood-paneled room."^[46] Spalding was the best-selling contemporary jazz artist, and her album Chamber Music Society was the best-selling contemporary jazz album, of 2011.^[47]

On February 26, 2012, Spalding performed at the 84th Academy Awards, singing the Louis Armstrong standard, "What a Wonderful World", alongside the Southern California Children's Chorus to accompany the video montage that celebrated the film industry greats who passed away in 2011 and early 2012.^[48] Radio Music Society is Spalding's fourth studio album, released by record label Heads Up International on March 20, 2012.^[49][50][51] Spalding appeared on Later... with Jools Holland.^[52]

Artistry[link]

Influences and attitude toward music and jazz[link]

Spalding alternates between upright bass...		and bass guitar in her performances

Spalding cites jazz bassists Ron Carter and Dave Holland as important influences on her music; Carter for the "orchestration" of his playing and Holland for the way his compositional method complements his personal style.^[53] She has described the saxophone player Wayne Shorter,^[13] and singer-songwriter Milton Nascimento, as heroes.^[54] She has also noted her preference for the music of Brazil.^[13]

Spalding says she loves fusion music and was influenced by a "wonderful arc that started 40 years ago where people kept incorporating modern sounds into their music."^[29] She has expressed concerns that jazz has wandered from its roots, suggesting that jazz has lost its street value and its relevance to "the Black experience to the Black Diaspora and beyond" now that has been co-opted by the "seasoned 'art' community".^[7] She notes that in its early days, jazz was "popular dance music" and "the music of young people who considered themselves awfully hip", and believes "hip-hop, or neo-soul [...] is our 'jazz' now as far as the role these genres play in the music genre lineage".^[7] Spalding, who has expressed a desire to be judged for her musicianship rather than her sex appeal, believes that female musicians must take responsibility to avoid oversexualizing themselves.^[29][13] and that in order to write original music, one must read and stay informed about the world.^[13] She has said she models her career on those of Madonna and Ornette Coleman.^[12]

Discography[link]

Solo albums[link]