(From CNN.com)
The brilliant singer/songwriter/producer/activist/philanthropist Stevie Wonder recounts his childhood, how he went blind and what his superstardom meant for his family. CLICK POST FOR MORE.
The Legacy Of Stevie Wonder
Wednesday, December 1st, 2010COST EXCLUSIVE: Michael Jackson: Never Can Say Goodbye
Thursday, June 24th, 2010
I remember June 25th, 2009 vividly. I remember standing in the sweltering epicenter of Metro Center in Washington, D.C. I was waiting on the red line train en route to Union Station when I got a voicemail message. It was my dad telling me that Michael Jackson had passed away. There was a strange feeling that took my body completely hostage when I heard those words. It’s a year later and I still can’t describe that feeling. The thought of Michael Joseph Jackson not being alive is completely implausible. As I made my way onto the train that finally arrived into the station, I started to shuffle through the bemused index cards that were cluttering my mind.
I also wondered if my riding companions were in the know of the news that I had just received. All of a sudden, Blackberries and iPhones started to chirp in unison, as if they were moaning in a technological heat. I then heard a woman ask to no one in particular if we had heard that Michael Jackson had died. The entire subway car gasped, and it seemed the same feeling that had taken over my body minutes earlier had found new destinations of flesh and soul to take hold of.
As a broad coalition of Baby Boomers, Generation Xers and Millennials sat on that train to Union Station, our faces were momentary portraits of suspended animation. It’s as if we couldn’t believe that the same beautiful, black prince who had provided the soundtrack to our adolescence, in one way or another, had gone on to glory before we had. Not the same adorable kid who, along with his four brothers, introduced the world to bubble gum soul on The Ed Sullivan Show in 1969. Not the same young man that had thousands of little boys and girls of different shades striving to attain the perfect afro, all while practicing that robotic dance that they saw young Michael perform while they were glued to their TV screens watching Soul Train on Saturday morning. Not Mr. ABC. Not Mr. Never Can Say Goodbye. Some experienced these events in living color. Others, like me, have relied on VHS, DVD, and the internet over the years to wallow in that beautiful pool of nostalgia. But one thing remains consistent from generation to generation; we aren’t supposed to live in a world without Michael Jackson.
One year later, there is a legacy that is still being written about Michael long after he has taken his last breath. Questions still surround the role that personal physician Dr. Conrad Murray might have played in MJ’s death. Michael’s father, Joe Jackson, has blamed his mother Katherine for his death. There have been allegations made by Michael’s former dermatologist that the two had a homosexual relationship. It’s been reported that Michael has made nearly $800 million after his death. This crazy thing we call life still goes on. And it seems that many people still have a lust for sensationalizing every aspect of Michael Jackson’s life–even from beyond the grave. The labels that followed him for most of his adult life–pariah, self-hater, nutcase, child molester–seem to have dwindled away slowly. In a strange way, Michael’s death has made him human again. In his passing, we were able to see the great son, brother, father and humanitarian that Michael had evolved into during his short 50 years on this earth. It was truly touching to see how his children adored him, as his daughter tearfully laid her dad to rest at his funeral last summer. A year later, we see Michael in a different light; a light that has shunned hypocritical finger pointing and embraced an everlasting bond that will always be shared through his music.
What was the first song you played when you had your Michael moment? You know the moment–the little space of spare time that you had to take for yourself after you heard the tragic news. The moment when you closed your door, turned off your TV, and put your iPod playlist on nothing but Michael Jackson greatness. Rockin’ Robin? Lookin’ Through The Windows? Dancing Machine? Got To Be There? Blame It On The Boogie? Off The Wall? This Place Hotel? Thriller? Bad? Jam? We all have our favorites, and the first song that I played was Human Nature. To me, that was the song that truly summed it all up for me. The reason that Michael didn’t outlive us is because he was human. Even though he could glide across the moon without ever stepping foot in space, he was a man of flesh and blood. Just like all of us. As I went through my entire Michael Jackson catalog and all of the rare performances and commercials on youtube, I came to the realization that Michael was gone for good. And even though his brilliant music lives on forever, we don’t have the man who was blessed to create that brilliance here with us to celebrate. But in the words of Joni Mitchell (and baby sister Janet), maybe we didn’t know what we had ‘till he was gone.
Claude Kelly: A Beast With The Pen
Thursday, December 24th, 2009
Photo Credit: Simone Smalls PR
When you’re born and bred in New York City, it’s difficult not to be inspired to make your own mark in the world. So Claude Kelly got his start early, as he began singing and playing the piano by the age of two. But that was just the beginning for the Lower East Side resident, as he has been one of the most called-upon and consistent songwriters since his break in 2006. Although his name might not be as identifiable as Ne-Yo, The Dream, Keri Hilson and Sean Garrett in the realm of songwriters, Kelly’s credentials are just as impressive. His writing talents have attracted the likes of Akon, Leona Lewis, Chrisette Michelle and two of music’s biggest stars–Whitney Houston and the late Michael Jackson.
But Kelly also has the gift of crafting material for several genres, as evidenced in his work for Miley Cyrus, when he penned the smash hit, “Party In The U.S.A.” The talented musician is taking his success all in stride, even reaching out to offer advice and support through his online blogs to aspiring composers and everyday people alike. Looking toward the plentiful workload that awaits him in 2010, which includes penning potential hits for Christina Aguilera, Fantasia, R. Kelly, Kelly Rowland and newcomer Ke$ha, Claude Kelly continues to write songs with the intent of creating timeless music. I guess he’s absolutely earning the nickname that has stuck to him since his entry into the music industry: Studio Beast.
CM: Growing up, who were some of the artists who inspired your musical taste? As you have gotten older, have those artists changed?
CK: I grew up listening to a little of everything, so my taste is very eclectic. Michael Jackson is my all time favorite. When he died, it felt like I lost a piece of my musical self. Billy Joel is my other favorite. I love traditional church hymns…Whitney Houston, Bob Marley, Babyface, TLC, Green Day, R. Kelly and all things Motown. As I’ve grown, nothing has changed. These are icons; you can’t outgrow them.
Speaking of your eclectic taste, you grew up in New York City –a melting pot of assorted genres and sounds. How did the Big Apple feed your musical appetite?
If you grow up in New York City and it doesn’t shape you as a musician, then something is super wrong. The city itself has a rhythm like nowhere else in the world. Every street corner has its own flavor; every noise is music to me. You hear Latin music coming out of shops; hip-hop blasting from cars passing by. There are street and subway performers that act and sound like rock stars. Your neighbor is rehearsing arias in the apartment below you, while your upstairs neighbor is singing along to Mary J. Blige. I just soaked it all up. It’s what makes me the musical freak I am now.
As a relatively new name in the world of songwriters, you’ve worked with an array of renowned talent. Do you get awestruck when working with some of these artists?
Never; I respect all of the great talents I’ve worked with, but I also know I’m there for a reason– to add my unique approach. It’s my job to create a musical moment that will stand the test of time. You can’t bring out the best of Whitney [ Houston ], Britney [Spears], Christina Aguilera and R. Kelly if you’re focused on their fame. I get excited and awestruck when I hear the final product and feel we accomplished something amazing.
How do you adapt to each style of the artist when you are composing. What’s the difference when you’re writing for Whitney and writing for Miley Cyrus?
Songs have been the same for over a hundred years. They are all about love, pain, sex, partying, or political views. Imagination is the key. If I know who I’m writing for, I can literally become that person–male or female. A Whitney Houston love song is no different than a Miley Cyrus love song. How they say “I love you” is what makes them unique. People call me “The Studio Beast” because I am good at tapping into how each artist expresses themselves.
You gained a huge crossover hit with the Miley Cyrus song, “Party In The U.S.A. ” She even said in an interview she wasn’t that familiar with Jay-Z’s music until you mentioned his name in that song. How was it working with her?
Miley is no less than amazing. She has the musical depth and emotion of a woman twice her age. To top it off, she’s a triple threat. She sings, she acts, and she dances. She came in and recorded “Party In The USA ” while filming a movie in Savannah , GA. For lack of a better word, she kicked the song’s ass. She sounds great on it and she sold it from beginning to end; it blew me away. Miley will be around for a very long time…you’ll see.
In your opinion, what’s the greatest song that has ever been written?
It has to be “Silent Night.” It’s the only song that moves me to tears every time I hear it. Whether you buy into its religious message or not, you cannot deny that it is one of the most gorgeous songs on this planet.
