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Quincy Jones, the musical titan who collaborated with everyone from Michael Jackson to Ray Charles, dies at 91 – Andscape

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Quincy Jones, multi-talented musical titan which is big heritage he produced Michael Jackson’s historic album, wrote award-winning soundtracks for movies and tv shows, and collaborated with Frank Sinatra, Ray Charles and tons of of other recording artists, died at the age of 91.

Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air neighborhood of Los Angeles, surrounded by his family.

“Tonight, with full but broken hearts, we must share the news of the death of our father and brother Quincy Jones,” the family said in an announcement. “And while this is an incredible loss for our family, we celebrate the wonderful life he lived and know there will never be another like him.”

Jones rose from working with gangs on Chicago’s South Side to the heights of show business, becoming considered one of the first black executives to prosper in Hollywood and amass extraordinary music catalogue which incorporates a few of the richest moments of American rhythm and song. For years, it was difficult to discover a music lover who didn’t have at least one album with his name on it, or a pacesetter in the entertainment industry and beyond with whom he didn’t have any bond.

Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged recordings for Sinatra and Ella Fitzgerald, composed soundtracks for and , organized President Bill Clinton’s first inaugural ceremony, and oversaw the all-star recording of “We Are the World,” a 1985 charity album. for famine in Africa.

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

In a profession that began when vinyl records were still played at 78 rpm, top honors probably went to his productions with Jackson: , and the albums were almost universal in style and appeal. Jones’ versatility and imagination helped unleash Jackson’s explosive talent, which transformed him from child star to “King of Pop.” On such classic songs as “Billie Jean” and “Don’t Stop ‘Til You Get Enough,” Jones and Jackson created a world soundscape of disco, funk, rock, pop, R&B, jazz and African songs. For , a few of the most memorable touches got here from Jones, who recruited Eddie Van Halen for the guitar solo on the genre-mixing “Beat It” and enlisted Vincent Price to provide a spooky voice on the title track.

In 1983 alone, it sold over 20 million copies and equals, amongst others, The Eagles as the best-selling album of all time.

“If an album doesn’t do well, everyone says, ‘it’s the producers’ fault’; so if everything goes well, it should be your ‘fault’ as well,” Jones said in a 2016 interview with the Library of Congress. “Paths don’t suddenly appear. The producer must have the skills, experience and ability to see the vision through to completion.”

The list of his accolades and awards spans 18 pages in his 2001 autobiography, including 27 Grammy Awards (now 28), an honorary Academy Award (now two) and an Emmy for “Roots.” He also received the French Legion of Honor, the Rudolph Valentino Award from the Republic of Italy, and the Kennedy Center Tribute for his contributions to American culture. He was the subject of the 1990 documentary “Listen Up: The Lives of Quincy Jones” and the 2018 film by daughter Rashida Jones. His memoirs made him a best-selling writer.

Born in Chicago in 1933, Jones cited the hymns his mother sang around the house as the first music he remembered. But he recalled his childhood with sadness, once telling Oprah Winfrey: “There are two kinds of individuals: those who have caring parents or guardians and people who don’t. Nothing in between. Jones’ mother suffered from emotional problems and eventually entered care, which made the world seem “meaningless” to Quincy. He spent most of his time in Chicago on the streets, amongst gangs, stealing and fighting.

“Man, they nailed my hand to the fence,” he told the AP in 2018, showing off his childhood scar.

Music saved him. As a boy, he learned that a neighbor in Chicago had a piano, and shortly he was playing all of it the time. His father moved to Washington state when Quincy was 10, and his world modified at a close-by recreation center. Jones and a few friends broke into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room with a stage nearby. There was a piano on the stage.

“I went there, stopped, looked, and then jingled for a while,” he wrote in his autobiography. “That’s where I began to find peace. I used to be 11 years old. I knew this was it for me. Forever.”

Within a couple of years, he began playing the trumpet and befriended the young blind musician Ray Charles, with whom he became lifelong friends. He was talented enough to win a scholarship to Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones continued to work as a contract composer, conductor, arranger and producer. As a young person, he supported Billie Holiday. At the age of twenty he was touring with his own band.

“We had the best jazz band in the world, and yet we were literally starving,” Jones later told Musician magazine. “That’s after I discovered that there was music and there was a music business. If I were to survive, I’d have to learn the difference between them.”

As a music executive, he overcame racial barriers to turn into vice chairman of Mercury Records in the early Sixties. In 1971, he became the first black musical director of the Academy Awards. The first film he produced received 11 Oscar nominations in 1986 (much to his disappointment, it didn’t win any). In cooperation with Time Warner, he created Quincy Jones Entertainment, which owned the popular culture magazine Vibe and Qwest Broadcasting. In 1999, the company was sold for $270 million.

“My philosophy as a businessman has always come from the same roots as my personal credo: accept talented people on your own terms and treat them fairly and with respect, no matter who they are or where they come from,” Jones wrote in his autobiography.

Michael Jackson (left) and co-producer Quincy Jones (right) won several awards for Jackson’s Jail album at the twenty sixth Annual Grammy Awards at the Shrine Auditorium in Los Angeles on February 28, 1984.

He was comfortable with virtually every kind of American music, whether setting Sinatra’s “Fly Me to the Moon” with its strong, rolling rhythm and wistful flute, or opening his production of Charles’ soulful “In the Heat of the Night” with a rousing tenor saxophone solo. He has collaborated with jazz giants (Dizzy Gillespie, Count Basie, Duke Ellington), rappers (Snoop Dogg, LL Cool J), singers (Sinatra, Tony Bennett), pop singers (Lesley Gore) and rhythm and blues stars (Chaka Khan, rapper and singer Queen Latifah).

Only in “We are the World” the performers were Michael Jackson, Bob Dylan, Billy Joel, Stevie Wonder and Bruce Springsteen. He co-wrote hits for Jackson – “PYT (Pretty Young Thing” – and Donna Summer – “Love Is in Control (Finger on the Trigger) – and sampled songs by Tupac Shakur, Kanye West and other rappers. He even composed the theme song for the series “Sanford and Son.”

Jones was a moderator and star maker. He gave Will Smith a key role on the hit television show produced by Jones, and in the process introduced viewers to Winfrey and Whoopi Goldberg. Starting in the Sixties, he composed over 35 soundtracks for movies, including:

He called scoring “a multifaceted process, an abstract combination of science and soul.”

Jones’ work on the film’s soundtrack led to his collaboration with Jackson, who starred in the 1978 film. In an essay published in Time magazine after Jackson’s death in 2009, Jones recalled that the singer kept sheets of paper with him containing the thoughts of famous thinkers. When Jones asked about the origin of 1 passage, Jackson replied “Socrates” but pronounced it “SO-crayts.” Jones corrected him: “Michael, they’re SOCK-ra-tees.”

“And the look he gave me then made me say, because I was so impressed with everything I saw in him during rehearsals, ‘I’d like to try producing your album.'” Jones recalled. “Then he came back and told the people at Epic Records and they said, ‘No way. Quincy is too jazzy». Michael was stubborn, so he and his managers came back and said, “Quincy is producing the album.” And we started doing it. Ironically, it was one of the best-selling Black albums at the time and the album saved the jobs of people saying I was the wrong guy. That’s how it works.”

Tensions emerged after Jackson’s death. In 2013 Jones sued Jackson’s estateclaiming he’s owed multimillion-dollar royalties and charges for producing a few of the superstar’s biggest hits. In a 2018 interview with New York magazine, he called Jackson “as Machiavellian as possible” and alleged that he drew material from others.

Jones was addicted to work and play and sometimes suffered due to it. He nearly died of a brain aneurysm in 1974 and fell right into a deep depression in the Eighties when Oscar voters rejected “The Color Purple”; it never received a competitive Oscar. Jones, a father of seven children and five moms, described himself as a “dog” who had countless lovers around the world. He was married 3 times, his wives included actress Peggy Lipton.

“For me, loving a woman is one of the most natural, blissful, life-enhancing – and dare I say, religious – acts in the world,” he wrote.

He was not an activist in his youth, but he modified after attending the funeral of the Reverend Martin Luther King Jr. in 1968 and later becoming friends with the Reverend Jesse Jackson. Jones dedicated himself to philanthropy, saying that “the best and only useful aspect of fame and celebrity is having a platform from which to help others.”

His goals included fighting HIV and AIDS, educating children, and caring for the world’s poor. He founded Quincy Jones Listen Up! foundation designed to connect young people with music, culture and technology, and said that throughout his life he had been guided by “a spirit of adventure and a criminal level of optimism.”

“Life is like a dream, said the Spanish poet and philosopher Federico Garcia Lorca,” Jones wrote in his memoirs. “Mine was in Technicolor, with full Dolby sound thanks to THX amplification, before they knew what these systems were.”

In addition to Rashida, Jones is survived by daughters Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.

This article was originally published on : andscape.com
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Jussie Smollett’s 2019 Self-Attack Conviction Overturned – Andscape

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SPRINGFIELD, Ill. — The Illinois Supreme Court on Thursday overturned the choice to fireside an actor Jussie Smollett conviction on charges of organizing a racist and anti-gay attack on himself in downtown Chicago in 2019 and lying to police.

The the state’s highest court ruled that the special prosecutor shouldn’t have been allowed to intervene after the Cook County state’s attorney initially dropped charges against Smollett in exchange for waiving $10,000 bail and performing community service. The ruling and appeal didn’t address Smollett’s continued claim of innocence.

Smollett, who’s black and gay, claims two men attacked him, hurled racist and anti-gay slurs and placed a noose around his neck, resulting in an enormous seek for suspects by Chicago police and sparking a world uproar. Smollett was starring in a television drama that was filmed in Chicago, and prosecutors alleged that he organized the attack because he was unhappy with the studio’s response to hate mail he received.

“We are aware that this case has generated significant public interest and that many people were dissatisfied with the resolution of the original case and considered it unfair,” Justice Elizabeth Rochford wrote in a 5-0 decision. “Nevertheless, more unfair than the resolution of any single criminal case would be for this court to find that the state is not obliged to honor agreements on which people have relied to their detriment.”

Smollett’s attorneys argued that the case ended with Cook County State’s Attorney Kim Foxx’s office dropped initially 16 counts of disorderly conduct. A grand jury reinstated the fees after a special prosecutor took over the case. The jury convicted Smollett of five counts of disorderly conduct in 2021

Emails searching for comment were sent Thursday to Foxx’s office and Smollett’s attorney, who argued that Smollett was the victim of a racist and politicized justice system.

Testimony at trial showed that Smollett paid $3,500 to 2 men he knew to perform the attack. Prosecutors said he told them what insults to shout and shout that Smollett was in “MAGA country,” an apparent reference to Donald Trump’s presidential campaign slogan.

Smollett testified that “there was no fraud” and that he was the victim of a hate crime in his downtown Chicago neighborhood.

He was sentenced to 150 days in prison, six of which he had already served released pending further notice — 30 ​​months probation and ordered to pay roughly $130,000 in restitution.

The state appeals court’s ruling upheld Smollett’s conviction, declaring that nobody promised Smollett that he would not face a brand new charge after accepting the unique deal.

Illinois Supreme Court Justice Mary Jane Theis and Justice Joy Cunningham didn’t take part in Thursday’s decision.

This article was originally published on : andscape.com
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Lil Baby didn’t just rap about change – he went to Harvard to achieve it – Essence

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LOS ANGELES, CALIFORNIA – JUNE 27: Songwriter of the Year Award winner Lil Baby speaks on stage on the ASCAP R&S Music Celebration on the London Hotel on June 27, 2024 in Los Angeles, California. (Photo by Lester Cohen/Getty Images for ASCAP)

Lil Baby will not be only considered one of the most important names in hip-hop – he can also be an aspiring entrepreneur who’s serious about taking his business knowledge to the subsequent level.

The GRAMMY Award-winning rapper recently participated in Harvard Business School’s “Launching New Ventures” program, a prestigious short course designed to help entrepreneurs grow their ventures through modern strategies. The program, which will not be a level-granting initiative, focuses on key entrepreneurial tools, including opportunity assessment, competitive evaluation and developing sustainable business models, – we read on this system’s website.

For Lil Baby, born Dominique Armani Jones, the move was greater than just earning bragging rights. Known for hits like and , the Atlanta native has all the time been open about his desire to construct a legacy beyond music. As head of his record label 4PF (Four Pockets Full), he is committed to creating opportunities for artists and running a business that will not be only profitable, but in addition influential. However, he realized that running a successful label required honing his skills, and Harvard was the right place for this.

Movie shared on X On Wednesday, we got to see Lil Baby participating within the show. The clip ended on a touching note as he was presented together with his certificate of completion, followed by a surprise ceremony organized by his family.

While critics were quick to indicate that he didn’t “graduate” from Harvard – despite misleading headlines – his decision to commit to this system is critical in itself. Shows like “Launching New Ventures” offer insights that may transform corporations and help entrepreneurs overcome challenges, and Lil Baby’s presence signals his commitment to constructing a legacy that goes far beyond music. For Lil Baby, the move is an element of a broader commitment to securing his position not only as a rapper, but in addition as a mogul. His commitment to self-improvement reflects the values ​​he promotes through his music: perseverance, resilience and development.

It’s also value noting that Lil Baby’s decision to attend Harvard sends a powerful message to his community, especially Black entrepreneurs. In a world where barriers to business education still exist, his decision to pursue higher education shows that it’s never too late – or too unconventional – to take what you are promoting seriously.

As Lil Baby grows, one thing is obvious: his diligence knows no limits. Whether he’s behind the microphone or within the classroom, he proves that the important thing to success is to continually strive for more.

This article was originally published on : www.essence.com
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More proof that you’re old: Mary J. Blige’s “My Life” album debuted 30 years ago

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mary j blige, mary j blige my life, 90s music,

I actually remember November 1994. I used to be a sophomore in highschool and was still very clumsy and goofy. I hadn’t yet experienced what anyone would call a growth spurt, as evidenced by the very fact that my younger sister (three years younger) was taller than me. At this point in my life, I assumed I used to be destined to be certain I had a terrific personality that would give me a romantic future. I used to be told about one young student who was in love with me, but being 15 and never big, I didn’t really trust in my ability to pursue a dating life. In 1994, I saw myself because the Steve Urkel with no unreachable neighbor.

In 1994, I had a real love: music. I kept buying cassettes and compact discs; there was at all times music around me. Listening to the newest music from anyone and everybody was my hobby. Mary J. Blige was one in every of those artists that I used to be an enormous fan of. I mean, everyone really was. Her album “What’s the 411?” was released in July 1992, so when school began in August, it was one in every of those albums that everyone was talking about. “True Love” and him one other hip-hop remix the most popular songs were on fire and you can start an impromptu jam session in my middle school dining room by simply saying “true love” out loud.

(*30*)

To say that the anticipation for Mary’s second album was enormous can be the understatement of the yr. I still remember being blown away by the music video for the primary single “Be Happy” on MTV and BET’s “Video Soul”. I remember this mainly because I used to be so frightened about Mary’s life standing on those rocks. Of course she survived the video session, but I used to be very concerned for her safety. I could not imagine life without Mary. I purchased this single and mainly burned a hole in it.

Then got here the monster single “I’m Goin’ Down.” The remake of Rose Royce’s single from the movie “Car Wash” (titled “I’m Going Down”) had all of the black girls in my highschool able to break up with their boyfriends so that they too could sing about it lost love – teenage hormones cause strange problems. Let me just say this for the record: Mary’s version of this song is totally amazing. Her performance on the album is known; you can hear all the experience through her vocals.

(*30*)

If Mary stopped making music at this point, she would already be a legend, I actually consider that. But this whole album is a radiator from start to complete. Even today, once I hearken to “My Life”, my search ends in failure; “My Life” is largely a consolation at this point in my life. From “You Bring Me Joy” to the title track to the ultimate minute of “I Never Wanna Live Without You,” this album is a portal back in time to a version of me that was interested by what life had to supply. I used to be given the vocal type of Mary J. Blige to soundtrack this journey.

It’s also crazy to think about it this manner: “My Life” got here out at a time in my life once I was already driving a automotive. Sure, I used to be 15, but my father also let me drive himself, my siblings, and my friends wherever we would have liked to go because he got bored with running errands. We just agreed that if I got pulled over, he would not know I used to be taking the automotive. Coincidentally, although I used to be in a position to use the automotive at no cost for a solid yr before I could even apply for a driving license, I failed my driving test the primary time I took it on my sixteenth birthday. You’ve never seen a father more lost and upset in his son than my father was that day. We now call my father’s facial expressions “core memory.”

If you’re reading this because you’ve got seen the words of Mary J. Blige and “My Life,” you then, like me, are in a phase of life where you’re continually reminded that you’re not only getting old, but you might actually be old. I will not be old as hell, but I’m too old to be within the club, you realize?

Fortunately, nonetheless, my journey so far in my life includes a number of the best works of musical art in existence, similar to Mary J. Blige’s 1994 album “My Life.” This album – just like the profession of its lead voice, Mary J. Blige – brings me joy.


Panama Jackson theGrio.com

This article was originally published on : thegrio.com
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