The Questlove Show - QLS Classic: Doug E. Fresh Part 1

Episode Date: January 1, 2024

Legendary episode alert! Or should we say an episode with a legend alert!?! Both would be true in speaking of Doug E. Fresh and while you may know the music, what do you know about the journey? Class starts now as Quest and Team Supreme attempt to dive into the life of one of the most important figures in music. Take a listen to part 1!See omnystudio.com/listener for privacy information.

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Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Quest Love Supreme is a production of IHeart Radio. What's up? paid bill from Questlove Supreme. On today's classic QLS, we travel back to January of 2022 for our conversation with the legend Doug E. Fresh. This is part one.

Shall we start it? Yeah. We can't do roll call. God, dog. This is such a roll call episode. Is really a. Are you rolling, sir? Yeah, I'm rolling now.

I will think of a solution so we can get back to roll call. Steve, can you work on? I actually thought of one today. Like we can just, we can just do our own, our own verse by ourselves. Like we can say that yeah, and the supreme is ourselves. But the whole thing is the reaction to what the other person says. Yeah. And then, and then our guests wants to hear hours so they can kind of get an idea sometimes.

Well, okay. I'll think it's. I got a good idea. We go back into a studio in person with people and we do our roll calls there. No, I'm good on that. Fonte don't want that. Fonte, you can always be, even if we're live,

all together in a studio with a guest. Patch me in? Yeah, we just patch you. I'm with it. I'm with it. Can we make Fonte like Max Hedrum know? Like he's just like on a TV. You can just see his head.

Can I start the show please? Okay. Oh, no small talk? Okay. Ladies and gentlemen. Oh, yeah, that was the small talk. Ladies and gentlemen, welcome to another episode of Questlove Supreme.

I'm your host, Questlove. And the Supreme team is with me, strong. All five of you or four of you. I still don't know the proper number. Anyway, unpaid bill. Congratulations. Thanks. Yes.

I think you're, yeah, you're doing big things in your life right now. What you got going on? Thanksgiving, Grammys, movies. That's it. That's all you can ask for life. Hey, man. I'm as many jobs as you do. I'm good.

How's life with you, sir? Life is good, brother. I'm good. Still dropping. I kind of, kind of at the point where I kind of hit a plateau in my joint. Yeah, so I'm down probably like 30. Right now I'm down probably like 37, you know what I mean? And so I've been just switch it up a little bit.

I'm going meatless maybe like one or two days a week just to try. You know what I'm seeing? Okay. So we're not. We're switching it up a little bit. Well, I'm about to let you know how this, what am I? I got dandelion garlic spinach and cucumber. So hopefully this will do the trick and get me off that plateau.

I was just going to eat some sweet potatoes. Yeah, I'm going to drink less whiskey. That'll do it. That'll do it. Yeah, alcohol will put it on you. Laia. How are you? I'm good.

I'm good. Still got the three jobs. Moving down to where the black folks live in L.A. real excited. Oh, yeah, you got a new apartment. Talk about it. Yeah. I'm going to moving down.

This is a new apartment you're in right now? Yeah. No, this is my mama house. but in LA I got me in a nice spot so now my parents got another bed to sleep and I got to sleep on the couch and I'm down where the black folks live where do black people live in LA just let our listeners know if they're lucky there they live in South L.A., Englewood, you know, I live, I'm living in Lamert by the drum circle and whatnot, which is kind of like really dope. It's been highly gentrified right now because that's where the stadium is and they're putting in the

train. So L.A. is it really expansion and gentrification on level three. The football stadium? Yeah, I went there to see the last Rolling Stones LA show. Yeah, and I didn't realize

they dropped that join right in the middle of the hood. Yeah, right in Englewood. The second you step off the pavement, you're definitely in Englewood.

Yes, don't you love it? As long as that people can afford to stay. Yeah. Yeah. It's, yeah,

right, right, right in the middle of it. Steve, how are you? Yes, I'm good. How are you?

Okay. Where am I? How are you? I said, yeah. I know where you are. I'm good. We can add that part out. Let your many followers know that you're good.

Yeah. Oh, yeah. Boss man. And congrats on the wish call. We forgot to congratulate the, on the Oscar. Well, the Oscars and all that,

but then the short film you did for the Jay Z join. Yeah, I can't give up. Shout to y'all, man. I need to follow you. Oh, okay. You didn't realize I directed a second film. Like, you know, you know, sometimes when, when there's a little buzz on you, then people start

And, you know, I got a call from, uh, team hove to, uh, settle. Well, the thing was is that I, I knew without something on that level, he would not come to the rock and roll hall of fame. So I told the staff, let me direct something. Okay. That will lure him to it. Without that, he wouldn't have come. He would have just, you know, phoned in his speech. Well, congrats on both then. getting both things done. All right. This is probably the longest. Wow, we've never gone to four minutes without even acknowledging our guest right now.

We haven't talked in a while. We saw our guests. We haven't talked in a long. Yeah, it's been a minute. Yeah, we ain't seen any of time. Okay. So what I will quickly say about our guest today is if I were compiling a list of the most charismatic figures. Hey.

In hip hop or maybe in music, I would. hesitate to put this gentleman, this gentleman were probably, and I'm trying to keep the quest level of hyperbole down to a minimum. He's probably, if not in my top three, maybe he's my number one most charismatic figure that I know in hip-hop. And the evidence of that for me is, and I'm going beyond hip-hop, I'm going to music. The evidence is in the 35 years that I've been fortunate enough to see him perform throughout those decades, I've never not seen him elevate any event to the highest level. Like I've never seen him walk in any situation with fear or trepidation.

And it's, and to me, like, you know, I'm a guy who we're overthinking, like, oh, I can't go out there. I, you know, they don't know who I am, whatever. Like, forget generational, forget genre. I've seen them rock with, you know, Prince, Tom Cruise, Heavy D, Chuck Brown. Like, from every genre, I've just, he's the, the most charismatic. And, you know, Snoop is charismatic. Wolf is charismatic. I can name a gazillion

Jay-Z's charismatic, but you know, this, our gentleman, our guest today is to me. The world's greatest entertainer. Yes, literally. Ladies and gentlemen, our guest today is officially

known for the and not for the her. Ladies and gentlemen, please give it up. For Doug E. Fresh on Questlove Supreme. Yes. Wow.

Wow. Hey, let me tell you, it is an honor. It is an honor. And I appreciate y'all giving me or rather having such a long delay on the introduction. Because I felt like I got caught up with all of y'all, too. And I felt like it was a family conversation. And I was able to hear it close up in person, you know, So yeah, thank you.

And thank you for having me on your show quest. I appreciate with the Supreme Team. And that name Supreme Team and hip hop, for y'all to use that name is a very powerful thing. Because back on WHBI, it was the world famous Supreme Team show. Peace Allah and justice. Yes. I heard those tapes.

Yes. I know you did. That's why, look, you are the ultimate collector. So I know that when I mentioned something like that, you would, you either know it or you would appreciate it, you know. And I appreciate you. And I appreciate you having me on your show. Thank you.

You know what? I think even though I'm going to start before that, I do believe that you are indeed. And I think about till today, you are indeed the first beatboxer the world has seen because I believe that your your cameo and Beat Street did predate the fat boys so even though you know right a lot of the world credits uh Buffy rest in peace to Buffy um that's the first beat boxer they ever seen if we really look at the timeline for all of us hip-hop heads that saw Beat Street and

1983. Right. The Disco 3, Fab Boys, didn't come out until 1984. So technically, and it's weird,

I don't think at the time, and I remember the Christmas rap from Beat Street, I think at the time, you might have been so effortless in doing what you were doing. I don't think it even registered to us that you were doing drums with your mouth.

Right. You know what I mean? Right. And it was a funny scene. It was us trying to, make people kind of laugh and feel good. But it's deep that you picked that up because I actually did the movie at the time because there was a scout who went up to Savoy Manor.

And I was performing on that show with the crash crew, Mastodon and the Deaf Committee. And I believe at that, I don't think the Force MCs was on that show at the time. But I performed there and then she gave. me a car. And when she gave me a car, there said, Beach Street on it, she said, do you want to be in a movie? Because what you're doing would be unbelievable to see in a movie. And I'm going to tell you some information. So I went there and he started to see what I do. And he was like, I don't care what I got to do. I got to get you in this movie. Now, originally, Run DMC was supposed to be

in Beach Street. What? And that's what I'm telling you. I think you, you know, I'm going to give you the pieces that I know you like. Yeah, let it go. You like this kind of stuff. This is all we live for. This is all. Yeah, I know. Well, y'all don't ran to the right.

Y'all don't ran in the right store tonight. Because this is. And by the way, and everything is free. Just by the way. Just so you know. It's free. It's just free. It's just free.

So, you know, so. Right. So, but this is how it went. I was supposed to do. When I was doing Beach Street, Harry Belafonte wanted me to do something where this thing, what the beatbox could be showcased. So what happened is run DMC and Russell came up there

and they were going to be in Beach Street. But I don't think Russell felt good about them just doing a little segment in it. He wanted them to do more. And then it was me run in the elevator and DMC. and in the room. So they started doing one of their records, the rhymes to the second album that came out.

The beat that sounded a little bit like suck emcees. I don't know the exact song, but they was saying the rhymes. That was on the King of Rock album. The next album, right, right, right. Yeah, it's the last song on side too. Right, it got the, yeah, it got like a little, it got a little kind of thing to it.

So I'm in the elevator, and we start doing it. And he said, and he looked at Russell and he said, yo, this will be crazy. We should get Doug to do the beatbox on this. And we could do this whole thing in the movie. And then we started coming up with the idea to do it. And then Harry was excited about it. But then Russell pulled out.

And after he pulled out, then he brought in Tretcherous 3. And when he brought in Tretcherous 3, treacherous three knew me as a kid. Because they knew me from going into Bobby Robinson's record shop all the time. So when they seen me, they said, hey, you know, Harry said, Mr. Belafonte said, you know, is it any way that you can have Dougie do this with you because I think this routine is unbelievable?

So if you listen to the rhyme, they mentioned me multiple times in the rhyme and said, you know, you know, that kid Dougie fresh from down the block because I really live down the block, you know what I'm saying? Oh, okay. Wow. And plus you were their label mates, too. because the... Right, right.

The original... Yeah, yeah, yeah. No, no. Just having fun came out on enjoy. But what happened is that that was after, you know, Treacherous Three was already established, but I let out just having fun. And I did the movie because at the time,

I felt like I needed to let people understand the beatbox. And I needed to do something and I started to see a lot of people trying to, you know, kind of go there with it. And in the time we grew up in hip hop, it was about being as original as possible. So if you did something, it would be considered biting. But see, biting was only considered bad

because the only way to make hip hop survive and to be pure creatively, it was necessary for you to feel that kind of pressure. So if somebody said, or a bite up. That was kind of like the worst thing that you can ever be called in your life. You know what I mean?

It was crazy. Well, okay. And the beat box was made up in 80. I introduced it in 82, but I made it up in 81. See, because I started in 81 at Harlem World. That's where I started.

And when I made it, I made it because I used to play the trumpet. And when I played the trumpet, there was a teacher of my class named Brother Lee. Brother Lee was, I went to IS 201. And Brother Lee really quick, Brother Lee was in there and he said, what do you want to play? And I pointed to the percussion and the drums. He said, well, you can't play that yet. You got to play the trumpet.

I said, well, why you ask me, Brother Lee? I mean, come on, baby, dance. And he said, he said, I understand. He said, but I want you to play the trumpet. So I took the trumpet home every day. And when I took the trumpet home, I would practice it, take the mouthpiece, boil it, do the whole thing, do all of the exercises. And then one day when I came back to school, Brother Lee was gone because they cut all the music programs in school. So I gave them the trumpet back and I was still walking home.

And when I was walking home, I would pass by the mom and pop record shots. So at that time, Grandmaster Flash had out, it was a Friday night. everybody was breaking the highs was right and I would always hear right there you go and I would always hear the baseline and when I would hear the baseline then all of a sudden I hear all of these other things so I would walk back and forth and I would just kind of try to keep adding more and more and more ideas to the beat to the point that I had maybe seven eight nine things going on at the same time. I'm up there going, and I'm going crazy now, but I'm not thinking about it, right? I'll tell you, it's true story. I'm not thinking about it. So then I go to Barry's house where we

used to practice because me and Will Barry B. Barry B. That's right. That's right. We go over there and practice because that was the practice house. Long story short, I'm in there doing the beatbox And I'm doing, I think I was doing impeach the president because it was like, right? And I'm doing impeach the president. And then all of a sudden, his mother comes in the room and say, that was a nice beat. I like that beat that was playing. And he said, Mom, that wasn't the record. That was him.

And then she said, well, whatever it was, it was a nice beat. And then he turned around and looked at me and said, yo, you know what? You should do that in the big park tomorrow because Mike and Dave was throwing jams out in the big park. He said, yo, you should call it the human B-Pox. I said, I'm not going to do that. That's crazy. I'm not doing that. You're trying to make me look crazy.

He said, I'm telling me, yo, what you just did was crazy. So then I went out to the big park. And when I did it, everybody lost their mind. And that was the beginning of the B-Fox. And that was 1981? That was 182. Okay, 82. What borough did you premiere that in?

I premiered it in Harlem. I permitted in Harlem. And then after, which was a fascinating piece that I think you'll appreciate too, is that Curtis Bloch came out with 120th Street, the people land in the concrete. And it was on, you know, you know, you're right. You know, you're right. Do you know?

So what happened, craziest story. I was doing the beatbox. I was on flyers with the cold crush, busy bee, with the funky four, with fantastic, with treacherous dream feelings. Like, I'm rolling now. So now what happened is Curtis Blow was outside,

and this was the first time Harlem Week had somebody, Curtis Blow was the first hip-hop artist to perform at Harlem Week. Before that, it was never no hip-hop. So when Curtis Blow was there, they forgot to give him turntables because it wasn't normal. So I'm walking down the street.

When I'm walking down the street, they see me. No, that's Douggy fresh right there. Yo, Dougie, come over here. And Curtis said to me, he said, Dougie, is it possible for you to get on and do the beatbox for me because I have no turntables? There's no band.

The band only know how to play for whoever's getting on next. There's no CD. There was no cassette. There was nothing. And I was standing there. I was like, this is crazy. Curtis Blow is asking me to get on with him. Are you crazy?

I was like, Mr. Blow, no problem, sir. I'm ready to do that in the day. Right, so then I got on. And when I got on, Frankie Crocker was on BLS. And this is when Harlem Week was big. So it was probably like 15,000 people outside. I got on and I did the beatbox. And that was the first time Curtis Blow heard the beatbox.

And that was way before the fat voice. Okay. See, that's why I'm giving you that piece. I get it. And then I asked them later. I asked them later. I said, Kurt, when you did this and you know that I create,

you know that I did this. I said, it didn't feel a little funny what you in there doing, doing it. He said, Dougie, you know, he just asked me to come in and produce. And he said, like, it started coming. I said, I'm not mad at you. I said, I'm not mad at you.

But I'm just trying to understand. I said, did you? He said, Dougie, it was just so crazy. I was under so much pressure. I was like, I said, don't worry about it, man. I said, I just wanted to know. You know what I mean? Because if I did it for you, you called me to do it,

then it was kind of strange for me to hear that you produced the fat voice. And then the tradition in hip-hop was not about you. When you do something, see, you're trying to create your own signature. You were looking to do. And I didn't need to do the beatbox. I just, it found me. There had to be a life lesson in that, though, Doug. Don't you feel like at the end of the day since you was so young and that happened to you,

you feel like in retrospect, was there some type of life lesson in that? Yeah, you know what's interesting with the life lesson? Mm-hmm. I always feel this way, and this is the truth. I say to myself, if the music program was never cut at IS 201, and Brother Lee was no longer there, would I have created the beatbox? I don't know. And then on top of that, what's really fascinating is Brother Lee.

Later on I found out is Malcolm Lee's father. What? And on top of that, brother Lee is also a jazz musician whose brother is Spike Lee. Yes, I know he was a father. Bill Lee. Billy was your teacher? No, his brother, right? His brother was brother.

Oh, yes, George, right? Malcolm Lee's father was my music teacher. And then guess what? When I made my records and I came out, I found out, I said, I got to talk to Brother Lee. He's going to ask you about that, the tar, though. What was you going to say? Well, about the trumpet. About the trumpet.

Yeah, the trumpet. I'm sorry about the trumpet. Yeah, the trumpet. I said, Brother Lee, I'm getting ready to perform at Madison Square Garden. I said, I want you to know that I made up this thing called the beatbox. And I made it up because of you having me play the tree. trumpet. And I said, you know, I want you to perform with me at the garden. He said, Dougie, I'm so proud of you. He said, but man, I don't know if I can handle performing at

the garden. He was a jazz musician. He said, that might be too much for me. I said, well, I just want you to know that what you did and what happened from the way all of these things landed, turn this thing into something that in hip-hop we call the fifth element. And I just want you to know that you are the reason or one of the reasons how this thing became what it is. And it was the deepest thing in the world. And then I wound up working with his son Malcolm on Girl Trip. And it's fascinating how all this ties together. I have a theory, especially in hip-hop. Those who pioneer, those who go first, really never get the glory. those who go second

always get the shine. So, yes, I think in this case, because we technically think of you as the second, you also improved on beatboxing, even though you were the first,

and even though you came out with a single, the original human beat box, whatever. Right. I still say that, you know, it's a good thing you came second

because, I don't know why, but it's just like, you know, Marley Marl started the noise thing, but then the bomb squad came in and really started the noise thing. They went there. Right.

Right. Right. Right. Beast East East First white rappers. And yeah, they had success, but Eminem really, like, whoever does it second in hip-hop always capitalizes it better. 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 fourth. 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 what you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco,

joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story.

This began a years-long court battle to prove the truth. You doctored this particular test twice in someone, correct? I doctored the test once. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. they would uncover a disturbing pattern. Two more men who'd been through the same thing.

Greg, a lesbian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at

Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends.

I'm Anna Sinfield. And in this new season of The Girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands.

I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the IHart Radio app, Apple Podcasts, or wherever you get your podcasts. Everyone, I'm Ago Vodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network.

It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up-and-coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah.

He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah. It would not be.

Right, it wouldn't be that. There's a lot in luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. We got to start from the beginning. First of all, where were you born? Where were you born? I was born here in the U.S., but as a kid, I was taken back and forth to Barbados. So it's kind of like you would consider it kind of like a dual-did-citizenship in a kind of a way.

You know, because as a kid, that's how my parents kind of moved. And then my grandfather's from Trinidad and my grandma's from Barbados. So they didn't know whether I should stay in Barbados or should I be in. So then I'll ask you then, when people are asking you about the origins of hip hop and being as though a lot of the first generation of that culture came from the, islands do you do you what is your true belief on where hip hop was born is it the bronx or do we have to say that technically you know the composites of all the residents of the islands that's where it was born and what are you seeing on these islands that lead you because something's happening there

that's bringing it to america so right right it's a very interesting question question. Well, my sister introduced me to hip hop here in the U.S. But my family was so diverse in their music selection that it made it easy for me to take Soka, reggae, and GoGo, and R&B and all of these other music. And it just, it was just one of these things where you're, you're influenced by all of these things. But in the form of hip hop in the way that I learned it because I am the first child of the first generation in hip hop, meaning that I am the beginning of like all of these people that came before me. I learned from DJ Hollywood.

So my sister came home and said, there's this guy named DJ Hollywood who's rapping. I said, let me hear what he say. She said he go ringa dinga ding the dong, the dong, dong, dong, the dang, da dang, to think the dong dong to the hip hop, she walked about before anything I've ever hurt and when she told me, say it again, say it again. And I'm trying to catch it. Then my brother brought in a tape

with Grandma's The Flash and the Furies 5. And when he brought these pieces in, and then my family lived in the Bronx and also in Harlem. So the point I'm making is that in the form that I learned hip hop here, meaning like, I think the influence goes back way further than we really understand. But the pieces that I learned from watching Hollywood, watching Lovebug Starsky, being able to sit on the side of the stage at Harlem World when busy the battle, Kumodee, being there in the contest, I was in that contest in 81.

So we were taking all of these elements as far as like where did it originate. It originated in Harlem. It originated in the Bronx. It originated in Brooklyn. There was movements going on all over. Do you guys attribute, as we, since we have some historians here, I'm curious. I'm like, do you attribute any of this to like Scatton at all? Or do you just go straight to the?

Well, that's why I'm saying on the levels. Because, see, if you're looking at it on the levels that I'm talking about, You could say Calypso and Soca are original storytellers. You can say Yellow Man and Nicodemus. And you can go back even further than that, but just use them as a blueprint. I'm getting married in the morning. You know, like all of these different pieces

is what made up what we do. And then even, and this is my experience, you know, that I seen all of these elements come together and they were influencing me whenever I will go to a certain borough. In the Bronx, I would get a particular kind of hip-hop. When I'm in Harlem, I watch Hollywood burn the Apollo down. See, Hollywood is the architect of crowd participation. And I learned I learned the skill directly from him. So I know I I know things about it that nobody, you will never know this because it doesn't exist.

And he had it. He gave it to me. And I understand the dynamics of it that like maybe another kid might not. Like Batman Scoop grew up watching me. So he understands some of the dynamics of it. So what I'm saying is that it just kept evolving because everybody was doing it in their own experience. So I can only respond to the experience that I had, but I was in all of the boroughs, most of the boroughs, studying it, you know? Okay. So that leads me to what I said at the top of the show, which is the thing that I admire and the thing that I want to learn from you the most, Tariq actually learned this from you.

you have a way of commanding the crowd that's not forced because usually in hip hop people have to at least the the motorso operandi yeah the modus operandi rule is basically like come at full 12,000 percent yelling

and like the the idea of what you imagine like Freddie Fox to be like chew off the microphone but you but you

okay so the thing that made me pay attention to your your crowd control and the thing is is like the one level that I lack in my life journey is the ability to really communicate in a way that I'm not in my head

like you know because this is a thing like right before I address a crowd or whatever suddenly I'm in my head like oh man I don't look like a nut out here so what I want to know is I'm certain now that this is like your fourth decade in the industry that now you just do it out off a muscle memory. Like you know how to capture the crowd. But in those first 10 years, like even without the show and lotty-dottie, like in those first 10 years, how are you psyching yourself up?

Because you to me are like hip-hop's true version. I've seen most deaf do this also. you're the true version of like when when I watch a comedian do crowd work you know right even without a single without a song you walk on the stage you know how to engage the crowd how to talk to them things to do and it always works like right you see you learned it from holly but but for the first 10 years like the first five years say you know okay right before the show 84 you're doing crowd work like what are you saying to yourself before like are you ever nervous in any situation like,

oh, damn, who I got tonight? A bunch of white people at a corporate party. Like, how do I do this? Wow, right. I remember we did that. We did a corporate party together one time. I remember that time. There's no crowd you can't rock.

So what is your, what is your motivational? I need the motivational talk on how you deal with crowd work. And why do you do it so well? I used to host the Apollo. When a singer come out and he sing and I watched him practice before he got on, he'll be like this. I believe it.

He's singing the notes and everything is tight. He's pitch is perfect. When the showtime start and he walks out there, I believe it. And the audience boom, right before he even finish it. It's because they feel the frequency of fear. And when they smell it and they feel it, they automatically get out of here, man. You don't hear. You don't believe it.

You don't believe it. You don't believe it. Get out. Yo, who's next? Now, if it's a little kid, if it's a little kid, it's fascinating. Little kid get up there and he'll be like, I believe. They'd be like, all right, come on, Shorty, you're going to do it. Let's go.

Yeah, yeah. It's encouragement because he's a younger kid. You see what I'm saying? And they don't want to boo him because they want to build him up to become as great as they see him having the confidence at least get up on that stage. But if it's a person who is giving him. Like coming up there and you start singing and they feel fear, the frequency automatically makes them boo. So through these little lessons, I advanced the technology that I learned from Hollywood.

And I learned from Love Buck and Busy Bee. And I was able to change. I guess like you said, I played with it so much that I don't even think about the frequency. I feel the frequency. and I just respond to the frequency or I make the frequency what I wanted to be. What you wanted to be.

Right. And I'm and I bring you to that frequency. You see what I'm saying? It's interesting. Can you tell us what you feel like in your body as this is going on? Like are in your body the whole time? How do you talk yourself out of fear?

Okay. All right. Or do that. No, no, for real. All right. That's a good. That's a good. That's a great question.

As of this taping, as it is taping, Tariq has left the Tonight Show for four months. So, thus forcing me in a position where I have to address the audience, something I hate doing. I don't know if it's that I feel Hollywood or feel, you know, like, ladies and gentlemen, welcome to the Roots. Well, see, that's the part right there. That's the part right there where it goes wrong. See, the fear is because you're doing something and being. something that's not as authentic as you. So the key is to be you and to be you as best,

like be you and enjoy being you and don't make it like you're trying to fit into something and replace it. Don't replace anything. Just be you. And the energy is so honest that people will feel that frequency and they will accept it and make it what it is.

Like your conversation now is so real that it's making me respond to you like I'm responding because I can feel what you're saying. And because I feel it, it makes me talk to you like this. And that is the same thing you have to do. And fear comes from your thinking. Don't think. Feel it.

and be you. When you think that's where fear lives. Fear live in thought. Fear can't exist when it's just pure energy and truth. See, fear and truth can't, fear and truth can never be in the same room together. Because truth exposes fear. You see what I'm saying?

So as much as you be yourself, fear can't be around. Like right now, I'm telling y'all the truth. And it doesn't matter to me how you feel about my truth because it's truth. Now, if I was fearful, it's because I want you to feel a particular way about me. But I'm not concerned with your feelings right now. I'm only concerned with making sure you feel the truth.

And when you feel the truth, you can determine how you feel about me. You may like me. You may not. But guess what? You know what you're going to get when you deal with me. You understand? The truth. Right.

And I'm saying it in this way to make you understand that your truth is good. Your truth is good. And you don't, like, he, that's, that's his space. But your space is, you know, you're coming from a completely different space. And that space you're coming from, it's a good space. You just don't know it because you haven't been using it. You understand what I'm saying? I'm being forced to use it right now.

So we will see how it goes until March. A win is a win. A win is a win. I don't care what I'm 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. 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 what you need to be. Listen to the Clifford show on the IHeart radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects, from hidden traits teams look for to the biggest mistakes franchises make to the

players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former Bachelor star Clayton Eckerd, found himself at the center of a paternity scandal.

The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg Gillespie and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges.

This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the I Heart Ruff. radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends.

I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands.

I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts.

I'm Ego Wode. My next guest, you know from Stepbrothers, Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with him one day, and I was like, and dad, I think I want to really give this a shot.

I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place they come, look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much. luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit.

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Yeah. Listen to thanks, Dad, on the Iheart radio app, Apple Podcast, or wherever you get your podcast. I feel like at some point, even for Dougie Fresh, there's an energy in your body that you may have to either suppress for the moment or figure, you know what I mean? Like it's something different going on in here sometimes than out there to get to what they need, but give them what they need.

Right. You're always, you know, the reason why the energy is not bothering me because my level of focus is on what I want. And what I want is I want to save a life. I want to fix this problem. See, what happens is this. When people are dealing, and this is fascinating how this all ties in together.

Because, see, when a person panics, the panic stops them from making a decision that they would have made if they didn't panic. So if a person can focus on what they're doing, panic can't get in because you're focused on what you're doing. Now, you'll feel things. Panic could be at the door knocking, but you're focused. And it's part of, I guess, a technique. Like, even like when I work out, right, say I run.

I run and I don't use no music. And sometimes what I do is when I'm running, I'm taking my mind and I'm focusing on something and I'm training it to focus on that. And you know how to mind work. There's always a new thought that come in. Even when somebody's talking to you, there's a new thought. But I train my mind to block all the things and I am focused on that. And when I'm ready, I will let you tell me what I will let and I'm, I hope I ain't bugging y'all

out. But I'm, I will, I will decide when I want that thought to come in and I decide if I want that thought or use that thought because the focus is what is what I'm looking at. And in order for me to be effective at that thing that I'm doing, I have to stay focused. If I'm performing and something is going on, and I'm not focused on the audience, let's say. I'm too divided. You know what I mean?

I'm trying to, you know, get this happening. I'm trying to get my man in the club. I'm trying to make sure my girl is situated. I'm trying to make sure, yo, yo, yo, yo, sound man. Like, it's too much. So if you're able to take and focus on something, the impact of it is powerful. And then when you're focused on it

and you train your mind to think like that, then what happens is that there's no fear in it because you're focused and there's no panic because that thing you're focused on is the only thing that matter. Are you big on meditation? I was about to say a mirror sound like what we talk about. I don't have no problems with it.

But I guess in a form, I do kind of, I guess it's like a form of meditation. Because when I'm running, I may be running for 70 minutes, 60 minutes, 90 minutes. And every time my mind is trying to take me someplace else, I'd be like, no, no, no, no, we're staying here. That isn't, yeah, you're doing it. I keep grabbing it and I put it right back. I go like this, no, right here. And then I practice it so much to the point that people don't know how hard it is to think about the same

thing for 10 minutes with any interruptions, just 10 minutes. If they try to meditate, they know it ain't, it's, yeah, yeah. Oh, that's what it's, yeah, yeah. Yeah, yeah. So, so I kind of incorporate that in a lot of things because I feel like fear is not real, but it's real to you when you're going through it. So if I'm able to, you know, control the outcome by my focus, then fear can't get in there.

So if I'm dealing with a situation like City College, if I'm dealing with a situation where I see somebody who got shot at a club or a family member, instead of me panicking, I'm focused. And I deal with that. And I'm so focused that I'm not allowing nothing to stop me. And anybody that's giving me anything, I can hear when it's something I need.

But if it's, ah, oh my God, I guess, I don't need that. You know, meaning like, if you said, though, Doug, I got a ride for so-and-so. I can hear you, and I would grab the person and put them in the ride. So it's a focus, but being able to understand what's necessary. I don't know if I went too far with this, but I mean, no. It's a near fool.

Yeah, question. for you, Doug, because you, um, you know, in terms of your faith, because we, um, know that you've been involved with like Scientology for a while, is that having that kind of focus? Is that something that, you know, you learned in that faith? How does that help you as an entertainer? It's funny. That's a, that's a real good question, bro. You know what? I didn't get that from Scientology. I discovered it from just running, you know, and I'm running. Like, my running is the thing I love to do. You know, so when I'm running, I started. to discover how my mind is all over the place trying to keep itself busy because I'm trying,

you know, you're running and you're trying to breathe. And so, so all of a sudden, I say, yo, the mind is panicking. Yo, doggie, why are you pushing me like this? Yo, you know this is too heavy. Don't why you got me? And then I'll go like this, shut up, bro. Like, let's say, shut up, shut up, shut up. be like, all right, then I'll be like, we're doing this right here.

And now I want you to relax, don't panic, and breathe. And not to the degree to say, if I needed to slow down, you slow down. But don't panic. See, that's the part. That piece right there. Don't panic. You see what I'm saying? I was going to say, a good buddy of mine.

is actually your tour DJ. My man, DJ Skills. That's my guy. Oh, that's a bad man. That's a bad man. Oh, yeah, it's a bad man. Yeah, that's what I do. And he was telling me, going out with you, he was like, yeah, Dougie, he would work out before the show.

He always tells me, he's like, yo, Doug, work out, or you run or whatever for the show. Right. And shower, kind of have your time, and then you do it. Right, right, right. He speaks highly of you, man. Well, I think when you mentioned, when we mentioned meditation earlier, what I do know is the sort of common factor, the reason why people jog, the reason why we work out, the reason, you know, I've said in past episodes about like advanced breathing techniques and sexual

activity, like anything that causes you. It's all breathing. That's right. Yes. Anything that causes you to breathe like it's your last breath, somehow your mind, your mind goes into another, which is, I know that is weird to say, I kind of want to know, I don't want to know, but I do want to know what the mind state is to a person that's about to drown

because I also believe. I almost drown. That's how I came. That's another, that's how I came up with this. As a kid, I almost drowned. I almost got a Central Park Lake. Me and two of my friends took a little boat. We took one of them little boats. We was cutting school. They talked me into it. And I jumped on the boat with him and we didn't even have or was pushing out with a little log. And then all of a sudden, he heard the siren.

So he knew he wasn't supposed to be doing nothing. So he had fear. He jumped into that water. He started swimming. And so when he jumped, the boat pushed back. Then all of a sudden, the other one was there. I said, man, I ain't jumping in that water. Come on, me and you just rode back.

And all of a sudden, he was like, yo, come on, man, come on. So his fear, he transferred it to his cousin. His cousin jumped out the boat, started swimming. Then they said, oh, come on, man, the cops are going to get us. I'm telling you, the cops are going to get you. You know, here we are young. I said, man, I don't care what he said. I'm rolling this damn boat.

So I get close to the show. I think that I'm getting, I'm close enough. He's panicking. I allowed his fear to get in me. I jumped in the water. I'm doggy paddling. I'm saying, this is close enough. I think I'm good.

And I put my feet down under me thinking that the ground was there. Oh, no. It wasn't no ground. It wasn't no ground. ground. It wasn't no ground. And I started. There's no ground, Monty. Right. Wow. I mean, when I'm, and then my men came in and he grabbed me and pulled me in, right? And when he pulled me in, I'm spinning the water up. So now, when I go to the pool,

and this is a real story, I'm over here, everybody's in the five feet, six feet, you know, summertime pool is where everybody at, girls, I'm over in the little four feet or the three feet sitting in there with my feet in the water. I'm just shook. I'm shook, like to a point. It was crazy. Then I said, I can't live my life like this. This is crazy.

I said, this is not even, this makes me feel crazy. Every time I'm getting in water, I'm shook. So then one day, I went to Hawaii to go do a show because this was going on for a while. I got in Hawaii,

and the dude was sitting out on a raft. And my man, my sound man said, yo, come swim out, man. Yo, come out here. So I said, and I said, I got to break this. I jump in the water and I swim out. I get to the raft.

He sit there, talk to me, ask me like two different things. He said, well, I got to go. I'm jumping off the raft. He jumped off the raft. And he swims back to the beach. I'm sitting there going, damn, this is crazy. I got to go all the way back now. So I jump in the water.

And I saw swimming. And when I saw swimming, I said, I stopped. And then I lay in the water and I'm floating. And I said, wow, now I get it. I said, the reason why I almost dream. ground. It's not because I can't swim. It's because I panicked. And when I panicked, it took everything out of me. It made me not think. It just made me just have so much fear. Yeah. Yeah. It took everything out of me. And I said, if I relax, if I breathe, and if I trust myself, and if I

allow this to make sure that that fear is not there, then it's not as hard. And that lesson is the lesson that I have applied in every aspect of my life. From that time that I drowned to the time that I discovered that, and then I learned that when you run, even when you breathe, most people stop running because they panic when they're breathing. Then it's getting cut short. Right.

So the key is to think and focus on the breathing. And then you relax. The same way if a person is, you know, you're going into a stressful situation. You have to relax. And then the energy will flow. And I mean, I used to say it like this too, but we're keeping it real on this little calm.

Y'all took me too level. Yes, indeed. But even if you're using the bathroom, bro, If you don't relax, you got to relax. You're right. You go. You can't go. And there's that clip, ladies

gentlemen, Dougie Fresh on Quisloaf Supreme. No, you sit there like this, you're sitting there like this, I don't want nobody to hear me. I don't want nobody to see me. And then you're like, all right, I ain't got to go. You see what I'm saying? But I'm keeping it so real, and I know y'all know it's true

that if you don't rely, you don't relax, y'all. If you don't relax, it's crazy. So that's a big part. It really is. Life lessons. Wow. Of controlling fear.

You can't control fear unless you relax. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clipper 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 Podcasts, or wherever you get your podcast. And for more behind the scenes,

follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players

flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story.

This began a years-long court battle to prove the truth. You doctored this particular test twice in so much, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing.

Greg, a lesbian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona.

Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield. And in this new season of The Girlfriends,

Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed.

I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ago Wodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent.

He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there.

Yeah. It would not be... Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. We got to get to the show eventually. I'm just growing up right now.

But I do have one question. You mentioned a legendary Harlem figure that I don't know anything about besides his record labels. But could you please, like we've heard everything about Jersey and Sugar Hill with Sylvia and Bobby the Robbins is in Jersey. But a lot of people don't know

that the Bobby Robinson that runs Enjoy Records is another Bobby Robinson. I know nothing about and, you know, I'm a fan of the godfather of Harlem and Bobby Robinson's character. Oh, he's in this season?

Yeah, he's been yeah Bobby Robinson's sort of been a figure in the first and the second season he owns a local record store obviously Oh okay I saw the first season I didn't see too I didn't see right so obviously you know like I can see like you own in a record store and then you start your label yada yada yada yada woo

But can you talk about Bobby Robinson and what he meant to the community of Harlem like and your dealings with him What was he like? Bobby Robinson was a very mild-mannered low-key community-friendly guy who was not a very big guy, but he was a guy that all of us respected because he had his own record shop.

He would go to his record shop. He had the mom-and-pop record shop and you would hear everything that came out from the treacherous street, from the fearless, from cool cow, from anybody, from funky, and he was the first guy out there doing it. But the problem is that in the community, Bobby Robinson was also known as a guy who did not pay,

and he did not pay no rappers. So when I did the deal with him, I got some money up front from him because I knew, based on the history of what he did with the Tretcher. I used to sit in Bobby Robinson record shop and watch Tretcher's Three come in there. And L.A. would be like, yo, we're Bobby, man.

I'm looking for my money, man. I would watch Mo Dee coming and goes, Bobby in here. Yo, where's he at? And I would watch how people respected Bobby because he was the guy who looked like he knew more than us. We were kids. But it looked like he didn't either explain what was going on

or he was doing things and didn't really come clean. on what he was doing. You understand? Okay. Okay, so, okay, so, 1988, and I get a deal

with Enjoy Records. What, how's the deal brokered? Like, what is an okay or fair deal for Enjoy Records? Are you giving me,

and you're Bobby Robinson, are you giving me, and my crew, like, $500 to do one side? Or, like, what's, what kind of deal

my striking with you, if you're Bobby Robinson. I want to make a rap record. Bobby Robinson is not giving you a deal where you really know what you're going to get. You might get 10 cent of record. You might get 12 cents a record or 15 cents a record, but he is not sitting down with a lawyer

and going through a deal with you. He knows you're a hungry young kid who could rap, and he's just trying to put the record out. And he's saying, yo, here, sign this. And we're going to work it out. and there's no way for you to take account to how many records he sold because he's selling him out the trunk

or he's passing him around as to mom and pop distribution. Bobby Robinson was a guy that, for me, I watched every hip-hop artist that he had signed from Grandmaster Flash to Funky 4 to Treacherous 3 and Fearless 4. I watch all of them. He had them all,

and he never dealt with them in a way that they felt confident that they were going to get compensated for their music. And with me, I just did one single with them, two-sided, because I did get fresh dug on the other side because I needed to have something out because I seen what was going on in regards to people believing that I might have got it from fat boys, which originally was disco three.

So when I got with him, it was only for strategic purposes. It wasn't, I knew that Bobby Robinson was not a guy that would pay you. And he was not a guy that you could see yourself making money with it. So you went within joy just so that you could stop the bleeding of the fat boys being the sole creators of the B-box. Like I got to get in the, okay, I get it now. Right, right. So I strategically, I said, if I hit him,

with the movie, if I hit them with just having fun and get fresh duck because remember I said, for all the sounds, you be boxers are doing all you bit from me, I should be suing. Some say yea, where they should be going from the time you hear this rhyme, your career is ruined.

That's the way I opened it up. You know what I mean? And then, and so once I did that, it was to make people know. And then out in Long Island, in 82, I met Biz. And then I would have Biz with me everywhere because Biz was coming to my house.

And he was going to the store for my mother. He was going to store for my grandmother. And he was up under me because he was trying to learn the beatbox. So I had him there. You taught bees how to beat box? Yes, Biz is one of the members, the first members of the Get Fresh Crow. Did not know this. He forgot to tell us that biz.

You forgot to tell us that biz. Yes and peace. Yeah, that's my brother. I love him. He's on this new album that I just let out. Yeah, the last verse from Venice. That was one of our last time together. Wow.

And then he's family. You know what I mean? So, and then eventually, and then it got a little weird because he's trying to do the beatbox. I'm doing it. And I'm like, yo, biz, you know, you're biting straight up. I can't let you do that, bro.

And then he's all right, all right, all right. And then that's when he went to Magic, but I was with Magic first. But Magic was trying to get me to battle everybody. So I didn't like that. I didn't like how Magic were trying to get me to go in there and battle every single person that he had that he didn't like. Because he was getting high at the time. And he wasn't the same Mr. Magic from W.HBI. You know what I mean?

Doug, one more enjoyed error question that I got to know about. you know, because I come from a lineage of musicianship, you know, and all respect to Keith LeBlancin and Doug Winbush of Sugar Hill. You're talking about pumpkin, baby. But I gotta know about pumpkin. So for our listeners that don't know pumpkin, pumpkin was the, you know,

for Keith LeBlancin and Doug Winbush to be the house band of Sugar Hill Records, over at Enjoy Records, up in Harlem. Right. The leader was Pumpkin, the drummer. And, you know, if you're, if you're a beathead, you know, if you collect records, then his interpolation of Tower Power squid cakes was done, I think even better. You know, I prefer love rap by Spoonie G that break more than the original break that it should have came from. Can you tell me anything about, I didn't know nothing about pumpkin.

What was he like? Let me tell you about the original Pumpkin. Right, right, right, right. Pumpkin. Pumpkin was unbelievable. One day, and this is what happened with Bobby Robinson, and this is what made me do it like I did it.

Pumpkin was in there, and I told him a beat. I wanted him to play. He played a beat. He'll go to the keyboards. I'll say, give me this sound. He'll go in there, he'll pick up the sound. If you needed him to play the bass and grab the bass, Put that in there. Pumpkin was like a one man.

And what happened, and if you listen to love rap, when it's going, that beat. And then if you hear in the bat, you hear the percussion, that's Spoonie G's brother. And his name is Pucci. All of them little cooosci was his brother? Pucci is Spoonie G's brother. I never knew that.

Be, this thing runs so deep. But Pumpkin, and before Pumpkin passed, Pumpkin came to the studio and he kept saying, Dougie, let me play a beat for you tonight. Come on, Dougie, me and you, let's go back to back, let's do a beat. And in the middle of everything going on, before me and it were able to get together, he passed away. But Pumpkin was a guy that,

that's why he did the song, Pumpkin and the All-Stars. Yeah. We remember that one. Because Pumpkin, and if you have- What's just singing that? Oh, that was his kid named Fly, Fly Tide. I thought he was Michael Jackson. We ought to fucking.

That's crazy. Wow. Wow. Look, look, Pumpkin was, pumpkin was honestly as a drummer, as a musician. He was a guy that you could tell your ideas to, and he would be able to, give you the idea just like you wanted it and add some things that was really, really good.

So my first record I was going to do was a song with Pumpkin, but we never got to finish it. I was going to say, because if it wasn't for Pumpkin passing away, would you have worked with Teddy Riley for the show in 1985? If Pumpkin were still alive, would you go on the pumpkin instead of Teddy Riley? I would have probably went to Pumpkin, but also I was teaching Teddy about hip hop because

Teddy was from the church. He's a church kid, yeah. Right, so we used to cut school, and that's when I introduced him to swing. And that was the beginning of it because the drums, you know, let me talk to you as a producer

now. Like on the DX or the DMX, The button in the back would determine how much swing that you put into a beat. If I'm going, that's swinging. Run DMC's beat used to be like, not, it's more like, like action. So what I brought was so that swing, that swing, that swing. And I did it because Greg, Greg G from the disco four, owe me some money because I did a show for him because he was a promoter on the side.

And because he owed me money, he lent all of his equipment to Teddy. And when he lent it to Teddy, he said, yo, man, I ain't got the money right now. But Joe, if you want to work on your music and you want to get your joint done, yo, I got the equipment over there at Teddy's house. I said, really? He said, yeah. So I went over there. Teddy had all of his equipment over there.

And right over there is when I started to make up the pattern of this show, the drums. And that's when I hit that shaker and I'm not when, huh? How many tracks were you like what equipment made the show? I used the DX drum machine and I use a series of keyboards because my manager was the one in the studio that played everything. because it's just a complicated story, man. But, but, you know, but the truth of the matter is that I know that the show would have never became what it is if I didn't have Teddy there to be able to express my ideas the way that I expressed them. You know what I mean? I was going to say the show is one of the.

the most unusual formatted songs I've ever heard because if you really break down the show the show is almost like it's almost like

I wouldn't say interludes but I would almost say seven vignettes because nothing nothing repeats twice like the here we go here we go come on come it's almost like it's like a bunch of hooks all jammed together could be a hook right every four bars

And I know you guys aren't dealing with like pro tools. And okay, cut these four bars. So it's almost like I feel like you had to map out that entire song. How were y'all sequenced in this shit? Yeah. I did. I did. I went over there.

I sat down and this is when I first learned how to count the bars and arrange it. So I sat down and I arranged the whole thing. And when I arranged it, I went over there's house after I made up the track. Because this is how y'all don't understand this because y'all have me. musicians and y'all know the game, you go there, you feel the music and you make it up. After you make it up, I would take the tape home and then I would, you know, play around with it. I'll go to Wells House, Barry's House, then I'll come back and say, I like this, I like this. And so I just structured it where I want the horn to hit here.

I want this to be it. And I learned how to structure it based on how many bars everything was on the song. And then after it was all done. I had to go back and program the drums so I can separate all of these pieces. So you were cutting and pacing? No, I just programmed it like that. Teddy, I told Teddy what I wanted to do. And he knew how to work the equipment.

And so he sat down and whatever I was asking him to do, he would do it. I'll say, like Teddy was the one who came up with the drum roll. So, so, because I was doing a drum roll and a mind was cool, but then, and he heard mine, and it was, and his is like a combination of what I was doing and what he added to it, which made it better. So the other part that any contribution that anybody was trying to make to the song, if it felt good and if it worked, it didn't matter who came up with it. It was about making this thing as hot as it could be. Like when I hit the shaker, I hit the shaker by accident because I was looking for something else. And then when I hit the shaker, I just started to, you know, because I'm doing the bead box and all of that.

I started, I started really moving it. And then when I was working with the drum machine, Teddy, I said, I want swinging it. And he was like, okay. And he put a little, I said, no, I got to swing harder than that. And then he starts to know, I got to swing harder than that. I said, that's it right there. That's swing. and nobody was using it.

Man, not like that. I'm going to tell you to be alive and of age in 1985, I'm probably the last human that got on the train of the show right before it took off because I spent the entire summer of 1985 in California where it was. was all about Toddy T's batteram. The batteram. I remember the batteram. Right.

Yeah. So. I remember that. I remember that. Like, yeah, my cousins, my cousins were bangers, but,

like, and literally, that's all, you only heard batteram. So to spend June, July, and August in California, in,

in Altadena, Pasadena, with my teenage cousins, only hearing batteram. I come back. home to Philly. And this is, this is how I know that 1985 was probably the last regional year for hip hop.

Where like only regions, you only dealt with their regions and it wasn't like fully national yet. And I got home and saw, you know, my plane landed like three, four in the afternoon, got home. And I remember like talking to the kids on the block. And I just knew.

I was up on something that they weren't up on. And I was like, yo, y'all know about Bataram? Now, I'm from Philly. Right. They looked at me like I was an alien. They're like, what the hell is a Bataram? I'm like, y'all are a Bataram? You can't stop.

I'm singing the first verse and everything. They just looked at me like, it was like the block was laughing at me. They're like, nah, we only know about the show and Lottie Dottie. And I was like, the, what? Did not know about this. Literally, this is like two days before school started. And they told me, nah, this is, this has been number one on Power 99 for three months in a row. Like, that's the last time I felt so late on something that the whole world was up one.

You still had till 191 to get back on it again because I was going to say, did the New Jack City? I wanted to know the story between on the New Jack City situation and how it became kind of that scene and in that movie and how you even. allowed them to use it. Yeah, because I felt like when it came back and the Njax City, it just gave it a new life. Yeah, I mean, the show never done. No, I know, but it gave it more. Yeah, no doubt, no doubt.

Yeah. A win is a win. A win is a win. I don't care what I'm 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. 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 Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects, from hidden traits teams look for to the biggest mistakes franchises make to the players

flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the second. of a paternity scandal.

The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice, Ms. Sondland's, correct? I doctored the test once. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian. end, Michael Marantini. My mind was blown.

I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands.

I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts.

I'm Ago Wadam. My next guest, you know from Stepbrothers, Anchorman, Saturday Night Live and the Big Money Players Network, it's Will Ferrell. Woo, woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings.

I'm working my way up through, and I know it's a place they come, look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. and he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall

and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

For starters, I guess we should ask you, how did you hook up with Slick Rick to start this group? Well, that's an interesting question because Slick Rick was, well, he wasn't Slick Rick. He was Ricky D. Right. He was Ricky D. And he was with his crew that, man, got, you asked some questions, man. The Cango crew, right? Well, yeah, it was the can go crew, but where I seen him, see, the can go crew was in his school. Okay. Where he was doing his thing was up at the cadet club in the Bronx.

Now, Rick was moving around with different guys trying to get his hip-hop thing going on. And there was a guy named Donald D, and there was another dude named June Love. Wait, the Donald D down with Ice-Tee, Donald D. Does rhyme syndicate? No, no, this is another guy and he calls himself now, Dandy Darn, he's still alive, right? But it was these three guys. Me and Tito was hanging out one night.

Tito came by my house from the Fearless Four. And we hung out and we went uptown and they had an MC contest. Now, I was known to take a lot of MC contest because my style was basically the new thing with the beatbox. I'm rhyming. It's crowd participation.

I'm dancing. It's Harlem. It's a whole other thing. There's melody. So it was a new dimension of hip hop coming in. Long story short, me and Tito got on and the girls love Tito. So it was like a, it was like, let's go get this money, Tito. But then they said we couldn't be in it because they looked at him as a professional

and they looked at me as a professional even though I didn't have a record out at the time. Nothing major. But this is, so Rick, June Love, and Donald D. was in the contest. So when they was in the contest, the Cold Crush brothers was in the contest, too. So this is how the story go. I was there watching Rick, watching June and watching them. I said, yo, these dudes is nice. I said, yo, yo, Tito, look at me nice.

He was like, yeah, yeah, and Tila Rock was up there. And he's like, yeah, you know, it's yours, you know. Yes, sir. That's a whole other story. Right, that's a whole other story. we up there and all of a sudden say, y'all, I heard Rick. And so the rhyme that you're hearing him say on the show

was the rhyme that I heard me say in the contest. And so when he said that rhyme in the contest, I said, yo, the kid is nice. Said the kid Donald D. was rhyming about a beef patty. And when he bought the beef patty, they burned it and they flipped it on the other side and gave it to him and they tried to hide it.

You know what I'm saying? And he wrote a rhyme about the beef bag. I was like, yo, these dudes is ill. Because I haven't heard nobody rhyme like like this, you know? Long story. short, June Love's style, June Love was going to team up with Greg Nice. June Love got murdered. So the style that you hear Greg Nice rhyme in is June Love's style. Okay.

So the Greg Nice style of the fan, man, man, been, man, that is based on June Love? June Love, right. And June Love was a part of Kango Crew. Okay. You follow on me? Wow. Got it. I'm trying to...

And then another beat boxer, Greg Nice. Right, but Greg Nice was also under my guidance because the fearless for, he wanted to do the beatbox for the fearless for because they wanted something to balance out what they wasn't doing. And because I rhymed to the beatboxer. So Greg Nice was another piece that he was going with fearless for. So that's my man, all that. But I'm just telling you, he started to transition into the June Love style

because he was going to do the beatbox for June Love. And when June Love lost his life, Greg basically took the style and then he went forward with it. So while all that was going on, Rick seeing me get on and then I'm doing parties throughout the whole city. So everywhere I go, Rick is like, yo, Dougie Fresh, man. Yo, you think you could put me on with you?

I said, yo, I got to hear. you, man, I got here out night, you know, see if you're good. Whatever, you know, I said, yo, you seem like a cool dude. He said, yeah, man, my name is Ricky D, man. I said, yeah, I see him downtown, man, that rhyme. You said, was kind of slick. He said, yeah, man, I'm nice. So I would go all of these different places, and I would see him.

He would be pressing me. Like, everywhere I go, I'm in the door. He's like, yo, Doug, put me on. I get off stage. And then he'll be standing there. He'd be like, yo, I see you get on, man. Yo, you think we could go back on? You can put me on with you?

And I'll be like, I can't do that, man. I just got off. And one day I'm going down the hill at Combat Avenue in Harlem. And I see him on the phone. I don't know how he was on the corner on a phone while I'm walking down the hill. The odds is like a billion to one. I take him over to Will's house. I got this little drum machine, the RX7, that I got from OC from Fearless Sport,

one of his DJ because it was Crazy Eddie in OC. OC was trying to sell me the drum machine. So, you know, when you were broke, you're trying to borrow somebody drum machine and trying to get as most out of it as you can. And then, you know, you got to, you know, they stress you, then you give it back. You know how that was.

So, yeah, so Rick came over. And I said, yo, Rick, come over to the house, man. And then right then and then is when I say, yo, let me see what you got. So I got on, a couple of the dudes got on. And that was the day that he. started Lottie Dottie. And when he said it,

he couldn't even finish the rhyme because we was laughing for at least an hour. I mean, it was like, yo, let me tell you something, bro. Rick was so goddamn funny. I'm talking about like he was hilarious. I mean, to the point that we're all in there holding our stomach,

he can't finish the rhyme. Then all of a sudden, out the end of the rhyme, he said, I told you I was nice. I told you I was. Wait, are there any other takes of Lottie Dottie that we've not heard? Because it's just you two. Yeah, there's a couple.

Are there alternative takes of it? No, no, we, what we did on wax was when we made that, that was because my manage at the time say, yo, why don't y'all do that thing called Lottie Dottie that all the kids are talking about in the street? because Lottie Dottie was created in 84. And what I did is when I heard the rhyme, I said, yo, this rhyme would be crazy. If I did the beatbox and I just come in with different words

and I changed the beat so that it doesn't get boring. And I say, yeah, this will be good. And then all of us, and I said, and then he was excited. I said, and we could take all the rap contests. He was like, yeah, yeah, that's what I want. Because he felt that he got jerked when he was. at the cadet court because they didn't, they didn't win. Right.

So he had this big thing on his shoulder saying, I'm taking every contest. So then we started going around in the city, just taking every contest. And then when we did it on record, we took out the second part to Lottie Dottie because we mentioned Vanessa Williams. Oh, yeah, hold me, let me go into you told me. Wait a minute. God, this is like the rabbit hole of life. I just got to, do you have any of those tapes from,

okay, I'm coming to your crib. Of course, of course. Of course. More than a 12 inch, there was, there was, again, Philadelphia, there was a dude, my go-to cheese steak guy. Every Sunday, my go-to cheese steak guy. I love it. He would have, he would have, like, he had cousins from New York that always put him on to, like, those T-Connection tapes and those Harlem World tapes.

So when I'm, you know, Sunday after church, my routine, I get a cheese steak after church, and he's always playing some live, whatever. And one of these Sundays, he had, like, much to my mom's dismay. This is the first time I'm here and treat her like a prostitute, a live version. Right, right. And I snuck back. I was like, Mom, I'm gonna get some potato chips. I'm gonna get some potato chips. I was hit back. And I snuck up to him.

I said, and I had one of those, like my mom's, you know, you always record over your mom's tapes or whatever. And I had like one of her old got, like one of the gospel tapes that she just walked from church. It was like, yo, can you, can you make me go to this and I'll be back tomorrow for lunch? And I lived with, it's a live version of you two just doing your whole routine. and I studied that shit to the tape pop. It popped and I never got I got to get that back again.

But, yo, yo, that's crazy. You're saying that. I mean, you know, see, when we treat them like a prostitute, we were already doing that and that was going to be the next thing we was going to let out and some other things that we had, right?

But was crazy is when I heard Jay and them do it with the beat, it changed the whole vibe of it. It wasn't like the same. Oh, it wasn't the same. Yeah. Like, I'm probably the only person that like, when I heard it, I was like, oh, man, I don't want it with music.

I want it with Dougie. Right, right, right, right. But, you know, it's crazy. It's real like that. And that's interesting because, like I said, about frequency. Going back to that, it was a matching of a frequency. You see? See, when you're doing the beatbox, people think it's easy or simple.

It's like the way you, if you're playing the drums, You're playing to align your spirit with the person that you're playing for. You're not playing like a drum machine. You're playing like a spirit. So when they're doing this and that, you got a flow. So what lotti-dadi is, it's the match to match him and to move with him and to make him be the best he can be. It wasn't about me.

It was about how can we make this be the best? And I had to match the way the energy move. If I don't match the way the energy move, you're just liking me. But I don't just want you to like me. I want you to like what's going on. I want you to feel it. So it has to move.

You know what I mean? And that's how, that's the reason why I treat them like a prostitute live is better than the drum machine. She. Yes, it is. How, okay, so by September, first of all, let me just declare that I probably think that the show Laity Dottie is one of the greatest 12 inches of all time for any facts.

I'm afraid to ask. I pray the answers, yes. I hope you still own your publishing for Lottie, Dottie, because it's probably the most sampled song in hip hop history. Yes, I do. Yes, I do. But not only do I own all of the publishing,

I made sure Rick owns his publishing. And the other side of the story, which only a Quest love and the Supreme Team could get, is when I made the show, Quest, when I did Just Having Fun, I called it Just Having Fun, because I was learning about the studio

and I knew Bobby Robinson wasn't going to pay nobody. So I wasn't going to try to do everything that I could do with him. That was number one. Original human beatbox was with Ventatainment Records and Vincent Davis. I had an argument with him because I made the beat up

and he put that bang, bang, bang, sound in it. And it sounded like a toothpick. I hated it. Man, I love that shit. I hate it. And, you know, I'm going to tell you, I love the guitars,

but I hated that sound because I had a different idea that I felt was better and me and him got into a conflict. So that vocal was just a practice, a rough vocal on what I was getting ready to come back and do better. So then I left the studio and I started doing shows. I stacked up all my money. And when I went in there, I made the show and laity-di-dadi. And when I told Rick about the show, he said, that idea is whack. That ain't going to work. So then I said, Rick, I said, trust me.

I know what I'm talking about. The same way I told you that this beatbox thing is going to work with this routine. So then what happened, he trusted me. And we went into the studio and I made this show and I made lotty-doddy. I took it to Profile Records. Profile Records heard it. He said, this is the worst music I've ever heard. He said, who's that guy sounding like that?

and what's this little clicking sound that I keep hearing in the song? So he said it to me. And I said, who was it at profile? Was it Corey or was it Steve? It was the owner, Corey. I believe. Mike Corey, Corey Robbins.

Right. So listen to this. So afterwards, I said, no problem. Now, I paid all the money. I spent 10, I had saved up 10 grand. I went to Daily Planet Studio in New York. So then after that, I went and I said, man, I got to get this record out.

So I took it to WHBI, Jerry Blood Rock, played it. And a couple of other guys, they started getting a crazy buzz. So I went to this label called Dane Your Records. Danea, yeah. Right, it was a distributed by fantasy. So when I went to him, I said, he said, yo, I want to distribute the record for you. I said, that's cool. I said, but I'm going to own it.

He said, well, I want to buy into the ownership. I think, if you want to buy into the ownership, you got to give me the money back that I spent. And then we can go from there. So then what he did is he gave me the money back. And then basically, I owned the master. And I brought him in and I gave him a piece to the master. So in 85, I was the first artist to ever own their master. You see, but I learned that because of what happened over there and enjoy.

And I watched it. So when I owned the master, then I came back and went, I gave Rick half of the publishing on the show. And we both split half of the publishing on lotti-dadi. And then from there, we moved forward. And then now- So was that reality records? Was that you? Was that your reality records?

Yeah. See, it went from, oh, oh, and by the way, and every record after that, I own the master. So it was, right. So what happened is that I was. was seeing what was going on. And, you know, I'm like around 17 years old, 18 years old, but I'm seeing that something just didn't seem right about how people are owning your master.

Like I thought that was kind of quick. And then since I spent the money, I was like, how you're going to own it? So now the record blows up. I go to Roxy. Corey is in Roxy. The record is on fire. I mean, bro, when I say fire,

I mean, fire. Yop. Yeah. So now Corey comes in there and he says, yo, could I talk to you? I said, sure. He said, yo, man, I made a mistake, man. How is you wrong?

He said, I was wrong. He said, man, this thing, I just couldn't see it coming. He said, I was just seeing run DMC. I couldn't see nothing. This was just so unusual. It was so new. It was so, I didn't know what to think. I said, bro.

I said, it ain't no problem. I was just giving you the first opportunity because you got the label. I said, it's okay. He said, yo, man, is it any way that we could do something else? Are you signing anybody? I said, well, I got a deal where I got my master's

and I'm also with the label, but it's a great deal. I got my publishing. I got the masters. I said, but maybe we could stand a row. And then after he got Dana Dan because he wanted the same label. God, wow, that makes all the fucking sense.

Sender fella, Dana Dayne with fame, that album. Yeah, the fellow Dana Day, Nightmares, all that shit. Right, right, right. Wow. And we didn't mind because Dana was a part of the family. You know what I mean? But I'm just showing you how. Sometimes, once again, it's back to that fear.

He told me my records was garbage. I was like, okay, no problem. So this leads to, my follow-up question. You two have undoubtedly created one of the, and this is not even a thing where it's like time has to pass by before we know it's a classic. Right. But it's like y'all just hit us with these two singles and then nothing else.

Now, of course, with you, like, yes, I realized that, oh, my God came out in 86. so you did come up with an album but why they came back they did sitting in my car they didn't come back they did sit in my car but like 14 years later he was going to prison yeah why did

no but even before prison what was happening with Slick Rick between 1986 and 1989 before he signed the Def Jam like why why didn't he capitalize on you know the high

as single ever. Making you guys a unit. Like was that just a one-off deal? Okay, Rick, I'll see you later. Nah, what happened was is that to the blame of us both, I felt that once again, like I said, I was already

established in the street. I was moving around. I took Will and Barry and I brought them together. And that was the first time again with two DJs DJ together at the same time. It's never been crew before the Get Fresh crew with two DJs DJed at the same time.

Get Fresh Crew is the foundation to the executionist because that, because no, I had two sets and they're playing at the same time, not you get on after me. So I was really always trying to push something new. The beat box was new. I had my guys there. I brought Rick in here. And what happened with me and Rick was, you know, I felt that he was accusing me of doing something that I didn't do.

He was accusing me of not, he felt like I was trying to make all the money or something. And that's not true. I gave him half of the royalty. I gave him half of the publishing. I gave him a really good salary while he was on the road. And also the other DJs, I had to manage. gave 20% the agent. I gave him, you know, the 10% because he was booking the shows. I had all of these different expenses. And everybody had to, you know, get a salary. And on top of that,

I put him in on what was already in motion. And I didn't like how we were, we were like this. You know what I'm saying? And then when I started to see how people was getting in his head and people was coming in trying to get into my head, I didn't really like the energy. So I, said, I got to pull out of this and I didn't want no money. I didn't want no producer or no override or no finder fee. I was like, bro, you go ahead and do what you got to do because the energy is not feeling good no more. And I think we got too much love for one another. For us to, I felt that the magic we was creating is because once again, he trusted me. I trusted him.

And when I felt that there was a violation of him trusting me, it bothered me. And I was young. And I should have just allowed him to express that. But I took it personal and I just say, yo, you go do your thing. And then when he went over there, Russell sat him on the bench for multiple years. And if we're being real, it's because, you know, at that time he didn't really know what to do with him. And over there at Def Jam, everybody was happy but not so happy because we were a little bit of a threat to people because of the dynamics of all of the things that we were bringing together.

But I love Rick. So I didn't want nothing but the best for him. And I just felt like, you know, if the energy is not right, it doesn't make sense for us to go any further. Was there any conversation or reach out to you to do anything on the Great Adventures of Slick Rick? Like did, let's call you and say, yo, will you do something? No, they tried to, they didn't call me, but they tried to, they tried to put me in it. Because if you listen to maybe six or seven, eight songs, my voice is just throughout the whole album. So they was trying to balance out the formula of what it was that we created together.

So when people are listening to that album, they're hearing his brilliance and the excellence of the production, but they're also feeling my frequency in there in a subtle way because I'm in there, you know, and I'm in multiple songs. So they were trying to figure out how to bring him where he needed to be. And I look at it like this too, to be completely transparent. I think that it was necessary because Great Adventures, Slick Rick gave him the platform to express things that I think was important for him to express.

And we probably could have figured it out. But I think that would he have been what I call the greatest storyteller? Could he have been that with me? And could I have been the entertainer that I have grown to become? Because maybe it would have been too much forced from two different, you know what I'm saying? Two different energies. and it would not really have been as great as it could have been. And, you know, I just know that, like,

and then when he was about to go to prison, because he knew it was happening, I went up to New Rochelle, and Vance Wright was up there. And I said, let me hear some of his music, man. And he played something. And I heard sitting in my car. And I said, nah, y'all got a drum machine.

Pull that out. And he was getting ready to do the same thing that he did with Jam, out. Master Jay, I said, let me do it. And then I put it in there. And then I kept the loop in there. And then when he got out of prison, after doing a long, long, rough ride, I was there for him to perform with him when he got out in L.A.

And I did that for him to support him. You know what I mean? And then I had the senator go up and, you know, make sure he didn't get deported. And then when the senator became the governor, I brought the governor in because I felt like even though we're not together, we're always together. All right, y'all. I know you want some more,

and we got it for you. That was part one of Questlove Supreme's interview with Dougie Fresh. You ready for part two? All right, stay tuned. It's coming up. West Love Supreme is a production of IHeart Radio. For more podcasts from IHeartRadio,

visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivert Taylor the fourth. 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 Cliford Show. This is a place for raw, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Cliford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

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