Few artists can boast such a legacy that their name alone could be considered synonymous with the music industry, but nevertheless, most musicians aren’t like this prodigy producer Quincy Jones.

The extraordinary figure died on Sunday evening at his home in Los Angeles, surrounded by his family. He was 91 years old and was to receive the award Honorary Academy Award later this month.

Over the course of his career, Jones, a 28-time Grammy Award winner, has worked with everyone from Ray Charles and Frank Sinatra to Michael Jackson with tons of in between. The best way to honor his legacy is, in fact, by listening to the music he created.

Read on after which listen to all of the songs on our Spotify playlist, here.

1963: Ella Fitzgerald and Count Basie’s Orchestra, “Honeysuckle Rose”

Those who want to start listening to Jones on the very starting of his career can accomplish that with “Liza” from his first album, Jazz Abroad, released with Roy Haynes. As for others, take a look at his arrangements in “Ella and Basie!” from 1963 Fitzgerald album with Count Basie’s orchestra. Moving from vocals and bass to its own greatness – not to mention Fitzgerald’s stunning scat solo – the album’s “Honeysuckle Rose” exemplifies Jones’ jazz brilliance.

1963: Lesley Gore, “It’s My Party”

Teen heartbreak met its counterpart in Lesley Gore’s “It’s My Party,” recorded when the pop singer was still an adolescent. Jones produced an album with addictive melodies, percussion and a cheerful brass section – emotionally and diametrically opposed to the narrative story of a lady who, on her birthday, is abandoned by her boyfriend for her best friend. You’d cry too if it happened to you.

1964: Frank Sinatra, “Fly Me to the Moon”

Jones’ legacy is defined by his specific ability to master various American musical forms with conspicuous ease. Such is the case with this canonized cover by Frank Sinatra, “Fly Me to the Moon” from Sinatra’s 1964 album “It Might as Well Be Swing” arranged by Jones. The producer gave the song a powerful, swinging rhythm and a longing flute, and the remaining is history. You may also thank Jones for “The Best Is Yet It Come.”

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1967: Ray Charles, “In the Heat of the Night”

Jones scored the 1967 film “In the Heat of the Night,” which incorporates the gospel-style R&B title song “In the Heat of the Night,” performed by his good friend Ray Charles. It’s a soul committed to wax, enhanced by the inclusion of a rousing tenor saxophone solo.

1979: Michael Jackson, “Don’t stop until you’ve had enough”

Perhaps Jones’ most famous production collaboration is with Michael Jackson, during which he collaborated with the King of Pop on his culture-changing albums: 1979’s “Off the Wall,” 1982’s “Thriller” and 1987’s “Bad.” The couple met while working on the 1978 film “Wizard” —Jones was working on the film’s soundtrack, and Jackson was its star. With its inventive disco-funk, ambitious production and Jackson’s signature falsetto, “Don’t Stop ‘Til You Get Enough” set the stage for what would grow to be an enormous career.

1981: Quincy Jones, “Just Once”

Place it within the pantheon of great piano ballads: On Jones’ 1981 album “The Dude,” James Ingram takes over vocal duties on “Just Once,” a song with big heart and greater feelings.

1982:Michael Jackson, “Billie Jean”

What songs are more recognizable? An prolonged drum and bass lick introduces “Billie Jean,” certainly one of the best genre-averse pop songs of all time, from Jackson’s record-breaking album “Thriller.” Here, Jones’ production is post-disco, but still funky, still prophetic. And time tells the best story: “Thriller” sold higher it sold over 20 million copies in 1983 alone and equaled, amongst others, the Eagles’ Greatest Hits 1971-1975 because the best-selling album of all time.

(*10*)1982: Donna Summer, “Love’s in Control (Finger on the Trigger)”

And now for something completely different: in 1982 he collaborated with Jones Donna Summer on her self-titled album dance-forward, which incorporates the synth-pop single “Love Is in Control (Finger on the Trigger)”, which earned a Grammy nomination for Best Female R&B Vocal Performance.

1985: USA for Africa, “We are the world”

Nearly 4 many years ago, a number of the biggest stars on the planet – including Jackson, Bob Dylan, Tina Turner, Dionne Warwick, Billy Joel, Stevie Wonder, Willie Nelson and Bruce Springsteen – gathered for an all-night recording session. The result was “We are the world”, a pop superhit overseen by Jones, a 1985 charity record for African famine relief.

Lionel Richie, who co-wrote “We Are the World” and was certainly one of the lead vocalists, called Jones the “principal orchestrator.”

1989: Quincy Jones with Ray Charles and Chaka Khan, “I’ll be good to you”

In 1976, Jones produced the Brothers Johnson R&B hit “I’ll Be Good to You” after which re-recorded the song with Ray Charles and Chaka Khan – a spirited number with a recent production, completely changing the classic.

Kim Kardashian has once more found herself at the center of a social media storm after stepping out in a rare, iconic piece from the British royal collection: Princess Diana’s Attallah cross necklace.

Fans claim the billionaire mother of 4 is “obsessed” with famous deceased celebrities and feels she just isn’t honoring their legacy by wearing their items.

Known for her love of statement and historic fashion pieces, Kardashian recently wore a surprising amethyst and diamond pendant to the Art+Film Gala at the Los Angeles County Museum of Art (LACMA) on November 2.

Wearing a white Gucci gown with a plunging neckline to her navel, Kardashian let the cross rest between her neckline – a glance that immediately caught the Internet’s attention.

The Attallah Cross, product of gold, silver, amethyst and diamonds, became one among Princess Diana’s signature pieces. Diana famously wore it in 1987 with a Catherine Walker dress at a charity event.

The necklace was named after the original owner, Naim Attallah, who often lent it to Diana but kept it in the family until Kardashian won the bidding war and added the historic item to her collection.

Although she obtained the cross almost two years ago, in January 2023, she didn’t wear it in public until her forty fourth birthday, and has now worn it twice outside the home. It was first shared by Lexy Roche, image director at Maison Margiela, who posted a video on her Instagram Story of Kardashian wearing a black and purple tulle gown with an identical accessory: According to to the city and the countryside.

A recent public appearance at the gala has reignited conversations about Kardashian’s fascination with items associated with deceased celebrity icons, prompting criticism from fans who consider her approach lacks sensitivity.

Everyday fashion bomb sent clip from the SKIMS owner’s Saturday appearance on Instagram, where the comments section quickly filled with opinions.

“I don’t know why, but something about it just doesn’t sit right with me,” one person wrote, expressing an opinion that touched many individuals.

Another comment read: “What is her obsession with dead people cases?” and yet one more added: “I don’t like the fact that this family has so many personal things from deceased people.”

One person called Kardashian’s attachment to the late princess “very strange,” while one other said: “You look good Kim, but you know Diana won’t like you.”

These reactions reflect growing concern amongst fans who feel that Kardashian’s decision to wear historical items, especially those belonging to deceased celebrities, is exploitative somewhat than respectful.

Interestingly, not everyone condemned Kardashian’s style decisions. Some social media users defended her, saying that she looked great, and others identified that collecting memorabilia from iconic characters is nothing latest in the world of stars.

“Drake does the same thing, buying items from dead legends,” one user commented, while one other noted, “Michael Jackson did the same thing – nothing new there.”

The necklace is really unique. According to Attallah’s son, Ramsay Attallah, Princess Diana was the only person to wear such an outfit before Kardashian.

“When I was growing up, we always had it on the table at Christmas lunch, but it was never worn by anyone other than Diana, and it hasn’t been seen in public since she died,” he said last yr.

This is not the first time Kardashian has faced criticism for wearing clothes with a wealthy history associated with iconic figures.

At the 2022 Met Gala, she wore a Marilyn Monroe gown that read “Happy Birthday, Mr. President,” a sheer, rhinestone-encrusted gown that Monroe wore to serenade President John F. Kennedy on his forty fifth birthday. birthday in 1962. At that point, the dress scandalized the then conservative America with the illusion of nudity because its fabric was encrusted with over 2,500 crystals.

After Kardashian appeared in the dress, the dress was allegedly destroyed. Owners reported that the fabric had stretched, latest holes had formed, and plenty of of the rhinestones were either barely attached or had fallen off completely.

“The dress is definitely not the same – it has been destroyed” – Molly Elizabeth Agnew of Eternal Goddess.com he stated.

Despite essentially destroying the historic garment, Kardashian wore one other of Monroe’s green sequin Norman Norell gowns at the 1962 Golden Globes – illustrating her determination to make a press release, even when it means pushing the boundaries of preserving historic fashion .

She posted a photograph of her dress on social media, writing partially: “While searching for the hand-beaded Jean Louis gown I wore to the gala, I discovered that @heritageauctions had Marilyn’s iconic green sequin gown. During my research, I discovered that the owner of the Golden Globe Award she received that evening was none aside from my friend @jeffleatham“

She continued: “I saw it all as a sign of the alignment of all the stars. “Being able to tap into my inner Marilyn in this way on such a special night will forever be one of the greatest privileges of my life.”

In addition to Marilyn Monroe, Kardashian’s collection also includes jade and diamond bracelets that after belonged to Elizabeth Taylor, an actress whom she openly admires and considers her personal muse. According to to Hello! Warehouse.

Kardashian purchased Taylor’s bracelets at auction in 2011, signaling her longtime interest in acquiring jewelry from beloved Hollywood legends.

Each of those acquisitions reflects Kardashian’s ambition to attach with – and maybe embody – fashion icons of the past. But as her collection of deceased celebrity memorabilia grows, so does public opinion, leaving people wondering whether it’s obsession, exploitation, a high-end collector’s love, or, as someone said, “weird.”

Like many black women, Grammy Award-winning rapper Megan Thee Stallion, real name Megan Pete, wears a mask. A shield, a protective armor she developed as a young person to guard her from unexpected pain and difficulties that arose in her personal life. But what happens when the armor is pierced by something that affects each Houston resident Megan Pete and superstar Megan Thee Stallion? Prime Video’s Megan Thee Stallion: In Her Words, directed by Nneka Onuorah, explores the star’s rise to fame and the way her vulnerability became her biggest superpower.

“I see Megan as a feminist icon,” Onuorah told theGrio. “She represents the dichotomy and multi-faceted nature of black women all rolled into one. “And showing us that we don’t have to just show our strong side, but showing vulnerability can help us get through anything, accept our emotions and feelings, which also makes us strong.”

However, the “Savage” rapper wasn’t initially thrilled with the idea of ​​revealing the young woman behind her confident, unflappable public persona. When they began filming the documentary in 2022, the star was reportedly reluctant to open up and let people see the trauma hiding beneath the surface of her “Megan Thee Stallion” brand.

Although the film depicts Pete’s grief over losing her father soon as a baby and her mother early in her profession, in addition to her experiences with depression, post-traumatic stress disorder (PTSD) and suicidal thoughts, Onuorah realized that the two bonded over their conversation about boiled potato chips in a jalapeno cauldron.

“There’s a scene in the movie where Meg is, you know, talking about jalapeno chips and she’s really stressed out,” the award-winning director recalled of the moment, which took place in Las Vegas ahead of the Billboard Awards. “Me and her interacting in that scene and (it was) the first time in my life I’ve ever seen Meg without her hair and makeup team, her glam team. She just at all times worked and had people in her face. So I said this can be a probability for me to return (to the hotel) along with her and just be me and her alone.

“She just got a jalapeno chip spiral and we talked… we laughed and I think we opened up for the first time. She opened up to me emotionally and I just let the camera do its thing,” she continued.

In addition to chronicling Pete’s rise to fame, the documentary provides insight into how Megan Thee Stallion handled public criticism following her altercation with rapper Tory Lanez. In 2020, Lanez, born Daystar Shemuel Shua Peterson, shot the “Body” singer in the foot, which ultimately led to the Los Angeles County District Attorney’s Office filing semi-automatic assault charges against Peterson.

Despite being the victim in the case, Pete needed to cope with social media trolls who questioned the validity of her claims. From popular industry commentators like Joe Budden to local delivery drivers on TikTok, the documentary highlights the enormous backlash the star has faced online over the Peterson trial.

“Sometimes you need understanding, especially in a world with social media and so much chaos and opposition, she just needed someone to be there for her and rock with her,” Onuarah explained. “We had a real bond. I think I offered myself to her as a safe space and let her know that (I was there) to support her and protect her and help amplify her voice. … Sometimes we laughed at the pain. These intimate moments brought us closer together.”

Ultimately, the film should remind us of the star’s humanity. As “Megan Thee Stallion,” she represents many things to many individuals – an advocate for mental health, feminism, body positivity, daring self-confidence, and more. However, Onuorah explains that the young woman behind the fame is not any different from her fans who watch her online.

“Like Megan Pete, I wish (people) would understand that this girl is under 30 and is just a regular person who has to do the same things as us…without her parents. There (were) times when we were shooting during the holidays and she (didn’t) have family to spend it with. All this is happening and she’s just an ordinary person going through it… It’s something that people should empathize with,” the director told Grio. “She’s still a young girl trying to figure it out and people can figure it out.”

Ultimately, Onuorah believes that everybody, especially Black women, can learn something from the duality exposed in the film.

“I think because Megan Pete and Megan Thee Stallion were going through something at the same time, she couldn’t rely on Megan Thee Stallion, her mask. “She really had to convince Megan Pete to step up and get empowered… now she’s truly empowered,” she added. “I feel like a lot of women need to hear this and see that our strength doesn’t just come from how tough we are or how much we avoid certain things. But how much we accept pain and sadness and how transformative it can be for us, so that we can rise from the ashes and head towards Phoenix.”

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