Jury awarded Quincy $9.42 Million

I don't know the case enough to agree or disagree but reading the articles of his testimony he did come across as massively entitled and greedy.

He won on a vagueness in a poorly written contact. To be fair, literal meaning of the word "video show" in the contract supports the jury's verdict that "This Is It" is a video show, hence, he is entitled to profit share, whether this kind of video shows were intended at the time of drafting the contract or not. "Video show" is a very broad term, whoever represented MJ at the time, should have negotiated it better.

What I'm curious about and haven't seen the media reporting on is what (if anything) the jury decided on Quincy's first right to remix the music. I'd love him to win on that point and stop the estate from "reimagining" Michael's music, at least up to Bad.

Quincy deserves every penny. I'd rather him profit massively off MJ than the two Johns for example, who obtained MJs estate through questionable means.

I trust in the juries decision. I've followed the case very, very lightly and I've always remained on the fence. Good on Quincy though.

I can imagine the court fees being a bitch though.

^Lol. The production of the instrumental is not that bad imo - albeit overly slick - but the vocals are obviously atrocious. Remixing classics like this is a bad idea anyway. Wasn't he involved in that utterly horrible WATW for Haiti remix as well?

I think a lot of Quincy's work is pretty good and he produced some solid stuff in addition to OTW, Thriller and Bad during the time span he worked with MJ (Sounds... and Stuff Like That! and especially The Dude are good albums, Give Me The Night by George Benson and Every Home Should Have One by Patti Austin are too). He contributed a lot to the sound of R&B/pop during that time. However, I don't think I like any of his work post-Bad. Back on the Block is, for instance, a crap album imo.

Given the poor quality of his recent output I would not be too interested in his remixes of MJ's work. He has also made some disparaging comments regarding MJ as an artist and does not seem to hold him in the highest regard - I would not be sure that he would treat the work with the respect it deserves at this point. If they'd give him a Bad era demo of an unreleased track, I can't see him going: "alright, let's do everything we can to make this sound the way Michael intended to at the time." I could be wrong, but I'd imagine he'd want to put his own stamp on it.

With that said, I do think collaborators like Quincy should be involved with the Estate as consultants and be approached to work on projects related to the work they did with MJ (e.g. Bad 25). Instead of only focusing on circus shows and horribly contemporized outtakes, they should have allotted time to reaching out to these old collaborators after Michael's passing. Rod Temperton is already gone now, and Bruce Swedien and Quincy Jones are very old. None of these guys are getting any younger and it is of massive importance to collect everything they have and know about the work they did with MJ before it's too late. 

Specifics of the verdict at Quincy Jones v. MJ Estate trial: dailymichael.com/lawsuits/q-jones-v-estate/351-specifics-of-the-verdict-at-quincy-jones-v-mj-estate-trial