1 00:00:00,240 --> 00:00:03,680 Speaker 1: The quest Loft Show is a production of iHeartRadio. 2 00:00:07,520 --> 00:00:09,120 Speaker 2: What's Up, Good People? This is quest Love. 3 00:00:09,160 --> 00:00:12,640 Speaker 1: In addition to our weekly interviews of The Quest Love Show, 4 00:00:12,800 --> 00:00:15,840 Speaker 1: I'm going to be doing some things periodically where I'll 5 00:00:15,880 --> 00:00:18,079 Speaker 1: tell you a little bit more about a guest or 6 00:00:18,160 --> 00:00:19,400 Speaker 1: what's going on in my life. 7 00:00:19,960 --> 00:00:22,720 Speaker 2: I think they call this musings. You know. Another thing 8 00:00:22,760 --> 00:00:26,119 Speaker 2: we want to do is take your feedback, take your. 9 00:00:26,079 --> 00:00:29,320 Speaker 1: Questions, and I will answer them to the best of 10 00:00:29,320 --> 00:00:29,880 Speaker 1: my ability. 11 00:00:30,040 --> 00:00:33,159 Speaker 2: So I'm giving you the listeners a chance to engage 12 00:00:33,200 --> 00:00:33,440 Speaker 2: with me. 13 00:00:33,760 --> 00:00:37,400 Speaker 1: You could DM me to either the QLs account. Matter 14 00:00:37,440 --> 00:00:41,120 Speaker 1: of fact, only dm the QLs account. Don't DM my 15 00:00:41,159 --> 00:00:44,520 Speaker 1: account because I barely check my own account. Okay, follow 16 00:00:44,600 --> 00:00:49,320 Speaker 1: QLs on ig or go through Questlove Supreme dot com. 17 00:00:49,760 --> 00:00:51,800 Speaker 1: And you know, We'll be recording these a few times 18 00:00:51,840 --> 00:01:01,880 Speaker 1: a month where I'll basically, you know, answer letters. So 19 00:01:01,920 --> 00:01:05,200 Speaker 1: we have a message from executes on ig as. What 20 00:01:05,280 --> 00:01:10,920 Speaker 1: are my top five TV theme songs no particular order. 21 00:01:12,040 --> 00:01:17,880 Speaker 1: The theme to Barney Miller funky bassline, but we used 22 00:01:17,920 --> 00:01:22,399 Speaker 1: to do the Barney like Google or YouTube Barney Miller theme, 23 00:01:23,480 --> 00:01:26,759 Speaker 1: very funky number four. 24 00:01:27,720 --> 00:01:29,040 Speaker 2: You know it's weird one. 25 00:01:29,200 --> 00:01:33,160 Speaker 1: It has a very odd title, which is a song 26 00:01:33,240 --> 00:01:40,759 Speaker 1: called Suicide Is Painless. Suicide is Painless is also known 27 00:01:40,800 --> 00:01:44,919 Speaker 1: as the theme for Mash. Mash was I've never watched 28 00:01:44,959 --> 00:01:48,840 Speaker 1: one episode of Mash, but the second you heard that theme, 29 00:01:48,960 --> 00:01:51,639 Speaker 1: no matter where you were, if you were. 30 00:01:51,560 --> 00:01:54,720 Speaker 2: My age, you didn't it was time to go to bed. 31 00:01:55,720 --> 00:02:00,320 Speaker 1: So whenever I hear Mash, suddenly the next thing that 32 00:02:00,360 --> 00:02:01,040 Speaker 1: happens is. 33 00:02:02,560 --> 00:02:06,240 Speaker 2: Go to bed. So suicide is Painless the theme to match. 34 00:02:07,520 --> 00:02:13,440 Speaker 1: The third theme I will mention is the Bobby McFerrin 35 00:02:14,600 --> 00:02:22,840 Speaker 1: version of the comedy show now known as The Huxtable Household. 36 00:02:23,240 --> 00:02:26,480 Speaker 1: I can say Huxtable right, yeah, as you know each 37 00:02:26,919 --> 00:02:30,519 Speaker 1: season there would be uh. I love shows that do 38 00:02:30,919 --> 00:02:35,360 Speaker 1: new title cards each season or spices it up and 39 00:02:35,400 --> 00:02:38,840 Speaker 1: does new things. So the all a cappella Bobby McFerrin 40 00:02:38,919 --> 00:02:42,480 Speaker 1: version of that comedy show with the Huxtable family and 41 00:02:42,560 --> 00:02:45,120 Speaker 1: it that, to me is a very notable when you 42 00:02:45,160 --> 00:02:49,360 Speaker 1: start harmonizing with the theme that that means you onto something. 43 00:02:49,600 --> 00:02:53,960 Speaker 1: So I will say that that's number three. Okay, this 44 00:02:54,040 --> 00:02:58,000 Speaker 1: is weird. There's a piano player named John Costa. I 45 00:02:58,040 --> 00:03:04,959 Speaker 1: believe he's Pittsburgh Late it and jazz musician and he's 46 00:03:05,080 --> 00:03:11,880 Speaker 1: the sound of Fred Rogers, which we effectually known as 47 00:03:13,240 --> 00:03:17,960 Speaker 1: Mister Rogers Neighborhood Show. As a child of the seventies, 48 00:03:18,000 --> 00:03:20,000 Speaker 1: that's one of the shows I was allowed to watch, 49 00:03:20,960 --> 00:03:25,000 Speaker 1: a very friendly you know, like it's so weird that 50 00:03:25,200 --> 00:03:30,360 Speaker 1: it with just very little, very little to work with 51 00:03:30,440 --> 00:03:31,720 Speaker 1: in terms of instrumentation. 52 00:03:32,560 --> 00:03:35,040 Speaker 2: Somehow, John Costa. 53 00:03:34,920 --> 00:03:43,200 Speaker 1: Just absolutely sort of conveys warmth and emotion and his 54 00:03:43,440 --> 00:03:46,840 Speaker 1: entire scoring, the theme song and the closing song and 55 00:03:47,360 --> 00:03:50,360 Speaker 1: things in between as well. Probably my favorite thing of 56 00:03:50,400 --> 00:03:55,560 Speaker 1: that whole show is the sort of sign off production tag, 57 00:03:56,160 --> 00:03:59,040 Speaker 1: which is the last thing that you hear. There's a 58 00:03:59,080 --> 00:04:04,960 Speaker 1: really long our peggio at the very end of the show. 59 00:04:05,200 --> 00:04:11,640 Speaker 1: It's like seven eight seconds, and that is the comforting 60 00:04:12,000 --> 00:04:14,400 Speaker 1: like if I think of a comforting moment in my childhood, 61 00:04:14,480 --> 00:04:17,320 Speaker 1: that's the soundtrack to it, just that last eight second 62 00:04:17,360 --> 00:04:21,880 Speaker 1: arpeggio thing. But my number one theme song of all 63 00:04:21,920 --> 00:04:26,480 Speaker 1: time comes courtesy of my all time favorite television show, 64 00:04:27,880 --> 00:04:31,240 Speaker 1: which is Soul Train. Now, Soul Train is going through 65 00:04:31,360 --> 00:04:34,599 Speaker 1: various themes. The most iconic of them, of course, was 66 00:04:34,600 --> 00:04:41,480 Speaker 1: written by two legendary Philadelphian producers, Gamble and Huff. 67 00:04:41,760 --> 00:04:45,880 Speaker 2: The sound of Philadelphia Soul Trained Soul Train. 68 00:04:46,080 --> 00:04:49,120 Speaker 1: That's the most iconic one. But that's not my favorite 69 00:04:49,120 --> 00:04:51,719 Speaker 1: soul train theme. The best soul training theme of all 70 00:04:51,720 --> 00:04:55,800 Speaker 1: time comes courtesy of an artist named O'Brien, and that's 71 00:04:55,839 --> 00:04:58,800 Speaker 1: the nineteen eighty three to nineteen eighty seven Soul Train's 72 00:04:58,800 --> 00:04:59,559 Speaker 1: a Coming theme. 73 00:05:00,120 --> 00:05:01,280 Speaker 2: There's two versions of it. 74 00:05:01,640 --> 00:05:06,159 Speaker 1: Shout out to my boy DJ Nick Puzzo, who likes 75 00:05:06,200 --> 00:05:09,960 Speaker 1: the original version, only the LP version, which is cool. 76 00:05:10,240 --> 00:05:14,640 Speaker 1: I mean it sounds like zap or like West Coast, you. 77 00:05:14,600 --> 00:05:15,560 Speaker 2: Know, trunk music. 78 00:05:16,120 --> 00:05:20,600 Speaker 1: But the remix version of Soul Trains Are Coming, the 79 00:05:20,680 --> 00:05:24,559 Speaker 1: late eighty three to the spring of eighty seven version, 80 00:05:24,640 --> 00:05:28,520 Speaker 1: to me, is the best. And actually, to add on 81 00:05:28,760 --> 00:05:35,039 Speaker 1: to Adilla theory, j Dill's mom made note that the 82 00:05:35,120 --> 00:05:41,160 Speaker 1: sort of offbeat clapping of the final scene in the 83 00:05:41,279 --> 00:05:45,600 Speaker 1: Cosby Portier trilogy movie a piece of the action. If 84 00:05:45,600 --> 00:05:49,080 Speaker 1: you're a movie theater of ficionado of the seventies, you 85 00:05:49,160 --> 00:05:53,080 Speaker 1: know that Bill Cosby Sidney Poitier made. 86 00:05:54,520 --> 00:05:55,920 Speaker 2: Some classic films together. 87 00:05:56,200 --> 00:06:00,240 Speaker 1: I'm not counting Ghost Dad, well, I think Portier The 88 00:06:00,279 --> 00:06:04,600 Speaker 1: Ghost Dad, but of course I'm talking about Uptown Saturday Night, 89 00:06:04,800 --> 00:06:05,760 Speaker 1: absolute classic. 90 00:06:06,000 --> 00:06:09,440 Speaker 2: Let's do it again, absolute classic. A piece of action. 91 00:06:09,600 --> 00:06:14,800 Speaker 1: Is not as strong as the first two, but it'll do. 92 00:06:15,200 --> 00:06:17,880 Speaker 1: I believe that's the acting debut of Shirley Ralph. I 93 00:06:18,000 --> 00:06:21,800 Speaker 1: mean winner Shirley Ralph as a teenager. But at the 94 00:06:21,920 --> 00:06:25,760 Speaker 1: very end, it's a story about a school teacher in 95 00:06:25,800 --> 00:06:28,039 Speaker 1: the public school system, and there's a scene at the 96 00:06:28,120 --> 00:06:30,880 Speaker 1: end where someone brings out a boombox and they all 97 00:06:30,920 --> 00:06:34,040 Speaker 1: start dancing. But you know, when they make movies, they 98 00:06:34,080 --> 00:06:37,120 Speaker 1: have not admitted a device that will let you listen 99 00:06:37,200 --> 00:06:41,040 Speaker 1: to music in real time and also have dialogue without 100 00:06:41,080 --> 00:06:46,040 Speaker 1: bleeding music bleeding or dialogue bleeding. So oftentimes what they 101 00:06:46,160 --> 00:06:50,400 Speaker 1: used to do was just have people dance to nothing. 102 00:06:50,640 --> 00:06:54,880 Speaker 1: So if you're ever watching a movie and the music's 103 00:06:54,920 --> 00:06:59,320 Speaker 1: not matching the movement, it's often because the directors says 104 00:06:59,440 --> 00:07:03,960 Speaker 1: and and they'll just dance to anything. Nowadays, I just 105 00:07:03,960 --> 00:07:08,680 Speaker 1: did a cameo on the new Mandy Kaling show, her 106 00:07:08,720 --> 00:07:13,520 Speaker 1: new project, and there's a music scene in there, and 107 00:07:14,240 --> 00:07:16,000 Speaker 1: what they do is they just play a click track. 108 00:07:16,800 --> 00:07:18,760 Speaker 1: So they'll be in like a nightclub setting or whatever, 109 00:07:18,800 --> 00:07:25,400 Speaker 1: and you'll just hear and you're supposed to respond to that. 110 00:07:26,760 --> 00:07:29,840 Speaker 1: But when the editing happens, then they'll insert the song 111 00:07:29,880 --> 00:07:32,160 Speaker 1: that's supposed to be in there. But in this case 112 00:07:32,760 --> 00:07:38,440 Speaker 1: PC of Action, they're clapping to a song. But once 113 00:07:38,440 --> 00:07:41,679 Speaker 1: they added the staple singer song to it, the clapping 114 00:07:41,720 --> 00:07:47,200 Speaker 1: started to drag and a ten year old James Yancey 115 00:07:47,240 --> 00:07:50,360 Speaker 1: took a note that wow, why are they clapping off rhythm? 116 00:07:52,920 --> 00:07:57,240 Speaker 1: And that was his eureka moment. So for me, in 117 00:07:57,320 --> 00:08:00,720 Speaker 1: Soul Train, there's a half hour mark in the theme, 118 00:08:01,440 --> 00:08:06,800 Speaker 1: and in that theme there's an editing glitch, and that 119 00:08:07,000 --> 00:08:10,200 Speaker 1: editing glitch causes the clap to be delayed as well. 120 00:08:10,920 --> 00:08:13,840 Speaker 1: That's sort of the reason why I like playing offbeat, 121 00:08:14,000 --> 00:08:18,480 Speaker 1: like just as a tribute to that my favorite theme. 122 00:08:18,880 --> 00:08:24,240 Speaker 1: So they are my five favorite themes executes. All right, okay, 123 00:08:24,600 --> 00:08:26,240 Speaker 1: next Mario, what's up? 124 00:08:26,280 --> 00:08:26,559 Speaker 2: Mario? 125 00:08:27,360 --> 00:08:30,880 Speaker 1: Mario says question from the mailbag? All right, what's respect 126 00:08:31,000 --> 00:08:34,880 Speaker 1: for you? Having the late great legend Frankie Beverly. But 127 00:08:34,920 --> 00:08:37,640 Speaker 1: it was a hard listen because he really wasn't providing 128 00:08:37,720 --> 00:08:40,440 Speaker 1: much in the way of details and his answers. Since 129 00:08:40,480 --> 00:08:43,720 Speaker 1: you've always been finding your way with interviewing, how do 130 00:08:43,760 --> 00:08:44,880 Speaker 1: you feel when you have. 131 00:08:44,920 --> 00:08:46,000 Speaker 2: A difficult interview? 132 00:08:46,480 --> 00:08:49,640 Speaker 1: Do you do anything special when the Frankly Beverly interview 133 00:08:49,760 --> 00:08:51,840 Speaker 1: was done, or do you just treat it like it 134 00:08:51,920 --> 00:08:56,160 Speaker 1: was any other show. It's hard to know what type 135 00:08:56,160 --> 00:08:59,880 Speaker 1: of guest you're going to have when you're in this 136 00:09:00,000 --> 00:09:05,680 Speaker 1: type of situations. Oftentimes there is kind of a cigh 137 00:09:05,679 --> 00:09:09,720 Speaker 1: of relief on the end of the artist, who will 138 00:09:09,800 --> 00:09:12,400 Speaker 1: usually give note back that wow, I never did an 139 00:09:12,440 --> 00:09:15,960 Speaker 1: interview like that. Oftentimes I like to ask questions that 140 00:09:16,720 --> 00:09:21,760 Speaker 1: no one asks. I learned this probably during Sli in 141 00:09:21,840 --> 00:09:25,000 Speaker 1: the Family Stone. There was a two members of that 142 00:09:25,040 --> 00:09:27,920 Speaker 1: group that I interviewed that started to tear up at 143 00:09:27,920 --> 00:09:29,280 Speaker 1: the end because they said. 144 00:09:29,120 --> 00:09:30,959 Speaker 2: To me, like, wow, I never. 145 00:09:32,240 --> 00:09:36,920 Speaker 1: Knew how important it was for someone to ask me 146 00:09:37,080 --> 00:09:40,719 Speaker 1: how do I feel? I purposely in the Sly in 147 00:09:40,760 --> 00:09:46,560 Speaker 1: the Family Stone documentary, asked, hey, how do you feel 148 00:09:46,720 --> 00:09:50,360 Speaker 1: about something which is different than tell me about when. 149 00:09:50,679 --> 00:09:51,920 Speaker 2: Blah blah blah happened? 150 00:09:52,400 --> 00:09:56,719 Speaker 1: Because how you feel causes you to question yourself and 151 00:09:56,800 --> 00:10:00,120 Speaker 1: your emotions. That's how you know a person's human, and 152 00:10:00,240 --> 00:10:05,320 Speaker 1: oftentimes we're not treated as human. We treat his product, 153 00:10:05,800 --> 00:10:08,440 Speaker 1: and artists are especially treat his product. Tell me about 154 00:10:08,480 --> 00:10:11,920 Speaker 1: your new album now. Sometimes I just want to ask 155 00:10:11,960 --> 00:10:14,200 Speaker 1: where do you have for breakfast today? But in the 156 00:10:14,200 --> 00:10:17,680 Speaker 1: case of Frankie Beverley, Frankie was, yeah, kind of north 157 00:10:17,720 --> 00:10:21,440 Speaker 1: of seventy. But regardless, we felt it was necessary to 158 00:10:21,480 --> 00:10:25,480 Speaker 1: give him his flowers, so that's why we titled it 159 00:10:25,520 --> 00:10:29,240 Speaker 1: Frankie Beverly Gets his Flowers. Previously, I will say that 160 00:10:29,720 --> 00:10:33,800 Speaker 1: the Roy Airs interview was a little bit difficult. We 161 00:10:33,800 --> 00:10:38,720 Speaker 1: weren't prepared because he had sort of spotty memory on things, 162 00:10:38,800 --> 00:10:42,320 Speaker 1: and sometimes you just gotta go with it. I too, 163 00:10:42,360 --> 00:10:46,600 Speaker 1: had a lot of questions. I had read Jan Gay's book. 164 00:10:46,880 --> 00:10:51,720 Speaker 1: Jan Gay is a wife widow. She just recently passed 165 00:10:51,760 --> 00:10:56,280 Speaker 1: of Marvin gay and in her book, I believe it's 166 00:10:56,280 --> 00:11:00,959 Speaker 1: called After the Dance, I think, and she talks about 167 00:11:01,000 --> 00:11:05,839 Speaker 1: her time with Frankie Beverly and that was. 168 00:11:07,640 --> 00:11:09,760 Speaker 2: Her version of stuff. Wow. 169 00:11:10,760 --> 00:11:14,439 Speaker 1: Okay, so yeah, I had a lot of questions pertaining 170 00:11:14,480 --> 00:11:17,480 Speaker 1: to Marvin Gaye discovering him and also his time in 171 00:11:17,520 --> 00:11:20,880 Speaker 1: Philadelphia and all that stuff. But nevertheless, I'm glad to 172 00:11:20,920 --> 00:11:23,679 Speaker 1: have gotten one of his last interviews. 173 00:11:24,000 --> 00:11:24,960 Speaker 2: Very honored for that. 174 00:11:25,679 --> 00:11:29,080 Speaker 1: But you know, sometimes you just it makes you a 175 00:11:29,120 --> 00:11:33,320 Speaker 1: better communicator. I just say that having a conversation with 176 00:11:33,400 --> 00:11:37,720 Speaker 1: people sometimes you're just not prepared for how open someone is. 177 00:11:37,920 --> 00:11:41,640 Speaker 2: But I enjoyed nevertheless. But thank you for your question, 178 00:11:41,960 --> 00:12:01,640 Speaker 2: Mario