Lifestyle
Questlove charts 50 years of SNL musical hits (and misses)
“Pretty much any Saturday that The Roots aren’t touring and they’re taping, I’m in the audience watching,” Questlove says of SNL.
Eugene Gologursky/Getty Images North America
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Eugene Gologursky/Getty Images North America
By his own account, Grammy-winning musician and The Roots bandleader Ahmir “Questlove” Thompson has been involved with Saturday Night Live in every possible role — except for the one that he wants most.
“I’ve been a punchline on ‘Weekend Update.’ I’ve been part of a Timothée Chalamet sketch. I’ve been mentioned in monologues,” he says. “I’m a part of that ecosystem almost in every way but the one way I want to be, which is musical guest. … The Roots are working on their 17th album right now, so I’m still hanging on to my dream.”
Now, as SNL marks its 50th anniversary, Questlove has a new documentary, highlighting the musical guests and music comedy sketches featured over the decades. Ladies & Gentlemen… 50 Years of SNL Music is the work of a storied musician and filmmaker who remembers watching the show when he was a kid growing up in Philly.

“I was there from the very, very beginning,” Questlove says. “[There] was nothing like it. I know that’s the cliché that you’re going to hear a lot about this 50th anniversary, but there was truly nothing like it on television.”
One change he’s noticed over the years, both on SNL and on The Tonight Show Starring Jimmy Fallon, where he’s bandleader, is that today’s musical guests are more likely to be lip-syncing than their predecessors were. He calls it the “post-Thriller effect,” whereby musicians feel pressure to dance and perform perfectly every time.
“The Thriller effect is, it must be perfect,” he says. “And I’m kind of from the school of warts and all. Like, I love seeing the warts. I love seeing the pimples, the mistakes. To me, that’s the human touch. And I think people need to trust that more. But, you know, things don’t have to be Instagram filter perfect 24/7.”
Part 2 of Fresh Air‘s interview with Questlove, about his other documentary on Hulu, SLY LIVES! (aka The Burden of Black Genius), will air in coming weeks.
Interview highlights
On the documentary portraying things going wrong or not as planned
That’s the thing about SNL is there’s a risk factor involved. And usually it starts with “no.” Like Eddie Murphy talks about, I did not want to do hot tub with James Brown. Justin Timberlake goes on and on about trying to convince Beyoncé to do this “Single Ladies” sketch. Like, everything starts [with] “no.” And it’s, like, “Wow, you almost talked yourself out of history.” And I’m trying to get people in the mind state that, oftentimes we get in our own heads about why something won’t work. And sometimes you just got to take a risk and you never know. This might be part of the American fiber, the history of it.
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On a 2004 incident in which Ashlee Simpson was shown to be lip syncing on SNL
Ashlee Simpson had a sore throat and was a little iffy about her singing, so she opted to lip-sync instead. And her drummer, who’s controlling on the music, accidentally plays the wrong song for the second song.
They could have just patiently just stopped the song and started all over again as if nothing happened. But she infamously does a weird dance and runs offstage, kind of humiliated, and they go to commercial. It just so happens that Oz Rodriguez, my co-director of this documentary, said that they also have the audio recording of the production room, like what was happening at the time. And for me, it was so hilarious to hear the producers and the directors inside of the control room. To me, it sounds like a bunch of teenagers that stole their parents’ car in San Francisco and the brakes just give out in a San Francisco hill going down 100 mph. Like, what do we do? Oh no! You get to see what’s under the trunk. And that, to me, is the most fascinating part of SNL, how it’s able to happen every week without fail.
On SNL introducing America to rap
Saturday Night Live is the first time that America and the world will get to see what hip-hop culture is. The very first rap performance on TV is when Deborah Harry hosts the show in 1981 and brings on Funky 4 + 1. … There were other popular groups at the time, like there was Grandmaster Flash and the Furious Five and The Sugarhill Gang, both [with], like, platinum hits and really music- and culture-changing songs at the time. But she took a liking to this group because it was similar to Blondie, a band that had a woman in the lead of it. …
For me, that’s such an SNL move where those first 10 years, they weren’t about who’s the most popular person to bring ratings? And it was always like the cool factor, like, who’s the most popular person now? Who’s the person under that person that we could give a boost to? And that’s like a prime example of how SNL always had their finger in the pulse of who’s next. And as a result, come 20 years later, a lot of those first-time acts … like them getting Run-D.M.C. before Run-D.M.C. was Run-D.M.C or them getting Prince before Prince was Prince, or the Talking Heads or Devo, whoever. A lot of those risks that they took in the first 10 to 15 years, those guys will wind up being, like, the household names and the fiber of the mainstream once SNL becomes the mainstream, instead of the underground. So Deborah Harry using her power to bring attention to a culture that no one knew about like that is a prime moment of the SNL effect and how it builds American entertainment culture.
On the un-hummable SNL theme song
It’s the most iconic, nondescript theme song. Pretty much any Saturday that The Roots aren’t touring and they’re taping, I’m in the audience, watching, and that, to me, is one of the most humorous things ever. Like, you know it when you hear it, you know, that’s SNL. It’s a feeling. It’s almost like it’s the last theme that offers a feeling, but not any evidence of it. It’s like trying to put water in your pocket or something like that. It’s abundant, but it’s whatever you want it to be. … I admire the fact that SNL, for 50 years, has been able to provide a feeling without necessarily melodic evidence to it.
On musical guests at The Tonight Show being consumed with nerves
I’m really big on micro meditation and just sitting in a quiet room for, like, 10 minutes before I go on, because sometimes you have to just calm yourself down so that you can really focus on what you have to do. But a lot of times, artists are in their own heads and they often talk themselves out of the magic, because when you’re worrying, you’re almost praying for something bad to happen — that’s my definition of worrying. “I hope I don’t mess up.” You’re basically saying, “Hey, I would like to mess up,” just subconsciously. So as a result, most artists will stall, take their time, be an hour late, be two hours late, not show up at all, hijack their career in the name of fear. And as always, once you do it, then it’s, like, that’s all it was? No big deal. But I’m used to it, because I’ve been doing this for a couple of decades. Oftentimes, I’ll pull an artist to the side and just be, like, “OK, I want you to listen to my voice. I want you to inhale. Exhale.” I do that a lot to them, especially the new artists that are nervous and scared.
Ann Marie Baldonado and Anna Bauman produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.
Lifestyle
‘The Invite’ is a marriage comedy with sex and heart
Lifestyle
L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?
I met Dan on Hinge.
He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.
But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.
When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.
A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.
Then I learned the wine tasting was in West Hills.
On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.
I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.
I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.
When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”
I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.
The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.
We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.
We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.
After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.
On Tuesday night, he checked if we were still on, and I said yes.
Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”
My stomach tightened. This again?
So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”
He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”
I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”
Then he wrote: “So I won’t see you tomorrow?”
I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”
He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”
And then — surprise — he decided to come.
He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.
When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.
“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.
That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.
I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”
“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”
I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.
I tried to change the subject and reset the mood, but he insisted we keep hashing it out.
I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.
“What does the man get out of this arrangement?” he asked.
It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.
At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.
The check came, and I happily split it, wanting nothing further from him.
In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”
Obvious, but did it need to be stated?
Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.
“Oh, that’s sweet,” I said.
“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.
When I got out of the car, we wished each other luck, and I headed inside and shut the door.
Two hours later, he sent me the playlist. I’ve yet to listen to it.
It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.
The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report
Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.
J. Scott Applewhite/AP
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J. Scott Applewhite/AP
In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”
In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”
The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.
It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.
In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

The Trump administration has made the Smithsonian museums one of its primary targets in its efforts to reshape cultural narratives to align with its viewpoints. In August 2025, the White House requested a “comprehensive internal review” of eight Smithsonian museums, including the National Museum of American History, following an executive order issued by President Trump in March 2025 in which he called for the removal of “improper ideology” from the Smithsonian’s offerings.
According to the Smithsonian’s charter, all of its 21 museums, 14 education and research centers, and the National Zoo are meant to be run independently of the federal government. The Smithsonian is overseen by Bunch and a board of regents, which includes Vice President Vance, Supreme Court Chief Justice John Roberts and other members appointed by Congress.
In an interview with NBC’s Meet the Press on Sunday, Bunch spoke about the Smithsonian’s 250th anniversary special exhibition at the Smithsonian Castle, which is called “American Aspirations.”
He told NBC: “It’s really important for people to understand that America is much an ideal as it is a place, that it’s a series of aspirations that have really shaped who this country is. And so for me, what is so powerful is to say, ‘Let us honor the words of Thomas Jefferson and the founders, but let us use those to challenge us to be better.’”
Jennifer Vanasco edited this story.

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