The Breakfast Club - Best of Full Interview: Jermaine Dupri Talks 'Magic City: An American Fantasy,' New Album, Billboard, Mariah Carey + More

Episode Date: December 22, 2025

Best of 2025- KING OF THE SOUTH - Jermaine Dupri Talks 'Magic City: An American Fantasy,' New Album, Billboard, Mariah Carey , Recorded 2025. Listen For More!YouTube: https://www.youtube.com/@BreakfastClubPower1051FMSee omnystudio.com/listener for privacy information.

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You're all finished or y'all is done. Morning, everybody. It's DJ Envy. Jess Salaris, Shalameen the Guy. We are the Breakfast Club. We got a special guest in the first. building. Yes, indeed. J.D. Jemaine Dupre. What's happening? How you feeling? He's looking at the wall. I'm looking at the wall. We ain't got J.D. on the wall? I don't know. Yeah, I don't think,

I don't think I made the wall. That's all right. That ain't we got J.D. on the wall. Yeah, y'all ain't got me up there. See, the wall represents, like, iconic breakfast club moments. Not that you haven't given us great interviews. I haven't had it. You know what I'm saying? You have had some, you know. You never stormed out the studio. You never slats on the main threatening. Yeah, I don't have nothing to do. You never throw a chair.

Yeah, I'm out of that. I'm not in that conversation. But you have always coming in and giving us great conversation, man. And I've been enjoying the Magic City docu-series. Thank you. And it got me to thinking about, like, just Atlanta. Like, in Atlanta's had a lot of different runs as far as music is concerned. But what is Atlanta culture exactly?

is it this is it the script clubs yeah 100% um that that that's one of the things skating um you know um and i you know i think like it's a bunch of different things like the bass music and a bunch of different things but we haven't we've never really highlighted these things the way i guess i'm trying to do and make sure that people understand that that's what it is because i think like people think like even with the strip club situation it was me and whoever else was promoting this from a long time ago just black people trying to promote strip clubs and you learn from the documentary that this this was a law that was passed in the city and might be more states in the south that nudity was something that they opened the floodgates and made it a business right

So even me growing up, I never realized why it was so many strip clubs in Atlanta. It was a strip club damn, you know, every corner in every hood in Atlanta. And I never understood. I just thought we was just a strip club place. But when you look at this documentary, you start going outside and looking at all the other places, like in Florida and all these other places. You're like, oh, it's a law that was passed, right? And I used to come to, like, New York, when we used to do things in wherever I go to other cities and be like, man, why these cities ain't popping like Atlanta? with the strip clubs and the law

is a real law that gave us the entryway to just have this going so yeah that's an Atlanta thing you know is Magic City the biggest strip club and the most recognized strip club in the U.S. to you? What's your thoughts on it? No I think

I mean I think it's been it's been a couple you know over the years I think Magic is in the top three of course but like booby-trapping Miami King of Diamond. I mean, you know, Miami's always had, you know what I mean,

they've always had these trip clubs. Turnover, yeah. And I think, V-Live. V-Live, I think that's Houston, right? Yeah. So I think Houston, there's a couple of places that's got, but I don't think Houston can get naked, though. That's the thing.

It's like, we're talking about nudity as far as strip clubs. It's Miami and Miami and Atlanta. But, yeah, Atlanta was nudity, nudity, newtity. Yeah. So what made you want to do? Atlanta need that infrastructure now. When I think about Magic City, I know people look at it as just a titty ball,

but when I'm watching the DACA, even just growing up, I think of it as infrastructure. This is a place where people went to break record. That's the thing. Like, I was going to answer your question. The reason why I wanted to do it is because, you know, we don't talk about the places that actually helped us get to where we are. You know what I mean?

That part of hip-hop stopped a long time ago. Like, when you watch like Wild Style, right, when there's a person that's not from New York, I watched Wild Style. You can see how Grandmaster Kasdom, what they was doing to become and what made hip hop turn into what it was here in New York. And in the later years of hip hop,

what shows or anything show kids how we got, you know what I mean, how we got to where we are. And I think that, you know, it's important for black establishments to show. Like, it's a 40-year-old black establishment. The owner went to jail. They tried to sell

his property. He took it back over, and now it's back popping. And now he got a TV show. Like, that's an American dream. You know what I mean? Like, regardless of whatever good or bad, it's a black American dream that we don't ever really be talking about. Does Atlanta need that infrastructure now?

Huh? Is it needed now? Yeah, 100%. I mean, we need it more than any. Everybody, I mean, not just Atlanta. Like, a bunch of cities need to... It's probably a bunch of other cities that's got, like, 40 to 50 years. black establishments that I don't even know about. Well, you think ruined strip clubs? Because at one time, there was a strip club in every city.

They were always big. There was 15 in Atlanta. They was 10 in New York. What do you think ruined the strip club? Safety. Right? I think that's why magic stands out so much because you can go in magic with all your jury on. You can go in magic and be the biggest star in the world

and be standing next to the biggest criminal in the world. But whatever would happen somewhere else, ain't getting ready happen in Magic. And, you know, I mean, and I say that proudly because even me, I go to Magic without security. Like, because the security in there going to take care of me like they, like if they was working for me. And I feel like it's the safest club in Atlanta. So I feel like that, I feel like the safety of strip clubs and how Magic ran the club, um, strip club etiquette, I think that is that that's what killed strip clubs for the most part.

Now also, I noticed, you know, growing up when we used to go to strip clubs, you go with a couple dollars, right? And you would be fine all night. That's totally changed. No, no, that's not. That's just your mental. Okay. Right? That's just people's mental space, right?

Because I go to a club now, and, you know, I don't, if the, if Magic City is, like, overly crowded, I'll go stand by the bar, and I might spend $500 to $1,000, you know. And, by the way. Jaddy, that's a lot of money I was talking about $100,000 at the bar. I'm just saying, let me put this in perspective. Everybody said what's happened. The other night when Chris Brownham was in Atlanta, they spent $200,000 in Magic City.

So my little $500 to $1,000 over there in that corner is like $100, man. Look at his face. Because I hear when people say those numbers and I'm like, I don't believe that. No, I swear to God. But I've been, I mean, $200,000? On God.

A hundred went to Chris, right? I've seen people order 100,000 singles. Yeah, I mean, 100 went to Chris without a doubt. And magic, in magic, they go, when you order the money, they bring a Magic City bag upstairs for you, backpack. I got one of the house. So the backpack had a hundred in it. Jada waiter, y'all know Jada.

She got about a dove, right? I think, maybe more. P from QC I think he ordered 40 Right in the end That's 160 right there You know what I'm saying Chris by himself at 100

That's what I'm saying So if you start splitting it up I think Bow Wow probably got 10 Or 15, 20 You were at 200 fast So when you was in the back of the day With BMF How much did you see them spend that one?

On my album I have a conversation with Meach And he says he spent $600,000 one night That's insanity That's crazy What's the most you spent? And now you were in there with Janet. What did you spend?

I mean, I had a limit. Like when everybody heard me say I spent $10,000, that was my limit. So once I got to that 10, I wasn't trying. But by the way, I'm not in there trying to compete. I always felt like, you know, at one point in time when BMF came or when BMF grew, because I've been in the club with Meach for a long time before BMF was a crew like that. And we used to be at the gentleman's club back in when you watched it, the episode where Magic supposedly was burnt down or whatever

and everybody went to the gentleman's club that's back in the period of time when I actually met Meach and Meach didn't have the crew of people with him and we was in the gentleman's club and in the gentleman's club it wasn't about it wasn't like what he's saying we weren't really throwing the money we was just like giving the girls the money right and that's that's where I that's where the whole confusion about who started throwing the money came from because I started doing this in money and a thing video and

I know people want to say they did it and did it will you find a video that came out before money in a thing where you see rappers throwing money like this right and that I never had a like it wasn't about me trying to challenge nobody it got to it got to be like when each of them crew came and it was like oh damn they throwing more money we got to throw it became like a money war I was never I was never part of that I was thinking about you too man watching the documentary because especially you think about everything that's going on in Atlanta now did you purpose because you was outside

you was outside connected with everybody did you purposely stay away from rappers that were too in the street? No I just I'm not I'm not a street guy like that I mean I'm like I'm a real hip hop person right a purist basically right and I don't believe that you should be rapping about shit

that you don't actually do right I've been that guy right if you ain't in the jury and you ain't did it in don't talk about it. If you ain't fly, you don't be getting, then don't be making raps about it, right? And I never had no reason to talk about me selling no dope. That

just ain't been my life, right? I ain't come up like that. What about signing an artist then? I have signed artists like that. I mean, Brad smoked more weed than damn this new dog. But you know what I mean? It wasn't like it wasn't from a drug dealer perspective. It's from an actual stoner

perspective, right? I just think the perspective of how we, I never was trying to sell like I said selling selling drugs but I mean you know all the artists I think damn they're talking about I mean the franchise boys you know I mean white tea is about dope boys like every all of that all the music I just think it's it's also camouflaged in beats that make you want to dance where you're not paying attention to it it's not this dark I'm a cue you type of music you know that was the other thing about Magic City too why are script clubs why are you able to break records in script clubs but not like in the regular club

In the regular club, you've got to play the records that keep the party going. But in the script club, you can try a new shit. Why is it? Because in any lounge setting, music is just played, right? It's just like almost like getting on the elevator. When you get on the elevator, you don't care what the music is. They're playing all kinds of music in the elevator.

Especially when you go to like the Vegas, you hear all kind of stuff. And you're like, you might listen, you might not. You're having a conversation. It's the same way. It's ultimately it's for a DJ to pay attention. If he play a record and you all over there talk, and then all some somebody start moving you can see at that point this was not forced right and I feel like that's the most organic thing that we still have

left in the music business is like organically I didn't pay you to listen to my song or name nobody come over there over promote you to listen to my song you just heard it and you like damn who was that that's like quavo or something you know you could see the emotion on people trying to figure out what it is. Or you see somebody in there is Shazam the song. This is actual real time. At one time were women banned from the strip club?

I used to remember because they would be charged. It was a period of time where none dancing females looked down on dances. And the gentleman's club was a gentleman's club. It wasn't no women in the gentlemen's club. That's what it was called. And that's how we, that was our spot, right? But then these ladies start figuring out These guys are going to having fun

They eat and they're not calling us They're not coming home We want them to come home What the hell is going on in this club And then once, like I said Even like me with Janet She wanted to go so bad And I'm like, I'm just in there

Having fun Kicking it with my guys, eating blah blah blah And it was like multiple times Where I was like I'm not going I'm not going and then we got to take her in there she's like oh oh i thought y'all was in here i'm like i don't know what y'all thought we was in here doing but they they thought it was something else prior to them going and enough of them started going and they start realizing like girl they don't be doing

nothing in there they're having a good time if you are able to just party and not pay attention to the girls being naked then you should be able to have a good time with your man or your friend or whoever that's in there so i think that started right that that situation started and then guys start realizing, like, they didn't have to lie to their girls either because ain't nobody having sex in Magic City. You know what I mean? They got other clubs where that might be going on.

But Magic City is a full-on show, right? It's no way for you to be in there. You know what I mean? Doing that in that club and people not see you with nothing. So that's not what happened. That's not what's happening in that club. The other thing about Magic City, just watching the doc,

Atlanta used to pride itself on having a unique sound. Yeah. Now a lot of folks say Atlanta music just kind of like blends into the main screen. Do you feel like the city's lost this identity or it's just a natural evolution? No, I was trying to figure out how we talk about this because I don't want people to get this misconstrued about me saying that I'm not saying anything about what's going on with Doug. But what's happening with Doug is almost making people believe that that's just, that's all of Atlanta, right? Meanwhile, Atlanta has a subculture of these female rappers right now with Pluto, YK, Bankroll Nia, Bonner B, and they have a real thing going.

They have a real motion going, and they have a real movement going that is being ignored. Like, right when they said, I saw people saying, it's no song of the summer. Whim Whammy in Atlanta was the song of the summer. That's Pluto, not just Atlanta, though. You know what I mean? That's the song of the summer. But for some reason, and it's the first time this ever happened to me in Atlanta. So I'm seeing, I'm trying to figure out why.

But this is the first time that anybody else that's in the press, they're stealing all of the energy away from all of the artists that's out there. Like we got Belligang, Cush, we got Swave, we got all these new artists that's hot. Even like Jid, Jig got a hot new record with Sierra Earth Gang. That's the label fault, though. No, no, no. I love that record. It's not the label fault.

It's actually the media that all of the new artists claim that they don't want to deal with by saying they don't want gatekeepers. The media is acting like gatekeepers. And all they're talking about, all these little podcast guys, all they're talking about is thug. If you want to talk about that and that's what you got going, then cool. But don't say this is Atlanta. Atlanta fell off and you ain't mentioning these girls. You know what I mean? and you ain't mentioning belly

and you ain't mentioning Jed new album and you ain't like because that's that now you now you're deterring the energy that we out here putting out and making it seem like this is the only thing that's happened

in Atlanta and Atlanta's never been like that. That's a great conversation you opening up because I'm sitting there thinking like back in the day we had artists who had big records and you maybe didn't know the artist yet but at some point those dots connected like you know

white teas franchise boy all of that stuff but then eventually you knew who the group was. Yeah. I think that's the disconnect. Like, you might hear the record, but not know who the artist is connected to that record. They got to work harder,

but at the same time, it's like I said, it's still mainstream media is promoting this as ratlanta. Like, that's not, that's not where I live at. You know what I mean? And like I said,

these girls, I'm just looking at these girls, and I managed banked Roanah and just me coming into helping her with her career. what attracted me to it is that they doing this in a hip-hop way. They're using TikTok and whatever things means that they got to get what they want and actually really creating a thing in the hip-hop.

And the only thing that's missing is mainstream media paying attention to it. I think that takes sometimes people to run the circuit. Like everybody talks about the clips, right? And they're like, yo, the clips had one of the most genius rollouts. I'm like, that wasn't a genius rollout. It was just a rollout. That's what the artist used to do. It's a rollout.

So I think sometimes it takes somebody like you to say, Naya, we're going on the circus. But it was the thing, even with the franchise boys, right? You took the franchise boys out on the road, right? You went from market to market city to city. You spoke to DJ to DJ and two, it connected. So somebody got to do that with a night. And it got to be you because you, J.

I mean, it can't be me. He doesn't make my artist, but I get you. But same thing with J.R.D., like he has to get out there and people, like, they know his music, but do they know his face as much? Yeah. Same thing with Pluto. I love the fact that Pluto is out.

She's out and about. She came on the breakfast club. She's doing podcast. She's starting to see her face outside of her music. But we don't see that a lot anymore. And with the thing I was going to ask you, what's going on with Atlanta? I've never seen Atlanta in a place where it seems like

it's been so much against each other. Because Atlanta is usually the place where everybody fucks with each other. Everybody sees each other at the club. Everybody sees each other in Magic City. You see everybody together, whether they, on good terms or not, they're together. And I've never seen Atlanta in a place where it seems like they're not connected. But that's what I'm saying.

If we put the, I mean, you're right both sides. But if we put the eyes on these girls, they're demonstrating what you're talking about. They're making records to each other. They're making songs. They putting out records every weekend. It's one record with Bunner B and YK might be Ben Roy and I at the next weekend. This person, they're showing that they cool, they're kicking it. They're not beefing even though YK and Pluto kind of split.

But they're still out here moving in a motion. that shows the love that what you're talking about Atlanta was prior and that's really what I wanted to do with my album is just get back to that and just put people in spaces that I didn't um that I haven't seen people doing so when I put like Jay Money and and um Sean Paul on the same record that's what I was trying to do is like because that is how I that's how I grew up seeing Atlanta but people got to make the rounds that these niggas ain't Beyonce yeah so many things like the drop music with no promotion no nobody's Beyonce let's let's let's let's let's just Put that out there. Everybody got to stop doing that shit. In the music business, everybody got to stop doing that. I say that every time an album come out, like, I don't understand what you think you're going to get by not giving. Yes.

And once again, I go back to the clips. The clips, the OG rap group showed everybody what you posted do when you got a project coming out. Go work all the rooms. Like, you can't just put your shit online and expect people to come to you. Yeah, for sure. They did. They were out on the street and performed. in the middle of Brooklyn at a block party.

You got to do that. They went to the car show. They went to concerts. They did radio. They did, you podcast. They did everything they was to get those numbers in the show.

I saw these memes going around about the VMAs this past weekend. This week. And everybody was like, yo, it's like this meme saying, this is how I feel watching the VMAs. You know less and less people every year.

And that's not because you're getting older. It's because a lot of these people just ain't running the circuit. Well, like everybody you just named, the only person I know faces Pluto. yeah I mean but the VMAs

I went and I was going to tweet while I was there but I was like I'm not going to do it because I might get in trouble and might turn into something else but black culture is what is driving the internet when it comes to music right it ain't enough black culture at the VMAs for

where the coach is from this interviewing space right And I think that's a, that's a disconnect that you see at the VMAs. And so, so a lot of the artists don't know if they should go because they, they don't know, you know what I mean? Because it's being front loaded with like, people like Paris Hilton and, I mean, you know, they put Lotto and, what's the name? Ice Spice. Yeah, Ice Spice on there, but that's what I'm saying. It's still like, it's not, it's like, let's forget about the under, the down low people that's really coming up.

I thought Buster should have got what he got, but we should have saw somebody new. You know what I mean? Jid, Sierra, you know what I mean? They could have easily performed, though. I just don't think that, I just don't think people are actually, from the mainstream perspective

of paying attention to this groundswell of music that's happening. And then what do you do? Because I know for a fact that, first time I heard you that album, I'm like, yo, this skate record goes with Sierra and Earth game. When you're a Jid and you're telling the label, this is the record, but the label saying,

nah, let's go with something else. But then the label ain't servicing nothing to radio. Yeah. I mean, well, you got to, you know,

like Envy knows you're saying it. You got to bring these labels to what's going on. That ain't never been a non-practice, right? When we had never scared, it was Super Bowl weekend in Atlanta. I flew everybody to Atlanta. And my mindset was when everybody leave, everybody going to leave here saying bone crushers,

the biggest record they heard in Atlanta people left Atlanta and they were saying that bone crushing record is the big when everybody got back to New York that was what was happening in their office can you send me this bone crushing record what's up with that bone crushing artist blah blah blah you always been that's always been part of the practice I don't know why people think that these things change you have to none of these people know you know I mean like nobody skates right nobody these older people that's in these labels they're not skating so how do they know that it's a a skating thing going on in Atlanta

three days out of the week what night is popping they're not even trying to go they're just thinking about music but we are actually selling culture inside our records and we actually doing what we talk is like selling drugs if you talk about the drug rappers that's why so many of them going to jail because it's

actually real life what was skating rink was it cascades is that would that be the equivalent of Magic City for the skating rinks in Atlanta on the west side but it's a skating rink on every side like Where I'm from, we had sparkles and we had, and we got Skate Town. But I think, like, when we shot the video for Jed is a golden glide. That's on the east side.

So all of, like, each side of Atlanta, they got skating rinks. Did they break records in the skate rink? Yeah, 100%. Yeah. I think, I want to say that the first time I ever heard the Jaquist hit that he had was at the Skating Ring. And it was on, like, because they, you know, the crazy part about it is like R&B records. they do slow skate or they do couple skate

and they don't play no ghetto music when they do that they actually play whatever the ballad is right so I'm sure like right now the Chris Brown record probably going crazy in the skate I haven't been in the last you know last couple of months but I'm sure it goes crazy when they do the couple skate and that definitely breaks music

you produce skate no no I'm just saying I'm just saying these time I hear records oh got you guys no I'm saying you didn't produce it you know okay okay I want to ask you know we had Coach K up here about a week ago, he was saying that the industry is missing A&Rs, right? And we talk about it a lot.

Do you still think that we need somebody to develop these artists, to help develop these artists? 100%. But the A&Rs need somebody to develop them. You know what I mean? Like, you know what I mean? That's the truth because the problem is

that the A&Rs is acting more like babysits down. And they're scared to tell the artist like, that shit ain't, that ain't hot. And because they know if they tell them the artist might smack shit at them or they might just the artist might call him layman but like y'all don't like him right so people trying to be friends with people

as opposed to like giving them creative criticism and it's not it's not helping the music you know what I mean I it's crazy because I've been working with so many artists doing this album and the artist coming to sleep and they're like JD don't don't just not produce me make me sound the best so it's artists out here that want creative criticism I just think it's from the

they got to people got to get back to like making sure that that's their job and when you see a person they understand that that's what they're supposed to get from you every time i see you and i talk to you i always ask you the same thing i feel like you're one of those hip-hop people that are underrated right that people forget about what you've done and the lineage you put out there and the people that you brought out you always feel that way and when do we when does jd tell his own story in a movie form where you talk about the beginning, the artist you pop, the A&Rs

you birth, the producer you birth, the sound you brought out. When does that happen? Because people don't necessarily forgetting, even to this day, sometimes I'm like, Dan, JD, did that one too? Yeah, yeah. I mean, I don't know, man. You know, I can't I was thinking about this on the way up here today. I was like, I'm going to see what

Charlemagne I get today. I'm going to get the cool Charlemagne, I'm going to get it. You know what Charlemagne I'm going to get? But last time I was here, I told y'all, y'all weren't going to have nobody come up here. That would have a number one record in the same time that I did with the money long record, right? This time I'm here, and Billboard basically finally called me, I mean, named me the number one producer of the 21st century of hip-hop and R&B.

So I feel like the tide is changing. You know what I mean? It just, it's like I saw Buster say something at his speech the other day. Like, it's timing, man. When God wants you to get your flowers, he's going to give them to you. Don't rush it. So I've just been sitting back waiting. I feel like everything that you're saying, it's going to eventually.

come because at the end of the day when you look at that list based on who I started with ain't none of them niggas even on the list you know what I mean like this a whole new list of people that I'm going against based on who the guys I came out with so long as I just keep doing what I'm doing I'm not I mean I think that

is one of my you know most proud accomplishments though to make that list because I feel like for the first time people have to really like go and see why and when you go see why first of all the list that's not comprised of your heart and your stomach is comprised

of who has the most number ones in the last 21st century them is facts like that's what I was telling the last time we was up here when you start dealing with the stats you know it's a different conversation and I feel like if people start having to have that conversation

then you know the respect has to change at that point I mean I've seen people like completely mad about Beyonce being at number five on that list but Beyonce actually produces these records she's telling the other people in the room like just what I want

do a drop right here just you know what I mean that's production so you know I mean but you made beats too though I mean I'm never been but I'm sure I'm sure but even with the versus conversation

I remember the versus conversation and they played you so I don't want to say so little but they made it seem like at the time Puff was going to wax you right and you start thinking about the amount of records you produced and the hitch that you did

the records that you writ that you wrote that's why you were so like let's do this let's do this I mean I'm sure we'll never have But is that the reason why you was like, I wanted, you wanted to do it so bad? Yeah, yeah, yeah, I did. I mean, and I wanted to do it here in New York

because I wanted, you know what I feel like, I mean, I performed at the tunnel. I don't been in the shit storm of hip-hop, so it ain't none of that, don't, none of that scare me, right? At the end of the day, and I feel like that's the only way at that time that people were gonna realize, like, oh, this nigga's crazy, right? Because if you, I can't keep saying it, you know what I'm saying?

It is what it is, at this point, If you ain't, you know, I saw somebody say, oh, yesterday when I said something about the female rappers like I'm saying right now, and somebody commented and say, oh, now you want to say something good about female rappers. I'm like, damn, did I not get you out of brat before, you know what I'm saying? Like, I have the ability to talk about female rappers more than anybody because I'm the one that took the chance to even try to see if it were, right? But people don't want to, they still want to fight it. Like, so I'm like, whatever it is what it is. What's the most of the illest things I think about this list

when you look at this billboard list. Name the list. Name the top five so people. But I'm only going to name top two, but you're number one. And then when he, I guess you was, that's your protege. Brian Michael Cox is number two. That's my partner. Yeah.

Yeah. How did that make you feel? I mean, amazing because I, you know, when you think about like what people say about like Michael Jordan and basketball, I always use these, they always talk about like you can only be the best unless you can make other people better, right? In any business, right? I think that's the thing.

Like, so, I mean, half of them songs that put Brian in there is the same songs that got me up there. So it's like, we make each other better. So, I mean, that's the focus that we have when we work and the records that we do together is just, that's the focus. We have a goal amongst us both. And if he was lower on that list, I'd be mad because I'm like, it ain't no way possible. You know what I mean? He's been right there with me every step of the way. And I think, too, like when I think about Mariah Carey getting, you know, the accolades, she got the other night of the VMA, I don't know if that happens without you.

And what I mean by that is Mariah had a fantastic career, but that album was like a comeback album that kind of solidified her forever. I was talking to her about this yesterday, and I was saying, like, it would have happened without me. But Mariah is such a New York... hip-hop person that she wants to gravitate towards the shit, right? As opposed to, like, promoting the Boys the Men record, which was, no, her first song of the decade, right? She didn't even perform that song the other night. Like, you know what I'm saying?

Like, she got records that's bigger than the records I did, that she just like, yeah, you know, we can already do this tonight. This is what we're going to do. Listen, I love it because I'm a part of it, but don't get a twist of these songs. you know what I mean she got records that she could do that's like hero um you know I mean these songs that's huge that made her Mariah had sold 30 million records before I even worked with her right you know what I'm saying like that charm bracelet

and then that what was that movie called I don't even remember sparkle it was a bad it was dark for her one one black guy can't kill you no that's true but then you came back with emancipation to me and that's that's a nuclear bomb I mean that's not a normal I mean, yeah, I just, I always look at that like I am really, I can't take credit for Mariah. She's, she's who she is and she was who she was before. You know, I'm, I'm just happy that she let me be a part of the ride. I think that puts more pressure on you, though. And what I mean by that is when you're tasked with going in there with an iconic person already

and creating something that gets them, you know, back seeing the way that they were seen before their, you know, last flop. That says a lot that you was able to accomplish that. They didn't put pressure on me? I would think so back then. Nah, because I don't think about it. Like, you know, like, the thing about it is when I go in the studio of people, I don't be like, I don't get caught up in what's happening in their life.

And I think that that was what was going on in her life outside of the studio. I go in the studio and I'm like, I say this all the time. When I work with Aretha Franklin, she made me realize, like, listen, if you're going to be in here working and I'm going to pay you and we're going to let you get this credit, you better say what the fuck you got to say if I sound bad, If I don't even sound halfway good, she was like, tell me to do it again. And I'm like, I can't tell Aretha Franklin nothing.

Like, this Aretha Franklin. But the way she was talking to me was like, I flew you here to Detroit to cut my vocals. So what you're going to do? You're going to sit there and just watch me? If you're going home, that's what she told me. She says, literally, I'm going home if that's what you're going to do. And that's when I set that for a minute, I'm like, you know what? I got to do this.

I just got to be brutally honest with artists. And when it came to emancipation of me and me, we belong together. We made the song, I'm like, listen, Mariah, if you don't hit the note at the end of the record, the record ain't going to be what people want the record to be. They want you to, that's what they want. We got to give them what they want. And it was like, nobody else wanted to say this. I had to say it.

And I had to be like, you know, if you don't like me for saying what is real, then why are we in the room together? What was one of the artists that didn't like you being brutally honest? That was like, nah, this is not for me. Nobody, I don't think... I'm Stefan Curry, and this is Gentleman's Cut. I think what makes Gentleman's Cut different is me being a part of, you know, developing the profile of this beautiful finished product. With every sip, you get a little something different.

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Days of Christmas Toys playlist that the whole family can enjoy. That's right. Maybe you missed it the first time we detailed the history of Beanie Babies, Monopoly, or Yo-Yo's, and a whole lot more. So listen to the 12 Days of Christmas Toys playlist on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I mean, I think everybody wants, they don't want to address it, but when it's right they like oh okay you know but there's a lot of them like you know bow i didn't like oh i think they like me um uhshah didn't like you wrestle with him every time you're in the studio that's but i'm saying usher didn't like you make me want him and you have to sit there and be like man that's crazy why what do you what are you listening to that make you not like this song

so what did you say to maria carrie when she didn't do that the last note at the end right the note that everybody tries to sink did you call her back but like hey hey hey hey i need you to do Like, how did that conversation? No, what's crazy is we had six hours to do We belong together. She came to Atlanta. We did everything in the song except for that note, right?

The song was finished, and I kept Samurai when you do the, you know, but she also was going to sing her vocals when she came back. And I just kept saying, when you sing the vocals, make sure you end the song with this note. And it wasn't there.

It wasn't in there. And it was just like, you had to say it enough. I had to feel like, I felt like I had to keep saying it before she left me because I wasn't going to be there with her. And sometimes, you know, artists want to be cool. And, like, Mariah is, like, a singer that can really sing,

but she's a rapper. She want to be, like, she want to do rapper shit. So she don't actually be wanting to, like, show you how well she can sing no more. And I'm like, no, show these niggas you can really fucking sing. They can't, by the way. So you have to do that. you have to tell her because she'll get she's a rapper i told this i told her how many times i don't know how many times did she have to do that last note her i mean i don't think she had to do that i mean

it don't take her long when she's when she's in that mode but just i'm saying that last yeah they don't take one time no it don't take along maria's she's she's flawless when she want to be but like i say she's so new york i'm telling you like the first time i went to work with maria i came here i ain't know what to expect she walked in the studio and she She laid a CD on the desk, and it was the Wu-Tang cream. And she was like, I want you to sample this. This is what I'm singing over. And I'm like, no, I'm not doing it.

I'm not. Because I start thinking about, like, you're already successful. You think I'm getting ready to be the nigger that's going to put cream under you and make you. We're not doing that. I'm not doing that, right? But I quickly learned who she was. Like, she just told us that story. Who the hell was?

Like, that's who she is. No, somebody told us that story about Mariah wanted to sing over Korean. Who was it? Mike literally just told us that story. Yeah, I mean, that's that's her thing. Like right now, she put out a song when she's over Eric B for President. She's New York to the car. What was it about the emancipation of Mimi that got her back to where she needed to be?

Was it the freedom that maybe you provided? Because I saw the brat telling this story about how Tommy Mottola got guns pulled on you because you let Mariah go to burn. I didn't let them. do nothing they pulled off and went on their own but yeah um well tell the story because i don't know the story okay so the first time i started working on maria i decided to do it always be my baby remix right so i brought escape and the bratt to her house that was out in upstate with her and tommy and um this was the first time me i started bringing my people around maria and i brought

bratt her and bratt kicked it they hit it off and she convinced Brat or either Brat convinced her let's take a trip in the car just me and you and go to McDonald's or some old shit like this. So they left together no security nothing. They left the ground without me knowing and niggas showed up in the studio like what's going on? I'm like I seen my fuck was running around like

and all was looking at me like JD this is your person she don't ran off with Mariah and I'm like what the fuck like that was a crazy moment this is my first time being there. This is my first time at her house and I bring some niggas over. This is just like a story. You bring some niggas over to the house

and this is what happened. And I'm in the house like this. Like, I'm just trying to make a record, man. What the fuck is going on? So you call her. Like, where are you at? Yeah, I called her. She's like, we're just getting some fries.

And I'm like, what? Why? And she was saying that Mariah just, like, at that period of time, Mariah was, you know, this was a different type of success life at this point. Real celebrity. Yeah, she wasn't the artist

that could go outside and go to McDonald's. she wasn't even doing that. Like, she was sheltered in the house, and she just wanted to get out. And Brat was her person that was ready to go escape and do it. So was it that level of freedom you provided her? That's what it's because I'm called the emancipation. Yeah.

No, I just think, I think I make Mariah comfortable, right? And I don't, I don't, I don't fake with her about the music that we should make. And I think that's what makes her feel free, you know, free. Because I'm telling her, I'm telling her, I'm telling. anybody if you sing make singing records man like hey like i get it you want to rap and i'm a rapper at heart but i learned how to make music and i learned through the success that i've had that these people want these records to sound like the records that they know the audience don't change right so i just have to keep beating that in people's minds and letting them know like listen you might

want to change your shit up but the person that's listening they want the new mariah record to sound like the Mariah record that they heard before. And that's always a hard fight with artists. Did you ever take her to Magic City? Yeah, no, no, no, no, she won't, she probably won't go to this. That ain't, that ain't her, that ain't her bag. Now back to Usher, you said Usher didn't like make me want to. Yeah.

Why not? What was the problem with that? I don't know. And how'd you get them, how'd you force him to finally do it? Well, I mean, I had to force him, but he just let me know it wasn't like, that wasn't where he felt he should be coming with. at this point in time usher was still not sure where his career was going to go

so he still cut the song luckily but if we was in that space right now he's not going to cut the song right now he ain't gonna be like I don't fuck with that song right now he don't care if he don't like you nah I'm not doing it's not even going to get cut even now like right now I would trust you to not right he's going to be like that's

right now I'll be like yo usher please cut this song uhsh should turn his phone off like when you look at this new generation of Atlanta rappers, do you feel they understand the history of the city, son? Or it's all about what's hot right now? Well, I think they do, but I don't think they respect it from a level of how high you should be holding it, right?

Because a lot of people in Atlanta still don't understand how we even got to where we are, right? I did an interview the other day. I'm like about, you know, first of the month, something like that with big facts, right? And Bank was saying, you know, JD diggers in Atlanta, you said, think you wanted to be from New York. And it's funny because it wasn't that I wanted to be from New York. It's just this is where hip hop lives.

And this is where hip hop was at. And it wasn't hip hop, no hip hop in Atlanta, right? It wasn't no place in Atlanta that even gave me what I felt I was getting when I came to the city. And I wasn't getting anything. treated like I wasn't even supposed to be here but still I was looking at people doing what I wanted to do right so I'm like yeah we got to get we got to figure out how to get this going so he was telling me that when I did money and the thing that it felt like I wanted to be from New York as opposed I also I wanted to be the first nigga from Atlanta to make a record with a

nigga from Brooklyn that everybody kept claiming was going to be who he came to be and I don't think people understand that move as much as they want to try to make it seem like I want to be from New York. I was trying to be the first person to push us forward and make sure that Atlanta

exists the way it does in hip-hop. Did you have to pay hold for that record? How did that record come about? Money and a day? I had to pay him. I mean, it was my idea from the jump and he took it and put it on his album once it started popping, so, you know,

we just, it was just an even swap. So who, when you, when you talk, I love, I love these Atlanta stories because I really feel like Atlanta story still hasn't been told the way it should have. That's why I'm glad you did the freak nick doc and y'all got the magicity doc. When you think of Atlanta, who should really get the credit for introducing the world to Atlanta hip-hopic? Me. Maine Dupree or Alcat?

Me. Outcast was calling, so-so-deaf trying to get signed. Like, I think, I think, you know, one of the things that we have to really start going is in dealing with me. And that's where it goes, like, people start moving the goal post is that Chris Cross was the first rap group from Atlanta to sell over two, three, four million records, point blank. Ain't no if and buts about it, right?

But when we start having a conversation about Chris Cross, people start trying to make it seem like it's kiddie rap, right? But then when I start saying something about me making a record, the nigger starts saying, oh, gee, it's a young man game. If it's a young man game, then give it. it to the young men who started the shit for the city, right? But when you ask for that credit, niggas try to make it seem like, nah, nah, nah, it can't be these kids.

But that don't make sense, right? It don't, one minute it's for the kids, then the next minute the kids, you don't want to get the kids to credit. And I think that's the biggest mistake in Atlanta hip hip hop is that niggas don't give crisscross the credit for pushing the door open. Like TI definitely says that he started rapping because he saw Chris Cross

and he realized that he didn't have to be old. He didn't have to be 25 years old to make a record. He saw some little niggas from his hood making music and he was like, I can do it. Even Killer Mike says the same thing. And I feel like you know you got a couple of people like these guys that say it. But the rest of the city, if you start having conversation about it,

it's always who started it first. Chris Cross came out way before Outcast. You know what I'm saying? And they sold 8 million records the first album. You can't just not talk about that. What's the biggest difference between being a music mogul in the 90s versus being one now? They don't look the same. Yeah, no, they don't look the same.

And I think that the difference now is that it just ain't a bunch. That's what it is. That's the ultimate difference because we all learned from everybody. I learned most of everything that I started doing from Russell. you know what I mean just seeing Russell Simmons do what he was doing Andre Harrell rest in peace just everybody you know we had we had books of people

that we could look at and read their book damn there and be like okay if I'm gonna do it I want to do it like this if I'm gonna have this company I'm gonna have it like this we don't have that no more right we don't have that no more and I need it you know what I'm saying even me I need it so it's therefore it's like I mean at least I always used it I might be that person that people look at at this point, but I'm saying for the most part, we don't have

these guys that's out here that you could actually look at and be like, okay, I want to have, I want to, even like Jay Prince, if Jay Prince was doing what he was doing in Houston, they're not doing that no more in Houston, right? So, niggas in Houston only have nobody to, like, patting what they're doing off of nobody.

They can talk about it, but you don't see nobody coming out of Houston that's like the new Jay Prince. Yeah, that's true. You know what I mean? It's interesting, too, with Atlanta, because history always repeats itself, and you think about all the different sounds that have come out of Atlanta. Now, I love Metro booming out. And the stuff you got on the Magic City soundtrack

sound like that, too. Why is that era it seemed like coming back? Well, I mean, mine is because it's connected to the dock, right? I think Metro and them was on to something that was just like they felt like, like I said, I don't know where these girls, what mindset these female rappers was in when they started, but they started taking these old records

and remaking new records on top of. of them. So like all these Zatovan beats, that's the Pluto song. When Mamie was a Zatovan beat, right? Like I said, the girl Bankroll Nia that I worked with, she got a bunch of these records that they're taking all of these older records and they put new records on there. So I think the feel of it, when you start seeing that, that feels like, okay, you know, everybody that make music always try to get into the tempo and what's going to go with the next song as a producer. I mean, that's what I do. So if you listening to, oh, I think they like me beat

and somebody come on with a new song, your next move is to damn them make a record that sound like Lean With It Rock with it. It's just automatic because you can't just come with a song that you can't just blow by and be like, I ain't paying no attention to that tempo. Let's do something else. No, that ain't never been hip-hop.

So I just think that it's just a wave. Like I said, these girls, they started, and I just feel like you're seeing people just follow the wave. It's going to be interesting to see what that take me through their record. Yeah. What that influences. Yeah, but I'm saying, that's YK, though. Yeah.

So, I mean, that's what I'm saying. It's like, it's just they wave, and people just, they started it, you know. Now, we talked about a lot of stuff that you've done in your history. What's left that Jemaine wants to do that he hasn't done yet? Like, because you didn't did everything. You didn't did do docu-series. You didn't did produce for every decade. What's left that you want to do that's like, this is the last thing I want to do?

Or this is something I want to do. Um, just continue, man. I think that, like, there's a lot of stuff that I did that I didn't know what I was doing, right? And so, like, go back and do it, you know, way and that I know. Like, when I came up here and talked about the rap game, I ain't know what that show was going to be. I ain't know if Lado was going to come from that show. I ain't know. I don't know what was going to happen, right?

Now I know. Now people know that show would be accepted, you know, and received so much better now because people know. It wasn't accepted back then, like I think it would be now. Yeah, that's what I'm saying. But it's also proven, though. Yeah, it's just really just like, like I said, a lot of the stuff is like, I'm the first to, like, step out here and see what's going on, and you don't even know what's happening.

And once it worked, if you come back and do it again, it's like, oh, okay, now people fucking with this and they might do it. But that's a lot of the stuff I just, you know, I was just like, you know, like even like the division, I signed Division. And the first album that I did with Division, I jumped out here with a song cut if I get caught. and you know their fan base was a little like we don't fuck with that right

I was just trying to make records and get them guys popular because I felt like they're too good to be such a box group and they also wanted that song so I'm not going to ready to say I pushed it on them but at the same time I learned in that process they got a fan base

right and they make love music and you can't come out with a group that make love music talking about if I get caught cheating that just is not going to be a crash so this new project we put out two new records last week and all I see is people online saying this the division we wanted this is what I'm talking about you know Joe Bunner somebody so you just learn I just learn so I don't know I feel like you know I said to look at the things that I feel like I'm not I didn't know what I was doing totally and then just come back and do it again and try to make it right

right the way that I feel like it should have been the first time. What's the hardest personal sacrifice you've made for your career? Life. I don't really have no life. I just be making music. You know what I mean?

And I have people that tell me this all the time. Like, Jady, you know, you don't really, you, my baby and mothers be saying this. It's like, you know, your life is the music. All you do is care about the music. All you care about is putting out records. All you care about it's doing what you're doing every day. And that's the truth, it is.

That's what it is. I don't care about it. about nothing else you don't enjoy the money you don't go on vacation i mean i come along with it but that's not that's not a chase for me like my chase is to be you know like what they said on the billboard i get number one i i feel like i feel like i feel like i finally a did something by getting number one on that list but then it's never enough because you want more no whatever it's like but it's also like fighting it's like boxing you got to you got to can you stay in that space right You know what I'm saying?

It's like watching Floyd and Tyson talk about they going to fight. It's like Floyd retired, but he still want to be the best. You know what I'm saying? It's like, I'm not saying I'm retired. I'm out here. So I just know that, you know, like, I also know that it's space in hip hop and R&B that hasn't been touched. What I'm doing, going from 92 and being becoming the number one producer of the 21st century in 2025, ain't been seen ever, ever, right?

So if you start doing shit that ain't never been seen, you don't have no reason. I don't have no reason to stop. I just got to, you know, pray to God that don't stop, you know what I mean? It's funny. I wonder if hip-hop limits Jermaine Dupre.

And what I mean by that is, when people start talking about, who's the greatest producers of all time, they'll start, you know, naming a bunch of people who do a lot of hip-hop records, right? But you got to just say Jermaine is a musician.

If you said Jermaine is just a musical producer, then I think the conversation, is a little bit different. Yeah. You know what I mean? I mean, it's hard, man. Because I feel like I switch from people. I switch up on people so much.

When I'm in R&B mode, I'm not talking about no rap, right? I remember one time I came up here and I was so R&Bed out and I won't, I'm waving the flag for R&B and I ain't talking about nothing rap. I think that confuses the podcast and the guys they usually talk to me about. They're like, wait a minute. I thought this thing was money, anything and you know what I mean

in Magic City this thing's over here talking about you want to make division records you know what I mean I think that that throws the whole thing because I do switch

I mean that's the only way I can do it that's the only way I can make it is to get away from you know from one thing for a minute and go into that space and be 100% in that space Is there a media bias even towards the South

because I think about that with the producers and the artist because there's some artists from the South who should be getting mentioned as top lyricists all the time and some producers from the South who should be getting mentioned

the top producers of the world. I just think that, and I want to get, I want to send a bang a shout out because I feel like his interview with Doug fantastic. Pushes.

Brilliant. Finally, somebody in Atlanta to the forefront of hip hop media in the city of Atlanta. And I think it's taken 30 years for somebody in the city of Atlanta to be the person

that you have to sit down to talk to if you that guy in hip hop and he just made himself that person if you asked me. He killed it. He killed it. I'm glad you said that because I said it on the air. Regional Identity matters in media. 100% and everything. And Atlanta's been

the hip hop capital for so long but have never had that media person. Luther Gray's Creight and all, but they've never had that person you've got to go. And I think that's the problem. It's like every time somebody from Atlanta that's popped, they always had to come to New York. And no disrespect. But I've

insane it should have been somebody that did what he did with future ludicrous when t i got out of jail we don't had so many artists that have so many stories or they missed the opportunity like what just happened with thug because we don't have that person in the city and that just that goes to the culture like people should like i just saw the magazine out there with you on the front cover of variety i never seen that before right in Atlanta i don't think young people read and see things like that to push them to say, you know what? I want to do what Charlemagne doing, man.

I want to do what Envy doing. He got a car show. Like, they don't see that enough to distract them. All they see is JD throwing money and this thing is throwing money. I'm a rapper, niggins. I'm going to be a rapper.

Nah, you ain't got to be no rapper. You know what I mean? Bank getting ready to hit the bank. Absolutely. You know what I'm saying? Based on what he just did, that one interview, as far as I'm concerned, if he do what he got to do

and he keep it at that level and the way he talked to him it makes you're going to have people that really want to sit down and let you interview them the same way you did and Big Fax has already been that platform to me and then now to see Bank doing the perspective with Banks

I agree what you're saying but it took 30 years that's what I'm saying it took 30 years for somebody to say this is what we need I'm gonna do it like this right and I'm so I'm really happy to see that I feel like that's going to turn

that's going to change the city because that's going somebody going to see that and they're going to create another one right and at that point that world will open up because when I came here I think the beginning of me talking about Magic City I was like yo everybody

in New York got a fucking podcast I mean everywhere I went everybody got a podcast clueling them got one across the street in a little bar Fat Joe everybody fat Joe no I was going to all of them I mean Carmello in them out in Brooklyn there's a podcast everywhere and I was just like

this ain't this bug can't hit Atlanta yet. Nah, they got them in Atlanta because you got big facts, you got bank, got 85 South shows in Atlanta, you got Port Mines podcast based out of Atlanta.

That's four. Y'all got about 20 out there. That is true. You know what I mean? You know what I mean? It's just, and they're moving. Y'all got 20 out here that's moving. I'm just saying these guys

that you, like the 85 South show, I think that's probably the closest next. But after that, it ain't no real, like, ain't nobody you got to talk to. Paul Mines is big. You should sit down. But you ain't got to. talk to him that's all I'm saying I'm just talking about as far as like if you

one of these people I feel like we don't have we ain't had nobody that you have to talk to like if they was like call me to call the record coming they like Joe Jamee who you want to have a in-depth conversation with and then your name your name gonna come up and then who's the competitor to Charlemagne in Atlanta in Atlanta too you know they're from Houston but they're based in Atlanta right so I just feel like I feel like Bank put himself in the category to get you know the Gucci man's all of these people that we want to hear gunners should be calling bank right now yeah one of a person should be calling bank like yo

I need to come sit down with you and just to read not saying reply but yeah I mean but it ain't even like this just never heard his side we've never heard him told it's just like I said he just made it where like Oprah Winfrey like you want to watch it you want to hear it and he's not going to hold back on the questions and he's creditable in that category to where you can't run no bullshit on him. Because he's going to let you know you running some bullshit. But that's what I love. He wasn't afraid

to push back. Nah, but I mean, but he don't have no, that's him. You know what I'm saying? He wanted to, he's the guy that told me when I said. He's like, JD, we thought you want to be from New York. That's who told me that. Right? And I'm like, nah, I wasn't trying to be from New York. I'm trying to just push my music. And I just feel like

like I said, I applaud him on that interview. He did it. Fantastic. I got two more questions. What's the one misconception about JD that which people would let go up um that i'm anything like any of these other people that we talk about i don't do none of the people talking about they got a case with criss-crossing i don't do none of that shit all that shit people i don't i ain't got time for all that i make music right if you want to talk about music then that's what we talk about if you want to talk about all this other bullshit that's going on in the world i'm not your guy for that you're talking about freak-off

Freakoffs, whatever you want to call it. Like, not freak-offs. I think, like, you know, like, you know, they got, like, transporting kids and all of this type of shit going on out here now. And just, I feel like, because we have seen so many people do and get in trouble for things,

you know, it's like, well, JD, part of that system, too. JD, I ain't never hear your name of no bullshit. No, but I'm saying, like, it's, I mean, you know. And I've been around your long time. I ain't never seen no BS. But I'm just from saying, I'm not, I don't, I don't, I don't, had no reason to be doing that like I don't have no reason to do it and I think a lot of people

don't understand like a lot of my success I was with Janet you know what I'm saying like I had I was the first nigger to be out here doing that besides Bobby and Whitney you know what I mean me and Janet was together before J and Ho I mean J and B actually really announced it so I was kind of like pushed to the side like a boyfriend type of dude that was like just making music so I don't I don't know I just think I think that's the one I think people just they want me to be that shit, but I'm not going in that direction. Yeah, I mean, you wanted a few, it seems

like, yo, you, Jay-Z, like y'all planes are landing with the wheels out. A lot of people planes did not land with the wheels. I mean, well, I had this conversation with Chad because Chad Ellie, shout out to Chad Ellie. That's my best friend. And we've been friends since I was 12, 13, and

we was talking about the list, the Billboard list. And we started out in the garage. I used to live with him in Brooklyn, Easton Park, and we was we used to make you know we go by records and we ain't know what he's doing we was just trying to make beats and we didn't have no drum machines we just used to use our imagination and i was telling him about it the other night i was like yo we got a toast i'm number one producer right and he was like man just sitting here thinking about it made me want to cry because it's like what we went through for me to even be in that space um i don't think people even realize so it's just like i i'm i'm i All I focus on is that, man, just trying to be, you know, I'm trying to be the top of the game, and I made it. I'm just trying to stay in that space. When your name is mentioned 50 years from now,

what's the one record or one artist you want to define your leg? I don't know who the artist is. Somebody great. I mean, I think, you know, I think, like, watching Mariah get Vanguard Award and her performing in that, piece to a record that I did I think that means

that means a lot you know what I mean like you almost like you're saying it's like my records are loud enough to make people damn to believe that I had something

to do with her success and that's a that's a to me that's a mean accomplishment because I didn't have anything to do with her becoming who she is no that's not true

that's not true I mean because it's a second wave yeah but I'm saying I think I think I might have made more black people like her yes but she's still

Maraic Garrett Yeah, but it says something When you, me, I mean I get it And that's her best album I get it Mancipation Mimi is Mara Carey's best album Absolutely

That's probably the definitive album Of her whole career That's her thriller It is I don't know I don't know I don't know Well yeah I mean

Before I go I got an album I think my album's coming out on Friday I got yeah I think Because I've been I had a lot of sample clearance issues

It was supposed to come out last Friday To go with the doc But I'm hoping it comes out this Friday because this is the last episode of Magic City this Friday. So we're trying to make sure the album comes out and I'm supposed to turn it in

by 4 o'clock. So that's what my running is doing. That's what my phone is doing right now. Well, J.D., Jemaine Dupree, make sure. Check out the Magic City Doc and, of course, the album. We appreciate you for always for joining us. No, thank you. It's the breakfast club. Every day I wake up. Wake your ass up. The breakfast club.

You're on finish or y'all's done? I'm Stefan Curry. and this is Gentleman's Cut. I think what makes Gentleman's Cut different is me being a part of developing the profile of this beautiful finished product. With every sip, you get a little something different. Visit gentlemen's cut bourbon.com

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that my podcast called Playing Along is back. I sit down with musicians from all musical styles to play songs together in an intimate setting. Every episode's a little different, but it all involves music and conversation with some of my favorite musicians. Over the past two seasons, I've had special guests like Dave Grohl,

Lave, Mavis Staples, Remy Wolf, Jeff Tweedy, really too many to name. And this season, I've sat down with Black Pumas, Alessia, Kara, Sarah McLaughlin, and more. Check out my new episode with John Legend. I feel like in a lot of ways our careers are paralleled in some ways, but they just never intersected for some reason.

I know. We should take it slow. We're just ordinary people. We don't know which way you go. Listen to Nora Jones is playing along on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Hey, everybody, it's Chuck and Josh from the Stuff You Should Know podcast, and it's that time of year again when we knuckle down to do our annual holiday episodes. We collected our best past classic holiday episodes and compiled them into a 12 Days of Christmas Toys playlist that the whole family can enjoy. That's right. Maybe you missed it the first time we detailed the history of Beanie Babies, Monopoly, or Yo-Yo's, and a whole lot more.

So listen to the 12 Days of Christmas Toys playlist on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Who would you call if the unthinkable happened? My sister was y'all 22 times. A police officer, right? But what do you do when the monster is the man in blue? This dude is the devil. He'll hurt you. This is the story of a detective who thought he was above the law until we came together to take him down.

I said, you're going to see my face till the day that you die. Listen to the girlfriends, untouchable, on the i-heart-rate. app, Apple Podcasts, or wherever you get your podcast. I got you. Jingle bells, jingle bells, jingle all the way. Yo, yo, yo, yo. Can we get a Thanksgiving first?

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