Topic: Quincy Jones

Legendary producer Quincy Jones describes the chaotic reality of producing the Academy Awards, comparing it to "running through hell with gasoline underwear." He explains that there is very little rehearsal time and that "serendipity" or unexpected moments often define the show. The hosts use this to argue that the Will Smith slap didn't need a massive conspiracy to occur, just a few people with an agenda.

Quincy Jones expresses his disapproval of boycotts, stating they offer no solutions. He recounts his time on the Academy's executive committee, where he helped change rules to allow artists like The Beatles, Prince, and Three 6 Mafia to win Oscars. The hosts note that Jones represents an older, more established "Boule" approach to institutional change compared to modern hashtags.

The hosts speculate that the 94th Academy Awards were a coordinated effort by the "Boule" (Black elite) to showcase Black excellence, featuring the Williams sisters and Will Smith. They suggest that Quincy Jones may have influenced the selection of Will Packer as producer. This segment serves as a transition into the show's donation and "value-for-value" break.

Will Smith tells the story of meeting producer Benny Medina at the *Arsenio Hall Show*, which led to an impromptu audition at Quincy Jones' house. The hosts identify Benny Medina as a "scammy" Hollywood figure and discuss the "Hollyweird" nature of these sudden discoveries. They note that Smith's first major acting role involved a controversial gay character in *Six Degrees of Separation*.

Will Smith describes how Quincy Jones, who had been drinking, forced him to audition on the spot and then ordered lawyers to draw up a contract in a limo. Adam Curry shares his own experience getting drunk on expensive wine with Quincy Jones, confirming the producer's reputation for aggressive deal-making and heavy drinking.

Quincy Jones discusses the launch of *Vibe* magazine with Time Warner, emphasizing the "synergy" between music and print media. He explains how he convinced sponsors that rappers like Will Smith were "not dangerous." The hosts discuss the cultural impact of *Vibe* and how it helped mainstream hip-hop culture for a wider audience.

Quincy Jones' son, QD3, discusses Tupac Shakur's intellectual depth and his "facade" of being a thug to relate to his audience. He claims Tupac was months away from a "turnaround" into a political leader before his death. The hosts argue that a politically conscious Tupac was a threat to the establishment, leading to his removal from the scene.

The hosts speculate on a "power struggle" between Bill Cosby and Quincy Jones at NBC during the 1990s. They suggest that Jones may have had a hand in Cosby's eventual legal downfall. They discuss how both men used their shows to recruit and program young Black talent into specific "Boule" or "thug" archetypes.

Quincy Jones recounts how his daughter was nearly in the car with Tupac when he was shot and how Biggie Smalls was killed minutes after leaving a *Vibe* party. He also mentions Aaliyah's death following a *Vibe* event. The hosts coin the term "Q-incidences," suggesting Jones acted as a "cleanup man" who cleared the path for artists like Jay-Z, Beyoncé, and Will Smith.

Quincy Jones discusses his childhood in Chicago, claiming he wanted to be a gangster and was associated with the "Jones Boys" gang. He describes a world of dead bodies, Tommy guns, and piles of money. The hosts argue that Jones' "gangster" values have persisted throughout his career in the "gangster business" of music and media.

The hosts discuss the lack of ideological diversity on the council of the National Museum of African American History, noting the exclusion of figures like Clarence Thomas. They review the list of council members, including Quincy Jones, Shonda Rhimes, and Colin Powell, suggesting the museum promotes a curated narrative rather than an all-encompassing history. The segment touches on how public figures like Powell pivoted their politics to survive modern cancel culture.

Joe Biden released a policy document titled "Lift Every Voice: The Biden Plan for Black America," which uses the title of the Negro National Anthem. The plan promises to root out systemic racism from laws and institutions and includes a proposal to support a study of the continuing impacts of slavery and reparations. The hosts express skepticism, characterizing the proposal for a "study" as a non-starter and a political maneuver rather than a commitment to action.