The Breakfast Club - INTERVIEW: Mýa Talks Creative Freedom, Navigating the Industry, Independence

Episode Date: May 7, 2026

Today on The breakfast Club, Mýa Talks Creative Freedom, Navigating the Industry, Independence. Listen for More!YouTube: https://www.youtube.com/@BreakfastClubPower1051FMSee omnystudio.com/listener for privacy information.

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Morning, everybody. It's DJ NV. Just hilarious. Shalameen the guy. We are the breakfast club. Lawlerosa is here as well. We got a special guest in the building. Yes, indeed.

Maya, welcome. Good morning, beautiful. Is this your first time here? Is it? I think so. Wow. Good morning, how you feel it? How's your energy this morning?

How you feel? Good. I got a good, nice rest. Okay. That's important. I have some tacos for Taco Tuesday. Hey. She's married to a Mexican, so every day is.

She's also black as well. Yes. I'm good. How are y'all doing? New album, Retrospect? Yes, sir. What is this? this album you.

This album is a journey back into time, the time that influenced me to sign it to music. You know, when I fell in love with music for the first time, it was literally soul, funk, R&B that filled my household vinyl days, the collection that my parents had, a lot of dancing going on, a lot of singing going on in the living room,

but culture as well. The block parties, the skating rinks, those gatherings where your family would come over, laughter children playing. So it's a celebration. Nobody could look at you and tell you grew up in that era, by the way. Like literally, no. Oh, no, I'm a 70s baby.

I know. Yeah. Yeah. So the whole experience. But I'm glad that you said that because we were listening to the album and I instantly got Prince. Yeah. So it was like that was totally intentional.

Oh, yes. The Minneapolis Sound. I've worked with Jam and Lewis before. Performed with Prince before. But that whole era of funk. the performance, the aesthetics, the fashion, you know, the little eye expressions and the facial expressions and the hand gestures, just the ultimate performance during that time, the rehearsals. You know, I'm a musician's daughter.

Yeah. And it really inspired me. I've done stuff like that before on previous albums. I did a Rick James cover, but I just wanted to embody a whole body of work, which is what an album is to me. So retrospect is literally digging into the great. of my influences and going back into time, those joyful times of my childhood

that first influenced me and introduced me to music. Were you a performing with Prince either way now? What was that like? It was beautiful. You know, I got to see him two nights in a row at the O2 in London, and he had a lot of artists join him on that run. And I learned a lot just by being there for two nights.

There was a jam session, of course, afterward at the indigo and of course the conversation about independency you know the first conversation I'd met him before that but he was a big advocate

of empowerment no sampling playing an instrument all of those things and then really investing in your craft and they were gyms that were jobbed see I'm not prince and I started this independent journey

very early before it was a thing. Planet 9 is my label. And I didn't necessarily know what it was all about when I stepped into that new territory. And he was the person that was the voice of reason that sort of kept me on that path, even when it got tough. You know, it requires you to, of course, finance 100%. That's the way I've done it.

And, you know, grind. But also wear several different hats and wear many roles. And it's been a beautiful educational journey of empowerment, but learning. and then also developing relationships when you become the label yourself and figuring it out because, you know, the business of music and then also the technological side of things changes.

Every few weeks, there's a new platform. It was really wonderful just to be in his presence but also to receive the spiritual conversations, the business conversations, the new business models, the rehearsal conversations, finding your niche conversations, the performance aspect of it. and then encouragement.

How ahead of his time was he? Oh, I mean, he was in his own world. He was one of one, playing over 17 instruments. You know, I don't know anybody that does that. And was very passionate, meticulous, very detail-oriented. I witnessed him doing a sound check at the O2, both nights. And so I actually ran into him on my way to me. my sound check coming from his sound check.

And he was out there mixing on the board in the front of house. Wow. And he cares that much about how the audience or the listener receives the art down to the mixing. And so, you know, I get asked often, how come the, there's been an eight-year gap in between albums. I mean, I, too, have really taken my time to be in that process of mixing. This is the first album that I. I am releasing independently in Dolby Atmel as well as Sony 360 spatial audio, which is an immersive experience. So that you're like inside of the music, surround sound.

Okay. Okay. That where you're going to move it there? 360 degrees. But now that, you know, they're doing this with music now versus just soundtracks for films. What if I can't afford the sound system in my house? Like what's going to sound like when I'm just listening on my little. There are headphones actually being developed now so that you can get the immersive.

experience. Gotcha. Yeah, it's so wild. I did the whole test thing at the Sony Studios where they have these little wires that they stick in your ears and they can actually see how you're ingesting the sound and then they calibrate it to your ear. Oh, wow. It's so crazy.

And then they take it off with, I don't know how many speakers are around you, 360 degrees above, left, right, and below. And you cannot tell the difference between like 30 different speakers in the room and the little tiny wired earbuds. that go in your ear. You're like, what's going on right now? This is so advanced. So how long did it take for you to make this whole album retrospect?

How long with it? Just don't whisper because Maya whispering. I'm whispering. This is my morning voice. Y'all out of you. And I'm whispering. She just settled the energy in a room. It's still early.

So how long did it take you to make this? How long did it take you to make this? Y'all got to remind you. Who? So chillingly back. Okay, so I didn't have an actual timeline, you know? I actually cut the very first record in 2016, which opens my album, give it to you. I released it as a single in June of last year.

D. Nice is now on it for the album version. Shut up to D. Nice. Yes, legendary. D. Nice. And he introduces this album with that song. And so I'd release other albums during that time. There was Smooth Jones that came in 2016. and then TKO, which is more of the slow jams,

baby making music project in 2018. In 2017, I recorded the second song. So it was like in between touring and in between album tours and promotional and grind stuff that I would just go in the studio. My production partner is My Guy Mars from 1,500 or nothing.

And we would get together in between albums. But it was actually the pandemic that was confirmation for both of us. Like, yeah. Let's start making some playlist that get us out of this funk because this is a very uncertain time for all of us. The world, we had so many different directions we wanted to go. There was a mixtape laying, Maya Lanski.

But we were like, it's too dark right now. Let's bring the joy. Let's go in this direction. We had a face-to-face conversation. Look, if we had one direction we wanted to go in and we only had one choice, which one would you do? This one or that one. We chose joy.

And then in the end of 2020 is when I rented a studio in Glendale, California, and we got to work. And so we literally finished the whole project, just the blueprint without all the features in 2021. But the pandemic inspired that. And then the process of reaching out in the DMs, et cetera, or relationships that we already had came the features. And then all of the legal processes took place over the years and featured artists, clearances and publishing. and all this kind of stuff. And now it's seeing the light of day. But I'd also recorded two other albums in between TKO, 2018 and now.

So those are already mixed, mastered, ready to go. Damn, my. You know, we were working. Yeah. I got to ask, you know, when we heard the album, we were listening very 70s, 80s, right? Yeah. Then when you walk in, I see Landel behind you. Yes, sir.

Londell is a state manager. I don't know if he's still a state manager for the Prince of State. So he's estate manager for Prince. Did he have any, I guess, Did you go to him for advice for dealing with Prince and the music, the sound, etc, etc? Well, Lundale was very instrumental in Prince's entrepreneurship, you know, and the empowerment behind that. He started in law and does so many other things. And he's been in that practice for such a long time.

But he also has a management company, media company, owner of Source Magazine. And I'd been dealing with several lawyers to try to get this project solidified. And there was no luck, you know, but Langell. Landel has a lot of weight in this business and can literally reach out based on. You know there's a couple people. Yeah. And so I actually know Landel. My dad and I know him for a long time.

We've known each other for a long time. And we've had business conversations in the past as well. And so I had told my dad, I'm like, look, I'm so frustrated right now with these lawyers. Find out where Landell is. Get him on the phone. So we started talking collectively. And Landel mentioned, you know, I'm doing other things outside. side of law. Let me listen to the music, see where you're at. There were lots of conversations

to also find out if this was aligned with him. If I was aligned and what my mission was, and it holds that entrepreneurial spirit, always, which was also held together by Prince for so long in spirit. We lost him. And he's still here in spirit, but Landel is now my manager and leading this thing so that it sees the light of day with a quickness, but also supporting the project with strategy, this other teams that are very necessary to roll things out. And I was just kind of throwing out music during my independent career. So happy anniversary fans. Thank y'all so much for writing with me. But now it's a new day. And I want to do it right. I want to do it better and elevate every time. So teamwork makes the dream work.

Gotcha. For sure. You know, it's interesting because you said it's your first studio album in eight years. It makes me think, were you protecting your peace or protecting your artistry? Honestly, I was really just having a ball, experiencing what it is to create from a real free, pure place. It wasn't even protection. It got very addictive when I went independent because I had the freedom to create whatever genre with no ceiling I wanted to. The timeline I set, no deadlines.

I didn't have to focus on charting. numbers and validate myself based on someone else's definition of success and all that pressure that does come from the major label system. And the investment I knew, excuse me, the investment I knew was going to be very boutique, you know, and very startup under the radar, because I started in Japan on my very first few releases. So it was really fun because I didn't have all those rules and, of course, the criticism that comes with releasing a full body of work over me. But that was the time to get acclimated to what this independent journey was about, do it in a very under the radar situation and a one territory release here and there, mixed tapes, ePs along the way,

and then something magical happens. Your relationships are built, you know, the process because of that education and practice, and then you show up and you put together an album, throw it out, just for the love, gets nominated for a Grammy. And then it's additional confirmation. to keep going. And Prince always said, you know, I will help you if you stay independent. And there's been so many times you want to throw in the towel, questioning self,

is this really worth it? Do I need to go back into the system and all of these things? Because it is very hard. And you have to be very relentless and resilient in your grind, especially when you're financing 100% of it. And then sometimes people don't even know it exists. So you're also getting, oh, you're washed up or you fell off. how come you don't make music anymore and nobody's paying attention.

So nobody's paying attention. So to answer your question, you know, there's been so many times that question mark has popped up. But I don't measure success in the way I used to when I was in the system because there's a new definition that's been introduced to me. My sanity is kept. My spirit's intact. I'm literally having more fun now in my 40s than I. that I was as a teenager just kind of trying to figure it out in understanding that, you know,

if it doesn't reach a certain number or a chart position, then you can be canceled. You can leave. You can be shelved. And I love music so much. I think I've protected just the love of the art, not intentionally. But that's what Prince was always talking about

and that's what he was an advocate for for those he thought or maybe saw a little spark of love and passion. in so that they could preserve their art themselves and still work in the business. Were you nervous about going into the 70s era? Because it's like, you know, you have to think about, well, does it fit? Where does it fit? And especially with this generation so loving the 90s, the era that you came out.

Cool, can it is different now. When it was pure. People comment on this album and they're like, oh, you go ahead. to the era when it was pure. Rick Jays. But, no, I don't even create from that place anymore, from fear, based on who I think should like it. Or considering every demographic, you'll go in circles trying to do that.

My measure of satisfaction is, does it feel good to me? You know, does it feel right? Does it feel ready? Is a modulation needed? Is this in the right key? Do we need to rework this record? so it has a little bit more slap, is the mix right, is the feature right? Did I do my best on it?

Can I live with this in my car over and over and over and over again? Can I ride to it? Can I share it with others? You know, and that's where I create from. And if I love it, of course, I start sharing secretly and privately to my friends, the people that know me, the dances, my creative director. And, you know, you can always test with your fans. We have private chats.

going to Instagram live if you really want to test a record before you invest as a business. But no, I don't make music from fear. There's nobody judging but me now. And I'm never nervous about my favorite era of music because I knew that it hit different during that time. My dad is a singer, performer. I watched him and his band in my childhood right in my living room, rehearse. and I was just dancing away and singing away with hairbrushes and broomsticks

and that's the feeling that I wanted to capture so you'll get all of that joy from the trailblazers the Rick James, Prince, the Tina Marie the Chalimar Atlantic Star is all over the ballads SOS band Gap Band Evelyn Champagne King

Patrice Russian so many influences MJ you can hear it this like Quincy Jones and Rod Temperton influences all in that that come from my favorite era of music, which is the late 70s, and then it bleeds into the 80s with synthesizers. And you also have the hip-hop element on this project,

because Mike-Gai Mars, the executive producer, partner of my, as well as Mike and Keyes, who worked with Nipsey Hustle, and the list goes on and on and on. They know hip-hop. They know drums. The iconic pioneers like Jay Dilla are all over. You know, their productions. So you get that fused.

Yeah, I'm in love with this project. You said nobody's judging but you now. Does that come from the independence? Yes. Okay, I was going to ask, or does it come from where you are in your womanhood now? Like, just. It comes from both places. The independency has allowed me to create from that space of freedom where there's no number that I have to meet.

There's no sale. There's no first week pressure. I just want it out in the universe. And that's success for me. Like, hey, enjoy. might not be here tomorrow. We never know when our last breath is. But the fact that I've birthed something and I just put it out for those to enjoy,

whoever's ready to receive it, wants to receive it, stumbles upon it, you know, word of mouth, is shared with. That's success, you know? And then to bring it to the stage is like the cherry on top for me because I love to perform. And if my dad likes it because I always play it for him, being a musician, you know, is he satisfied with it? those are some good ears back here and you know I'm not really fearful

also because of my womanhood and there are a lot of lessons that I've learned along the way even just as a song writer some gems practice I've had and it's a wonderful journey to just kind of be refined and step out fearlessly that's the era that Maya is in now

do you think modern music lost something emotionally like when everything became algorithm and numbers drew Well, I think there's pros and cons to everything. You know, algorithms can definitely be a focus when you're talking about business and return of investment when somebody's investing because they're putting up some money. They're literally financing something and they want their money back plus some. You know, when you're doing it for the fun, it's a little different.

Sometimes you're like, I don't care if I'm in the red zone. I can go in debt for this. I'll pay extra to just be there or I'll pay extra. so that this is out, and I'll get my money elsewhere, whether it's touring or a brand deal or whatever it is. Algorithms can shoot really affect validation, and I think it's affecting our youth, the likes, because they're also growing into themselves in real time.

And that's a part of what they look to, which is also addictive, as how they define themselves, and that can be dangerous. As a grown woman, I'm not thinking about that. But of course, you know, when you're talking to a social media team or your PR, that's their job to let you know, okay, this is actually working.

You should do more of that. Raw stuff. You don't have to be put together all the time. You know, those are the things I'm still open to because people want to be talked to. You've got to connect some way. But algorithms are how businesses make their decisions because it's a risk.

out here. And if you're not a ticket sale, if you're not putting butts and seats, if you're not selling, then we have some hesitation. That's right. It's just business. So you can't take it personal. And so I encourage artists to learn the business so that first of all, you can protect your mental health and know that it's not just criticism and an attack on you all the time. It's literally business. And you don't find that out until you become the business. And it's your money, You know, so you got to, of course, have tough skin, but it's an awareness and it's an education and it's an understanding. So I think all of that is really essential now when you're dealing with other financiers to understand or major labels with a lot of people and a lot of voices involved for your own mental health but also awareness and how you navigate so that you can still be open, learn as a student, and then move forward. forward with some grace, but also know that everything's not going to be perfect.

I know you're going to have some wins and some losses, but it's very essential that you define that yourself and then also have a degree of separation while you're operating in both. And they can coexist and they can intersect. You know, I was going to ask, you know, you started so young. I did. But we haven't heard a lot of Maya crazy stories. Is that because your dad is still with you now and he's still guided, making sure that he's controlling everything else?

because a lot of times when people start young, you start hearing crazy stories, they're saying, the industry runs them down, the industry makes them crazy, but we haven't heard those stories from you. I mean, there's always controversy. There's wild stuff out there, of course,

that I actually experienced at the birth of, you know, a lot of the bottom feeder type of sites. You know, you can't avoid that in a public forum, you know, as a public figure. And everybody's a public figure nowadays. but um Lauren going to all the bottom few of the sites right now just to see what's okay I saw you talk she just started typing it's right you get throwing into a whole lot on her the sit down that y'all did and I made some notes about just what it felt like being

there at the break of it all because we feel like we get it so bad from what we experience now anytime you step out into this world be prepared to get attacked from every direction even if you are Mother Teresa and your fundamentals, it does not matter. So you do have to understand that the world that we live in, plus everybody's opinion being, who on Front Street, it's going to happen. And if you know that everybody's kind of going through it, wonderful.

We didn't have social media when I was a teen, so I survived. We had, you know, tabloids and blogs, but I was really under the radar because also, and I'm thankful for that, because I was still a, test dummy when I first started. They weren't sure of R&B and if it could live on a rap and rock label. I was literally on Interscope when it was just rap and rock as an experiment. I was not signed on my first album during their investment to see if it could even work and exist. I was not even assigned to Interscope on my first album. I was signed to Hock Islam out of D.C.

on University Music Entertainment. So it was real soft pedal-ish. I didn't get the Britney Spheres exposure. But we were positioning and aligning on old soundtracks, Ghetto Superstar, pop stuff here and there, good looks, just try to figure it out. So I didn't have the initial, I would say, stamp of approval yet. I was in a real void gray area. Like, R&B, we don't know what that is. We don't know if that's going to work over here.

We're willing to take a chance somewhat. Let's see how it does. but what's the first best business decision? Shout out to Baltimore, Drew Hill. You weren't right now. Cisco. It's also on the same independent label that helped me break onto the scene.

There's a lot of piggybacking that happens. When you're new to this business, which is a very competitive business, and I'm thankful for that move, even though that wasn't my first choice for the first single, I had a strong camp. You know, my dad was there. during that time and my mom was my accountant.

She's always kept me debt-free and finances intact. Amazing. Even in the hardest times, you know, so that I'm very responsible, but I also understand how quick it could go out the door, but also, you know, to plan for the future, estate planning as well and what you want to avoid. So I've been really truly privileged and blessed to have family involved in my family.

business but also present. So just kind of keep me protected from all the things that we do hear about. You think social media would have helped your career more or heard it? Both. Both. You know, you get to know people too much. You know, there can be

some strong effects personally, spiritually. You know, to open yourself up to the world is dangerous. And I think there's a lot of judgment that's very fragile when you're learning yourself as a teenager. I see it all the time with child stars in the public eye trying to grow into themselves. So I think the popularity and, of course, the investment might have been enhanced because of the exposure that you get from social media, but it could have gone so many different ways.

Are you ready for it? What are the dynamics going on in your personal life? I don't think at that time I would have been ready for. too much popularity. I was still learning me. I was also still learning the business and also just how to conduct an interview, how to do radio traps.

Like the real things when you're just a newbie to any territory. A lot of fans, when they have conversations about your career, they always talk about how like your fourth album was like either it was delayed or like the release wasn't as big as fans feel like it should have been. And they feel like it was unfair to you

and that's why certain things didn't happen for you afterward. How do you feel about that time period of your life? It's so interesting looking back at that time. So when I mentioned Interscope, yes. A series of events go like this, Hock Islam, you know, signed to an independent label. They invest in you. Demos were shopped to several different labels. Interscope said yes, but it's still maybe. Second album, I got signed to Interscope, officially. Did another album. Third album was Mood Ring, 2003, did a tour, all that. I start. wanting to record my fourth album, and the budget was closed.

And they're still recouping. A lot was spent making that third album with Ron Fair. And, you know, I didn't have management at that time. So I'm now kind of in a transition where I got to either put up my own money, and I started to do that. And it was like a lot of money every week I was spending in studios. How much? $20,000.

Over the course of two weeks, I said, this is ignorant. What I'm going to do is go home. I'm going to build a studio. I'm going to build a rehearsal space. But I'm also going to purchase a house. So I can have living, take care of family, but also cast a crew that's based from my hometown, that's hungry, that's thirsty, provide opportunity, start a foundation. Because something doesn't feel right living in L.A. Something is missing.

And I was out there by myself. So I called my dad up. I was like, look, I'm not happy here. Let's sit down. I can't create. I don't want to come home and I want to do things from the ground up. He took me to Motown via Sylvia Rohn. It was still within the universal system.

And that's where R&B was supported. It was understood, culturally understood. It has a history going back to Detroit. So Sylvia Rohn allowed me to executive produce my own project. And it was a wonderful project called Liberation, which would have been my fourth album. Things happened. There was Napster. There was social media.

There was iTunes. And so when you change the release date, so many different times, there's the farthest territory, the furthest territory, Japan. That's a whole day ahead, right? And when they changed the release date the last minute, Japan had the album, and it was out. And then it leaked.

And then it got shelved and a whole bunch of other stuff around that time. So it was out 24 hours prior? Well, they're just ahead, you know, regarding a whole day ahead. So they got it before they got the memo or something. didn't click in the metadata to check off that one territory. And so once it's out, anywhere, it's out. And your whole rollout is fumbled, the whole investment. It gets shelved.

You can choose to go back in the system. I was just in a place of processing, which has happened after spending a year and a half, literally putting up even some of my own money. Did you cry? Of course, you know, to be thrown out, discarded, dropped, all of these things. with negligence and made to look like I wasted somebody's money when I show up, I show up on time. I really invest my own money into situations. I just decided to sit with self for a minute and figure out, you know, well, what it is.

I want to do. Broadway called immediately, which was wonderful. Prince called immediately when he heard the word independent. And there were these wonderful things that happened immediately for me where I was quickly gathered up and shown that this actually is probably going to be your greatest blessing. There are opportunities coming. You have a catalog already. But I was always living in a fight or flight correctional facility mode. Yeah. Like, I want you all to understand that I'm not lazy.

I want you all to understand that the perception is not I wasted anybody's money. the perception is I'm going to go get this and I'm going to go show you that I mean business show you that I'm really about this art show you that I'm really about this music and do the best I can with what I got to work with whatever that is

it's always just figuring it out in real time can you expand on that you said you're always in fight or flight correctional facility mold when you're in that devastation after you've had all of this press all of this expectation the release dates announced

changed, you know, investment made, but also a narrative that says, oh, you waste a $2 million of Motown money, all of these things, like you're somebody irresponsible or real high maintenance and doing all these crazy things. That's not the case. Things happen. I feel like that energy can exist for everybody now if you allow it to because of social media. Of course. You know, fight or flight correctional facility.

You always feel like you're going to fight or flight and you always feel like you've got to correct some shit. But you also get called washed up. You fell off. Your career's over. And all of those things are placed over your head. So you go into a real deep spiritual dive to save yourself. And that's actually what I did. I started studying outer space DVDs because I finally got the chance,

which was a blessing to sit down. Went to the library, got a library card. And that's how Planet Nine was birth. By being in this state of self, like insignificance but also significance at the same time we all exist in this very blink of an eye moment right on this little ball amongst trillions and trillions infinite universes planets you're connected to all of that connected to all that and he created you yeah and then what does your world look like you're no longer a part of that world it's time for you to build

your own from the ground up and it was so spiritual for me and things just started happening when I finally just made the decision and got out of my funk that I had to prove something to others, others, others, and it still stays with you, of course. To just learn the lessons that this was trying to teach me, but I also took myself to where music inspired me. My great grandmother's name was Alberta Davis. And at four years old, I knew I wanted to sing when I heard her sing. My dad is also a singer.

And at Ken Guard Baptist Church in Kensington, Maryland, I witnessed something, but I also felt something. I was so undeniable when I heard her singing in her tenor voice. She had a very deep voice in the Baptist Church. I took myself in 2007 to go study disciples class. And I went to the altar. Just so happens the same day that I go to church to just receive a word. I'm just spiritually called to that altar. It was the 80th anniversary of that church

that I didn't even know my great-great-grandmother, Carrie Davis, found it. Wow. And that's the same place that I was moved musically through gospel music. That was the ancestors.

And I didn't know what a recording artist was. I just knew that music is in my blood. It's in my veins. I'm on an assignment to do music. And that was my source of everything. And everything has just been so aligned since then because that's always where I pull from. And I'll never forget that I don't walk alone.

It's in this record retrospect on face to face. So I just go back to my roots. I'm Cynthia Lois. And I'm Josie Dye. And we're done pretending we have it all figured out. Each week we laugh, cry, and talk our way through life's messiest moments. The things you think about but would never say out loud. The questions you are always too shy to ask.

Relationships, regrets, awkward moments, and the stuff no one warns you about. It's honest, it's funny, and sometimes. it gets a little uncomfortable, but that's kind of the point. This is Cynthia and Josie's unmentionables. Listen on the free IHeart Radio app or wherever you get your podcasts. Another podcast from some SNL late-night comedy guide, not quite. Unhumor me with Robert Smygel and friends, me and hilarious guests from Jim Gaffigan to Bob Odenkirk to David Letterman,

help make you funnier. This week, my guest, SNL's Mikey Day and head writer Streeter Seidel, help an Acapella band with their between-songs, banter. There's the worst singer in the group. The worst? Yeah. Me. Is there anything to the idea that because you're from Harvard you only got in because your parents

made a huge donation? The group. The yard birds, right? That's the name. The Harvard Yard. They're open. Do you have a name suggestion? We're open. Since you guys are middle-aged, one erection. Listen to humor me with

Robert Smygel and Friends on the I-Heart app, Apple Podcasts, or wherever you get your podcast. Huber me. I need some jokes to make me seem funny. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, the Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. Do you remember when Diana Ross

double-tap Little Kim's boobs at the VMAs? Or when Kanye said that George Bush didn't like black people. I know what you're thinking. What the hell does George Bush got to do with Little Kim? Well, you can find out on the Look Back at it podcast. I'm Sam J. And I'm Alex English. Each episode, we pick it here, unpack what went down, and try to make sense of how we survived it.

Including a recent episode with Mark Lamont Hill waxing all about crack in the 80s. To be clear, 84 was big to me, not just because of crack. I'm down to talk about crack on day, but just so y'all know. I mean, at this point, Mark, this is the second episode where we've discussed crack. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you for finishing that sentence. Yes.

I don't think there's a more important year for black people. Really? Yeah. For me, it's one of the most important years for black people in American history. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. My foundational roots, which is black music, but also the core of everything. And American music is black music. And that's what this project is rooted in.

So that helps me always get out of any fun when the world is judging you. just to go back and retreat to the time that you fell in love and were spiritually moved where you couldn't even articulate it at that time. And that's how I picked me back up and keep going. And in this era, the 70s and 80s, it resonates with you. So that's how we got retrospect. Are we seeing any visuals? Because I love the single cover art for just a little bit.

Like this was obviously you. Intentional. All you, intentional. But your idea. Also the album cover, it gives 70s, 80s, funk, disco. I'm ready to get fucked. Oh, sorry that, but like I'm ready to get fucked up and just be vibing. Exactly.

Are we getting visuals to match this? Yes, you are. And I want to give a shout out to my creative director who's been rocking with me for over 20 years. Derek Brown, when I made that shift to go back home, I did an audition. We had a gym audition. He started off as a dancer for me, but he shoots videos now. He edits, he choreographs. He does everything.

He's a director. and he put his foot up in my album shoot. He's doing the lyric digital booklet right now. That was his idea because he was there. He's a 70s baby as well. So we Kiki in my basement or in my studio or in rehearsals or whatever. And we said, you know, I had done a previous photo shoot that leaned a little bit toward more pop 80s. And we just both agreed it's not resonating culturally.

This is the culture. This is perfect. We were both there. That's what we wore. That's what the hair looked like. Like, let's lean into all of it so that people get it when they see it, but also the music compliments it. So that was the thought process behind that. And yes, to answer your question, just a little bit featuring Tool Short, the music video.

Just a little bit featuring Too Short, the music video just dropped a couple of days ago. And it embodies all that 80s glam. 80s glam from that era. Two shorts in a suit. I've never seen him in a suit before. It's really dope. You're going to have so much fun performance album, One tour.

I am. You already be having fun. I just started using DC just, oh my God, killing it with the go-go roots. Yeah. Having fun. So I totally believe when you say I'm having the most fun I've had

like in my life now in my 40s. And I've always wanted to do it. I did cold-blooded by Rick James a cover on my third album way back in 2003. I've always wanted to go in that direction. But the labels, excuse me, The labels were looking at me crosshite when an R&B artist wants to do funk,

you know, especially on a rapping rock label. They had R&B elements too, though. That's what I don't know. It did, but they didn't even get R&B. You see what I'm saying? Interscope was rapping rock. So if you don't understand R&B and all the things and my influences,

it was kind of hard to digest at that time what that was. So now I get to do that. And I'm so happy that is out in the universe. and coming out. But also, you know, I'm looking forward to the tour, the retrospect tour, the Maya Live experience, the real Maya show, and, of course, bringing my roots. So the arrangements and the dance and the fashion.

You weren't happy when you was having fun doing, like, it's all about me and ghetto superstar and girls, them sugar. Of course, I was happy. It was all about it. No, no, I said I always wanted to do a funk album. But also being on a rapping rock label where R&B, itself wasn't even understood when you start talking about other genres that also stem from soul and R&B.

But I guess just the creation is a art. It's hard for others to understand. No. You know, I was always happy for the opportunity. I was always happy to be able to create and very grateful. And I'm still grateful for all of those things. I'm grateful for all the pitfalls as well. And some of the things that supposedly didn't work out because they redirect you and propel you

to spaces that you wouldn't even start dreaming of if those things didn't happen and then cultivate you, sharpen the iron. So I'm happy all the time, you know, and truly acknowledging how great I do have it, you know, that I'm here, I'm breathing. I'll start there and have the opportunity every waking day to make somebody else's day a little better through music. And the catalog, too. I was watching your interview with Gina View. and she was talking Best of Me. She didn't know Best of Me Part 2 was a remix to the original. With Jada kiss.

I didn't know that either. You didn't know that either? No, I didn't. They're younger. I didn't know that. Jersey dress, June Ambrose, right? Yeah, June Ambrose. I literally created a jersey dress because of that.

For real? How did you do it though? So I have a brand called Brown Girl grinding and we were trying to figure out something for the summer and I loved the music video. So we created the jersey dress literally because of... The way it looked on her, that's not... I don't know that that's not how to.

Well, I couldn't watch you one, I didn't think about it. He's a hater. He's a hater. I had no idea that there was a Jada Kid's version of Tassol. Genevue's in that interview. Well, see, it was my street single.

So, you know, it was also a mid-tempo as well. I knew, don't. I didn't. I know. I knew. But you know what people thought back then that's when Jada and Jay Z were going back and forth. Really?

And they always used to say that Jay did that because he wanted to one-up Jay did kiss because of the record. Did they have beef? Back then, they were going back and forth. I didn't even know that. I love that. She was all in her own. Removed.

I loved that. Her own world. I thought it was just, oh, a remix. So how did that come about? I heard you telling the story, but he was Swiss and how did the remix come about? So I was in the midst of recording my second album. I did a lot of it in New York. And worked with Wycliffe.

Got in with Swiss. I always love Swiss's rhythm on his tracks. and he was playing me some beats. I had Jimmy Cozier there, Tehran Beal, Moshana was there. I picked a specific beat. He was like, oh, no, no, no. That belongs to DMX.

That beat did bap, bap, bap, bap, bha, bha. Oh, no. Swiss did the original, featuring Jada Kis. Best of Me original mix featuring Jada Kis, Swiss Beets produced. That was his very first R&B record that he'd ever produced,

but it belonged to DMX, the actual beat. There was another song over top of it that I didn't hear, but I think he stumbled upon it by accident and I said oh rewind that real quick so I said I want to write to that one and Jimmy Cozier and I

Jimmy Cozier Jimmy Cozier is an R&BORs Ron Bill I did know I'm sorry go ahead Jamie Records right yeah yeah so we're all in the studio at Jimmy Cozier to Ron Beal

Mishonda and I and we just come up with the concept what we wanted to feel like and that's how Best of Me Part 1 was born. It was a solo song first. Might have had a bridge on it. We took the bridge off and put Jada Kiss on it because we decided

that that would be my very first street single. What they do, or what they consider street singles to be, is to warm up, you know, the streets first before you go with your pop hit. Our soul has no one. We know what it is. I know. The young ones that you go. But yeah. So, we knew that

we wanted Case of the X to be a single, but it kind of leans toward the pop world a little bit. And we did not want to leave the urban crowd out of this. So we did Best to me featuring Jada first. Steve Stout and Hockey Islam were kind of working together. Steve Stout was at Interscope of Hock Islam was running the independent label side of

University Music Entertainment. And so Steve Stout had all these relationships and had Jay-Z hop on the remix, you know, because of his relationship with him. And McKeda and I, Makata Davis. wrote the remix here at the Hit Factory in New York. What was the video? And Tone and Polk? The trackmasters.

Trackmasters. And Jay and I are actually in the video in Malibu, California. June Ambrose shows up with a jersey. I didn't think anything of it. It was, I guess, you know, customized to fit my measurements at the time. And that was that. That was the shortest video set I'd ever been on. Six hours total, including hair, makeup, glam time.

And then we were done. No choreography, no rehearsals. And then it comes out and kind of like takes hold of the clubs and whatnot. Oh, so she bought that. And June N. Roos bought that. You didn't even say, oh, this is what I want to wear this. Oh, yeah. I showed up.

Definitely inspired a whole era. No rehearsals. Didn't know what we were doing. Wow. A bunch of barely built. Yeah. Carolina Blue Kish ice. She worked.

So did he know because I know they've been working together forever? Maybe they did. I wasn't a part of that process. I kind of just showed up, got glam ready. I was fighting to put dances in the video I was like, hey, can we at least have two girls and, you know, I want to do a little dance or something. You're like, no, we don't have time for that.

The shoot is here. The shoot is then. And we just got to go and run with it before we missed the summer. And that's what it was. I didn't make you feel when you wanted to dance, me like, no. If I could fit a little one to step in there, here and there to give something more than just be cute. Of course, I will.

but if the budget doesn't allow or the time frame doesn't allow then it might not happen so I try the lady marmalade era right it was huge coaching did that success feel empowering or did it come with pressure to compete with

like I don't know other women I don't know I didn't feel any competition because we're all number one so different we were all established at the time doing our individual thing in this business and that was also very quick We got in the studio to just lay our backgrounds together on one session, in one session,

and then we cut our leads separately. Ron Faire was involved in that, Missy, as well as Rock Wilder, laid the foundation and blueprint of that record. Ron Faire took our vocals, and then he edited them and kind of oversaw the executive production process of that. And that became this version of Lady Marmalade, you know. So got into rehearsals. for a couple of performances, won a Grammy together.

There was absolutely no competition. I didn't feel that. I thought it was a blessing. I thought it was wonderful to win with your sisters. How did you navigate always making sure that that was what happened, though? Because I felt like during that, even earlier on, you had like Brandy Monica, right? And then like Alia, and I know Brandy and Monica,

now they talk about it. And it wasn't them. It was everybody around them. How did you make sure that like that didn't even come in your atmosphere and you like shut the competition? think down from Rick? Well, it actually never did come into my atmosphere. Maybe if there were another female singer that was similar to me at the time, it could have become that on the record. But it always works in the press. If there's a little controversy. Yeah, like they lean into it.

They lean into that narrative often to pit women against each other or even men because it's buzz. It's a big investment with big budgets, individual budgets that have to cohesively come together. to make it work like clockwork. And some things happen, you know, in reality, and some things don't. But you can also play up into it in this business, and people wouldn't even know. But that's also part of strategy that I've learned that actually works for rappers now and then when anyone, when you are just trying to get seen and heard. But I'm thankful I was never a part of that.

So you want to beef with. We want to be for it right now. You got 70s, 80s, and spite of us. What are we talking about? You and Cindy Lauper, let's go. Oh, my God. Who do I want to beef with? That's not even in my nature.

I don't like beef, though. I don't do beef. I'm vegan. I know that's right. You've been on some big records, though, man. Ghetto superstar, huge records. Was there some type of disconnect between the label and you? Because I just feel like you had a great run.

Don't get me wrong. But I just feel like with the records you were on, it was another level. But that's how the fans feel. Yeah. He said, was there a disconnect? Yeah. I feel like there was another button

should have been pressed between, I don't know, was label, management? Well, things happen the way they're supposed to happen and I really believe in the divine, you know? And of course,

everything could have been bigger. It also could have been worse, you know? That's true. And I'm thankful for the specific exact journey that I've been on because I hear that a lot. I would rather be underrated versus overrated.

And now is my time, you know, where I'm so aligned. and educated and aware. But like I said, being a test dummy and not being all in from your investors because they're very unsure and uncertain of you, that means a couple of years need to be put in

to prove yourself, to prove your worth, to prove that you can as a teenager. So maybe some buttons weren't pushed during that time. And that's understandable when you're taking a big financial risk in a territory and a genre that you haven't even played with before. So I don't hold that against anybody. understand that. But it was an opportunity

that I took full advantage of by saying, yeah, let's go, let's try this. Yeah, it's rap. It's rock. And here I am, it's a little R&B girl from the DMV. It may work. It may not, but I'm going to do everything in my power. But I'm also

an art student. I have discipline. I'm used to rehearsing for 12 hours to get it right or days at a time. So we'll try it. You know? And my parents raised me like that. make sure that whatever I choose to pursue, I will win. I can learn, I can mess up, I can make some mistakes,

but I'm at least armed to go for it with no fear and live with whatever happens. And that's also why I'm a huge advocate of arts programs, sports programs, to instill those life skills that you need to win in any field that you choose to pursue. Was there any record that you didn't want to do or you look back at it and was like, I really didn't want to do that? Yeah. Which one?

My love is like, whoa. I wasn't really a fan of it when I first listened to it because it was mid-tempo. I thought we needed something more dynamic. I thought it was real chill. I love the harmonies. But it was also kind of, I don't know, salacious. When it showed up in my hands,

it said a whole lot more that Missy can say because she wrote it. But when Maya, you know, coming from her second album, Fear of Flying is going into this whole grown woman era back then and what that was as a young woman, it was a little uncomfortable. I changed some words around so it could fit me. And then, okay, I said, in order for this to work, how can I balance this out? So I brought the theater to it in the visuals where, you know, I can live a little bit more with that record. I wanted to go with something else completely out of the box

from that project but um What about the rug wrap? You had no hold on real quick You had me walking around telling me my love was like Whoa boy what Like I was really

She did that because of black rods Oh yeah shout out to black Rob No I didn't put because of my Yo Don't have a favorite with me I was girl That was my like whole thing Like my love is like

Whoa It's crazy what you're talking about. But it was still like a whole thing, for me. Her pops is looking at you like, God, I'm sorry. I'm sorry, this is all you know the ball. Baltimore.

This is all you're in Florida for. That was me. He's from Maryland. Yeah. Yeah. It's not Baltimore a couple of times. It's not Baltimore. It's Baltimore.

The Rugged up. Wait, so you didn't want to do the song. Was it the labels pushed to do it then? It was. It was. But, you know, they hold the weight. They hold the power with the finance. I cut everything, you know, just to see if I like it first.

And, you know, I wanted to go with something a little bit more, like I said, the street singles. I wanted to leave with a record call Why You Got to Look So Good and start the way I started my second album and leave with Streets. I did that record with Rock Wilder, Why You Got to Look So Good. The beat was so hard. Lloyd Banks was on it. And it's, of course, not what people think I would say. Why You got to look so good. You make it so hard to leave you. Why you got to look so good. I don't want nobody else to have you. But the beat was so hard. and he was like, I can't give you this beat. One of those occurrences again.

The beat belongs to Jay-Z. I was like, please, just let me write something to it. And if you don't like it, cool. He had to give it to me because he's like, yo, this is fire. That's what I wanted to be my first single for my third album. But, you know, they're thinking about appeal. They're also thinking about investment. And it worked.

but it's not quite the one that I wanted first. Did people have a mistake you're like laid-backness, you know, for being mysterious or trying to be difficult? Maybe. I think because, you know, I'm just like my parents. They're just real chill, real laid-back. They only speak when they have something to say. And they're not really, really talkative people.

They're very expressive people, maybe through art. My mom is a painter. She's into fashion. She's sewn all my clothes that I went to school in or their dance recitals. They're very artistic people and express themselves differently. Now, you know, when it comes to negotiations or, you know, getting on the phone and knowing business, my dad's been in this business since he was 17. So he's a very vocal guy when necessary regarding business. But yeah, I think it can be misconstrued that you may be meek or timid or shy or not confident or you don't have what it takes or bougie or stuck up or high maintenance.

Yeah, that can come with being soft-spoken. There's a beast here though. There's a real beast here that comes out when it's supposed to where it's supposed to. You know? And I'm just laid back naturally until I hit that stage. Period. Then you're giving it up. But, you know, I got friends.

We get loud. You know, it's a time and a place everything and different parts of my personality come out, depending on the environment, you know. And also, I haven't really been on Front Street for people to really truly get to know me. Yeah. You know, and it's also a tricky world to navigate through during that time when you are meant or actually grown to be put together. There was artist development.

don't say certain things in interviews. You got to cross your legs a certain way. You can't just be out here. Any way you choose like you can now. You know, pregnancy was like, you can't be pregnant. You can't do this. You can't be normal human beings. And I look at a lot of the pioneers and how they struggle with, oh, what the label said

about them being a mother or having family time or taking time off, like real human things that are necessary for. the train to keep moving forward. Yeah. And those things were punished back then. So I've come from the era of cassette tapes and recording to tape, not pro tools and digital, but analog. But transitioning into the new world with just new ideologies and new fundamentals.

So I can be a little bit more open now and not punish for it, I think, but also know myself more to be more open. I saw you talk. I saw you talking to Melissa, uh, about motherhood and just different things that right now you are focused on your independent music journey so you can't it's just not your focus right what's not my focus just right now I'm being becoming a mom or being married and like that whole conversation that people throw on you well I am a godmother I am the rich auntie and I enjoy all of it I love kids yeah but that's

misconstrued as oh she don't like kids oh something's wrong with you you know or nobody chose her How come nobody ever wiped you up? Oh, they've tried. Exactly. Or they have. Or it just didn't work out. You know, you don't have a ring on your finger. Something's wrong with you.

But a ring doesn't hold any weight. If the vows are not being adhered to. Yeah. What is a ring that I can buy myself if it means nothing? And the fundamentals of what a marriage really means, which I deem sacred. And I, of course, want to be selective in choosing the right one. So that might take time. That might require me to be solo for a while versus just always being in something because I got to be taken and chosen for y'all to feel that I'm living in a happy space.

But I don't know too many people that are happily married as well. I think for me, the focus hasn't been what the world may want of women and men on the world's timeline. I think it's a beautiful thing. Love makes the world go round and round. I'm an advocate of all of it. It's a lot of love in this project. Yeah, projects, but I love children. Don't get me twisted.

I love men. Don't get me wrong. It's just when there's a calling and you invest in answering it, but also being an example for the girls out there that may be discouraged in giving up and throwing in the towel, something else is calling you to do something.

And love is also all around me. There's different forms of love, which I'm very, very clear on and very vocal about, but I'm also an advocate of self-love because I don't expect somebody to just come into my world to be my savior and my end-all be all happily ever after because that requires self-love for the right one to show up. I want a mirror of me at my best and highest.

Right. in divine timing with a reflection of the best me, because that means I'm also giving and pouring. I'm not here to be wiped up. I'm not here to be in a situation for validation. I'm here to give the best of me in every area of my life for the world, for myself, for my family, for a companion. But I'm also very aware that, you know, love is all around us every single day

in so many different forms. And I'm patient. I'm not seeking. But that's different, you know, for the society that we came up in. But I think it's very different. It's very different. It's inspiring to here. You say, though, because of the ownership that you take in it.

And especially coming from the air where they're telling you guys how you have to live your life and you've been, like, kind of built that way as an artist to, like, no, career, career, because I can't do it all. But you take ownership and I can do what I want when I want. Yes, and so can you. But, of course. You know, we grew up in a society that says to do it by a specific book and a specific timeline. And if you're not following that, you know, expectant, I'd say flow.

Then are you happy? You must not be happy. Oh, that's really bad. It's going to be too late. Your eggs are going to expire. Like something's wrong. And everything's right for me right now. And I'm living in that space.

I don't want to be in the wrong situation. So I'm going to be more patient. and align myself, but also not expect anything to show up and also lean on another person to make my world. Great. I'm going to create the best world that I can for me to live in first, for others to live in. Make sure I can, first of all, financially take care of another person, a baby that is 100% dependent on me. But I also want to sit my ass down and have the time to do it. Pick you up from school. Help you with your homework.

I mean, it's so hard as a mother, a working mother, and just in general. I want to be available before I have kids and I also want to adopt kids. It's not that I don't want kids. It's just not been the focal point and the end-all, be-all of my journey. I thought you were over there trying to shoot out. My journey. For now. The reason I brought the up is because I feel like a lot of people when they talk to work in women

or women that have things happening, and you see. say something like what I heard you say in that interview, the pushback is, oh, well, the time clock, and you are very much in control of what you want and when you want it. And I was like, I think you can kind of navigate that conversation a little bit differently now for my own self. I don't like you competing yourself to my. You're not mine. No, but it's the thing of you've got so much going on. But like when I go home, Mother's Day weekend this weekend, my family, I go home, the first thing is you're doing great, but when you're going to have a baby or when you're, you know what I mean? Yeah. It's a real conversation that people have. But it's also

coming from a place of love. Because experiencing having a baby for many women, fathers, there's, of course, oxytocin on the biological scientific side of things. But it's an experience that changes you forever. It changes you forever. The love is so overwhelming and it's so pure and it's so innocent. I mean, I love animals just the same. So I have a ton of animals. But it's coming from a place of love and tradition and our specific culture that we're here.

I've realized because they want you to experience it as well and not miss out on that. Of course, we live in a very interesting time where there's inflation, and you want to have your bag and all these things together. But that's not how existence ever happened. We didn't have the modern world once upon a time. Women were popping out tribes of babies, you know, for a long time ancestrally. And we're just not living in that natural world anymore. And so I'm also very aware of that so that I can set up, first of all, a safe lifestyle. and a comfortable lifestyle and a supportive lifestyle for the life that I might want to build.

And then I'm also growing at rapid rates discovering new parts of myself, new parts of healing, plant medicine, and ancestral wisdom that there are so many things I realized I didn't know five years ago. And I want to get myself time. It might not necessarily be my own child. It might be a whole orphanage of hundreds of kids. that I want to build and invest in. My vision might be a little different than, you know, another person, but there's love inside of me that I still want to give.

It just may come across as different because it's not, non-existent right now to the world, but I'm working on other things. And it just starts with self, and I've also been on a journey where it's all about alignment and all the beautiful things fall into your world in not my time. timing, the most highest timing, and I'm good with that. Sounds like you went on a journey with Mother Aya. No, I've never done Ayah Mosca. Okay, okay.

But there are other things out here that the world will be put up on very soon, you know. It's already been being talked about. Share the drugs, man. It's not even drugs. It's not even drugs. It's not even drugs. Right. But that's not for me to speak on today.

Okay. But administration is about to adopt some very powerful stuff that the world is going to want to align with because it comes from our source, which is God. No man made that, and that is not a drug. Drugs come from nature, and then it becomes chemical compounds of it. But we're in a very unnatural time away from the natural world, and we all could use a little recalibration based on, you know, realignment the natural way. That's all I'm going to say. Oh, it's coming. Did you see all of the religious leaders?

Some of religious leaders are saying they all had to meet and they got briefed on UFO disclosure. Did you see that? I'm seeing a lot of that stuff. I'm deep into conspiracy theory and UFOs and outer space. Yeah, absolutely. Listen, the last thing I want to say, I want to ask you real quick before I say the last thing I want to say,

you said you want somebody that's a mirror of you at your highest, what? Because I'm writing it down. Highest. Highest. You married a very big. I know I'm already married, but this is something nice. When I hit my husband with this, he's going to be like, damn. So that means you got to take care of you inside of your relationship.

You can't neglect you just because, oh, it's your duty. Yeah. Oh, as this title to neglect yourself as a mother, neglect yourself as a wife. You have to show up for you first before you can show up for anybody else within that space. That's what I've learned and I'm constantly being reminded of. If I'm going to show up for, you know, my tribe. Mm-hmm. the best possible way as a leader of that,

then that means that I need to block out and carve out a moment over here to recalibrate my brain, to do a woo-sah, breathe to a thousand if I have to go away for five days so I can be my best self. So everybody benefits from that, you know, if you're a source. Because we do this thing where me and my husband, we do this thing where we will ask each other, like, why did you marry me? And I want to say now, because I wanted somebody, well, I'm not going to say it like that. I'm just going to text him

and I'm like whatever she said my role you say that for real I'm going to tell you because he'll need no don't even do that I want to say I married you

because I wanted somebody who was a mirror of me at my highest self that's a flex I don't know I want to be like you you had nothing like me

okay God put me in your life to help you heal but you know what else you know you don't have to be perfect for love to show up as well period

I don't write that now that I'm too you know what I'm saying Love can come in your most broken times. Now you did for two of them. So I'm not. I'm not preaching to anybody. Oh, you got to be perfect and be your highest self to attract. No, because you can literally attract light from being your most darkest, broken self in a hole.

And somebody's there to lift you up because they've done some work. Or maybe because they're just aligned and in tune, whatever the spirit calls that day. there are beautiful people that show up in your life at the most devastating time. So you've got to trust that too. And some of them are just narcissists and smell the vulnerability. So be aware of that. And that's a whole education in itself too. And I've been through that.

But my job for my personal journey is I see what being aligned means. And I would only want the best partner. So let's start with self to become the best me so that I could pour into that person as well. I don't show up to any table empty-handed. I want to pour in just as much as I want to be poured in, too. So that's what I'm saying, without expectation, and really give from a place of overflow versus lack. And that's up to me to fix or to generate.

All right, all right. My favorite song is falling. Just wanted to say that because, girl, you're trying to wrap it up. But my favorite song is falling. Girl 2003, that had me like, that was my favorite song from Mooring. Now, Moorring is my favorite album, but my favorite song is falling. That's what to tell you. Why is it your favorite?

Girl, because I thought I was in love in 2003, and I was telling this guy, I'm telling you, like, it's a whole area you had in my life. You're like 15 at this time. Yes, and that's when you think that you, the boy that you love and you meet, that's the one you, I'm telling them like, you got me, you complete me, you got me falling head over hills for you and just, and he's just sitting there like, okay, yeah, he ain't up even. hear the song and then when we broke up he heard the song it was like you're quoting an artist the whole time and now you're going to do the same thing but this is not a song this she told me this

this is this she told me this in my face they might as well date Maya they marry Maya no no no no get your little hot ass out they were 16 during that time real I really is my yes Maya we appreciate you to join us what you want to hear up to album you should do audio books or something Maya she should that's what they tell me I will I'll get into radio I'll do guided meditation. Oh, all of it. I'll do that. Yeah.

Voiceovers and whatnot. And then the name was Roger. I should have even known. You're a little hot ass. You were a 14-year-old named Roger. Mm-mm. Name daddy your grandfather. I shouldn't even, I shouldn't even, I shouldn't even.

Toxic. It was so tiny. Anybody with the letter R is toxic. This is my fault. That was my jammed. That was my jammed. She had me in shambles. What do you want to hear of the album?

What do you want to hear of the album? What do I want to hear off the album? My goodness. Let's play the, later single. Featured too short? Just a little bit. Featuring too short.

All right. Well, the album comes out next Friday, and we appreciate you for joining us. Thank you. It's Maya, ladies and gentlemen, it's the Breakfast Club. Good morning. Every day I wake up. Wake your ass up.

The Breakfast Club. You're all finished or y'all done? Another podcast from some SNL, late-night comedy guy, not quite. Unhumor me with Robert Smygel and friends. Me and hilarious guests from Bob Odenkirk to David Letterman help make you funnier. This week, my guest, SNL's Mikey Day and headwriter, Streeter Seidel, help an

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I don't care which I'm saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

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