The Questlove Show - Meet the Artist Behind The Questlove Show Logo & Animations

Episode Date: June 5, 2026

Nick Polowy is the Los Angeles–based artist behind The Questlove Show logo and many of the animations that have appeared throughout QLS episodes since 2022. While taping in Hollywood, Ahmir and Open Mike Eagle sat down with Nick for a special mini episode to talk about his creative process, the deep research that informs his work, and a career that spans everything from major television networks to haunted houses. Tune in to hear the story behind the visuals and the artist who brought them to life.See omnystudio.com/listener for privacy information.

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Our podcast is called, Hey Jonas. We've here, since everyone has a podcast, we wanted to as well. And we've had some incredible guests so far. And now our good friend, Nile Horn, is joining the show. How's it going, boys? Hey, Niall. It was the same thing with slow hands. It's all hands.

Not about anything else really, is it? You know, or taste so good can't be about food. You do the same, Nick, with some of the stuff that you've done. You too, Joe. Drop what you're doing and listen to Hey Jonas on the Iheart Radio app, Apple Podcasts, or wherever you listen to your podcasts. Everyone sees me as a football player, but before anything else, I'm human. Every single day, I'm still learning how to live with problems, mistakes, relationships,

emotions ever since I was born. This isn't a normal podcast. Everything here is spontaneous, real, and genuine. Just honest conversations about what it means to be alive. I'm Javier Tornandez and listen to Learning to Be Human on IHard Radio, Apple Podcasts, or whatever you get your podcast. The Questlove show is a production of IHeart Radio. All right. So it just came to my attention that not only do we not have kind of an umbrella title for what this is,

but I don't even know what these quickies are called. Are these called Questlove Quickies? are not Questlo Quickies Why, we're all adults here Does everybody who listens to this show Have a gutter mind? Is that what you're afraid of? Yeah, pretty much, we do.

We do. All right, so, of course, I'm here with a new family member, Open Mike Eagle. I am in the family. Our fearless leader, our silent leader. You know, one of the things that people have given me a lot of great feedback on are the

kind of the animated shorts that sort of advertise who comes here. And it's kind of been like a long-running tradition here at QLS. And we thought, why don't we shed some light, give more flowers

to the people behind the scenes. And one such person is our animator of those great shorts to those audio clips that we do. Nick Palloy. Did I say it right? You said it perfectly.

Wow. Look at you. Literally when I said the name, I literally imagined me like crossing Cheriots of Fire. Was my... Nick Palloy, how are you? I'm doing great. How are you guys doing? We're great.

We're great. We're great. We're swell. We're doing it. Yeah, we're great and we're swell. Yeah, so let's not just jumping to the business all. Where are you from? Where am I from?

That's a question. I'm from a lot of places now. because I've kind of jumped around a lot. I'm initially from Jamestown, New York area, Cassadaga, New York, a little tiny town of like 600 people. I'm not supposed to be here. I'm supposed to be there, like fishing or something. Whatever they're doing there.

Shout out to them. But yeah, I've been everywhere. I've jumped to Pittsburgh for like six years through college and working in the news there. I worked at a haunted house there. I went to New York, did more news there, comedy and stuff. Wait, since we have two Pittsburgh residents. here. Oh, yeah. When is the actual

proper time to use the word yin's? Because I've been trying to connect with people, but I don't want to sound like people trying to say join to me. Sure, sure. So I say talk about high pressure as a as a non-resident there. I can give you my best

shot and Jake will give me a thumbs up. What exactly is a yen? It's like a U-1s is the source of it, but it doesn't I know what it sounds like. Yeah. Yeah. Yeah. Wait, that's the origin? I did not know that.

That's at least where, like, the fanatics, I think, come from. But it's a y'all. It's, so it's, are yin's going downtown to see the stillers or, you know, whatever? Oh, our yin's going down? Yeah. So as to start with, I didn't know. I was using yens almost as a yo instead of a... I mean, you could use it as like a yawl, but I think that's, so I think you wouldn't be incorrect in that.

It's just, it would be heard different. Get dinner. Yeah. So usually it's like a question that sounds like a... statement. Yins went to Walmart kind of a thing, but like, I don't know. That's about... Okay, because we're both from Pennsylvania, I want to know. Okay, so what is inside of this container? Oh, no. Oh, the worst question. You won't catch the double D from me, but Wooder? Is that where we're in? Are we going to water? I don't say water, but like, I know Wooder. I'm a water guy.

Oh, you see, okay. I think I say water. Do I sound like a Philadelphia's? Is it? Yeah. Okay. So. Yeah, because water ice, yeah. Water. Got it. Yeah, I'm a water guy. But we also grew up in like a very inunctive family that famously, if we were baby

talked, we were precocious children, like my older brother had a famous line of an uncle was like, you want some wall, wine. And as a baby was like, water. I want water. And that's how we were all raised to like super enunciate and then like. Yeah. I do not talk, baby talk to kids. Yeah.

I talk to them as adults. Yeah. It's the best way to talk to just about anybody. I'm a new dog dad and I can't do. Same. Really? Okay. How old's your dog?

This dog just turned five, but I came in around two years old as the dad. Okay. So I'm getting used to sometimes doing a little bit of like, hey, buddy, but I'm just kind of a hey, what's up guy, no matter who it is. Talk to your dog like a guy, like a person? I'd say like 75% of the time and then I, like, I'm softening up to the rest. I was told I was very mean-spirited. Oh, no.

Just like cold or straight up mean? Well, yeah, because, you know, he's in sort of territorial marking mood. Ah, right. And I'm coming from, motherfucker, that's his sheepskin rug. You just did that on. Okay. So. That makes sense.

Yeah. You don't have to be mean the dogs when they shit places they're not supposed to. Ah. Yeah. No, this dog knows what he's doing. Mm. And that's the thing. There's a territorial situation.

Very, very jealous of, you know, the closeness of, you know, me and his mom's. Okay. See, I've actually taken over as. like the source of attention, but I'm like a reluctant leader. So I get a lot of like dog laying on my chest trying to get in my face. And I'm like, go do this with your mom. She wants this. You did snack.

You used it with snacks? A couple of snacks. Yeah, but we're done. I've overdone. Yeah. I get his respect now because he knows that I will sneak him snacks when his mind won't do that tool. I'm curious, you said you worked at a haunted house. You said real fast.

Yes. What did she do with a house? Where? So I was at the place called the Scarehouse in Pittsburgh for like all six years I was in Pittsburgh and I was like through my college job was in building sets and stuff and this actually leads well into kind of what we want to talk about with animation stuff because this is like uh I'd say big budget place like you think of like a big hunted house with lines around the blocks and stuff but we worked on it all year even though we're only open for two years it's since closed down but it was

in Etna Pennsylvania and uh I was a line actor as like a silent scary rabbit and I would just like let me know about this so what is the process of how does one choreograph working at a Hornet House? So it was largely in an improvised situation. I would say, like, as far as being an actor there, I was in my places there because I was someone who could wing it. Like, I started as scary, and then eventually when you can't talk for long enough in front of the same people,

you're not scary anymore. So then you just default to dancing because you're in a mascot costume. So there was like a dance off with Chris Brown at one point when he rolled through with this tour bus, there was a dance off with him that I did not win, but... How does that happen? I don't know. For me, that was, you know, I found that my career, as many are, you're in like a maybe relatively small situation, something awesome happens.

You go, this is the best it's going to get, right? And you go, great, that's crazy that that happened to me. And when you don't expect anything to happen to you, you don't expect it to, like, keep swinging up and be bigger spikes. but that to me was like the first like what the hell i guess i i did something interesting what's the other side of that coin because my experiences with haunted houses okay usually some form of pugilism is going to go down where somebody might get hit or at least out of shock sure sure you know that sort of thing i think uh and it's uh for good reason a fairly common question

for haunted house actors because I think that there is some press around the idea that, not press, but people when they're scared do do that and it has happened. I think... How many punches do you go through a week? I think I only got hit once. Oh no. The only physicality

I ran into is like usually the younger the person and the... Oh, yeah. But honestly, like, security and stuff like they pull those people who are going to do that out way before they get anywhere inside. If you have like a two-hour line, and you're wasted and you're already going to get physical with an actor.

I forgot about drunk people. Yeah, you're going to do that to me in the lines instead of somebody inside because there's people who grab, there's people who, like, especially when you're dressed like a mascot are like, hey, let's take a photo and I'm going to do whatever I want to because you're not a person, you're a rabbit. So you get a lot of that, but I was the person to weed those people out and say, hey, security before they get in, like, no go.

Are you guys as a cast allowed to have physical interaction with us? we just can't touch you guys right so what's interesting is no in the upstairs but at least at that place at the time we had another we had basically two different things you could go to there was the scarehouse upstairs and then there was the basement downstairs and there you could sign a release to be touched and i did work down there a bit and you run into a lot of people where you're like oh i'm going to put my hand near your throat and they like sort of like sighed like permission they sigh in a way where you go oh you're not here to get scared this is more freaking that's the thing that's the thing that's the thing that's is working in there for just a set like i only did a little bit down there and you can tell it's a very different demographic of people who were looking for that and then upstairs nobody wants that so we all agree it's not going to happen it's sort of the the unwritten contract of the haunted house see i didn't even think about this part only because uh do you know what sleep no more is oh yeah from new york yeah at one point you know and they'll do like different iterations of it but at one point they would literally take your date hostage like there's one time where i did literally

literally look for my date again because they took her. Do you know what's sleep no more? I heard of it. Never been, though. Yeah, it's like an abandoned hotel with five floors. And it's really a play because there's a playbook that comes with it. Playbill. But it's, you don't know it yet, but you're figuring out what it is.

The first time I did it, I didn't realize that I was on the set of Hamlet. And what you're doing is you walk into this sort of, what was the, film who directed The Shining. Kubrick's last movie with the Eyes Wise Shut. Yeah. Like, so you put a mask on and anyone without a mask is in the play. So you just follow them and you look at their action and then

it's just a two hour thing and sometimes they might take you hostage. Yeah, I got kidnapped twice when I went. One, there was this woman who like brought me into a room and wrapped me in a blanket and started coughing up screws onto my chest. Quay, wait, wait, coughing up. What?

Screws like metal, metal screws. The screws in her mouth. She started coughing up screws and spinning on my chest. Dude, do you pay for this? Does not sound like a fun time. See, I would have rather had that experience. Twice when I got caught, I got taken to a room, locked.

And I think to this day, this person went rogue. She decided she was going to sing to me one of the songs off of her new record. Oh, yeah. There was like a piano in there. But, you know, she did it in character. And now I will seren

you with the, you know, I will summon the demons of sonic sound. And then, like, I was like, this sounds like Alicia Keys want to be. Like, it sounded like a contemporary song. Took you right out. This is when I realized, like, oh, they go on rogue now.

And just like, oh. Now it's American Idol audition. This is my chance to. to get him. Yeah. And it happened a second time, and I just stopped going. Pride month, Toronto.

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So art was always the thing. My mother was very supportive because she drew in high school and stuff and never really did anything with it, had kids right away and just sort of, there was never a big what if for her, but it was for her, she was happy with the kids. And my what if was like, I wish she would have pushed further. And so we lost her a year ago. And so a big theme to my entire career has been sort of like, look, ma, we did it. So every single step is like, look, mom, we did it. We did it. And so I leaned into the validation of the drawing on the fridge.

And then through college, went into graphic design. And then ended up at Pittsburgh News Station, the NBC station there, which was actually, I was there. It would have been during the Tonight Show transition. So we were working with a lot of marketing materials for that launch and stuff. And I was already animating there. and then I was like hard going to quit. And I was like, I got to try comedy because it's what I wanted to do on the other side of everything. Stand up.

Yeah. And since you can't do everything, you got to pick one thing. I was like, all right, I'm going to quit this. And I'm going to New York and be a start. Well, that's the thing. We're at the table where people do all the stuff. Challenge, challenge accepted. So when I moved to New York, I was like, I'm done with the news.

I'm done not necessarily with, like, art in general, but like the commercial side of marketing. I'm good on. I wasn't going to do advertising. And then I needed a job in New York and couldn't find one. And I went back to those golden handcuffs and I got a job at CBS News at the network level there. And I was there for several years and we were still doing news there back then. So that was like interesting. But like it was a lot of looking at people on the cameras and going, I'm too close to this.

It's upsetting me. I got to try stuff. So I finally did some stand-up in improv in New York at UCB and did some interesting shows that way. but ultimately I found that I was sort of chasing a little bit of, oh, if I'm good at it, I should do it because it feels good to be good at stuff. And only once I freed myself from the news there, was I like, okay, I'm going to take a real swing at figuring out who I am creatively, and that was the L.A. move is like I had to get away from New York to get away from the job

that kept calling, and I, you know, overnight shifts, hey, it's 2 a.m., can you come in? and I'm like, I need the money, okay? I moved away. I just moved away from it. And then I came here in September 2019 right before the pandemic. And I was just kind of sitting around figuring out what the world's going to be like. And then I was already doing animation for like general advertising stuff, just out of necessity. And I got a call from somebody years back who was looking for a fill-in for this show, the old show.

They just needed like a one-off person to animate something. It was a very basic clip and I got sort of integrated here through there. That's the short-long version. When you animate a clip for this show, do you just get a clip? Do you listen to the entire interview? Like, how does that part of your process work? Sure. So I think every single episode for me is entirely different process even.

At its core, I do the same thing on the final day, which has put it all together. But depending on timelines of like when you guys record versus when stuff is edited, when there's a clip selected, I usually have a cue of these where like my process starts with research. It's a whole day of just absorbing that person, whether I know them or not, I'd go into every nook and cranny I can, listening to albums, watching movies, going through eBay to find weird photos. And those deep dives for me are sort of how I, if you're familiar with Mega Man, the video game. Oh, yeah. I like to think of it sort of like I'm collecting pieces from every project I do. Like, so some of the things I could talk about. We even did De La Sol animations together a couple years ago.

Oh, for the tribute. Yeah. That was you. That was me. Wow. So we've been at this longer than it feels like even, because this new iteration is like, I think, a pretty exciting. Like, there's some momentum behind, like, what we're doing creatively with it. So it's, like, a little different.

But even back then, like, De La Sol, I was working. only black and white as an artist because I was going through a broody thing and then there was there was all this day glow color in my life and I'm back to designing with color. That's what I got from that project. So like I'm absorbing as much as I can from every single person that I sometimes listen to the person that trained somebody that I'm talking about. And I just want to know who influences them. So my drawings are influenced by all the people they're influenced by stuff. So it goes really deep for some people. And if it's a clip that's like meant to be kind of easy, breezy and knock it too deep.

Sometimes it's a little more illustrative and storytelling. But the trick is to get the assignment, figure out, am I making the guests look good? Am I making the show look like a cool place to be? Am I making, am I reinforcing the brand that this is a place where a magical new thing can come out for somebody we already know everything about? I don't have to deep dive everybody if we already know everything about that person. This is almost like job training or HR. how can I make your life easier? Why do you see yourself for five years?

I mean, when I, okay, so especially like 10 years of doing this, I'm, you know, absolutely aware when I feel as though there's going to be a highlight clip story that they're telling. Like, you know, it's a good beginning, good end. They're getting to the point in less than a minute. And, you know, previously, I would say, like, we were unaware of how we talked on top of each other and those things and missing words and all that stuff. But like generally, well, of course, I guess you can say the less words, the better. Well, I...

Because you're doing words and actions on that. Yeah. Well, because I try to think of them as scenes. So sometimes not every word matters to me in an animated capacity. Like, I really like to hit the core points to like, if you're listening to the story, what's going to, like, get you through that? So even talking over, like, many people talking actually, at least early on in my QLS

before I really had a voice and I was just sort of a feeling guy. I'm like, that taught me how to animate more than one person talking at the same time. Which it sounds... I feel free. Well, but it sounds like a bad challenge, but for me it taught me like, okay, how do I pick out these two different rhythms

happening? Find the words that matter from each one of them and then show that they're coming from different people. And that could be anything from one person's words are in one corner, one person's words are white, another's in black. Like, there's a lot of ways to tackle that stuff, but kind of when you reframe everything as an interesting puzzle in your mind, there is no imperfect clip for me in that every clip will be a different challenge. But I guess if there's

something that makes a good clip in my mind, it's something that is actionable, like, if somebody's talking super abstract, a good example is like synesthesia is a common topic just because it's this sort of mystical thing. People don't understand, but they feel and then try to talk about it, Right. Synecesthesia is interesting because how do you show somebody feeling a color while listening to music? And for me, that's a puzzle I'm working on right now on a clip. And the answer to that is don't go that deep with it. Instead, put on a show with color, right?

Like, that is the actionable thing here is, like, if I can't show you what they're feeling, I might try and show the viewer what that might be like, right? Like, how do I illustrate using a lot of rich colors that, like, are a most. motive but not literal to like blue is jazz like so i think uh anything that's actionable like a good story that's physical like we did the prince animation of him getting like uh owned in basketball owned in all sports a clip like that i know exactly what to do because it's a really easy directive and it's fun to see and then some things if it's just somebody about their life journey and it's a if the important thing about that clip is the audio and not the visual then it's my job to back

and make sure that that's what shines and not me of the animator. So there are really cool, actionable things, but I also love a nice, heady, like, they didn't really say anything except for show us who they are. That's a great clip to me, too. It's just a different way of animating. Well, you haven't heard all of these interviews with all of these amazing people.

Sure. Over all these years. And you being a creative person yourself and hearing from all these other brilliant creatives, what do you think has been the most impactful takeaway? for you. That's a great question. I think with these interviews,

I'm not going to say that there's one line from any one interview where I was like, damn. Well, I've had that many times. But I'm also listening to people who have a wealth of knowledge that I'm so, not disconnected from, but like the institutional knowledge is so rich that I can only pull small parallels

out of people's journeys where I go, oh they did that too or oh okay like i guess if i're going to pull a recent one out of memory mononeon and just self-doubt as an artist just being in your own head and not getting in your own way right like i got to admit for that one because i've never had a conversation with them before in my mind i already knew like part of me was like man like his is going to be so trippy out so it was kind of jarring for me to see him in such a weird space of, sure.

Like, oh, there's a little person that's behind the Wizard of Oz thing, which, I mean, actually made it more endearing based on the comments. Sure. But, yeah, walking into that interview, I thought, man, the graphics on this thing is just going to be, like, absolutely out of its mind. Honestly, when I was told we were doing him, because I'll do, like, a little preview. If I know who the person is, I'll still do, like, a short preview. if I'm not so familiar, I'll do a bigger deep dive even before I hear any audio or anything just to

familiarize. With him looking into his world, I went, this is going to be a fun place to play. And then I got a clip with some self-doubt in it. I went, oh, this isn't the bright thing, but it ended up working great because. Sorry about that. No, no, no. It worked great because as an artist hearing that, I go, oh, this dude that I'm looking at and going, ah, I love his vibe. I wish his vibe was my vibe. Like, seeing that, and it's an incredible is funky like I just his whole by the way I should just say like I've been listening to him nonstop since like it totally absorbed him into my world because I based on the episode not just but like just diving into like everything about him so seeing a guy like that that I'm

going like oh this guy has it all and then just hearing myself I I don't know if I would be in this room right now if without that interview of hearing you guys say like oh man you got to like show up for yourself. Like, I might have been afraid to come here and talk to you guys in the same way. But I did literally

thought about mono neon and going, don't get in your own way, man. Like, if somebody's offering you a place to talk, you should come and talk. Like,

to me, maybe that's my biggest takeaway is like, that one was powerful for me. Yeah, one listener at a time. That's what I'm, my stuff shows working for people.

From the inside. Wow. Thank you, Nick Polo. I feel like we did our due diligence, man. Thank you. Questlop shows a production of IHeart Radio.

It's that time to put on your jersey and wave your flag, whoever you root for. Why do I watch the World Cup? That's like asking me, why do I breed? And it's beautiful. The guys are young and cute and fed. It's not just a game. It's your culture.

It's a connecting force. From Futuro Studios, I'm Fernanda Chavari, and this is American Food A show about soccer culture in the U.S. and its underdog roots. Listen to American Football on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. 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 Kotbe. If you're craving inspiration to maximize your joy, tune into these candid, uplifting, and moving on-air chats. Open your free IHeart radio app. Search Joy 101 and listen now. Joy 101 with Hoda Kotby is presented by CVS. All right, listen up. The Jonas Brothers here.

Our podcast is called, Hey Jonas. We've here since everyone has a podcast, we wanted to as well. And we've had some incredible guests so far. And now our good friend, Nile Horn, is joining the show. How's it going, boys? Hey, Niall. It was the same thing with Slow Hands. Slow Hands is not about anything else, really, is it?

You know, or taste so good can be about food. You do the same, Nick, with some of the stuff that you've done. You too, Joe. Drop what you're doing and listen to Hey Jonas on the Iheart Radio app, Apple Podcasts, or wherever you listen to your podcasts. Everyone sees me as a football player. But before anything else, I'm human. Every single day, I'm still learning how to live with problems, mistakes, relationships, emotions ever since I was born. This isn't a normal podcast.

Everything here is spontaneous, real and genuine, just honest, conversations about what it means to be alive. I'm Javier El Chichariot-O-R-Nandes and listen to Learning to Be Human on IHard Radio, Apple Podcasts, or wherever you get your podcast. This is an I-Heart podcast. Guaranteed human.