Entertainment
Quincy Jones, the musical titan who collaborated with everyone from Michael Jackson to Ray Charles, dies at 91 – Andscape
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.
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.
New York (AP) – jurors heard from a dozen witnesses during the second week of testimonies in Sean “Diddy” Combs trial when prosecutors tried to prove Sexual trade and tribute.
Rapper and actor Kid Miraci He was as a witness. Similarly, singer Dawn Richard, previously a bunch Danity Kane.
There were more testimonies of witnesses who said they saw Combs who beat his ex -girlfriend, R&B Cassie singer. The jury also heard testimonies about weapons, forced and a set -off automotive.
The trial will resume on Tuesday after the holidays on the occasion of the Memorial Day.
Brick by brick, prosecutors attempt to prove the tribute
A big part of the case presented by prosecutors has thus far revolved around the accusations, which for years he has been physically and sexually abused Cassie and forced her to sexual meetings called “freaks” with men who received hundreds of dollars for sex together with her.
However, Combs is just not simply accused of sexual offenses. He is accused of racketeers. Prosecutors say that they are going to prove that Combs used his company and employees “to conduct, facilitate and hide his acts of violence, abuse and commercial sex.”
Some of these employees testified in the second week.
George Kaplan, a private assistant of Combs in the years 2013–2015, told the jury that he threw alcohol bottles and drugs and clean the oil for kids from Combs hotel rooms after the music producer finished freak-off.
He said that he had never reported abuse to the authorities, even after Combs defeated Cassie on a personal jet.
Another personal assistant, David James, testified that Combs told him to soak up hotel rooms with viagra, condoms, oil for infants and grease.
He also told how Combs had three pistols on his knees after they were going to Los Angeles Diner, searching for his rival from the plate industry, co -founder of Death Row Records Sge Knight.
Cassie’s mother says the jury that the jealous comb demanded $ 20,000
Cassie briefly dated Kid Miraci during the time when it looked like she could share with a comb.
Cassie’s mother, Regina Ventura, testified that she felt “physically sick” after her daughter sent her e -mail with information that Combs learned about the relationship with Miraci and planned to take revenge, releasing cassie tapes having sex.
Then, said Ventura, Combs contacted her and angrily demanded $ 20,000, saying that he was guilty because he spent money on his profession Cassie.
Ventura tapped in its own capital to attach money to Combs. Just a few days later the money was returned.
Kid Miraci testifies a couple of burglary and a fiery automotive
Kid Miraci testified on Thursday that Cassie was “very stressed, nervous, just scared” when she called him in December 2011 to say that Combs learned that they were meeting.
Miracle said he was confused because he thought Combs and Cassie broke up.
Then, he said, one of the assistants of COMB, he called.
She said that Combs and the adviser were at home Miracles, waiting for a conversation with him. She also said that she was forced to affix the automotive to affix them.
Miracle said he was racing to his home, but Combs disappeared. Inside he testified that he discovered that Christmas presents were opened and his dog was locked in the bathroom. After breaking, his dog was “very shaken and all the time on the edge,” he said.
Then someone set fire to the Miraci automotive, destroying it.
Cudi Set, he met with Combs to force their beef the next day at the Hotel in Los Angeles. When he got here in, he said Combs watching the window, standing together with his hands behind “like Supervillain”.
Combs denied that he had something to do with a burned automotive, but Miraci said he didn’t imagine him.
Dawn Richard singer talks about the threats of death
The first witness of the week, Dawn Richard, got an ideal break in the music industry as a forged of the forged in the reality show combs, “Making the Band”. She performed with two files supported by Combs, Danity Kane and Diddy-Dirty Money.
But Richard said that Combs threatened her life after she saw him defeating Cassie and tried to hit her with a pan in 2009. She said that Combs told her and one other woman that they might “disappear” in the event that they weren’t quiet.
She said she saw combs often beating Cassie. “He would hit her, stew her, pull her, hit her lips,” she said.
Cassie’s longtime friend explained why she is not any longer a friend
Kerry Morgan said that she had collapsed with Cassie, her 17 -year -old friend, after Combs attacked her rage in 2018, demanding to know who she cheats on him with Cassie.
Morgan said he dropped the hanger in her head and tried to strangle her, leaving dizziness, vomiting and shocked, with fingerprints around the neck.
When Morgan considered the lawsuit a month later, she met Cassie in Pizza Parlor, during which Cassie signed a non -discharge agreement in exchange for USD 30,000. But then, she said, Cassie, “she told me that I thought she would get him, that I was coming.” They have not talked since then.
The hotel manager says that Combs all the time left a costly mess
One of the last witnesses of the week was Frédéric Zemmour, general director of L’Ermitage Beverly Hills in California.
He revealed that the profile of COMPS guests noticed that “he always spills the wax of candle on everything and uses excessive amounts of oil.” The profile instructed the staff in order that he “folded the unexpected room after leaving for deep cleaning.”
“We ask for permission for an additional $ 1000 when the guests remain with us to cover the damage in the room,” said the profile of the guy guy’s profile.
Witnesses testified that Combs liked to make use of candles and baby oil during freaks.
Levity finds a spot in the process of violence
Despite the serious topic of the process, there have been a number of light moments.
On Thursday, former Combs, Kaplan, said that his ex -boss “loves apples”.
Combs nodded and smiled when Kaplan said “eating on the side or on many things.”
“Cheeseburgers?” The defense lawyer Marc Agnifilo asked.
“Cheeseburgers is one of them,” said Kaplan as laughter broke out in the courtroom.
Arnold Turner/Getty Images Friday with Tab & Chance
Favorite couple of America, Tabitha and Chance Brown simply dropped something special: their first fragrance collection together. Inspired by their many years with a love history, a new line, Fridays by tab – her business AND Fridays by accident – his businessIt was launched in time for the anniversary. In True Tab and Chance Fashion, the smells are filled with hearts, memory and intentions.
Below Essence he sat with Brown to discuss inspiration, heritage and why their smells are really higher together.
Essence: Congratulations on launching the fragrance collection! What inspired you to create this together?
Tabitha Brown: Thank you! We each loved the smell – we’re an actual junkie of the smell. If you enter our wardrobe, honey, they’re all set in a queue! But besides, we desired to do something unforgettable together. The smell restores moments. You sniff something, and it takes you. So we thought, is there a greater option to rejoice our love – and our anniversary – than to create a fragrance that appears to be a memory?
Chance Brown: I agree with the whole lot that was said. I just really desired to do something with my wife that contributes to our heritage. I like the concept our grandchildren are in a position to say: “My grandparents did it.” I’m on the age by which I give it some thought now – although we wouldn’t have grandchildren yet! But it matters to me.
It’s so thoughtful. Can everyone describe their smell in three words?
TB: Warm. Brown sugar. Embrace. I comprehend it’s technically 4 words, however it’s a climate! I wanted something sweet and comforting – like a warm hug. People say it smells like a hug, and that is what I used to be searching for after that.
CB: For me: male, sexy and long -lasting. I love when the smell continues, even after leaving the room. This is the impact I wanted.
Were there any moments in your relationship that influenced the smell?
TB: Not specific moments, but much more so the things we each love. I’m a woman with food – you realize it – so I leaned into delicious notes equivalent to vanilla, caramel and chocolate. I even began to check perfumery, mix oils and skim books to essentially understand find out how to construct a smell. I don’t love flowers, but I just wanted a touch mixed with these sweet, edible notes.
CB: I used to be inspired by the smells with which we grew up in black households. You know, oils from a person on the corner or this long -term cologne, which you smell within the church or in Howard Homecoming. These memories are priceless – but I wanted to boost this experience and bottles them. Something that smells and seems luxurious.
The bottle is so unique – you possibly can explain the inspiration of the project and what does it mean for you?
TB: When we sat all the way down to design bottles, we knew that we didn’t want something typical. We wanted sculptures – something that seemed that our love story began within the 90s, so aesthetics is certainly a nod to this era. What’s more, bottles are a physical symbol of our connection. They are forced – adapt to the hug. It’s deliberate. This is our option to say: that is love, it’s unity, it’s art.
CB: Do you realize these black paintings of art from that day – those by which my husband and wife hold on? At least one in all those on the wall had every black household. It was also our inspiration. We desired to bottle this sense. The same sense of pride, intimacy and black love that were in these paintings? This is what this project represents.
TB: If you look fastidiously, you can even see small details. One of the bottles even has waves carved at the highest – he! [laughs] We called him “wave”, so it’s like slightly joke and a love letter at the identical time. And the second bottle? It’s me. Together he tells our story.
So a bottle is greater than a pack – is a sculpture of your history?
TB: Exactly. It is functional, symbolic and delightful. Like black love.
How is the smell in line with your brand, which is rooted in love and authenticity?
TB: This fragrance is us. Who we’re. The journey we had – from our modest beginnings to this new chapter – is there. Represents traditional and non -traditional parts of our history.
CB: Our love story had its ups and downs, like many others. We began with a conventional man as a cop, TAB operating from 9 to five-then the whole lot modified when she chased her dreams and built this beautiful life through acting, content, and now business. This fragrance reflects this journey. She is familiar but fresh. Traditional but new. It smells like nothing you smelled before – however it also smells home.
TB: And when will you arrange our smells together? Phew! This is the following level. That’s what we’re – together.
How do you would like couples who have a look at you to feel when wearing this smell?
TB: I need them to feel: “Oh, I’m great and I’m sexy alone … But with my partner? We are unstoppable. We created this fragrance with the mixture in mind – if you meet, it needs to be elevated. This is what we mean and that is what we would like to represent this smell. We not only sell the product; we share our love through the smell.
We need to bring people closer to the smell – a form that makes you must bend, catch up with, stay under someone’s neck. This is magic. And for our lonely people? Honey, if you pass, we would like their heads to show. Someone will stop you: “Wait a moment … how are you?” This is the facility of an excellent smell – it attracts, connects, tells the story.
In addition to the smell, what do you hope couples take from you to cooperate?
CB: I hope that we are going to encourage marriages to maintain him at home – to construct together, dream together, develop together in business. This journey was fun, educational and deeply satisfying. We learn more about ourselves, supporting one another and construct something with the goal. It will not be all the time easy, however it’s value it. And if we could be an example of the way it looks loud to love and cooperate in business? This is a victory.
Entertainment
Terrence J, Rocsi and AJ look back to 25 years “106 & park”: “This program is the love of my life”
25 years have passed since “106 & Park” first broadcast, and even now lives without rent in our cultural memory. It was not only a music deduction program – it was an area. Safe zone. A scene by which black teenagers saw one another by which rising stars changed into icons, and where the hosts felt like your cooler cousins, who only.
Before Instagram and Tiktok algorithms, the program “106 & park” hosted, where culture moved. It gave us the twenty fifth birthday celebration Beyoncé, the last interview with Aaliyah and sofa moments so legendary that they were immortalized in museums. For many of us, regardless of whether we were aspiring journalists, creative, or just children who absorb all this is not only television – it was a plan. And now, once I ask questions, I can say without hesitation: I used to be shaped by a scene.
Now, when Bet is preparing to bring the “106 & park” aftertaste of the Bet 2025 awards, I sat with three hosts who shaped the golden years of the series – TheRrence J, Rocsi Diaz and Aj Calloway – to discuss her legacy, her influence and love, which still stays a long time.
“This program is the love of my life,” said Terrence J. “What we were able to do … It was the peak of the technology of meeting the culture in which America was then. When I look back at 25 years, I see it in a much different way than five years ago, 10 years ago or when I just left the program.”
Sit with Haniyah Philogene from Thegrio on May 7, 2025 (photo: Haniyah Philogene)
“I’m 50 years old. I started the program when I was 26,” Calloway wondered, the first co -hosted series. “To be living to see how the network recognizes work, it is extremely unique … To be here so that my children can see it, my mother – this (means (means) a lot.”
This feeling of a full circuit is also not lost to diaz. “When I hear 25 years later, it doesn’t seem so because (this) the most important thing and the basis of everything we did after” 106 “and the park.” The basis of our profession is this program. “
Is it a heritage? You can feel it in the way they discuss yourself, memories and what it means to be part of something greater than yourself. Terrence J recalls that he is in the audience during the College route organized by AJ and at no cost, observing in real time, because they created the same “real moments” that everybody remembers-as the last interview of Aaliyah.
Energy.
Fashion.
Times.
Regardless of whether Ginuwine moved around the stage on this unforgettable entrance, or Jay-Z and us standing next to one another after changing one of the most iconic rap beef in history, it seemed greater than life.
But this sort of influence didn’t simply occur overnight. Aj, who helped to put the foundation of the series, admits that he couldn’t imagine what the 106 and the park will occur. “Earlier days weren’t spectacular. It was built with sand, grind and the entire large community.
“There was a moment when no one wanted to give us clothes. I called my friends (because) my friend was the owner of a shoe store … It was all on board that something would happen,” he said, describing how his community went through. “I had a yellow leather suit for the first episode, because that’s all that I was given … to my people.”
Despite this, there was strength on this fight – in making culture before making a culture.
“(106 and Park) was” a small engine that might “, and now it is a cultural phenomenon and is an important, key part of many people (upbringing),” said Diaz.
What they built was greater than a program – it was a family. Behind the cameras, love was just as real as what we saw on the screen. From the crew to the crowd, this energy was incomparable.
“There is nothing like a family experience … camaraderie you have (at)” – added Diaz.
And that is why every few months, like Clockwork, discourse on social media begins to revolve about restarting “106 and park”. But as he sees it, what persons are really missing is greater than only a program, but “cultural importance”.
“They lack that they see us, in our best light, authentically. The stories we have supported by us, we support and I do not think that we have already had many” – he emphasized. “We don’t have many black media that authentically tells black stories and culturally significant moments. So they miss the reality, in my opinion, the authenticity of the hosts are fans of people with whom they interviews.”
Terrence J repeated sentiment. “There are many various places to get what you would like.
“106 & Park” was not only a countdown – it was communion. It was an area that celebrated black joy, creativity and complexity of our conditions. When culture is always changing, the heritage of the series serves as a reminder of what is possible after we tell our own stories, for us, through us, and not using a filter.
And now fans may have the opportunity to experience this magic. On June 9, Bet restores the heritage of “106 & Park” back to the middle stage with a special celebration of anniversaries during the BET 2025 awards.
Haniyah Philogene is a Haitian-American multimedia storyteller and lifestyle and entertainment author covering all things of culture. He sets out with passion for digital media to find latest ways of telling and sharing stories.
(Tagstranslate) 106 and Park
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