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Quincy Jones sues Michael Jackson’s estate over royalties

hink it's a ridiculous argument that a remix of Bad diminished Quincy's reputation. If somebody has only ever heard the Pitbull remix of Bad, then I doubt very much they even know who Quincy Jones is.
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Exactly. Such a weak argument.
 
elusive moonwalker;4200534 said:
hink it's a ridiculous argument that a remix of Bad diminished Quincy's reputation. If somebody has only ever heard the Pitbull remix of Bad, then I doubt very much they even know who Quincy Jones is.
--------------

Exactly. Such a weak argument.
Click to expand...

Yes I really wonder why Jones lawyer even brought him as a expert, when they have to underline their claim of Jones first right to remix a song and now they are

argumenting because of quality, spirit or taste should a specail remix not on the market.


I found this post form Ivy´in LSA. I think it`s interesting that Jones said he never was asked for permission to remix.

" Royalties are a part of the case. The other half is the claim that the agreements gave Quincy the first chance to remix the songs, a say over coupling of the songs he produced with other songs and so on. (Personally I think that is more significant issue than money for royalties)

In the deposition Quincy said he was never asked to remix any songs ever and the president of his company said that Quincy was angry about Thriller 25 remixes, considered calling Michael even suing and then calmed down.

So at least for the second part expect questions raised about timing of this lawsuit. "
 
Since Pitbull was mentioned I have to say it.. He gets on my nerves lol! I've never cared for him...
 
Court Readies for Quincy Jones to Take the Stand in Suit Against the Michael Jackson Estate

Quincy Jones is expected to take the stand this week in his case against the Michael Jackson estate as the celebrated Grammy-award-winning 84-year-old producer seeks millions of dollars in royalties for his contributions to songs from albums such as Off the Wall, Thriller, Bad and This Is It.
The jury for the case was excused on Monday (July 17) but was told to return on Tuesday as attorneys for both Jones and the Jackson estate spent the morning with Los Angeles Superior Court Judge Michael L. Stern. The legal teams mostly reviewed organizational items as they inch closer to hearing Jones’ testimony, which will likely be Thursday, according to a legal representative for the producer.
During Monday’s session with legal teams from each side, Stern asked Jones’ attorney, J. Michael Hennigan, why the case had come this far considering that his star client has had some of the best representation in the business. The biggest issue, the attorney said, was not having access to “audit material” and the results of that data.


Opposing counsel addressed the concern and indicated that providing the jury with that kind of information was misleading as Jones and his representatives had access to audits from CBS Records, now part of Sony, suggesting that the producer has had the ability to see what his legal team is claiming was not available to him previously.
Last week, Stern informed the jury that the trial might conclude by the end of this week instead of a full three weeks as originally estimated. Stern asked the Jones legal team on Monday if the producer would be available a day earlier, but it was established that Jones is returning from a long trip and will need time to rest and prepare for his day in court.
Jones’ legal team has publicly stated that their client is owned at least $30 million, but in the end it will be up to a jury of mostly women to decide.


In recent days Jones attended the Montreux Jazz Festival in Switzerland and on his social media accounts he also highlighted his Quincy Jones & Friendsshowcase on July 16 at the Jazz Open Stuttgart in Germany through photos and videos, which includes extended standing ovations.
In 2003, Jones sued MJJ Productions and Sony Music Entertainment, asserting that songs such as “Thriller” and "Billie Jean,” among others, were wrongly edited and remixed to exclude the prolific producer from backend profits and a producer’s fee. The lawsuit alleged that Jones’ contracts gave him the first option to re-edit or alter the songs as a way to protect his name.
More witnesses are expected to take the stand on Tuesday in support of Jones, but it is Jones’ actual testimony that will give the case momentum as the jury determines if he is eligible for a substantial payout.

http://www.billboard.com/biz/article...st-the-michael
 
Quincy Jones Earned $18 Million in Royalties Since Michael Jackson's Death
http://www.billboard.com/articles/b...ion-in-royalties-since-michael-jacksons-death
7/18/2017 by Justino Aguila​

On Day 6 of trial over missing royalties, Sony exec's testimony reveals producer's payout Since the death of pop star Michael Jackson​ in 2009, Quincy Jones​ has received nearly $18 million in royalties for his work on some of the King of Pop’s most iconic music, according to court testimony given by a high-ranking music executive on the sixth day of the trial between Jones and the Jackson estate.

Though the 84-year-old Jones, who is likely to take the stand on Thursday, claims that the Jackson estate owes him at least $30 million due to a breached contract for his work on albums Bad, Thriller, Off the Wall and This Is It, Sony's vp of royalty audits David Moro took the stand Tuesday (July 18) and spoke at length about the substantial royalties that Jones has already received from the label through the years, emphasizing payments issued since Jackson’s death 8 years ago.

Jones sued the estate and Sony Music in 2003, claiming that songs such as “Billie Jean,” “Thriller” and “Don’t Stop ’Til You Get Enough” were remixed to block him from royalties and a producer’s fee.

The legendary producer, who has been nominated 79 times for a Grammy, alleges that his contracts gave him the first option to re-edit or alter the songs, and that not having had that opportunity has hurt his reputation.

After the Jackson estate's legal team called Moro to the stand, attorney Tami Sims led Moro through series of back-to-back questions that established how much Jones has received, from smaller amounts in the range of $30,000 to much larger sums in the millions.

Moro explained that Jones was chiefly paid record royalties, not funds through a license agreement. The executive also explained that a “joint venture” agreement precluded Jones from receiving other monies.

“Mr. Jones is not a party to those agreements,” Moro said during his testimony. “Mr. Jones has never been paid under those agreements.”

When asked if Jones has previously requested audits, Moro confirmed that there had been “about 6” audits from 1981 through 1989. Additionally, there was a settlement totaling between $200,000 and $300,000 in recent years.

The jury was shown royalty summaries pertaining to Jones with one line item illustrating that Jones received nearly $18 million between 2009 and 2016.

More witnesses are expected to take the stand in Los Angeles Superior Court Judge Michael L. Stern’s courtroom including Jones, who this week returned from work duties in Europe.
 
It will be interesting to see how well Quincy testifies. I love him, but he used to be so articulate. Now days he mumbles thru interviews and he's hard to follow. Not sure if he will be helpful in his own defense, but people will most likely be in awe of whatever he says.
 
Maybe someone can post the full article?

Atty Blasts Quincy Jones' ‘Outrageous’ Royalty Bid At Trial


By Bonnie Eslinger
Law360, Los Angeles (July 18, 2017, 11:06 PM EDT) -- An entertainment attorney testifying Tuesday in Quincy Jones’ suit against a Michael Jackson company over $30 million in royalties for work on “Thriller” and other albums called it “outrageous” for the producer to expect ticket revenue from a posthumous movie and live shows featuring video of Jackson.

During the second week of the Los Angeles trial, defendants MJJ Productions Inc. called to the witness stand Owen J. Sloane of Eisner Jaffe, a contract attorney who told jurors he has represented such musical luminaries as Elton John,...
To view the full article, register now.

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Quincy Jones I Suffered Financial Elder Abuse ... Judge in MJ Case Rejects Claim http://www.tmz.com/2017/0...oductions/

Update


The judge denied Quincy's motion to add financial elder abuse to the lawsuit.

Quincy Jones says he's the victim of elder abuse in his legal war over Michael Jackson royalties.

According to new docs filed in the case -- which went to trial this week in L.A. -- Quincy says Sony Music and MJJ Productions took advantage of his advanced age. He's 84 now, and in the docs, says he was clearly over 65 at the time he sat down with the music execs to talk dough.

Quincy says Sony and MJJ pulled an accounting trick on him -- labeling a pot of money from MJ's music as profits, instead of royalties ... to which he would have been entitled a cut.

In short ... he's accusing them of bamboozling an old man.

Of course, Q produced MJ's 3 biggest albums -- "Off the Wall," "Thriller" and "Bad" -- and says the defendants have screwed him out of money earned off that amazing string of hits.

He's suing for at least $10 million, and is expected to testify in court this week
 
Ummm he was just a producer of thiller....you don't see Rodney Jenkins or teddy reily doing this ish lol
 
what bases is Quincy saying he's owed money.. simply unpaid royalties? Or is there something else more 'unique' to this!
 
Thanks for the articles respect. Not surprised considering he hired wades lawyers. Talk about a money grab
 
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[h=3]Gene Maddaus[/h]Senior Media Writer@GeneMaddaus
</section>

</header>Quincy Jones took the witness stand on Thursday, telling jurors he was &#8220;cheated out of a lot of money&#8221; by Michael Jackson&#8217;s estate.
Jones&#8217; lawyers have alleged that the veteran producer is owed $30 million in revenues that have flowed to Jackson&#8217;s estate since the singer&#8217;s death in 2009. Jones, 84, has been touring in Europe for most of the trial, which has been underway in Los Angles Superior Court for two weeks. He entered the courtroom Thursday in a wheelchair.
At issue is the interpretation of two contracts for the albums &#8220;Off the Wall,&#8221; &#8220;Thriller,&#8221; and &#8220;Bad.&#8221; Jones testified that he left such details to lawyers and never read the actual agreements.
Instead, in often rambling testimony, Jones articulated a basic principle that he deserves to be paid for any use of songs from the albums.

&#8220;If we made the record, we deserve to get paid,&#8221; he said. &#8220;It&#8217;s that simple.&#8221;
An attorney for Jackson&#8217;s estate, Howard Weitzman, tried to get Jones to concede that he is entitled to a share of album sales but not to licensing revenues for the Jackson recordings.
&#8220;That&#8217;s a joke,&#8221; Jones answered.
As Weitzman pressed him, Jones added, &#8220;I don&#8217;t care what the agreement says. If I put my heart and love into making a record, I want to get paid. I don&#8217;t care what the paper says.&#8221;
At another point, Jones asked the lawyer: &#8220;You ever made a No. 1 record?&#8221;
&#8220;No,&#8221; Weitzman said.
&#8220;I know that,&#8221; Jones replied.
Jones&#8217; lawyers contend that his contracts entitle him to significant proceeds from &#8220;This Is It,&#8221; the backstage concert film released after Jackson&#8217;s death, as well as those from two Cirque du Soleil shows. The attorneys also contend that Jones is owed a larger share from a Sony contract that was renegotiated after Jackson&#8217;s death.
Under questioning from his own lawyer, Mike McKool, Jones gave extensive reminiscences about his music career and his collaboration with Jackson. He testified that his relationship with Jackson was founded on &#8220;love, respect, and trust,&#8221; and that financial considerations rarely surfaced.
&#8220;That never in my life crossed my mind &#8212; money and fame,&#8221; he said. &#8220;If that happens, God walks out of the room. If you try to sell Ciroc vodka, forget it.&#8221;
Under cross-examination, Weitzman played Jackson&#8217;s demo versions of &#8220;Workin&#8217; Day and Night,&#8221; &#8220;Don&#8217;t Stop &#8216;Til You Get Enough,&#8221; and &#8220;Beat It,&#8221; as well as the finished album versions of each song. Jones nodded his head in rhythm, and at one point raised his arm as if conducting musicians.
Weitzman&#8217;s point was that Jackson himself made major contributions to the sound of each song, which rankled Jones, who testified that producers often take the blame for failures while artists get credit for hits.
&#8220;I believed in Michael like my own son,&#8221; he testified. &#8220;I spent more time with him than his family. They weren&#8217;t in the studio.&#8221;
Weitzman repeatedly noted that he is representing Jackson&#8217;s three children, who are the beneficiaries of the estate, and asked if Jones would sue Jackson if he were still alive.
&#8220;I&#8217;m not suing Michael, I&#8217;m suing y&#8217;all,&#8221; Jones said, noting that the estate&#8217;s lawyers have been handsomely paid. Another attorney for the estate testified earlier that the executors have received about $50 million in fees since Jackson&#8217;s death.
When Weitzman raised the children again, Jones rebutted, &#8220;I got children, too.&#8221;


http://variety.com/2017/biz/news/quincy-jones-testimony-michael-jackson-lawsuit-1202501533/



 
Sounds like a right arrogant piece of s#$^#. He doesnt care what the contract says just wants to be paid regardless. Hes on tour but arrives in a wheelchair.. you could go on. I just hope the jury are seeing the same
 
well what DOES the contract say? In all honesty it would be surprising if the estate isn't on top of paying people what is owed. BUT, if the contract states a specification that he agreed to and has already been paid... BOY BYE!
 
The article said it's specified in the contract Jones receives royalties for record sales not revenue. Does revenue refers to income?

If he didn't read the contract and wants to be paid either way, what an entitled asshole.
 
July 20, 2017 2:29pm PT by Ashley Cullins

Quincy Jones Takes the Stand in Michael Jackson Royalties Trial

http://www.hollywoodreporter.com/th...ichael-jackson-royalties-trial-1023057&#8203;

Getty Images


"I'm not suing Michael," Jones said pointedly to the attorney for Jackson's estate. "I'm suing y'all."



Quincy Jones has been in the music business for 70 years, and he can't say exactly how many works he's composed or albums he's produced — but he does remember distinctly the moment he discovered his passion.

Wearing a grey suit, maroon shirt and black tie and vest, the 84-year-old producer told a jury that seeing a piano in an office he'd broken into with his friends changed his life. "I wanted to be a gangster until I was 11," Jones said. But, in that moment with his fellow "baby gangsters," he said every cell in his body told him music is what he'd do for the rest of his life.

Jones is suing MJJ Productions, a company controlled by Michael Jackson's estate. He says he's owed tens of millions, his share of posthumous profits resulting from the exploitation of songs he produced. The producer met the King of Pop while working on The Wiz, and went on to produce his first three solo albums, Off the Wall, Thriller and Bad.

He considered 800 songs for Thriller, he told his attorney Mike McKool in a crowded courtroom Thursday morning. After all, finding songs is a producer's number one job. "A great song can make the worst artist in the world a star," Jones said, adding that making music requires extreme love, respect and trust. "I've never in my life done a record for money or fame."

Peppered in the questions about his producer agreements with Jackson were colorful bits of music history. (Vincent Price recorded his "Thriller" monologue in just two takes.) There were also a surprising amount of jokes. When McKool asked if Jones could see Jackson's signature on one of the exhibits, the producer quipped "Ray Charles could see that."




The mood shifted when Jackson estate attorney Howard Weitzman began his cross-examination by asking whether Jones realized he's effectively suing the artist himself. "I'm not suing Michael," Jones said pointedly. "I'm suing y'all."


&#8203; Read More&#8203;

Quincy Jones Faces Off With Michael Jackson's Company in Jury Trial&#8203;


When the questioning turned to the specifics of the contracts, the tension grew. Jones' attorneys argue his written agreements with Jackson clearly state that he's entitled to a share of licensing revenue when the songs he produced are used in films and other projects, while attorneys for MJJ argue the contracts make it clear Jones is only entitled to a share of record sales and anything he was paid beyond that was an act of kindness by Jackson.

Jones admitted he doesn't like contracts, and leaves handling the "legalese" to his lawyers — often signing an agreement having only seen the signature page.

Weitzman pressed Jones on the agreement, asking whether he feels entitled to a share of licensing even though MJJ's interpretation of the contracts means he's not legally entitled to it.

"Contract montract," said Jones. "If we made the record we deserve to get paid."

After discussion about how lucky the producer and artist were to work with each other, Weitzman turned to the music itself. He played Jackson's original demos of four songs, including "Billie Jean" and "Beat It," and then immediately followed with a clip of the final product.

Despite bobbing along to the music, Jones grew irritated.

"What's your point, Howard?" he asked. The point, although Weitzman didn't outright say it, was to show the jury the similarity between Jackson's pitch and the Jones-produced record in hopes that they'll attribute a larger percentage of the creation to the artist.

Jones says that Jackson "absolutely" did right by him creatively, but whether he did financially is open to debate. When asked why he didn't complain about his share of profits while the singer was alive Jones said, "I cared more about him as a human being than about the money."

Both sides rested Thursday afternoon following Jones' testimony. Closing arguments are scheduled for Monday morning.&#8203;
 
http://www.courthousenews.com/quincy-jones-testifies-30m-royalty-fight-michael-jackson-estate/


Quincy Jones Testifies in $30M Royalty Fight With Michael Jackson Estate

MATT REYNOLDS

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Email July 20, 2017

Music producer Quincy Jones in 2014. (Photo courtesy Sam Santos/Canadian Film Centre)

LOS ANGELES (CN) &#8211; Music producer, composer and arranger Quincy Jones took the stand Thursday morning to make his case in a dispute over $30 million in royalties he claims Michael Jackson&#8217;s estate owes him.

During several testy exchanges with MJJ Productions&#8217; attorney Howard Weitzman over the course of almost 2 1/2 hours, Jones frequently expressed his lack of interest in the legal aspects of his career. He acknowledged he only looked at the signature pages of his producer agreements for three collaborations with Jackson, including the albums &#8220;Off the Wall,&#8221; &#8220;Thriller&#8221; and &#8220;Bad.&#8221;

Jones, wearing a maroon shirt, black tie, gray suit and shaded glasses, repeatedly returned to a common refrain: he was only interested in the music and not the pieces of paper he&#8217;d signed to secure royalties.

When Weitzman asked the 84-year-old if he believed Jackson had done the right thing by him financially, Jones was forthright.

&#8220;That&#8217;s open for debate,&#8221; Jones said.

In October 2013, Jones sued Jackson&#8217;s estate MJJ Productions and Sony Music Entertainment for breach of a Nov. 1, 1978, producer&#8217;s agreement, and a Dec. 1, 1985, producer&#8217;s agreement with the King of Pop.

In addition to the three albums, Jones also worked with Jackson on the 1978 movie &#8220;The Wiz&#8221; and Stephen Spielberg&#8217;s 1982 classic film &#8220;E.T.&#8221; he told the court.

After Jackson died in 2009, Jones says Jackson&#8217;s three children, through his estate, began releasing new material without paying Jones his share. The new works included soundtracks for the documentary &#8220;This Is It&#8221; and the Cirque du Soliel production &#8220;Michael Jackson: The Immortal Work Tour.&#8221;

Jones also says the Jackson children secretly entered into a joint venture agreement with Sony Music that exploited the master recordings of the music he produced with Jackson.

Jones seeks $30 million in alleged unpaid royalties. During the trial in LA County Superior Court Judge Michael Stern&#8217;s courtroom downtown, jurors heard that Jones had received $18 million in compensation from the contracts.

After taking the stand, Jones told his attorney Mike McKool that during his 70-year-career he learned that he could only make successful records with &#8220;extreme love, respect and trust.&#8221; He had left the negotiating of his contracts to his attorneys because he did not know how to translate the &#8220;legalese.&#8221;

&#8220;That&#8217;s not my thing. I do music,&#8221; Jones said.

During cross-examination on Thursday, Weitzman seized on Jones apparent ignorance of the contracts he had signed, asking him on multiple occasions if he believed he was entitled to things that were not in writing.

&#8220;When you put the energy into the record, you should get paid every time it&#8217;s performed,&#8221; Jones said, at one point signaling his impatience with Weitzman by tapping his fingers on the space in front of him like a piano.

Jones grew agitated when Weitzman played several early demos of Jackson&#8217;s songs, including &#8220;Workin&#8217; Day and Night,&#8221; &#8220;Don&#8217;t Stop &#8216;Til You Get Enough,&#8221; &#8220;Billie Jean,&#8221; and an a cappella version of &#8220;Beat It&#8221; that Jackson had recorded at his Hayvenhurst family home. The attorney then played the final album versions of the songs.

&#8220;What&#8217;s your point, Howard,&#8221; Jones said at one point. At another, he snapped: &#8220;What are you trying to prove?&#8221;

Weitzman said he was only trying to demonstrate Jackson&#8217;s contributions to the finished songs. He asked Jones why he had sued Jackson&#8217;s estate.

&#8220;Because I was cheated of money, that&#8217;s why. A lot of money,&#8221; Jones replied.

Both sides rested after Jones&#8217; testimony and closing arguments are expected Monday at 9:30 a.m.
 
Jones grew agitated when Weitzman played several early demos of Jackson&#8217;s songs, including &#8220;Workin&#8217; Day and Night,&#8221; &#8220;Don&#8217;t Stop &#8216;Til You Get Enough,&#8221; &#8220;Billie Jean,&#8221; and an a cappella version of &#8220;Beat It&#8221; that Jackson had recorded at his Hayvenhurst family home. The attorney then played the final album versions of the songs.

&#8220;What&#8217;s your point, Howard,&#8221; Jones said at one point. At another, he snapped: &#8220;What are you trying to prove?&#8221;

Weitzman said he was only trying to demonstrate Jackson&#8217;s contributions to the finished songs.
Click to expand...

:clapping:
Good job :rofl:
 
Pay up! Quincy Jones claims contracts for Michael Jackson hits ‘cheated’ him out of riches http://mynewsla.com/hollywood/2017/...chael-jackson-hits-cheated-him-out-of-riches/

Grammy-winning record producer Quincy Jones testified Thursday that despite any contract language to the contrary, he believes he is entitled to royalties for the use by third parties of any Michael Jackson songs he helped produce for several albums, including “Thriller” and “Bad.”

Asked by Howard Weitzman, one of the attorneys for MJJ Productions Inc. – – a company that is part of the Jackson estate — why he sued the entity, Jones replied, “Because I got cheated out of a lot of money, that’s why.”

During sometimes heated responses to questions from the septuagenarian Weitzman, the octogenarian plaintiff said he was not trying to deprive Jackson’s children, the beneficiaries of the late singer’s estate, of any money to which they are entitled.

“I have children, too,” Jones said.

At one point, Jones rhetorically asked Weitzman, “You ever made a No. 1 one record?”

After Weitzman replied he had not, Jones said, “I know that.”

Jones said he traditionally left contract language up to his lawyers and that all he did was sign the documents. But he said the work he did was more important than anything else.

“If we make the record, the contract doesn’t mean anything to me,” Jones said.

Jones occasionally drew chuckles from jurors and the audience with some of his comments. When asked if he recognized Jackson’s sweeping signature alongside his on one of the contracts, Jones replied, “Ray Charles could see that.”

Jones said he doubted he would have sued if Jackson were still alive because he believed the two of them could have resolved any financial disagreements. He said he spent considerable time with the singer — who he praised often during his testimony — and that he was often present with Jackson at times the singer’s family was not.

“They weren’t even in the studio,” Jones said.

Jones repeatedly said the money was not as important as the quality of the work.

“My objective is to make a good record, that’s it,” Jones said.

Among the allegations in Jones’ suit against MJJ Productions are that royalties from the film “This is It” were disguised as profits and diverted to three Jackson estate entities: the Michael Jackson Co., MJJ Ventures and Triumph International. He also maintains he is entitled to money from two Cirque du Soleil shows about Jackson.

“This is It” is a 2009 documentary that traces Jackson’s rehearsals and preparation for a series of London concerts that never happened. The singer had been rehearsing for the shows when he died in Los Angeles on June 25, 2009 – – 18 days prior to the tour’s start date — of a drug overdose at age 50.

Jones, now 84, also alleges that master recordings he worked on were wrongfully edited and remixed so as to deprive him of bonus profits. The 28- time Grammy winner also maintains he was denied credit for his work on the singer’s works released after his death.

Jones made agreements with Jackson in 1978 and 1985 for work on the singer’s solo albums in which the producer claims he was given the first opportunity to re-edit or remix any of the master recordings. He also maintains that the coupling of master recordings with other recordings required his permission and that was to be given producer credit for each of the master recordings.

Jones filed the lawsuit in October 2013 in Los Angeles Superior Court.

–City News Service
 
And to think MJ was paying Quincy extra all those years and after he died in 2009, Quincy did a 180 and trashed him at every turn. What a way to repay someone you consider a "brother/son.".
 
Quincy Jones Testifies Against Michael Jackson Estate: &#8216;I Was Cheated Out of a Lot of Money&#8217; http://variety.com/2017/biz/news/quincy-jones-testimony-michael-jackson-lawsuit-1202501533/

Quincy Jones took the witness stand on Thursday, telling jurors he was &#8220;cheated out of a lot of money&#8221; by Michael Jackson&#8217;s estate.

Jones&#8217; lawyers have alleged that the veteran producer is owed $30 million in revenues that have flowed to Jackson&#8217;s estate since the singer&#8217;s death in 2009. Jones, 84, has been touring in Europe for most of the trial, which has been underway in Los Angles Superior Court for two weeks. He entered the courtroom Thursday in a wheelchair.

At issue is the interpretation of two contracts for the albums &#8220;Off the Wall,&#8221; &#8220;Thriller,&#8221; and &#8220;Bad.&#8221; Jones testified that he left such details to lawyers and never read the actual agreements.

Instead, in often rambling testimony, Jones articulated a basic principle that he deserves to be paid for any use of songs from the albums.

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&#8220;If we made the record, we deserve to get paid,&#8221; he said. &#8220;It&#8217;s that simple.&#8221;

An attorney for Jackson&#8217;s estate, Howard Weitzman, tried to get Jones to concede that he is entitled to a share of album sales but not to licensing revenues for the Jackson recordings.

&#8220;That&#8217;s a joke,&#8221; Jones answered.

As Weitzman pressed him, Jones added, &#8220;I don&#8217;t care what the agreement says. If I put my heart and love into making a record, I want to get paid. I don&#8217;t care what the paper says.&#8221;

At another point, Jones asked the lawyer: &#8220;You ever made a No. 1 record?&#8221;

&#8220;No,&#8221; Weitzman said.

&#8220;I know that,&#8221; Jones replied.

Jones&#8217; lawyers contend that his contracts entitle him to significant proceeds from &#8220;This Is It,&#8221; the backstage concert film released after Jackson&#8217;s death, as well as those from two Cirque du Soleil shows. The attorneys also contend that Jones is owed a larger share from a Sony contract that was renegotiated after Jackson&#8217;s death.

Under questioning from his own lawyer, Mike McKool, Jones gave extensive reminiscences about his music career and his collaboration with Jackson. He testified that his relationship with Jackson was founded on &#8220;love, respect, and trust,&#8221; and that financial considerations rarely surfaced.

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&#8220;That never in my life crossed my mind &#8212; money and fame,&#8221; he said. &#8220;If that happens, God walks out of the room. If you try to sell Ciroc vodka, forget it.&#8221;

Under cross-examination, Weitzman played Jackson&#8217;s demo versions of &#8220;Workin&#8217; Day and Night,&#8221; &#8220;Don&#8217;t Stop &#8216;Til You Get Enough,&#8221; and &#8220;Beat It,&#8221; as well as the finished album versions of each song. Jones nodded his head in rhythm, and at one point raised his arm as if conducting musicians.

Weitzman&#8217;s point was that Jackson himself made major contributions to the sound of each song, which rankled Jones, who testified that producers often take the blame for failures while artists get credit for hits.

&#8220;I believed in Michael like my own son,&#8221; he testified. &#8220;I spent more time with him than his family. They weren&#8217;t in the studio.&#8221;

Weitzman repeatedly noted that he is representing Jackson&#8217;s three children, who are the beneficiaries of the estate, and asked if Jones would sue Jackson if he were still alive.

&#8220;I&#8217;m not suing Michael, I&#8217;m suing y&#8217;all,&#8221; Jones said, noting that the estate&#8217;s lawyers have been handsomely paid. Another attorney for the estate testified earlier that the executors have received about $50 million in fees since Jackson&#8217;s death.

When Weitzman raised the children again, Jones rebutted, &#8220;I got children, too.&#8221;
 
Annita;4200997 said:
"I've never in my life done a record for money or fame."
Click to expand...

Of course of course this is not about money. Where did we hear this before?

Annita;4200997 said:
"Contract montract," said Jones. "If we made the record we deserve to get paid."
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He didn't make the record, MJ, Temperton, Bruce Swedien and others made the record with him.


Annita;4200997 said:
After discussion about how lucky the producer and artist were to work with each other, Weitzman turned to the music itself. He played Jackson's original demos of four songs, including "Billie Jean" and "Beat It," and then immediately followed with a clip of the final product.

Despite bobbing along to the music, Jones grew irritated.

"What's your point, Howard?"
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He was really that stupid or just pretended? Quincy wants to take credit for those songs like he wrote them
composed them. He didn't. MJ did. And he was a co producer of those songs the demos prove it.

Annita;4200997 said:
Jones says that Jackson "absolutely" did right by him creatively, but whether he did financially is open to debate. When asked why he didn't complain about his share of profits while the singer was alive Jones said, "I cared more about him as a human being than about the money."
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He made more money with the MJ records than any other record I bet on that. He is complaining now because MJ is not here to tell his side
of the story.

Henry Gradstein, one of Jones&#8217; lawyers, said Weitzman was misunderstanding Jones&#8217; contracts. &#8220;The contracts expressly provide for licensing revenue,&#8221; he said. &#8220;The parties, for 35 years, have interpreted the contracts that way and paid on that basis. To say it was a &#8216;gift,&#8217; that&#8217;s just absurd.&#8221;
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Quincy loves and respects MJ that's why he is going after money with the help of a lawyer
who called MJ a monster.
 
redfrog said:
Of course of course this is not about money. Where did we hear this before?



He didn't make the record, MJ, Temperton, Bruce Swedien and others made the record with him.




He was really that stupid or just pretended? Quincy wants to take credit for those songs like he wrote them
composed them. He didn't. MJ did. And he was a co producer of those songs the demos prove it.



He made more money with the MJ records than any other record I bet on that. He is complaining now because MJ is not here to tell his side
of the story.



Quincy loves and respects MJ that's why he is going after money with the help of a lawyer
who called MJ a monster.
Click to expand...

Yuuuuup sure did call him that among other things :censored:
 
Love and respect my Ass. Like attacking mjs kids and his skin disease. Vile old fool whos quite happy to go after the $ money regardless.and certainly been egged on by an equally vile lawyer who sees $$$$ no doubt the jury will be like whatever give him a few.then he can make a miracle recovery and get back out of his wheelchair and go back on tour
 
marc_vivien;4200983 said:
Weitzman’s point was that Jackson himself made major contributions to the sound of each song, which rankled Jones, who testified that producers often take the blame for failures while artists get credit for hits.
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It's so interesting that Quincy should express this. The media/critics have heaped endless praise on the success of those albums in Q's direction and have frequently sought to dimish Michael's contributions to that of a mere singer. Even the Estate's own projects have fallen foul to this - Bad 25 and Spike Lee, I'm looking at you.

This angle with Quincy getting agitated by the demo comparisons is just fascinating. His reaction is so telling, to me.
 
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