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

Episode Date: September 10, 2025

Today on The Breakfast Club, Jermaine Dupri Talks 'Magic City: An American Fantasy,' New Album, Billboard, Mariah Carey. Listen For More!YouTube: https://www.youtube.com/@BreakfastClubPower1051FMSee omnystudio.com/listener for privacy information.

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Morning everybody. It's DJ Envi. Jess Laris, Charlemagne de Guy. We are the Breakfast Club. We got to a special guest in the building. Yes, indeed. J.D. J.Maine Dupre. What's happening? How are you feeling? He's looking at the wall. I'm looking at the wall.

We ain't got JD on the wall? I don't know. I don't know. Yeah, I don't think I made the wall. That's all right. That ain't 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 didn't have a slacks on the main threatening. Yeah, I don't have nothing to do.

You ever throw a chair in. 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 the script clubs? Yeah. 100% that's one of the things skating you know and 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 um and might be more states in the you know south that um nudity was something that um 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 no every corner or 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 you think? What's your thoughts on it? No, I think, I mean, I think it's been a couple, you know, over the years.

I think Magic is in the top three, of course. But like booby-trap in Miami. King of Diamond. I mean, you know, Miami's always had, you know, they've always had these trips. clubs turnover and i think v live v live i think that's Houston 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 is Miami and Miami and i think the topless it

but yeah Atlanta was nudity nudity yeah so what made you want to do Atlanta need that infrastructure now because that's what when i think about magic city i know people look at it as just a teddy ball but when i'm watching the DACA even just growing up i think of it as infrastructure There's no place where people went to break record. That's the thing. 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 watch Wild Style, you can see, like, how Grandmaster Kaz them, what they was doing to become. and made what made hip hop turn into what it was here in New York and in in the later years of hip hop what shows or anything show kids what 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 um 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-year-old black establishments that I don't even know about.

What do you think ruined strip clubs? The 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 to 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 um 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 notice you know growing up when we used to go to strip clubs you go with a couple

dollars right and you would 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's, 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 to everybody to understand 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 it No, I swear to God Because I've been, I mean 200,000 On God 100 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 dog, right? I think, maybe more.

P from QC, I think he ordered 40. Right then to that, you know, that's 160 right there. You know what I'm saying? Chris by himself had 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're 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 Mitch and he says he spent $600,000 one night. That's insanity. That's crazy. What's the most you spent? And now you was 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. 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 the episode where Magic supposedly was burnt down or whatever. And everybody went to the gentlemen'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 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 and the thing where you see rappers throwing money

like this, right? And that, I never had like, it wasn't about me trying to challenge nobody. It got to be like when each of them crew came and it was like oh damn they throw on more money we got to throw, it became like a money war. I was never part of that.

I was thinking about you too, man, watching the documentary because especially thinking about everything that's going on in Atlanta now. Did you purpose? Because you was outside. You was I saw I connected with everybody. Did you purposely stay away from rappers that were two in the street? Nah, 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, I 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 brats smoke more weed than damn this new dog but you know 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 what I mean? White T is about dope boys, like all of that. All of the music, I just think 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 gonna kill you type of music. And 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 yeah 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 plan all kind of music in the elevator especially when you go 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 it's ultimately it's for a DJ to pay attention if he play a record and y'all over there talking 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's 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. No, 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, guys are going to having fun they eating 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 blah and it was like multiple times where I was like I'm not going you're not going and then we got 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 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 thug but what's happening with thug 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, Bankro, Nia Bonabee 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 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 belly gang, Cush, we got suave, 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 Jid, New York. 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'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 teams 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. Well, I mean, 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 manage banked Roanaya

and just me coming into helping her with her career, what attracted me to it is that they're 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. I think sometimes it takes somebody like you to say, nah, 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, he can't be my artist, but I get you. Same thing with J.D., like he has to get out there and people, like they know his music, but do they know his face as much?

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,

but 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 at 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.

It might be Ben Roy and I 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 haven't seen people doing. So when I put, like, Jay Money and Sean Paul on the same record, that's what I was trying to do. It's like, because that is how I grew up seeing Atlanta. Well, people got to make the rounds. These niggas ain't Beyonce. Yeah. Like, some of these niggas like the drop music

with no promotion, no money. Nobody's Beyonce. Let's 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'll go back to the clips.

The clips, the OG rap group showed everybody what you posted to 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 bros. at a block party. You gotta 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 I'm like turning to 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 disconnect that you see at the VMAs

and so a lot of the artists don't know if they should go because 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 it name? Ice spice. Yeah Ice spice on there but

that's what I'm saying is still like it's not it's like let's forget about 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 ground swell of music that's happening and then what do you do

because I know for a fact that first time I heard you that I'm like yo this skate record goes with Sierra and Earth Gang 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

service and nothing to radio. Yeah. I mean, well, you got to, you know, like Envy knows. You've seen 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 crush is 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's these older people that's in these labels they're not skating

so how do they know that it's a skating thing going on in Atlanta three days out of the week what night is popping what 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 it's 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 would 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 skate ring. And it was on, like, a, because they do, 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 the last couple months but I'm sure

it goes crazy when they do the couple skate and that definitely breaks music. You produce skate? No I'm saying I'm just saying I'm just talking about here records. Oh got you done. No I'm saying you didn't produce it you know I wanted to ask you know we had Coach Kay 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. They don't, 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 label 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 i mean i i it's crazy because i've been working with so many artists doing this album and the artist coming to sleut 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 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. Do you always feel that way? And when does JD tell his own story in a movie form where you talk about the beginning, the artist you popped, 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, did that one show?

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 the, you know what I'm going to get it? 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 of 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, name 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'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 is a whole new list of people that I'm going against based on who the guys I came out with. So as 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.

It's facts, like that's what I was telling you last time when 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, this is what I want, do a drop right here. You know what I mean? That's production. So, you know what 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 it 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 it will never happen. But is that the reason why you was like, you wanted to do it so bad? It was going to happen. 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 haven'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 going to 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 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 comment and say, oh, now you want to say something good about female rappers. I'm like, damn, did I not get y'all to brat before? I'm Hunter, host of Hunting for Answers on the Black Effect Podcast Network. Join me every weekday as I share bite-sized stories of missing and murdered black women and girls in America.

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I'm a homegirl that knows a little bit about everything and everybody. To hear this and more, listen to the latest with Lauren the Rosa from the Black Effect Podcast Network on the iHeartRadio app, Apple Podcast or wherever you get your podcast. 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 worked, right? But people don't want to, they still want to fight it.

So I'm like, whatever it is, what it is. What's the motivate you now? One 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. I'm only going to name top two, but you number one.

And then when you, I guess you was, that's your problem. Brian Michael Cox, number two. That's my partner. 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, that's, um, 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 i mean he's been right there with me every step of the way and i think too like when i

think about maria carey getting uh you know the accolades she got the other night of the vm a i don't know if that happens without you and what i mean by that is maria 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 listen 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 ain't even performed 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 ready 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. You know what I mean?

These songs that's huge that made her, Mariah had sold 30 million records before I even worked with her. You know what I'm saying? Yeah, with that charm bracelet And then that, what was that movie called? I don't even remember that. Sparkle.

Spockle. It was a bad, it was dark for her. Yeah, but one black guy can't kill you. No, that's true. But then you came back with emancipation amoeia, and that's a nuclear bomb. I mean, that's not a normal album. I mean, yeah, I just, I always look at that,

like, I'm 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 just happy that she let me be a part of, 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 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. Dang.

So what you're going to do? You're going to sit in and just watch me? Or if that's, I'm going home. That's what she told me. She says, literally, I'm going home. 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 Mimi, 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 nobody. I mean, I think everybody wants, they don't want to address it.

But when it's right, they're like, oh, okay, you know. But a lot of them, like, you know, bow, I didn't like, oh, I think they like me. Usher didn't like you wrestle with him every time you're in the studio That's what it's about it's here But I'm saying Usher didn't like you make me want to And you have to sit there and be like man That's crazy

Why? What are you listening to That make you not like this song So what did you say to Mariah Carey 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 the who Like how 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 because 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 and 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 don't 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 things 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 this other night how many times do how many times did she have to do that last note

her 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 you see 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 laid a cedar on the desk and it was the wutane cream and she was like i want you to sample this this 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 cream. Who was it?

Might literally just told us that story. Really? Yeah. I mean, that's, that's, that's a 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 started Brat telling this story about how Tommy Mottola got guns pulled on you because you let Mariah go to Burlington with her. I didn't let them do nothing. They pulled off and went on their own, but yeah. So tell a story because I don't know the story. Okay, so the first time I started working on Mariah, I decided to do it always be my baby remix, right?

So I brought Escape and the Brat to her house that was out in upstate with her and Tommy. And this was the first time me, I started bringing my people around Mariah. And I brought Brat, her and Brat 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 fuckers running around. Like, and all was looking at me. Like, JD, this is your person.

She then 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 you call the brat like where you at yeah I called her she's like we just getting some fries and I'm like what

why 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 or she wasn't even doing that like she was sheltered in the house and she just wanted to get out and Brat was her 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 that I'm called the

emancipation yeah no I just 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 anybody if you sing

make singing records man like hey like I get it you want 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 yeah 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

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, make me want to. Yeah. Why not? What was the problem with that? I don't know. And how'd you get him, how'd you force him to finally do it? Well, I mean, I have 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 going to cut the song.

Right now, he ain't going to be like, I don't fuck with that song. Right now, he don't care. He don't like it. No, I'm not doing it. It's not even going to get cut. Even now? Right now, I would trust you to. Not right.

He's going to be like, right now I'll be like, yo, Usher, please cut this song. Usher, 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 sound? Or is 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, like about, no, first of the month or 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. I was 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 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 became 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? No, 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, we just, which is 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 magic city doc. When you think of Atlanta, who should really get the credit for introducing the world to Atlanta hip hopic? Me. Maine Dupree or Alcalf? Me. Outcast was calling,

Dund your family. 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 doing is, in dealing with me, and that's where it goes, like, people start moving the goalposts 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 niggas starts saying, oh, gee, it's a young man game. If it's a young man game Then give it to the young man 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, nah, it can't be these kids But that don't make sense right It don't you, 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 Chris Cross The credit for pushing the door open like t i definitely says that he started rapping because he saw criss-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 right even killer mike says the same thing and i feel like you know you got a couple of people that's like these guys that say it but the rest of the city if you start having conversation about it it's always a

who who started it first crisscross came out way before out there cast. 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? But 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 different 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 books of people that we could look at and read their book damn there and be like, okay, if I'm going to do it, I want to do it like this. If I'm going to have this company, I'm going to 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 ain't Houston, only have nobody, 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 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 Naya 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 that your your next move is to damn them make a record that sound like lean with it rock with it is 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 that tempo let's do something else no that ain't that ain't 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 seeing people just follow the

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 Jermaine 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 Lido 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 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 it's 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 want it this is what i'm talking about you know joe button or something about it so you just learn i just learned so i don't know i feel like you know i always have to look at the things that i 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 um life I don't really have no life I just be making music you know I mean and I have people that tell me this all

the time like JD you know you don't really you um my baby mother's be saying it's like you know you 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 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 feel like I feel like

I finally did something by getting number one on that list but then it's never enough because you want more no but now it's like but it's also like fighting it's like boxing you got to you got to can you can you stay in that space right you know I'm saying it's like watching Floyd and Tyson talking about they're going to fight it's like Floyd retired

but he still want to be the he 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 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 is always talking about you want to make division records you know what I mean I think that that throws the whole thing off 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 art 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 man i'm i'm glad you said that because i've 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 press lute the gray screen on but they've never had that person you got to go and i think that's the problem is like every time somebody from Atlanta that's popped they always had to come to new york and no disrespect but i've been

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 variety i've 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

right and then now to see Bank doing the perspective with Banks yeah I agree with you ever said 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 clued them got one across the street in a little bar fat joke everybody fat joan I was going to all of them I mean Carmelo in them out in Brooklyn there's a podcast everywhere and I was just like this ain't this bug

ain't hit Atlanta yet. Nah, they got them in Atlanta because you got big facts, you got bank, you 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. Poor minds is big. You should sit down. But you ain't got to talk to. 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 Jemaine 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 too mm-hmm you know minds ain't from Atlanta too you know they're from Houston but they 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

gunner 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 it's just never heard his side we've never heard him too 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 had a guy that told me when I said. He's like, JD, we thought you want, 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 the interview. He did it. Fantastic. I got two more questions. What's the one misconception about J.D. 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 Free calls, whatever you want to call it. Like, not free calls, 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, J.D., part of that system, too. J.D., I ain't never hear your name of no bullshit. No, but I'm saying, like, it's, it's, I mean, you know.

And I've been around in a long time, and I ain't ever seen no BS. But I'm just from saying, I'm not, 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 think 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 playing 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 um we was talking about the list the billboard list and we started out in the garage I used to live with him in Brooklyn Eastern Parkway 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 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 I don't think people even realize so it's just like I'm, I, all I, all I focus on is that, man, just trying to be, I'm, you know, I'm trying to be the top of, 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 legacy?

Um, 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 tool of records that I did I think that means that means a lot you know what I mean?

Like you're almost like you 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 no 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. And emancipation 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. Well, Jay, I know you got to run. Well, yeah, I mean, before I go, I got an album. I think my album's coming out on Friday. 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 JD Jermaine Dupree Make sure check out the Magic City Doc and of course the album We appreciate you for always for joining us Thank you. It's the Breakfast Club It's JD Hold on Every day I wake up Wake your ass up

The Breakfast Club You don't finish or y'all's done. I'm Hunter, host of Hunting for Answers on the Black Effect Podcast Network. Join me every weekday as I share bite-sized stories of missing and murdered black women and girls in America. Stories like Erica Hunt.

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