He Worked at Vibe Magazine for 17 Years — Here’s What Quincy Jones Taught Him

When Quincy Jones got his own magazine cover, he had one question: “What took so long?” The man behind the magazine, Vibe, and countless hits was no ordinary dude; Quincy didn’t just walk into rooms; he strutted in and made history while he was at it. And if you’ve been lucky enough to hear him speak, you’d know he dropped wisdom like loose change — casually, but worth picking up.

The first time I got to write for Vibe’s test issue in ‘92, the magazine was supposed to be called “Volume.” Yeah, we dodged that bullet just in time. It was Scott Poulson-Bryant, the young genius with flair, who came up with “Vibe.” And the name took off just like the magazine — like it was destiny.

Vibe wasn’t just a magazine; it was a cultural compass. Quincy understood that music wasn’t just sound; it was life. His love for hip-hop wasn’t a fad or just for the youth. For him, it was the “latest Black baby,” a culture that needed nurturing, love, and a little rebellious flair.

The Visionary Who Knew Vibe Was Bigger Than Print

The man had a way with stories, both in how he told them and in how he lived them. He and his pal Steve Ross, Warner’s big shot, brainstormed Vibe on some beach far away, with an idea that would shake up pop culture. Quincy once joked, “People can’t live without music,” and by the look of the magazine’s impact, he wasn’t kidding.

You know those conversations about hip-hop in the White House? The ones where Snoop Dogg and Martha Stewart are BFFs? Yeah, Vibe was pushing those buttons way before. And it wasn’t all smooth; Quincy had to convince big suits that this wasn’t just a “Black magazine.” It was a culture moment, long overdue, that connected the dots between rhythm, lifestyle, and struggle.

The Hits and Misses Behind Vibe’s Iconic Covers

When we did a test cover with Treach from Naughty by Nature, the sales were on fire. Black-owned brands like FUBU and Karl Kani jumped in, Tyson Beckford became a supermodel practically overnight, and that was just the start. We had Prince as “The Artist Formerly Known As” and Janet Jackson in her prime. We were rolling, but we weren’t just making covers; we were making history.

Vibe kept things real, especially with Tupac and Biggie, Aaliyah, and other legends who graced the cover. Quincy took every one of those covers to heart. The man cared like they were family. He lived for the stories, the goosebumps, the feeling that something bigger was at play.

Quincy Kept the Door Open for Greatness

Working with Quincy was like having Yoda for a boss — wise but chill, with stories that could turn an ordinary day epic. He told us to “leave the door open just enough for God to walk in,” and he meant it. Creativity, he believed, was like music; it needed room to breathe. But Quincy wasn’t shy about his standards. When he didn’t vibe with a proposed Madonna and Dennis Rodman cover, it was scrapped in favor of Eddie Murphy. Quincy wasn’t going to let anything or anyone mess with Vibe’s essence.

Years after Vibe stopped printing, Quincy’s vision still echoes. He had an instinct for what mattered — music, storytelling, culture. He knew that chasing money over creativity made the magic disappear. “God walks out of the room when you’re thinking about money,” he’d say. The man knew what he was about, and we were all better for it.

So, thanks, Q. Thanks for the grit, the laughs, and the legacy that goes on, even when it feels like music’s left the building. We’ll keep the door open — just enough for you.