The Questlove Show - A Reaction To The Chuck D Episode Of The Questlove Show

Episode Date: July 3, 2026

Open Mike Eagle and Cousin Jake link for a mini-episode to unpack Questlove's long-awaited conversation with Chuck D. Along the way, they discuss the disappearance of Hip-Hop's "middle class," the vital role independent labels played in sustaining it, and why those ecosystems matter now more than ever. As the two QLS affiliates revisit highlights from the Chuck D interview, Mike shares a surreal story about attending one of Chuck D's lectures while in college. Together, they explore the importance of preserving the stories, spaces, and conversations that keep Hip-Hop's history alive—and why documenting its legends remains as essential as celebrating them.See omnystudio.com/listener for privacy information.

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Listen, Inside American Soccer with Tom Bogart and Tabramus on the IHeart Radio app, Apple Podcasts, wherever you get your podcast. The Questlove show is a production of IHeart Radio. Open mic, man. Happy Thursday. Happy Thursday, indeed. Absolutely, man. You got any plans for the weekend?

Yeah, I'm shooting a video this weekend. That's the biggest plan. Nice. Shooting a music video for the new project. You got a treatment, everything laid out. Oh, it's all laid out. We've shot most of it already. It's the last day of shooting.

It ought to be nice and easy. Oh, man, I can't wait for that one. I saw a little visual content on the gram or online. I'm eager for this one. And I love, you know, I was thinking a lot about wild pitch records recently. I was listening to something. I think it was an old episode of QLS. And they were, somebody was talking about Stu Fine.

And before they got to the punchline, I'm like, that's the founder of Wildpitch. And to me, even before Ruckus, that was always a label I could trust most of the time. And I feel like we've gotten away from that a little bit. There are labels that you've worked with over the years. But I do feel like Backwood Studios is a brand you can trust. I feel like they're like the last sons of Krypton. You know what I'm saying? Like, they're like the vestiges of the underground that I used to, that I came up in.

And I saw so many labels. See, this is, and I'm already off on a tangent. No, that's what we do. It's a rabbit old platform. To me, the unspoken story of the sort of deletion of the hip hop middle class and how, like, you know, a lot of times now it's just like superstar rapper or struggling indie. There's just not a lot of working rappers in the stratum in between. And part of the story of that is how many labels used to exist that are gone now. You used to have, and this goes back, I think, to when the majority of money that was coming in was based on selling CDs and physical product, that there was enough money coming in to make sure that these labels were able to stay afloat and keep putting enough money in rappers' pockets every time they dropped an album that they were able to stay afloat between that and touring.

Yeah. And so many of those labels are gone. And Backwoods feels like the last sort of connection to, you know, not only the aesthetics of of the older days, but a viable, well-run business that's putting forward the new voices in that same family tree. Absolutely. New voices. And then, you know, I mean, even what I consider veterans yourself and Blockhead.

Yeah. You know, it's just great. Exactly. Exactly. You know, they've been very kind to some of the, they put out some great product with some of the folks that have been kind to me and that I've gotten to, you know, share some air with over the years. So, yeah, I'm looking forward to that. And on the subject to hip hop, you know, we're talking about the last episode we've run in June, which is part of, you know, QLS. I think this is year four or five of our Black Music Month initiative where episodes to the catalog are run every day, if it's not a mini episode like this or a new episode, but the first. final new episode of this month is none other than Chuck D, a public enemy. And I really was hoping when you and I got together in the studio with Amir and the rest of the team in L.A., I was hoping it was going to be the same day as Chuck.

But it didn't work out that way. But, man, it was, that was something special. Man, he's such a dope dude. And it's just like we have some real, and I hesitate to use his term because, It also covers a real crew of some homies of mine, but we have some real living legends in this thing. Like the real rap giants that still walk the ground and can still have a conversation with you. And they're not often venerated in the way I feel like they should be. But Chuck D is just an incredible human being that was a titan in this rap.

thing and it's just amazing to hear him in conversation. Like that's just amazing. He's one of those talking. He talks. He talks and he knows he talks. He laughed. You know, he's one of those people that could read the ingredients to a box of tricks. And I would enjoy it.

Just his voice, his conviction. It was funny on the way to this studio. I'm originally from Pittsburgh and I am a hapless Pittsburgh Pirates fan. And he and I and Chuck's daughter, Dominique, were taking the elevator up. And I've said this to Chuck before on the phone. But it was our first time being in, you know, a small space together. I was like, man, aside from Clemente, Roberto Clemente, you have done so much for the pirate hat. And he looked at me, he's like, you know, I'm a Mets fan, right?

And I laughed. I was like, man, of all the literal elevator conversations, a guy who idolized his public enemy could have with Chug D, you know, I, you know, I, you know, I shot the brick. Well, that's on him, though. Yeah. Yeah, well, no. I mean, you know, but I so appreciate it. was funny like Chuck was not a last minute booking by any extension but kind of a last minute agreement while we were in LA and he had a very busy day and he was very generous with his time and

I think much like Questlove and open Mike Eagle I think Amir and Chuck D will be a series of conversations right because the conversation really goes from like 19 childhood memories up until about 1988 88 89 and I'm okay with that I'm ready for another hour you know know what stood out to you with this one. You know what really stood out to me first was him talking about the sample for public enemy number one. And Amir asked him why that song, why that James Brown song or nobody else really used. And when he told that story of the roller rink and how like that was the song that was the signal for all of the real skaters to get out there cut it up. And it's like,

damn, you can hear that. And I just like, that's the sort of things that fascinate me. It's like the real life reasons that people make the choices that you hear on records that you would never understand. You would never know. You would like, it's because the song's

not about roller skating. You don't talk about that in the song. But it's such a great song and you never would have known that it was this real visceral memory that he wanted to invoke that is the reason this song sounds like this. You know, I agree with you. And I think of that in life a lot, just the butterfly effect

of small decisions, but I didn't, you know, I grew up, there were still roller rinks in my neighborhood and stuff like that. I, I can't skate to save my life. But the idea of the roller rink is a place to hang out and, and meet folks. And like, that's so, that's a little antiquated to me. But to hear Chuck talk about that in here, one record then, the Blueprint your head joint, you know, changed. I will, I knew, I knew public enemy number one before I knew the Fred Wesley James Brown joint. So it's, same.

Yeah. And I think of like the founders of hip hop and how one creative records, you know, one choice from one DJ ultimately shapes livelihoods, legacies, incomes, all of the things. You know, it's just crazy. So it's also interesting. He mentioned roller skating again in that conversation. I've never seen this. but correct me if you understood it differently,

but he alluded to performing in roller skates. He did say he could do a couple of his songs on roller skates. Yeah, that was, he said that real smooth to it. I'm like, wait a minute, what? Nothing about that by 2020s, Zs sounds a special, but it sounds cool if Chuck D's doing it. Have you had many Chuck or P.E showgoing experiences? So I've never seen a public enemy show,

but I did have quite the Chuck D. experience. And if I ever get a chance to talk to him, I'm going to ask him if he remembers this day because I went to college of Southern Illinois University. And he was brought in- Is that in Urbana- Champlain? No, this is Carbondale, Illinois. So a couple of hours south of Champaign-O-Ben-I-Ben-I-Ben-I-Wed. Yeah, yeah, yeah. They're easily confusable. But he was brought in to give a speech in the large, ornate central school auditorium where, you know,

where if they had a ballet company come or they had a theater company come, they do it in this big ornate, must have been 2,000 seat auditorium. And he's about to give his speech and the tornado sirens start going on. And this is the Midwest. This is Southern Illinois. It's very flat. And, you know, tornado watches and tornado warnings are things that happen. But this was a serious one.

And it's not the sort of thing when you're in a tornado warning. you can't just like send people home right you have to go to shelter and so i don't and so so the part that i don't quite remember correctly is how this would have worked with the laws of physics but everyone who was there was um was put in the basement chuck included and so we go from this big ornate theater with you know gilded ceilings and and all that to now we're all in a basement where the ceiling is about, you know, a shade over six feet high. And Chuck D is down there with all of us in the middle of this tornado warning. And he just starts doing the rest of his speech right there in the basement.

It did a Q&A with us right there in the basement. Wow. And it was just one of the most amazing moments I've ever had and just really watching somebody adapt, deal with the situation, not sweat, not trip out, just roll with it. So now we're in the basement. So now the talk continues. And I'm just standing there riveted the whole time. I can't remember a word he said, but I do remember him giving this speech in this basement

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It's like a way to say like, Oh la, my friend, oh, my friend, oh, my brother. Look, never I've ever been to have ever been, except with my children, my children, my mom. Uff!

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Go check it out. Listen to Hey Jonas on the IHeartRadio app, Apple podcast, or wherever you get your podcasts. Was he there to speak about hip hop? Was it about, you know, other issues or do you remember that part or no? I do think it was something to do with hip hop. I think a lot of times stuff on our campus was about, you know, how we turn things.

around in the black community sort of talking points you know save people from fallen into street violence and and those types of issues I believe that's what it was about but I honestly don't remember. He would have to remember

that I imagine so when you first said it But I could imagine like that's the thing he was so cool about it was one of the things that made you think like how many wild days this man had? Just wild days where this is nothing to him. him.

He made a comment to Amir in the interview, or maybe it was the moments before we started rolling where he said, I'm so glad you're around because people don't have to come to me to be the talking head for every documentary anymore. Like, you know, whether it's about hip hop or black entertainment culture or whatever, it is amazing to me that Chuck could sit for a whole hour and he's not somebody who repeats himself. Right. He spoke about writing as he drove.

I knew he was a messenger, like that part I was heard, but I never had. had clarification whether he was you know like a bike messenger like I never knew how to picture it or it sounds like he delivered photographs to different you know he was kind of a courier but by car but the idea of him writing some of his most classic material

while driving at night was dope I love that psychotic that sounds just pure psychosis I've been trying to tell people rappers are insane even even the most lucid of us you can tell we all always got a little screw loose somewhere.

And I feel like that's like the way he talked about that is like a perfectly legal and safe activity. Yeah. Was amazing. That and then there's this moment too. And this, Amir looked at me and we just started laughing because, and this is so cool to me too of like you hear about the cobbled together resources that, you know, brings hip hop. I got a turntable.

You got a turntable. Bring them together. They got a mixer. But Chuck was saying, you know, with the bomb. squad and I feel like, you know, people often think of just the production. They think, oh, you know, Hank and Keith Shockley and Eric Vietnam Sadler, but like Chuck was very integral to that production. And he down, like, you don't hear him asserting his own credit, but he was describing how,

you know, in Roosevelt Long Island, I think it was Roosevelt. They had this, like, they put all their records together in one place. And they, like, created a dewy decimal system of where each record could be, you know, not not alphabetical, not like the jazz is over here, the funk is over here, but that way you could look at a book and Chuck was priding himself on his penmanship. I just love that. Like that is, that is elder leadership right there. He was like, you could look and go, okay, cool in the gang, this album, show five, you know, like, you know, like you're in a big box store. And I just thought that is such a great image when they're making, you know, the second and third PE album of just

those layered samples and all that they did to make it sound the way it did. You know, you remind me too how often it is when you really go back and look how often our rap legends were involved in the production in ways that we would never really understand as listeners because that weren't the way, that wasn't the way things were talked about. I think about De La Sol's involvement in a lot of their records, like the like Paz and Dave themselves bringing in samples or having the goal of okay I want to I want to flip this I want us to use this or making the beats themselves at home and bringing them into the studio and a similar thing with like organized confusion how you know Paul C was with them early on but through their next couple of albums most of them were you know it's Prince Paul and Farrell themselves making the beats it's always interesting to me to sort of wrap my head around how

involved a lot of these rappers were in the production in ways that we didn't know. Yeah, it's interesting too. I always look at organized as the last disciple of Paul C. But to my knowledge, and I could be mistaken, I don't think that there's a released credit

of like a Paul. And I know Paul was both an engineer who doubled as a producer, but I don't know that on the first self-titled album, there's a Paul C credit. Yeah, you know what? I actually don't remember those credits. And I feel like if you had to ask me to place a bet. I'd say yes, he's got a credit on there, but that's only because that's what I think.

Like, I actually don't know. It's one of those, you know, there was another thing, and you and I talked about this before we got on, but like, the reason why I still love the interview, even though that, you know, I get to produce one of the best music podcast, period, is you get these accounts of things that aren't there anymore. Right. And I'm always like, my wife, I annoy the hell out of her, because we'll walk around Philadelphia, and I've only been here 25 years, but I'll talk about what was here before this new building is here. And I really, I like that. And I've always wanted hip hop to have more of that.

You know, I'm always fascinated like just yesterday. I was in New York and I was on 37th Street. And I'm like, man, I remember being in D&D studios. And it's a lot now. And I wish I had taken a photo. Like, I know they're online, but I wish I had taken a photo. I feel you. And Chuck was speaking about old venues and he said something in passing of it's not there anymore.

It's not there anymore. And I just wanted, you know, in your journey and in your creative career, but also your fanhood of all of this, like, are there certain venues that you, you miss you long for, wish you could have been in? I know that's probably an obvious question. So most of my performance history has been while I've been living in L.A. So, you know, one might think that I would miss places in Chicago. I saw shows in Chicago, but I never really performed there at the beginning of my career. So like the Knitin Factory that was here in L.A., like it wasn't a great place. It wasn't like it was in Hollywood in like a shopping center, like the same block as like the Chinese theater.

So it was hard to get to and hard to park and all of that. But I just remember seeing some amazing shows there when I first moved here. Like and I didn't have much to do. I didn't know that many people. So like that was often a place I would end up at. I saw like Jayzone player, like Slick Rick player, somebody, you know what I'm saying? And it'd be like, oh, this is, this is so dope to be able to see this. And that's, that's gone now.

My favorite venue in the world, my favorite venue to perform at was this place in Portland, Oregon called the Doug Fur Lounge. And there's a place that was like connected to a hotel, but it was like under the ground. So you wouldn't even have any idea that there was like a big venue here, but they'd, It was under the ground, but it was huge. It was like a 300-cap room that you walked downstairs into. And it was decorated like a log cabin almost. Like there was like these wood logs that were on the sides of the walls.

And that only did that add an aesthetic. It was really dope for making a room sound good to it. Oh, I imagine. The way that it soaked up the sound. And it was just my favorite, favorite venue in the world. And it's gone now. But that's, that's, that's, that's what happens, especially in a pandemic.

We lost so many of the rooms that are the size that I like to play, that I like a 300 to 500 cap room that either shut down because they couldn't have shows anymore or Live Nation swooped in and bought up plenty of them. So they're different now even when you do get the chance to go back and perform there. And I only kind of put that together on the fan side recently, but I miss some of those spaces. I miss places. I notice it because I live in a part of Philadelphia and I'm often on the street, South Street, that is still where there's a couple of clubs. And, you know, I'm regularly walking by,

I think where you perform when you're in town, Milk Boy. Yep, been there. And I just remember all the different Marquis you used to look at. Just like step in and see who was coming up if you didn't have a city paper. And a lot of those are gone. And it's one of those things like bars open late that we just lost with the pandemic. There was a period of time in 2008 where I was brought in to possibly do a memoir with Easy Mo B. And they were like, yo, you know, the woman who hooked it up, Nakia Hicks, who I think is very much part of the Young Dolph, P.R.E. camp. And shout out to Nakia, if she happens to hear this. But she was like, come up to Times Square and spend an evening with Easy Mo in the studio.

And I didn't think much of it. I mean, like, I respected him. I interviewed him. But I was like, I don't know if this book is viable. because he's not, he's not Chuck D, he's not out there speaking all the time. He's not a front facing, hip hop, you know, character. And, you know, heads no, but not everyone does. But I went to the studio and he had a bunch of Heineken's,

and I don't typically drink on the job, but that was kind of a spec job. So we had a few beers. And it was the first time of my life somebody showed me, not like a tutorial, but he was triggering samples off the SP-1200. And it was just fun to watch his delight. Like, he didn't really want to talk to me, which only spoke to my, consternation about the book, but watching this man's delight, and then at the very end of the night, you know, I needed to catch my train back to Philly or my bus. He was like, do you know what

this studio was? He goes, this is unique studios. This is what I, he owned it from my understanding, and he sensed it's closed down, but it's where Miles Davis recorded his last era of material. And he took me into a room because Mobee produced the last, the Dubop album, the Miles album with wrapping his fundamental on it. Okay. And he took me in the room, he goes, I don't use this room anymore because this is where my career kind of really took flight. And the last person to really, you know, spend a lot of time in this room was Miles.

And he had the provenance of that room. And we're in the middle of Times Square, even in 2008. I mean, real estate is unfathomable. And there was dust and there were old plaques and there were things, you know, old equipment. And I think of that all the time. I'm always fascinated, not as a creator, but as, you know, a writer when I'm in these studios of just like who else recorded here what else was done here and what are we doing as a

culture to keep to preserve. Exactly. To preserve. We don't we do a. I mean, you know, preservation honestly takes money. But two things. One, we got to do a better job of it. Two, that is part of the reason why I like to interview legends.

Yeah. is because at least getting these stories in some easily digestible digital medium that's labeled correctly and people know that they're coming to to get some history is at least one way to preserve the stories even if we don't have the money to preserve the places. Such so beautifully said and I think of your work like I think of you talking to Prince Paul and him referencing and De La referencing Caliope Studios which is long gone and I'm the type of weirdo that at 1130 at night will sit at my kitchen table and try to get like a screenshot

you know try to get like a Google image of what did it look like because I've heard about it where what did the doors that day law walked into to make free feet and highs and look like and we need that because you absolutely get that with the Beatles and you get that with Abbey Road so on that note and I don't mean to make it all about studios but you know to end you as a creator like what is the one place be at a venue or as a What is the one landmark? And it doesn't have to be gone, but that you haven't touched or used that you would like to on your list.

I don't see this happening. But if for some reason I was able to do something at the Apollo, that to me seems like, like I would probably freak out. I would probably freak out. Yeah. Like just being able to be on that stage and see what. what it's like to see out into that room from that stage. I walked by, I spent a few nights staying on 125th Street and every time I don't, you know, I talked about Marquise, but every time walking by the Apollo is still a place.

And I can say I've never been inside, which is pathetic because I've been invited to shows there, but it still makes, you know, still gives me goosebumps, just knowing the history and knowing the power of a building in a way that, you know, I live in Philadelphia, you know, I walk by Independence Hall every single day. Frankly, I don't get from other places, but knowing how much I love music. So that's a great answer. I wasn't necessarily expecting that. But I hope that manifests maybe over time.

I mean, you know, it seems like it would take some sort of serious pivot on my part to end up there. But, you know, that like in a dream scenario, like, wow, that would be awesome, you know? Yeah. It would. The one thing I'm trying to learn right now in being part of this organization, I really try to take key. Because I know Amir is speaking to all of us in the podcast, you know, like every listener, every viewer, but he's like, you know, dream boldly. And, you know, don't make yourself, you know, I'm trying to take heed to those things. When he's like, don't make yourself feel small. Just like vision it.

And so, man, I like that. That's a great place to, and, you know, once again, the Chuck D episode, I got to say from the inside, we've talked about it so many times, different. Ideas, different things. I'm happy it happened when it did. It was so right that it was in person. And what sounds like both of us look for is more in the series. Absolutely. I can't wait.

And we'll have a great video shoot this weekend, and we'll do this again real soon. Yes, we will. Questlove shows a production of Iheart Radio. Joy is essential, and it's also elusive. But now, there's a new and exciting way to start your journey toward a more joyful existence. Joy 101. It's a new podcast hosted by me, Hoda Kotby. If you're craving inspiration to maximize your joy,

tune into these candid, uplifting, and moving on-air chats. Open your free I-Heart Radio app. Search Joy 101 and listen now. Joy 101 with Hoda Kotby is presented by CVS. I'm Jake Brennan, and on the Disgraceland podcast, I explore the wild lives of rock stars and unbelievable true crime stories from me. music history. These are the stories you haven't heard, the kind you'll end up telling someone

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This is Sweet 305. Here, oversharing is encouraged. Listen to Sweet 305 with Lele Pons on the IHeart Radio app, Apple Podcast, or wherever you get your podcasts. American soccer is exploded. The knockout rounds are here. The U.S. won their group, and now every match is winner go home. I'm Tad Ramos. And I'm Tom Boker.

On our podcast, Inside American Soccer, we'll talk about the real storylines. Discuss the tactics that actually decide matches. And give you the truth about the U.S. national team from inside the program. Whether you're a lifelong fan or this is your first World Cup. We've got you covered. Listen, Inside American Soccer with Tom Bogart and Tab Ramos on the iHeart Radio app, Apple Podcasts, wherever you get your podcast. Hey, everybody, it's the Jonas Brothers. This week, we're so excited to be hanging out with Mika Abdallah from the hit show Off Camas.

We talk about what it's been like watching the show become such a massive hit, what's next for season two, and just how close the off-campus cast really is. What's the group chat called? One of them is off-campus Brazil. The boys have their own group chat called Dean's B'I's. Our conversation with Mika Abdallah is out now. Go check it out. Listen to Hey Jonas in the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This is an IHeart podcast.

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