#quincy jones influence

[alwaysbewoke]

damn...

[viraltrendsspot]

Music Legend Quincy Jones Has Passed Away At Age 91

Quincy Jones, the legendary music producer and composer, passed away at the age of 91 on November 3, 2024.

[interact-if]

Black History Month Author Spotlight: Kiki

Our third edition of the Black History Month Author Spotlight series, features Kiki (@scapegoated-if)!

(I’m rly happy to have gotten to know Kiki better through the feature, and the interview contains really interesting insights on gender and race-locked main characters in interactive fiction, among other things! If you haven’t yet played Scapegoated (and if you’re a fan of Infamous/music IFs, definitely give it a go!)

Author: Kiki Born and raised North London, but ethnic background Jamaican (my parents are a part of the Windrush Gen)

Games: Scapegoated (slice-of-life, music, hollywood, '70s)

Short blurb: Scapegoated is about a female musician in a band that is seguing into an acting career. She is facing a lot of blame and scandal regarding the split between her band that happened in 1968. Not only are a lot of the general public hurt and angry about it, but so is an infamous serial killer that has been terrorising the west coast...

Quotes from the interview

I’m from North London. My parents moved to London when they were children from the Caribbean and are a part of the Windrush generation. I am a black, bisexual woman growing up in the UK, a place that tends to disguise its wider prejudices as a classist issue in all cases. […] A huge part of my love for music is strongly intertwined with my relationship with my late father. He passed away in June of 2023, and he was very much so kickin’ it in the ‘70s. He was a DJ throughout his life, so the legacy of LPs that he left behind was unspeakable and very ‘70s.

Read on for the full interview!

Tell me more about yourself! What are some things new readers or long-time readers might not know about you?

I graduated from a Russell Group university with an English Literature BA (Hons). I think a part of me has always wanted to be a writer in some capacity; I know that I’ve always wanted to write a book. So, I think beginning this IF has existed for me as a gateway to see what that would be like. I thought of it as a brainteaser–the prospect of exploring different outcomes and different pathways that a character may undertake. It has been challenging, dare I say more challenging than writing an actual book, but that’s exactly what I wanted out of this process.

Can you tell me a bit about what you’re working on right now and your journey into interactive fiction? What inspired the game/story you’re currently writing?

My best friend introduced me to the world of interactive fiction one day last year. She introduced Infamous to me and asserted that I would really like it because I’m a huge music nerd. Of course I fell in love with the characters and the world, but I also fell in love with the format of IFs. 

A huge part of my love for music is strongly intertwined with my relationship with my late father. He passed away in June of 2023, and he was very much so kickin’ it in the ‘70s. He was a DJ throughout his life, so the legacy of LPs that he left behind was unspeakable and very ‘70s. I am a huge music lover with such a wide-spanning eclectic taste, but the period of music post-”Dylan going electric”, post-”Elvis being on the out”, Quincy Jones (rest in king) and Beatlemania is just everything to me, so the idea for Scapegoated came into my life in a very natural way. I knew that whichever story I told, I wanted it to explore the Sunset Strip, groupies, rock ‘n roll, The Beatles, The Manson Family and Cher all at its core. 

I am of the opinion that coverage of the ‘70s music scene has been run into the ground lately. There has been a resurgence of nostalgia within the public consciousness when reflecting upon this time due to Daisy Jones & The Six, which was one of my favourite shows the year it was released. So, including Hollywood and murder was my attempt at innovation.

How has your identity, heritage/background, upbringing, or personal experiences influenced your storytelling or writing process? OR How does your work feature aspects of your identity / experience?

I’m from North London. My parents moved to London when they were children from the Caribbean and are a part of the Windrush generation. I am a black, bisexual woman growing up in the UK, a place that tends to disguise its wider prejudices as a classist issue in all cases. I am writing Scapegoated as someone that has only been to the US twice for two weeks at a time. I am writing Scapegoated as someone that can only relate to two aspects of my main character. I am writing Scapegoated as someone that has experienced discrimination and has been scarred by instances of discrimination. In university, I tended to be quite outspoken; in my first year, I felt quite ostracised by my predominantly white cohort during the BLM movement, because I seemed to be the only one willing to speak out in favour of it.

When I first wrote Scapegoated, I was inboxed on Tumblr and replied to on the Choice of Games Forum with genuine curiosity about my choice to gender and race lock my protagonist. This is an excerpt of my response:

I didn’t want to have a self-insert MC because I wanted to ensure that the conversations had revolving these social issues and the murders that unfold aren’t danced around. Perspective is an extremely important factor in that, and I want to ensure that the MC is directly involved–rather than just there as things happen because it wouldn’t be interactive. [...] Initially when I planned this story, before it was titled and the only thing I knew was that I wanted to write an IF about the '70s music scene, it was neither gender or race locked [...]. But I did toy with my ideas by self-inserting (I’m a black woman) when I was attempting to figure out the logistics of gameplay. That’s when I realised that due to the time period and all of the change that was happening at the time, social issues had to be discussed.

To this day, I am extremely proud of my decision and the conviction in my decision. I asserted a level of loyalty to the story I am telling in a way that I didn’t know I was capable of; retrospectively, I think I took a kind of power in it. But I really love the story I am telling and the range of representation. 

I am trying to work the line of prioritising my vision, all the while giving weight and importance to my readers’ opinions in the way that these very interesting and thorough opinions deserve. It warms my heart that even one person might care about my characters just as much as I do.

what are some of the most rewarding or challenging aspects of writing Interactive Fiction for you?

Songwriting. I’m tragic at it, but I like to think I’m self-aware enough. There are different characters with different voices and different reasonings behind their songwriting styles. I struggle to ensure that their songwriting oozes with their individual personalities. 

What does your writing process look like? Any rituals or habits? Any tips, tricks, philosophies or approaches that have worked very well for you?

Story beats. However, planning and writing can exist as two entirely different realms to me. What I think the story may be, can develop into something entirely new all on its own once I begin to write. Sometimes characters that I think I know transform into someone entirely new once I start to get to know them through writing their dialogue. I’ve experienced this with several characters already. On the contrary, some characters are so secure in my mind that they can’t be anything other than who I’ve introduced them to myself as.

I really love the writing process I’ve conjured up. It hasn’t failed me yet, but it isn’t secure–writing can never be anything other than an insecure process. Writing, for me, always remains in a constant stage of planning.

Do you have favourite interactive fiction games, characters, scenes or authors that you’d like to recommend?

I have received a lot of IF recommendations due to how new I am to IFs. I truly haven’t read very many, so all I can recommend to anybody are the 3 IFs that I have read which I each loved enormously: Infamous; College Tennis: Origin Story; and Apartment 502.

If you were to say one thing to your readers, other authors, and/or the interactive fiction community: what would it be?

I only got here in December, and so far everyone has been extremely welcoming and helpful. Honestly, I have no notes. All I can do is encourage everyone to give writing a chance. It’s been so fruitful and rewarding for me, so I strongly urge everyone to give it a shot if you’re considering it. Stop thinking, just do!

Any books, music, movies etc. you’re obsessed with at the moment, or which changed your life (or perspectives on something)?

I’m currently reading I’m With The Band by Pamela Des Barres as research for my IF, which has been a great insight into the mindset of groupies on an intimate level.

As for something that changed my life, I recently watched Sing Sing (2024)--which wasn’t something I did in relation to Scapegoated, I am just an avid film-watcher–and it was such an incredible de-stigmatising eye into the prison system. An extremely important watch for Black History Month, too!

This-or-that segment: (bold = Kiki's pick)

Coffee or tea?

Early mornings or late nights?

City or countryside?

Angsty or Cozy romances? (Or enemies-to-lovers or best-friends-to-lovers?)  

Steady progress or frenzied binge-writing followed by periods of calm?

Summer or Winter?

First drafts or editing?

Introvert or extrovert?

Plotter or pantser?

Characters or plot first?

Kiki’s custom “either-or” pairing: writing in silence or with music playing?

[sivavakkiyar]

tbh I think he has like a curious enough position where it’s actually kind of hard to get across how significant Quincy Jones was, and how people take it for granted. Like without giving a lecture

But he was major major. It’s almost guaranteed that some of the music you love—-and I mean this globally—-was heavily influenced by his work. Like yes on par with The Beatles

[bookstoreadbtr]

Blending Flavors and Creativity: An Interview with a Culinary Innovator

Although cooking, music, and comedy may seem like separate worlds, for our guest today, they blend seamlessly into a creative and flavorful masterpiece. From Jacqine’s early days of experimenting in the kitchen as a teenager to writing an innovative cookbook filled with recipes, melodies, and laughter, this culinary artist has crafted a unique experience for food lovers and creative minds alike. Join us as we explore her journey, inspirations, and advice for aspiring cooks and writers.

1. When did you discover the joy of cooking? At 15 years old, I started to cook various dishes in the kitchen.

2. What was one of your favorite dishes to make when you first started cooking?

Italian food and Greek food. I made meatballs, lasagna, pasta, moussaka, Greek salad, pastitsio.

3. What inspired you to produce and publish a cookbook? My mom used to cook various foods in the kitchen from when I was a toddler. They were delicious foods, Mediterranean and Eastern European, but she encouraged me to experiment with foods on my own. So, I did. I independently created recipes and expanded my repertoire of foods over time. I watched my mother sometimes. My mother made meat and noodle dishes, pepper steak, and a variety of foods.

4. Your cookbook has music and songs in it. When did you first discover your passion for music? Yes, I started playing organ around the age of 9 years old and I moved on to piano, recorder, and a little bit of flute later on. My father also discovered I could sing and that my singing abilities developed over time as well and I began to sing in other languages too. I took some piano and vocal lessons, bought a piano, and started to write and produce my own music. My music skills evolved and I enjoyed being in jazz improvisation classes and classical courses including music conservatory courses in theory, ear training, and piano. I soon realized I had a great appreciation for compositions and I enjoyed writing music. I later began to perfect my music production skills.

5. Who was/were your musical influences growing up? Lalah Hathaway, Chaka Khan, Earth Wind and Fire, Annie Lenox, Chicago, Sting, Jeffrey Osbourne, Joe Jackson, Bruce Hornsby, Luther Vandross, Genesis, Chic, Patti Labelle, Michael Jackson, Elton John, Stanley Jordan, Joe Sample, Peter White, Brian Culbertson, Tavares, The Bee Gees, Nelson Rangell, Shalamar, Quincy Jones, Tina Turner, Mini Riperton, Pat Metheny, Phyllis Hyman, Teena Marie, Olivia Newton-John, and my dad’s influences: Debbie Boone, Connie Francis, Mama Cass.

6. Your book also has some comedic stories in it. When did you first discover your comedic writing skills? I was in college and had an acting course in improvisation and there I learned to express my creativity. I began to tell stories to friends and they thought the stories I told them were funny.

14. Where can we find you (website, social media)?

Contact Info:

● Website: https://Jacqine.com

● Instagram: https://www.instagram.com/jacqine.cb/

● Facebook: https://www.facebook.com/jacque.cohen Brand page: https://www.facebook.com/Jacqinemusic

● YouTube: https://www.youtube.com/@jacqine

● Other: https://open.spotify.com/artist/5FvjwX4IOGqhVT4nIP16em?si=1F_by2JwTdqPe3ndbtE_Dg

To read full interview go to

[jazzdailyblog]

Remembering Quincy Jones: A Legacy That Redefined Music

Introduction: Quincy Jones, who passed away on November 3, 2024, was a towering figure in the music world whose influence extended far beyond his own remarkable achievements as a producer, composer, and musician. Over a career that spanned more than six decades, Jones revolutionized jazz, pop, film scoring, and music production, leaving a legacy that forever changed the landscape of modern…

[moochilatv]

George Solonos and John Waugh presents: The Big Sky

Good song !! Amazing sax interpretation

"The Big Sky" closes Reverie with an expansive, uplifting energy. Blending jazz elements with world influences, the track feels like movement—open roads, distant horizons, and a sense of freedom. The melodies flow effortlessly, carried by soaring saxophones and intricate guitar work, creating a soundtrack that’s perfect for traveling, both physically and emotionally.

With its vast, airy feel, The Big Sky captures the essence of exploration—whether it’s a journey through landscapes or within oneself. It’s the kind of piece that makes you want to keep going, no matter where the road leads.

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A post shared by John Waugh (@jwaughsaxophone)

"The Big Sky is the closing track from Reverie our second E.P with John Waugh, sax player for The 1975", George Solonos and John Waugh.

Stream The Big Sky:

George Solonos is an award winning Film Composer, Producer and Guitarist based in Los Angeles, California.

His career counts more than 15 years in the industry and is affiliated with a plethora of internationally acclaimed artists including Tommy Lee (Motley Crue, Methods of Meyhem), Scott Humphrey, Daniel "Bad Day" Powter, Ayaka Hirahara, Quincy Jones, Tim "Ripper" Owens, and Boy George.

As a Film Composer, Solonos was awarded with "Best Score" in 2018 at the Bucharest ShortCut Cinefest, for composing the music for short film "Bad Habits".

He recently composed the music for Marvel's advert "Sleepless Night" featuring DJI's "Iron Man" drone (Link). Other works include "DonkeyXote" (Winner of the Montreal Film Festival), "Chinatown - The Three Shelters", "Heavenly Deposit" Feat. George Vincent, "Bad Habits" (Official Selection at the Berlin Idependent Film Festival) and additional music for "Apple of my Eye" (starring Burt Reynolds, Liam Mcintyre and Amy Smart). More details about George Solonos - Film Composer available on IMDB.

As a Producer and Guitarist, Solonos is featured in albums such as Methods of Mayhem's - "A Public Disservice Announcement", Chantz's - "Stories of Me", "WolfPakk" (an all-star project featuring Iron Maiden's Blaze Bailey, Paul Di-Anno and Judas Priest's Tim "Ripper" Owens).

He is also the main songwriter, guitarist and producer for rock bands Sulphur Generation, Marianne's Wish and Barebone. Solonos' academic qualifications include an awarded distinction for Masters Degree in Music Production at Leeds College of Music, in UK. Endorsed by PRS Guitars, Freshman Acoustic Guitars, Steve Clayton USA and Fractal Audio.

[therecordchanger62279]

Grammys, Hall Nominees, and A Couple of Firsts

     A couple of firsts for me six weeks into this new year. Last week I watched the Grammy Awards for the first time in about 20 years, and watched it all the way through for the first time this century. I used to watch it every year whether I wanted to or not because I was in the music retailing business, and I had to know who was nominated and who won, and be sure we had everything in stock and ready to sell the morning after the show. But once I was out of the business, and the industry collapsed, and I couldn’t find new artists to get behind, I stopped. The last couple of years I tried to watch before I gave up on it, there were countless artists I’d never heard of, and most of the live performances put me off as well.

     I tuned in this year because I knew I’d get to see Taylor Swift looking hot, and I’d read that Sabrina Carpenter, and Billie Eilish were going to perform. I was curious to see if the buzz around Chappell Road was merited. I figured I might see Kacey Musgraves, too. And there was going to be a tribute to Quincy Jones that featured Herbie Hancock and Stevie Wonder. That was enough to get me to watch.

     Sabrina, Billie, and Chappell blew the roof off the place, and that was all in the first hour. Unfortunately, the rest of the show bored me to death. I’m not a Rap/Hip-Hop guy, and I was disappointed in the Quincy Jones tribute. Janelle Monae was terrific to watch as she channeled Michael Jackson’s performance from the Motown Anniversary Show. But the rest of it was nothing special.

     So, here we are several days down the road and we have another first for me. The nominations for the Rock & Roll Hall of Fame were announced last night, and for the first time in the history of the hall, I don’t think a single nominee deserves induction. I mean, I always have issues with the list every year, but I can usually find three or four that I think deserve to be there. But, not this year. This year’s list is more a group of the famous, and the briefly popular. I like several of these acts, and own records by 10 of the 14 listed here. But none of them changed the world, and none of them had any lasting influence or importance on the music or the culture at large. They’re just familiar names – except, of course, for Maná, who no one who is not from Mexico, or of Hispanic descent has ever heard of. Their nomination is nothing but a ploy to broaden the appeal of the hall. And those who vote are uppity critics, and industry millionaires. What do those people know about Rock & Roll?

     Having said that, I’ll say again what I say every year. Dismantle the Rock & Roll Hall of Fame, and rebrand it The Rock & Roll Museum. That way, everyone who ever contributed anything of note is represented. Of course, that will never happen. So, I simply reject even the idea of a Hall of Fame on principle. And I’ll say once more, I have my own Hall of Fame. I call it my record collection.

     Just for your information, the list of nominees for 2025 is below.

Bad Company

The Black Crowes

Mariah Carey

Chubby Checker

Joe Cocker

Billy Idol

Cyndi Lauper

Joy Division/New Order

Maná

Oasis

OutKast

Phish

Soundgarden

The White Stripes

[wanderrealms]

All Roads Lead Back to Quincy Jones

"In American music, countless lines trace back to the late Quincy Jones. And as the decades unfolded, his ability to adapt to and harness new styles remains unmatched."

Remembering Quincy Jones, 1933-2024

"Remembering legendary producer, composer, and arranger Quincy Jones, whose career spanned decades and influenced countless genres."

[bosses-stay-flawless]

You can hear The Quincy Jones influence in the music ❤️

[singlesablog]

The New Wave

“Rock with You” (1979) Michael Jackson Epic Records (Written by Rod Temperton) Highest U.S. Billboard Chart Position – No.1

Before I begin this entry a few disclaimers (in the style of the wonderful Andrew Hickey, creator of the absurdly great podcast The History of Rock and Roll in 500 Songs, which I wholeheartedly recommend), there has been so much press, and bad press, about Michael Jackson since his death that it should be acknowledged.  Much of the bad news is the accusation that he was a constant, and serial, sexual abuser of young boys.  The jury will forever be out on these accusations based solely on his influence and power, which have grown steadily since his death in in 2009.  His estate is vastly wealthy, and continues to grow.  It does not surprise me that he was disturbed considering the amount of child abuse he suffered, or that the truth was heavily twisted by him (just watching him in old footage deny his physical alterations, plain for the eyes to see, is evidence enough that he was severely distorted in his relationship to truthfulness).  However, I cannot deny how powerful and productive his artistry was and is, and his influence is undeniable.  His role as a conduit for other artists alone is wildly impressive.  He was one of the greatest innovators in many ways.  I believe he was in a lot of pain, and perhaps he caused a lot of pain by displacing that.  But his musical influence, which is the reason for this entry, is my absolute focus.

I understand that this set of posts have been under the title of The New Wave, which would lead one to associate all entries to New wave music, and in way, they do.  And yet stylistically, what exactly is New wave?  It is technically a catch-all phrase, a term for the many, many styles emerging post Punk.  A big factor for my purposes is the era; here, 1979/1980.  All of these records represent a shift forward in musical styles and tastes, and if not (or if you disagree), they did that for me. Perhaps they were just the cleverest and most sophisticated pop songs happening.   Although this track is certainly disco, that dirtiest of words, “Rock with You” was one of those musical shifts forward.

It opens with a drum fill— a solid rat-a-tat-a-tat that is an absolute hook to the song, and more wonderful in that it doesn’t appear again.  Drum fill to flute sounds, what could be better? Then strings, a chorus of heavenly voices, and a beautiful, perfect vocal.  Danceable but midtempo, it is maybe one of the most approachable, perfect radio hits ever.  When I first heard it, I felt my teenage life change; it must have been what the Beatles were like in the 60s, just like that drug of newness.  It was a song that felt like it belonged entirely to its year and era, but was singular.  I rocked and rocked and rocked (the dance move that accompanied the hit).  I bought my first album ever in Off the Wall, and played the grooves off of it.  But perhaps the real secret to the song was its composer: Rod Temperton.

By all accounts the British-born Rod Temperton was the most modest of supreme talents as a songwriter (he is described as quiet and unassuming); not only did he write “Rock with You”, he arranged it in minute detail (including vocal and rhythm arrangements) just as he had as a bandmember for all of the big hits in the disco funk 70s band Heatwave (“Boogie Nights”, the ballad “Always and Forever”, and the exultant “The Groove Line”).  He was an expert songwriter and arranger, and his ability to mainstream soul records was not missed by Quincy Jones, who snapped him up to write new songs for Michael’s record (he also wrote the title track “Off the Wall”, and later the title track for “Thriller”).  

Of all of the songs in Jackson’s catalogue, none float over the airwaves as effortlessly.  Like the drum fill open, Michael’s first line (“Girl, close your eyes, let the rhythm get in to you”) is masterful: sexy and inviting, a soul record.  The song itself is forged in disco, 4/4 time.  It invites you to the dance. The bridge of the record is a flute solo, with mellow velvet voices as a cushion, an Adult Contemporary record (think Carpenters).  So, in this one song, a sweet romance about coming to the dance, you have a perfect fusion of what in many previous eras the parts of which would have segregated to its own chart, own region, own audience.  The magic of the single was that it existed at all, because Michael was the perfect performer to truly bridge these gaps.  It was overt, it was executed to perfection, and it was designed to top the charts, and it did, for 4 weeks.  And it made my teenage heart burst with joy every time it came on the radio.

The list of musicians on any Jackson record is surely going to be a who’s who: among them Quincy Jones as producer, whose long career was uncanny (or well, extremely canny for winnowing talents), Greg Phillinganes on synths (a prolific career), and John Robinson on drums, to name a few.  Robinson, the architect of that famous drum open for “Rock with You”, was so revered as a session musician that his Wikipedia page is dizzying.  He appears to have been on every pop single ever post-Michael (Steve Winwood’s “Higher Love” notably has his drums on it).  He was famous for perfect technique, and a sure steady hand.  I had never really ever considered just how much I love the drum opening for “Rock with You” until now, and that without the drums that begin the song, well, I am not sure my heart would have beat quite as fast.  

Coming to the end of this post it is apparent how hilariously un New wave “Rock with You” is.  It is not post anything, but obversely it was the full flower of 1979, the apotheosis of 70s pop and disco, and possibly a harbinger of the excesses in studio production that the 80s would bring to recordings, not least in Jackson himself trying to top Off the Wall.  If that record sold an astounding 20 million copies, Pink Floyd’s The Wall would sell 33 million in the same year.  Michael Jackson would have to do something about that.

Rod Temperton passed away in 2016; John Robinson, Greg Phillinganes, and Quincy Jones are still with us.

[delightful-dorks]

On a rainy day a while back I made some very self-indulgent playlists for what music I think Abby and Hoagie would listen to (and thought way too hard about it). I could probably never do this for every member of Sector V because I don't think my music knowledge is that bespoke, but I think my taste and what I personally see the two of them liking overlap considerably, so I had fun with it. Hoagie Abby Some rambling under the cut

Hoagie loves a wide range of music, from good stuff to corny shit-- he is cringe but free. I think of his tastes as being categorically: -Early 2000s and late 90's R&B- Troop, D'Angelo, Boyz 2 Men, to a lesser extent Luther Vandross. Probably would also overlap a bit with Rap artists like Biggie Smalls. -Solo Crooners- Your Tom Jones, your Lionel Richies, your Barry Whites. I don't really think of him as a crooner, but I'll also toss Christopher Cross in there for fun. I think Hoagie would try playing Barry White in the COOLBUS on the way back from missions and Abby would yell at him for it. She can clock the longass intro to Never Ever Gonna Give You Up instantly from repeated experience. -Classic Funk and Soul - Rick James, Average White Band, Bootsy Collins, Earth Wind and Fire, Chaka Khan. Play that Funky Music White Boy is a certified Hoagie Anthem. -Detective-Core- This isn't a scientific category, this is vibes-only. But you KNOW Hoagie has The Classics in his collection. Deacon Blues, Copacabana, Shaft, Street Life, Ride Like The Wind, I Shot The Sheriff. Actually yeah I'm putting Christopher Cross here too. Hoagie would absolutely imagine a vivid music video of himself to Ride Like the Wind. As opposed to Hoagie, I think Abby's playlist is more defined by meticulous craft and impeccable vibes rather than what's most popular. She's generally more discerning about what she considers her favorites, but there's still a lot of overlap between her and Hoagie. They've introduced each other to a lot of music. -Jazz and Jazz Fusion - Herbie Hancock. Abby and Hoagie (and probably the rest of Sector V) could sit and listen to Fat Albert Rotunda all day. It's just a good album. Bob James, (though Abby finds him hit and miss), a little bit of Pat Metheny, and a little bit of Miles Davis. -Funk and Soul...2 - Stevie Wonder, Commodores, Abby introduced Hoagie to some great jazz-influenced artists like Quincy Jones, and Hoagie introduced her to Average White Band. She also made him realize Lionel Richie had a career before going solo, lol. Both of them are all over EWF and Chaka Khan -Hip-Hop/R&B Salt N Peppa and Mary J Bilge are mainstays for Cree, which she introduced Abby to when they were younger; now the two of them are at war stealing the same 5 beat-up, scratched-to-hell CDs back and forth from each other. Cree busts down the treehouse door fully kitted out demanding to know where What's the 411 is every Saturday.

[trendnfun]

Hong Kong Singer Coco Lee: A Rising Star in the Music Industry

Hong Kong singer Coco Lee has become a prominent figure in the music industry, captivating audiences worldwide with her powerful vocals, versatile performances, and charismatic stage presence. Born on January 17, 1975, in Hong Kong, Coco Lee, whose full name is Ferren Lee-Kelly, has enjoyed a successful career spanning over two decades. This article delves into the life and achievements of Coco Lee, highlighting her rise to fame, musical style, and lasting impact on the global music scene.

1. Early Life and Background

Coco Lee was born and raised in Hong Kong, where she developed a deep passion for music from a young age. Growing up in a musically inclined family, she was influenced by her father, who played the violin, and her mother, who was a piano teacher. These early experiences nurtured Coco Lee's love for music and set the stage for her remarkable journey as a singer.

2. Breakthrough in the Music Industry

Coco Lee's breakthrough in the music industry came in the early 1990s when she participated in the New Talent Singing Awards, a prestigious singing competition in Hong Kong. Her exceptional talent and commanding stage presence caught the attention of record producers, leading to the release of her debut album, "Love from Now On," in 1994. The album's success propelled Coco Lee into the limelight, establishing her as a rising star in the Hong Kong music scene.

3. Musical Style and Versatility

One of the defining aspects of Coco Lee's career is her remarkable versatility as a singer. She effortlessly traverses various genres, including pop, R&B, dance, and jazz, showcasing her exceptional vocal range and adaptability. Coco Lee's ability to seamlessly switch between musical styles has earned her international acclaim and a diverse fan base.

4. International Recognition

Coco Lee's talent transcends borders, and she has gained significant recognition on the international stage. Her collaboration with renowned artists such as Julio Iglesias, Quincy Jones, and Black Eyed Peas brought her music to a global audience. In 2003, she gained further acclaim with her English-language album, "Just No Other Way," which featured the hit single "Do You Want My Love." This album solidified her position as an internationally recog...read more

[newspagesonline]

Grammys 2025: Will Smith and Stevie Wonder Pay Ode to Quincy Jones; Performance From Janelle Monáe Has Everyone Dancing

At the 67th Annual Grammy Awards on February 2, 2025, a heartfelt tribute honored the late Quincy Jones, who passed away in November 2024 at the age of 91. The segment featured performances by renowned artists and touching stories about Jones’ impact on music. Will Smith introduced the tribute, sharing personal anecdotes about Jones’ influence on his career. Stevie Wonder followed, recounting…

[learnhowtocreatemusic]

Am I Too Old To Become A Music Producer?

In a world where youth often seems to be the defining factor of success, it's easy to question whether age might be a barrier to starting a new career, especially one as dynamic and fast-paced as music production. If you're asking yourself, "Am I too old to become a music producer?"—let's explore this question and dispel some common myths.

The Myth of Age in Music Production

Firstly, let’s tackle the misconception that age is a barrier in music production. The idea that there's a "right age" to break into the industry is more fiction than fact. Music has no age limit; it’s a realm where creativity and skill are what truly matter. Take Rick Rubin, for example. Rubin started producing music in his early twenties, but his influence and career have spanned decades. Or consider Quincy Jones, who has been making music and influencing the industry for over six decades.

Experience as an Asset

Rather than viewing age as a hindrance, think of it as an asset. With age often comes a wealth of experience and a deeper understanding of life’s complexities. This perspective can translate into more nuanced and emotionally resonant music. If you’ve spent years developing other skills or professions, you might find that these experiences enrich your music production process.

The Learning Curve

Yes, there’s a learning curve in music production, but it's a curve that can be navigated at any age. Modern technology has made it easier than ever to learn and experiment with music production. Online courses, tutorials, and forums provide access to resources and communities that were previously out of reach. Whether you’re in your twenties or sixties, you can find tools and educational content that fit your learning style and pace.

Embracing Modern Tools

One of the great things about contemporary music production is the accessibility of digital tools. Software like Ableton Live, Logic Pro, and FL Studio are designed to be user-friendly and intuitive. They often come with extensive libraries of sounds and presets, which can help you get started without needing a deep technical background. Additionally, there are countless plugins and virtual instruments available to help you explore different genres and sounds.

Networking and Community

Building connections in the music industry is crucial, and age should not be a barrier to networking. In fact, your life experience might help you forge meaningful relationships and collaborate with artists who appreciate your unique perspective. Attend industry events, join online communities, and participate in local music scenes. Many music producers find success by being active and engaged in their communities, regardless of their age.

Personal Fulfillment

Perhaps the most important factor is your own passion and commitment. If music production is something you genuinely enjoy and are excited about, it’s worth pursuing. The joy and satisfaction that come from creating music and sharing it with others can be deeply fulfilling, regardless of your age.

Final Thoughts

So, are you too old to become a music producer? Absolutely not. Age is just a number and doesn’t define your ability to learn, create, or succeed. The music industry is diverse and ever-evolving, with room for voices and perspectives from all walks of life. If music production is your dream, go for it. Dive into learning, embrace your unique experiences, and connect with others who share your passion. The world of music awaits, and there’s no age limit on creativity and success.