What Now? with Trevor Noah - Questlove Isn't Manif*cking Around [VIDEO]

Episode Date: July 11, 2024

DJ, drummer, author, and Roots frontman Ahmir “Questlove” Thompson and Trevor discuss “50 Years of Hip Hop” at the Grammys and his book Hip Hop is History. Questlove also divulges to Trevor the names of all 432 people who get his weekly playlist (no he doesn’t) and reveals all the celebrities who come to his legendary game nights (he doesn’t reveal that either but it’s still a fantastic conversation). Learn more about your ad choices. Visit podcastchoices.com/adchoices

Okay, doki. You ready? We good? Okay, we're rolling, then we're rolling. So your reputation is you are a rule follower. Yo, Michael Che, I don't know what happened at the table with you, Michael Che. So oftentimes, Uno... Oh, you know what?

So here's the thing. Okay, let's get into this. Let's get into this action. This is What Now with Trevinoa. At Radiolab, we love nothing more than nerding out about science, neuroscience, chemistry. But, but, we do also like to get into other kinds of stories. Stories about policing or politics, country music, hockey, sex, of bugs. Regardless of whether we're looking at science or not science, we bring a rigorous curiosity to get you the answers.

And hopefully make you see the world anew. Radiolab, adventures on the edge of what we think we know. Wherever you get your podcasts. So first and foremost, welcome. Welcome to you, the listener slash viewer if you're watching this, and welcome to our guests, the one and only Amir Questlove Thompson, someone who's become synonymous with not just all things music,

but I feel like all things good times, which is a great vibe. You know, when you walk through the streets, you go like, man, that person I associate with good times. Good time guy. I feel like you made my time a little bit better because I was in Washington, DC. That's where we are right now.

And then I found out you're going to be in Washington, DC. And I'd been dying to get you on the podcast. And then as you always do, you made things happen. And I appreciate you for that genuinely. So welcome to it, because we're going to have such a great conversation today. I know it will be. We're going to be chatting about your new book, all right? Hip-hop is history. We're going to be talking about your life, your journey with music and man, what happened at the Grammys behind the scenes.

Buckle up. Oh boy, I'm excited. Welcome to the podcast. Thank you. You know, I picked up your book and you jump into the book in maybe the most action packed way ever. Let me tell you something. So I'm obviously biased because I was there

when this was happening, but in the very- You host it. Yeah, man. Oh, God, yes. That night. Do you even know what was happening. But in the very- You host it. Yeah, man. Oh, God. Yes. That night. Do you even know what was happening? So I'll set the stage. I'll set the stage for everybody listening. So it's the Grammys, right? It is the 2023 Grammys. 2023 Grammys. And this is going to be one of the biggest years ever because hip hop is turning 50. And there's going to be a 50th hip hop celebration that brings together almost every artist or every performer or every group from hip hop, from every generation onto one stage in one mega blockbuster performance. You've never seen anything like this.

Right. in one mega blockbuster performance, you've never seen anything like this. Right. And the man who is tasked with putting this together is the one and only Amir Kwestlove Thompson. And you know, you talk about how you said yes before you even thought about it. They said, Amir, you want to do this? You said yes. And just like just like any amazing action scene in a movie, we are completely in because we're thrust into a world where you realize very quickly that you don't just have to curate a performance

that encapsulates 50 years of hip hop into like a 10, 15 minute performance, which is impossible. Yeah, I thought it was that whole show. I was like, getting ready for it. But then we realized you have to manage all of the egos. Please just break it down for it. But then we realized you have to manage all of the egos. Please just break it down for me. One of my biggest faults is often that I'm asked to do stuff like months or years ahead of time.

You know what I mean? So when someone's asking you three years before something, you're like, yeah, that'll be exciting. I'll do it three years from now. So Jesse Collins and Deonna Harmon asked me to, they have a way of pitching you that's like super exciting, like, Amir, we think you should do, you know, we think you should curate the Hip Hop 50 thing. And I'm more like the cartoon character, you know, like when someone turns somebody into

a turkey, like someone salivating at the mouth and all that stuff. And instantly I got to work. I figured, okay, I'm gonna tell the story of hip hop from the break beats of 1973 to the, you know, and I'm going through all the eras. And I was like, all right, maybe they'll give me a half hour. So, all right, here's my presentation.

And I said, it's 31 minutes. And the way they laughed at me, they're like, no, no, no, no, no. Just give us like 10 minutes. And then once I looked at the list and realized that it was 10 minutes, I'm like, well, I'm gonna have to cut this list in half. Like I realized instantly what they really signed me up for.

What they really wanted to say was, hey, Amir, we would like you to be the bad cop in this situation. And then I realized, oh, I'm gonna have to talk to people. Not only that, just go through my phone scroll. Like not even the luxury of them. You're the Grammys, you can call these people. No, like I gotta get up at 5 a.m.

and have a Zoom with Dr. Dre. It was the most seven intense weeks of my life of creatively cutting, whittling things down to a 10 minute, you know, standard, not to mention the amount of conversations I had to have with people that are like, wait, you want me to fly out there just to do a course? Yeah.

Like I'm only doing eight bars of a course? Hell no, I ain't doing that, you know? So, and then some people were really savvy because they've been in this situation before. And they'll say like, who are going to be there? And then now I got to be careful like, well, there's da-da-da-da, hello? Hello? Because the thing is a lot of people don't realize some people don't want to be in the same vicinity on the same stage as other because it's like everyone's in hip hop, but not everyone in hip hop is together.

Right. So then who all gonna be there was the first thing. And then now it's like, well, if I really need you to do this, then I gotta knock out these three people so that you'll show up. So there was a bunch of that. Oh, man. Then at one point, there were several groups who weren't even speaking to each other. Yeah. Yo, I swear to God, when I see da-da-da-da, yo, he owe me $3,000 from 1998, son, and da-da-da-da. Look, man, I'll give you the $3,000.

So there was a bunch of that happening. So I'll jump into this part. So night off. So I've seen the rehearsals, but now the thing that people don't realize is the rehearsals for the Grammys are broken down, right? So you rehearse when the people can rehearse. And so it isn't always chronological, you know, so like, you know, if Bad Bunny's opening the show, he might rehearse like after a whole bunch of people. And you're really doing these pieces and segments and you're doing them.

And you know, you've got Ben Winston, who's executive producing the whole thing. And, and you know, you've got the director, Hamish. Everyone's trying to put this together but Hip Hop 50, everyone goes we've never done anything like this. Everyone at the Grammy said we have never done anything like this. Oh I know. And so on the night you know everyone is really nervous. All I keep hearing in my ear is... So you had an earpiece. Yeah I had an earpiece. I had an earpiece. So you might have known what I'm going through. Oh, I knew exactly what you were going through. But I didn't know what you personally were going through. The book, the book lays it out and it's, man.

So you remember the first act, was it Bad Bunny that started the show? Yeah, so Bad Bunny started the show. So you remember that whole elaborate thing he did in the audience? Like he's coming through the audience, they're drumming, they're banging, Bad Bunny's walking through and then all of a sudden I hear, we need Amir, we need, okay, guys, we've got a bit of a problem, one of the artists, we got it, we got it, and I'm like, what is happening?

They're like, all right, there's too much noise on this channel, we have to switch you, because something's gone wrong. So now I'm like, what's going wrong? They're like, it's not about this, it's about Hip Hop 50. And as soon as they say that, I'm like, oh no, what has oh no what has happened what has happened let me tell you all right so I thought my my main fear the morning of yeah

had nothing to do with the production I was fine with rehearsals and everything yes like creatively we were good there was a new problem and the new problem was because uh first lady was because first lady Jill Biden was in the house. There's a more intense level of security detail than normal, which, you know, okay, I've been to the White House a few times, whatever. I understand you're gonna have to go through several stages of going through metal detectors and all that. You know, there's a few of my peers in the world of hip hop

that are like, nah son, like a never again thing. A never again thing. Like they see metal detectors and they're like, nope, I'm good. So just to kind of appease two of these particular figures, we had to go through hell and high water just to make sure that was cool. Which once I realized the last person

was finally in the house, I had two good hours of whew, so I got changed, you know. Yeah, you were walking the red carpet. Right, I went to the red carpet, you know, mess with Taylor a little bit, you know, we jokin' around. Yeah, you had jokes to Taylor Swift, living the red carpet. Right, I went to the red carpet, you know, mess with Taylor a little bit, you know, we jokin' around. Yeah, you gotta joke to Taylor Swift,

living the good life. Right, everything was fine. And then the second they introduced Bad Bunny, suddenly I just started getting like, code red, code red, like, get backstage right now. And what I was told was that one of our participants is on his way back to his house in Calabasas because maybe or maybe not a security person

was a little overzealous in checking our friend's date. He's instantly like, no, like it was just like, this person's not coming back. So what they don't realize is that because we're on a very specific clock in terms of camera coordination, all the visuals you see. Every queue at the Grammys. The lights, the dancers.

Every queue was so specific. And that person didn't drop out from the front or the back. They dropped out from the middle. Right. It's not like a thing where I could just instantly like, hey, we're cutting that song. Now nine key people who are not in contact with each other have to be told that we're gonna lose

like four minutes and 27 seconds to like six minutes and six seconds. We have to cut that part out. But the thing is, it's a live show. And the show is happening already. So you got to wait till commercials and then run to the light guy and say, look, doing the hip hop 50, four minutes and 27 seconds, six minutes. Then you got to go to the camera person. Then you got to go to the graphics person. Then you got to go to the choreographer. And then you got to tell the dancers, hey guys, I'm sorry, but that I just dropped out. So we won't be using you.

Like these people flew out, you know, told their family, I'm gonna be on TV, hey. They've been rehearsing. Right. So it took about 28 minutes to just tell all those people that this particular artist has dropped out. Wow. And I thought, okay, we're good.

And then part two happens, which is some genius decided, and I'm being sarcastic, to present the album of the year award before the presentation. Yeah. And the thing is, is like, look, dog, this is Kendrick Lamar's time. You've awarded this guy the Pulitzer Prize. You know, he's achieved things. He's the favorites. We already know this.

You know, we already know this. But does hip hop know it the same way? Cause I feel like- He goes a part of hip hop. That's what I mean. I feel like nobody in hip hop comes to an award show thinking that they're not gonna win the award. Kendrick, rightfully, won that Grammy and one of the nominees was like, psh, I'm going home.

And that nominee was in the performance. I remember this happening in my ear. I got a call from Ben, he was like, Trev, mate, he's like, we just lost another hip-hop performer. We're gonna try and figure it out, but for now, we might need to move things around. We just gotta, and he was like, but for now, we might need to move things around. We just go to, and he was like, and then it was panic again. Yo, so it's four minutes left,

and we begged him as he's walking out like, yo, can you please, can you? I'm going home. And so we have four minutes, one to make all the edits, but then I need somebody to end this thing. And I'll tell you what I did. I found a closet. I said, I opened the closet and went in.

They're like, Amir, that's not a room. Amir. And they're like, what are you doing in there? Amir, silence. And literally I just sat there for two minutes, dead silence. Like, all right, what am I gonna do? I thought you were having a mental breakdown. Because I heard during the cast, they were like,

things are going crazy, things are going wild. And then someone said, Amir just went into like a broom closet and he won't come out. And I was like, well, I guess he finally cracked. No, so this is what I learned about- Unstoppable force known as quest love finally cracked. People think that meditation is like cosmic prayer. Meditation is just you got to sit in silence for a long time and breathe. And the answer will come to you.

Now, let two minutes go by and you can clearly hear them outside the door like- Yeah, yeah. And I was like, I did that for two minutes, two minutes left, Amir. And I said, I grabbed my phone. I was like, I can either text Jay-Z right now or little Uzi Vert. And something told me by Jay Z's, he's not the king of known. Let me stop putting that out there. But he's been known to be. No, no, no, but he is the king of known.

I think in many ways Jay has understood the thing that you and I are still working on. He goes, thank you, but no. Scarcity marketing. No. Which I would love to. Oh, I would love that. Matter of fact, during the whole Zoom thing of me having to pitch people, Dr. Dre also taught me something because he gave me a no. And then I was like, all right, I'm ask him in two weeks and nudge him like, come on, pal, can you do this for me? And Dr. Dre, in a way that I haven't seen

since my father before, you know, like, when you cross that line, and your parent wants to give you that warning before all hell breaks loose. Dr. Dre said in a very serious way, which I now use on people, he says, Quest, let me tell you something. I really hate to say no twice.

Damn. And the silence that ended. Woo. I was like, one, okay, I will never ask you to do anything in life. Two, I gotta use that like literally but Jay said no and I was just like alright. Let me just Let me hit Uzi or someone close to him. So I

Texted his team and as I press send your phone dies My phone went out and so this is crazy because on the outside we like we don't know what's gonna happen We don't know how it's gonna happen It plays up and I won't spoil all of it because I want people to read the, you gotta read the book, but on the outside, yo, let me tell you this, you nailed it though, you nailed it, you genuinely like,

and Jay-Z was part of it basically. Jay-Z wrapped along to every single song. Jay-Z wound up being the star of the show. Yeah, he did. Him as audience member was better than him going up and doing his song. No,Z wound up being the star of the show. Yeah, he did. Him as audience member was better than him going up and doing his song. No, it was one of the greatest performances ever, ever, ever, ever, ever.

We're gonna continue this conversation right after this short break. You know, there are few people who write a book about a topic that they are so inextricably linked to. You know, when you talk about the story of hip hop, in many ways, I feel like hip hop has had the same journey that you have had as a human being. And the two of you have been intertwined, you know, like twin souls. Because hip hop today seems obvious.

You know, I went to a Rangers game in New York, someone invited me, they're like, do you want to come watch a hockey game? I went. And the thing that struck me the most was in a stadium that was 99.99% white. Every time out they played hip hop. And so I want to know from your perspective,

what was the first moment where you felt like hip-hop was going to maybe be a thing? Because you talk about being this child who was, I love how you even phrase it, you say you were eight years old and you were hearing hip-hop for the first time, you're washing the dishes with your sister. My sister and I were doing the dishes. And the intro of Rapper's Delight comes on. And then we hear Sheik's Good Times. So we're just like, oh, it's good times. And then we started hearing people talk, rapping.

And we just stopped doing the dishes like, wait, what is this? And it was like a clock radio in the kitchen. So we turn it up and we look at it. And the longer the song went on, I thought like, Oh, I'll never hear this again in my life. So it was a decision to make. So I run and get a tape recorder and record what I'm hearing, which is exactly what I did. Like I ran right to my room, got a tape recorder, put the tape recorder to the radio, the clock radio, recorded it and just sat there and listened. Rapper's Delight was 15 minutes.

So I came in at like maybe the three minute part and I wrote that entire song down. I was supposed to be in bed like 8, 8.30. I was eight years old. I probably stayed up. I was allowed to stay up until maybe 930 and I transcribed all the lyrics. And then I went to school the next day, me performing Rapper's Delight for like all my fourth grade class members.

And that's, you know, of course like adults were like, oh, never last, it's a fad. But when it really called to me was in 1988. So there was like a 50s themed McDonald's called Big Al's based on Happy Days and I worked there. And this is the morning that It Takes a Nation of Millions by Public Enemy came out, which if you know of their production style, it was a very, they wanted to sound like music's worst nightmare. So they would just pack in like 19 samples in one song. Right.

Just sounded like they, they said that they wanted their music to sound like what crack feels like when you, cause it was the crack. Oh damn, I didn't know that. Which is why all my chapters are based on the five year. Yes. Yes. You know, the first phase cocaine, second phase. You have one of the more interesting ways of breaking hip hop down.

Like where most people would talk about hip hop just in a decade or most, you know, they would say this was an era. You broke hip hop down by the drug that was pervasive at the time. And you know, it's one of those things in stand up, we always talk about it, we go, there's always that moment where a comedian will get on stage and they will say something so painfully obvious that you don't understand why you never saw it, but it is so genius because nobody could see it because it was right in front of them. I feel like you revealed that with the way you broke hip hop down. When Chuck D said like we wanted to be music's worst nightmare and because it was the crack era he wanted his music to sound what crack felt like.

And then I realized oh so when the chronic came five years later Dr. Dre slowed the music down and that's the sound of weed. But then when the 97 bad boy era really started to kick in that was the sexy, that's the ecstasy era. And then when the South first started coming in, that's the Syserp era. And then of course with Molly, opioids, fentanyl, we're going through each phase. Every five years, the drug of choice that we self-soothe on changes. That's how the music changes.

Right. This is the numbing era. This is the era of no feelings. I don't want to feel numb. Damn. And some people are totally emo. So you get 12,000% emo or no feelings, which is why everyone sounds numb. That's why mumble culture doesn't make sense to my generation.

Like I grew up in the crack era. Right, because it doesn't match up with what you experienced or how you were living that life. I genuinely love how you find these threads, how you connect them. In the book, you talk about your journey in hip hop, the roots journey in hip hop. And I love the connection that you have with Tariq, where it's like, you know, here we are, seeing the foundations of Black Thought and Questlove,

seeing them go from boys growing up, as you say, you know, from tweens to teens, from teens to young men, and then you're in hip hop. See, our narrative was that we were working class musicians, which really isn't sexy. There's nothing sexy about, hey, we're a hardworking band. Because the narrative, a lot of the narrative, especially of the crack era, which is 1987 to 1992, is the idea of winning.

Which is why the idea of Scarface, we don't love the movie Scarface, the idea of Scarface is what we love. If anything, I think like Jay's life sort of mirrors that. Like, I'm going to buck the system. Right. And then I'm going to evolve and become the system. Right.

That's pretty much how America was built. Like, off of blue-blade money. Oh, everyone. Yeah, the Kennedys, the Rockefellers. Yeah. Yeah, you name it. You name it. Corrupt money.

And then somehow they became the each. You become the establishment. The establishment, the respectable establishment. For us though, had Tariqa and I, like again, even the idea, we were really the roots of name only because like we went to high school. When you're in high school and boys to men are boys to men in high school, and I don't mean like this before they had a record deal, but it was like the Beatles on Sullivan, like they would walk down the block and girls, ah, oh my God, and singing the girls in the back.

And I'm like, oh, they're cheap, man. Like singing the girls, like we can't do that. And so we started a group, but it was in name only. And it was only when I was coming back from my audition, I auditioned to go to the new school or Juilliard. And coming back home, Tariq was with me for my audition. This real pretty girl in kind of a Grey Poupon commercial way says, excuse me, are you the drummer that plays in that Spike Lee bucket commercial? Now, yes, I was the drummer in the Boyz II Men Motown Philly video,

but because a very popular Spike Lee commercial for The Gap was like a bucket drummer, you know, we see musicians busking all the time, but back in like 1991, it was weird to see a guy playing drumsticks in a bucket. And she was so beautiful. I said, no, I'm not. And she was like, oh, okay. And she sauntered off and left the train and Tariq looked at me like, you dumb, run, run, you dumb. And so cut to the next day, we're watching Soul Train and that Spike Lee commercial comes on.

And literally it was like the Eureka, what I call the Doc Brown flex capacitor inspiration moment. Like we just slow looked at each other like, yo, let's do that. And cut to two hours later, us going to South Street, busking. And you know, the summer of 1992 is kind of where a year later we'll have a record deal. And we will be the roots, as you know it, at least. And the thing is, is that in our narrative, like we just never had a story of like, we won. And that's what hip hop was at the time.

Yeah. I won. I got more than you. Right. I've, you know, we were telling the truth. We weren't rich. We weren't, you know, Put your rollies in the sky, waving side to side. We didn't think to lie to people. Yeah. Or I don't think it's lying to people. I think it's sort of manifesting what your future is. And then it comes. But okay. But then what do you, what do you think, what do you think the secret to your staying power has been as a group? When people used to ask before I would playfully joke that

you know the the reason why the roots existed for 30 plus years is because Two tour buses and I say it's Slytherin and Gryffindor but I now realize something which is Oftentimes artists have this obsession with perfection. You're Michael Jackson, like, it must be perfect. Prince's world, famous for rehearsing this band, like 15 hours a day, perfection, perfection. That's not the key.

The key is, like, when you're trying to manage your destiny or rehearse your destiny, it never works. Literally, all you have to do is left foot, right foot, left foot, right foot. And yeah, some of those times are trepidation. There've been moments where like, I don't like the way the audience looks like, they don't know who we are.

Like, you know, and I'll overthink it, but it's just show up. So I don't think, you know, people, well, you guys are super talented. You know, you da da da da, you have the ability to collaborate with whoever. Nah, we're still, we just, we show up. And that's literally, I believe that's the true answer.

I try to make science of it, of it all, like, well, you know, cause we're responsible or, you know, we're drug free or we're, you know, because we're responsible, or, you know, we're drug free, or we're, you know. No, you just show up. Yeah, we just, you literally show up. But you know what I think it is? I think, I'd love to hear what you think it is as well, is like, I think as artists, if we're honest about it, there is a great fear that comes with doing

what we're doing, because you are directly attached to the product that you are creating. It is a direct expression of who you are. It's a direct moment where you're exposing yourself. It's like another opportunity to be rejected. It's another opportunity for it to not go right. It's another opportunity. You know, like, let's say the music itself can go on without you,

but when we talk about, let's say, a live performance, every live performance is a new performance. Do you know what I mean? You step on stage, and if your timing is off, and if your drumming is off, and if Thorpe misses some lyrics or if he messes something up, that crowd doesn't say, oh no, it's fine because the album is perfect.

They go, that was terrible. But you show me someone, I mean, no one actively plans on let me ruin this moment. Yeah. But I guarantee you at least 90% of the time, it's someone that's in their head. I learned that that worrying is literally praying to be sabotaged. Whew, man, I hope I don't drop a drumstick. When you worry, when you allow your brain to go to that place. Yeah, to focus on the thing.

Shout out to Lauren Zander for inventing the term mana-fucking, that's when you start mana-fucking. So it's, I guarantee you behind every moment of that level of sabotage or bad performance, that's because a person's mind's not clear. I don't, like before you go on stage, cause your level of entertainment is more intimate because you have to talk to people.

Yeah. Like, do you at least... I have to sit in silence 15 minutes before I go on stage or DJ just so that I can ground myself and get in that zone. I'm the complete opposite. Oh, you got to be all hyped and listen to music and... No, no, no, no, no. I no I just so it's funny everyone has a different routine so Chris Rock he has like he almost has like a meditative zen everyone is to leave the room right and then he focuses and he goes in but he's also he still have that prince uh

I think so you have his prince uh alter yeah but I think I think he's also one of the most precise comedians so I get why he needs that you know and then um Kevin Hart he's like he's also one of the most precise comedians, so I get why he needs that, you know? And then Kevin Hart, he's like a lot more loose. He'll just do the thing. He'll laugh with people. Dave Chappelle's always playing music. That's one thing. When you walk backstage, Dave Chappelle is playing music and the music is setting the scene, setting the vibe. For me, it's people. I need my people backstage because... Really? For me, it's people. I need my people backstage because... Really? Yeah, because the thing I'm trying to do is, for me, I'm trying to bring you Trevor when

I get on stage. I don't want to become somebody else. I'm not trying to become somebody else. I'm trying to introduce you to the funniest version of who I am. And that is like when people know me. When people meet me for the first time, a lot of people are disappointed. They're like, oh man, I thought you'd be a little more, I thought you'd speak more.

I thought you'd be funnier. But I'm like, no, most of the time I'm processing information, I'm observing the world, I'm quiet. But when- I was about to say, you're the first comedian I met that, like if any particular artist has a kind of a duplicitous existence where there's Dr. Jekyll and Hyde, comedians to me are that like every comedian I know it's like life of the party on stage but the level of darkness that I witnessed out of it.

And then I realized like, oh, comedy is one of the, one of the best distracting, nothing to see here. Like I don't want you to see the real me. So let me be funny as hell to throw off the smoke. But you, you actually, you might be the beginning of a new generation that might be genuinely you and adjusted, at least from outside looking in. Yeah, no, honestly, I try to be.

I try to be as much as I can because I realized this, and maybe you can relate as a performer. What I realized was, if I'm going to spend my life doing something, then I would like to spend my life doing something that will help me be the best version of me versus spending my life doing something where I'm somebody else and then I have to come to grips with the other person I am whenever I come off stage. Do you know what I'm saying? Yeah, I know. So that's why what I'm trying to do is I walk out onto the stage and I'm trying my best

for you as the audience to feel what I'm like with my friends. And if you meet me in the street and if I'm at a restaurant, that's me. That's just how I am. Because then I don't have to turn it on and I don't have to turn it off. And I don't have to think about who's, well, which Trevor's coming today,

which Trevor's showing up. No, I like that. I used to worry about that because I think, at least for me, it really I'm gonna I'm gonna even weirder space because I know I have people that admire me yeah but it's not again it's not the Beatles hard days night like no a pack of girls aren't chasing me down an alleyway and it weird, like sometimes I'll walk down the block and it's always like, you know, some guys like dog, like that, that album changed my life, man.

Back in college. And thank you very much. And it's always, and I'll be high like, wow, thanks. And then what always happens is whoever he's with usually is data, whatever. I can hear maybe like five seconds of the conversation as I walk away. And it's always the tune of like, you don't know Questlove, the roots. You know the roots. You know Jimmy Fallon. You know, you remember Will Smith tonight? You know, Questlove.

And that always just, but I used to always, I would say that I was the person that would sort of self-evidence reasons why I don't deserve stuff. That's interesting. So you talk a little bit about that in the book. That's going to ground me. I actually would like to get into that. Like, you know, in the book you talk about almost experiencing hip-hop through an anti-hip-hop lens, and not against hip-hop, but rather the machismo in hip-hop, the vibe. You know, for instance, even when we talk about weight, there's a really fascinating part of the book

where you're talking about how Biggie and Big Pun and Fat Joe and all of these artists, how they use their weight in a different way, Rick Ross, you name it. And you very candidly share your story and how like you are grappling with your weight in a different way and you don't seem to have the same command over it and it's almost not a tool in your arsenal. I never thought this could be sexy. Yeah, for me, I realized super late in my life that we are going to self soothe on something when we're not aligned.

are going to self-soothe on something when we're not aligned. Like, I now don't, I don't see like a cocaine addict as like, oh, you just chose drugs. I now think like, okay, you're self-soothing because of another issue. And there's different types of addictions that we don't think about. Like, we don't think that, yes, there's the greatest hits one, there's drugs and alcohol, there's gambling, but then there's some other that we don't think about. And for a lot of it, the amount of times that I've like celebratorily like, let's go to dinner or, you know, in the studio, I'll just have, you know, my ride or like 10 different types of cereals.

Like, I didn't realize the amount of times that I would just casually, I'm a foodie. I write books about food. So, you know, I called it, my excuse was being a foodie. But then someone challenged me once during the pandemic, like, well, I dare you to not do that. And we'll see if you're an addict. And literally, I was like Chris Rock in New Jackson City, like, I need Captain Crush. I need Captain. And I didn't realize that that was my drug. And I didn't realize that this was my shield

to keep people away from me. Wow. You don't realize that at the time. So, and it's, it's, it's an everyday struggle. Like just to, just to, you know, I want to be an example without being the, the, the guy that you like, you see on Instagram and I'm going to be the, I don't want to be the hall monitor. Yeah, yeah, yeah.

You're not, you're not the hall monitor. Yeah, yeah, yeah. You're not the instructor type. I want to lead by example. So the fact that Chuck, Flavor, Ice Tea, LL, and a few seconds are making it to 60 is like, that's a true reason for celebration. But I also know that those individuals have also reached a crossroads in their lives where they have to, you know, I didn't know that Chuck D revealed to me that, you know, he, he does meditations and, and, and do these things that I used to laugh at, I used to laugh at all yoga meditating.

Did you, you know, one of the things I notice about us as people is we risk swinging wildly from one extreme to another. So I'll meet people who, like you say, they self-soothe, whether it's food or whether it's partying or whatever it is, and then I meet them and then now it's like they self-soothe by being the complete opposite and it's extreme and nothing is a joke, brother. Let me pray with you for a moment. Let me meditate with you in this moment and everything is the devil. I was that person. Yeah?

You know when people get a new toy? Yeah. Like I had cousins come home from jail, like, you know, when you do a bit in jail, like, you're going to either find God or, you know, have my family as Muslim, you know, like prayer rug in the middle of the street, like, all right, here we go. Give you a salat, all right. Now, can we talk about, you know, TV again? I was that person and then I realized,

like, you gotta be the example instead of preaching the example. I wanted to ask you that about music. Do you, are you able to listen to music without the? Like the rule and I don't mean the rules of like what music is supposed to be or not be But there are a few people I know of who can Break music down. So for instance, you have these playlists that you send out to people, right? And one of the reasons I love your playlists is because I love discovering new music.

So when you listen to music, I'd love to know, like, are you able to turn off your precision and your perfection or are there moments where like it bites at you? I'm a stickler for detail. And so the reputation of the Roots being a band or whatever is often the fact that we can mirror exactly what the song does. Got it. Kind of in a, not in a karaoke way, but you know, the artist always says, wow, you guys sound just like the record.

Exactly. Right. And so I'm always on the band about like, no, the thing goes like this on the record. Does the average layman person care? Probably not. Am I tightly wound? Probably so, but someone has to be the captain. So that's usually where I'll get the ridicule.

Like I know on the other roots thread without a mirror. That's where I know that where the conversation is going. But the reason why or the main reason why I did these playlists, I think I started doing this way back. Blue Ivy was born when like 2013. Oh geez, 2013 I think. Yeah I'm terrible with years. Yeah 2013, 2012 around that era and so my gift to the Carters was like look and this is back when it was just iPods. Mm-hmm. I said what I'm gonna do is I'm gonna fill up a whole bunch of music with iPods and in our crib, you know, just have this music playing. Oh, man, that's beautiful.

And then, you know, because I think if you can get kids before there's, and I don't mean like, I'm not the kind of guy that wants you to listen to the music I listen to. So that's being exposed to it's like languages. I think it expands your mind. It's like languages. I think it expands your mind. So I initially started making iPods for the Carters, but then Jay will be like, yeah, we kept them things to ourselves. And then the other thing was kind of my occasional eye roll at Obama's summer playlists. Like, okay, all right, who's really feeding you this music?

All right, let me, let me. Nobody gives him credit, come on. Let me, let me. And I'll hit him up, I'm like, yo, dog, like, okay, who's your trainer's doing this, like your interns? So what wound up happening was, initially, First Lady Michelle had me make her a bunch of

playlists because she was doing like a book tour and wanted cool music to play when she would do her speeches, whatever. And then, then it just started expanding. So it's, to me, I'm the guy that's willing to, you know, do the needle and haystack for the perfect song. All those songs that I choose are songs that like, that give me goosebumps. Like no song is on there by accident. Make a moment. Okay, not to put you on the spot,

but if you were to choose five, just five songs where you go. See? No, no, no, just like, and it might be like, it might even be the top of mind that I'm looking for. I know I'm putting you on the spot. I'm gonna tell you something. Five songs from five genres where you go, you're on an island, you're trapped.

This is it, five songs for the rest of time. You can't even make music. Five songs. When off the clock, I don't listen to music more than I listen to like, ambient noises. Oh, that is fascinating. So right now, if you would say, what is my favorite song? For me, fork tuning, fork tuning music is my all time,

it's not even music anymore. The sounds of, like that to me is like, cause I need that, My life is so chaotic. But I mean, if, if you just want me to name like, tangible songs or tangible music, I would choose. Okay. If you're a fan of Brian Wilson, or the Beach Boys, and you know the story of how he struggled for 40 years to make the follow-up to the Pet Sounds album, he finally completed this album I think in 2009, 2010 or whatever.

Like finally it's in its complete stage. It's called Smile and there's a song called Wind Chimes that is just my relaxing place. So that's the relaxing one. That's the relaxing one. Number two, Bill, that has a long monologue at the beginning of it. And when I was a kid, my parents and grandparents used to always make me perform the monologue. Bill's telling the story of what it was like growing up in West Virginia and his grandmom's house and going to church. And it was like the comedian in West Virginia and his grandmom's house and going to church and it was like the comedian thing like white churches and black churches, black churches do this,

white churches do this and I used to do that routine when I was like three or four. So let's say the live version of Grandma's Hands. Okay, live version. What does that do feeling wise for you? It's probably the the rosiest childhood memory I have. Okay, okay. So it's like, it's warm. Yeah, it's that warm feeling. All right, okay. There's a song called There Comes a Time by the Tony Williams group. Tony Williams was the drummer for Miles Davis. He went solo and did a song called There Comes the Time. There Comes the Time was the first night of the Roots, as you know it, when we saw the commercial and went on South Street to busk. It was such a victory night that at the end of the night,

we took our $120 and we went to Wawa and to get a hoagie and some lemonade. And we just sat in the car, like feeling accomplished, thinking like, so we going to do this next week or? Yeah, we're going to do this next week. We might make $200. And this avant-garde DJ had played Tony Williams, There Comes the Time. We just thought it was the oddest thing we ever heard.

And it turns out we don't know it at the time But that DJ will wind up being Like the roots his brain trust and longtime manager until we passed away. Oh wow Richard Nichols So we will meet that person in about three months not knowing That he was the the DJ for jazz 90 and that's beautiful That's the weird one. So we got calm, we got homely, we got weird. What's like a hype?

Is there like a hype song? For my generation, when Rebel Without a Pause came out by Public Enemy, the song actually encapsulates the angst that teenage me feels inside that can't express it. Right. Right. Right. This loud siren noise that keeps going, like it's every parent's nightmare. But for me, it's like, yeah, this is how I feel inside. You know, so Rebel Without A Pause by Public Enemy. I like that. Okay. That's like catharsis. I like that. Yeah. All right. And then the final song.

The last song I'll say is a rather normal song, but there's a moment where in 1983, Prince releases a remix version of Little Red Corvette. Now are you familiar with the phrase, it's called code switching? Yeah. So code switching, for those that don't know, oftentimes if you come from one side of town, you might often have to chameleonize yourself to adjust to where you're going. Switching to that office voice. Right. So if I'm back in my old neighborhood at home.

Good to see you again, buddy. Right, exactly. At home, I know to lower my voice. Hey, what's up, man? How you doing? Yeah, I'll take a shrimp fried rice and, huh, what? Oh, word, that's what's up, yo. Thanks, thanks.

But when I'm at office, hello there, how are you? Like, it's a level of code switching. Prince, what makes Prince such a genius is often when he releases singles. He knew what he would have to do in order to gain the audience that he wanted. Oh, interesting. Which is why songs like Raspberry Beret exist,

which is why like nice songs like Take Me With You exist. There's a level of wink, winkage that he's doing to a wider audience that he's trying to grab. But he's also telling his black audience, I know where I came from. You know what I mean? So he'll, he'll often remix a song and blackenize it in very subtle ways that you don't notice it. Okay.

So what happens is 12 year old me is thinking that he's hearing the album version of Little Red Corvette. But then suddenly in the three minute period, the baseline changes. And I'm like, wait, this feels different. This is not the AM FM radio rock song that Little Red Corvette was, suddenly it's black as shit. So what I'll later learn is that oftentimes for pop radio, you'll wanna stick to major chords because it feels safe and it feels inviting. Minor chords, the black keys, are often dark and that's sort of up our alley.

You know, it's funkier. It has edge to it. There's mystery to it. There's, there's bite to it. And the moment I realized that you can turn any song into the major version, which is safer or the minor version, which is edgier that totally transformed me so for me hearing Little Record the the the remix dance version just that made Prince God in my mind that unlocked something in you in a way that no other artists could could do that

mm-hmm don't go anywhere cuz we got more What Now after this. You know, I'll tell you this, Amir. Like, there are few things that I have been to or experienced where there is more law that is spread about them than your legendary game nights. Yo, people's, the amount of lore and fiction and myth about your game nights is out of this world. People ask me questions, it's almost like your game night has become Illuminati because people will say to me, they'll be like, Trevor, I saw you made it into one of Questlove's game nights. Pray do tell what happens in there.

I heard that there are people, and you're like, it's a game night, it'slove's game nights. Pray to tell what happens in there. I heard that there are people, and you're like, it's a game night, it's just a game night. Someone once joked to me, they were like, you know, I can't believe you hit jackpot doing one of the most wholesome. It is the most wholesome event ever. It's so wholesome, I'm embarrassed. The reason why I don't talk about it,

the reason why I'm sort of like a fight club with it isn't because we're doing this debaucherous Studio 54 thing. It's Studio 54 levels of fun, but it's so damn square. And I think I happen to know that that's the specific reason why people come over. Because the thing is like, okay, we'll invite about maybe we'll try to aim for 60 people and we'll carefully curate things. And I got to go through, you know, some people have security details, some people have, you've seen the amount of people that have been here.

But the thing is, is that it's such an unpretentious, normal moment. I'll give you an example. All right, so the first time that Taylor Swift came, it was literally to zero fanfare. Like she just walked in and I didn't even know, I didn't even know she was there until 10 minutes in and I was like, oh, okay, she did show up.

That's what's up. She just sits down at Bumby's table and plays Uno. And that's the thing. Like what I realized, the reason why I threw Game Night is because I don't, I work so much. I don't prioritize joy and fun things. And I'll figure out a way to monetize my joy. Like DJing used to be my joy.

It's still my joy. But now- But now it's also your job. But it's a job. It's an occupation. Drumming is a job and an occupation. Journaling is a job and an occupation, but these used to be my passions. So with game night at least, there is a four to five hour period in which 60 strangers are amongst each other just playing around, but then the

next night I'll get the text and it'll just be like, yo man, like dude thank you so much, like I got to talkJ. Abrams about what I thought. Da-da-da-da-da. And this designer's talking to that writer. And it's not even an elitist thing, because I have... No, no, no. Half of the room is just friends of Questlove

who nobody knows from anything or anywhere. That's just, you know? Right. That was the most fun I had, was sitting at the table with your boy. I don't even know where he's from. But it also tells me a lot about people. The way Michael Che hit me like,

yo, dog, man. I was like, yo, you have fun, because this whole thing was like, he couldn't, Michael Che was one of them cats that couldn't quite realize like, wait, so we're going, we're just coming to play games? Yeah. And I'm like, yeah.

We even had like one particular artist who's like security detail had to come and sweep the place. And they asked us like, so you where's your medic at? And I was like, medic. I was like, yeah, you know, medic in case something happens. I was like, I said, dog, I ain't that type of party. Like, they're like, wait, you guys are really here to and the way they left like you're here to play, you're here to play games?

And I was like, yeah. And they looked at each other like, wait, that's all y'all doing? I was like, yeah, we're playing games. And they couldn't believe it. And then they witnessed it and was like, oh, this was fun. But literally at the end of the night, I hit him and I was like, so what'd you think?

And he was just like, man, it's like Trevor Kip. Now I know Che is the type of guy that will pull another rule out of his hat without establishing. Completely. Right, so. Let's get into this. I like how people will be like, your reputation is that you're a rule follower.

But so am I. No, but here's the thing that's more specific for me. I'm competitive, okay? We start with this. I'm competitive. And the thing I never understand is this. If we cannot agree on the rules of a game, then how can we agree on who has won or lost said game? The thing that gets me is, let's just agree on the rules.

I'll be playing Uno with somebody. I'll be playing Crazy 8 with somebody. I'll be playing whatever card game it is. I'll be playing a game with somebody. And then they'll go, oh, no, that doesn't do that. So it's like, okay, wait, let me just look. Official rules. This is what I'm saying, official rules of UNO

is that if somebody puts down a take two, you cannot add to that. Now I'm saying, I play the game where you can as well, but let's, yo man, I can play And One, I can play NBA, I can play like, you know what I mean, 3v3. I can play every style of game. play NBA, I can play like, you know what I mean, 3v3. I can play every style of game. See, a lot of my black guests.

All right, so I got a lot of pushback from my black guest. Because we add, we stack. Right, so there's levels of stacking. And I love stacking, but let's agree that we're stacking. I get it, yes, you're right. And so- Let's agree, people, that's all I'm saying. Because sometimes what happens is it goes half way around the table

and then someone else goes, oh no, but you don't stack. And then everyone at the table is like, oh okay, no, not okay. Okay, so here's what happened on that one in particular. So we weren't playing one game. So what I love about your game nights is you'll get to a table, you'll find a game. You don't even know what game you're going to play.

So you get to the table, there's a whole bunch of games laid out. And on this occasion, there was a Barbie version of Uno, okay? Which I've never played before. I don't think anyone's played before. Mattel said it's every type of Uno game. Yeah, there was like a special type of Barbie, Uno. So now there were new rules. Yes. Okay? So now everyone's at the table going, what do we do?

Now, I'm not the kind of person who will pontificate on the possibilities of playing when I can just pull out the instructions. The rule books, right. If we don't know how to play the game, let's read the instruction. So I go, let me read the rules. Michael Che goes, of course you're going to read the rules. Then I'm like, what do you mean, of course I'm... Do you not wish to know how to play the game? He's like, I'm sure we can figure it out.

I'm like, we cannot figure it out. I don't know what a Margot Robbie card does. I don't know if you do. He's like, we can figure it out. No, Michael Che, we cannot figure it out. And my thing is, Michael Che's so cool. He's gonna be like, he's gonna ooze cool. But he's one of those people

who will confidently walk down the wrong road. Just to like, I'm the kind of person to be like, let's pull out a map and see if we're headed in the right direction. You and I are the same. Right? We're born in the same. So I read the rules, and it turns out,

like the America Ferrera card and the Margot Robbie card are very different. Exactly. And there's a lot of things you got, the Issa Rae card has a different vibe. Yeah. You know what I mean? The Kate McKinnon card does a completely different thing.

So these are all things that I was trying to explain to the group so we could make the game fun. Cause if the rules don't exist, then the game isn't. And Michael- Michael Che- Yo man. As the hall monitor. Man, he, even at the table, he was roasting me.

He roast, you know what? I had every trauma from school come back. I knew it. Where I felt like a nerd who had like actually done the reading or actually done. Teachers bet, teachers bet. That was him. Exactly.

That was him. Michael's lucky I went to therapy. It was good for someone to have it instead of me because I'm always the teacher. You're usually that guy. So I was like, all right, Trevor took the heat off me. This is like, I'm here for game night. I'm not here for socializing night.

I'm here for game night. The socializing is secondary to that experience. So I'm here predominantly for the game. I'm here for game night. The socializing is secondary to that experience. I'm here predominantly for the game. I've realized, so moving forward, we decided that each table should have their own captain and that captain will establish what the house rules are. Now that is what I'm talking about. So next time, Trevor, you will have your own table.

It's your rules. I don't even need to be a captain, I just need the captain to know what the rules of the game are. No, you're a captain dog like Yeah, I'll take it. I love it man. Thank you so much. Thank you for being here now because honestly, this is Wow, thank you What now with Trevor Noah is produced by Spotify studios in partnership with Day Zero Productions and Fullwell73.

The show is executive produced by Trevor Noah, Ben Winston, Sanaz Yamin and Jodie Avigan. Our senior producer is Jess Hackl, Marina Henke and Claire Slaughter are our producers. Music, mixing and mastering by Hannes Brown. Thank you so much for listening. Join me next Thursday for another episode of What Now?