The Questlove Show - Questlove Supreme: Alicia Keys

Episode Date: September 30, 2020

What don't you know about Alicia Keys? This episode of Questlove Supreme gets into the many answers to that question. As Alicia releases her seventh studio album, Alicia Quest and team Supreme dive into her beginnings, the lessons learned by the music business and her continuous evolution through it all. 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. 2%. That's the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange, modern world. Put yourself through some hardships and you will come out on the other side a happier, more fulfilled, healthier person.

Listen to 2%. That's TWO percent on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. On the Look Back at it podcast. For 1979, that was a big moment for me. 84 was big to me. I'm Sam J. And I'm Alex English. Each episode, we pick a year, unpack what went down, and try to make sense of how we survived it.

With our friends, fellow comedians, and favorite authors. Like Mark Lamont Hill on the 80s. 84 was a wild year. It was a wild year. I don't think there's a more important year for both. black people. Listen to look back at it on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts.

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 Clifers Show. This is a place for raw unfilled conversations with athletes, creators, and voices that

not only deserve to be heard, but celebrated. So let's get to it. Listen to the 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. Questlove Supreme is a production of IHeart Radio. Ladies and gentlemen, welcome to another episode of Questlove Supreme. I'm your host, Questlove. With me, his team Supreme today.

We have Fondikolo in the house. What's up? What's up? We have Shooka Steve. Hey, everybody. President of the Shugats and Laia. Vote. Motherfuckers.

Okay. That's how I'm feeling. It's that simple. I believe on paid bill is either on Sesame Street right now or dealing with the first day of school. So he's not with us right now. All right. I will try to make this as brief as possible.

Amen. We, by the number. I think this is the most accomplished guest that we've had on the show. Our guest today clearly needs no introduction. This awesome Aquarian is a 15-time Grammy Award winner, seven-time BT Award winner, 11-time Soul-Train Award winner, a combination of ladies' soul, soul-train, 17-time NWACP award winner, eight-time MTV Award winner, 12-time ASCAP, 8-time BMI. I don't even know you can be on both sides of the fence with that.

Six-time Billboard Award winner, nine-time, oh, nine-time Billboard Award winner. Get it right, Amera. Five-time American Music Award winner. I think I mentioned all her accomplishments. She's probably still the record-holding Brooklyn Huxable Householding Hucking Horse Champion. Not to mention philanthropist, actress, producer, activist, mom. she'll probably own this podcast by the end of the episode. I'm talking about no other than the incomparable. Alicia Keys, welcome to QLS.

Hello. How are you? Wow. That might be my top intro of all time. That's my side hustle. I'm selling, I'm trying to be like who's Danny Ray, James Brown's intro person. That's the vibe. James Brown's intro person.

Thank you for all that. I'm so glad to be here with y'all. How are you doing? Thank you for being here. We're good. Yeah. We're good. I actually want to know how are, you know, usually the format of the show is kind of like in the actor's studio where we like break down the science of the creative process with the artist.

But being as though we are living through what, you know, the history books will probably show as a crucial. milestone and or at least on Earth things are a little different now. So I want to know as a creative or just as a person like how are you adjusting to this road called 2020 right now?

Like how was your day this morning? My day was pretty good. Okay, wait, I think I need to back up and then I can come to today because I think that's how you... Take your time. Take a time. So...

What kind of cereal did you have? morning, but it's like... Right. I had a macro bar. Okay. So you hungry? Okay. I'm starving too right now. Okay, so a macro bar is what, what is that until?

It's like a, you know, it's like one of those kind of bars that fill you up enough and give you a little bit of protein and then if you have to run out the house and didn't really have anything to eat, you're good for like a good couple of hours and you have some tea and some water and you're straight. And then hopefully you can eat soon. That.

I'm on that same doing right now. I get you. And then I mean? So both. I'm doing my one meal. I can't wait for you. Wow. Oh my gosh.

Word. But you know what? I mean, through this road called 2020, it's definitely been some ebbs and some flows, you know? At first, I was like so confused. I just didn't know. We all didn't know what to expect or where it was leading or what was going to happen or, like, where we even.

safe or was anybody safe or, you know, it was like a paranoia. And then, you know, I think as a parent, it became really ill because, you know, suddenly it was like, well, okay, we're going to do that part of the thing. And then as a mother and a human and a woman and a businesswoman and a human being, I truly lost the plot of how to find my own space in the world. I just didn't, I didn't even know. I was like, I don't even know how to carve out any time. at all.

I was going to ask, does that now mean that you as a creative is now in third place? Because it's almost like, yeah, you have to be a person to your kids, but then you have to be a person to yourself. And then I know you have people that you have to care for and make sure they're cool and all that stuff. And then like, do you still get fits of inspiration where like, okay, I'll carve out 4 a.m. to 7 a.m. to write these lyrics down or that sort of thing. Yeah, I mean, again, at the beginning, nothing, nothing, literally nothing. I didn't feel even the desire to create. And I think that's almost because it was all such a shock and I had completed the whole Alicia project already. So I kind of put, I put all this creative energy into something already and then everything just kind of ceased.

So I was just like, wait, wait, now what? Now what? So I think it gave me some space to not feel the pressure of having to create. Because as a creative, you do tend to, one, enjoy creating, but also know that that's like, that's your wheel. You got to oil it, you know. So I think that it gave me the energy to not feel the pressure of it and be able to kind of lean into the unknown of everything.

But then I did start heavy meditating, which I've always done, and I would do that heavy meditation, probably about five, and then 5.30, and then I would do a workout, and then I'd get the kids up for school, and then I'd have a good day. But anytime I didn't do that and that, I would feel like off, all the way off, off, off. So that's kind of what happened for the first bit. There's one thing that I forgot, I forgot that my Spotify playlist is public. It's public, yeah. And so Fonte kind of out of me last week, because he noted.

that I've been putting a lot of hours into like my my binaural beats and my my meditation background stuff. I've been checking it out though. Yeah, it's heavy stuff. Right. And so I got paranoid. You changed it before I began to it. I'm going to use the Grace as a camera.

By the mess up. When Grace falls in sleep. No, but I put my join on like hip hop. Meanwhile, I'm running the graces phone like programming. Like, let me get my man.

So hold on, I need that, I need that playlist. Whatever that playlist is, you see, be hiding. Yeah, no,

no, I freely share it with everyone. Like that, that literally has saved my life. It's a mere K. Thompson page on Spotify, Alicia. I'll send it to her.

Yeah, but the thing is, is that, um, I think what we all have in common is that, you know, this forced us all to take

a rest or a pause at least from what our lives were you know like sort of worldwide at least for a period it was like that and in the beginning i think i felt guilty for like not picking up a drum sit like for at least four months i didn't do anything right yeah no music no nothing and you know i could i mean i i i i djed because that relaxes me but it's not the same yeah yeah i felt helly guilty for like having not sat at a drum set for like five months and all that stuff. I feel you. Then I started to find out that everyone was kind of doing that. Like, I haven't been on my piano yet or that sort of thing.

No, honestly, my piano felt so neglected. I was like, what's the matter with you? I would just go sit. Meanwhile, I'd be there. Like, my son has to practice. I sit there with him. We're playing duets. I'm like, read these nose.

Make sure you practice this, all this stuff. But I would not sit down. You're his teacher, man. No, but I practice with him. I practice with him. He has a teacher, and then I practice with him during the week, and then he has a class, you know, he has a lesson with the teacher once a week. So, so, yeah.

So you still actively practice, like, do you still practice, you know, daily, weekly, you know, even though you've been playing for so long? Yeah, I do. And I, but I do find I go in seasons. Like, you know, I have moments where I'm, like, fully invested because I really want to learn this new classical piece, and I'm like, I'm doing it, and I'm going to make sure I'm learning it. And then there's moments where I'm like, okay, I got a show in, you know, a month. So I want to put together this thing for it.

I'm going to be practicing all the time for it. Or I'm like, all right, I'm carving out the time just to do whatever. Or I'm just like, I just don't do anything at all. So it kind of goes in the seasons. There's moments where I'm more and then moments where I'm less. Maybe you already said this and I missed it. But where were you on this album when March happened or, you know, when. Oh, actually, when March or.

When March happened, I remember the last thing was I was creating the So Done video with Khalid. And we were actually shooting the video. Yikes. Oh, my gosh. Love. Thank you so much. I love it too. And we were shooting a thing.

And we were looking at each other like, is this happening? Because we were getting, you know, remember at the very beginning? We were getting all these crazy updates. Like, this sports person is positive. Tom Hanks is the. And we were like, wait. It's the world we're at the end right now. It was totally crazy.

So I remember we were looking at each other like, is this really happening? And we were singing and we were doing a video and we're like, I think it's going to be cool. And literally that next day, it was all like, no one's going anywhere and no one's doing anything. And that was the last thing in that March moment. So at that point, I was definitely mostly finished with the project. I knew that the majority was already completed. Maybe there was one or two things to finish or like a couple mixes or things like that. but I was in a place where I knew what it felt like, you know?

So you and your team were able to finish it up over the coin? Yeah, I mean, we mostly, you know, we mostly didn't do anything because we were trying to figure out, like, wait, what are we doing? And how do we even do it? And then where do we go and how do we get there? And so we kind of figured some stuff out finally to make things at least fluid and to be able to create and be able to have a place to, like, get content. and just create, just have some, a little bit of a hub, but, but at the very beginning, nothing. And then finally, maybe a month ago, at the end of the summer, I put the last finishing touches on the project and just said, okay, this is it, everything's done.

And that was kind of the flow. But it was a moment where it was just nothing. Yeah, and you're planning a tour for 2021, right? Man. I'm just. Oh, and now. Right. Well, what's 2020? Obviously, everything was 2020. That's like the, that's like the theme of 2020. It was 2020. Yeah. Right.

Alicia had to drive in. Right. Oh, yes. I'll be there. Everybody's at the drive in now. Hey. It's okay. Oh, mine.

So Alicia, I want to know, I believe that you were born in Hell's Kitchen, correct? In Manhattan? That's right. That was born and raised. I want to know what was the first album that you purchased?

Oh, the, okay, the true story is that. my first album, the true story is that my first album I purchased was Belle Biv DeVoe. Yes. And it was poison. And I remember that it was definitely the cassette. It was officially a cassette. And then I don't know what happened. But somehow I must have loved the song but missed the lyrics.

And then I got home and put the song in. And then I actually heard that she. that they were like, never trust a big butt in the smile, and I was pissed. I was like, you mean never trust a big butt in a smile? That's, that's my stuff. I don't like that. And I brought the tape back. I brought the tape back.

Wait, what? Wow. I don't know why I felt like that. I don't know why I felt so strongly like that. But for whatever reason, since they said never trust a big butt and a smile, I was offended. I don't know why. Mind you, I took the rapper off and listened to it. They don't do that at a time.

I don't even know how you can send the thing back. I don't even know how you can send a cassette. I don't even make no sense how you can send a cassette back. Or maybe that's, I don't know if I made that up in my head or what, but I really remember that clearly. Wow. So you were the kid and the parent at the same time? You know what? That is a true fact of my childhood.

Because question, I've had the pleasure of hanging out with your mom before. I remember the first time you came to Philly and we took you guys. to the Black Lily. And it seems like... She killed in the Black Lily? Yes, she did. And while your mom was partying, you was kind of chilling. So in my mind, I was like, she wasn't as much of a police on stuff like that as you were for yourself.

No, she is the party animal. Everybody be like, you know, if we go, because if we go to wherever we go, people would be like, oh, what's up, Alicia? Mama Key! Like they... Oh, what's up, Alicia? Mama Key! So much. She is definitely the life of the party.

She's, she's whaling, she's having a ball. She's dancing. She's no holding back. So everybody loves Mama Keys. She probably was like, why are you taking that tape back? That's a jam. Right. Exactly.

It's not with you. Exactly. It's warm with you. After Poison, what was probably the next album, I guess, that you didn't take back? Right. Something that you remember that you, like, really enjoyed and it stuck with you. Oh, then the next, the next? I didn't buy this one, but this was like a treasure, was the cassette,

which was a double cassette of what's going on, Marvin Gay. Wow. That was, I mean, I'll never forget. It was white. It was a white cassette. I'll never forget it. And I will never forget how that music landed on me. I never heard anything like that in my life.

I was never exposed to that. Of course, I've heard tons of music, but listening to that flow where everything connected to each other. And even with the cassette, like you had to flip it over, you know what I mean? But it was so crazy.

It changed everything for me, that particular cassette. Really? At that young of an age? Yeah, because I guess I was like maybe 11 or 12. That's crazy. That sounds kitchen.

Growing up, well, no, just growing up. Well, no, just growing up, I always saw Marvin Gay as like my aunt's music. So it really wasn't until, I mean, he died on April Fool's when I was 13. So then kind of the aftermath of his death and how like it affected all my aunts. Like they were crying like. Yeah, same here. That was probably the first celebrity death I remember. Right.

And so. Wow. Really? Yeah, it was like they took it hard. And I think I heard his, like you listen to people's music differently when they die. Like when Prince died and suddenly everything felt different to me. But unfortunately, it took his passing for me to like really absorb it in a way that I didn't. You know, this is way before.

I mean, 84 was way before, you know, sampling technology came in. Whereas like, you know, once sampling came in to play, then it's like, oh, your parents or your grandparents' record collection comes to life, then you recognize like, oh, that's where I know that from there. But, you know, just straight up, like, it took me so long to get into Marvin Gay that... Did it? Like, you mean because you just didn't have an access point, or you heard, like, all the singly ones and it was, like, not as interesting or, you know, wow.

It's just, I mean, you know, the thing is, is that me growing up, see, my thing was, I grew up in a don't touch my stereo household. So all the education I got was education, but it was like under duress of if you touch our stereo, then you're in trouble. Like that sort of thing. So I had to listen to stuff that I thought was boring then. Right, right, right. And then once hip hop started sampling it in 1988, then I became the smartest kid in school. Like, oh, I know where that came from.

I know what it is. So are you that person now? Are you like the don't touch my stereo person? Like don't touch my. Oh, no, not at all. Don't ask him for no request, though.

Right. Okay. Yeah, I'm the, I'm the, I'm the no request guy. Like, I'm the,

you know, I prepare my meals. I see it as preparing like cooking. That's how I see it. I feel you. It's so much my flow up. Give me a cheeseburger. Like that sort of thing.

Do you remember your first concert that you want to? Yep. Who do you? Did you see? My first, I don't remember, my first concert was, I can't even believe this. Is it? Michael Jackson.

And I had to be like five. Oh, not bad. Wow. And all the brothers, probably. All the brothers were out. Yeah. Oh, you're lucky. And they did like the routine.

And on my way into the, whatever, stadium arena, I don't, I was little. I don't know where I was going. there was like a hundred ambulances. And I was like, Mommy, who's sick? Who's sick? Why are they sick? What's the matter? And I didn't understand what those were for.

They was passing out. And that's what I remember. That was my first concert. That's crazy. Yeah, that's a crazy one. That's a very good first concert. Somebody did me right. Assuming that you didn't grow up in a,

well, I don't know. Like, your introduction to music, was it via church, via school? Like, how, what was the moment where, you know, the sort of the epiphany hits you that, hey, wait, I'm interested in this. Like, how is it introduced to you? It was, I was four years old. And I was in, you know, whatever, kindergarten or whatever. And I had this crazy teacher who was so eccentric and, like, so, like,

She just wanted to do everything for the kids. And she was like this little powerhouse woman, beautiful brown skin. And my name was Ms. Hazel. And she was going to get everything done. And he was going to move out her way. And she decided to do a version of Wizard of Oz. Okay. It's always the Wizard of Oz.

I know, right? It's always. So anyway, everybody had to go home and practice a song and this and that. So, of course, I go home and I practice somewhere of the rainbow. and I come back in and she's like, you know, someone was playing the piano. It was like this little room, this little piano. And then I sang it for her because she, you know. So I sang it for her and everybody had to audition.

I sang Summer of the Rainbow. And she ended up making me Dorothy. And I sang, had to sing that somewhere of a Rainbow song, you know, whatever. The two times we performed it, however it goes, you're like a kid, you know. And I remember that I was so nervous, so terrified, so scared. I hated that all these people I knew were right there in the audience. I never wanted to sing in front of them. And when I opened my mouth to sing the song, I remember feeling like, okay, I like this.

And then I went back to being terrified. And that was the first time that it hit me that I like this. And that's when it hit you. That was the moment. I knew it. I felt it. It felt like comfortable, felt good. So how does that lead to this as a career choice?

How old were you when you wrote your first song? I was 11 years old when I wrote my first song. My grandfather had just passed away. My mother raised me, you know. And so in the building that we lived in, it was some weird situation that if you had a girl, like if the parent had a girl, you could only get a one bedroom.

But if you were a mother with a son, you could get two bedrooms. Wait, what? Wait, how's that? It's not illegal or in China. It don't sound right at all to me now, but whatever the case, we have one bedroom. Because they figured the girls

and the mom and the daughter could sleep together. Wow, that's like totally. Before they were gay people. So we had this one bedroom, and sometimes the bedroom was hers. most of the time it was her. Sometimes it was mine. So I don't remember if it was my bedroom or her bedroom at the time.

But I do not. I was sitting on the bed and she came in and she had to tell me that my grandfather had passed away, you know, and it was terrible. I never experienced that type of news before. And, you know, that was like the love of my life. I loved him so much. He was like my biggest fan. He would come to every piano recital.

And he was like my little Italian mafia. I was just about to ask, where was he from? What did he do? You know what I mean? He was just like he always wore the fedora. He was a detective. He was ex-NyPD. He had the, he had the trench coat all the time.

He always carried. Every time I gave him a hug, it was like the gun. I mean, it was just, this was, this was, he was like detective, old school Italian. Yes. That was his life. Did he tell you, Shane? No. Huh?

Yeah, shame. Yeah. I want to know. Did he speak like that? But that's, that's kind of dope. Because especially your grandfather who's Italian, who based on, because my dad's from Hell's Kitchen, too, and based on, and he's 81. So based on what he told me about what Hell's Kitchen used to be and the divide and stuff, the fact that he got his little, his favorite person is his little brown granddaughter. That's like.

Yes, yes. No, it was deep. It was very deep, you know. And, and, and, but he was, he would drive from Long Island. My grandmother lives in Long Island. He would drive from Long Island every weekend to help my mother. He'd be the first one there. he'd lean up against the car with his hat on and his trench and his arms folding.

He'd be waiting for me to come out the building. And every time I came out the door, he'd be like, that's my girl. Like every time, that's my girl. And so anyway, I can't even remember what the question was because I'm so wrapped up and my memories for him. Keep going. I literally don't know what you even asked me. What did you ask me again? The song.

Oh, the first song you ever wrote, and you said that the passing of your grandfather inspired it. So that was my heart and she had to go on this bed and tell me this news and I was just so devastating. I never felt like that before. I never felt that raw, unstoppable, like torrential emotion before. Like I just never felt that. And so somehow I was so sad we went to see a late night movie. We went to see a late night movie of Philadelphia. Oh, wow.

Which was probably the worst thing to watch ever. That's probably the worst one. I'm not sure why I was all sick. That's not bad. Like, I don't know. Wouldn't we want to go see something funny? I don't know what happened. I'm in there crying in my eyes out.

I mean, it was like literally just the most emotional day of my little life. And I came home and we went to a late movie. It had to be 9 p.m. or something. And by the time we get home, it was like 11 o'clock. And I came home. And it's the first time I just immediately sat at the piano. and I played and I sang and I sang everything I felt and I wrote it down and she just left me alone. I was just in that, you know, the apartment's super small so not much places to go, but she was just,

she just left me alone and I wrote this song and that was my first time I wrote and that was like the beginning of me recognizing how you could turn like a pain or an emotion into something. it's funny you say that someone uh someone asked me this summer if there's a song that you hear and it could trigger like near tears emotion and i don't know why but for some reason um and you can't find it streaming nowhere because you know neil young is is hella against uh streaming services well i i don't try to start his own it's pon over right yeah yeah yeah the pono. But, um, that, shut up, Steve.

Ah, Steve, do you still have your pono player? Yeah, man. Um, yeah, but the, the Philadelphia song that Neil Young sings on the closing credits of that thing. That's your song? Yo, man, I don't know what it is. Is it because of the movie? Is it before or after?

This, this is literally why I'm obsessed with, um, sort of the, the, the, the, at least the scientific study of synesthesia and how I believe that scientifically, and this is why I think, you know, the idea of your chakra, like certain tones affect parts of you, but I don't know what it is. I don't know if it's the tone of his voice or the, or like it's a regular ass song, but for some reason there's something in that song that just,

ah, I can't get through it without filling up. And usually if I feel sad about some shit, okay, example, when, okay, when Dilla died, I found it hard to cry and I was struggling with that. Like, it took me like three weeks to really process that shit. And I couldn't cry. And then I didn't want to create no more. And, you know, the time that girl was, Dave was like, well, you need to cry. You need to do it. And I was trying everything.

and I was, nothing was coming. And then I put that shit on and then, boom. It happened. Philadelphia song. That's what made you. Yes.

Not the Springsteen song. But yeah, the new young, the new young join. Yes. It's just, I don't know. It's just something scientifically,

sonically in that song that, I don't know. That's the breaker for some reason. I love that and I'm going to listen to that now. Well, then you'll be boo-hooing. I don't know. But.

You're going to be boo-hoeing. Don't make questions. So at this point, well, I also wanted to know what was the first song you ever learned to play? Like, what was your go-to? The first song. Your go-to karaoke movement or the song that you, like, committed to learn. The first song I ever learned to play, you know, outside of like the basic classical piano things. Like, you know, because I did the Suzuki method.

So it progresses. And so you start with the super simple ones, and then you keep going, and it progresses and progresses. And so the first ones were like, roll your bow and married a little lamb, and London Bridge is falling down, and you're teaching you the thing. Besides all those,

my first song that I learned to play was called This One for the Children by new kids on the block. Wow. Yes. I am. Stand tough. What? And that was my first one

that really, that was the first song that I learned that I actually figured out how to put my hands and my voice together at the same time. Because prior to that, I had played and I played classical and then I had sang, but I never did them together. And that was the very first time that I kind of figured out what did that feel like. And it was hard. I was going to say, how long does that process take? Because people take that for granted. It was hard. I felt like I would never get it.

I felt like I would never get this rhythm of like how to play. one thing and how to sing another thing. But once I got it, which, I mean, I don't know how long it took, but it was considerable. It took time. You know, it really like, that started the thing. Amir, how long did it take for you? Because, you know, you'll be up there doing 50 dozen things and drumming and singing and talking and giving cues.

How long did it take you to master that? What, to learn a song or? To learn how to do multiple things at one time like that. You know, again, similar to, similar to. Alicia coming into knowledge of meditating and whatnot. Well, we learned early. Remember when Quincy Jones taught us about the alpha state and whatever? I learned, well, I'd studied that and realized that there's four parts of the brain.

The alpha, the beta, the data, and the theta. And the reason why you're supposed to practice 10,000 hours is that, you know, you do it so much that it becomes, when they say it's second nature, you do without thinking. So I too, that's my alpha state. So when you see me on stage, like on my phone, eating a sandwich, talking to somebody, whatever, that's the equivalent of Greg Phelan gains doing a silhouette at two in the morning. Quincy Jones basically, he makes them eat, get theitis, get tipsy, and then start recording them at one, two in the morning. Yeah, because they don't debate with them. don't argue with them. They don't overthink it. They just do it natural.

And so... That's fire. Yeah. I, you know, because again, the second I start thinking of left, right, left, then I start messing up. Right, right. Even to this day, like, I can't, I'm not aware of what I'm doing. I'm thinking of, like, cereal or something else. You love some cereal. That's the second serial mentioned, and it's only been like 20 minutes. What kind of cereal you have to?

I'm missing cereal. That's what's happening. Well, my favorite cereal is Honey Nut Cheerios. What's yours? Yeah. I'm team Captain Crunch. Crunch berries. Oh, Crunch berries.

Oh. Crunch berries is good. Them things, they tear up the roof of the mouth. Well, all of them. The Captain Crunch tear it all up, so it don't matter. Yeah, cut them out. All right. Might as well, go them crunch berries in there.

You'll let them sit for a little. Can I tell y'all, I know y'all ain't asked me, but I've been a lot of time for a lot of Pops lately. Like I've circled back to them. And let me just tell you, milk or not, pops will. Oh, the cereal. I think is good. Pops are good. And the other one that I used to love, cinnamon toast crunch. Oh, yeah, automatically, 100%. Oh, like Apple Jax. And the best thing was the milk after the cinnamon toast crunch. That was like the. So good. A bowl drinker. Oh, yeah. They sell that at, at a milk part now. Yeah.

Cinnamon toast crunch milk. Oh, they, they put, they do the fruity pebbles, the cement toast carts. They put the milk in it, drain it, and then resell the milk. Like there's milk cereal. But that was my old life. Right, right. By the way, you look great, man. Really?

You are shining. Do not do that. You look great. No, no, no. Take this compliment. Stay at again, Alicia. He's going to act like he didn't hear you. No, I didn't hear that.

I said, by the way. I got enough life coaches. I'm good. You love great. Thank you. Hey, that's rude. Your mama never taught you to say thank you? Yeah.

Thank you. All right. Yeah. I'm learning to. I'm still. Get it together. It's very sweet. You're welcome.

Yeah. Yeah, they always get on you. It's like taking compliments. It takes longer to dista compliment. Just say it. Right. Just say thank you. We have been on to the next thing.

It's not about me. Let's get to it. 2%. That is the number of people. who take the stairs when there is also an escalator available. I'm Michael Easter, and on my podcast, 2%, I break down the science of mental toughness, fitness, and building resilience in our strange modern world.

I'll be speaking with writers, researchers, and other health and fitness experts, and more, to look past the impractical and way too complex pseudoscience that dominates the wellness industry. We really believe that seed oils were inherently inflammatory. We got it wrong. Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships, and you will come out on the other side a happier, more fulfilled, healthier person.

Listen to 2%. That's TWO percent on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tapped Little Kim's boobs at the VMAs? Or when Kanye said that George Bush didn't like that. black people. I know what you're thinking. What the hell does George Bush got to do a little Kim? Well, you can find out on the Look Back at it podcast. I'm Sam Jay. And I'm Alex English. Each episode, we pick it here, unpack what went down, and try to make sense of how we survived it. Including a recent episode with Mark Lamont Hill waxing all about crack in the 80s.

To be clear, 84 is big to me, not just because of crack. I'm down to talk about crack on day, but just so you all know. I mean, at this point, Mark, this is the second episode. where we've discussed crack. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you finishing that sentence. Yes. I don't think there's a more important year for black people.

Really? Yeah. For me, it's one of the most important years for black people in American history. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. A win is a win. A win is a win.

I don't care what I'm saying. Yep, that's me. Clipper Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger.

So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the 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. When do you decide that you would like to do this as a profession?

because I've met you, what I assume is the first stage of your career when I believe that you were still an artist on Columbia, I believe. So I met you when you were. Do you remember that? Do you, it's the funny. All right. So the story of me first meeting you is the roots are working on our fourth album, Things Fall Apart. Steve, actually, you're connected to the story. I'm connected to the story, yes.

Yes. All right. So the preface is, do you remember when Foxy Brown threw a tantrum at Electric Lady? Yeah. And she sent that poor intern. Yeah. Were you the intern?

Yeah, I was the intern. Wait a minute. She sent you to the Bronx to go get those crispy creams? No, no. That was a different intern. I was the assistant. She was screaming at me because she couldn't find her headphones and she used me of stealing them out of the live room or something. Oh, okay.

Well, yeah. All right. So just during the, during the whole electric lady period of voodoo and like water for chocolate and all the stuff that we recorded, Foxy Brown came in for like a month to work on her second record. She threw like a temper tantrum because they didn't get, back then, you know, everyone was catching crispy cream fever in New York City. I remember crispy creams. where like the red light comes on and you get you know hot at right everyone knows the deal um so foxy sent this poor intern um who was clearly not from new york city like all the way up to the bronx to the 20 to the 24 hour crispy cream spot i don't know did he get mugged or anything like that or no he got the donuts he got he got the donuts but like within an inch of his life

because he had to take the subway up there whatever and so i was kind of angry that she put him in that position. So to be an asshole, I went and ordered Foxy like, what was it like? I ordered like 75 dozen. I ordered 75 boxes of Krispy Kreme donuts.

And there was a dozen eats. So basically when she went in the room, there was nothing but a mountain of donuts. And she was actually flattered like, oh my God, you get me. And I was like, oh, she, oh, man, she missed the whole

Point. Yeah. Even the shade, backfire. Right. So now we're BFFs. But at the same time, I still have to work on the Roots record at Battery Studios. And so I was there to record Most Deaf on our album. And most being most was like 12 hours late.

So I was chilling. I went in the hallway and I saw Jerry Brown, who worked on, who was Raphael Sadiq, engineer for our last album. And Jerry Brown's kind of his trademark is that it's Christmas anytime he's in the studio. And so Jerry always sets up Christmas lights in the studio. Like he wants it to look like it's Christmas inside the studio. And I'm like, that's weird. Like what if your artist doesn't want this like?

And he's like, well, that's my, I got to make it look like Christmas. So then I came in and you were sitting in the back. And I realized that, oh, this is the same person that I saw on, I think, either So So Def or. Definitely that. Columbia had a, like, a BT Christmas special or something like that. That was it. Right. And I remember at the time, you were probably the only figurehead that I knew that had her hair in cornbrils.

So I instantly recognized you as, oh, that's a girl from the P.E.T. join. And then, you know, just out of boredom, I was probably in your break room more than my own break room because, you know, most would be like, yeah, I'll be there in a second. And then be like nine hours later. Right. I'm still waiting. No, no, no, no, notorious. So basically that, yeah, that's how I first met. So, I mean, at that time.

That's crazy. It was night, well, it was 1999, though. So I guess you're working on songs in A minor. at that point? Because it came out in 2000. So what was that first period? I never knew the story behind that. Because I would figure that between Jermaine and his dad,

who, you know, was notorious at Columbia. Oh, Mr. Maldon. Okay. Yeah, yeah, Michael Maldon. Molden. That they would, you know, roll out this rare diamond of a moment and take advantage of a little. So what was that experience in getting the record deal? and recording that first record.

Uh-oh. I'm getting this quasi-eye roll. No, no, I'm just trying to, I'm trying to like come back. You're trying to remember what it was. I'm trying to come back. All right, so I was about 15. And my manager at the time, Jeff Robinson, he was like, you play piano, you sing.

You know, you have to show people your whole thing. So I'm a set of these showcases. We're going to bring a couple labels down, blah, blah, blah. So we did that probably at like, I don't know what that was at the time. something like little rehearsal studio for 40 or whatever street. And so I did these kind of small showcases

and many different labels came and it was just me on my little, you know, not that fancy keyboard and I wrote my few songs that I'd written. At the time I had butterflies, I had a song from that first album called The Life. I had, you know, I sang that Brian McKnight song never felt his way.

It felt as well. Brian McKnight at the time. And so I sang my few little songs and all the, and so he created this bidding war. And so then Columbia was the one that did the first piece. But then, so I created a lot of the music with Columbia while I was at Columbia. And that's when I was with Michael. And that's when Michael set me up with the opportunity to have that to be on that

So So Dev Christmas thing. That was like my first, you know, moment. my first performance, all that I said. I remember my home girl, Denise should dress me. She brings this up to this day. Remember when I dress you for BET? You remember how cute you look?

I was so good at that. She was. She was cute. She had me in like, I don't know what, but, hey, whatever I was wearing. Tanisha got that for me. So, um... What you got to do.

So, so, um, so yeah. So that's when I, so that's when I performed there. And that was like a big deal. It was my first time in the record. in studio, really. It was my first time, really. I remember sitting at home playing those kind of chords

because I wanted to flip the Christmas song, which was Little Drummer Boy, which I changed to Little Drummer Girl. And I played those kind of jazzy chords on it. And it was the first time I went to the studio and really produced the thing, like created it, said, this is what I hear, this is the piano, this is the drums I want,

all that type of stuff. And so that was the beginning of that. But after that, Jermaine wasn't really a part of my project. That was kind of a one-time thing that him and Michael put together for the Christmas thing. And outside of that, he wasn't really a part of my project until the end. That's when we wrote the song Girlfriend Together. He was a part of that. But other than that, was myself and my music partner, Crucial, who did all of my first album with me and my second album, exactly.

And we were really, we recorded everything out of a Harlem apartment on 137 Street. Wow. It was like straight. I mean, we had like the straight little, you know, comforters on the wall, straight raw. We used the, we used the closet as the vocal booth, which was a terrible idea because it made everything sound like super small. I mean, obviously, what I know now would never do that.

But we did that. The bathroom was the banjic. The bathroom would have been better. We didn't do that. We recorded on D-A-88's. I remember we got D-K. That it is. We had the first, the bed was in the, like, it was the bedroom.

So the bed was in the room, and we were, like, recording around it. And if we'd get a bass player to come, they'd be sitting on the bed, and I'd be standing in the closet, and he'd be chill. I mean, it was, like, so tight. I remember we used to sit there and research all the favorite records. Like, we'd listen to Smokey Robinson, and we'd listen to Isaac Hayes, and we'd be listening to Roberta Flack and Donnie Hathaway. And we'd be like, what makes the record sound so full?

Like, why does their music sound so full? And, like, when I just put a piano and a drum and a thing, what am I missing? And we scoured it and was like, oh, there's roads in there. Oh, there's, you know, there's, like, pads in there. And it really started to teach me the process of production and what creates, like, those sonics and how they go together. And especially Isaac Hayes, especially Isaac Hayes,

because he was just such a unique producer. You know, one of my favorite, favorite favorites. And so we did all that in the crib, and then probably at the towards the end, we would bring a few things to the studio, but barely. I remember I did the intro, the Moonlight Sonata that I played at the intro. I did that at the studio. And other than that, everything came from 137 Street, and there was a kid out on the block because we'd be recording all types of night,

and there'd be a kid on the block that every time I walk down the street, he'd be like, there go hit a high note, because I know he was outside. on the block every night when I was recorded and he heard me screeching and trying to find my way reverberating through 137 to 5th and Lennox so that is how songs in A minor came to life what is what is your relationship with songs I noticed that you're probably one of a handful of artists that still create songs that are are in 12-8 meter ding yeah 6-8 6-8-34 or 6-8-12. Yes.

Yeah. So, you know, that's traditionally like 50s 60s ballot mode, which is, you know, original old school. But yet you still keep that tradition alive and that torch alive. What is your relationship in love for that? Because that's something that you've kept consistently on most of your albums. That's true. On this one, I have one called Gramacy Park. and it has continued the vibe.

But it's my favorite time signature. My favorite. You can play, I can play right now, lucky on the piano. Right now, I could play anything, anything in 6-8, and it makes me want to sing. I don't know what happened. I don't know what time.

I know I was alive in the 60s and the 70s for sure anyway. And it just sparks me. It will spark me every time. I don't have to try. I don't have to think about it. I know what to do. I know where it belongs. I don't know.

It's just my perfect time signature. Also, in the beginning when you first got your deal, at least with both Sony and with Jay Records, they didn't try to assign a producer to you first, or at least like someone that they felt like. Are you kidding me? They assigned me so many damn producers. I was in the studio with so many ridiculous.

idiots that just, you know, they had no respect for me as a young woman. You know, I was, I was, you know, what? I was at 16. Oh, what you know, right. 16. They didn't think I could play anything. They didn't think I could write anything. They, you know, they figured they could do it all. They didn't even care what I thought. I didn't care what I brought. They didn't care with my, you know, it was like, they were whack. I remember it was super trash. And I felt so disheartened because I would go home and I'd be like, is this what it's going to be like? Because I don't feel good, you know? And I would go travel, and I remember we used to go to Maryland to work with this one guy,

and I used to dread it. I would be in the car, like my stomach would just be like, that feeling when you just don't feel good, that stomach would always be there because I was just terrified. It didn't feel comfortable. I felt like, I don't know, I just did not feel comfortable. And so at the time, Crucial and I had been connecting, and he was doing music, and we, you know, we, we would connect about different songs, and we'd always meet and have ciphers in the village,

and it was like a vibe. And I remember one time I was like, well, why don't we just like work on some stuff together? And that was the time that it finally, we tried some stuff. And that was the first time that I actually felt like comfortable. You had a collaborator that listened to you and worked with you. So was girlfriend the first song that you and him worked on? And if not, could you just tell us the story behind that song and how it came to fruition?

Because for me, that's the most, like, that's one of my top 10 Alicia Bangers consistent. You can play it and it always sounds fresh. I love that you asked me that. You know, girlfriend is one of my favorites, too, because I am a super Wu-Tang fanatic. Yes, you are. Yes.

I love it. story. Yo, I, nothing will describe the, in a good way, the anger I felt when I heard the opening chords to the sane-eyed's song on,

on here? Oh. Yo. Wait. I was so. You know, like, but this is actually a compliment for the artist. Like when,

when, And Jay tells the story when he first heard who shot you for the first time he's sitting in a car in Harlem outside the Apollo and Biggie plays him who shot you. And it just lit a fire him just ass. Like my favorite Wu joint that's not a hit single is the St. I's U-Ten. John. I thought no one's ever going to think to bring this joint back. So me and Tarek always talk like, one now we're going to bring back. Doon, do, do, do.

It's so hard. And you open, oh man, and I heard your record the night before we did that thing in Times Square. Yes. Yo, I was. That whole night, man. I was just, it was, I can't, the last time I felt that seething jealous rage that someone got to an idea before I did was probably Spotioti dopolicious where I wanted to do a joint where Tariq just talked and didn't rhyme. Right. And I was like, so yes, I know you're a Wu-Tang hit.

Oh, my, you know, the fact that you even can pull that out and even understand that and speak on that right now is, is, is why you are. Which record is that? It's on the here album. Right. And it's, it's called the gospel. Okay, yeah, yeah, yeah, yeah, I got it. You're actually spitting hot fire. Even Tariq was like, oh, shit, she's spitting.

Right, like, huh? No, that album is one of my favorites. All-time Alicia Key's favorite song forever. Like, listen to it maybe probably five times a week. Like, it'll wind up on my choice. Is that a Zoom high five? That's a Zoom high five. There you go.

We're high five and leasing. All right. Now, back to girlfriend. Yeah, tell me how the 15-year-old came up with girlfriend. Yes, right. So, no, you're right, though. And so, you know, at the time, I'm trying to flash back there because at the time,

writing was such a beautiful new experience for me. It was like a real discovery for me. And I, and, you know, I was, I was learning at light speed how to tap into these emotions. And I remember, you know, listening heavy to Mary J. Blige, heavy to Mary. I used to rip Mary melodies so frequently just so that I could like feel what it felt like to feel like her. You know what I mean? Because she was so, she was so New York for me. She was my only, the only girl that I was.

I could actually relate to. What's the best Mary album right now? Alicia Keyes say it. Best Mary album. Actually, my favorite is What's the 411 remix album. Really, the remix album. See, not my life.

You are very New York. That's some New York shit. My life is definitely my favorite. I like when people don't name my life. It is. It is. It's amazing. But what's the 401 remix album is it.

It, it. You got to ride out to that tomorrow. or tonight on your way home, oh, guess you are already home. But wherever, you know, you will remember. Well, the thing was the 4-1-1 remix album was basically the dress rehearsal for my life.

Exactly. Just them, her singing over the loops. I mean, that was, that's pretty much what it was. But hold up, let me tell her what the girlfriend thing because we keep trying to say it and we get that right. All right, so I'm going to be fast. Let me fast. So anyway, I was figuring out how to write these songs

and I did stuff like troubles, and that was the first time that I, like, felt this lost emotion. And so I was starting to learn how to craft. I was starting to, and I worked with one guy who he's, please forgive me that I can't remember the name off the top of my head. But he's the other writer on girlfriend. And he was like a really awesome songwriter. And it was the first time that I worked with because I had started getting my own skills together. And so I was starting to get more comfortable collaborating once in a while with other people.

Whereas originally it was just I didn't like it because they didn't understand. They didn't care. And so I collaborated. Not Brian Michael Cox? Not Brian Michael Cox. His name was something Thompson or he was, I co-wrote with him and I really started to understand. And I had this concept of being, this idea of being jealous of your girlfriend, even though she's just a girl that is your friend.

And it's like this feeling that, you know, you know, you notice she don't like you. Yes, but this is something that. Yeah, you know, I don't like it. It's just, oh. So, so, and I remember trying to put that together. Why you? I'm sorry. I was,

I was just. She filmed me. I was, she filmed me. I was, yeah. Mm-hmm. So that's how that happened.

By the way. Say me again. Joshua Thompson. Joshua Thompson. Yes, big up to Joshua Thompson. Excellent songwriter. Might be my relative and I don't even know it.

See? Of course. Okay, I got to ask you. Like, I've heard, I've heard stories before that, you know,

when you're, when someone the apple of Clive Davis's eye. You know, all the stars align. Everything works and everything's perfect. What's it like to be in the world with? I mean, you know, and I don't know the story of the beginning of development at Jay Records. But, you know, looking throughout history where his work with Janice Joplin, even Phil

Simon, Whitney Houston, of course. It didn't work for Jimmy Cozyer. I was just going to say Jimmy Cozier. I didn't care. You got to be the Apple. No, no, no. No, I mean, you know, for every, for every Whitney, there's GQ and there's, there's Don Blackman. There's other Orn Arista records that didn't fare as well.

But what is it like, or at least were you aware of this is a major lottery ticket for you? like the fact that probably the most powerful set of ears and businessmen in the music business is now at the helm. And I'm certain he came out the gate like, we're going to make you a star overnight. Like, how do you, what is that like? This is so deep. Thank you for asking me that question because I've definitely never been asked that question before. We're nerds here.

So we're not, this is the stuff we love. Right. This is why I'm loving this. So basically, you know, So I was at Columbia and Michael Malden, and that was my guy, and he was the head of black music, and it was a thing, and we started this whole project. And then as time happened, he ended up moving on, and I remember they brought the trackmasters in after Michael Malden. And the trackmasters, like, totally didn't get me. They did not.

They was not trying to get me. And I remember, like, I was just, like, looking at them, like, what? What do you want me to do? I just, I couldn't understand. And they just, you know, they just didn't get it. And it's all good, you know what I mean? And Danyana and all them folks over at Columbia, they just missed the plot. And so, you know, I looked at Jeff and I was like, man, what are we going to do?

Like, I've been working so much on this music and, like, what are we going to do? And he was like, I got to try to get us out of here. And, of course, they're in the business of buying, not selling. So they weren't trying to sell me back anything, no music, no nothing. But you don't like the shit. Why do you want it? You don't even, what do you want it for? You don't like it.

So that took forever. And the only reason why I got out of that was because we went to Clive. Clive, you know, got the vision. And he bought me out of my contract. You know, he really did. And I would have never been able to leave Columbia, not with my master's, you know. They would have just left you sitting like a sitting duck just. They would have shoved me.

They would have shoved me straight up. Frank McCombs you. That's what they would have done. Oh, sorry. More names just. Right. So I was forever, I had a certain love for Clive that I could never, ever express. Because, you know, as a young artist, I just was like, he, you know, he gave me this opportunity.

And not only that he was like, well, what do you see for yourself? And how do you see your career going? And, you know, I see you as a Joni Mitchell. When he compared me to Joni Mitchell, that was it. I was finished. I was like, did he just call me Johnny Mitchell? Like, this is, so his point was, he never had to be, you know, he didn't have to, he didn't have to hover over me.

He knew that I was an artist. You know, I created my own music. He knew I was a producer. He knew I was a writer. He knew I did it all. I was a one package thing, and he loved it. So when times happened, and obviously he was at Eresta and then things. shifted and they moved Clive out and moved L.A. Reed in. There was like a whole thing where

Clive could choose like five, five, he could choose a certain amount of established artists and a certain amount of up-and-coming artists. And I was one of the up-and-comers artists that he chose, but he couldn't offer any more money. L.A. Reed could ask me to, could have me stay and he could offer me anything he wanted to offer me. So he did. And at the time, my man, it was just like, what's the thing to talk? We're not talking about nothing. Let's stay with LA. We're good.

Let's get a little extra paper. We're straight. What are we doing? And I was like, I can't because Clive, like, is the reason why I'm even able to be anywhere, you know? Right. And so I was, I was, so I went with Clive not even realizing that straight out of loyalty, not even realizing that because of the circumstance of the situation and him starting this, you know, this instant major, which you remember he, he did with.

Jay, that he, by me going with him, he had to win because he had to prove, not knowing his story, I was a kid, I was freaking, you know, whatever, 17 years old, he had to win. He had to win. He had to win because they tried to doubt him. And because he had to win, he had to win with somebody and that somebody happened to be me. But I didn't know that. I just went off of, like, ethics, like, you know, just because it's the right thing to do. And so I never knew how hard he went for me, which not was not only because he's 1,000% believed in me and he really did, but because he had, it was like when I won, he won. And that's what that was.

And it was a whole other animal. And nobody is like Clive when he's focused. Nobody can do what he does. So then let me ask you, a year later, February of 2002, when you win your five Grammy Awards. Jazzy Jeff has a similar story where, you know, they had a situation with Jive Records and thought that, okay, well, you know, y'all washed up, y'all done. And then, of course, Will comes back like a monster.

They let him go because they thought, like, well, you know, after summertime, there's nothing left, so you're good. And then we'll be, you know. And so they kind of had their revenge moment in the elevator with the staff of Jive Records as, you know, Will and Jeff are, you know, like they had words with the president and, oh, no hard feelings, Will and everything. You know, it was like the greatest feeling of revenge. I'm not saying that, you know, there were any sights on Tommy or Donnie or anyone at the label, but. Vendication. Surely they had to know.

shit. They fucked up. Yeah, we don't fucked up. I remember when I found out that Aretha Franklin was on Columbia records. Remember she made all those jazz records on Columbia? And then she had to go to Atlantic and they got it right. And they didn't get her on Columbia.

And I remember feeling like, see? They don't never get the good shit. You see it. And I remember that actually felt validating to me. When I discovered that, I was like, I felt like I just, it covered over any type of like feeling I might have held on to for them not understanding me. And, you know, I'm like, man, because if you don't get Raritha, then you, you, you, you, I don't know what to tell you. I just don't know what to tell you.

On the flip side, did you feel like you had started an amazing trend with Clive? Because I guess after that and, you know, we all watch what goes on at the dinners. It's like every year there was another powerhouse female. It felt, wait, I thought like it was females being announced. from like Fantasia or I feel like was it Jennifer Hudson it's just been consistent. That's true. It was the other girl. What was the name?

Leona Lewis. Leona Lewis. That was what I was the name. Leon Lewis. She was a voice too. He had a lot of strong, strong voices for sure. Right. But you were the first, the J first J record.

Strong voice. Yeah, it was like, was. The thing is from my observation, because the first first album sold so much and was so gargantuan. You did something that a lot of your contemporaries in your particular field, because of course, you know, I mean, it's hard to categorize an artist or whatever, but, you know, you were pretty much the pinnacle of commercial success for, quote, unquote, left-to-center artist.

It wasn't like you were out of the bad boy stable or whatever was considered super mainstream. And you did something that no other artists in your field did, which was you had your sophomore record kind of ready and timely within a two-year period. Whereas this type of success could have easily been crippling. you know everyone else takes five years maybe a decade one particular person is still waiting 22 years leave him long leave him oh her yeah exactly oh her yes right exactly so what in making a diary like for you is it even a thought of shit what do i do now how can i top this You know, I was so itching. Yeah, I was just so itching to do new music.

I remember, like, because, I mean, who would have expected, you know, songs in A minor to have that vibe? I went on my first tour. I did all these things for the first time. And I was, you know, I remember I had to sing so many cover songs because, you know, I only had, what, the 10, the three songs that everybody knew, you know? And so, and so I was just so ready to do new music. and it was quite a long time.

I'd never been on tour before. And I've always been blessed to be a touring artist. I mean, I can tour for two years. I can tour so long just because of how it flows. So it took so long to be off the road, and that was totally worldwide, and that was a whole new experience for me. And so when I came back, I was just dying to be in this.

I just wanted to sing new songs. I was like, please, I need to sing new songs. So I didn't, I didn't, I remember we camped out at this one place, and called Campo downtown and I had the little there was like a little bedroom upstairs and we pretty much

slept there every night and just woke up and that was at the beginning where you know we did you don't know my name Kanye came in and he created that whole thing and you know I remember

Easy MoB came in and rocked me and I was like a dream I was like ooh Easy Moe B easy and I had the sole vision of doing the warning sample over if I was your woman It's like it was a whole thing.

And so it was... Drain Vidal. Did they get on... Is this the album that Drain Vidal works on? Yeah, they're on that as well. Yeah, yeah. Drain Vidal. And that was so cool.

They did so simple, right? Yeah. They did so simple. They did another one too that's kind of I forget about it. And I'm like, oh, yeah, but so simple is the one. We had such a ball that time. So I just couldn't wait. And so I definitely didn't recall being conscious about the time span.

I just knew that I had. I definitely knew it's like it'd been a minute, and I knew I was ready to sing new songs, and I knew that they were pushing me because they always pushed me to release fourth quarter, which I never understood until way later. It's important. It's the most important quarter. Is it not it's Christmas? And they would push me and push me and push me and push me and push me of a fourth quarter, and it would drive me.

I was like, why? And I remember we finished the whole album in France because we were touring and we were doing international promo. before I even finish the record. Oh, damn. And I would, they were, they knew when I needed a release. They were pushing it. They were like, this is when we're coming out. Good luck, finish the record.

Your promo in while you're finishing. No pressure. I was, it was the worst experience of my life, the end of the diary album. I was never more tired, exhausted. I remember I, you know, I would do get up and do interviews, you know, getting ready at six. First interview at eight. Interviews from like eight to six. One hour break.

jump to the studio, be at the studio from seven to one, get back home, sleep until like five. And that was like it. And I had to finish the whole record and all the stuff and be promoting, you don't know my name at the same time. In French, tuna conne parmesan or something like that. That's the way I remembered it. They taught me it in French. And remember it is tuna, corn, and parmesan, which is the French translation of you. I don't know my name.

2%. That is the number of people who take the stairs when there is also an escalator available. I'm Michael Easter. And on my podcast, 2%. I break down the science of mental toughness, fitness, and building resilience in our strange, modern world. I'll be speaking with writers, researchers, and other health and fitness experts, and more to look past the impractical and way too complex pseudoscience that dominates the wellness industry. We really believe that seed oils were inherently inflammatory.

We got it wrong. Many of the problems that we are freaked out about in the world are the result of stress. Put yourself through some hardships, and you will come out on the other side a happier, more fulfilled, healthier person. Listen to 2%. That's T-W-O-Persent on the I-Hart Radio app, Apple Podcasts, or wherever you get your podcasts. Do you remember when Diana Ross double-tapped Little Kim's boobs at the VMAs? Or when Kanye said that George Bush didn't like black people. I know what you're thinking. What the hell does George Bush got to do with Little Kim?

Well, you can find out on the Look Back at it podcast. I'm Sam Jett. And I'm Alex English. Each episode, we pick a here, unpack what went down, and try to make sense of how we survived it. Including a recent episode with Mark Lamont Hill, waxing all about crack in the 80s. To be clear, 84 was big to me, not just because of Congress. crack. I'm down to talk about crack on day, but just so y'all know.

I mean, at this point, Mark, this is the second episode where we've discussed crack. So I'm starting to see that there's a through line. We also have AIDS on the table right now. Thank you finishing that sentence. I don't think there's a more important year for black people. Really? Yeah. For me, it's one of the most important years for black people in American history.

Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. 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 celebrate. One week I'll take you behind the scenes of the biggest moments in sports and entertainment,

and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. Yo, can I, can I, I don't mean a backdrop, but I always said if I got a chance to talk to you, I wanted to ask you, especially now that a lot of time has passed.

I was always curious, that first album, those Grammys that Amir mentioned, I remember that time also being kind of, I assumed it was a little emotional for you because I remember a kind of pit against with India, I read, right? And I remember, you know, that whole thing, right? But it's interesting because like, well, 15, let's act like it's 10, 12 years later. All right. 27 years later, no, please. I know, but we y'all know.

We young know. Right. I just wonder if you ever think about that. Do you think differently about how that happened and how y'all were pitted against each other like that? Like, what do you ever think about that? You know what? You know what? That's super deep that you asked me this.

And now that I am an awakened, you know, adult woman. That's why I'm asking. You know, I think that's, I think, thank you actually for asking me that because I really didn't understand what was happening at the time. I was so excited for both of us. First of all, you know, Indiare's music is so dope. And I was, I continue to be a huge fan of her energy and her style. she always had such a presence and we cross past all the time, all the time. And even on that Oprah show, right?

She was on that Oprah show. I forgot about that. That's right. The Oprah, it was you, Jill, because I remember Jill was on that show as well. Jill, India. Mary, Mary. Oh, this is the brunch? Is this the brunch?

No. No, like Oprah had a big episode. And it was Alicia, Jill, Scott. Like, she just had the black women of the moment. and that was a very crucial moment for everyone. Like Jill's record started selling triple and... Wow. It was huge for us.

It was so big for us. And I loved her so much. And when we were both nominated for so many records and the Grammys, it was like, the shit was amazing. I was like, yo, this is crazy. Like, look, I couldn't believe it. Whoever thought ever. And I know she was super excited.

And I think in a way, you know, Everything is such a blur and it's all so emotional and it's also like you literally feel like you're on planet Mars when you, the first time you're doing something like that. I mean, there's no way to explain it. There's no way to rationalize it. It's not normal. Totally crazy. And it was a little colorism in there too, like, right?

Fast forward? I mean, I think, you know, so what I was saying was I think that the night was so unbelievable that when I ended up walking away with five Grammys and I think you know, she walked away with none. It was a shock. And I never even thought about what that would feel like for her because, you know, she did, I mean, I know that she definitely verbalized her feelings,

but I think mostly she was brand new. You know, you don't even know how to internalize that when that happens, especially when you've worked so hard at what you're doing. And then this idea of there being colorism involved with the reason why. and that's so much, that's so layered and deep and deep. Who controls that shit?

Who controls that shit? It's like, it's like so, and I think that as time has passed, you know, I often actually hear her reference that experience for her. And it was, it was hard for her. It was like a real, you know, it was like an emotional, difficult moment. And I really now clearly understand what she means by that. I don't think I understood the depth of that during that time. And I actually would love to connect with her just on some like, I mean, whenever I see her, it's super love.

I love all her posts. We definitely have beautiful energy and connection. It's never been like anything she's held against me personally. But I would love to just like 100% like let her know a billion percent how amazing it has been to be able to grow up. in this world with her incredible music, you know, because it's been a soundtrack for me. So I would actually love to connect with her on that.

I'm just on some woman-to-woman-woman shit. So I'm really glad that you brought that up. Got you, sis. You know what I mean? Thanks, babe. You know something? This tour, I think with this record also, I got to see the, I believe you,

Beyonce and Missy did a tour together or whatever. Was that your first, like, stadium tour? Like, did you, were you doing stadiums in, during the, the, the, the, minor period, or was this the first time? Like, I want to know the difference between doing mid-level theaters versus stadiums and how, because I feel like the piano is such a personal kind of intimate instrument. What was it like adjusting to bigger venues? Oh man, I remember like, wow, what an amazing tour that was. Like, wow, me, B, and Missy.

Like, come on, what is that? Like, what is that? And I remember, you know, it felt so good and equally terrifying because every night was kind of like, whoa, what am I supposed to do with this? And like, what happens? And why are all these people here? What are all these people doing here? But it was way, way.

Because I am truly like, you see me in a theater and I will blow your brains out. Nobody can touch me when I'm in a theater space, period. I saw that tour. I saw that tour. It is my strength. It is something that is just a place that it works for me, the piano, the conversation, the intimacy. It's just. She don't need no dancing.

It's just my world, you know. And transition in. She do, but she didn't need it. Into transition and into the arenas and stadiums was a huge difference because it just was way different way. So I remember it took me a while to kind of understand. And I never had like a bunch of stuff, you know, like things falling from the sky. Our techniques and stuff. Things blowing.

I just, I was like, here go to piano and here go my band. And I'm like, that was always my thing, which was totally good. But I didn't even have like killer lighting. It was like just early. You don't, you start now, obviously. I know how to kill a thing in my style. But it was a whole new world. And I probably felt like I was drowning a little bit.

Meanwhile, I'm still mad we didn't get service that Beyonce record that y'all did together the way we should have. I feel like it was like, you're right. You know, you know, you're right. And it's just one of those things, man. I know it was so sick. It was so. I actually wish I could just find it so I could show her now and be like, why don't we just put this out now? Because it's like, who cares now.

It goes with, you know, black is kidding. I mean, like, who cares now? Let's just do it. So I might need to try you. Honestly, I have to actually see if I could find that thing. It's crazy. That was a vibe, though. That was the song.

I can go through your entire discography, but I do want to jump to your newest album. Are you still learning things like while you're making records now, are you at a place where it's now just not coasting? And I know that coasting sounds like a lazy term or whatever, but, you know, I also believe that if something works and don't mess with it too much but like what else can you what else can you learn that you're going to bring to the alicia record that you haven't done before or you one of these artists that you know get out of my comfort zone and try something i never try before or just an evolution i am always always learning like always i am always uncertain

of what I'm going to create always. And I never want to know. I never want to get to that place where I feel like, oh, I know what I do. I add this thing. And then if I put this and I add a hook like this, it's going to be, oh, it's going to be normal. It's going to be, then let's go.

I don't want it to be formulaic ever. I never want to feel like I know how to write. Every time I get in the studio, I'm like, how do I write a song again? Like, how do I write a song? And what kind of song am I going on? Every time. And I love that feeling because I always want the magic.

And that's what we're chasing, right? That's what we're chasing that, like, thing that we never knew would come. And I always want to feel that. So for me, I'm always learning. I never exactly have a formula. I never know exactly what I'm going to do. I'm always trying something new in this particular album for Alicia. I'm always learning something new about myself.

It's been a very deep self-discovery for me in these past two, three years, and really, like, getting to know and be comfortable, purely, clearly in my skin, in the different sides of me, not trying to be. be something and no, here's me, this is what that sound like, here's me, that's that side of me.

Here's vulnerable, I'm cool being vulnerable. Here's angry, pissed off, heated. I'm cool being angry, pissed off heated. Here's super sad, the press down blue, I'm cool being that.

It's like I finally feel comfortable just being how I am without trying to fix it and change it or whatever. So for the first time, you're getting the officially uncut real me because I'm able to be that. And if there's one thing that I learned

this time, that I'm actually going to take them to my next project, which is already three quarters of the way done, and you're going to go bananas. I can't wait for you to, this next one is bananas, is never to forget to be alone with myself. Because on my very, very first, Alicia, songs in A minor, I was a lot alone.

Very much alone. I wrote alone all the time, besides crucial, that was kind of it. It was my thing, my world. And over time, I've gotten used to collaborating with people and it's been fun because I can create different sonics and places and sounds and it's like, feels less lonely and it's just a world. But when I'm by myself, and I reminded that when I wrap this Alicia album, when I'm by myself,

it brings out something that I have to always cultivate. And that was my most recent reminder slash lesson and what I will, you know, be taken forth through this next project that I can't wait to be on the show again talking to you about. Promise, because we got more to talk. Can I ask one last question before we wrap? Yes. Okay, so I got to say probably one of the most impressive things that I've seen you do. Okay, so I was there this year at the Grammy Awards.

And because we were playing with Gary Clark Jr. So, you know, I was pretty much there throughout the duration of the rehearsals and sit in the background and, you know, watching you camera block and all these things and prepare for it. and then of course Kobe passes away which totally changes

absolutely the entire it's a paradigm shift like no other and you know the last time I saw them in a moment of panic was kind of I guess in what 2007,

2006 when the quote-unquote Rihanna situation happened. Yeah, yeah, right. And they had to readjust with like three hours left and they had to really readjust the show.

I got to say, man, that was like I wouldn't have been able to pull that off. How you handled it. And it was a thing where you kind of had to wing it a little bit and readjusted for the show.

And I, you know, some people are good under like gun to your head pressure and that Jordan game six, this shot better go in the basket moment. But I've, like I was out of everything that night, I was really impressed with how you hosted the show and how you handled the words for Kobe and didn't let it rattle you or whatever. Like you did it with a very, very smooth. With the strength of 50 black women on your shoulders. That's how you did it. You know, hey, that's what I saw.

I saw a black woman doing what she does. Come on. So, yeah, I want to, yeah, like what, when you got the news that that happened, and I'm certain that, you know, there was five hours left before showtime. Like, what was running through your, like, what pressure was running through your mind that we now have to readjust the show? You did something with Boystamend with the quick. That's so funny. Boystamon men was also used for the, quote, Rihanna period. Get out of here.

Oh, my God. No, literally, literally they were, Ken, Ken was running in the audit because they, that was the year they decided to, like, double up on performances. So between Rihanna and Chris, there were, like, five performances that no longer existed, and they needed to fill time. And so they were just running in the audience, like, Al Green, like Stevie, like Stevie Wonder, Jones. brothers, can y'all do super? And they were just running in the audience, grabbing people, learning songs with like hours left, which was really like seconds left. So I know that, like, what was going through your mind that I now have to rise to the moment and be the words of comfort for a grieving nation? I can't even tell you how crazy the whole experience was

before it even became the gravitas that it did when with Kobe's and Gigi and Yeah. I mean like that on top of what I was seeing you go through already. No. So what I mean is, and I'm bringing that up because the crazy thing is, you know, planning for that particular thing, and this was my second time back. And, you know, I was extra in my head. Like, I kind of killed it the first time.

I'm going to really have to figure out, like, what I'm going to do. And I was like, am I crazy? Is he for saying yes? Who would say yes and compete against themselves? What type of idiot move was that? So by the time it was close to actually doing it way before this news, I was already like just trying to crack the code because everything that I had planned for for my performance and for hosting,

nothing came through. Every artist that I reached out to, every particular big idea that I had, even those that said yes slowly dropped out and I could not figure what was happening I was like please universe

what do you want for me what is happening you're asking me to step into this moment you asking me to be great but I can't lock anything in why what is the matter and so I finally had this moment with myself

and I was like okay Alicia look it's you you don't have to depend on anybody else you you don't need this and that and that person, that person to be great. You are, you are you, and you can do it by yourself. So just feel, you're enough alone. You're enough for yourself.

Yeah, you're enough. So go out there and just be great and stop. And so I was like, okay, all right, I tried to get the things and the things. Okay, boom. So we've worked into everything, got all the pieces, put it all together, had on my thing, had an entrance, had the whole thing. And I was already dressed because we planned to be dressed for run through because I had maybe an hour, an hour before the show.

start so that I could be dressed, quick touch up, meditate, cool, get myself together, be ready to kill. It had to be 30 minutes before the end of the show, which gave me one hour and a half max before showtime. Truly. I mean, it was like that close. And Ken, I remember I saw them shuffling in the corner and I was like, what's going on? And he was like, Alicia, I really have to talk to you.

And I was like, what's going on? Oh, you didn't even know. And it was backstage that I was like halfway between one thing and the other. and he was like, Kobe. And I was like, what? And he was like, and I was like, what? How much time before showtime? An hour and a half.

And I was, and I wasn't like what, because it was an hour and a half. I was like, what? Yeah. What? Kobe. Of course. Like, no way. Never not Kobe.

No way. Of course. And I remember Swiss called me. He was like, babe, what's going on? And I was like, oh my God, I just got the news. He was like, I need to know what's half. And I was like, I don't know. I need to know what you're doing.

I was like, I don't know what I'm doing. He was like, you don't understand, babe. People are out here hurting. You can't be up there at some fucking Grammys. Like, this is Kobe. And I was like, I don't know. I was like, I don't know. He was like, I need us to talk about this and this has to be right.

And I was like, I know. And I was just like, whoa, I was just trying to catch the, but it dawned on me in that moment. moment, that's why nothing worked. Because I was supposed to be ready for that. And so when that landed on me, I was like, and I felt like a different type of calm that I didn't even know that I had because I realized all this anxiety, all this pressure, all of this feeling like I wasn't enough, all of this, whatever. It meant nothing. All I needed to do. do was show up for us because I needed it just as bad as everyone else needed. I didn't know

what that. It's like, shit, what do we do with this? And what if it was me and my son? And what happens? How's Vanessa? And what must that feel? I was like, I couldn't even fathom. And so I remember the whole team came backstage and was like, I was like, what are we going to do? And they were like, and I called Swiss. And I'm like, um, okay, we could maybe use like, you got to sing something. I was like, I got to sing something. What could I sing? Maybe I could sing eyes on a spare roll. I was like, what could I sing?

Let me think, let me think. And then I remember seeing Boys to Men with Tyler, the creator. And I remember Omar, one of my MDs, he was like, it's so hard to say goodbye. I said, Boys to Men is here. I was like, can they come? Would they be willing to do it? We should do it. And they came to my room and we were like on the piano.

And I was like, key, key, key, what should we do, key, key? And I started to think about what the words were. And I had been working on the scripts of what I was saying anyway. So we, you know, we quickly pivoted about, like, what did it feel like in that moment? And that was it. And we had to go. And I just remember that I walked to that stage and I felt so clear. I mean, so clear about what I was there for.

And then that was that. But honestly, it was divinity and it was God and it was, you know, God holding me and protecting and just the way that it was however it's supposed to be that I never would have imagined in my life. But whoa, I mean. Yeah, I recognize that moment and was really beyond impressed with how you handled that. So did people at home. We knew nobody could do it better than you. I don't know who else could have done it like that and made it seem so sincere and not scripted, to be honest. No, I mean, we all meant it.

We were all like, starting. Morning, yeah. Yeah. Still morning, man. So thank you for, thank you for that. And I love this interview, guys. I love it. I know everybody could probably come on and tell them,

tell you how much they love you. But this is so good. I love this energy. This is Nerd Paradise. Like our Jimmy Jam episodes, Damler, near seven hours. Oh, yeah. That's believe if it wasn't nobody on the line.

We'd be holding you a little longer. I can see. Right, right. You're like, nobody's here. Let's go. We thank you for doing this. And of course, you know, we'll have you on the show again so we can nerd out some more. Yes.

Oh, I can't wait, man. Y'all, thank you. You're so blessed. You're so beautiful. You're so amazing. All of y'all, Quest, I'm a super fan, man. You are very, very, very important to us and to me. Thank you.

And so thank you so. And I will text you. My, so thank you. My binaural. Yes, I will, I'll text it to you. Meditation playlist. Send me that playlist, please. All right.

Thank you. I wish you talked more, man, because I'm interested in what you say. Alicia Keys, ladies and gentlemen, my name is Questlove on behalf of Team Supreme, Laia, Fanticlello, Stigast, Steve, and I'm Payfield. We will see you on the next go-round. Thank you very much. Much Love, Supreme is a production of IHeart Radio. For more podcasts from IHeart Radio, visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. 2%.

That's the number of people who take the stairs when there is a number of people who take the stairs when there is also an escalator available. I'm Michael Easter. I'm on my podcast, 2%. I break down the signs of mental toughness, fitness, and building resilience in our strange modern world. Put yourself through some hardships, and you will come out on the other side

a happier, more fulfilled, healthier person. Listen to 2%. That's TWO%. On the I-Hart Radio app, Apple Podcasts, or wherever you get your podcasts. On the Look Back at a podcast. For 1979, that was a big moment for me.

84 was big to me. I'm Sam Jay. And I'm Alex English. Each episode, we pick a year, unpack what went down, and try to make sense of how we survived it. With our friends, fellow comedians, and favorite authors. Like Mark Lamont Hill on the 80s. 84 was a wild year.

It was a wild year. I don't think there's a more important year for black people. Listen to look back at it on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. 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, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Cliford Show. This is a place for raw, unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Cliford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes,

Follow at Clifford and at TikTok's podcast network on TikTok. This is an IHeart podcast. Guaranteed human.