as her brother Michael Jackson has experienced his greatest successes with the producer Quincy Jones. It is interesting that Mr. Holden doesn't mention this similar 'liability' when discussing Michael Jackson. To say that Ms. Jackson is 'dependent' on her producer is a shortsighted observation. She is a formidable talent who stands on her own." Michael Jackson would break his sister's record only days later, when he signed a $60 million contract with Sony Music Entertainment. Both sibling's contracts garnered considerable criticism. Los Angeles Times reported that "A&M Records President Al Cafaro, whose company lost the fierce bidding battle over Janet Jackson to Virgin Records, said record companies may be vesting too much importance in individual performers" as the funds used as advances to the Jacksons could have launched recording careers for numerous unknown talents. Cliff Burnstein of Q-Prime management commented that recording artists demands for advances upon signing would begin to escalate from that point forward. Prior to her first release with Virgin, Jackson was asked by Jam and Lewis to record a song for the sound track to the feature film Mo' Money, released in 1992 by their label Perspective Records. Jon Bream of the Star Tribune reported: "For most movie soundtracks, producers negotiate with record companies, managers and lawyers for the services of big-name singers. Like the Hollywood outsiders that they are, Edina-based Jam and Lewis went directly to such stars as Janet Jackson, Michael Jackson, Luther Vandross, Bell Biv Devoe, Color Me Badd and Johnny Gill." Jackson and Vandross recorded the duet "The Best Things in Life Are Free" featuring Bell Biv Devoe and Ralph Tresvant, which peaked at number 10 on the Billboard Hot 100 and topped the Hot R&B Singles chart. Shortly afterward, Jackson began filming for her first feature length role in John Singleton's Poetic Justice. Although she was encouraged by a major studio executive to take on a film in which she could portray a singer, she insisted on finding a different role. She explained: "About that same time John Singleton asked me to read his new script. John and I became buddies—I loved Boyz n the Hood—so I thought he was just asking my advice. I was shocked and honored to learn the screenplay had been written with me in mind. 'Would you play Justice?' he wanted to know. Yes! I'd finally found a role—a dramatic nonsinging role—that was right." Released in