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The Pop-Diplomacy of Quincy Jones/ IV in New York-Times

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http://www.nytimes.com/2012/09/23/magazine/the-pop-diplomacy-of-quincy-jones.html?_r=2

The Pop Diplomacy of Quincy Jones

Interview by ANDREW GOLDMAN

Published: September 21, 2012 Comment

You once wrote that Michael Jackson stopped working with you because he felt threatened by the credit you were getting for his music. Considering he was never able to repeat the success he had with “Off the Wall,” “Thriller” and “Bad,” how much credit do you deserve?


Well, what do you think?

I don’t know. I wasn’t in the studio.

You heard the albums, didn’t you? That’s nothing to do with any one person. That’s the combination of the two of us. You’re looking at one of the most talented kids in the history of show business. Michael was very observant and detail-oriented. You put that together with my background of big-band arranging and composing, we had no limitations.

Did he really never personally tell you he was moving on?


He didn’t, no. It’s O.K., man. It’s not like I’m gonna roll over and die. He told his manager that I was losing it, that I didn’t understand the business because I didn’t understand in 1987 that rap was dead. Rap wasn’t dead. Rap hadn’t even started yet.

You arranged and conducted for both Sinatra and the Rat Pack. A lot of the Rat Pack banter is hard to listen to now. Sammy always seems to be the butt of their jokes, like their black mascot.

Sammy was playing along with it. He used to sign his telegrams to Frank as “Smoky.” That used to be a bad name, like “darky.” But Vegas was so racist. I had no idea, man. They would not allow Nat Cole and Lena Horne in the casino. Frank by himself changed that, for Basie, for Sammy. When I went there with Frank in ’64, we weren’t allowed, but Frank put a bodyguard on each one of us. I saw it.

Sammy got a lot of grief when he married the Swedish actress May Britt in 1960. All three of your wives have been white. Have you had any trouble?

Never. What you have to understand is that a lot of the jazz guys, that was part of their revolution. Nobody can tell me who I can socialize with. Charlie Parker’s wife Chan was white. All the cats was doing that, man. The richest white ladies in America, like Nica Rothschild, who lived at the Stanhope, took care of all the jazz guys, Arthur Taylor, Thelonious Monk, everybody. She had apartments where they could have jam sessions, she carried them around in her Rolls-Royce.

Do you have a girlfriend?

A lot of girlfriends.

During the “We Are the World” session, great singers like Smokey Robinson didn’t even get solo lines. How do you tell Bette Midler, “Kim Carnes gets a solo, but you don’t”?

It was not easy. If you’ve got 46 people and only 21 solos, you’re gonna have a problem. That’s [lexicon]Why[/lexicon] we did all the background lines before I told them who would sing solos. If they did the solos first, they’d all disappear.

Your daughter Kidada was engaged to Tupac Shakur when he was killed. How does a father react to a potential son-in-law with such a dangerous reputation?

I wasn’t happy at first. He’d attacked me for having all these white wives. And my daughter Rashida, who was at Harvard, wrote a letter to The Source taking him apart. I remember one night I was dropping Rashida at Jerry’s delicatessen, and Tupac was talking to Kidada because he was falling in love with her then. Like an idiot, I went over to him, put two arms on his shoulders and said, “Pac, we gotta sit down and talk, man.” If he had had a gun, I would’ve been done. But we talked. He apologized. We became very close after that. Once, I was having a date at the Hotel Bel-Air, and he came by and told the waiter that he would be back, he was going home to put on a tie.

A tie? You’re destroying his thug legacy.

Ask my daughter! She was there!

Do you know about that conspiracy theory that says you ordered the hit on Tupac?

I know. The people who say I wanted to have sex with him. Man, this is the biggest age of haters I have ever seen in my life. I’ve been called a blonde-lover, a pedophile, gay, everything. I don’t care, man. Imagine my daughter being engaged to Tupac and me trying to make love to him? And I’m not into no men, man. I’m a hard-core lesbian. Are you kidding? All my life, all my life.

INTERVIEW HAS BEEN CONDENSED AND EDITED.
 
Why is the media so stupid? Michael felt threatened by the credit Q got? Well, it was Michael himself who always gave Q credit! It was him who always mentioned his name at award ceremonies and interviews. Heck, even after they parted ways he always gave Q a lot of credit!
 
The first album was Dangerous without Qunicy, and that was amazing album. Still amazing :) Thanks to Quincy for Off The Wall, Thriller and BAD; but that guy is Michael, he doesn't need anyone to create his own music, own lyrics :)

If Michael did listen Quincy, Billie Jean intro would be different, but now it's great :)
 
Their partnership ran its course, why do they need to make it out to be anything more than that?

He sure does enjoy tooting his own horn though.
 
You heard the albums, didn’t you? That’s nothing to do with any one person. That’s the combination of the two of us. You’re looking at one of the most talented kids in the history of show business. Michael was very observant and detail-oriented. You put that together with my background of big-band arranging and composing, we had no limitations.

Funny that he say it was combination of two of them, did he forget all the other people (Bruce) who worked on music and behind the scenes?

Did he really never personally tell you he was moving on?
He didn’t, no. It’s O.K., man. It’s not like I’m gonna roll over and die. He told his manager that I was losing it, that I didn’t understand the business because I didn’t understand in 1987 that rap was dead. Rap wasn’t dead. Rap hadn’t even started yet.


He was right, rap wasn't over then or its not over now either so he was right, get over it Quincy.
It is a pity MJ didn't go on papers telling in every interview that Quincy didn't want Billie Jean, and Smooth Criminal either!

I think this is the reason he got so upset with Michael that MJ personally didn't tell him, manager must have told him that MJ doesn't want to work with him any longer? I certainly can understand that, but I understand Michael too, he didn't want to be personally responsible to hurt anyones feeling by firing them, especially someone like Q.
That might be the reason why in one article earlier this year Q said he forgave to MJ, he never specify the reason so this could be it.


I know. The people who say I wanted to have sex with him. Man, this is the biggest age of haters I have ever seen in my life. I’ve been called a blonde-lover, a pedophile, gay, everything. I don’t care, man. Imagine my daughter being engaged to Tupac and me trying to make love to him? And I’m not into no men, man. I’m a hard-core lesbian. Are you kidding? All my life, all my life.

He should look man in the mirror too,he himself is hater too!
Didn't he say something about Michael's look, chemical peels, kids etc?
 
Bubs said:
I think this is the reason he got so upset with Michael that MJ personally didn't tell him, manager must have told him that MJ doesn't want to work with him any longer?
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I'm trying to understand Quincy. This may be the reason, however as of 1994-95 they still seemed to be on good terms. I remember the photo shoot MJ did for Quincy's daughter in VIBE magazine. I also have Quincy's 1995 album "Q's Jook Joint" in which Q thanks Michael and LMP in the credits. So whatever happened it must have happened after.

I wonder if this cold and asshole attitude he has to Michael in recent times is his way of trying to deal with the pain of losing him and the pain of dealing with what Michael had to go through in the last 10-15 years of his life. You know, Q deliberately trying to get himself emotionally distanced and detached from Michael by putting on this asshole attitude so that he doesn't get too emotional because he's an old-fashioned guy who doesn't like to look emotional in public. So he acts like as of he's cynical or is being an ass to not to show emotion.
 
He thinks he deserves all the credit? He sounds bitter and if he had a problem why didn't he just ask Michael about it? He heard from someone else what Michael said? Ask Michael himself what he thinks. Michael gave him the credit all the time. All the time I would hear Quincy's name. Michael is gone now and these comments are digs at Michael still. I really haven't seen from him that he feels sad Michael is gone. All I see is these backhanded compliments from him. One day I hope there is a documentary on Dangerous or History and they did well without Quincy.
 
You once wrote that Michael Jackson stopped working with you because he felt threatened by the credit you were getting for his music. Considering he was never able to repeat the success he had with “Off the Wall,” “Thriller” and “Bad,” how much credit do you deserve?


Well, what do you think?

I don’t know. I wasn’t in the studio.

You heard the albums, didn’t you? That’s nothing to do with any one person. That’s the combination of the two of us. You’re looking at one of the most talented kids in the history of show business. Michael was very observant and detail-oriented. You put that together with my background of big-band arranging and composing, we had no limitations.

I find it forgiving of Quincy to compliment Michael by not being arrogant, only giving credit to himself, but unselfishly gave credit to MJ, even though MJ stopped working with him without telling him and having someone else inform him about it. Many people probably would of still held a grudge. He even had a photoshoot with MJ in 1995/96 with his daughter Rashida. So he definately forgave MJ.



Maybe, it was later on that Quincy became angry with MJ for different personal reasons. Quincy belittled MJ for wanting to be white by having all white children, chemical pills, etc. Maybe the interviewer should of asked Quincy about that. I don't understand why he would say those things about MJ because all his wives were white. It shouldn't matter what color you are, love doesn't see color. I also don't like how Quincy made this statement: "The richest white ladies in America, like Nica Rothschild, who lived at the Stanhope, took care of all the jazz guys, Arthur Taylor, Thelonious Monk, everybody. She had apartments where they could have jam sessions, she carried them around in her Rolls-Royce". Quincy make is seem as though the jazz black guys were using the rich white girls for their money, and only was with them because they would take good care of them, etc., not good Quincy, not good :no:.
 
The fact that Dangerous is Michael's best album tells you everything you need to know about this subject.
 
I personally feel that Quincy does resent Michael and feels that he did not get proper credit. And all this talk about Michael not being able to duplicate the success post Bad - whatever! The question we should ask is - was QJ able to top Bad? He worked with Tevin Campbell that everybody saw as the next Michael. How did that album go? Did it outsell OTW, Thriller or Bad? Hmm, I don't think so. If we compare QJ's and MJ's post-Bad success, we know who comes out the winner.

I also think that QJ's friendship with Oprah has influenced how she feels about Michael. I am sure he has had alot to say to her about Michael over the years. She always acts as though she knows stuff (as in what is wrong with Michael) and I have a strong feeling that she 'knows' because QJ told her.


ETA: Thank goodness this man is not featured in the Bad25 promotions!
 
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DJ_OXyGeNe_8 said:
The first album was Dangerous without Qunicy, and that was amazing album. Still amazing :) Thanks to Quincy for Off The Wall, Thriller and BAD; but that guy is Michael, he doesn't need anyone to create his own music, own lyrics :)

If Michael did listen Quincy, Billie Jean intro would be different, but now it's great :)
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If Michael listened to Quincy we never would have got Smooth Criminal

and it also pisses me off when i hear people say ''Off The Wall, Thriller and Bad was Quincy Jones vision'' no it wasnt! Those were Michael Jackson albums, they were his vision. Not Quincy's! Quincy was the production. Michael was the vision.

And if you listen to those early demo's of Don't Stop Til You Get Enough, Wanna Be Startin Somethin, Billie Jean and Beat It there is very little difference between those and the songs that made it onto those albums. So Michael's vision definatly outweighed Quincy's contribution
 
The fact is Quincy has never produced another male artist or female for that matter that has sold that many albums so the answer is right there. The success was the artist which was Michael Jackson.
 
MJultimatemusiclegen said:
Dangerous outsold Off the Wall, and according to several sources, Bad. The whole golden trilogy idea (in terms of success) is bullshit
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That's what I thought too that Dangerous outsold Bad from Joe Vogel's book. What has Qunicy done that is memorable since Bad? I don't recall sorry. I really hope the estate does something about Dangerous and History album for example. Michael was successful after his work with Quincy too. Michael is gone and this guy still sounds bitter and with a grudge.

Michael always gave credit to Quincy. Always thanked him. I don't get what else this guy wants.
 
Annita;3714527 said:
http://www.nytimes.com/2012/09/23/magazine/the-pop-diplomacy-of-quincy-jones.html?_r=2

The Pop Diplomacy of Quincy Jones

Interview by ANDREW GOLDMAN

Published: September 21, 2012 Comment

You once wrote that Michael Jackson stopped working with you because he felt threatened by the credit you were getting for his music. Considering he was never able to repeat the success he had with “Off the Wall,” “Thriller” and “Bad,” how much credit do you deserve?


Well, what do you think?

I don’t know. I wasn’t in the studio.

You heard the albums, didn’t you? That’s nothing to do with any one person. That’s the combination of the two of us. You’re looking at one of the most talented kids in the history of show business. Michael was very observant and detail-oriented. You put that together with my background of big-band arranging and composing, we had no limitations.

Did he really never personally tell you he was moving on?


He didn’t, no. It’s O.K., man. It’s not like I’m gonna roll over and die. He told his manager that I was losing it, that I didn’t understand the business because I didn’t understand in 1987 that rap was dead. Rap wasn’t dead. Rap hadn’t even started yet.

You arranged and conducted for both Sinatra and the Rat Pack. A lot of the Rat Pack banter is hard to listen to now. Sammy always seems to be the butt of their jokes, like their black mascot.

Sammy was playing along with it. He used to sign his telegrams to Frank as “Smoky.” That used to be a bad name, like “darky.” But Vegas was so racist. I had no idea, man. They would not allow Nat Cole and Lena Horne in the casino. Frank by himself changed that, for Basie, for Sammy. When I went there with Frank in ’64, we weren’t allowed, but Frank put a bodyguard on each one of us. I saw it.

Sammy got a lot of grief when he married the Swedish actress May Britt in 1960. All three of your wives have been white. Have you had any trouble?

Never. What you have to understand is that a lot of the jazz guys, that was part of their revolution. Nobody can tell me who I can socialize with. Charlie Parker’s wife Chan was white. All the cats was doing that, man. The richest white ladies in America, like Nica Rothschild, who lived at the Stanhope, took care of all the jazz guys, Arthur Taylor, Thelonious Monk, everybody. She had apartments where they could have jam sessions, she carried them around in her Rolls-Royce.

Do you have a girlfriend?

A lot of girlfriends.

During the “We Are the World” session, great singers like Smokey Robinson didn’t even get solo lines. How do you tell Bette Midler, “Kim Carnes gets a solo, but you don’t”?

It was not easy. If you’ve got 46 people and only 21 solos, you’re gonna have a problem. That’s [lexicon]Why[/lexicon] we did all the background lines before I told them who would sing solos. If they did the solos first, they’d all disappear.

Your daughter Kidada was engaged to Tupac Shakur when he was killed. How does a father react to a potential son-in-law with such a dangerous reputation?

I wasn’t happy at first. He’d attacked me for having all these white wives. And my daughter Rashida, who was at Harvard, wrote a letter to The Source taking him apart. I remember one night I was dropping Rashida at Jerry’s delicatessen, and Tupac was talking to Kidada because he was falling in love with her then. Like an idiot, I went over to him, put two arms on his shoulders and said, “Pac, we gotta sit down and talk, man.” If he had had a gun, I would’ve been done. But we talked. He apologized. We became very close after that. Once, I was having a date at the Hotel Bel-Air, and he came by and told the waiter that he would be back, he was going home to put on a tie.

A tie? You’re destroying his thug legacy.

Ask my daughter! She was there!

Do you know about that conspiracy theory that says you ordered the hit on Tupac?

I know. The people who say I wanted to have sex with him. Man, this is the biggest age of haters I have ever seen in my life. I’ve been called a blonde-lover, a pedophile, gay, everything. I don’t care, man. Imagine my daughter being engaged to Tupac and me trying to make love to him? And I’m not into no men, man. I’m a hard-core lesbian. Are you kidding? All my life, all my life.

INTERVIEW HAS BEEN CONDENSED AND EDITED.
Click to expand...

we all know why quincy is now getting interviews, and why he's considered as being beyond regional boundaries. Michael was the beatles when he was little. he didn't need quincy. he just decided to work with him. but he's right about the hate that remains. seems it will never go away.
 
I think quincy was & will always be jealous of michael
 
respect77 said:
I'm trying to understand Quincy. This may be the reason, however as of 1994-95 they still seemed to be on good terms. I remember the photo shoot MJ did for Quincy's daughter in VIBE magazine. I also have Quincy's 1995 album "Q's Jook Joint" in which Q thanks Michael and LMP in the credits. So whatever happened it must have happened after.
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MJ called in to Oprah when Quincy was on in 2000 or 2001. They were super friendly then.

But after 2003 and the allegations broke all Quincy said was "I don't know anything about his personal life." Sad. Then look at what happened right after Mike died - suddenly Q knows all about Mike's personal life! He wanted to be white, didn't have vitiligo, lung blisters (aka pleurisy/lupus) and his kids weren't his. Just sad sad sad. I just feel so bad for Mike to be surrounded by people like that. Then he has the nerve to call other people haters after what he said about his dead friend and his children right after he passed away. Ugh.

I think Q resents Michael's fame and the association he has to it. How people will always associate him to Michael and to Thriller.

Dangerous is a bigger seller than Bad in the US, I think, but globally Bad is the 5th biggest selling album in the world. HIStory and Off The Wall are equal:

http://en.wikipedia.org/wiki/List_of_best-selling_albums

It's funny that OTW gets such love when Dangerous was a more successful album.

On OTW Don't Stop Till You Get Enough was pretty much handed in to Quincy as it was, as you can hear on the home demo, and it's the only song from that album which received two Grammy nominations and won one. Billie Jean was also pretty much handed in as was. Reportedly Beat It was pretty much the same too. So though I feel like Quincy is a good producer, I can understand why Mike wanted more production credits for those two albums.
 
la_cienega said:
It's funny that OTW gets such love when Dangerous was a more successful album.

On OTW Don't Stop Till You Get Enough was pretty much handed in to Quincy as it was, as you can hear on the home demo, and it's the only song from that album which received two Grammy nominations and won one. Billie Jean was also pretty much handed in as was. Reportedly Beat It was pretty much the same too. So though I feel like Quincy is a good producer, I can understand why Mike wanted more production credits for those two albums.
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It's obviously a matter of taste but I think Dangerous is Michael's best album.

And yes, I wish more people would know that Quincy did not want Billie Jean on Thriller and did not want Smooth Criminal on Bad. Two songs those have become two of MJ's biggest classics! Imagine Thriller without Billie Jean! I'm not sure it would have become the biggest selling album of all times. The album was doing well, but it was when Billie Jean was released that skyrocketed its sales.

I also wish people would know all the songs that Michael wrote on his albums, because I realized that people assume Quincy wrote the songs. In reality he only ever co-wrote one song for Michael (P.Y.T.). Most of Michael's biggest hits were wrtitten by Michael! IMO DSTYGE is the best song on OTW - and it was written by Mike. Billie Jean, Beat It and WBSS are the best songs on Thriller - all written by Mike. 90% of Bad was written by Mike. So I'm not sure why people, and Q himself, feel that Q should get more credit than he is already being given. And he IS being given a lot of credit! Perhaps even too much - at least that's how it seems when people assume things like he wrote the songs on Michael's albums or when people assume he wrote We Are The World. (I actually have seen an article claiming it was a Lionel Richie-Quincy Jones song with no mention of Michael at all...) So doesn't it show he's actually over-credited, when people mistakenly assume such things?

And why is Michael obliged to stay with him for all of his career? Why is he so much scorned for wanting to try new ways with new people?

And it's also a good point that others made: if Quincy was the reason for Michael's success then why could not he repeat or even get close to that success with other artists he produced? And he did try to find and build up a "new Michael Jackson" in Tevin Campbell, whom I like very much and I find him a great singer, but he wasn't Michael and of course he never became nearly as successful.
 
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I remember somebody once said that Michael was also heavily involved with all the songs he didn't write. So it's not like he was only involved with his own written songs and nothing else. Take Man In The Mirror for example, Michael didn't write that but he was heavily involved with it. Giving notes and saying the song needed a better bridge.
 
Quincy sounds like a bitter ex-wife. I think he's still mad he didn't get dat ass. :beee:
 
respect77 said:
I'm trying to understand Quincy. This may be the reason, however as of 1994-95 they still seemed to be on good terms. I remember the photo shoot MJ did for Quincy's daughter in VIBE magazine. I also have Quincy's 1995 album "Q's Jook Joint" in which Q thanks Michael and LMP in the credits. So whatever happened it must have happened after.

I wonder if this cold and asshole attitude he has to Michael in recent times is his way of trying to deal with the pain of losing him and the pain of dealing with what Michael had to go through in the last 10-15 years of his life. You know, Q deliberately trying to get himself emotionally distanced and detached from Michael by putting on this asshole attitude so that he doesn't get too emotional because he's an old-fashioned guy who doesn't like to look emotional in public. So he acts like as of he's cynical or is being an ass to not to show emotion.
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Quincy turned before 25 june, there was an interview in 05 when he said, v clearly referring to mj, that things get difficult for stars when 'god walks out the room'. He could have said things get difficult when people make false allegations against you and the rest of the world piles in on top, but he didn't.

I'm wondering if there was some 'beef' between them when walter yetnikoff, head honcho at epic records, published his autobiography, howling at the moon, in 04. I read the extracts where he talks about mj on a forum but can't find it now, nor on google. But he claimed he got a phone call from mj demanding that quincy be taken off the credits for thriller as producer, either on future releases of the record or on the nominations for the grammys, can't remember now. Mj felt quincy was getting too much credit. This would obviously upset quincy but it all comes down to yetnikoff's reliability. Apparently mj's spokesman denied that this story was true, and mj never looked at award ceremonies to be resentful of quincy, he was always really respectful and appreciative. I really hope that this rumour in a book didn't sour their relationship.
 
Michael always gave credit to people and never tried to take anything away from anyone. It seems like Quincy resented Michael at some point. He never supported Michael during the trial. Most people didn't and they knew he wouldn't do something like that. But a lot of people wanted to keep their distance and Quincy knew Michael for how long? It's a shame.
 
Bonnie Blue said:
I'm wondering if there was some 'beef' between them when walter yetnikoff, head honcho at epic records, published his autobiography, howling at the moon, in 04. I read the extracts where he talks about mj on a forum but can't find it now, nor on google. But he claimed he got a phone call from mj demanding that quincy be taken off the credits for thriller as producer, either on future releases of the record or on the nominations for the grammys, can't remember now. Mj felt quincy was getting too much credit. This would obviously upset quincy but it all comes down to yetnikoff's reliability. Apparently mj's spokesman denied that this story was true, and mj never looked at award ceremonies to be resentful of quincy, he was always really respectful and appreciative. I really hope that this rumour in a book didn't sour their relationship.
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To me that story doesn't even make sense. How could one take off the credits of an album that was released decades ago and what purpose would it serve when everybody and their mother knew who was your producer? And Michael himself gave credit to Q at award ceremonies, interviews - and he did not have to mention him.
 
^I googled again (and this time went further than the first page, lol) and came up with the quote from Walter Yetnikoff's book. This discussion with mj was in mid80s.

Then came the Grammys — again. In February 1984, a week prior to the big event in LA, I was in San Francisco, getting laid, when the phone rang. Michael was on the line. God forbid he should ask whether he’s interrupting.

“I think I’m going to win a lot of Grammys.”

“I think you’re right.”

“But everyone says Quincy is going to win some, too. And I don’t want him to. Quincy didn’t really produce the record, I did. Quincy has enough Grammys. He doesn’t need any more. Tell them not to give him any Grammys for Thriller.”

“I can’t tell them anything, Michael. The Grammys are run by NARAS. I have no influence over the National Academy of Recording Arts and Sciences.”

“You have influence over everyone.”

“Except God, NARAS and Michael Jackson.”

“You can call Quincy and tell him to withdraw.”

“No one withdraws.”

“If he doesn’t, I won’t let him produce my next record.”

“That’d be foolish.”

“People will think he’s the one who did it, not me.”

“Quincy doesn’t sing or dance. Quincy isn’t in any of the videos. Quincy sits behind the board and produces.”

“I was the producer.”

“Michael, I was in the studio myself. I saw Quincy producing.”

“All he did was help out.”

“Fine. If you want to complain to NARAS, complain to NARAS.”

“That won’t look good. You have to complain.”

“Go to the goddamn Grammys, Michael, and act like you’re happy.”

He did. Between Michael and Quincy, Thriller won a dozen Grammys. Michael acted like he loved Quincy more than life itself.
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I read the rest of the mj extracts, yetnikoff seems more concerned in giving good anecdotes and soundbites than a serious discussion about the artists he represented. But who knows if quincy having the ego he had would believe these stories.

BTW, yetnikoff confirms what you were saying about rolling stones being overtly racist.
 
I don't know, but this does not sound like Michael to me. Quincy was sort of a father figure for him at the time whom he respected very much. I don't see him talking like this about him. But of course people are willing to believe anything about Michael, especially if it's negative and Yetnikoff certainly knows this. Also publishers always wanted the authors who mentioned Michael write negative stuff about him. That we know too. Also how does he remember a conversation that allegedly took place 20 years before in such detail?
 
I think it's crap and this book came out 2004? Everything people said about Michael was negative at that time.
 
I think it's sad that when something negative is said about Michael alot of people are quick to instantly believe it but then when something positive is said about Michael like his charity work people are quick not to believe that. I guess it's human nature (No pun intended) for people to believe the worst about somebody before they believe the best about somebody
 
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I'm always cautious whenever Quincy speaks about Michael and to be honest I just don't care anymore.
 
Bonnie Blue said:
^I googled again (and this time went further than the first page, lol) and came up with the quote from the book. This discussion with mj was in mid80s..
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The thing you quoted, to me, doesn't sound like Michael AT ALL!
But then again, we dont know him personally so we can never be sure! I think their relationship just lost the "spark" so they parted ways.. I can imagine Michael wanting to try something new after doing 3 albums with Q.. and in my opinion Q resented him for that. I believe he was like a father figure for him back then but in the last years you can clearly sense some resentment in his tone and in the way he talks about Michael.. it's sad because I know Michael never lost respect for him and gave him credit many times even when they were not working together anymore..
 
"i was in san fransisco, getting laid, when the phone rang" ~ Walter Yetnikoff
anyone who write's that in an official autobiography about themselves, is an attention seeking wanker, i don't think we need to worry.
 
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