QUESTLOVE: What I didn’t know then was how important joy was. You know, happiness and joy, those are like enlightened ass terms that we always seem to dismiss and I didn’t realize in our story, like we know about the protesting, we know about the bloodshed and the tears and the pain and the sorrow and the struggle, but we were also celebratory and happy. And to see that in that time period I think was important as a blueprint for how we should act accordingly right now.
GABE GONZÁLEZ: Welcome to We Disrupt This Broadcast. We are officially kicking off season three with this episode, and I couldn’t be more excited to be back. As always, I’m your host Gabe González, and by now you all know we love to bring you insightful and irreverent conversations with game changers in creative fields.
This season is no exception. But we’re going to start it off by sweeping you out of the studio and into Los Angeles, where the Peabody’s and our very own executive producer, Jeffrey Jones, presented their 2025 Trailblazer Award to today’s guest. This episode is all about drummer, documentarian, author, podcaster, and DJ, Ahmir Questlove Thompson.
As the co-founder and drummer of the Roots, he revolutionized hip hop by introducing live instrumentation and blending genres, helping shape the neo soul movement. He’s also become a cultural curator and historian through his Oscar and Peabody winning documentary Summer of Soul, as well as Sly Lives!, a documentary on the musician Sly Stone.
Questlove also produced a documentary of musical performances on Saturday Night Live, titled Ladies and Gentlemen: 50 Years of SNL Music, and he’s got a forthcoming HBO documentary on Earth, Wind and Fire.
So today we’ll hear from the trailblazer himself, in a conversation that charts his artistic journey — from the indelible musical influence of Philadelphia to what he does with the thousands of albums he owns. And for anyone with a creative practice, in this conversation, Questlove breaks down some heartfelt and powerful ways to care for yourself.
I could go on, but here: Take a listen to Peabody’s own Jeffrey Jones in conversation with Questlove.
JEFFREY JONES: Welcome everyone. Thank you so much for being here. We’re really happy to have this opportunity to celebrate Ahmir Questlove Thompson as the winner of this year’s Peabody Trailblazer Award, and so glad for you to be here.
QUESTLOVE: How you doing? Alright, so those of you who know me know of my legendary reluctance to, whatever, receive flowers or celebrate myself, which is, uh, a thing of the past. I’m, I’m allowing, I’m allowing that, uh, you know, it. Stop. No, no. I’ll just say that um, you know, we’re clearly in, some of us say it’s different times. A lot of us say it is the same time it’s always been, this being October of 1925. Facts. You know, we’re living in a time when our stories, our histories are being marginalized, the revisionist history, book banning, you know, it’s more prevalent than ever.
And you know, in the wake of the overwhelming challenges that we have, it’s easy to retreat. There’s many a morning where I don’t feel like waking up out of bed at all. And, um, you know, I’ve learned this period to take life one day at a time, which, you know, if you know me, I’m also a meticulous planner. I’m planning on what my life is and what DJ gig I’m doing in 1920, 1920. Here I am in the, we are in the 1920s. Yeah, in 2029. Same thing. But I, I can’t emphasize enough, and I know it sounds cliche, but I can emphasize, well, first of all, my gratitude to the Peabody organization for deeming me worthy of this, uh, this honor, but the importance of our storytelling and preserving history and keeping our records alive and our recipes alive and really celebrating ourselves, celebrating our art. And I encourage all you creatives in here. And if you’re not a creative, you know someone that is creative, you might be parents of people who are creative, and it’s important to encourage them to not ignore their inner voice.
You know, I wake up with regrets of at least the first half of my life of always dismissing ideas because I think it’s too dumb, or they might laugh at you or whatever. But now is the time more than ever for that, simply because you know, it’s cathartic, it’s therapeutic, but it’s necessary. And right now, joy is an act of rebellion. So I thank you for celebrating me with this honor. Thank you.
JEFFREY JONES: So Ahmir Questlove Thompson. Musician, producer, author, filmmaker, podcaster, DJ, actor, and game night host. We are just gonna refer to you as an artist tonight, but let’s keep Philly in the house. You went to the Philadelphia High School for the Creative and Performing Arts. And Mr. Trotter, I believe is here, isn’t that right? Is he here tonight?
Your classmates,
QUESTLOVE: I think is somewhere here.
JEFFREY JONES: See you back there somewhere. But you also went to school with Christian McBride, the great jazz bassist, Joey DeFrancesco, Kurt Rosenwinkel, Lil John Roberts. Lil John was a drummer for, uh, Janet Jackson among others and the Boyz II Men guys…
QUESTLOVE: Amel Larrieux also.
JEFFREY JONES: Yeah, I mean, it’s just an amazing experience. And so my first question for you, when you’re growing up and you’re in this petri dish, you don’t see it. But later, and we are older now, you look back and think, “Wow, what an amazing creative experience.” So I’d love to hear your comments on how was that experience, that high school, but in particular Philly as shaping you as an artist, now that you can look back.
QUESTLOVE: Yeah, without sounding too much like whatever, hip hop Forrest Gump. Here’s the thing, yes, I do recognize that I am a creative, but you know, part of me also enjoys at least the illusion or delusion that I created for myself of being the luckiest guy in the house to have the best seat in the house. You know, part creative, part suit or part fan or whatever category you want me to put me in.
But part of me always knew that I was in a historical period, you know, you clearly knew that Boyz II Men were gonna be something amazing. I mean, the first week of school, Miles Davis is pulling both Joey and Chris, you know, to start performing. So that’s the environment I’m coming into.
So for me, I don’t know, it’s weird because now I have more trepidation than ever, you know, ’cause I’m a classic overthinker and oftentimes you talk yourself out of a good thing. But I mean, the fact that Tariq and I actually had, you know, this hair-brained scheme of, “Hey, let’s go busking on South Street and see what happens”.
You know, like today I won’t take a DJ gig unless I get like an absolute makeup of all the demographics that are coming to see me. Like, alright, well who are you inviting?
Okay. And what did you know? ’cause I’m an overthinker, but I mean, the fact that we knew we had something and kind of stepped in faith to do it. And it landing us here at this very moment. You know, I can’t dismiss that. So I kind of knew in the back of my mind that I was in something historical.
JEFFREY JONES: Well, when I look at your work, I see you as a curator as artist.
So my dad was an archivist, but I would not call him a cur, an artist, excuse me. But when I do look at your work, I do see this curatorial thing that is significant in how you approach your art. And artists are always students, even as masters. And you have a collection of over 200,000 albums, tapes, comics, and material objects of media.
Talk to us a little about how does such material objects inspire you as a curator and cultural historian?
QUESTLOVE: Well, first of all, I grew up in the house with about three to 4,000 records.
JEFFREY JONES: Hmm.
QUESTLOVE: And that’s just for what my dad did for a living because he was a band leader and you had to know the songs of the moment. So we grew up with a library of records. I think that my passion for buying records, in some sort of way, that’s probably the happiest memory I have with my dad. I grew up in a time period in which twice a month we would bin shop.
Again, my father was in his nightclub phase and the band would have to rehearse every week, and so he would just every two weeks go to the record store and, “oh, Mr. Lee, how you doing? You need this, that, this, that, that?”, And so we would just come home with boxes and boxes and boxes of records. And I would inherit all the records that were flops, you know? So I’m probably the first person that likes the single that didn’t work. Like the band would take “Brick House,” but I took “Fancy Dancer” or you know, like, right, right, right, right.
You know, whatever the hit was, the band will keep that, but I get the leftovers. And so that’s kind of how I started my obsession with collecting. I mean, now. Yeah, to hear 200,000 is a lot. But even what I said earlier, what’s happening now is uh, a lot of libraries are closing. A lot of jazz programs are shutting down in colleges and there’s always an email that I get, “Hey Questlove where, you know, this Birmingham, Alabama jazz program shutting down. We got these 19,000 records that we’re gonna have to trash”.
And I can’t watch a collection go in the trash. So I’ll say in the last year and a half or two to three years, I’ve just been taking in record collections that otherwise would’ve just been history. So, yeah.
JEFFREY JONES: Well, to stay on that theme of curation, I mean, Summer of Soul was also a major curation of a largely forgotten Harlem cultural festival. Share with us, you know, how you discovered that and those early moments, I’m gonna assume when you watched that footage for the first time, it was like, “Holy shit, you know, this is amazing”. And thinking how best to bring this to life. ‘Cause there was a lot there.
QUESTLOVE: All right, so when I was at The Tonight Show, my manager now, but back then she was my assistant, her name is Zarah, and she told me that, you know, “These two guys wanna come in, they’re archivists or whatever, and they have some sort of film footage and they want you to direct it.”
And I happen to know that the rock band, rock band, the jam band Phish was on. And whenever Phish comes to the Tonight Show, that’s sort of when the crazy starts happening as far as like fans like sleeping overnight, whatever. So it started chastising. I’m like, “Come on man. You should know better than they’re just Phish fans trying to get in.”
Like the whole, like, “We’ll come to the show and then we’ll show ’em this footage.” And so they pitched me and I instantly didn’t believe, like, “why would you want me to handle those things?”
I mean, this is the classic case of them seeing in me what I didn’t see in myself. And we did the whole like, “Yeah, so we’ll stop by next week with the hard drive and we’ll show you some footage,” and “yeah, sure, we’ll do lunch. Great. Great”, thinking, “I’m never seeing them again”. And I was like, mad at Zarah like “why would you get suckered? You know how people are trying to get tickets to the show.”
Sure enough, they come back and they show me the footage. I’m like, “Wait a minute. What this, what is this?” And I couldn’t believe it. Then again, the doubt thing happened where I was like, “Well, something must be wrong with the audio like, why are you not going to Spike? Or Ava? Like, just let me be the Ronald McDonald, let someone be Ray Crock and really make the decisions. Like, why are you coming to me?”
So it took me like seven months to even accept the fact that it was my destiny to do this. But once I fell into it, being the obsessive I am, pretty much. This is a trick I learned from Prince, which was, Prince would notoriously always have Pixar’s Finding Nemo on loop because he said that’s his aquarium. So he, whenever you go to his crib, he has like every TV playing Finding Nemo. So that’s… I started doing the same thing which was I didn’t want it to feel like work, so I just kept every television in my house on constant 24 hour loop and in my office at work or anywhere I was. And if I saw something interesting, I just took notes, took notes, took notes.
And that’s pretty much how I took in the 40 hours of performances for Summer of Soul. But that’s also generally how I watch TV. Like I’ve not stopped watching Soul Train since 1997, since I got those episodes. So.
JEFFREY JONES: I was actually gonna ask you backstage when the Soul Train documentary’s coming, but we’ll talk about that later.
Um, Summer of Soul, Sly Lives!, We’re gonna talk about that some more. Earth, Wind and Fire. By the way, did y’all see the trades HBO in 2026?
QUESTLOVE: We got a home.
JEFFREY JONES: Yeah, we’re gonna get there. You’ve been excavating and interrogating a particular moment of music in black cultural history in the sixties and seventies. Why this particular era beyond just the musical genius, is there something in particular about the intersections of race, music, and social change that you’re after?
QUESTLOVE: Alright, so. You know, the timing of Summer of Soul isn’t lost on me. In itself yes, it’s a beautiful work of art. And the thing is though, it’s the timing of it. And I’m always obsessed with the science of how things work. And when I was teaching at NYU my second year, I was teaching about Thriller. And at the end of the class, once I was done, like the last week or the last two weeks of it, we sort of talked about the after effects of what Thriller represents.
And you know, I had to take note that the high of that success was the dragon that Michael Jackson kept chasing. You know, ’cause this next thing was like, I’m gonna sell a hundred million albums and 200 million, and, you know, achievement became more about quantity instead of the quality of it. Like, what did Thriller achieve? Not like how great it sounded, and it sounded great, but it became more about quantity instead of quality.
And the thing is, is that I understand that Summer of Soul arriving in people’s lives at the place where they needed something to encourage them to, you know, like a burst of joy. Like it came at the right time, in July of 2021, right when we were coming outside.
So. It was like the perfect, I hate to say this perfect Walmart greeter, whatever, like thing that, why did I say that example? Um, so the timing of it, you can’t replicate. And I understand that that’s the emotion that people, that’s what they were responding to. So what I didn’t know then was how important joy was.
You know, happiness and joy, those are like enlightened ass terms that we always seem to dismiss. And I didn’t realize in our story, like we know about the protesting, we know about the bloodshed and the tears and the pain and the sorrow and the struggle, but we were also celebratory and happy. And to see that in that time period I think was important as a blueprint for how we should act accordingly right now. So once I realized that, then every project I did, I wanted to see what the side story was.
So in the case of Sly Stone, a person to whom was just handed this responsibility of his blackness, his privilege, his kind of the first person out the gate post civil rights period that the world was his oyster. And he winds up self-sabotaging it. And a lot of the artists that I’m associated with, I get asked all the time like, well, “Why does duh duh duh keep acting up?” Or “What’s duh duh duh’s problem?” or, “They only have one job. All they had to do is show up.”
And you know, and I got so tired of trying to answer, so I decided to use the Sly film to really explain what the deeper conversation is. ‘Cause there’s a lot of guilt in success. There’s a lot of the ability of you not being able to save everyone. The feeling you get that you get singled out and you know, it’s no coincidence that I might have been going through the same. What Woodstock was for Sly was maybe what the post-Oscar was for me. So I think my mom, the night she saw it, she’s like, “I see what you’re doing. That was your film”. And I was like, “Damn. Busted”. Yeah. So.
And in the case of Earth, Wind and Fire, I’ve been dying for us to have the one conversation that we’ve not had as a people, which is our spiritual practice. And you know, there’s a difference between religion, which we are just connected to and attached to and Earth Wind and Fire as a band that geniusly tricked its audience into metaphysics, you know? Whereas in religion, like God is a figure that’s unapproachable and somewhere up there a billion miles away, whereas God is a part of you and you don’t look up, you look within.
And so I’ve wanted a project that can somehow plant seeds of what I think we need to survive today in 1925, which is silence; not doom scrolling. Not, I used to sleep to the news cycle, keeping on as I, you know, ’cause ah, I gotta know what’s going on. I gotta know, you know, just like feeding. And this is why a lot of us, and I don’t think it’s a coincidence at all that the rampant amount of black artists who have died, you know, prematurely a lot of that disease that we get.
So I want to use this Earth, Wind, and Fire film to, it’s a story about metaphysics, but I’m using Earth, Wind and Fire as an introductory point.
GABE GONZÁLEZ: We’ll be right back.
JEFFREY JONES: Well, my next question you kind of began to touch on, and by the way, Sly Lives!, A.K.A., The Burden of Black Genius on Hulu. If you’ve not seen it, it’s masterful. But you employ this theory framework of black genius that has been used before, and rather than me explaining what were you after there, with that thesis question? And what did you learn through your interviews with artists, both on screen, but also the people who came up to you after who had a theory that they wanted to share with you?
QUESTLOVE: One of the hardest things about doing that project, like again, Summer of Soul spoiled me because it was a barrel of joy, you know, all over the place. Sly Lives! was different simply because kind of like a therapist, I didn’t realize the amount of trauma dumping that I had to take on with the interview subjects. First of all, it’s a lot of Jedi mind tricking. There’s a lot of mistrust. You know, I know the game of the politically correct answer, or the showbiz answer and sure.
You know, all right. “Tell me how you really feel about…”, you know. And there was a lot of trauma that band had to go through just to be the happy, shiny example of Martin Luther King’s, “I Have a Dream” speech. I mean, it was an intersectional, interracial, culturally mixed band literally manifested from the “I Have a Dream” speech. But inside it was a lot of pain that they had to carry, and suddenly I was carrying that pain.
And you know, I went overtime, as far as like my therapy bills and all those things, because, you know, I didn’t realize that taking on people’s, taking on their pain, that I would internalize it myself. So there was a period where, I mean, when it was over, like the way I sort of had to cry out, just all that I was holding in, just holding their pain in.
But then it also made me want to just reevaluate my position as a leader, ’cause hearing all the bandmates speak, then I started questioning my own leadership. And, you know, I’m going on record saying like, I’m a, I’ve been a reluctant leader. I hate leadership and making them hard decisions and let my manager deal with it. And I want to be, we’d rather be likable than to live in our light. And so letting that go and really like owning who you are and all that stuff. You know. Thank you. I appreciate that.
That’s a lot of work. Like in the last five years, like the insane amount of work I had to do just in terms of therapy is astounding. It was necessary, but you know, it’s for us to be free, I think we have to get in touch with the thing that we avoid the most, which is like the emotional component of our lives. So.
JEFFREY JONES: Hmm. Amen. Saturday Night Live music.
QUESTLOVE: Yes.
JEFFREY JONES: Ladies and Gentlemen, you watched 900 episodes.
QUESTLOVE: I’m very obsessive, as you can see.
JEFFREY JONES: And you created a seven and a half minute cold open video with a master music mix. And about three minutes in Vanilla Ice, Dave Matthews, and Freddie Mercury come on screen and I’m like, “Holy shit, y’all buckle up. This is about to get rough.” And it’s in a masterful, just it’s, A, two thoughts in my head. First, this is a work of genius. And second, why hasn’t this been done before? I had never seen video mixed in that way. So for us and all the people who admire you, talk to us about the inspiration to create that mix. And yeah, I’ll just leave it there.
QUESTLOVE: What, so, all right, so when, um, I work, I’d say I work at 30 Rock, but I attend 30 Rock University when you go to 30 Rockefeller Plaza and you’re inside of that ecosystem of Saturday Night Live, the Tonight Show, Seth Meyers, the Today Show, like MSNBC, like it’s literally like college, like Tariq and I have been there for 16 years now, so I kind of consider that we’re in our senior year of college when we started out in first grade. Right, right, right, right. Though, seriously.
And so the thing is, I was summoned to the 17th floor. And when Lorne calls you to the office your life is gonna change one way or another. And I didn’t know which way my life was gonna turn. So instantly I started going through all my social media, like, “Wait, did I say something about all of his shows or whatever?”
And he shocked me. He was like, you know, “I seen the movie.” He watched it twice. I didn’t know he was such a music fan, even though he created, you know, that platform. And so he, um, got to me early and basically said like, you know, “2025 is the 50th anniversary and based on what I saw with Summer of Soul, like you, I give you the responsibility of telling the musical history behind SNL“.
And so with two years, you know, ahead of me starting, I pretty much just determined that I was gonna watch somewhere between three to seven episodes every day to get to the end. I didn’t run outta gas, but I was running outta time about like 2002. So, you know, but if you’re doing a story on SNL, you know, every SNL starts with the cold open. And I knew I had to have a cold open for the ages.
Now, the way that I hear music is just different than how the average person hears music. When a song comes on instantly, think of like a beautiful mind or whatever, like the number figures and all that stuff, like instantly in my head I’m like, “Okay, well, all right, there’s in G Minor, then the bridge is in B flat, and then the song is probably 98 bpm.” So I’m already categorizing what the song is in case I have to DJ it one day. Mm-hmm. So. Pretty much, I just went through the entire history of music in SNL just by keeping these charts. And you know, I also credit my editor John McDonald, who works at the Tonight Show and is also, hears music the same way.
Initially I didn’t want to do that ’cause I just thought like the clearance part of it’s just gonna be a nightmare taking all these songs and amalgamating them and making a master mix. But I decided, I was like, “okay, I’m gonna, I’m gonna do this.” And sure enough, that was the easy part. It took us nine months to put that seven minutes together, working on like maybe 15 to 20 seconds a week, adding on to it.
But then relationships are everything. So kind of hat in hand, I had to go to each artist and basically say, “look, you know, we used two seconds of this,” and sort of showed them and everyone from Eminem to Taylor to Billie Eilish to the Prince estate, like literally had to go to each person, show them and kind of just guilt them. Like, “You wanna be a part of history or not?” Yeah, I wanna be a part of this. So.
The only person I couldn’t get to was there, there was a genius moment with, uh. I was gonna have Luciano, I wanted a scream off. You know, when Mariah Carey ends “Vision of Love” and Luciano Pavarotti, Mariah Carey in the same key sort of ahhh. It would’ve been awesome, but that’s, that’s the only person I couldn’t clear ’cause I would’ve had to fly to Italy just to show ’em the one second to get approval.
JEFFREY JONES: Well it was masterful for sure. I have one last question for you. So we’ve deemed you a trailblazer, which means you’ve blazed a trail for others to follow. All the greats, Quincy Jones, Miles Davis, Art Blakey, Prince, were very committed to younger generations. What advice do you now give younger cats who are now looking to you for wisdom and inspiration? Now that we’re men of a certain age?
QUESTLOVE: I always tell ’em to do four things, which is one, literally the first 20 minutes of my day is: five minutes of gratitude. And yes, when and when I say this. I felt just as silly and dumb doing this. But as with anything scientifically, I guess if you do something 18 times in a row, it becomes routine and then after that becomes a habit. So now like it’s a great addiction. So. Five minutes in gratitude. I mean, it could be real gratitude like, “oh, I had a really good day yesterday. Like we made up a nice song.” Or, I don’t know. “I had good lasagna.” If I don’t have anything to say, I’ll just say thank you a bunch. “Thank you, thank you, thank you.”
Breathing exercises, important to do that, and that’s where I’d usually just sit in silence. The temptation to not look at the phone or to turn on TV or to check my email, whatever. I just, five minutes of doing that. Five minutes of stretching. Most people go hardcore with, you know, doing yoga, whatever, like stretching is the minimum you can do if you’re one of, you know, a lazy person by heart.
The last thing, which was always the hardest thing, affirmations. Get out of bed, go straight to the, the bathroom mirror and be nice to yourself for five minutes, which that was probably, it took me 18 months to really like to own it, you know. So it’s not, yes, it seems like very silly at the time and I don’t feel like, you know, like, look at yourself, like “What kind of winner are you?” And so, but you have to, repetition and habits, like you have to just go through that and push through the self-doubt and all those things.
And I do it, yes, as betterment for me, but also just betterment for, I mean, we’re artists now and now I think I take that very seriously as far as leadership is concerned. So those are the first four things that I tell people to do. That that’s important that you work in here. And you know, I do have regrets that I wish I’d have known this when I was 30.
JEFFREY JONES: Amen.
QUESTLOVE: But better now than never. So that’s good.
JEFFREY JONES: It’s great advice for everybody, but young artists who beat themselves up.
Mm-hmm. Absolutely. Ahmir, thank you so much.
QUESTLOVE: Thank you.
JEFFREY JONES: A beautiful conversation. Congratulations. Thank you. Ladies. Give it up for the drummer. Ahmir Questlove Thompson.
QUESTLOVE: Thank you.
GABE GONZÁLEZ: All right. Well, I guess we all know Prince’s favorite Pixar movie. Now gimme a spoiler warning next time. Seriously, though, having Questlove join us for this conversation — and getting to hear him reflect on his work — felt like such an intimate look into a generational talent’s creative process.
He’s offered us such a thoughtful reminder that artists, even those who have achieved success and accolades across mediums, have to leave themselves room to grow. Telling meaningful stories, whether through visual mediums or music, requires being flexible enough to respond to the world around you, to learn to take chances to tackle the thing that seems too complicated to talk about and see where it takes you.
It’s humbling, but if Questlove can spend nine months tracking down dozens of artists to get music clearance for SNL’s 50th anniversary, you can take a little leap of your own too. Send that cold email, outline that documentary. Make the phone call and leave a message. Shoot for Pavarotti. Even if you miss, you’ll land among the M&Ms.
I’m your host, Gabe González. Signing off for this episode of We Disrupt This Broadcast.
Because the Peabody’s are decided unanimously, every episode will bring you the quote that we chose unanimously as our most disruptive moment. So behold, our first most disruptive moment of season three.
QUESTLOVE: You wanna be a part of history or not?
GABE GONZÁLEZ: Thank you again for tuning in. We’ve got a very exciting season ahead, so I’ll catch you on the next episode where we’ll talk to Karissa Valencia, creator of the groundbreaking animated show, Spirit Rangers.
KARISSA VALENCIA: Spirit Rangers has a whole family of indigenous park rangers and they’re the ones leading the charge and taking care of our parks and sharing our knowledge and just have that leadership. So it was very important to me to have that and just kind of goes to my mission of showing that not all tribes are the same, just like National Parks. All of them are so different and they’re cared for by these different communities that have their own certain teachings that are specific.
GABE GONZÁLEZ: We Disrupt This Broadcast is a Peabody and Center for Media and Social Impact production hosted by me, Gabe González, with on air contributions from Caty Borum and Jeffrey Jones. The show is brought to you by executive producers, Caty Borum and Jeffrey Jones. Managing producer Jordana Jason. Writers: Sasha Stewart, Jordana Jason, Bethany Hall, Jennifer Keishin Armstrong, and myself, Gabe González.
Consulting producers Jennifer Keishin Armstrong and Bethany Hall. Researcher, Riley McLaughlin. Graphic designer: Olivia Klaus. Operations producer: Varsha Ramani. The marketing and communications team: Christine Drayer and Tunishia Singleton. From PRX: the team is Terrence Bernardo, Jennie Cataldo, Edwin Ochoa and Amber Walker.
The executive producer of PRX Productions is Jocelyn Gonzales.