The Questlove Show - QLS Classic: Glynn Turman

Episode Date: January 5, 2026

In this 2020 episode of Questlove Supreme we sat down with a man who has been woven into the fabric of all of our lives at any point of his 60-year-career and we try to cover it all! From Peyton Place to Cooleyhigh, A Different World, Fargo to Ma Rainey's Black Bottom and about 160 projects in between, the iconic Glynn Turman opens up to Team Supreme.See omnystudio.com/listener for privacy information.

This is an I-heart podcast. Guaranteed human. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford Taylor the 4th. You might have seen the skits,

my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, the Clifford Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated.

So let's get to it. Listen to the Clifford show on the IHeard 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 Slica Life 12 and TikTok podcast network on TikTok. In 2023, Bachelor star Clayton Eckerd

was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Ellen, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian. Michael Mancini.

My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women. discover they've all dated the same prolific con artist.

They take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that, trust your girlfriends. Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

Questlove Supreme is a production of IHeart Radio. What up, y'all? It's Laia from Team Supreme. Now, our newest episode of Questlove Supreme is with The Legend, Ben Berean. Now, in that episode, which you have to check out, Ben mentions growing up in Brooklyn with none other than Glenn Terman. Yeah, y'all, they went to high school together. So this week, we're going to revisit our late 2020 interview with Glenn. Now, just to remind you, Glenn's career spans over 65 years and numerous pivotal, pivotal, I don't know, He's so the word, numerous pivotal roles. And in that conversation that we had, he speaks about his approach to the work, some of the roles that define his career. Yes, it was very different than our conversation that we had with Ben who spoke about his family and self-discovery and more. But that's the beauty of Questlove Supreme. The beauty of these conversations and the beauty of preserve. So take a listen as we preserve and celebrate our history.

Mayor Royce. Much better. Yeah, I was going to say also, he's been acting with Teddy Wilson in at least three films. So I got to get some information. Pay and place, Julia. That's all I'm saying. All right. I'm just bringing in.

I think between all of us, we'll get his career kind of cover. Yeah. That he is. You know. Wow. A legend. What's going on? What's that name?

Colonel Taylor, son. What? I know. This is great. This is great. All right, ladies and gentlemen, please welcome to another episode of Questlove Supreme. Supreme teams in the house. All of us here.

Unpaid bill. Yeah. How are you? Mayor Royce in the building. I'm ready to come. For each of us in this room, we're going to half a lot. like our memories of our guest today. Fantigolo, you cool?

Yep, man, listen, I'm cool as I could be with a legend in the room. I know, listen. Steve, sugar, Steve. I got so many questions. You cool? Pete here. Good to see everybody. Nice to see you, sir.

Oh, yes. And Laia is also with us. I am overjoyed. Overjoyed. Yeah. We already met, yeah. Yes, we did. This is special.

You got your helmet on. No, no, I see. human. Much respect, sir. Yes, sir. Yes, sir. Yeah, I represent. Okay, so I'll say that

you know, our guest today, beyond super legend, I mean, I personally grew up watching his entire canon, even if I didn't know I was watching him, but he's literally been practically almost in every movie that

I was allowed to watch, which speaks highly of his choice of film. This man is 60 years of acting under his belt on all mediums, movies, television, plays. I mean, if I

name them all, we'll be here forever. I mean, raising the sun, Julia, room 222, Mott Squad, the White Shadow. Holy High, yeah, Coley High, Peyton Place. A hero ain't nothing but a sandwich. I know.

All the black ABC after-schools specials. She specials? Yes. J.D.' Revenge, River Niger, you know, a different world. A river naked.

I'm sorry. I'd see it had 1G and... One G. That's the River Nigel, right? Exactly. I know. You know that, right?

I heard Jamie Fox say that one day just made me laugh. I'm sorry. Yeah, of course, our white contingency definitely knows him from the wire. You know, currently riding high now on his

Emmy nomination of How to Get Away with Murder Currently giving us a twofer In Fargo on FX Yes, Dr. Senator. Dr. Senator. His birth name, Dr. Senator. I love it.

You know, not to be all done in the historical telling of Ma Rainey's illustrious career as a pioneer in Ma Rainey's Black Bottom. Ladies and gentlemen, please welcome to Questlove Supreme, the one and only, Glenn Terman. Yes. Thank you very much for that wonderful introduction, my brother.

You look too cool, man. I grow up, I want to be like you. Look how kickback you up. I'm just, you know, this is, you know, I'm just chilling, just relaxing with friends. I know. I know it is doing. Yeah. I know we usually do this chronological thing, but it will be forever.

so I think this is going to be more rapid fire. So I will go first. You know, I'm obsessed with a particular period. I know that you're a Harlem night. Correct. You were born in Harlem. Correct. You know, and I've heard a lot from Nina Simone, James Baldwin,

but I never got to hear any personal tales of the great Lorraine Huntsbury. and I know that she cast you at a young age in Raisin' in the Sun. And I think the way she cast you was very casual. It wasn't like you had these goals to be an actor. Can you just explain to me like what was it like in that environment growing up with those giants as a young person looking at them? Well, you know, I was born in Harlem, but raised. in Greenwich Village. So my mother, a single parent, moved from Harlem, she and I, to a cold water flat, what they used to call a cold water flat in Greenwich Village in the 50s. And that

meant that the apartments were literally that. There was no hot water. And you had to walk up five flights and six flights of stairs. And you had to boil your water, you know. And that was sort of the norm of apartment styles in the village at that time. And the people who were predominantly living in these conditions were artists. James Baldwin, Lorraine Hansberry, Smith Oliver, Nina Simone, and all of these people were my mother's contemporaries. And there were a few, just a handful of blacks in the village at that time. and she was a part of this bohemian sort of click of intellectuals, you know.

So one day Lorraine, my mother said, you know, my friend, Ms. Hansberry, she's written a play, there's a part for a little boy in it, and she was wondering if you might be interested in an auditioning for the part, but I didn't know what an audition was. I had no idea. And my mother said, well, yeah, if you get this part, It's going to be many Saturdays. So I said, well, I don't know. She said, well, let's study the part and we'll go and meet them on this particular date, which I did. And then there were a whole bunch of other little kids, black boys, in the hallway when we got to this office up in Midtown.

And I didn't know what they were there for. I didn't know that they were there competing for the same role that I was competing for. I thought the role was mine. So I couldn't figure out what all these other little knuckleheads was doing there. Because my role, I read the play, there's only one little boy in the play. That's me. So what you're all doing here, you know? But I can later find out what an audition was.

I think we were all there for the same role. But I got the role. And so there I was in show business. That's a hell of an entry. Yeah. Do you have just personal memories of speaking with her? interacting with her or? Well, what it was, yes, she and I,

you know, there were a lot of games that you played in the streets in those days. You didn't have to be in the house all the time when I grew up, you know. There were games that you would play, you know, stick ball. Stick ball. Yeah. Yeah. Well, you know, Scalzies. Yeah.

Yeah. That was my game. So Scalzies and so on so forth. and Ms. Hansberry had a collie dog, and she herself was beautiful. She was really pretty. And what happened was, because we were on the ground playing skullsies,

you know, we were thumping the bottle caps or whatever, your check on the other was your piece. You know, we spent a lot of time down low on the ground as kids. But all of a sudden, this dog would walk through our game, you know, and then these beautiful set of legs would walk through the game. And without looking up, I would find myself saying,

hello in this hands, and she'd say, hello, Glenn, you know, tell your mother this, or tell your mother this, or blah, blah, blah, blah, blah. So she was very part of the neighborhood.

You know, it was a neighborhood, and we were all in this neighborhood. So, you know, sometimes I say, I carry that for you. I carry those groceries. you and Graham home and she took me a quarter and so on and so forth, you know. Everyone fighting to get her attention, I see. Wait, I do have a question for you.

You mentioned growing up in Harlem. Do you have any memories whatsoever of the Harlem Cultural Festival that went on? It was a concert thrown by a gentleman named Tony Lawrence. And this was like 1969. It was like Nina Simone, Steve. You wonder. Yeah. Like it was all the summer of 1969.

Do you have any memories of... I don't. I really don't. I came to California in 68. I left in New York. And I've been in California living since 1968. So that particular event I'm not necessarily familiar with. What prompted the move to California?

I came to do a play at a theater company called the Inner City Cultural Center. The inner city cultural center was over on Pico and New Hampshire, East L.A. Okay. And it was run by a man by the name of C. Bernard Jackson. And it was a wonderful theater company. There's still remnants of it now, which I'm still a part of. As a matter of fact, we've got a Zoom thing that we're getting ready to do pretty soon. But I came to do a play there called Slow Dance on the Killing,

ground, which had been done in Broadway in New York, Clarence Williams III, and I was going to do the West Coast version of it. And that brought me here by a woman who was a high school teacher of mine at the high school performing arts, which I attended. She brought me out here to do that play. Her name was Benet Carroll, and she was one of the first black female directors on Broadway, having directed a play called your arms are too short to box with God. The boss of God. Yes. Before your turn and Raisin in the Sun,

did you have aspirations to get in the business or to be an actor? Or was it just like something that worked out and you're like, well, I want to try it again. No, I had no aspiration at all. You know, I did this thing. My mama told me about it. She said we get to travel, which we did. You know, I got to go to Chicago and feel.

Philly and New Hampshire with the play touring before we came into New York. Of course, I got to meet all these wonderful people, Sydney Poitier and work with them, Ruby D. and Ivan Dixon and Lou Gossett, you know, all these people that were fantastic. And then see some people that I knew from the movies like Sammy Davis Jr. Arthur Kitt or, you know, beautiful Dorothy Dandridge, you know. So I got to meet all these people that my mom. mother and my aunties and everybody was like saying, oh my God, oh my God, oh my God, you know. But for me, it wasn't, I was just a kid.

So it was a big deal, but it wasn't a big deal, you know what I'm saying? Kids don't really pay a lot of attention to that. Right. So when it's, so when it's over, then suddenly is it a feeling of emptiness? Like, well, when's the next one? Or how can I do this? No, I kept, I quit the play. I quit the play after a year being in it.

Sydney Portia left. I left soon after just to get back to being a regular kid, you know, and going to my regular high school because I was going at that time. They took me out of my regular school and put me in a children's school, professional school, you know, and I didn't like it. You know, all my thug buddies was going to a different school. So I was ready for thuggery 101, you know, and I wasn't going to give it that Mace professional children.

school, you know? What made, what made you stay that long? I'm curious because you mentioned that you weren't like phased by the stars or anything else, but you stayed long. It was fun. I did this. I, you know, I was with them. But also, you know, like I said, we needed the money, you know. Oh, yeah. My mother was a single parent. She wasn't working at the time, you know, and this money came in handy to turn the lights back on, you know. So, you know, it was a practical. factor involved as well. And once we got on our feet, you know, mom said it was okay, leave,

we're cool, and I split. Wow. You mentioned. But I kept getting parts. I kept getting parts while I was in junior high school because I had such notoriety as a result of being this kid in the Broadway play. So anytime there was a little black kid, they kept putting me, I kept getting in these different shows.

A lot of different television shows, you know, and a lot of different stage plays with Leroy Jones, who was Marri Baraka. So I worked with him, creating some of his early works. I worked with James, James Khan, Jimmy Khan, and Robert Redford in a TV series, you know, TV special. They were live, it was live television then.

And so I kept getting in these things. And then it came time to go to high school, school and I had a teacher, a woodshop teacher, black wood shop teacher who said, Termin, what school are you going to go to? What high school are you going? I said, I'm going to high school of aviationism design. I'm going to become an aviation engineer. You said, term, you are a chronic truant. You haven't been to a math class since in the last three semesters. Don't you have to take a test for aviation and aviation and design? And, uh, aviation and design and you don't know anything about math.

You know, it's all mad. I said, that's okay. I'm going to take the test and I'll pass it. He said, well, look, there's a school called the High School of Performing Arts. It's now called LaGuardia. And I said, he said, why don't you audition for that school? They do acting and stuff like that. The art, I said, oh, no, no, no, no.

I'm not doing that. I'm going to aviation and design, you know. and he said, they said, he said, well, do this. Take the test and the audition. Well, I failed the test like he knew I would. And I passed the audition. What was the school like back in,

I'm assuming this is the mid-60s or late 60s? Yeah, early 60s. Yeah, like I've attended a performing art school, but in the late 80s or 90s, but what was the curriculum them like back then. Like was it diverse? LaGuardia is now on I think 59th Street

or something like that. Yeah. And 9th or 10th Avenue. But then performing arts, which the movie Fame was made about. Yeah. And actually that was my graduating class that they made that movie about. What? Yeah. And that school was on

46th Street between 6th and 7th Avenue. So it was right in the heart of Broadway. So there I was again in the middle of Broadway, you know, where I had been as a kid all that time. And I ended up becoming top of the class. I got an A for the first time ever in school. I got all these great marks and graduated vice president of my senior class and won all the awards and all that. So finally, I said when I got in the A that first semester, I came home. I said, Mom, look, I got an A.

And she said, yeah, well, I've been trying to tell you, you know. So you need to go. So she wanted it for you even more than you wanted it for yourself, right? But I was always a ham, you know. I'm always a kid, you know, you got a cousin or maybe it's you, you know, that you've got a kid that on the holidays or the party, the house party or whatever, when you were a kid, you know, your folks would call you, come on out and sing a song, come on out and dance.

Come on out to do this. Come on out. I was always that kid, you know. Right. You mentioned you went, since fame was based off of your class, were there some peers that came out with you? Remember there was a black kid in that movie, Fane, Leroy? Yes, of course.

That was Ben Boreen. Shut up. Yes, yes. So Ben Bering was a troubled child that was talented. and still... We're all troubled children without it. Word.

But Ben and I are close to this day. We've been buddies ever since. We've been roommates and the whole thing. Matter of fact, we're neighbors now. What's crazy is we interview the woman, the woman who taught him how to dance, her grandson became like a legendary rapper. But she used to dance in the cotton club.

It's like a whole circle. Remember y'all prodigy? Yeah, prodigy. Prodigy taught Benvareen how to, yeah. I was all right. But that's just my job. Yeah. So yeah, sure.

That's dope. Okay. Okay. I'm going to push it up a little bit because, again, your career sprawls decades and, you know, we got to cover everything. And then I'm going to let you all take over after I do this question because I know you all got questions too. But I just want to say that in retrospect, I guess Preach was maybe the first black nerd I've ever seen on. media screen so maybe because the thing is is that when all my friends watch coolly high they all related to coaches and for me she goes hmm yeah because i know i know what he's got i related to

preach you know i mean i didn't see myself as a nerd back then but i mean obviously i was more preached than i was you host a podcast i think you see yeah no man i'm fucked out done Like a successful band leader. It was just, no, it was, it was important for me to see that, even though I guess in real time, I didn't see that as a seed being planted. But I definitely knew that watching that character. And kind of the sheepish way that he didn't want people to know that he was that smart. Like, especially when you have to survive in the area that you grow up, you know. You don't want people think that you're weak or anything, so you try and overcommodate whatever.

But can you just talk about, like, just working with Michael Schultz and that whole, like, as coolly high as iconic to you as it is to us, or are you tired of everyone, like, making a big deal over? No, actually, it is one of my favorite movies, even if I wasn't in it. The fact that I am in it makes it one of my favorite movies that I've been in. Oh, really? Yeah. Yeah. It's a terrific movie. And because it says it talks about just what, and exposes just what you're talking about,

aside of us that very few saw, especially at the time when exploitation movies are being made. Because all the characters were pimps or players or tough guys or gangsters and so on and so forth. So all of a sudden, here you are in the neighborhood and the gangsters are not the star of the movie. A nerd is the star of the movie. the movie, you know. It gave us a chance to expose that some of your concerns, you know, how do I stay smart and stay cool? So, you know, so he was indeed a cool, you know, and that's what we, that's what he turned out to be. But at the same time, it was interesting that our culture, which was my culture, we used to hit you on the back of the buses,

you know, jump to turn styles, ditch class. I told you that ditched class, I hardly ever went to the class, you know, and so all of those, and spent time after zoo while waiting, you know, for school to be over so we can go back and get our books and do whatever. All of that was my culture, you know, and we had never seen that on screen before. Now, the fact that 45 years later, there are

still for decades of people, youngsters who grow up watching that movie, that surprises me. You know, because I still have, you know, young teenagers will come up and say, oh, you preach, you know, I said, you watch Cooney High, hey, hey, yeah, man, yeah, oh, yeah, yeah, you know. So that's, that, that's surprising me. So, no, I did not, and we did not expect it to be the iconic film that it turned out to be. But a lot of that has to do with Michael Schultz and Steve Krantz, who was the producer, Michael Schultz, of course, the director, and of course Eric Monti, who wrote the piece. They did something that was brilliant.

There's a star in the movie that no one notices. Of course, there's myself, and there's Lawrence Hilton Jacobs, and Garrett Morris, and Stephen Williams, and the people who were acting in the movie. But there's also a music score that you couldn't pay for today. Before the Big Chill. The greatest Motown score ever. Motown, yeah. I was about to say, before the Big Chill.

Yeah. Yeah, before the Big Chill, Cooley High was. Music is a star of the movie. You know, it's one of the stars, you know. And you couldn't buy that now for a motion picture, you know? Too expensive. I was watching an interview you. did. It was some years back and you were talking about that period in your career where, you know,

the industry in kind of Hollywood, they were calling it black exploitation. But I always admire what you said, you said, you know, to y'all it was black exploitation. To me, it was just work. We were just working, you know? And so I was, you know, curious just to know, like, just with all your, you know, career, all your years in the game, you know, how has your view on those movies change? you know, like, you know, do you still just see it as just work, or do you think that there were some larger implications around those kind of films? No, I see it as work, you know.

Exploitation, yeah, you could look at it like that, you know, but a lot of good came out of it. A lot of progress came out of it, you know, and it fed families, you know, because it gave us opportunity to work. The only problem was that, that most of the time it was a one-sided view of who we were as a people. When those things opened up, those views opened up, and especially now I'm so proud of what

the young people you guys are doing now in terms of bringing forth projects that show more dimensions of our experience and who we are. That's what our fight was about back then, you know. That's what we went to the head office about. That's what we lost jobs about. That's how we, you know, get fired by speaking up about, you know, this character doesn't have a backstory or this character is one-dimensional. Why doesn't this happen?

Why is this woman have to do this or bear that, you know? So those were the battles that we were facing. But to see what you guys are doing now with your opportunities in terms of taking advantage of the changing tide is heartwarming for me. you know, because it's been a long haul. Yeah, well, we wouldn't be there without y'all. I was about to say, yeah. Thank you. How difficult is that particular Hollywood shuffle where you kind of have to wrestle between

your dignity and a good paycheck? Because there's one particular film that isn't often listed in your credits that I saw. saw now in 2000 I did a film with Spike Lee called Bamboozle about minstrel culture and when Spike was first pitching us this film the first thing he did was he came to our studio and he was like I need three hours I'm going to show you this movie and he puts in this movie from 77 called menstrual man and basically like Spike Lee just gave us a crash course on the entire history. of menstrual entertainment. And, you know, the thing was Spike was like,

this movie's been banned. You can't see it nowhere. Like, he had to pull strings to get this from like, you know, whatever company had or whoever, like, one of the producers was. But, yeah, I've watched that film like three times. And even now, then when I did the film, you know, I thought, okay, well, Spike's saying this is a satire. But, you know, I was kind of in that naive play.

place where I thought like, okay, you know, we're in a post-racial part of, you know, where it's 2000, there's a new leaf and da-da-da-da. And sure enough, we've eased back into probably even worse, what I call neomenstrualcy. But at the time, what made you want to do such a daring film about the history of menstrual entertainment and why was it not exposed? Even on your on your Wikipedia page, it's not even mentioned. It's one of, it's, it's one of my favorite pieces, uh, menstrual. It was daring. It was a revolutionary film and it paid homage to we as performers. Somebody had to bite the bullets. And these, these performers bit the bullet. You know, I met step in,

Fetchett. Mr. Perry, when I was doing Cooley High. You're all familiar with the Step and Fetchett? Yes. Oh, yeah. You know, step and fessier. Who did more in terms of really putting an image out there that really hurt us as a people. But at the same time, the reason it hurts is because he was so brilliant at what it was that he was doing. His performance capabilities were astounding, just like W.C. Fields, just like, you know, any of those great comedians of those of that time, you know, Buster Keaton, all those guys. But he took it on himself to give you an interpretation of what was thought about us. In other words, he took the narrative of somebody, some other cultures describing us.

And though it wasn't true, he visualized it. It was detrimental, but it was brilliant. It was really brilliant, so much so that it harness an entire race of people. Before that he became one of the highest, one of the highest payers. actors in Hollywood. So there's that double-edged sword of, as a performer, as an artist, what do we do? What are we about and what do we do and how do we select what we do? So I saw this film as a film that tried to explain that.

What do we do? We're brilliant people. How do we make what we have work for us? and what's too much? You know, when do we stop? When do we stop? When do we not say okay? When do we say that's enough?

And we still have it to this day. It's not like he's falling away. You think it was different when it was only like one or two of us? And now that that's changed a little, maybe that space has changed? Because when it's only one of us representing everybody, then of course we're like, No, no, there was always a lot. That's why you should see this film instrument. Okay.

Okay, I do. I wrote it down. I am. If I can, where can I see? Where can I see? I believe it's still on YouTube. It might be on YouTube. Okay.

You know, it's funny, it's weird you said that because maybe like four years ago, I went on a deep dive about the whole menstrual culture. And someone had a different perspective of step and fetch it in which he said that um the the one weapon that black people could use against racism and white supremacy of that time was was humor and so he saw step and fetch it less as like a you know if people were saying like well he's not a credit to his race or a sellout but more on the terms of

he discovered a way to disarm powerful white people at the time using humor because on the other hand, Steppen would also take his money and start funding like these black Shakespearean plays. Like he would use his

money that he made for movies and then really start a revolution by you know, Paul Robinson stuff and that sort of thing. And so you know it's it's it's it's kind of a double-edged sword where I guess now you could just say that's just what we call code switching yeah whereas you know stepping was the the original code switcher

but um yeah I wish you know I kind of wish that that film could come out of its retirement I mean at the time was it at the time at the time were you shocked that well I mean kind of I I assume that it wasn't well received, so it was thrown like sort of underground. It was well received. That was the problem. It was well received. Well, received for the wrong reasons. But it were the wrong reasons, yeah.

Well, it was, you know, it was all of a sudden people got a conscience about what they thought we should be showing, you know. I see. It suffered the fate that it suffered, you know, and I'm very sorry that it did. very sorry that it did. Well, yeah, I still recommend people see it, you know, because it really, especially, I remember one part in which, in the very beginning of the film where they explained that, you know, when African-American actors wanted to act,

they had to act like the white people imitating black people. Right. And then that's when I realized how meta that was, that, oh, that was, okay, so that was the whole point of Mr. Entertainment that we were imitating those who were... Yeah, imitating those who are imitating us. Imitating us and terrorizing us.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clifford 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.

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 podcast. What's up, everyone? I'm Ego 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. 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 best. 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 Slica Life 12 and TikTok podcast network on TikTok. Hey, can you settle something? Is it true that I heard that you were supposed to be the original Han Solo and Star Right? Yeah. Yeah. What happened? So when you, who does Hans Solo have a love affair with? Leah. All right, Leah.

Laya, there you go. Leah. All day, nigga. Go to night, Joe. So what happened? That's all you were to say. It couldn't have you kissing on a white woman. Well, what's crazy?

I know George Lucas was like, I'm just trying to live out my fantasies. And this happened to him with men. Exactly. You see that really? Yeah. But he says it. He says that's what the problem was. He says that that was what he didn't want to open the canopies in that area.

And so that's what stopped him from going down that path, you know. And I asked him. Finally, I had a chance to, I ran into him at Sam Jackson's party a couple of years ago. And he and his wife were there. And I hadn't seen him since that day, you know, those times. And so I stepped up to him and asked him. I said, man, I'm reading that you were thinking about me for hard solo. He says, yeah, that's right.

I said, and you didn't do it because he says, yeah, I didn't want to go down that road. I said, I understand. I understand. Wow. I love that. Didn't do it because, fill in the blank. Yeah. I ain't want that smoking 82.

I wouldn't get for that. Yeah. But Harrison Ford owes me some money because he's He cleaned up on that Star Wars thing. I sure I would like to get my percentage of some of that dough he great. Yeah, because that was before I was the end of Jones. It's all fair. It's all fair.

It's all good. No problems. I got no regrets. One of your films I want to ask you about that is, like, like a classic in hip hop. And I don't even know if you're aware, you may be, but JD's Revenge. Yeah.

Man, JD's Revenge, I didn't see the movie. I didn't see it until, I mean, maybe around like year, like 2000 or so around. I bought the DVD. But it was sample in a ghost face killer, Woutain Clan album. And so when we figured out that's what it was, like a lot of me and a lot of my homies,

a lot of hip hop cast we ended up getting that movie and watching it. And I actually still have it on DVD right now. But what do you remember, if anything? Snoop's favorite movie. Really? Yeah, yeah, yeah. No, it's a classic.

That's a tour bus classic. Yeah. Yeah, that's a new movie. Yeah, those, that period of your career, what do you remember about shooting, like movies like that, like, you know, J.D's revenge, these movies that were, you know, kind of low budget. And, but they were entertaining.

I mean, you know, J.D.'s Revenge and also a penitentiary, too, which is the movie. I had no business seeing as like a six-year-old. But I was afraid to ask him about penitentiary too sweet. Come on, bro. Too sweet. What was it like? Because that movie was insane and like, but what was it like working on it? It was insane working on it, you know?

You know, first of all, you know, we shot it in New Orleans, you know. Oh. Oh, wow. That was the first time I had been to New Orleans. Oh. And, you know, I'm shooting a movie where as a character I've got to be possessed, you know, so I'm coming in and out of these possessions. And if you know anything about New Orleans, that's real now, man.

Yes, indeed. That's the way that goes down there. And being a young actor at the time, I was, you know, as I still am, but especially back then, I was all about going for the reality of things, you know, and going in the deep as I had to go to deliver, you know, and without any filters, you know. So I went on quite a ride down there, you know, and doing that. I never forget. How much of a ride.

You can act like I'm not here. It's fine. White one. It was a hell of a ride. It was, you know, because the city itself was such a character in the film. You know, they're gargoyles and all of the architecture, you know, so there's always something looking at you, you know. And it was a hell of experience.

Hey, you know, of the, what I call the 70 squad of young black actors who later in the 80s sort of elevated themselves to directors and producers. I know that it was a big deal when like Kevin Hooks

sort of like left the white shadow and became a director. I know that in 1983 you directed like Dynasty was a religion in my grandmother's household like all my aunts and everyone

Dynasty. Watch. Falcon Christi. And Dallas. Right. And Dallas. Come on. So how you're, how, how, um, was that your first foray into directing?

Uh, most television. Yes, it was. Yes, it was. So what, what prompted, uh, that particular leap as far as you getting into directing? Showbiz is, uh, is a, uh, interesting. interesting multi-hitted beast. The movie we spoke about Minstrelman ran into all sort of stumbling blocks,

as you noted, Chris. Right. But one of the wonderful things that came out of it was a relationship that I formed with the authors of that piece, the Shapiro's, Richard and Esther Shapiro, wonderful, wonderful, talented, talented people.

They wrote Minstrelman. and they cast me in Minstrelman. And during our course of our knowing one another, they developed dynasty. Oh. Wow. Wow. What? Man, the dynasty.

Wow. Who are these? And then talking with the conversation, Glenn was next on your agenda. What do you see yourself? I said, I see myself directing. I had been directing some plays at the inner city cultural center that I spoke of earlier. And they said, really?

I said, yeah. She said, well, we're putting in a program for directors we want more minority directors to come and be a part of this. I said, count me in. And so I shadowed one of the directors for months and months and months. And finally, it gave me my shot. Oh, I'm so glad you mentioned that because more people don't talk about all these programs that are available, especially for minorities that are able to do that.

It's a lot of networks in places that do that. I'm just, as people to listen to us, I want you to know, you should look into that because that's still something. Sure. Yeah, really popular. Glenn, do you still audition? No, ma'am.

So when's the last time you did? Talk heavy. I just, okay, then. I'm getting myself together on my question. I'm just curious, when is the last time that you did? Oh, roll you. Okay, don't roll you. The silence speaks, talk heavy.

Shit. Last time I auditioned. Last time did I check? It was for a Tom Cruise movie. And it may be, you know, I don't know how many years ago. I knew that after I came out of that audition, that I would never audition again. And I told that to my agents. I said, I'll never audition again.

I'm trying to do the math on this. Do you remember if this was in the 90s, the 2000s? Because that just means that I just want to know how many people just called you and said, I got a role, let's go. Like, that's just. It was in the 90s. Wow. What made you, what about that process made you make that decision?

Because I realized I knew who, I knew they knew who they wanted for the roles. So I was going through an exercise that I didn't tend to go through anymore in my career at that time. I had paid my dues. And so it came a time for me to stand on that principle. And luckily, it started out well. And I have nothing against auditioning. You know, audition. If you feel that that's what's going to help you get the role as an actor or actress,

go for the audition. But after, but if it gets to a point where it's, it's sours what you're in this for. It starts taking away any of the joy that you're doing this, then it's,

it's contaminating your process. And you have to make a decision because then the joy and the fun is being taken out of and that's what I got in this for. As you see, it just kept coming to me. So I wasn't in it for the money. You know, I was in it because it was afforded to me

and I found that I could do something that I ended up loving doing. What a blessing. So why subject myself to something that at that stage of the gain was making it, was ruining the love of. affair. I refuse to have them run the love affair. And you were already 30 years in by that anyway. You earned it.

Yeah. Keith David, I've read this piece with him a couple years ago. He was saying something very similar to what you were saying and that he said, I don't sell myself. At this point of my career, I don't sell myself. I just present myself. At this point, you know what it is. You know what it is. You know,

if you come in to me, yeah, if you come to me, you want me and that's what it is. Yeah. Don't get me wrong. I love and I respect the, I would love and I respect the business. Like he said, I'm, I present myself and I've got a track record I feel that speaks for myself. Okay. Okay. So let's jump into it. Aye. Dr. War. Why y'all got a job for me? One of y'all got a job for me? I'm scared you won't take it. I'm like, I'm looking at this thing and I'm like, ain't no Spike Lee movies in it.

How many times he say? know to people. I'm sorry. I just go ahead, Mayor. Okay, so of course as as a lovingly dubbed Dr. War because of your

rep for being a hard math professor, a majority of our audience, of course, connects with you as Colonel Bradford Taylor on a different world. I have to say that probably in quarantine I've revisited

that entire series. and didn't realize how ahead of its time it was. Yeah. Especially with what we're dealing with now. I went to a black college because of that, because of a different world. I went to a graduate from the HBCU. Yeah.

Facts. Yeah. And now we got a vice president. That went to the one. And that beautiful. And that beautiful? Yes. Love it.

Yes. Probably because of you too. Yeah. That's right. Yeah, cause me. Yeah. In general, did you, I mean, at the time, did you see this as a, well, I guess nothing's revolutionary as you're doing it when you're in the vacuum. And it's only with perspective that you see how important it is.

But at the time, like, what were your thoughts on a different world? Did you think that, wow, this is really historically significant or there's just a very good state? job or like what was the process well all of that you know i i came to find out that um susan fails the team of susan fails and debby allen was a unstoppable force i had been in enough in the business enough and had been uh in the world long enough to know to get a whiff of what revolution sounds like or smells like or looks like. So when I saw the scripts coming across the desk, scripts that dealt with, you know, AIDS or scripts that dealt with abuse

or, you know, scripts that dealt with some of the issues, you know, with the war, you know, these were scripts and stories that were revolutionary. And the revolutionary fact was from the top down, it was all black people. Except for your first wife that we never saw. Right. Oh, y'all forgot that about a different world. But even that was revolutionary. Right, exactly.

And it was. And it was. Even that was revolutionary. And so I was one of those who realized that that's what was taking place. and my hat went off to the Cosbys for taking that stance and fighting those that were, you know, opposed to some of the positions that we were talking about,

some of the things we were talking about, you know, and keeping us never less than number five in the ratings for seven years. With the kudos that usually goes with that kind of sustainability and that kind of, you know, stewardship. We got none of those kudos. I don't know. I feel that people are slowly rediscovering it now,

that it's on Amazon. So, yeah, I feel as though that people are rediscovering that series in a different way, and sort of under a different lens than when it was previously on 30 years ago. definitely with how they handled subjects. Like there were some episodes I didn't even remember them covering.

Yeah, like the Freddie episode, the, like the shot the date rate, the Shaza, was it, was that one with, well, no, no,

where Time Act, the date rate one. Yeah, the first one of the first season when Dwayne. Oh, that one. Oh, yeah,

okay, yeah, yeah, yeah, yeah, yeah. I was going to ask him what his favorite, was there a favorite storyline for your, for your character?

for Colonel Taylor. For Colonel Taylor? I love the one that Blair Underwood and I did. Oh, when he had to go to... That was real. When he was in the Gulf War, and when he came to Colonel Taylor to ask, to let him know that he was afraid, you know,

going into war, you know. I thought that that was so powerful what that whole thing was about. It was so... It was the essence of patriot. You know, we as a black people, don't think. think in terms of being patriotic. We don't think we're patriotic because no one else looks at us

as patriotic, but we're very patriotic as a people. We were part of every fight they let us be in. I said we were a part of every battle they let us be in. Every battle, every battle from the very first gunshot from the revolutionary war. Don't look at ourselves that way. And so we're always clamoring to be thought of as that.

And all the evidence points to everything otherwise. And this was a wonderful, wonderful expose of disenfranchised people doing what was patriotic. And it was right during the war. I mean, the war was going on right at that time. It gave us a perspective on TV we never get to see. We don't, like you said, we don't see us in it and how we're thinking and stuff.

how we're thinking about it. So it was wonderful, you know, and the show was just a fantastic show. Mr. Turner, I want to ask you about your time, the time with Aretha when you guys were together. Y'all were like the first Instagram cover. Yeah, yeah. I was thinking the same thing.

Yeah, they were. Y'all were like. I remember that essence spread with them. Yeah. Ebony Jet, Ebony Jet? Evonette? Y'all was it, man. Stayed in the jet now.

What? Yeah. What was that period in your life like, man? What was it like? Well, when it was good, it was the very best of times. You know, it was the very best of times. We remained friends for all those years, 35 years after we were married. So we had a wonderful, wonderful relationship.

and it was some points that was just unbelievable. You know, some things you can't be really, you can't really even imagine. You know, there's some directions your life takes, and you really have to sometimes step outside yourself and say, what am I doing here? I feel like that right now. It had to be good because I noticed in your film,

Those are the years that you took a break. Like, you was just like, I'm gonna. Well, no, because no, there were tough that ended up. You know, there were tough times. Okay. They were tough times. It's not that we had the option to take a break. You have to remember that disco came on the scene at that time as well.

All of the soul singers were in dire straits as well because. They were struggling. Yeah, they were struggling. It was a struggling time. It was a paradigm shift in the whole music world, as well as the black exploitation movies were trying to be replaced. I was at an age where I was coming out of a young man and now into a leading man area.

So there was a struggle in that aspect, which all actors go through if they're in the game long enough and start young enough, you know. So I'm not in a business where you take a break. Obviously. No, you don't take a break. Now, you don't take a break. The business takes a break from you.

From you, right. You got it. Man. What do you think? I watched you and your current wife on Black Love. Oh, hey, Ms. Yowam. Yes, she is. Right.

Y'all say, no, that was a beautiful interview. What do you think you learned from, you know, from the marriage. with a reason and then just, you know, your other marriage. What were you thinking some of the key lessons you learned in those early marriages that prepared you for your current marriage with your wife now? One of the key ingredients to a relationship is liking the person that you're in a relationship with. Ding, ding, ding. If 2020 ain't told us that.

You can't get in a house or somebody you don't like. Yeah, you can be locked up in this 2020 situation. somebody you don't like. No, I think that that's what over the years that I've learned out of three marriages is that liking the person makes it is a key ingredient. So, you know, I like this person that I'm with here, you know, and we build on that. Well, since he mentioned that he hasn't been auditioning since the 90s, this just changed my way of thought totally since you totally pick out what you want to do. So before Bill gets,

we get to the wire questions, I just got to know the role House of Lies, Don Chito's daddy. Just tell me. I know it came later, but you've taken too long to get to the wire. So I just got to know why did you decide that that was a role for you

and what was it about the role that made you go, oh yeah, I want to do that. Very simple. Don Chito said I want Glenn Termin to play my dad. I mean, you are his daddy. I feel like in an acting sense. Wasn't a hard choice at all. I love John.

I'm a fan of his work that at this stage in the game, there are young people saying that they want Glenn Turner to be a part of their show. I'm flattered and honored, and so I brought it. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clever Taylor the 4th.

You might have seen the skit. 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. 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 podcast.

What's up, everyone? I'm Ego Vodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Farrell. 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 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. 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,

for wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. All right. So let's talk about the wire. Yes, indeed. Major Royce. Mayor Royce, sir.

I would like to say that talk to me about... I donated to your campaign, Mayor Royce. I did too. I didn't. I don't mess with no Mayor Royce. I don't believe, man, one of you. I didn't. I didn't. I don't mess with no, Mayor Royce.

I think other than being a fascinating character, what is it like coming into a pre-existing series, like a few seasons into it, in a particular series like that where every season changes, but doesn't change, you know, but has a different plot line and making an impact. Because Mayor Royce was a super impactful character, even though it was many seasons into the thing, and all of these characters had already been established, and then all of a sudden you come along, and you have an impact as well. What was that process like? That was a very actory question. It sounded like an actor. I'm not an actor, but that was a real

There you go. David Simon is a genius, the producer of The Wire. Oh, yeah. Yeah, yeah, we know. And he's got such insight into his characters. He knows all of his characters, inside and out. I had a conversation with him. He was wonderful in the way he cared for the characters that

He was pointing out to me and how he got there and what he thought about Mayor Royce, that it was actually the mayor that was the mayor at the time in Baltimore, and that I was playing actually him. To give you an idea of how precise David Simon is, I came to that show while doing another show, a motion picture. I was doing a motion picture in Morocco. And it was one with Penelope Cruz and Scalajara. Yeah, yeah, yeah.

And Matthew McConaughey. And during a break in that filming, I booked the wire. But in that filming, I had a goatee. And so the first day of shooting, the directors saying, Glenn, we need you to shave your goatee. I said I can't because I have to go back and finish this motion picture that I'm doing, Sahara, and they've got first dibs on me. So I've got to do, you know, look the way I've looked in that show.

On the spot, Simon says, okay, tell you what, next season, there's going to be an election runoff, a big election, with a younger guy. Ah, I know where you going. Yes, yes. With a younger character, uh, Carcetti. You gotta give him up in game face on, but. But into the script

that because he's younger, you're trying to look younger with, with the, uh, for the, for your constituents. Uh-huh. Shave off your, your, your, yes. Mm-hmm.

And that's what he did. But he saw that. on the spot a year before it happened. Wow. He's the year. Yeah. Wow. You feel me?

Yeah. That's so crazy. I mean, he solved that just like that on the spot. That's how I had. That's how telescopic his vision is, you know? So how do you not be a part of somebody who's leading the charge like that? You want to be a part of something like that? Well, I got a question along those lines, like, what's the difference between a script that's super specific?

Clearly, like, one that's like a David Simon one versus one that's not, versus one where the actors asked to put way more into it versus just reading what's on the page or just responding to what's on the page. Is there a – how do you – do you favor scripts that go one way or the other, or how do you react to each of them? With the wire, now, you have to understand. Actors are the vainest people in the world. No, no, I know that.

They're most of my friends that are. But you also know that when actors get scripted, the first thing they do is some through it to get to their part. Yeah. My line, my line, bullshit. My line. My line.

My line. With every script of the wire, I read every script from beginning to me, whether I was in it or not. Because it was like reading a book. That's your difference. Have you kept all of your scripts? Or do you have to give them all back?

Yeah, I've got them here in my office. From the wire. Yeah. A lot of them. Do you find that the wires, the, I think for black people is still, for black people of a certain age, is coolly high. But do you, are you shocked at the amount of white people that love the wire as much? Well, I don't know what you're talking about.

Is that your white people show? No. If I go into office to talk about a script with producers or whoever, the director, we'll zoom through what we're there to talk about. And then the first question after that is, so tell me about the wire. And I'm there for another half an hour, answer questions like you just asked me, brother. You know, like Selja's ass.

And we go into the wire. And that's black, white, or anything. It doesn't matter. That's the way that's been. I was going to say, can you predict, depending on what situation you're in, who's going to come up to you and ask you which character? Like, I'm in the grocery store, so I know, you know.

It's going to be. I know the conversation is going to be about Omar, right? Right, right, right, right. Yeah. Do you remember the day, if you could remember what you could tell us, the day of you shot the scene where, You're caught in an uncompromising position. Your other compromising position in the office.

I don't know what you're talking about. Leave the fifth man, Royce. I don't know what you're talking about. Boy, the Royce was a savage. He was. Yeah. I mean. So, that was dope, man.

was like a great role. I think that just spoke to so many, for me in particular, it spoke to me seeing you in that role. Because up into that time, you know, I had only seen you in, you know, kind of, I guess what you consider a good guy role. Like, Colonel Taylor, that was a great role. Dignified. Yeah, he was very dignified. But, you know, in the wire, that was just somebody, you were so conflicted. You know what I'm saying? It's like he wasn't just a straight good guy, but, you know, he wasn't a bad guy. Like, he just had like, He was a politician. He was a politician.

In every sense of the word. Like when my favorite scene, you know, when they were, when Bunny Colvin, they find out that, you know, that what he's been doing with Hamstead. Hamstead. And everyone is in the office and they just, everybody talking shit. Everybody's raising hell. And the mayor's just sitting back and you're just looking at the numbers like, 15%, huh? Like, you know what I mean? That's all he cares about.

He's like, shit. Y'all sell out of dope. Y'all. What was interesting about that was, like I said, I got to meet the mayor. God, I can't remember his name right now. Who was the mayor at that time? And he was actually in that scene. So what I asked him about that, the whole incident with the legalizing that district for the drugs.

And he said, I made a horrible mistake. I said, what was that? He says, I framed that whole thing as a drug zone, and I should have framed it as a medical epidemic. Kurt Smoke. Kurt Smoke. Right, right. You got it. You got it.

You got it. You got it. Smoke said, I should have framed the whole thing as a medical problem. If I could use it as a medical problem, I would have been able to get away with it. I want to know if, you know, because of the critical claim that the show had and the fact that it just completely got snubbed during the Emmys, did you guys ever feel a certain way about that? Here come, Ms. Joanne.

Yeah, that's Ms. Joanne. She's been asking about you. Hi, how you doing? What's up, Miss Joanne? What up? Hey, Ms. Johan. We love you on Black Love. Love seeing y'all.

So pretty. Thank you. Thank you. Okay. Have fun. Thank you. Yes, ma'am. Now, I was saying that the fact that the show was so critically acclaimed and so well loved,

were you guys at all disappointed that you, you know, I wouldn't say blackballing, but the fact that the Emmys refused to recognize you guys as the powerhouse that you were, as far as the Emmys were concerned with the wire. Yeah, I never understood that. Other than that, there was like 26 black major players on this show, you know, that had never happened before. Wow. But they just would not give the profits.

They would not give the profits. And I don't know why. Well, speaking of which, your role as in how to get away with murder, you were nominated this year for. Yeah. And Emmy, what did that feel like? Is that important to you at all to get recognized by your peers? Sure, sure. Absolutely. Absolutely that's important.

I don't take that for granted at all, you know. I've been blessed who have been the recipient of several wonderful awards, you know. Emmy being a crown jewel, so to speak, you know, the one that I won, the one that I'm nominated, was nominated for. So no, I don't, you know, when your peers hold you up like that, you know, that's something as a young actor as a kid, you know, you're looking in the mirror and you're practicing your accepting speeches, you know, that's all, that's real, you know. So then all of a sudden, there it is for real. And it's like you get up there and you're like tongue tied, you know.

Yeah, right. Nervous and. I thought about, like, JD's revenge. It made me think, have you and Luke Gassett, did you y'all have worked together again after that? We worked to, you know, Lou, the first time Lou and I worked together was in Raisin in the Sun. Ah, right.

Yeah, because he was, he was one of the characters in the Raisin in the Sun. So I've known Lou, he's been a big brother of mine since I was 12 years old. So then again, we did the River Niger with Cicca. Niger, Niger, which is a year. country and Africa and river. Oh, really? Okay, thank you. Everybody don't know.

With James Earl Jones and Cicely Tyson. I'm going to put that on my watch list. And then we did JD's revenge after that. And we've been, you know, he's always been a big brother kind of figure for me.

Who is your who's your your starting five? your inner circle, like, besides Ben-Varine, like, do you have a circle of peers that you're tight with it? We've got a road dog, a road dog crew. Like blackish. I say like blackish.

Yeah, yeah, yeah, right, right, yeah. We got a road dog crew that we all stay in touch. It's maybe through this pandemic. We talk every Sunday, you know, and some you'd know, and some you wouldn't maybe not necessarily know although most you probably Who's the crew? Who is the crew?

Well, oh gosh. I don't want to go into it before fear I leave somebody out. Okay, okay. No, they're not listening. Okay. Okay, we'll let you slide on that. I have a question. Sugar Steve here.

Hey, Steve. Hi. You were in Gremlins, which nobody brought up yet. Yes, you were. Like, you were. Yes, you were. What are your memories of that? Was that a fun movie to be involved in?

Gremlins was great to be involved in. Because, Sugar, that was the first time that that kind of puppet was made for the screen. So the eyes rolling and everything, they were about four. five or six people underneath the table with a hole in the table for the cables and everything to go to the puppet for the Maguai and all of them to operate the eyes and operate the ears and all that kind of stuff. So it was fascinating. Now, then you cut forward to a movie I just did last year. It's just come out. It's only been out maybe a year.

Bumblebee is another Stephen Spielberg movie. My second thing is my second. Steven Spielberg movie. And the technology has changed so much. Now we're doing giants, right? Big, big, those robots, you know, those big robots that change into cars and change into this and change into that.

Oh, Transformers. Transformers. They're gigantic, right? But they're really just for eye line for the actor of a tennis ball on the end of a tall, stick. Yeah, that's all you're looking at.

And that's up in the air and you're acting to this thing. And then they put all of it together in post. But when we did the Gremlins, those little gadgets were right there, you know, and you look at the table

there's six dudes under there working some facet of the gadget, you know? So I said, wow, you know, I said, What a change in times, you know. It was really interesting. It was really fascinating to be a part of that. You are dope.

And they're still using puppets over at Sesame Street, Bill. I mean, what's going on with you guys? Old school, Steve. Old school, sugar, I don't tell you. I have one more question. What can you tell me about honky, your first movie from 1971? I was waiting for everyone. It was.

I feel like Glenn was at first. waiting for you to be specific on which one, but then he was, oh, the move bait. I'm just taking a joke. I can't tell you much, man. I can't tell you. I can't tell you much. Sugar, that was a long time.

Long time. I was just going to ask you about, you know, because we were able to see a, you know, Ma Rainey's. And, man, like your performance in that, like, you know, is great, you know what I'm saying? Just as everything. And, you know, just your, you with Chadwick, I mean, you know, that being his last film, man, what was that like, you know, working with him the last time?

Yeah, for real. And here's what you got to understand. All those fight scenes and tussling and him lifting me after the end of that whole thing. We did that maybe 20 times. Wow. What was in? Yeah, he was magic. I don't even want to use magic.

That's just too trivial. I don't know. because, and I was as dead weight as I could be. And he was literally holding me up and picking me up. And we did several different takes, several different angles, several different moments. And he just went for it every single time. And we had no idea that he was sick. I just kept saying to myself, damn, this is strong, you know.

And he was, he was just strong, strong willed. You know, he wills himself to do all of that. So I just, I miss him already, you know, he was wonderful. We had a great, great time. He had a great sense of humor. I used to tease him and Simone, his wife, when I first, he first introduced me to her. You know, they were such a cute couple. And so I had a great time with them.

and his work ethic was just reminded me of me back in the day, you know? I was going to say, not for nothing, it's so eerie to me that in looking back at his filmography that it seems like he was very purposeful in the roles and the projects that he chose and was a part of and especially in the sense of his commitment to his people. And it just made me think of you as well

as how you became very purposeful in your roles. And I was curious if y'all had a, conversation between the two of you guys about that? No, he was a big Cooley High fan, you know. And so he wanted to know a lot of questions about Cooley High. But he was just a dedicated performer, you know. Do you have a lot of the younger guys like coming to you for advice, like young black actors are you, because you seem very much kind of just, you know, an OG in the game.

Do you have the people, you know, the younger actors come just. Yeah. Yeah, that happens quite a bit. That happens quite a bit. You know, I try to try to feed the, you know, I was lucky. I had the James Earl Jones or the Sydney Portiers who I could always call, you know, and go to. Wow. And, you know, so I tried to reciprocate that same spirit.

What were some of the biggest lessons you learned from James and Sydney? Well, I ran into Sydney Pordi. I was a struggling actor. we had done raising the sun and now I've graduated high school I'm about 19 years old I'm struggling trying to get a next job trying to find a job

nothing's happening I'm going uptown I was a truck driver in New York and I'm taking a load of furniture uptown and I see Sydney coming out of out of a restaurant on 7th Avenue in the 50s

and I immediately said oh my God Sydney And I pull over, you know, and I got all this furniture and everything, this big, this truck, you know, and I pull it over, and I jump out and I'm all dirty and grammy. I've been lifting furniture all day, and he comes out, and he's all clean and shop and everything, you know.

He's been in style and coming out of the day, going restaurants, you know. And I said, Jenny, it's Glenn, and he kind of looks. And then, Travis, I'm raising them son. Oh, how are you? I said, uh... Spot on. I said, fine, fine, I said, fine, fine.

I said, man, I'm, you know, I graduated performing arts high school, you know, I'm trying to do my thing, you know, I'm just driving the truck right now. I'm auditioning and blah, blah, blah. What can you tell me about the biz, man? What do I need to know? He said, study math. Yes. Once again.

All the way back to math. Yes. I said what? You suck it. Right. Study math. Yeah, yeah, right. Right.

Study Matt. Yeah, yeah, I got that. I got that. You know, and he took off, you know, down the street and he's gone. He's whispering, like, disappears, you know. And I'm like, study math, study. What the, is he talking about study math? Study math.

That's some shit. study man and I drive you just don't want to tell me well this is a business it's called show business

count your paper count your paper I see I love it that's it so wait before we close you know as I mentioned you're dropping us with a two

for of course my rainy being one of them but um fargo son your work on fargo oh much respect dr senator may he forever rest which which hopefully will be sending you back to the emmese next year um from your lips to god yeah say it again no no it's it's i i already see it happen i'm putting it out there um yeah just in and the fact that they're telling a black storyline like no one was more shock than I was. So how did this come to be? How did this come to fruition?

I picked up the phone, ran and rang. My agent said, we've got an offer for you to do a Fargo. I said, send me the script. And they sent me the script. And I said, I'm in. Were you familiar with the series at all before? I was a movie. And I'd watch

a episode here and an episode there, but not really into it, you know. but once I signed on, you know, I got all of the episodes and binge watched all of them. When I got there, I met Noah Howley, who was brilliant young man. And he just, you know, he and I just talk. I love what he was saying. I love what he was talking about in terms of, and it was not deep. Everything was really rather simple.

But he obviously, to give you an idea, of how his mind works in terms of details. I just watched this last episode, you know, and I'm dead and going, but I'm still watching. You know, he had a thing in there where he said, I'm paraphrasing now, but one of the, one of the black characters says, I don't think it was Chris, something about I got to get out of here

and I'm going to go get some greens. Now that's a white guy right now. Oh no, right. He got them laying in bed with a scarf. on their head. Like his different detail is, you know, so he's so in tune to the nuances. It's about the nuances of his scripts and his characters. It's the nuances that make the the characters so interesting, you know. And he's brilliant at that, you know, and those are what's so fun to play. So Dr. Senators' nuances were, where it just,

so much fun. But answer this question, Glenn. In the beginning of Fargo, it says this is true. Some of the names have been changed, but please, please tell me, is it it true that a black man create the credit card? Come on. Bye. Bye. Good night. What? It's been a pleasure.

I'll just say before you go, before you go, can I just say, how about it? Can I just say how poetic does it feel that you started out and raising in a son with Lorraine? And you now brought, I was, oh, August Wilson's second, like his second play to the film, to film. Like, what does that feel like? I said that really nice. And articulate, yeah. It feels great. It feels great.

Well done. It just, it just feels great. And it's, you know, it's all so great. What? To be here with you guys, to see you guys. guys doing your thing, all of you, together, doing your thing, asking great questions. Got to get your own thing going on. I love seeing this. You have to understand that it wasn't always like this. So you guys are real. You guys are my heroes. We stand on your shoulders, sir.

Thank you. A hundred percent stand on your shoulders. Questler Supreme. We are heroes. Well, we thank you very much. For sharing your stories and your creativity. And thank you for always making us look good, man. Yes. Yes. Thanks for real. We appreciate that.

Yeah, so on behalf of Sugar Steve, I'm Payne Bill, Fontecolo, and Laia. This is Kirstloaf. Signing off from Kuzloaf Supreme, the great Glenn Turman. Definitely see Marini's Black. Bottom. It's okay. Black bottom. It's not nasty.

I don't know this. It is nasty, though. It is. I had a momentary lapse of reasons. Yes. And also, yes, Maheranee is Black Bottom. Definitely must see.

And, yeah, support him in Fargo. And, yeah, we, I'm calling it now. This, yeah, it's, it's in many time for this entire season. Yes, yes. I'm calling it right now. The great Glinturnan, ladies and gentlemen, thank you very much. This is Questlow Supreme signing off. Hey, this is Shigstein.

Make sure you keep up with us on Instagram at QLS and let us know what you think and who should be next to sit down with us. Don't forget to subscribe to our podcast. What's Love Supreme is a production of IHeart Radio. For more podcasts from IHeart Radio, visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows.

A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivertaker. The 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media.

Well, now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw unfilts of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clifford show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. 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 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, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Ellen's, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and Michael Ranchini. My mind was blown.

I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe,

on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. This is an IHeart podcast. Guaranteed human.