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RedOne has been nominated for eight Grammy Awards, winning three. He was also awarded the 2011 Grammis Award for Producer of the Year, a Swedish music award instituted as a local equivalent to the Grammy Awards. In 2009, he was the number one producer on the Billboard Hot 100, ranking number three as songwriter[4] and BMI Songwriter of the Year.[9] Commonly, he produces songs in the pop, rock, R&B, house, hip hop, and dance music genres.
In 1995, he changed directions by opting to produce and write songs for other artists.[12] Instrumental in helping him make this transition was Rami Yacoub, another fellow ex-rock musician.[13] Yacoub, a Palestinian-Swedish songwriter/producer already enjoyed considerable success and was a well-established producer. Inviting RedOne to work with him in the studio, he taught RedOne about "programming and how the software works" and the pair co-wrote a number of songs together.[12] During this period of cooperation, RedOne worked with the successful Swedish girl band Popsie writing their songs "Funky" and "Joyful Life" co-written and co-produced by Yacoub and RedOne (and where RedOne was credited on Popsie's 1998 self-titled album as songwriter and producer Nadir K). He chose the alias 'RedOne', a pseudonym of the name of a friend of his, Redouan.[citation needed] Redouan introduced Rami to Max Martin, Yacoub was asked some time later to join Cheiron Studios[13] and the two parted company with Yacoub working extensively with huge names like Backstreet Boys, Britney Spears, Westlife and Céline Dion, amongst others.
After years of struggling, RedOne finally began to achieve recognition for his work in 2005. He wrote two songs for Daniel Lindström's self-titled chart-topping album, "Break Free" and "My Love Won't Let You Down". RedOne then had his first number one on Sverigetopplistan with Darin Zanyar's "Step Up".[14] The song, co-written by RedOne, Darin, and RedOne's frequent collaborator Bilal Hajji, won them a Swedish Grammy and "Scandinavian Song of the Year".[15] He went on to co-produce Darin's two albums The Anthem and self-titled album Darin alongside well-known producers like Ghost, Jörgen Elofsson, Arnthor Birgisson and George Samuelson.
RedOne had crossover success with the Canadian singer and Juno Award Carl Henry with hits "I Wish" and "Little Mama".[16] In the ensuing period, he went on to produce a number of Swedish and European pop acts. These included the Dutch pop band Ch!pz (2005), two songs Cariño Mio and Wanna Play by the Mexican teen group RBD for the album Rebels (2006), American Christina Milian in a remix of her track "L.O.V.E." as "L.O.V.E. (RedOne remix)" from her album Best Of, the Dutch singer EliZe in "Itsy Bitsy Spider" and Swedish Idol contestant and popular singer Ola Svensson in "Cops Come Knocking" and "Go Go Sweden", the latter in support of the Swedish national football team, all in 2006. In 2005, he also worked with pop singer Britney Spears and songwriter Michelle Bell on a track titled "Money Love and Happiness" for her scrapped studio album "Original Doll",[17][18] but the track remained unreleased until 2012, when Bell leaked the track in full online.[19]
His American breakthrough came when he met with Epic Records to present a song for Kat DeLuna, on an upcoming debut album of hers. RedOne started playing songs in front of the marketing team and label president Charlie Walk. After playing the song "Whine Up", RedOne says, "Walk interrupted me and said, "Stop, you're a genius!" I couldn't believe it. We spent the rest of the time playing music and dancing, it was surreal".[11] A subsequent meeting led to RedOne being given a Jennifer Lopez song to remix followed by a couple of demos for Menudo. RedOne was also entrusted the production role on Kat DeLuna's debut album 9 Lives (2007).[11][12][21]
RedOne penned many of the songs sung by Alexey Vorobyov (also known as Alex Sparrow), who represented Russia in the Eurovision Song Contest of 2011 and eventually recruited the singer to his record label.[23]
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RedOne continued to work with Gaga on her second studio album, Born This Way (2011). RedOne produced and co-wrote four songs for Nicki Minaj's second album, Pink Friday: Roman Reloaded (2012), including the Billboard Hot 100 top 20 hits, "Starships" and "Pound the Alarm".[29]
48 China Review International: Vol. ?, No. ?, Spring 1994 Sinological Indexes in the ComputerAge: The ICS Ancient Chinese Text Concordance Series copyright1994 by University of Hawai'i Press In 1929 Ye Shaojun organized his family members to cut and paste the materials needed for the Shisanjingsuoyin (published in 1934). A friend who watched their work activities jested that this was actually "a home handicraft business." Twenty years later, a million IBM punched cards of eighty columns each might have been shuffled around to index an important Chinese text, but in the past decade, concordance making in China has entered the computer age. Since 1984 computerized databases have been created for the dynastic histories, Tang poetry and prose, Hong lou meng, Taiwan gazetteers, and many other major texts. In Hong Kong, under senior editors Professor D. C. Lau and Dr. F. C. Chen, the Institute of Chinese Studies at the Chinese University of Hong Kong has, since 1988, been developing a database of all extant Chinese writings, excluding archaeological finds, from the pre-Qin period to a.d. 589, the end of the Northern and Southern dynasties. The first use of this database has been in the making of concordances . In 1992, the Institute began publication of the ICS Ancient Chinese Text Concordance Series of some ninety-three planned volumes covering all 103 extant Chinese writings from antiquity to the end of the Eastern Han in a.d. 220. The ICS Series commemorates the twenty-fifth anniversary of the Institute and the ninety-fifth anniversary ofthe publisher, the Commercial Press. A complete list of titles and publishing schedules is given at the end of this review. The ICS group see their project as a continuation of the indexing and concordance work begun by the Harvard-Yenching Institute in the 1930s and interrupted by World War II. Publication is proceeding in two stages, with priority given to works for which no concordances exist. In the second stage, ICS will publish newly edited and corrected editions of concordances published elsewhere in earlier years. In every instance both the newly generated texts and the "redone" concordances are rigorously proofread, "a minimum of seven times." The most demanding aspects of this project have been the collation of the ancient texts (many are fragmentary) and the creation ofthose rare or obsolete Chinese characters, almost four thousand, not found in existing computer writing programs, which are prepared mainly for business use. Although generally adopting the Sibu beiyao editions, ICS has tried to select the earliest available editions of texts, rather than those "surreptitiously edited" Features 49 by later scholars, especially ofthe Ming and Qing dynasties. The collators have also extensively consulted "parallel passages" in ancient texts. An "anthology of parallel passages in ancient writings" might be compiled from this database. Each ICS concordance includes the complete text of the original work, with added punctuation and footnotes on textual variants and editorial emendations. The concordance itself indexes only single characters, romanized in pinyin and arranged in alphabetical order. Variant readings are cross-referenced. Characters may be located either by romanization (there is a Wade-Giles-pinyin conversion table) or by character stroke count. The number of occurrences of a given character is indicated at the first entry and then followed by a listing, in order of their appearance in the text, ofall phrases and sentences where the character occurs. Characters are located in the text by section, page, and line number. A table at the back provides a total character count for a given work and the single character ("vocabulary") count, and lists each character in the order of frequency from highest to lowest. The Liji zhuzi suoyin (Concordance to the Liji) was among the twelve titles in the first batch of concordances published by ICS in 1992. The Liji yinde (Index to the Liji), no. 27 in the Harvard-Yenching Sinological Series, was indeed not a concordance, as are some of the HY Series "indexes," but an index of"nouns, important verbs and adjectives" in the Liji. The HY Index-was not published with an accompanying Liji text. Both the ICS Concordance and the HY Index follow the Song dynasty edition reprinted in Ruan Ji's Shisanjing zhushu...
How can crowdsourcing be used in the humanities? This paper describes a crowdsourcing project at the University of Alberta that developed a tool for participants to sign out audio clips for transcribing and translating from Ukrainian. The audio clips were from fieldwork on Ukrainian folklore and include stories, songs, and beliefs. We describe the design process and provideCrowdsourcing only works if you can motivate sufficient participants and different participant communities call for different strategies. an environmental comparison with other crowdsourcing projects. We discuss the challenge of motivating community members with the language skills to volunteer to help with the project. Crowdsourcing only works if you can motivate sufficient participants, and different participant communities call for different strategies.