The questions were written in advance by the producers.
Certain kinds of questions such as name, age, occupation, and income cannot be asked. The bachelorette would make her choice based solely on the answers to her questions.
After making her choice, the bachelorette met the two unchosen bachelors before meeting the chosen one.
Of course, we'd need to flesh out the characters if we're shooting for feature length.The best-known Tijuana Brass recordings also include “Whipped Cream.” New Orleans composer-pianist Allen Toussaint wrote “Whipped Cream” for Al Hirt. And he used to say, ‘Herbie, you were just listening to a cool piece of wax, man. Early in your career, you signed with RCA Records as a solo artist. With “Whipped Cream,” you met Allen Toussaint via the phone and then, nearly 50 years later, you and him were among the 2013 National Medal of Arts Award recipients, presented by President Barack Obama. When you think about the Western lexicon of music, there are only 12 notes. And I must tell you that my incredible wife, Lani, is my muse. After the local trumpet star rejected it, Henry Hildebrand, A&M Records’ distributor in New Orleans, played the “Whipped Cream” demo over the phone for Alpert. Timing plays such an important part in the success I’ve had. It either makes it or it don’t.’ It’s not about technique. Did your experience at RCA influence your approach to making music and also leading A&M Records, the label whose artists included the Police, Peter Frampton, the Neville Brothers, Aaron Neville, the Carpenters, Sheryl Crow, Janet Jackson, Sergio Mendes & Brasil ’66, Cat Stevens and Supertramp? You also met and performed with New Orleans native and jazz great Louis Armstrong. “Whipped Cream” became the title track for the hit 1965 album Alpert and his wife, former Brasil ’66 singer Lani Hall, live in Southern California on a six-acre estate above the Pacific Ocean. We know the basic forms of the songs we play, but within that context the guys are free to play whatever they want. You can be prepared, but if your timing is wrong, it’s not going to happen. I wasn’t crazy about the way the major label treated me. The two of you performed a duet of “Mame” for a 1967 episode of TV’s The Kraft Music Hall. You visited New Orleans in 1968 to film your TV special The Beat of the Brass. Alpert, Hall and their three-piece band have been performing together for the past 11 years. There are a lot of great musicians out there struggling. All artists should be looking for their own voices. And then when I heard Les Paul multitrack his guitar on recordings, I tried that with the trumpet. After I released ‘The Lonely Bull,’ the record that started A&M in 1962, a lady in Germany wrote a letter to me. Alpert, for sending me on a vicarious trip to Tijuana.’ I realized that music was visual for her, that it took her someplace. I want to make music that transports people.’ Before you developed the Tijuana Brass concept, you and your songwriting partner at the time, Lou Adler (future founder of the Dunhill and Ode record labels), wrote “Wonderful World” and “Only Sixteen” for Sam Cooke. While you were here, you and the Tijuana Brass rode a float in the Krewe of Rex parade on Mardi Gras day. Playing with the Preservation Hall Jazz Band, that was an experience all by itself.