Quincy Jones

On his early years growing up in Chicago (and then Washington State); on his education; on the moment when he played a piano and became interested in music; on meeting Ray Charles; on his early musical work

On joining Lionel Hampton's band at 18; on touring in Europe and Asia; on meeting and working with such music professionals as Dizzy Gillespie, Johnny Mathis, and Lalo Schifrin; on working as an arranger; on moving to New York; on being signed to Mercury Records and becoming a company Vice President in 1964

On first seeing television; on appearing on variety shows; on watching the filming of I Love Lucy; on composing for the feature film The Pawnbroker

On working in Los Angeles; on scoring his first Hollywood films

On composing for his first television series, the sitcom Hey Landlord!

On composing the theme and scoring Ironside; on the show's use of the Moog synthesizer

On composing for European Eye, The Pickle Brothers and The Bill Cosby Show

On composing the theme and incidental music for The Bill Cosby Show; on the TV-movie Killer By Night; on composing the theme for Sanford & Son; on working on the animated show Big

On being musical director on The New Bill Cosby Show; on composing for NBC's Wednesday Mystery Movie; on producing Duke Ellington: We Love You Madly; on suffering two aneurysms in 1974

On Rebop; on composing for the miniseries Roots; on the impact of Roots

On his friendship with Oprah Winfrey; on the advent of MTV; on Michael Jackson's "Thriller" video and "We Are the World"; on producing The Fresh Prince of Bel-Air

On appearing on The Fresh Prince of Bel-Air (which he produced); on the show's legacy; on producing In the House; on producing a series on the history of rock and roll; on producing shows, in general; on producing the 1996 Academy Awards

On Vibe; on the importance of music in television and film; on his advice to aspiring composers