16829: Just Another Mad Men Monday 7.

 

Peggy Olson and Joan Harris rose from secretaries to Copy Chief and Director of Office Operations–Partner, respectively. Dawn Chambers rose from Don Draper’s secretary to Personnel Manager in a performative DEI move.

16828: Quincy Jones (1933–2024).

 

From CNN…

 

Quincy Jones, musical titan and entertainment icon, dead at 91

 

By Lisa Respers France, CNN

 

(CNN) — Musical titan Quincy Jones, the composer and producer who added his tasteful polish to recordings by everyone from Ray Charles and Frank Sinatra to Michael Jackson, has died, according to his representatives. He was 91.

 

Jones died Sunday night at his home in Bel Air, California, surrounded by his children, siblings and other family members, his publicist told CNN in a statement.

 

“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the Jones family said in the statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him. He is truly one of a kind and we will miss him dearly; we take comfort and immense pride in knowing that the love and joy, that were the essence of his being, was shared with the world through all that he created. Through his music and his boundless love, Quincy Jones’ heart will beat for eternity.”

 

A renowned jazz and pop musician, Jones was also a prolific cross-genre arranger, conductor, record label executive and civil rights advocate. His talent and drive led to an almost unparalleled career in entertainment.

 

His long and varied list of credits include composing the score for the Oscar-winning film, “In the Heat of the Night,” producing Michael Jackson’s blockbuster “Thriller” album and gathering dozens of pop and rock stars to record the 1985 charity single “We Are the World.”

 

Born in Chicago to a carpenter father and a mother who suffered from mental illness, Jones developed a love of music early on and took up the piano.

 

His family eventually moved to Seattle, Washington, where Jones began taking lessons from famed horn player Clark Terry.

 

He also met and became close friends with a then-unknown pianist named Ray Charles. The pair would enjoy a lifelong friendship.

 

A teenaged Jones began performing with jazz bands, and his talent at composing and arranging music drew the attention of bandleader Lionel Hampton.

 

Jones was only 15 when Hampton invited him to tour with the group, something Hampton’s wife, Gladys, put a stop to right away.

 

“I got on the band bus right away, and Gladys got on and said, “Hamp, what’s that child doing on the bus?” Jones recalled in an interview with the National Endowment for the Arts. “And I was so upset. And she said, ‘Get him off here. Make him go back to school. We’ll call him later when he gets his schooling.’”

 

Jones heeded her advice, finished school and earned a scholarship to Schillinger House (now known as Berklee College of Music) in Boston, from which he graduated in 1951.

 

After graduation, he headed out on tour with Hampton and his band.

 

Thus began a storied a career which found Jones soon arranging and recording for such legends as Count Basie, Duke Ellington, Sarah Vaughan and his friend Ray Charles. Bandleader Lionel Hampton, trumpeter Dizzy Gillespie and other giants also tapped the young Jones for their European tours.

 

In 1961, Jones was hired by Mercury Records as their artists-and-repertoire director. He made history three years later when he was promoted to vice president, making him the first African-American man to hold such a position within a white owned record label.

 

He had his first pop hit with Leslie Gore’s 1963 single “It’s My Party,” which shot to No. 1. Jones also worked with the likes of Sinatra and Peggy Lee during his time with the label.

 

That same year found him scoring what would be the first of many Grammys, with the initial one being for the arrangement the Count Basie Band song “I Can’t Stop Loving You.”

 

The 1960s also began Jones composing film soundtracks, including “In The Heat of the Night” and “In Cold Blood.”

 

He worked with A&M Records from 1969 to 1981 and formed his own record label, Qwest.

 

In 1982. Jones had one of his most famous collaboration when he produced Jackson’s best-selling album “Thriller.”

 

Three years later, he called on Jackson and a host of other stars for the charity single “We Are the World.” That same year he found success on the big screen with producing the Steven Spielberg-directed film “The Color Purple.”

 

Jones also had a hit on the small screen with and the television series “The Fresh Prince of Bel-Air,” which starred his mentee Will Smith.

 

Jones delved into the world of publication in 1993, when he founded the music/cultural magazine Vibe, which he sold in 2006.

 

A brain aneurysm in 1974 caused Jones to temporarily lighten his workload. He reflected on his health scare years later in a social media post.

 

“While operating for 7.5 hours, my doctors discovered a second aneurysm that was ready to blow, so they had to schedule a second operation. During this time, it didn’t look too promising, so my friends planned a memorial service for me at The Shrine in LA, & I basically attended my own funeral,” Jones wrote. “Man, everyone was there…Sidney Poitier, Sarah Vaughan, you name it. It was special to see so many people there to celebrate what would’ve been my 41 years of life.”

 

Over the years, he had three marriages and seven children.

 

Jones was married to his high school sweetheart Jeri Caldwell from 1957 to 1966, and the couple had had one daughter, Jolie.

 

In 1967, he married Swedish model Ulla Andersson, and they had two children, Martina and Quincy Jones III, before divorcing in 1974.

 

That same year Jones married actress Peggy Lipton, a union which lasted until 1990, and produced two daughters, actresses Rashida Jones and Kidada Jones.

 

He also had a daughter, Rachel, with dancer Carol Reynolds, and a daughter – fashion model Kenya Kinski-Jones – with actress Nastassja Kinski.

 

Jones didn’t slow down personally or professionally in his later years. In 2014, he produced the documentary “Keep on Keepin’ On” about his mentor, jazz trumpeter Clark Terry.

 

Reflecting on his own career that year, Jones told Rolling Stone, “I never thought about it until I hit 80, but I have been blessed to work with every major music star in the history of America — including Louie Armstrong.”

 

“You can’t plan that,” Jones said. “You can’t say, ‘Mr. Sinatra, I want to work with you.’ No. You have to wait until he calls you.”

 

In his 2022 book, “12 Notes On Life and Creativity,” Jones reflected on the essence of his life’s work.

 

“Creativity is one of the most beautiful gifts we possess,” Jones wrote. “If utilized properly, not only does it serve as an outlet, but it also holds the power to transform heartache into something beyond a singular sentiment.”

16827: Karma & Kamala Harris.

 

In 2011, MultiCultClassics introduced the concept of Offensive Karma.

 

Originally applied to the NBA Finals, Offensive Karma is defined by a team’s display of offensiveness in the form of words or actions rooted in bigotry, discrimination and ignorance—which then leads to the team’s ultimate demise in the championship tourney. The notion was later extended to championship competitions in the NFL and MLB, as well as a Popeyes promotion and White advertising agency Deutsch.

 

Now, it’s time to apply Offensive Karma to the US presidential election pitting former President Donald Trump against Vice President Kamala Harris.

 

Providing a detailed comparison between the candidates is unnecessary, as it’s no contest.

 

If Offensive Karma proves an accurate indicator, expect the inauguration of President Kamala Harris.

 

Please vote to confirm the appropriate outcome.

16826: Gone Fishing.

Rastus took the day off too.

16825: Failing To Tell The Real Story On Book Banning.

 

This National Coalition Against Censorship campaign from INNOCEAN USA speaks out against banning children’s books, emphasizing the titles typically targeted by interest groups and politicians present LGBTQIA+ and BIPOC themes.

 

Yet the Villains Against Evil imagery and overall message arguably do not strongly address such cultural issues, opting to depict White villains from classic Eurocentric fables and fairy tales. Or was the intent to symbolize that most book-banning fanatics are White people?

 

The headline states, “The most evil villains aren’t in books—they’re the ones banning them.” Okay, except banned books on critical race theory prominently feature real-life racist villains.

 

In short, the campaign fails to tell a true story in compelling, provocative, and inspiring style.