Entertainment Bay

Christina María Aguilera (born December 18, 1980) is an American pop musician. Aguilera first appeared on national television in 1990 as a contestant on the Star Search program, and went on to star in Disney Channel’s television series The New Mickey Mouse Club from 1993–1994. Aguilera signed to RCA Records after recording “Reflection” for the film Mulan. She came to prominence following her debut album Christina Aguilera (1999), which was a commercial success spawning three number one singles on the Billboard Hot 100. A Latin pop album, Mi Reflejo (2001), and several collaborations followed which garnered Aguilera worldwide success but she was displeased with her lack of input in her music and image.

After parting from her management, Aguilera took creative control over her second studio album Stripped (2002), which received mixed reviews and produced substantial sales. The second single, “Beautiful”, was a commercial success and sustained the album’s sales amidst controversy over Aguilera’s sexual image. Aguilera’s third studio album Back to Basics (2006), included elements of soul, jazz, and blues music, and was released to positive critical reception.

Aside from being known for her vocal ability, music videos and ever-changing image, musically, she includes themes of dealing with public scrutiny, her childhood, and female empowerment in her music. Apart from her work in music, she has also dedicated much of her time as a philanthropist for charities, human rights and world issues. Aguilera’s work has earned her numerous awards, including four Grammy Awards and one Latin Grammy Award, amongst eighteen nominations. She has become one of the most successful recording artists of the decade, selling more than 42 million records worldwide.

Since Michael Jackson’s passing last week, a great deal of nonsense has hit news programs and the Internet. (Here is a case where Google might not be your friend.) From the disgraceful father of the deceased using every opportunity to promote his whatever, to countless ill-informed speculations, to reductions of Jackson’s life to a mere caricature, there has been enough errant garbage to nauseate the most casual fan. As a supplement to our own tribute from Stephen Thomas Erlewine, here is a modest attempt at shining some light on the more insightful and heartfelt writing that has surfaced during the last few days.

“Thursday night in New York was hot — after weeks of rain, it was one of the first real summer nights of the year. Car windows were open all over the city, and just about every station on the radio dial had switched to an all-Michael Jackson format; for the first (and, for all we know, the last) time, it felt as if absolutely everyone was listening to the same songs.” — Kelefa Sanneh, The New Yorker

“A showstopper in any definition of the word, he transcended generations and racial barriers. From oldies fans who were there from the start of his career in Gary to today’s young teens, whose attention span and too-cool-for-even-last-week’s-number-one-hit musical tastes rarely wander from the MTV playlists, he rocked them all. Even as I talked to a co-worker today, she told me about her 6-year-old son who goes to bed each night playing the Jackson 5’s greatest hits CD. That’s what you call IMPACT.” — Eric Luecking, Soul Sides

“If he did anything wrong in his life, and part of me doesn’t ever want to know if he did, he certainly also did more good than any of us can ever conceive of. He was easily the greatest dancer of the past three decades, probably the greatest singer, and quite possibly the greatest songwriter. Which adds up the greatest entertainer, period. ‘I can guarantee you one thing, we will never agree on anything as we agreed on Elvis,’ Lester Bangs wrote in his obit 32 years ago, only a couple years before Michael Jackson definitively proved him wrong, emerging full-blown into adulthood as the world’s most popular musician by presaging generations of young people who would celebrate their adulthood by refusing to grow up. And he emerged, of course, with some of the most celebratory music anybody from those generations will ever hear. But always, in the middle of that celebration, and not always submerged, there was dread. If anybody deserves to finally rest in peace, it’s him.” — Chuck Eddy

“The way he integrated MTV in 1983 with ‘Billie Jean,’ the ‘We Are the World’ extravaganzas, the face masks, the oxygen tanks, the Neverland Ranch — all that mixes in with everything from ‘Stop the Love You Save’ to ‘Dancing Machine,’ ‘Wanna Be Startin’ Somethin’,’ ‘P.Y.T.,’ ‘Man in the Mirror,’ adding up to the more than 750 million albums sold worldwide… I mean. And this is not the half, the tenth, the thousandth of what he was.” — Danyel Smith, CNN

“He was Blackness and maleness, soul music and pop culture, all forged pre-hip-hop, pre-Reagan, pre-crack, pre the implosion of short-lived Civil Rights-era idealism and hope. That’s an incalculably important point to understand the thick strands of optimism, possibility, aesthetic, and political vision that ran through his work. And that makes the darkness and paranoia that marbled so much of his later work all the more heartbreaking, especially as it roughly paralleled the shifting tenor of the times. He never lost his humanitarian streak or his belief in the overall goodness of humanity, but the evolution of his own relationship to the world and his feelings about how he was treated darkened noticeably.” — Ernest Hardy

“But what is the allure of this narrative that we — fans, consumers, the media, American culture, etc — somehow destroyed Michael? What anxieties do we displace by projecting them onto his troubled face? I always think back to the interrogation scene from Three Kings. ‘What is the problem with Michael Jackson?’ an Iraqi soldier asks a wayward American. ‘Your country make him chop up his face.’ He did it to himself, the American protests, but his interrogator insists: ‘Michael Jackson is pop king of sick fucking country.’ Maybe it is a ’sick fucking country.’ Maybe the idea of pop transcendence is deeply flawed. But we are truly the sick ones if we didn’t already know this, if we needed Michael Jackson to be our martyr. If we think we would trade it all for a world without Off the Wall or Thriller or ‘Butterflies.’” — Hua Hsu, The Atlantic

“I often thought of a veal calf when I saw him — he had been raised to perform under extreme pressure before he had any idea of what life could be beyond performing for others. Then he spent decades trying to build a life without ever having seen one. He had the best ear in the world but he had no apparent idea of how people experienced everyday comfort, or even boredom.” — Sasha Frere-Jones, The New Yorker

“We have to be sophisticated enough to acknowledge that greatness and a touch of evil dwelled in the man. I’ve always believed that transcendent art emanates from the purest, most evolved parts of our soul. But that highly spiritual achievement doesn’t absolve us of our daily misdeeds. To simply brand him a smooth criminal, as some have, or to overlook his tragic nature, as have others, is to deny his humanity. The meaning of Michael Jackson’s life — as a black man, a sexual being, a abused and abusing adult — will be interpreted to fit the prejudices of the speaker. His music — it speaks volumes.” — Nelson George

“Why would people try to tear down a man who constantly used his power, money, and influence to help others? Why would people express such disgust and contempt for a man who constantly sang of love and peace, and used his talent to entertain, uplift, and inspire millions? Tell em that its human nature, I suppose…” — Phonte Coleman (Little Brother, the Foreign Exchange)

“What we’ve lost, in a word, is monoculture. Michael Jackson is the final pop star of seeming consequence to everyone — not just people who don’t normally care about music, but people who don’t care about culture, period. Obviously, it’s been a quarter-century since that was unequivocally true. But he’s the last pop musician for whom it was even equivocally true. The fact that the business he saved has been crumbling for some time was given a brutal underlining by Jackson’s sudden, unexpected death, the question of what’s-next now punctuated with what-will-never-be-again.” — Michaelangelo Matos, Salon

The Beatles were a English rock and pop group formed in Liverpool in 1960 who became one of the most commercially successful and critically acclaimed bands in the history of popular music. During their years of stardom, the band consisted of John Lennon (rhythm guitar, vocals), Paul McCartney (bass guitar, piano, vocals), George Harrison (lead guitar, vocals) and Ringo Starr (drums, vocals). Although their initial musical style was rooted in 1950s rock and roll and skiffle, the group worked with different musical genres, ranging from Tin Pan Alley to psychedelic rock. Their clothes, style and statements made them trend-setters, while their growing social awareness saw their influence extend into the social and cultural revolutions of the 1960s.

Returning to Liverpool following periods of Hamburg residency during 1960, 1961 and 1962, the group appointed Brian Epstein manager, and he negotiated a record contract with EMI’s George Martin; Epstein would manage the band until his death in 1967, and Martin produced all but one of the group’s studio albums. The single “Please Please Me” achieved UK chart success in late 1962. The group attracted fervent interest, termed “Beatlemania”, during tours of the UK and Europe throughout the next year. “I Want to Hold Your Hand” found U.S. chart success at the close of 1963, spearheading the group’s international popularity, and they toured the U.S. and other countries over the next three years. During this period, Lennon, McCartney, Harrison and Starr were each honoured with an MBE. In 1966 the group found themselves mired in controversy, including widespread antipathy in the U.S. after a magazine published a quote from Lennon’s remarks on Christianity. They ceased to perform commercial concerts after the 1966 U.S. tour, concentrating instead on studio work and enjoying continued international chart success. In 1967 the group met Maharishi Mahesh Yogi, who introduced them to Transcendental Meditation. The same year, Epstein died from an overdose of a prescription drug. The group spent time in India, treating the Maharishi as their guru for a short time, but became disillusioned with him. Increasingly dominated by conflict, and further alienated from one another by a disagreement about the appointment of a new financial adviser, the group disintegrated in 1970. All four members embarked upon successful solo careers.

The Beatles sold between 600 million and one billion records internationally. In the United Kingdom they released more than 40 different singles, albums, and EPs that reached number one, earning more number one albums (15) than any other group in UK chart history. According to the Recording Industry Association of America, they have sold more albums in the United States than any other artist. In 2004, Rolling Stone magazine ranked them number one in its list of 100 Greatest Artists of All Time, and four of their albums appeared in the top ten of the magazine’s 500 Greatest Albums of All Time list. According to that same magazine, The Beatles‘ innovative music and cultural impact helped define the 1960s, and their influence on pop culture is still evident today. In 2008, Billboard magazine released a list of top-selling Hot 100 artists to celebrate the chart’s fiftieth anniversary, with The Beatles at #1.The Beatles were collectively included in Time magazine’s list of The Most Important People of the 20th Century.

Formation
In March 1957, John Lennon formed a skiffle group called The Quarrymen. In July of the same year, Lennon met Paul McCartney, who agreed to join as a guitarist. McCartney invited George Harrison to watch the group during February 1958, and Harrison joined as lead guitarist.The group’s drummer, Colin Hanton, left in 1959, after which they had difficulty finding a permanent replacement. Stuart Sutcliffe, a fellow student of Lennon’s at the Liverpool College of Art, joined on bass in January 1960. During the year they went through a succession of name-changes. Sutcliffe suggested “The Beetles” as a tribute to Buddy Holly and The Crickets, and for the first few months of 1960 they were known as “The Beatals”.Other names included “Johnny and the Moondogs”, “Long John and The Beetles” and “The Silver Beatles”. The band finally became “The Beatles” in August 1960.The lack of a permanent drummer posed a problem when the group’s unofficial manager Allan Williams booked them to perform as resident band for a period in Hamburg, West Germany.

Along with June Christy, Helen O’Connell, and Julie London, Chris Connor epitomized cool jazz singing in the 1950s. Influenced by Anita O’Day, the torchy, smoky singer wasn’t one for aggression. Like Chet Baker on the trumpet or Paul Desmond and Lee Konitz on alto sax, she used subtlety and restraint to their maximum advantage. At the University of Missouri, Connor (who had studied clarinet at an early age) sang with a Stan Kentonish big band led by trombonist Bob Brookmeyer before leaving her native Kansas City for New York in 1947. Quite appropriately, she was featured in the lyrical pianist Claude Thornhill’s orchestra in the early ’50s. After leaving Thornhill, Connor was hired by Kenton at Christy’s recommendation, and her ten-month association with him in 1952-1953 resulted in the hit “All About Ronnie.” Connor debuted as a solo artist in 1953, recording three albums for Bethlehem before moving to Atlantic in 1955 and recording 12. Connor reached the height of her popularity in the 1950s, when she delivered her celebrated versions of Billy Strayhorn’s “Lush Life” and George Shearing’s “Lullaby of Broadway,” and recorded such excellent albums as The Rich Sound of Chris Connor and Lullabies of Birdland for Bethlehem and Chris Craft and Ballads of the Sad Cafe for Atlantic. Connor made a poor career move in 1962, the year she left Atlantic and signed with a label her manager was starting, FM Records — Connor had recorded only two albums for FM when they folded. Connor’s recording career was rejuvenated in the 1970s, and she went on to record for Progressive, Stash, and Contemporary in the ’70s and ’80s. Connor maintained a devoted following in the 1990s and continued to tour internationally. ~ Alex Henderson, All Music Guide

* Born: November 08, 1927, Kansas City, MO
* Active: ’50s, ’60s, ’70s, ’80s, ’90s, 2000s
* Genres: Vocal Music
* Instrument: Vocals
* Representative Albums: “Warm Cool: The Atlantic Years,” “A Jazz Date with Chris Connor/Chris Craft,” “Chris Craft”
* Representative Songs: “All About Ronnie,” “Lullaby of Birdland,” “I Get a Kick Out of You”

Los Angeles based R&B vocalist Colbie Caillat is a singer songwriter with songs based on a humble approach sounding like sweet honey flowing over rocks. Although her music is acoustic based, the arrangements go much deeper, culling from classical folk, jazz & pop, with her distinguished breathy vocals and dynamic melodies commanding the audience of the listeners she’s gained.

Colbie Caillat, born in California grew up in Malibu and Ventura County. Growing up surrounded by music with her father, Ken Caillat, who was most notably remembered for Co-Production and Engineer credits on Fleetwood Mac’s Rumours among several others. Every sound of Colbie’s soulful style unfolds a story of her many travels through life.

Colbie started her singing debut at an early age [eleven] with special performances around her house. Within weeks she ventured out into talent shows and school performances. Her parents citing her as the “little bird” would wake up at the crack of dawn to her singing her heart out waking the house. With the help of her parents she was charmed into the idea and the truth that she had potential and put herself into vocal coaching.

At the age of fifteen something happened to Colbie that would change her life completely. She met Michael Blue, a producer and engineer located in Westlake Village, Ca. Michael, having worked with artists such as Augustana, Five for Fighting, and Carrie Underwood among others, at the time was working on Runway music for St. John Knit’s seasonal clothing lines. To cut a long story short Michael took Colbie under his wing and began to use her voice on the tracks he was producing. Within the first season he knew she was something amazing and starting producing and collaborating additional songs with Colbie. Then at the age of 19 Colbie wrote her first song on the guitar, and has never stopped since.

Colbie has since then expanded her knowledge by working and collaborating with some of Los Angeles’s best singer songwriters. Working with and learning from Jason Reeves, a brilliant artist who has co-written many of Colbie’s songs and has a sound definitely worth checking out.

Ever since her mom gave birth to her in their Malibu home overlooking the ocean, Colbie Caillat has been the quintessential California girl. Her idea of a good time is hanging out with her friends at a beach bonfire or hopping in the car, tunes at the ready, and driving up the Pacific Coast Highway.

On “Coco,” her Universal Republic debut, the songs mirror Caillat’s low-key, refreshing style. Armed with her acoustic guitar and her dusky vocals, she evokes the same gentle, yet spirited style of her musical influences John Mayer, Bob Marley, Lauryn Hill and The Weepies

As befits the organic style of her music, Caillat’s fan base has grown by word of mouth, one person at a time. Last year, she began posting her songs on her myspace.com; tunes like “Bubbly,” a delightful confection about romance, and “Tailor Made,” Caillat’s joyful message to her sister over seeing her sibling find the perfect mate.

With no marketing push and only the power of the music behind her, Caillat became a sensation on the social networking site. Last October when she had 6,240 friends, Rolling Stone highlighted her as one of the top female artists on myspace. Ultimately, Caillat became the #l unsigned artist for over four months and her number of friends swelled to more than 100,000. Her profile has been visited over 3 million times, and she has more than l0 million plays.

As her online popularity grows, so does the recognition factor. “I’m not even famous yet and every time I go shopping, the young girls who work in the stores, they know who I am. They’ll ask, ‘Are you Colbie from myspace?’” she recounts with delight. Grateful for the recognition, the laid-back, natural beauty lamented, “Great, now I’m going to have to put on make up every time I leave the house!” But she quickly reconsidered. “I’m kidding. But I am hoping that I can show my fans that it’s okay to be yourself.” Indeed, even the album’s title reflects her desire to remain true to herself: Her parents nicknamed her Coco while she was still an infant and it’s a tag that has stuck.

Caillat started singing around home as a small girl, but a pivotal moment came when she was 11. “I heard Lauryn Hill sing ‘Killing Me Softly.’ I think her voice is absolutely beautiful and it made me want to start singing, so I sang one of her songs at a talent show in sixth grade.”

Her household was filled with music. Her father, Ken Caillat, co-produced Fleetwood Mac’s legendary “Rumours” and “Tusk” albums and later ran his own record label. “My dad was always producing and mixing and he has the console in our house. A few years ago, he remixed ‘Tusk’ so I’ve always been around music.” She recalls Mick Fleetwood and John McVie hanging around: “All of my dad’s friends are in the business, so I’ve learned from them.

Now that I’m in it, I can go to them and they have advice for me, so it’s really cool.” Her dad even suggested that the renowned drummer play on “Coco,” but Caillat knew she needed to go her own way.

But she still relied heavily on dad’s words of wisdom. “I just wanted to be a singer and he said if you write songs, you get respect from people; you’re having them relate to a part of you that you’re sharing with them.”

So the singer turned into a singer/songwriter and discovered an innate talent for observing and capturing nuanced, yet significant moments, such as that first blush of love or passage into adulthood. She also found two great collaborators in the process. Mikal Blue, whom she met when she was 15, hired her to sing the tunes he wrote for the St. John Knits’ fashion shows. Their professional partnership led to writing together and his producing her album. She also connected with singer/songwriter Jason Reeves. Together, they crafted the songs on “Coco.”

Writing happens organically for Caillat after a small gestation period. “I just let stuff build up inside of me and I’ll write three songs in a weekend. It’s a release,” she says. “I don’t pick something to write about. When I’m playing guitar, a melody comes out and whatever words come out, I go along with that.”

And at some point, she instinctively heads toward water, but of a different sort than one might expect. “I always go write songs in the bathroom because it sounds so good in there,” she says. “It’s like you’re in a cathedral! It makes it sound a lot better, which gives you more confidence. I think melodies come out easier.”

Inspiration comes from different places: conversations with family and friends or reflections on her own life. For example, her love of Hawaiian music is reflected on “Tied Down”: “I’ve been going to Hawaii twice a year since I was 12. At one point, I moved there for two months with friends and got a job and got a Rent-a-Wreck, went longboarding, it was lots of fun. I’ve always wanted to have a ukulele on a song. I just love that laid-back sound. Hawaii is a huge part of me.” Or the frustrations of trying to conquer a fear in “One Fine Wire”: I took an improv class at junior college because I’m really shy in front of people up on stage. I ended up dropping the class because I had a scene I had to do. My parents were so mad at me because I just quit something I was trying to overcome. So I went upstairs into my room bawling and wrote ‘One Fine Wire’.”

Luckily for Caillat, just as she continues to evolve as a writer, she is growing as a live performer. “I’m getting used to it. I have my band now, I just love these guys. I interact with them on stage. It’s so much fun.”

On a more serious note, the 21-year old realizes young girls will look up to her. “I think it will be cool,” she says. Indeed, who better than a young woman admired by her peers for her talent and work ethic, instead of for hanging out at nightclubs. A young woman who constantly wants to improve—she’s starting piano lessons as well as continuing guitar because she thinks it can open up another dimension to her songwriting.

“In the past few months I’ve been preparing myself for this crazy adventure. I know many challenges and frustrations lie ahead, and I am going to learn a lot. But if I can come home with some great new songs, amazing experiences, and new friends,” says Caillat, “it will all be worth it.”

Want to know more about Colbie Caillat read Colbie Caillat book Colbie Caillat Coco (Play It Like It Is Guitar)

Shawn Corey Carter (born December 4, 1969), better known by his stage name, Jay-Z, is an American hip hop artist and businessman. He is the former CEO of Def Jam Recordings and Roc-A-Fella Records. He co-owns The 40/40 Club and the New Jersey Nets. He is one of the most financially successful hip hop artists and entrepreneurs in America, having sold over 26 million units in the United States and receiving several Grammy Awards for his musical work. Along with his financial and musical success, Jay-Z is known for being involved in the feud between him and fellow New York rapper Nas, which was eventually settled in 2005. He is also known for his relationship with Beyoncé Knowles, whom he married on April 4, 2008. MTV named him number one on their list of the greatest MCs of all time.

Originally from Marcy Houses housing project in the Bedford-Stuyvesant neighborhood of Brooklyn in New York City, Jay-Z was abandoned by his father Adnes Reeves and shot his brother in the shoulder for stealing his jewelry when he was twelve years old. Jay-Z attended Eli Whitney High School in Brooklyn, along with rapper AZ, until it was closed down. After that he attended George Westinghouse Information Technology High School in Downtown Brooklyn, which fellow rappers The Notorious B.I.G. and Busta Rhymes also attended, and Trenton Central High School in Trenton, New Jersey, but did not graduate. In his music he refers to having been involved in selling crack cocaine.

According to his mother Gloria Carter, a young Jay-Z used to wake his siblings up at night banging out drum patterns on the kitchen table. Eventually, she bought him a boom box for his birthday and thus sparked his interest in music. He began freestyling, writing rhymes, and followed the music of many artists popular at the time.

In his neighborhood, Carter was known as “Jazzy”, a nickname that eventually developed into his stage name, “Jay-Z”. The moniker is also an homage to his musical mentor, Jaz-O, as well as to the J/Z subway lines that have a stop at Marcy Avenue in Brooklyn.

Jay-Z can be heard on several of Jaz-O’s early recordings in the late 1980s and early 1990s, including “The Originators” and “Hawaiian Sophie”. His career had a jump start when he battled a rapper by the name of Zai. The battle caught the eye of many record labels, as Jay-Z was able to hold his own against Zai. He first became known to a wide audience by being featured on the posse cut “Show and Prove” on the 1994 Big Daddy Kane album Daddy’s Home He made an appearance on a popular song by Big L, “Da Graveyard”, and on Mic Geronimo’s “Time to Build”, which also featured early appearances by DMX, and Ja Rule in 1995. His first official rap single was called “I Can’t Get With That”, for which he released a music video.