The Questlove Show - QLS Classic: Jermaine Dupri

Episode Date: December 8, 2025

Hip hop icon and R&B hitmaker, Jermaine Dupri, tells 30 years of industry tales from Fresh Fest days to career-reviving remixes. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee 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 IHartRadio app, Apple Podcasts,

or wherever you get your podcasts. Everyone, I'm Ego Wood. My next guest, it's Will Ferri. My dad gave me the best advice ever. He goes, just give it a shot. 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 podcasts. Questlove Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. This is Sugar Steve, and on this week's Quest Love Supreme Classic, hip-hop icon and R&B hitmaker, Germain Dupree, tells 30 years of industry tales, from Fresh Fest days to career-reviving remixes.

Originally released August 22nd, 2018. Questlove, spitting hot tracks, interviewing the man, with the world's loudest high hats. Suprema, sub, sub, suprema roll call. Supremia, sub, sub, suprema, roll call. My name is sugar, yeah, money ain't a thing. Because I don't have much.

Yeah. Sucks for me. Roll call. Supremma. Subrema, Roll Call. You're going to get some hype. Subra, Supraima, Role Call. This shows off the hook.

Yeah. Like Escape Second LP. Yeah. Boss Bill is my name. Yeah. On QLS with JD. Roll Call. Supremma,

So, Supremma, Ro Call. Supremma, Roll Call. It's Laeam. Yeah. With the legend D. Yeah. Been down with him? Yeah.

Because I was at the AUC. Roll Call. Suprema. Subma, Supremar role Supremar roll. My name is J.D. It's all about me. I'm celebrating 25 years

in this crazy-ass industry. Supremma, Submira role call. Supremia. Suprema role call. Suprima. Suprima. Submira role call.

Ladies and gentlemen, welcome to another episode of Quest on the Supreme. All right, I got to get this. this out once in the open. Jermaine, why do you, why your high hat so loud on your record? That is, do you, do you,

in my only person that mentions your high hat game? You're the only person that ever asks why, right? And I'm glad that you ask why because I feel like I don't get the credit for high hats being that loud on records now. And I'm glad that you're saying that because

I did that deliberately as my thing to make, you know, Like when I first, I'm going to tell you why I got it from, right? I got it from, um, 777993. Oh, shit. Babe. What's your phone of? Ask because you're so fine.

That's a rap. All right. Right? Yeah. Are we, are you about to break his heart right now? No, go ahead. Go ahead. I'll let Prince take the credit.

Go ahead, go ahead. Go ahead. I mean, the way the high hats sound on that record, that's the focus. When I was younger and I was playing drums, that's all I used to try to play that beat. And my focus was that hi-hat. So then, you know, for some reason when I started making beats on a drum machine, I just wanted my beats to sound like that. So once I started making one and people said something about the hi-hat, I was like, oh, okay, this is my thing. So then I did it on You Make Me One with Usher record.

And it was like, that's the first time you heard the... It's loud as his voice. Yes, very loud. And that's how I wanted. I wanted you to be able to turn the record down as low as you could possibly turn it down and hear the vocals and the hi-hat. See, the thing is, though, as,

well, I mean, now we have, like, you know, technology that doesn't, we don't have to spin on records anymore, you know, because we used to write on whatnot. But the thing is, is that usually shuffles and hi-hats leave an imprint on the wax. Like, if you look at Thriller, The shuffle of Billy Jean leaves a sort of spiral design inside the actual groove of the whacks.

You're very technical. I'll never wait to tell you. Wait a second. You're staring at the vinyl of Thriller with a mic. Actually, come on, let me tell you some. This is something I noticed when I was like three years old. Yeah. I know exactly what you're talking about.

It looks like Tigers Strives. Yeah, the grooves of all the other songs on Thriller look normal, but Billy Jean. Like, that's when I noticed like, oh, high-end, high-end, Fidelity stuff, they leave an imprint on the wax, which leads to any time I've spun anything produced by you, especially money and the thing, there's this whole, what was the game we used to get as kids where you do the, like, what was the Spirograph? It's not a game, but. Yeah.

Is that still a thing today? Or is that like, did I just date myself? No, I don't know what that is. Spirograph. I don't know what that is. Okay, JD. Were you Where you?

Because J.D. He was born in 1998. Yeah, I don't know what that is. Come on, Jay. Come on, Spirograph. Okay. Will you take a...

Never mind. No, no, no, no. Okay. Well, this is classic Quest Love Supreme where I didn't even officially introduce our guest. Ladies and gentlemen, welcome to another episode. I had to get the high hat.

I'm a drummer. I had to get the high ad question out the way. I'm glad you did that. All right. So another episode of Quest Love Supreme. Hello, Team Supreme. I assume that Fonte is fixing his countertop or his pool, whatever. Or making videos doing it, whatever.

Yeah, exactly. I will say that enough has not been said about our next guest, and I believe that he also agrees with me that enough has not been said about him. That's sort of like one of the dangerous things about hip-hop culture, or this disposable hip-hop culture that we have, where, you know, we discover great resources and we use them to the hilt. And then we kind of are on to the next thing. And revisionism sets in, and usually the person with the biggest check gets to rewrite history.

And suddenly everyone has a foggy memory on who pioneered what and whatnot. But I will say the numbers don't lie. And for 35 plus years, our guest today has been a figurehead in hip-hop and all the areas, be it as a producer, as a songwriter, for some of the defining moments in hip-hop and R&B culture, or as a label head, a manager, and as an artist in his own right, I can even say a dancer.

This man is connected to more people that I care to announce. If I announced them all, the show will be over. Ladies and gentlemen, please welcome to Questleaf Supreme, the one and only, it's Ramin Dupree. What an intro. I didn't use that intro on my DJ set. I'm probably going to be... I'm going to use that.

That's what I'm used. Ladies and gentlemen, JD. Yeah, yeah, yeah. So how's it going, man? Oh, it's going. All right, so for our listeners, and I'm trying to pack every question I can't,

first of all, I was shocked. You were born in Asherville, North Carolina? Ashville, yeah, Asheville, North Carolina. Isn't that the hippie community? I'm not sure I was, I left there when I was two. Okay, because... Yeah, I'm not sure. Usually for the roots,

usually Asheville, North Carolina is like, it's such a hippie territory. It's a mountain town, so. Yes. Some of the thing of like the Bonneroo's, but times a billion, like there's always jam bands performing there and,

you know, we've done many a show there because... Sounds like JD ain't been back. That's, yeah, you know, I was put in Atlanta when I was two. Okay, so what made your family move to? Atlanta? Because Atlanta's the big city to Asheville and, you know, North Carolina is like, that's what they look to, I guess back then is the place to go to have like fun. Like it's almost like how people go from L.A. to Vegas and, you know what I mean? It's like that type of situation, I think. I see. I think. So as far as you got in the business early, but what describe what

life was like in Atlanta. Because usually, I'll say that for me, my first, my first education on Atlanta, especially being how old I was, or the unfortunate the Atlanta child murder situation with Wayne Williams. Yeah. Who looks...

Boss Bill looking at me like, don't say nothing out of the line. But then he kind of looked like Walter Clyde Orange from the Commodores. Oh, my God. Wow. Wow. Oh, my God. Now that she said it,

he looked like Walter Clyde Orange from the Commodores. Everyone shaking their head, Walter, I love you in my eye, your drummer. Anyway, that was my introduction to Atlanta, but what was your childhood like in Atlanta? Did they always have culture? Yeah, I think, you know, skating for kids was the culture of Atlanta. So when you see ATL, that movie was basically what child, you know,

my childhood was it for me to go to skating. You get away from your parents. You get to listen to music. You get to dance. skate you get to talk to girls everything happened at the skating rink that was for young kids anyway coming up basically that was it for me and then talent shows Atlanta was full of talent shows all of schools had talent shows and you know um I was just doing that hitting schools and doing talent shows and going to skate rink it was not really much it wasn't really much of a music scene in Atlanta

but it was a it was a scene for like dancers and the culture like I'm saying like skating and stuff like that Musically, it wasn't really. We had SOS band and we had Brick. Okay. And that was, you know, oh, and Peebo Bryson. And those were, Peebo was like, you know, he was like Rick Ross in Atlanta back then. Like, that was his, you know, that's Peebo's town. He'd be up in the club and.

Peebo. Wait, did you? He had the penthouse downtown, you know, used to drive by my day. He was like, that's, that's a Peebo Bryson's house. Like, she'd be like, man, I'm going to get me one of them shit one day. Like, he's just, you know, like that. So, was your father always in the music industry or? Yeah, from what I can remember, my dad was basically like a roadie that turned into like a road manager that turned into like a, you know, a production manager more than anything.

Because my dad played drums. So he was like more like a production guy for the dramas of Brick and, you know, SOS band. And then he got into, you know, morphed into more doing more production for, you know, doing more production for all of these artists. And I used to just be there rehearsal watching and looking and then cameo and, you know. It started growing, but it was just those those were the main artists in Atlanta. How old were you at that point when you were watching these bands? Like nine. That sounds about right.

Yeah, like nine. That sounds about right. Yeah. Now, we've discovered here on Quest Love Supreme that all the name brand super producers have some sort of DJ history before. they went into production. So did you have any DJ history prior to your... Yeah, 100%.

I mean, when I went on to Fresh Fest at 12, Grand Master D basically was showing me how to DJ. They're like, I didn't know what to scratch. Like, scratch. You showed me how to scratch. I used to just want to always scratch. I used to go behind the turntables

while they was doing sound check and try to scratch. And he's like, no, don't, don't touch my set. I'm going to show you how to do it. So I, um, I just don't touch my set. I kind of, you know, I can say I got personal lessons from Grand Master D and Jam Master Jay of how to actually DJ and, you know, actually scratch and, you know, go back and forth on the records.

Like, that's what my introduction to DJing. So then I left the tour and went home and I told my parents that, you know, I want turntables for Christmas. That's so weird because, like, coming up, because Run DMC, or because Jay actually scratched on Run DMC records. I always wonder why Larry Smith. never let Grandmaster D physically scratch, not until like the third record.

When the Open Sesame record, then I finally heard scratch, and I was like, oh, he can't cut. But everybody and their mother swore to God that Grand Master D was like stealing the show at the Fresh Fest doing like all these tricks on his head. So he was a legit bonafide DJ.

Yeah, 100%. Yeah, I mean, he was, you know, all those tricks and they would pick him up and he'd scratch, you know, he, uh, uh, uh, with his mouth on the cross fader. Yeah, he was doing it. He was going. So being as though the Fresh Fest was the first major stadium tour for hip hop. One, how did you get on the Fresh Fest?

Two, what was that shit like? Well, I got on the Fresh Fest because the Fresh Fest was created in Atlanta by a guy by the name of Ricky Walker. Ricky Walker now has created Universe Soul Circus. Oh. It's the same guy. This guy created that, and then he went and did the circus thing now. But he created the Fresh Fest, and my father was the production manager on the Fresh Fest. And they just needed an open act.

At that time, they used to be like they need an opening act to kill time or buy time or whatever it was, and they just put anybody on. No in-house music playing, no iPods. Yeah, nothing. It wasn't nothing like that. They needed somebody to, you know, buy, you know, kids. I don't even understand what that was, but they was buying time, basically. And, you know, they was like, well, do y'all have anybody to put on?

and they suggested that I could come out and dance and they let me come out and dance and the show in Atlanta was the first show of the Fresh Fest and it worked well with the time so then it was like well can Jermaine do this for the rest of the tour and I ain't know what that was my mother ain't know what it was nobody knew what it was. It wasn't no money involved it was just like what was your routine?

I had a dance routine where I came out to It's Time and a couple of other records where I just was just on stage freestyle and just dancing and I was little So, you know, when you're a little kid dancing, the crowd goes crazy. So it was kind of like a, it was kind of like the circus kind of. You know what you're looking at. It was watching and it looks like I'm doing more than what I probably was doing. So how many acts were, well, I know it was Fat Boys Houdini and Run DMC, who, like, I'm sure there had to have been accessory groups on there.

UTFO was on the tour. Grandmaster Flash was on the tour. everybody was hot at that arrow was on the tour how long would each act get probably like 15 minutes I mean they never had that many records and Run was really like you know this is my shit so you got to

you know oh so I better hurry up Reverend Run had a real you know he had that real thing about him and Curtis Blow was on the tour so it was Curtis Blow was on the tour so it was Curtis Blow Run DMC the Fat Boys Who Deanie Grandmaster Flash the dynamic breakers

and I think ozone and turbo Whoa Yeah yeah See this is what I appreciate Because I know as a youngster As a person that was young then You were definitely in a fly on the wall situation That anyone else couldn't like

If I were whatever 30 plus years old They'd be like hey get the fuck out of it But with you as a kid I'm certain that you allowed in spaces that I wasn't supposed to be in But at the same time They was trying to tell me Get the fuck out of it

but it was like I was just like, no, you know, I'm here. I'm not paying attention to y'all doing this and I'm not, you know, I've seen everything. But anyone from that era never has a recollection. Like DMC, like, you know, I'll ask him a few things. And he, man, my memory's foggy. I don't remember, man. Like, you know, so. I remember everything.

It's good. And I've been trying to do this movie about, basically about my life, kind of like that. And I've been having people tell me that it's hard to do a movie for a kid. showing what I want y'all to see that I saw. Streaming. You got to go to Netflix. It's R-rated and it's not, you know. You got to go to Netflix.

And it sounds like a series too because that's a long life. Well, I mean, I don't know how far to get back, but I'm really more concerned about that because what he's saying is that people, this is, I know the stuff. It's not even like history. It's like a kid seeing what you don't understand a kid saw. Like I saw artists come to life.

I saw artists doing drugs. I saw, I just saw everything that at 12 you don't really understand what you're seeing. At the time since you're going, your touring and whatnot, is your dad your only chaperone? Because he's working. Yeah, he's not really a chaperone. I'm out there basically by myself. He's working. I'm running around.

All of these other guys are my chaperones. That's why Houdini, like, for real, that's why Houdini actually became like my brothers. And, you know, they became like the guys that was with me all the time. Not that my father wasn't paying attention. It was just that I saw that as a move for me to start getting away from him and just like hanging out more. And I wasn't like out late at night and nothing like that. None of the guys ever let me do anything like that. It was just all about the tour.

And like when the show was going on, I was everywhere at the show all over the place. Wait, this is how nerdy I am because it didn't even occur to me to ask about like, oh, the salacious shit you saw. My nerd ass is trying to figure out, well, wait a minute. What was the backline situation? So, like, what was sound check like? I know monitors are ringing. Like, I'm trying to figure out, like, how does, from a production standpoint, how is the show run concurrently and smoothly without this DJ being like, who broke my mixer? No, they all had different sets.

So it was like probably like five tables sitting in the back, right? So every time somebody come off there, move that table and put that guy set up there, nobody was using the same turntables. That definitely wasn't happening on that tour. See, that era would scare me because I know that with dancers, there's always skipping records. And that's what made Jam Master Jay to me one of the best live DJs ever because he waded his needles. He knew how to, you know, move in a land of where that would never happen. He was like a drummer on. He was like you on stage.

Like he could really just like do whatever he wanted with those turntables and make them, you know, play the way he wanted them to play. So when they asked you, I'm sorry, when they asked you to do. the record years later. What was the Down with the King joint? Because that was the only time y'all worked together again the next time. Oh, Run DMC? Yeah, yeah, yeah. That must have been like a whole full circle moments since, you know, going from a kid

and which you were saying how, you know, run was such a boss on tour or whatnot. I mean, it was all of us a full circle. I signed Houdini, the Social Security. Like, it was a complete full circle. Like, I was a kid looking up to these guys and they was teaching me and telling me things. And then I felt so, you know, connected to them that I wanted to, sign them and give them what I felt like I was given to the rest of the world. So when it was over, like the last day of the Fresh Fest?

I don't even remember that. Well, okay, were they all, I know there were like two or three Fresh Fest. Did you do it every year or just one particular year? Yeah, I did. 84, 85, and 86. Okay, so when the Fresh Fest is officially over, like, how do you return to normalcy? How do you go back to Atlanta or wherever your home base was, assume that you lived in Atlanta. Like how do you explain this to your friends? How do you explain what you saw it and like?

Well, that's what actually really happened. It's like when I was on, I went on tour at 12, right? And in Atlanta, Atlanta wasn't a city that was used to performing artists. We didn't, we don't have a performing art school or nothing like that when I was 12. So I was in a regular school and I had a tutor. But when I came back from tour and I took my grades back to the school, the school system told my tutor that they couldn't accept it. Like they just was like, we don't. That's not, we're not used to this. We're not going to accept all of this work. So I'm like, wait a minute, I did this work.

You're not going to be ready to make it seem. I'm not going to be left back. I was on the bus doing work. Like, I had a tutor. So right then and there, I was like, man, fuck this. I'm not, I'm not doing this. So it was like, my life changed right there at like 14, 15 years old. My life just changed.

It was like I became doing home study and I didn't go to school anymore. And then it was just like the drive to. make sure that this didn't turn into something completely bad. But was that weird for you because, you know, on tour, I don't know if you had anyone to relate to that was your age, and then you're not in an environment, in a school

environment where you have sop hops or a prom or, you know, just like regular, you know. Sock hops? I'm 50. That's worse than this. I said to this. Sop. What is that? That's the sophomore prom.

What's a sop hop? S-O-P. Hop hop. I think Bill knows or I'm talking. What the word? You're going to leave me out here, a little? I only know it is because I heard you say sophomore. I saw it on Greece.

Soap hops are. That's where John Tobolra and Olivia and John went in the middle of Greece. Maybe someone that went to school in the 80s. I'm telling you what it is. It's a good reference. Please explain it to me. I thought you said sock hop. It's where Olivia.

I get it, Jay. I mean, I was 12. I was 12 in the 80s. You're still 12 now. I get it. I get it. I get it. I get it.

I get it. What it was. Come on. You're young. I get it. All right. Those sock pops are like the senior dance thing. Right.

And the girls wear your Bobby socks. You go on your junior prom. Then you go on your senior prom. But it happened in the 50s? No, that's sock. Oh. So you're thinking of Greece.

Sop. I have a cold. So someone, all right. Okay. All right. Thank you. I'm the oldest person in the room.

Thank you, Steve. I don't know what that is. Your Frisbee and your hula hoop just arrived. Your Nerf ball. Anyway. All right. Here's my point. My point is that, you know, not, I mean, I don't know like what your relationship is like with your cousins or like your family, but just to not to be isolated from people your age.

Like how was it, was it a lonely isolated experience where it's just like, oh, I'm hanging with these adults all the time and not? Nah, because I looked at it like this was the only way I was going to get close to what I was in love with at the time. And these guys was dancing all day. You said you wanted to know what sound check was like. Sound check was like because we had two stages. We had a middle stage and we had a big stage, right? The rappers was on the main stage. And then the stage in the middle was all the dancers.

So in Soundcheck, all the dancers would be out there dancing together all at one time. Like just everybody dances. So it's like I'm getting an opportunity to see moves and all of this stuff. And I'm not watching videos. I'm actually watching this and I'm learning. So to me it was like being at. at school, but the school that I wanted to be at. I first heard about you, like I, well, before the internet,

Ritalin magazine was like every black teen is like religion. You know what that is, J.D.? Yeah, yeah. Okay. You better know, I think that was his first article. I was in there. Shout out to Cynthia Hornet. She put me in there.

Yeah, I was going to say, JD. Do you remember being a Rital? Yeah, yeah. Anyway. 100%. So I think of the time was Silk Times Leather your first project or, How did you get into production? Well, let me tell you, Silk Times Leather were girlfriends of Houdini, right?

Okay. So they was out on the tour doing what the girlfriends out on the tour do, basically. And I was on the side of the stage when these girls came up, and I was like, you know, checking them out. I'm young, so I'm checking the girls out. And they was, you know, they was guys performing. So then we just got to know each other because they was out there like I was out there. And it was like, you know, I'm running around. They were running around.

So then they pick me up, take me, we go to catering, whatever it is, with something that had something to do with touring. Right. So long story short, I learned that these girls were from Atlanta. So then it was like, oh, shit. Yeah, from Atlanta, they was like, yeah, so we're going back home. When you get back home, call us, and we'll come pick you up. We got a car, take you, get something to eat.

They was really super nice in this, and the third. So when I got back. Were they your age at the time? No. Because I don't even remember Sylkemsland. So they were older. Yeah, that's not cool. You don't remember.

I remember. It's all good. It's all good. It's all good. It's all good. I wasn't born then. Oh, whoa. You were born when Rhapsody was on.

Yeah. That's when he was born when Rhapsody came on? Whatever. All right. So, you know, they lived in Atlanta and basically, at this particular point in time, I was so deep into hip-hop and I was paying attention to everybody's movement. And Herbie Love Buck was moving at this particular point time. He had salt and pepper.

I think he had just dropped kid in play. And Kwame. was, you know, he had what I thought I was, you know, what I was looking at trying to figure out. A movement. Yeah, movement. So, um, the girls, they was, you know, they was into Salt and Pepper. And some kind of way I found out that they wanted to be rappers or they

was rapping or whatever. And out of nowhere, I just said, well, y'all should let me write your songs. I don't know what I was thinking about. Because I ain't had no drum machines or nothing. But I just felt like I could do it. And they was like, okay, well, how are you going do it? And I'm like, we'll figure it out. Right? So, and I don't know,

I'm guessing that I'm thinking that when I said this to them, I didn't think they was going to take me up on it. They called my phone when I got back home or they called my house and they was like, we're going to come over your house. So they came over my house. They got really familiar with my mom and got, you know, really friendly. And my mother trusted them and I started going out, hanging out with them. And it was all about just hanging out. And then I was always talking about making music.

So then I figured out how to call the drummer from Brick. Eddie Irons, he was the drummer for Brick. I called him. He had a studio called 25, 60. in Atlanta. So I called him. I'm like, yo, I want to make some records. And he was like, okay, what you want to do? And I'm, and I'm bartering his services. You made the call? Yeah. I'm bartering his services like, yo. And you are how old at this point? I'm 15. Okay. Yeah, that's the thing that's amazing me, because there's no one to barter for you.

And you haven't written a song yet either, technically. Yeah, well, no. Well, yeah, I did. So, ultimately, like, my first song, Shaddy wrote my first song. And this is so. Yeah, MC Shadie Shadie wrote the first song that I, ever did. And that he taught me how to write songs, basically watching him write this song for me. So when he wrote this song, it's called It's Me that I used to perform on the Fresh Fest. It was a song that he wrote, but he wasn't really saying everything that I wanted to say. So I was in this position where I had this song where I was saying these lyrics that he wrote, but I wanted to say something else. And I wasn't skilled enough to change the lyrics while I was on

stages. I thought I was just going to destroy the song. So I did the song the way I had learned the on because I wouldn't skilled enough to change it, but I knew in my mind I wanted to change the lyrics. So long story short, he got me into writing. So from the Fresh Fest, I came off the Fresh Fest in 86 with a rapping and writing songs. Right. So and I jumped a piece because I met Chad Elliott who was who was, he came in second place to the fat boys in a disco fever. The white skin dude. Yeah, yeah.

All right. You remember in Crush Group? Yeah. The skinny dude He's real? Oh my God Yeah

Where is Chad Elliot? He's here He's in New York Chad Chad actually is going to induct me Into the songwriters Hall of Fame Thursday

What? Yes So wait he has a Oh So I'm gonna give you all this history Yeah hit me A win is a win 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 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. 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, 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. Some lights the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian 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 has served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, 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, 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 IHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

So, you know, Chad, me and Chad, because you says nobody I hung out with. So I met Chad later on in the Fresh Fest in like 85. So 83, 84, 85, yeah, 84, 85 and 86 was the Fresh Fest. In the 85, I met Chad. We started, they put Charlie Stetler. You know Charles Stetler? No. You know Charles Stetler.

Yeah. Okay. Charles Stetler was the Fat Boys manager. He managed Chad. He started managing Chad after the disco fever contest. He came to the tour and said, if the fat boys stay on his tour, y'all got to put Chad Elliott on his tour because Jermaine's opening.

So he made Chad the second opener after me. So it was like, I go, then Chad go. And then people start trying to pit us together and it never worked. We didn't really care about that. Y'all should be a group. Well, that didn't happen. We was just like kicking it.

And then it was like we should be a group. So this was like the first version of crisscross. Actually, if you think about it, one dark skin, light skin kit. So fast forward to that, me and Chad really start hanging out. So at the end of the tour, you want to know what happened. At the end of the tour, I moved to Brooklyn with Chad Elliott. So he lives in Brooklyn. I came here to Brooklyn.

and I lived almost a year with him in Brooklyn basically soaking up every bit of hip hop in New York culture that I could actually get. Right? Every bit of it. Everything. So you were in Brooklyn, 86, 87, 88. Yeah. Right when art.

When everything's happening. Everything is going to life in Fort Green and Big Daddy King's recording demos and Fresh Gordon's house in Fort Green projects. All of this stuff, I'm. right down the street from this and knowing that this is happening, right? So I'm staying in Brooklyn on Nostrand, New York Street. Right. Eastern Parkway, just for anybody's listening.

Yeah, I'm staying over there. And this is 87? I don't actually know the year, but yeah, it's right after the first day. There's a certain nightclub I want to ask you about, but yeah, I was about to say, cue that up. I got a cue. Do you have a Latin quarter story? No, I don't. Thank you, Lord.

I couldn't get in there. I was too young. Damn. That was too young. So, yeah, so Chad actually introduced me to breakbeats and the sound of New York at that particular time. And that's when my appetite for production and making records came to life.

So what happened was I would take break beats and I would play the breaks and I would start writing. And I knew that you had to, you know, catch the break and play another one. So we was, you know, we had a box and we started. pause taping and making these beats with break beats so that's basically how I started so when I got back to Atlanta that's the part of the story that's when I made the call and I'm like yo I want to make some records you brought breakbeat culture to Atlanta well I don't think people heard it that's what made me become more of a producer because I told this guy sample these beats I told him I want this beat to be the song what was your weapon of choice back then like what

machine did they have? I mean, I think he had a, what was it? SB12 or DMX? A DMX? Okay. That's what he had, right? Right, yeah.

So you couldn't really sample. So then I found these white guys across the, no, no, on the other side of town. Right. They had an emulator. Now, an emulator could sample. Yeah. So I'm like, shit, they could do it with this machine.

They didn't want to do it either. They didn't understand what I was saying. They was like, you want us to take people's music? And I'm like, yes, take the beat. Oh, moral cause. I'm like, yo, take the beat. want to wrap over this piece. So then they try to recreate the brakes with drum sounds. And I'm like, ew, like this is not what I'm talking about. Right. So the frustration of this

made me become a producer. So then I just started like, I'm going to figure this out. See, this is weird. So you're the first person of note that I know that's not from New York that persisted until they found a satisfactory production technique that they're knew in their heart they felt was hip hop. Because usually anyone else that I talked to from other territories, it's just like, okay, well, I'll just do it on the drum machine and, you know, Aidway. I got it. I hate it. I hate it. Like, when I heard you, I was like, oh, my God, is this is, is he for real? Like, this guy understands what I'm talking about. I used, I'd be hating to hit drummers just play beats and it don't sound like the, like what I wanted to sound like.

Like, tune the snare a little bit, make it, make it do something, right? So this was what I was going So the frustration that I was going through and not hearing beats the way I want to force me to become a producer and start hitting the drum machines and whatever whatever. So long story short, I got in there and I started getting Eddie to let me touch the drum machine and give him ideas about the Silk

Times Leather record. And I wrote a song called The Woman and Me or something like that and I think no, work it out. Work it out by Silk Times Leather and we got a deal with Warner Bros. They got signed. Oh, okay. Yeah. They was pretty girls and I think that's what they was going for more than the music. They didn't really care about the music. They didn't really care about me,

but I think they was into the girls and they thought they could sell them based on how they look. So at what point are the training wheels taken off, and then you are like, okay, I can make these beats now, as opposed to sample this and sample that. Well, Silk Times Love, I think they sold 15,000 copies. So 15,000 copies to the writer of all the music is like, you know, $15,000 maybe or something.

So I took that money, And I went and put my drum machine on Layaway, and I got a 505 drum machine I put on Layaway, right? Because I ain't really have all my money, but I had enough to put the drum machine on Layaway. When I got the back end of my money, I went and got the drum machine. So then I started making beats, but the beats still didn't sound like I wanted them. So I was like, okay, I'm just going to make this beat of how I wanted to be. When I get to the studio, I'm going to change the sounds. I'm going to have him change the sound.

So I started going to the studio, and I was telling Eddie, change the sound of the kick. I wanted to sound like this, and I wanted to sound like this. And nobody was getting what I was saying. It's like, okay, all right, this is just killing me. So then I got another check from the Silk Times leather album that allowed me to get Insonic EPS. Ah, okay. Right?

So when I got the insonic EPS, I thought I had walked into heaven because I could sample and I could do everything that I've been telling everybody else to do. So I just stayed up night after night after night after night. You taught yourself how to do this? I read the manual? No, I ain't read nothing. I just never read that.

No one ever reads the manual? Yeah, I didn't read nothing. I just started messing with it. Because I already dreamed that they told me at the store that it would do what I wanted. So if I'm thinking, if you tell me it's going to do what I want, then I'm going to start trying to do what I want. I sing the sample button. I'm trying to do what I want. And I learned immediately that it didn't do what I want.

But, you know, that's the learning thing. Yeah, I caught on. So with that, I just started making songs because the EPS was easier and I started making songs and just doing my own little demos. And I met Left Eye. and then she started living with me. And she was... So she moved from Philly to Atlanta? Yeah.

Okay. So she moved from Philly to Atlanta. And she hooked up with this guy named Ian Burke who brought her to my house. Now, I didn't have nothing at this time. I just had equipment that I had just bought and I was working. And he was like, you should go over to J.D.'s house

And y'all worked. So she came into my house. We started working. And we was writing songs basically together. And then I went to the mall with the DJ from Silk Town. Combs led them. Okay.

And I saw Chris Cross. And they was in the mall already just chilling. So that's a real story? Real story. Okay. All this time I thought it was like, oh, that's marking this story. There's someone in this church or whatever. It's a 100% real story.

I went to the mall. I'm in the mall shopping and I'm looking in the corner and it's these kids that people are actually paying attention to. And I'm like, why are you paying so much attention to these kids? And I'm thinking like, okay, maybe it's like one of these Nickelodeon groups I don't know or something like that. Right. So I walk over.

to him, I'm like, yo, what's up? They're like, what's up? I'm saying, like, what do y'all do? They're like, we don't do nothing. We just kick it. I'm like, y'all just kick it. I'm like, why is people, why are the girls, like, all that y'all? And they're like, that's because that's what we do. We got girls. Like, that's what happening. And it was like, they was 11, 11, 11, 12 years old. And I'm like. And they knew what swag was? They swag was, they was the definition of swag. To me, at that time, I didn't even have that type of swag. I was just trying to be a producer. These guys was in the mall, flexing talking to girls, spending money, all kind of things, and getting sneakers.

So I was like, damn, where will y'all get all this from? Are y'all a group? They're like, no, we don't rap. We don't do none of that. We just come to the mall. We're cool. Everybody liked us because we cool. And I'm like, okay.

Immediately I just stopped and my mom was like, if I write them a song, this shit is going to go. Did they know who Jermaine DePree was? No. They thought I was like a pervert or something. Oh, damn. I swear. They thought out. They was like, why do you want my number? Because I asked them for their number. And then luckily, one of the mothers, one of their mothers walked up and she read Jet Magazine. So in the Jet Magazine that had just come out, there was like a little issue about article about female rappers. And it had salt and pepper and the girl groups that are coming behind them. And Silk Times Love is happened to be one of those groups. So she recognized the DJ from being in the Jet magazine. So she was like, I know her. I seen her in the jet.

So they are somebody. That saved me because Chris and Chris was like, no, I'm not giving you my number. Like you said, it was an or in Atlanta about the missing and murdered kids. And they was from that neighborhood. So, you know what I mean? That was a stranger danger. Yeah, it was a stranger danger. You know what I'm a situation.

So I'm telling them like, y'all, I want y'all to come over to my house and kick it. And they still like, come over to your house and kick it. What are we doing? Like, because they weren't into music. So they didn't even understand what I was trying to get them to do. Right. So, you know, that passed, and I would, like, go get them from school and just try to hang out with them

and I'd become their friend more than just talk about music. So I did that. And then I started noticing that they was in the backseat rapping. Okay. To music that I was playing. And they was rapping all the lyrics and really doing that shit in the car like that. What did they gravitate towards? Ice Cube.

America's Most Wanted. The whole album. Wow. I heard paybacks of motherfuck. They was going crazy in my car. This is weird for me to imagine kids. actually gravitating towards shit that I actually like

because usually like the generational divide kids are always liking the shit that I don't like you know what I was about the same age as Chris Cross and they came out no hold on and like America's Most Wanted

Ice Cube was my shit Around avoidable Yeah Yeah no that's They was like Ice Cube fanatics That's all they wanted to hear was Ice Cube

So we play a whole Ice Cube tape from their house to my house And they was rapping all the lyrics So I was thinking like Okay so if they like this Like this And they rapping every word and they're doing all the inflections, they sound just like he's sound when he moves his voice.

I said, if I figure out how to do that and write a song for them that they like, they possibly could do the same thing for me. So then I just went in the house and I told him, I said, I'm going to write a song for y'all. And if y'all like it, I need y'all to rap it just like y'all doing this ice cube shit. And they was like, okay, whatever. So I did this song where I sampled Michael Jackson and Paul McCartney called The Girl is Mine, and I was trying to make them fight about the girl's mind. And this was the song that I wrote.

And I sample Paul McCartney and Michael Jackson. And I put left eye on the record because she was the girl. The girl? Oh, wow. Do you have a different, do you have a deal with this joint? Look, listen, listen. I would love to hear that. I would never.

I will never. I will never. Before you leave this earth, I'm a fine. I will never. She's rapping on this John, right? Is she rapping on the girl? She's the girl. So it's like my idea.

Like, the girl is mine. He's Paul McCartney. He's Michael Jackson and she's the girl. This was my whole little scheme. Okay. Even though you won't let the public ever hear this? Do you know where that tape is? I mean, it's a tape.

Yeah, I know it's a tape. Okay. All right. All right, go ahead. So, you know, that was the beginning. I'm starting to make these songs. And then I realized that they weren't Paul McCartney and Michael Jackson. They were little ice cubes.

Like, they were from the southwest south of Atlanta, which people called us swats. That's where they're from. Yikes. And they would come home. from school and tell me stories about how, Jermaine, you don't even know this little kids in my school is 11 years old. They're selling all a dope. They got all the dope.

And they had socks where they wear shorts and they have like multiple socks and they put all the work inside the socks and they go to school. So they used to give me all this game and I ain't know about because I didn't finish school like that and I ain't go with these kids. So I just just just listened to them and be amazed like, damn, this is crazy. And I'm like, who knows about this? So then I just start thinking about them rapping Ice Cube and the stories they were telling me. And I'm like, Little Boys in the Hood.

This is what y'all are. Y'all are Little Boys in the Hood. There's Boys in the Hood, but y'all are little boys in the hood. And y'all see the crazy shit that everybody else sees, but don't know why I actually believe it. So that was my goal to write a song called Little Boys in the Hood. I wrote this song, and I sent the song to Joe the Butcher and Pilly. And when I sent the song to Joe the Butcher, he hit me right back. Like, I love it.

Let's sign him. And I was like, what? Oh, shit. We got a deal. Just like that. He was ready to go. So then he brought us to rough. house for basically it wasn't a real deal it was the

development deal so it was a five song development deal I didn't have five songs I had four songs and he was like well we need five songs so on the night or the day before we was going to Philly I wrote jump classics always written like 10 minutes like yeah and I wrote this song I wrote this song in 30 minutes yo every song what did it start from

where jump start like What was the first thought in your mind? Kids. What did the kids do? Something kiddie, something kiddie. So I went after Michael Jackson. Like, he was a kid. This was, they was kids.

So he was a kid artist. Sample something Michael Jackson. So I started playing with the turntables. And I heard this ABC and I was like, I shouldn't let it play all the way out. I should chop it and just catch something. And I don't know what made me do that. And I just caught the first part.

Boom, boom. Boom. And I left it. And I was like, this shit sounds crazy. I went back and I did it again. Boom, boom, boom. And I stopped it. And I'm like, I'm not letting the rest of it play.

I'm going to just keep doing like that. Wait, motherfucker. You're trying to, wait. Hold up because somebody is listening to this podcast right now. Don't say it. Don't say it. No, don't say it. Oh, shit.

Do not say it. Wow. We all know that's, I want you back. And I'm sorry. I mean, well, I said the wrong song. My bad. I got to say it. Come on, dog.

You know that's. I do now. I want you back. Yeah, my bad. I said ABC. I said ABC because I was thinking... She still didn't know that it was I want you to do. Oh, that's what the whole thing was.

Yeah, the whole thing was I didn't know that it was a Jackson Sample. Listen, here's the shit that's killing me. The shit that's killing me was the whole genius of that song is the fact that you managed to find a way to make funky worm. Oh, shit. matched perfectly in key I mean look I love the bomb squad of death but we know their calling card was

just throw it on the wall and see what works they were not a tonal and you know radical so when I first heard that shit I was like yo it's some genius shit like how do you know that these shit was going to seem to be in the same BPMs and in the same key so I'm thinking this whole time you did scientific experiments but as with every producer

that comes on the show their peacey resistance is always like some afterthought like 10 minutes shit like I Well no The Funky Worm part I played with it for a minute To get it to sound like that

Oh you bend it down to it Yeah yeah yeah I was playing with it for a second That wasn't like Oh let's go Because like I said You gotta think about I just explained to you Exactly who Chris Crust was

Yeah Chris Crush was Chris Cross was two kids From the hood That was in love with the West Coast rappers Basically Ice Cube at that point in time right. So the funky worm was me grabbing what I thought was the West Coast for them so that they would like it. The sample was me trying to find something that was like kiddie because Michael Jackson was a kid in this era. So I was just trying to put all these elements into this one song out of every song.

I mean, we already had a deal with little boys in the hood, but I was just like, it could be better than this. And it could be better than this. And I just started and I started thinking about every element of hip hop that I could give these kids because I knew that they could rap. at this point. Like, they was really rapping what I was doing. I mean, for whatever reason I said they could rap.

They was rapping whatever I sent them, they would do it. So I was like, shit, let's dis ABC. And let's go to ask about that too. Let's just go all the way hip-hop. Because inside out is, oh. So can I just ask,

this might be a crazy question, but now the bell is up and I know now that Chris Cross didn't write their lyrics. Leave me alone. Is that going to be? Wait, that was a surprise too? Leave me alone.

a little bit of surprise I thought more of a collaboration but does that mean the same thing for another bad creation in that way like I used to assume that Michael Bivens did the same thing Dallas Austin did the same damn you were there age since the time

I get it I get it the first like child rappers or bow wow the first kid rapper to really start writing their own stuff you know J.D wrote everything no he didn't know bow wow wrote some stuff right come on

can I get to the science of him as a producer Okay, I'm sorry. That's Captain Hulner. All right, sorry. But listen, wait. But I'm just saying that in terms of, of, of who taught you? Because this is the thing, you're the first producer that I've spoken to since this show that is putting marketing savvy also in his production thoughts. Because even me as a producer, I'm certain that there's some, you know, like the equivalent of when you lose your glass.

and they're on your forehead. Now I'm thinking like, damn, what have you shit should the roots have done to really grab fans of like live music that we didn't do? Because never once in my history did I think of, oh, what's the marketing thing? We need a new earthwind and fire.

Well, do you guys, you know, I've never heard a producer talk like a manager. So what I really want to know is, where did you get your manager, marketing savvy from because that from the doors being closed right so when I was here in New York and I had silk times leather I knew red alert and Chuck chill out from being on the fresh fest and I knew them as a kid and then when I started making records I'm thinking like oh I'm just run up on here and they're gonna play my records it's cool I know these guys so I went up to you know

to radio shows and red was like this shit is whack like this ain't this ain't this ain't no this ain't gonna work JD and I'm like and they told you at the time of you like 15 it's whack they They didn't care about your feelings. And they also was like Atlanta's not, you know, it's country. Y'all niggas country and blah, blah, blah, blah. So I started building this mindset that it was going to be hard for me to make music anyway or to put my music out because people weren't going to listen to it. That's what I just started thinking.

So I started thinking about everything that I could possibly do to get people to pay attention to my artist besides the music as well as the music. And then left I was big on helping me do that because she was, starting to put this condom over her left eye and just thinking of crazy shit. So I was cutting my eyebrows off and I was doing all, you know, haircuts and earrings and nose

and we was doing everything that we could possibly do to make people pay attention to us, right? So then it was like, we need something else. We got the song. I got jump. We need something else. When I did a jump, when we did jump, they closed one even on backwards when we did jump. They didn't have braids.

Let me say this. They didn't have braids. On the first, on the jump cover, they don't have braids. If you look up, They got flat tops, right? They didn't have braids. So then it was like, we got to take this another level.

We got to take it to another level. We're going to go to the mall. You're going to put your jump on backwards. And we're going to see how this works. And they was like, why? And I'm like, just listen to me. Put the jump on backwards. He had a jump on already.

I just said, flip the shit around and let's go to the mall. He put his jump on backwards. And we went to Lennox Square. And it looked like he had a sign on his chest that said, come towards me. People was walking up to this kid. And I was like, and I just sat back like, like, oh, this is it. It's over.

It's over with. This is over with it. Because once these people hear this song and they see that they dress like this, we're gone. And I don't know what was the traction with the back was jeans. It just happened like that. You don't know what made you go turn it around or do something. Yeah.

No, I mean, what we were doing. Is the only person I knew that spoke of a marketing angle and shit that I never even wanted to think about. Yeah, we was trying to do things. We was in the house making tie-dye shirts and tied-dye jeans and just trying to, you know, Because when you ain't got shit, you try to make something, right? So that's what it was.

We didn't have nothing. So it was like, what can you do to make that sweatshirt look better than what it does right now? Cut the sleeves off. You know, we either just try anything, right? So it was just to try to get attention. I thought put the word Quest Love over it. That would make it. I'm playing.

So his, his, his, his, um, this jumper was already a hundred sizes too big. It was like a jabot jumper where you could get in there with him. Right? So it's just like, just flip it around. Just flip it around. So he flipped it around and people were like bugging out. Like where did you buy this at? And I'm like, it's the same shit you got on.

But were they fearless enough to be like any crazy shit? I'll do it. 100%. Because, see, I would have been like, oh, man, I'm going to look like a nut, man. By the way, they started doing talent shows. I started taking them to do talent shows and performing songs before we had jump. So they started getting the bug to be artists. And they started seeing how more people liked them than what was liking them in the mall.

So once you get that going, then you start trying to make sure that people recognize you. So how did you feel about when another bad creation was starting to garner steam and, you know, in your head, you're like, okay, this is good for us. Like, we have someone to compare them to. No, no, I wouldn't even really paying too much attention to that. It's not because another bad creation is from college park. We are from college park. Right.

They all, we all, we are from. So was I. They all is my, like, me and Dallas Austin is like this. Oh, that's my dude. Like, so we all, they was all at my house. Like, when he was making ABC, I was in the studio with him, we was doing this. Like, we all cool. So they feel a certain way with Inside Out, Wickedie, We could do that?

Or that was just insinuated. At one point, it was like, listen, J.D. got a little boy group. We got a little boy group. It's a competitiveness going on. So I started feeling that this competitiveness of people talking. So I was like, you know what? Y'all are going to be real rappers. And if you're going to be a real rapper, we're going to make sure that people know that they want to be an R&B group and y'all are real rappers.

And that's the only way we can make people understand that was to say something about them. So at this point, how are you splitting up your brain? Because you said that you and left eye, or y'all are friends, she just got to the condom in the eye. And where's the TLC bus? They're there. Why didn't you?

No, no, listen. So at the same time that I'm making criss-cross, Ian introduces left-eye to T-Bos. So then they become a group in my house called Second Nature. And they become my group. And the way T.Bah sings is the Jemaine Dupree's style of singing. Like, the way she sounds, the reason why she sounds, that's me. Because you demo the songs first.

That's me doing that now. That's how she sounds because I demoed the songs. And I told her she should sing like me. And for the rest of her life. I mean, it just became the cool thing for her. So the first song that I did for her was this song called I Got a going on and it was like, I got it going on. And that's the tone that she took.

And Dallas heard that and started making these TLC records. And they used that tone for the rest of her, their career. But why didn't you sign them? Yeah. Because the boys got signed first, right? So I was more connected to crisscross and more into their project. And then left, I called me one day and she was like, yeah, we just had this meeting with pebbles. If you, if y'all watch a VH1 movie, she makes this phone call and she calls somebody, but they don't say it's me.

Right. She's calling me and she's calling me to see if I'm cool with them having the meeting, right? And I said, yeah, go ahead, have a meeting. I'm cool. At that point, I wasn't thinking about having all of the artists under my umbrella. I was thinking about them getting signed so I could get some more money to make records. So I was like, shit, if they're going to sign you, just make sure I produce you and I get some money. Right.

So I encouraged them to get signed to Lafay's. And, you know, that was my group walking out the door. But they all started at my house. 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 conversation. 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, 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. This week on the Sports Sliced 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, or 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's, 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 Alesspian 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 Americopa 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.

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

at Rough House was the first day that you guys went to Europe to open up for Michael Jackson because I know that Chris Cross opened up for Michael Jackson on the Dangerous Tour then. Yes. So what was were you a part of their

set up? 100%. What was that shit like? And how could like were the audiences as familiar with you guys there as it was in the States. Totally. Jump was crazy over there. Being on tour, Michael Jackson was just like nothing that you could ever imagine.

You know what I mean? It's like the way this guy came into his shows, just the whole setup of the whole shit. Like, say for instance, this was like the cafeteria area when you're eating, right? And you know how cafeterias are when you're in tour. It's open or it's a place that you go into. But on his tour, it was always an open space. They did it in an open space. They didn't do it inside a thing.

Because he wanted everybody to see when he was coming in and how they draped us off so we wouldn't see him where he went. It was like, they would like, he's coming. So if you sit in there, they would trap y'all inside of us. So you're sitting there knowing that he's going, that he's walking by. But you could see him on the way in because he had a police following him. He would do this. It was real shit.

He would come in and then he would cross and then he would, um, And he would, you know, he had tell the managers, you know, tell Chris, him I'm in, you know, I'm in my dressing room, come high, let me, whatever, before they, whatever. So he never let me go because it was just like, you know, not too many people go in the dressing room. So Chris and then go back there and kick it with him and they'd come back and he's like, he's fucking with us. Like, he really be like, he know who we are, da-da-da-da-da.

Because I was always trying to figure out if Sony made the move because everybody was on Sony to put Chris Cross on there. He was really more like really focused on Chris Cross being on his tour. He liked the fact that they was young and they had that energy to give before his show came on. Was it easy to teach them like things that you don't learn, you know, I mean, they're in stadiums and soccer stadiums. I know he's playing like 85,000 people. Like how do you teach them how to project to 85,000 people? That's what I tell people all the time. You know, I got this TV show, the rap game where I teach these kids. And I try to tell these kids all the time, like, everybody think they can rap and everybody think they got this swag. But they ain't really got that shit, like what I've seen. Chris Cross, like I said, when I met them, they had a swag that I had never seen in 11 and 12 years. So they was instantly easy to grab onto what they were supposed to do to continue to have that swag that they thought they had before. So when they were

record blew up. They was doing shows every day. Crishcross was like the first rap group to do KML Summer Jam, then catch a helicopter to do Power 106 in the same day, and then get on a plane and come back to New York and do something the next day. Like, that's how they was performing because of that song. So they got the practice in and they got enough practice in to know that when we get out here, we can't even go on tour and do stadiums. Their mentality was, we're going to kill this, and they just was into it. Was it overwhelming for them?

it's to start at that level, like how do you, how do you come down from that level when you're, you know, one of the, I'm certain that you didn't have any idea that the service wanted to sell like seven, eight million units. Yeah, you don't know what to do.

You're just going with the flow, you know? Like I said, it's like, it was a thing that wasn't even supposed to happen, and I've learned that these kids could rap and they did it and it just turned into that and you just like sitting back watching like, this is crazy. And it wasn't hard to keep them focused at all,

on? Nah. I mean, because like I said, once again, once they realized that they was rappers and people was looking at them like this, they was so into it. I didn't have any problem. They was so, their appetite was worse than mine. So it was through them that you got to develop your label. Yeah, so Chris Cross sold $8 million and then Sony wanted to do more business with me.

And they wanted me to have my own label and they wanted to see what I could bring. They didn't know. I was 19 years old, by the way. They didn't know what I could do. So what did you see an escape that told you, okay, you guys are next? I see how I can. Well, Escape came to my house. The same guy, Ian, who left out of my house, he brought Escape to my house to sing for my birthday.

And there was this girl group from College Park that was out there doing things. And they came and they sung happy birthday to me. And I was just like, y'all sound different than regular happy birthday than I'm usually here. I'm liking this happy birthday, right? So I'm like, when I get my label, I'm going to sign y'all. And they was like, yeah, okay. whatever. I ain't have social death. I just told them I was going to do it. Same thing I did with sometimes a little. I just said I'm going to do it. I ain't have no label yet, but I knew I was

going to get one because we're selling too many records. So they came and like I got my deal and I called in. I say, you, I want to sign these girls. And at that point, I knew that I had to define myself as a producer because that's what I wanted people to pay attention to me. As a producer, you have to show people that you have the skill to do more than what people thought you could do as, you know, just rap music or whatever, this, that. And the third, and I had all of this other musical talent inside my body that I hadn't let out on the Crish Cross record. And I signed Escape and I started writing their songs.

And the first song I wrote for them was just kicking it. And I, you know, and I made Candy sing just like I made Teabas sing. That's why she's low in that song. And, you know, it was the same. I had already been setting myself up for this type of stuff. So I just was sending whoever came in through the same process that I had already started earlier. Now, I mean, around 93, 94, 95, I mean, we're getting into what I feel like, the true, the business element of hip hop where now bad boys developing, bad boys developing, death row is developing. But then there's also like kind of we're entering the danger zone.

Like it's not, well, I mean, you've been around since you was 12. So I'm sure you saw some dark shit that, you know, 12 years shouldn't be seeing him. But I mean, I've seen people get stabbed it after midnight. In Philly. Oh, Jesus Christ. Yeah, I'm asking a spaghetti factory. Okay, got to.

I said a lot of shit yet. I wasn't born yet. It was on Spring Garden. Spring Garden. Whoa. Okay. Anyway, but it's at least at that time in 94, I considered, okay. Now the business mecca to be New York, which is Puffy, L.A., which is Shook, and Atlanta, which is you.

And, okay, I'll throw in Houston, which, of course, because I fear for my life, Jay Prince. So now that you're your empire, how do you deal with the, not the muscle aspect, but now you're playing with the big dog? And you see what's going on rivalry-wise and all that stuff. You've kind of been Switzerland with all this stuff As far as neutral You've been cool with New York Cats You've been cool with LA How hard was it to maneuver

You know Through what was developing In hip-up at the time in 93, 94, 95? Well, it wasn't for me Because I felt like, you know I started out on the Fresh Fest So I started out with everybody being my friend So that was my mentality

So like when Puff started doing parties here in New York I heard about them I come to New York And come to Puff parties and see what it was. I wanted to be around all my competition to see what they was doing. So I came to New York,

I became Puff's friend, and we caught it hanging out. I go to his parties, party kick and see how he's throwing parties and I go back to Atlanta, I throw my parties, right? And then once I would come back to Atlanta and throw my parties,

I would say like, yo, I met these guys. I need to call them down to Atlanta and come party what I'm doing, right? And I think my non-interest in what they was doing was interesting to them. Like, I wasn't interested in what,

whatever they was doing. That was cool. I was still trying to do what I was doing. You know what I'm saying? So, like, when all the artists or record labels was doing rap, I went and did an R&B album. So they wouldn't really, they couldn't follow. I didn't have no pattern that everybody was going on.

I was going through, like, when I did Escape, nobody else was making R&B, you know, R&B groups. Everybody wanted to rap, right? So then when I did the brat, nobody weren't fucking with female rappers. They was all trying to do guys. And it was like, so I just kept seeing this like, oh, I'm a maneuver like this. I'm going to do something different.

I'm going to do something different. So, long story short, I just, I saw that as my place. I saw these guys just trying to fight for the same space. And I'm like, shit, I'm cool. I'm getting my money. I'm doing what I'm doing in my own space. And I'm going to just be cool with them. I didn't even know, like, how serious this East Coast, West Coast thing was getting.

So I invited both Puff and Shug to my birthday party in Atlanta. and not thinking about anything. Like, you know, just come. I want you all to be there. I want to have that flavor in Atlanta at my birthday party. What year is this? I don't know.

Well, it has to be 94. Somewhere around it. Before the shit starts hitting the fan. Well, this is when it hit the fan. Yeah, I remember. This is when it hit fans. Wait a minute. That was your birthday party?

Yeah, it was my birthday party. Because they depicted in the movie, but they never said it was. It was my birthday party when the shit hit the fan. fan. I didn't even know. Yeah. Yeah. And I didn't realize that that was happening, but they both were brought to Atlanta by me, and they came

to Atlanta, and, you know, they were eyeing each other throughout the party, and it was like a thing, but I'm thinking, you know, that's how hip hop is. And then it got to, after my, after my party went to an after party. And, you know, words was said, and somebody got killed.

Y'all, I didn't even know. Yeah. Okay, that's question of three ways. Wait. So now I'm like trying to figure out where, like, where does Brat's the B-side fit into this? Okay, so, so, so, there's so many stories. But all right, so when, like I said, me and Puff was cool throughout this whole period of making music. And at this time, Funkify came out and it was three hot records that came out.

One was super hot, which was flavor in your ear. Right. The second one was Funkified with me and the Brett. And then the third was juicy for all the hip hop people there. It wasn't a successful record like Funkified and Flaventier. So Big was all the same year. Big was so frustrated with the fact that we was having success. And Flaventier was killing him and he was coming on stage

and people weren't really like understanding who they was looking at. So then Big thought, I'm going to get cool with JD and I'm going to get him to make me a beat. So every day We went on this tour We went on a Chintlet circuit tour Where it was just these three artists To Brad Craig Mac and Biggie

And we went all around The little chittin thirtas And did all these shows So In that time period Me and Biggie became really cool And he talked to me all the time about How did you get honey

How did you get honey popping like that? Like why people don't like my record? Like he used to ask me all kind of crazy questions Like because he was under the impression That Nobody liked them Nobody like it like Because we was in the south.

By the way, this is not New York. This is the South. We was in Florida. We was doing, in Atlanta, juicy was nothing. You serious? Nothing. But the number. So that was all New York.

That's all northeast? All northeast. That's crazy. Because even culturally, I would think that when the smoke clears, juicy sort of inched. Everybody freestowed over flavor in your ear. But I feel like Juicy is the more iconic. It is.

but it was like it took forever. Biggie had to die to. Well, no, no, it wasn't that. It was, it was, it just had to be worked. It was just, you know, it was the beginning of working your rap records. That was a hard sell? Yeah, it was a hard sell. Working your rap.

The juicy record was a hard sell for the other areas like the South. You know what I mean? It's almost like. Other places is not for Northeast. Yeah, so, so, you know, Biggie was like, yo, you know, make me a record. Do something for me, man. Let me do something. Do something for me.

So he asked me so many times that once they released Big Papa, he wanted me to do the remix of Big Papa. So he told Paul, you, JD's doing the remix of Big Papa because he didn't believe in the success of Big Papa. He didn't think it was going to work. He thought they was going to have to put out the JD version. In Indiana, where I grew up, that's the version?

That's the version we heard on the radio all the time. See what's the JD remix? Damn, with those goddamn high. All right, so when Biggie came to do, well, what, so Biggie said, I said, yo, I want to do a real remix. I want you to redo the beat. I don't want to rap over this.

I want you to take, let's do a real remix. So he wanted to actually make a new song. In his mind, he was like, yo, I'm going to go to Atlanta. I'm going to make a new record and it's going to relaunch my career. So when he came to Atlanta, I said, we're going to re-vocal big, I mean, Big Papa. I'm going to give you a beat and you can do the rap over.

So I made the beat and he wrapped the song over. When he finished the rapping, because he wrapped the song so fast and he was done so quick. When he finished, he's like, let's make another song. And he was like, where honey at? And I'm like, who are you talking about it? He was like, Brat, where's she at? Get her over here.

Get her over here quick, man. Brat actually lived upstairs in my mother's house, so she was upstairs. And he ain't know. So I was like, she's upstairs. I was like, she upstairs. He was like, yo, I want to do some honey, man. Make a record, I'm going to do some honey. I'm like, all right, let's do it.

So I wasn't, I was just like, I know what he want. I was just trying to think of, like, what would be a jump fad? record for Biggie if I could give him that record. And I wanted to give him a loop. I wasn't trying to just make a beat. I was like, we're going to sample something. You know, we're going to figure it out. And I put up the outstanding beat, the loop, and I was like, rap over this. And you know, this guy's incredible. He made that beat sound like it had a baseline on it before I even put the baseline on there. So then I was just like, he was like, he was like, Brad, you're going to come in after me. So he started making the song. And I'm trying

to make the beat at the same time while he's rapping. And this song just happened. That's why we don't have no title. It's called The B-Sy. It was just like, what's the name of this song? We don't fuck that. Just rap. And it was like, that's how the song came about.

Man. All right. So, okay, I'm skipping a little bit because I know we got limited time. But even though, I mean, you're associated with many artists. I always feel like your crowning achievement as a producer. was working with Usher. Thank you. Yeah.

And first of all, how does that happen? Because you spearheading, like, how do you take the little kid who did just call me a me a mech? And how did you take him and fully develop him into the artist as far as like choosing his songs? And like, what was it that? It's basically the same situation that I had already been through, right? I started, Usher came to me when Chris Crush was popping, and he asked me to sign him. I told him no, because I was tired of dealing with parents at this particular point. Because Crish Cross was getting big, and their parents was like arguing and fighting.

It was all the parents, and I'm like, I'm not dealing with this shit no more. I don't want no kid rappers. I mean, kid artists. So I passed on sign the Usher, and then LaFace signed Usher. Right. So then that called me a Mac album didn't really, really work. But everybody felt like Jermaine could revive your career if you go do a remix. So they brought me, what's the song?

Think of you. So they brought me think of you and they said, Jamain, please do a remix to think of you. So I did a remix to think of you. And in the midst of that, I felt like the song needed a bridge because I was just trying to figure out some way to make my remix feel different than the record. I added a bridge to the song and I told Usher he had to come in and sing the bridge over. So when he came in, he sung the bridge that I had written for him and he sung it just like

I had him like I did it. And then they heard his vocals and they was like, oh shit, what did you do to him? And I'm like, I just told him to sing the bridge. And they was like, well, would you work on his next album? Like, just take him and do whatever the hell you want to do with him. And I'm like, that sounds crazy. But okay. And I ain't know what to do.

You know what I mean? I didn't know what they just put it in my hands. And I found out that if it didn't work with me, Usher would have probably got dropped, right? Yeah. So, I mean, you know, Usher came to my house and he became like a so-so-deaf artist. He basically stayed in my house every night

and we just talked and worked and talked and worked until we got to my way. But what's the process of you getting these songs out? Because, I mean, these aren't like average songs. These are like staples. You make me one and all that stuff. Like, how did you... What's your process of getting to know the artist

and what type of songs, the right song, and who... I mean, well, I went through a bunch of records. I've started making songs that I thought were, like... I don't even know what you could call the first songs, but I know that he said, yeah, I don't want to be like that. I want to be like Bobby Brown. I want Bobby Brown to fear me.

So then I started looking at my prerogative. Check. So I started looking at my prerogative, and I'm like, okay, well, I'm thinking, like, I can't make no harder record that. My prerogative, this shit is crazy. And I'm not... Teddy Rowley is my idol, so I'm not... I'm like, he's...

I can't make a better record than my prerogative. So I was just trying to make records that I felt like would go to bat with these songs, at least, right? So I made nice and slow, and I played it for L.A., and he didn't like that song. And I'm like, how do you don't like this song? And I'm like, nobody's doing this. Nobody's doing this.

You hear how I was just singing, seven o'clock on the dot. I'm in my top, top. He was in the streets. I'm saying, who you know talking like this as an R&B artist? They weren't getting none of that shit. So that song was like put to the side. So then Usher was like, man, I need something like prerogative. This is my, I want this shit my way.

And I was like, oh, my way. Okay. Let's do that. Let's do it your way. And we start making my way. And then we got to my way. My way was probably going to be the first single. I didn't have you make me one of them.

And my way's probably going to be the first single. And I wrote him a rap. He was rapping. It just felt like he was. It was like the new sound for usher. But I still wasn't convinced. I wasn't sold yet. I was like, uh, they ain't like nice and slow.

And I was on the nice and slow shit. I was trying to get that off. Like the singing rap type singing, right? And they weren't really sold on it. So, um, L.A. was like, we're going to put out my way as the first single. And when he told me that I left the office and I went home and I started making, you make me want them. And I was like, I just felt like he didn't have that one yet.

I was, it didn't have that one. So I started making You Make Me Wanna and I wrote the first verse and I had the hook and I played it for Usher and he was like, man, it's all right. I ain't really what I'm talking about because he wanted my way. He wanted the prerogative. You know, he wanted that. So I was like, I said, you tripping. So I left and I took the song back to LaFace and I played the song for L.A. And he was like, yo, go finish that song right now.

That's it. So I went back to the studio and I finished You Make Me Wanna and I got Usher on the song and he sung the song like he loved it. the rest is history. How often do you have to browbeat your artist when it comes to vocals? Bribal? No, browbeat. I'm sorry, I've made it known

on the show that the one process of production I hate the most is vocal takes. I hate that shit. So usually I have someone else because I don't have a good chemistry. Yeah, I don't have the patience. So how do you especially at the time

I mean, Pro Tools was a thing here and there, but you weren't, mid-90s, early mid-90s, you were, yeah, you literally working this. Well, see, my thing is this, you know, if you can really sing and you understand music and you listen to my demo, then automatically it's going to sound better than what I'm listening to anyway or what I'm thinking anyway, right? So that's how I make my records. I'm like, listen to me first and do exactly what I'm doing, but do it the way you would do it in your real singing voice. So most of the time when they do that, that shit starts to sound way better than what I'm thinking. So for every hit that you have.

That I wrote. There's a germane's a rebrew. 100%. It's going to be Prince time when you pass away. I mean, I did this last like two weeks ago, three weeks ago at the ASCAP convention in L.A. And it was like go on to the hood of confessions. And I gave them basically a snap look at how I wrote that song.

how the song came about and let them, you know, listen to me actually sing the song like that. That's interesting. I would, no, I would love to hear that. No, not just because it's interesting. Like, I was a type of kid that took all my toys apart because I wanted to see how they worked. So, like, to be able to hear a demo, your demo of a song like nice and slow or something like that, which is fascinating to me. It's bad, but, you know, it's good.

Plus, it hear you sing. But it's still, you could, but if I heard it, I could still hear how it went from that to the version of that we all. 100%. And that's why when you introduce me, you say, I don't get the credit. I feel like people don't really understand that those Usher Records is why Tray Song sound, the way he sounded, and the way Chris Brown started singing the way he sang. These records created that sound. Yeah, it was definitely the template for it.

I know that also, Mariah came to you at a crucial point in her career. Not a crucial point? No, I did always be my baby. That's what I'm talking about. That wasn't crucial. She was huge. The thing was 90, 95. You got to understand, though.

Like, always be my baby in fantasy remix. That was a very radical term from, at least from the tutelage that she was underwood, Tommy Mantola, with making sure that, I mean, okay, like, you know, Dream Lover had the break beating and all that stuff. It was cute, but it was still like, it was a major key. Like, it wouldn't start no riot at no mall in America. Not at all. But at least with 1995, with her insisting, like, yo, I'm trying to make some shit.

that like I will listen to in a club, like her going to Wu-Tang and Puffy and going to you, it's like that was, in my eyes, radical, which, you know, getting the record and being a connoisseur of credits, I'm like, oh, they're loosening the reins on her. They're letting her work with us. Yeah, I get you.

I get you. So first of all, in working with her, was it a thing of like, You get an expression is like, don't go too hardcore. You know, we already have one Wu-Tinks only. Just try to give her. No, we had this conversation last night. I'm the musical person when it comes to Mariah Carey.

She's the rapper. It's completely a flip when we go in the studio. We had this same conversation last night. Oh, so you're the conservative one and she's the one that was the close thing. Yeah, because I'm like, I'm trying to protect who she is at all times because I feel like, you know, she has an. image that you can, you know, if you can keep it in this space, just don't, you ain't got to go overboard. You could just keep it in this space and put, like you just said, she had a loop,

but it wasn't get people killed. It was still what we like, but it was not crazy. And I'm always like, let's make records like that. Like, let's continue the 17 million, 20 million spot. I'm cool. What's wrong with it? It was never broken. Let's let's do it. Arianna Grande came out and, like, that's basically what she wants to do. So it's like, Mariah. is a rapper. 100%. The first day I worked with Mariah Mariah came to the studio

and she brought cream and she said, I wanted to sing over this. I want you to Sampleis. And I said. So how were you like, I went back a little bit? And I'm like, what? And Tommy Matoa was standing there

when she did this. And I'm thinking, like, you said, I'm like, no, I'm not fucking with this cream shit. That's not going to happen. I'm not doing this. Really? Yeah, 100%. Was it the fear of you didn't want to be

the guy that fucked up a career? Yeah. I knew, because that would have been a great idea. 100%. At the time when she asked me to do it, it would have made amazing. But you didn't want to be the guy holding the case this fell apart. And like I said, I have a super, super musical side of me, right? When I start doing R&B records, I turned into a very musical person that wants to hear a lot of different chords and different things and the way the song is supposed to go.

So, and I had just did, you know, usher. So it was R&B time for me, right? So I was like, I need something that fits into what I just did with us. I'm having success here. Let's do something that has this feel. So then Emmanuel started playing the boom doba-do-do-do-dun-dun-dun-dun. And I'm like, see, if we put some 808 on that shit, it's over with. That's how I believe in 808 on anything and that's it.

A win is a win. A win is a win. I don't care what I'm 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, personal health, personal 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 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. 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. 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 matter

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 Podcasts 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 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 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 Alesspian 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 IHeartrepped podcast on the IHeartreport. radio app, Apple Podcasts, or wherever you get your podcasts. 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 Ferrell. 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

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 Podcasts, or wherever you get your podcasts. So by this period, okay, now I'm using a fontet term. What's the division of labor as far as who is in your team, your production team? As far as, okay, it's 1997 and I'm Mariah Carey.

I want to make sure that, you know, I'm Mariah Carey. Okay, I work with Mariah Carey. I'm like, yo, producer record. What is Team Dupree? Like, what's going on? What's the songwriting session? Me and Emmanuel Seale. So what's the songwriting session like?

Like, do you have something ahead of time or is it like you work in real time? Yeah, he just worked right off the, you know, right off the cuff. He's an extra keyboard player, a guitar player. You know, he plays instruments. And I play what I play and then I make the beats and I have the ideas, basically. And I write the lyrics basically. It would have it. You know, with Usher, that's how it was.

It was me and him, and we basically did that whole album like that. And then we went to Mariah. It was me and Emmanuel when we made Always Be My Baby. Do you engineer or mix your own records as well? No. Okay. I mean, I do it. You know, I do my rough before it goes, but I don't, yeah, I don't touch that.

Amir mentioned 1997. And I always, I feel like with Atlanta, something happened between like 96 and, I don't know, 99 where, of course, starting with you, the music industry just built. faster than any other industry in most major cities. Can you kind of... Not Freaknik or Jack the rapper? Well, I mean, you've got to consider all those things. Like, conferences were coming.

You did have Freak Nick, but like it just was a crazy, like, five years in Atlanta. And I don't know if everybody understands how it broke down and whatnot. I mean, well, like you said, it was Freak Nick. It was things that weren't happening in other major cities that people were like looking like... And post-Olympics. So what point was Atlanta seen as you know, because I know that Northeastern people are very cocky and whatever.

Like, oh, you country five. Suddenly, Atlanta's the shit. Like, when do you feel that Atlanta, like, arrived? Like, yeah, I built this shit. When I was having parties and everybody started coming. When, when, if Jematea Pre have a party, everybody was going to Atlanta for the party.

Freaknik was the start of this. But then I started, you know, I did this. How can I live weekend? where... Your version of the NWA pool party? Nah, no, no, no, no, no. Matter of fact, it wasn't, it was... My thing was called Can I Live, right?

Because I had just did... I had just did the money-and-a-thane record. And what was interesting what I was getting back was that people felt like in the South, I introduced them to Jay-Z. Right? Because people in the South weren't listening to Reasonable Without. You know, that wasn't their album.

They weren't into the... None of those records in Atlanta. None of that was happening. So people was like, They felt like I was introducing them to them and Jay and everybody was coming to Atlanta, you know, taking this love. Yeah, people come to you to get some love elsewhere besides the North. Yeah, so that's what happened. So people, I think people started paying attention to this, like this momentum.

You know, Mace came to Atlanta for my birthday party to get signed. Nellie came to Atlanta to try to get me to sign him at my birthday party. I had this crazy birthday party at the High Museum on Peace Street. And I had all of those guys there. I had new audition there. I had Maya, Elton John. Everybody was, you know, whoever was somebody was trying to be at Jermaine DePri party. And people were, like I remember yesterday, even the paper, it said, what does Jermaine DePree have just making everybody want to?

Like, Elton John, what do you have a reason to be around BPD and Maya and Jermaine DePree? What's the connection, right? I'm trying to imagine that conversation right now. Now, well, Elton John is cool. He loves black music. I know that, but still. Like, for real, like he loves black music. I know that, but still it's just an odd pairing.

I mean, he wanted me to know he was cool and he came to party. But I think that's what it was, what you're talking about. It was just like people saw that happening, and it was just like, like I said, I wasn't paying attention to everybody else. Whatever people was doing in New York, that's what they was doing in New York. I was determined to make Atlanta stand out just like New York in LA. See, then there was a point when Atlanta started taking in this and pushing his chest out with pride to the point where like it wasn't so much the Northeastern.

record would get played first. Now Atlanta is supporting each other on the radio and it's records that you would never hear in other places. 100%. Yeah, yeah, yeah. And I just think that people don't really understand that about Atlanta in that way. Like, I always say that about somebody like Rashida. Like, Rashida is a star in Atlanta because of Atlanta and Atlanta Radio and everybody embracing her

when she was emceeing. Yeah, I mean, you know, it was a, it was a tug of war type of mentality because people weren't really receptive of things that was coming from Atlanta like that. Um, almost to the point where Jermaine Dupree was getting the success so a lot of people in Atlanta was mad at me

because I was getting success that a lot of them weren't getting at the same time so it was like they didn't understand why my records was working so then they I've heard people say crazy shit about my records and you know J.D. ain't from Atlanta and I don't sound like outcast and this thing and third like it was

but my childhood and my life was different than that I wasn't I didn't grow up in Atlanta I grew up on tour So can you explain Can you explain the science of what would be now known as trap culture? Because initially I thought that you guys were more of a refined, what was supposed to be Miami's identification of bass music. I always felt that you guys were a more refined bass music.

Like you guys did better work with those type of planet rock beats and 808 stuff. You know, and then trap culture. develops. Yeah. How do you feel like are you in your heart the old, I know you're technically not supposed to agree with this. Like are you the old schooler that's sort of looking like, okay, whatever.

Or like, are you still about like, if kids are about it, then that's the future and I support it and that sort of thing? Well, I mean, it's hard to, it's hard for me to even have, talk about this because if you listen to Jermaine the pre-records, that are like some non so-so deaf artist records

the records are trap like if you listen to grills by Nelly this was before people start saying trap records but it's by Nelly and it became a number one

top 100 record and it's not connected to the trap so it don't come off like that's what that is but the sound of the record the sound of the record is 100%

It's all the same elements. You know, the 808 is overbearing. The franchise boys. The franchise boys. Bone Crusher, Young Bloods. All of this shit is what you're basically listening to now. So to me, I think people disconnect me from being with that sound, but that's been the sound.

Like, you make me want it to me sounds like a trap record. Definitely. With guitars on it, right? It's definitely a precursor to the trap music. Yeah. So I just, I don't look at it as, I look at it as, I look at it as like people were listening to that sound and they just decided what to do. I also feel like trap music ultimately I don't like that title because I think people use

that title to let us in as opposed to just saying it's the Atlanta sound. I wish people would stop calling it trap and say Atlanta music like they say everybody else. That's that L.A. sound. That's that New York sound. That's that Atlanta sound. Stop saying trap because trap makes it puts it in a box and it. It's like, okay, you've got a trap set. No, this is two hours of Atlanta music.

Ah. Music from all of the artists in Atlanta, you go to New York right now. You're going to hear two hours of records from Atlanta. Stop saying trap. That's what I wish people would do. So what do you feel now is the future? Like, are you done with Atlanta or is it just starting? Like, for you, is there more to reveal to the world as far as what your next move is going to be?

I don't know as executive or? No, I mean, you know, you have to continue to keep finding ways to open the doors for Atlanta. So I got the TV show and, you know, with the TV show I bring five kids to Atlanta and expose them to what kids in Atlanta are exposed to. Kids in Atlanta have it better than mostly every other city kids out here, period. Like, in Brooklyn, I don't think they have talent shows for kids where kids get those do things. I don't think they have skating rinks where they allow you to perform. I don't think they have When you want to be an entertainer

In Atlanta we have more elements than You know I find out because these kids come And they're like yo we don't have nothing Like one of the kids came from Chicago And she was talking about how they closed the skating rinks And kids don't really have anything to do Right In Atlanta the kids got they can go to things and perform

And people see them and do There's so many different outlets that people are opening That we already had So roll of skating culture still the thing 100% Wednesday every Wednesday every Monday every Sunday, this is going on. Wow. So with all of this stuff going on, I'm still pushing Atlanta culture.

I think that that's the most, you know, that's the most important thing. And I still feel like Atlanta's yet to have their Kendrick Lamar or their Jay Cole or their Jay-Z yet. In this era, we had it prior. Oh, I was going to say, yeah, no, no, no, no. I'm saying we had it prior. I'm saying, I'm saying in this era, in this era, it feels like. You know, it's a new artist every week. Right?

It's a feel like there's a new hot artist every week. So I'm just saying I still feel like the city is so hot that one of these rappers that people look at as a problem rapper. Because like I said, they label everything in Atlanta so much as trap that they don't fear anything. Right. You know what I mean? If you say, oh, he's just, that's just trap. So it don't ever get into the box of, oh, shit, you know, this guy. You know what I'm saying?

It's never that. Who do you feel that's unbeknownst to us, but who do you feel that's going to make an impact right now? Like, what artists do you feel that are? I mean, there's a lot of underground artists in Atlanta that really rap that could possibly do this. I felt like Sahai was going to be that guy for a second. You know, he's with the right crew, and he understands what I'm talking about. Like, a lot of people might not even know that Sahas from Atlanta. I didn't know that.

I figured he was in Chicago. I thought he was Chicago. No, he's from, he's from the east side. Atlanta and he rats. I didn't know that Kanye was from Atlanta. Yeah, on Atlanta too. So, I mean, like I said,

it's, it's, we still got room because of how people put it in the box. If people open up the box and do what I'm doing it, it might be a little different. But I'm saying, I wish people would stop that because I think trap, the word trap music came from

EDM DJs wanting the ability to play rap music and they said. And not call it. And not call it rap music. Let me ask. We're talking about Diplo. Wait. Oh.

Oh. Can I? Can I? Yes, it's your name? What did I do? Did I push open the trip? No, no, no, no. It's never a battle, boss.

It's never a battle. I'm about to. Uh-oh. About to rain or parade. Uh-oh. How happy are you to do an interview in which no one has to ask you any Janet Jackson question? It's not. Yes, it is.

That's why. No, actually, I had a little John question. So that wasn't even. All right. I want to be the first. I mean, listen. I want to be the first. Let me say this.

I don't look at any of that as a problem because my life is not regular. Right. And if you don't understand that your life is not regular, then you won't be celebrating your life the way you're supposed to. Right. I had a girl tell me, like, nigger, do you even know that? I don't know another person that's dated Jane Jackson. Like this was the girl told me right I'm like

I'm thinking I'm listening to her I'm like and I'm listening to her in a in a not paying attention to what she's saying mindset but then it hit me like that's what people actually think so if you don't ask me the question then it didn't it wasn't something that resonated in your life

but I'm saying Janet Jackson is such a obsession and it overshadows your history but I'm saying she's such a cultural staple in our culture that it's hard for people to ignore it, right? So I understand it. It's not something that, you know, it is what it is. Okay, we'll ask one question.

What was it like meeting the family? Like, was... You have never heard me say about this before? No, I've known. It's the most shocking... I want to say shocking moment, but it shouldn't be shocking because their last name is Jackson. Oh, they're black.

They black back there. Right? Black. And they're from Gary Indian. And it's five brothers. to the girl that I was dating. Six. Oh, Randy, I almost kicked your butt.

Niggers, by the way, right? So, I remember, like, the first time I went to their house, and I think it was Jackie, and Jackie told me, you know, I might probably shouldn't be saying this, but Jackie said, Jada, you got to understand what life was like being a Jackson. I had to. He said, we was the only. and everybody listen to what I'm saying

who's the only niggas in California with Ferraris in California so you understand what I'm saying the state the only niggas in that city in L.A. driving

Ferraris and he went on to let me know you know they fucked everybody basically and you know it's like and one of the conversations I had with her was that she had, she told me when we first started dating

is that just understand I've seen everything. It's nothing that you can get away with. It's nothing that you can tell me that I haven't heard. I've hidden girls under my bed for my brothers because they girlfriend was downstairs. Like, it's crazy shit that, you know, so when you meet this family, you think about them from entertainers, but they are just as normal as we are. And if not more ghetto and country. They're from Gary, Indiana.

I know exactly how they are. 100%. Did you ever remind Michael that he didn't talk to you on that tour when it was with Chris Cross? Nah. Nah, no, no, no, no, no. You know, that's another thing. Like, you know, with the Michael Jackson, Janet Jackson, then you got to pick a side. That's true.

Okay, I hear you. All right. So. Okay. Can I just ask an Atlanta question? No, go ahead. You mentioned that Atlanta, you know, is in a place where most major cities aren't as far as programs and things of that nature.

and one of those reasons I feel like maybe because they are so new in this industry, but another reason is because of the politics in Atlanta, you know, not so much Georgia, but maybe Atlanta. And I was just curious if you have made, because everybody's been talking about Atlanta politics lately and the young potential that you guys have. Are you, like, involved in the culture of the politics? Yeah, 100%. I mean, my goal is to make sure that people understand that Atlanta is mentally a different space, right?

And I grew up in a different mindset than he grew up in Philly. Where are you from? Indiana. Oh, yeah. I grew up in a different mind. Definitely different mindset than you in Indiana. Black people in Atlanta are not intimidated by white people and are not intimidated by anybody of a different color with money.

Now. Never. Never. We have never been. And ain't post-Olympics neither? Never been intimidated like to the point where we don't believe that we can do it. You understand what I'm saying? Like, and that mentality goes.

deep. That's the mentality that Martin Luther King had. If you listen to what he was saying, he was thinking from a unbothered mindset. He didn't believe anything could touch him based on what he was saying. And if he would have stayed in Atlanta, he probably would have still been alive, right? Because that's just, that's the mindset of the city, right? When you look at, you know, last two weeks ago when I was filming the rap game, I took the kids from other cities and I called the mayor and I was like yo I want you to be on my TV show and I want you to talk to these kids and she was like okay cool come I'm gonna give you time blah blah blah blah now that I made it look easy but I'm saying in when I'm looking at hip hop on the rest of these you know the networks

and all of this how many times you see all these rappers hanging with their mares like it's not really a true connection they represent their cities but they're not really connected to the way that we are in Atlanta and we make in the and our cultural people the mayors and the politicians, they make sure that they pay attention to what's happening inside our neighborhoods and what we're doing in these neighborhoods to get Atlanta to this place, right? Atlanta's almost about to be the first state or city with a black governor and a black mayor, female at the same time. Both female, both black women. Both black women. This is about to happen. And I just think that, you know, the mindset of a black person,

person coming from Atlanta is just a lot different than everybody else. So I think that's why that's going like that. It's like we don't have no intimidation. I'll move next to you got a big ass house. I'm going to get a big ass house. And there's nothing that's intimidating about me. Like, it's no area in Atlanta if you know. Like in other cities, they got white areas.

Right. Or they got a different area. In Atlanta, if the shit is hot, the niggas is going. That's what. Oh, that's what. Oh, over there, the houses cost $10 million. Best believe my home boyfriend. college park he's gonna be over there a week from now like it's nothing intimidating in

Atlanta everything is no areas off limits if this the area where everybody say they rich at then big meet's gonna be over there you know what I mean that's just that's the mentality of Atlanta and that's I want people to know that and I think that's why people come there because they they they start gathering that and like damn this is what's happening out here I'm you know I never I've seen Spike Lee do a lot in Brooklyn but I don't believe that I don't believe that I don't believe that Spike Lee could go talk to the mayor of New York and they have a real

cool thing and show everybody and it's something that's fly that happens and the mayor understands what he's talking about and he I don't see this type of stuff right and that's why I feel like Tyler Perry what he's doing only could happen in Atlanta because there's no other place that supports the movement

the way and it's no intimidation there you have it ladies and gentlemen we move it to Atlanta again from the future once a few You're going to governor of a living. Jermaine Dupree. Oh.

Brother, I got two questions. Oh, good. Two quick questions. First one, just brag on your catalog a little bit. Is there any record? Well, what's one record that you've done that didn't really get the attention

you thought it should have done, it should have gotten, that you think we should all go back and listen to you. I can answer that question. But you're not Jermaine Dupree, so I'd like his answer first. I'm still jumping. The clips on.

I can go. Fallin. Bye. Or on the Jay Z record? Oh. Okay. You know what? Yeah.

Shit, you did that? Yeah. Yeah. Look at you. American gangster, right? Bilal. And look, and the Bilau's hook, I sung it and he's singing it just like me. You did a couple of records when you used Bilau.

Look at him. A couple of Malo records. Damn, I didn't, because in my head, Puffy did that whole record. No way. I got one for you, and I always thought this one. Damn. This song should have been a single. I thought this song should have been a single from Janet's 20-year-old record,

20-year-old record. Do it to me. 100%. That should have been a single. With the Brenda Russell sample. No, Brenda Russell. That shit is my favorite song in that record. 100%. By far.

And my last question. Yes. You've worked with a lot of people, like all kinds of names, big, small. Who is on your list of people that you want to work with that you haven't had a chance to work with yet? Nobody. Nobody. Nobody. Not at this point because I've been in a room with people who have the craziest work ethic.

And, you know, if I don't see that in you outside of me working with you, I'm not really trying to go in that direction. You know what I mean? I had Aretha Franklin tell me that I wasn't talking to her enough when she was in the booth. That's what really made me really turned into more of a vocal producer and talk to the artist when they're in the studio. I was sitting in the studio. I think I was like a fan and I was just like Aretha Franklin singing my song. It's like, I can't tell Aretha Franklin what to do. until the queen of sold nothing.

And she hit the button like, yo, are you going to say something? Say something. She's like, why did you come way out here if you ain't going to talk to me? I go home and cook. And I was like, oh, shit, okay, this is what you want me to say.

I'm going to tell you then. That note was wrong. And, you know, she got me out of my, that zone to just tell artists whatever I wanted to tell them. And I had already been like that, but when you don't vocal the song and you just write a song

and then you get somebody else to sing the song, it's different. Because usually when my vocals on there, I don't have to tell them because they're listening to it. But when it's an artist listening to somebody else, then you have to tell them exactly with you. And I wasn't really paying attention to that until I did the song with Aretha Franklin.

And that's one of the songs that I wish would have been bigger because if I had a bigger record by Aretha Franklin, y'all wouldn't have to tell me shit. Understandably so, yeah. Wow. Well, I still feel like I can't tell you shit because you've got... You've sold a lot more records than I have.

So... All right, all right. A lot more records than I have. Which that total is zero. Well, Rod, I thank you for coming on the show. This episode has been long overdue. Yes, it has. Geroff, Jermainez, ladies and gentlemen.

Thank you, thank you, thank you, thank you. Future, if we should mention, future songwriting Hall of Fame. Yeah, Thursday. Yeah. Less than 72 hours. I'm so high about this. Congratulations. And I'm going to work right now.

I'm going to meet Mariah at the studio as we speak. Yes, back together again. He's sharp. Whoa. All right, well, on behalf of Team Supreme, Laia, Boss Bill, and Sugar, Steve, this is Questlove. We will see you on the next. Go around on Quest Love Supreme. Peace.

Quest Love Supreme is a production of I-Heart Radio. This classic episode was produced by the team at Pandora. For more podcasts from I-Hart Radio, visit the I-Hart 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. Clifford Taylor, the 4.

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 IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. 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, 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 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 get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe, on the IHartRadio app, Apple Podcasts, or wherever you get your podcasts.

Everyone, I'm Eaglewood. My next guest, it's Will Ferrell. My dad gave me the best advice ever. He goes, Just give it a shot. 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 podcasts. This is an IHeart podcast. Guaranteed human.