The Questlove Show - Questlove Supreme: Bob Ellis

Episode Date: August 3, 2021

This week's guest on Questlove Supreme is a legendary connector and manager. Names like Ron Wood, Billy Preston, Rufus and Chaka Khan, Meatloaf and Don Corneilius have one person in common when it comes to navigating their careers to the next level. His name is Bob Ellis. He also happens to be the father of one of the funniest ladies on primetime TV. Connect the dots and listen to this remarkable journey. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

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 Clifers 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 Clivert Show on the I-Hard 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. 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 IHart Radio app, Apple Podcasts, all. wherever you get your podcast. What's up, everyone? I'm Ego Vodam. My next guest, it's Will Ferrell. Woo, woo, woo, woo.

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. Ladies and gentlemen, I can already tell this is going to be a classic episode already. Just based on the pre-interview.

I usually try to discourage any sports. small talk because I always know that something magical is going to happen and we don't have it, but it's already happened, folks, but that doesn't mean that you can't continue. Welcome to another episode of West Love Supreme. I'm here to

We are here with Team Supreme. Laia, you are back in Los Angeles or are you in Philly right now? I'm back in Los Angeles. Where are you ? Oh, yeah. Oh, damn. Okay. My fault is. No, no. Was I snitching too much? No, no. I was just saying it's been a long, I've been done four states in three days is a lot.

Oh, you was on a war tour with Mohammed. Your man, okay. I was like, I get you up in this joint. Right. I see. All right. Well, it's good. Glad you back.

Glad you back. Glad to see a familiar setting. Rocking the suburbs. Rocking the suburbs. I can't stop doing laundry. I'm fantastic. Everything's good. Did you receive your Tony yet or is it still waiting?

No, September. Tony's. September comes in the mail. And then you and me go to the Oscars. We're going on. Oscar son. Wait, what you got, what you got going on? What you got for? Damn, I forgot, son. All right, all right. I forgot. We'll get seats right next to each other. It'll be great. All right. Fontecolo. How's it going?

I'm good, bro. I'm down 30. Yes. Okay. Hey, let's hear of you. Let's hear of it. I'm keeping it going, man. I'm taking this week right now from what's tonight's dinner. I'm drinking leek, fennel, zucchini, tomato, and lemon. I got to drink my salads, y'all. I got to drink my salads, y'all. Because I just eat mine. So you can't do like toss salad and nothing like that? I could, but then I'll be lying.

Grace be like, you eat your salads? And I'm like, yeah, sure I did. And then, you know. Oh, it's faster to just take it down. I'd rather just drink it because, you know, I'm that guy. It's easier for me to drink myself. Hey, man. Get it how you live, bro.

I love you. We should acknowledge that in the five-year history the show, Sugar Steve is sitting this one out. Wow. For the first time, ever. Sugar Steve's personal friend, Paul Simon, has offered,

has Paul Simon and his wife, Edy Burkell, have offered Steve his Yankee tickets. And so, you know, that's where Steve is right now. That's amazing sentence. I feel like Steve should have been like, hell no, I got a show to do. I'm not going Paul Simon to the Yankees. No. I know, man, but you know.

This is a once-on-lifetime thing. He lives for baseball. So I will start by saying those that are very familiar with this podcast, know my tendency to ramble on about a lot of things, especially all things soul train. I have an extreme obsession with it. Every aspect of the show, not just being the hippest trip in America, but actually being the science behind how the show works.

And I also learned about the best. business of how relationships are crucial to making a project work. For instance, you know, the first two seasons of Soul Train, Don Cornelius, that sort of leaned on all of his resources from Chicago to help get the show off the road. So you'd see like a lot of Chicago heavy Curtis, Lou Rawls, Gene Chandler, Jackie Wilson, all Chicago artists that, you know, and nearby Indiana, Ohio. So once the show got really hitting by season three and season four, I started to notice several themes like the Philly International shows and the Motown shows

and all the Barry White acts. So all that's saying, even with my personal entry into the music business, you know, sometimes as a new act, you have to have someone vouch for you and strong arm and muscle you into situations. For instance, for my situation,

my agent, Carol Lewis, world famous Carol Lewis from paid and full Carol Lewis, you know, before a promoter can even think of getting the hard not life tour or the Dr. Dre Snoop up and smoke join, you know, she would force promoters to take like seven high paying roots gigs just to even have a conversation about having a Jay-Z show, whatever. So that said, I was always curious to know how an unknown Rufus and Shaka Khan became

like majestic, almost slightly overnight, like two or three years, whatever. So I would actually look up the histories of the unknown artists that were coming on SoulTrain. realized that most of them had a name in common. And that name, of course, was the world famous Bob Ellis, who at the time, you know, in addition to managing his then-wife, Dina Ross, also with Billy Preston, comedian Franklin Ajai, I believe. But even like with Ron Wood, Ron Wood being on Soul Train with Billy Preston, that was like, hmm, how that happened?

Meatloaf status quo for all you Jay Dilla heads, many status quo samples on his mixtapes. Our guest today has pretty much, you know, ushered in a very important era for a lot of acts in the 70s that we've grown up listening to. And not to mention, it's progeny, one of our favorite people on Earth, Tracy Ellis Ross, you know, her father. we are very, very honored to have on our show today. All right. So I name it with your proper name or how I've known you as just Bob Ellis because... Just Bob Ellis is cool. Okay.

So I said... Because I was like, do I call you Robert Elvis Stilberstein or, you know? Elvis. I dropped Silverstein. You know, when I think of when I was an intern. for a PR firm when I moved to Los Angeles. I'll tell you real quick. And then we'll get into Billy and Chaka.

So I was an interview. Take over. You know. Wait, can I say your name first? Yeah. Ladies and gentlemen, welcome Bob Dallas to Questlops to present. Yes. Good at trail.

Thank you, Tracy. Hit me. All right. Hit me. It's my honor. But I don't know how fast you want me to tell these stories. But go in, bro. Take it all that.

The least talking I do, the better. Intern, you know, at a PR firm. And I basically was delivering mail, delivering tickets, you know, to famous actors. And they said, you know, this young kid, you know, that's when the Beach Boys and the Beatles were making all this noise. And I'm sure, you know, Motown was started. And so the first client that came to this PR firm was Billy Preston. And so I started to do his PR and then I went to England with him. And Quest, I'm telling you that within eight weeks, I was his manager, okay?

And he couldn't get off the road. Alan Klein wouldn't release him and James Taylor, okay? But we were doing, I've got gold records, would get back, my sweet lord. You know, I did Bangladesh with George Harrison. So I owe everything to Billy Preston. You know, I knew James Cleveland. I went to James's church. Billy was the band behind James Cleveland.

I did a concert with James Cleveland in Chicago where 18, 19,000 people came with tambourines. So wait a minute. Billy Preston used to play with James Cleveland. Yeah. Oh. Do I have to say anymore? Fante.

Do I need to say anymore? Say it again. No, no, do I need to say anymore because you're smiling. No, no, no, no. Is this all, everything seems to be falling in line now. Okay. Well, what I, I kind of want to start with the beginning. Where were you born?

In Long Branch, New Jersey. Really? Long Branch, New Jersey. Yeah, Jersey Shore. Asbury Park, Deal, Long Branch. Okay. What, do you know what was your first musical memory? Bobby V.

You know, from, Marathon, Mertha K. Yes. Because my dad, my dad is kind of a tri-state duop legend. I know all those names. So, you know, what was the same, Frankie Crawford. Jackie Crocker. Frankie Crocker, you know, I think Wendy was on BLS, too.

You know, over the years, anyway, that's how I got started. And it's all because of Billy Preston sandwiched management. Then I got involved with the Beatles. and then I, you know, but I flew, I took a loan out and bought two plane tickets, and we went to George Harrison's out, Billy and I, but I went to Pittsburgh and No. And I got a letter. And I knew if I got George Harrison to sign it, you know, that Ellen Klein couldn't say anything. And I had already got an okay from Herb Albert and Jerry Moss over at A&M.

You remember them on La Brea? Yes. And so we flew to Henley on Thames where George lived. We stayed overnight. We sat in his kitchen. We explained to him the situation. And they were unaware of the way things were being, you know, run over Abbey Road and Apple. And he was us.

And, you know, we flew back. And the next two days, you know, we had to deal with A&M records and came out without a space. Can I ask a question, though? Since you had dealings with them, can you? I've always heard sort of Albert Klein's name and throughout the years, especially with the way that

sort of Paul McCartney speaks of how the ATV publishing situation went down with Michael Jackson or the lack of control that they had. What was the sort of the business operandi of managers back then?

As in like, did the Beatles sign a particular contract in which they gave all their publishing away before they knew how valuable those songs were going to be? Well, don't quote me on this, but I believe they were signed as songwriters, you know, like a regular job. It was better than working in a grocery store.

So they were signed as songwriters. So sort of like the Brill Building or like... Exactly. Okay, I get it. The Brill Building, you know, with Carol King and, you know, I could name them all, but I'm trying to concentrate. You know, and so, you know, I just saw that on Hulu, the 1, 2, 3 with Rick Rubin that just came out. I think Solop Summers on Hulu too, right?

Yes. Yeah. And so, you know, I just noticed in the last month or so quest that the janitor used to pick up the lyrics. And at Sutherbees at Sotheby's an auction, you know, Paul didn't know about it. Howard, Howard Stern asked him, well, how did that guy end up with the lyrics? You know, when we were songwriters, we just ripped the page, ripped the page, and throw it on the floor. He happened to let it be, you know, or yesterday, you know, and they went for a million dollars to have handwritten lyrics. So it was, you know, back then, oh, Sharon Oswald's father was a big deal in England.

Okay. As a manager, I think he's the first one to hang somebody out the window. because they weren't doing the right thing with his acts. You know, the record label. We all have heard that story. You know, I was around with priority. Then Diddy did it? But there was always that, you know, everybody was trying to live up.

Trust me, it was Sharon Osborne's father that did it first. Wow. You know, so like most acts, you know, that have been taken advantage of, you know, back then, you know, they didn't pay it. They were happy to get 3% royalty. You know, they were happy to be a songwriter. While these people were becoming the publishers and co-songwriters, you know, and it was just a way of doing business.

I don't want to say that it's, you know, it's the way they did business back then. Can I ask you, what year did that sort of strong-arming mob mentality sort of stop. Like, in other words, like, when did the music industry become Starbucks where you couldn't mob your way with a baseball bat if you want to

into a situation? Was that, like, the end of the mom and pop labels? Yeah. Or is it still happening? I thought it was too much. You know, there was chess records. Uh-huh. Marshall.

Chicago. Yeah. And Chicago. You know, And his father, Marshall's father, was a strong-armed kind of guy. We had, when I first signed Rufus, which was Billy Preston's band, and they found this girl in Chicago who could sing, you know, and just to, you know, lighten up the conversation.

We made a record deal at a company called ABC Records. What was the name, Otis Smith, was the name? was the black guy at the company, let's call it urban, but they didn't use the word urban, that was R&B. There was no rap back then, you know. And so we were in the studio,

I think, at record plan off of La Sienega, and Shacken could sing so clearly, and Stevie Wonder happened to be in the other studio. And so he could hear through the walls because he was Stevie Wonder, you know. And so he had to come in, and he said, tell me something good. And then she'd raise the note.

Tell me so, you know, I can't sing. Obviously, I play the telephone, but they would back and forth. Before you know it, you know, Shako was clever at songwriting, and Steve was touching her, trying to get her feeling for it, and they're going back and forth with notes. Billy used to do that with Ray Charles. We'd go to a show, and in between songs, he would sing out a note. Ray could hear him in the audience and then play that,

note on the piano. Then Billy would go down the piano and play another note from his voice. And then we'll back and forth and he said, hey, come on up here. You know, it would be incredible stuff, you know, going back then. I mean, Billy was involved with Ike Turner. Billy was

involved with Slice Stone. I can remember Phil Spector not being happy with the lights, so he just shot him out. I can remember... Holy shit. No, no, I mean, it's shit. It's just It's just dope. I mean, this stuff really happened. You know,

you know, separating the board from the studio, well, they wanted to get a real drum sound in the, in the board where the board is, so they knocked the glass out and brought the drums into the board.

I mean, I think everything, been there, and done it. And then again, but that's how Billy was responsible for me, just, getting involved, you know, from got Ronnie Wood.

Then in 1976 or 75, after we had done all the Beatles stuff, the Stones wanted Billy and Mick Taylor just quit the Stones. He was the guitar player, Brian Jones, then they got Mick Taylor. And so when they asked me about Billy, Ronnie Wood was with faces at the time and unhappy. And so they both were side men on the Goats Head Soup tour in 1976. I have pictures. And then obviously, Billy wanted his own career, but we still did the Beatles. Billy was playing for everybody.

That's how I, if it wasn't for him, I wouldn't have met anybody. Wait, wait, you're jumping everywhere. We're going to get to all that. We're going to go through all that. What I want to know is, well, one, what were you doing right before you managed Billy Preston? What do you think it was about you that asked you to be as manager? Like in terms of, was it your organizational skills? Or like, did you pursue him?

Did he pursue you? It started with PR, but let me even go back. I was a gifted athlete. I played football, basketball, and baseball. What position you play football? I was an end. I went on to West Virginia University of playing on a scholarship. You're defensive in or a tight end?

At that time, it was a tight end. Tight end. Okay, got you. You know. And so I had all these teammates growing up from the Little League to the Babe Ruth. I didn't come from, you know, Blong branches, a diverse community. And so, you know, I was comfortable with everybody. It didn't, you know, I didn't look at somebody.

You know, he was, you know, my teammate. And so my comfortable, you know, my being, you know, was teammates. You know, sports was the only thing in my life until I got hurt playing in college. So maybe there was a comfortable zone that Billy and I had, but I have that kind of personality, you know, that, you know, you either like me or you don't. You know, it's that simple, you know. I throw a lot of emotion into whatever I do. I don't know how to do anything 100%. I have to do it 120%.

If it's 60 or 70, I don't even want to be involved, man. I just have to live it, breathe it, and do it. And I kind of got that way with Billy. You know, I saw how people were taking advantage of them. I saw how the stones were just paying them as a side man. You know, yes, they would give them a gold record. And so, you know, I met, you know, Nick and George and Paul and Ringo and, you know, he'd sit there. They didn't give him music.

He just played from a feeling. Right. I know he could read music, you know. And so we just hit it off. And I made him a publishing deal. I made him a record deal. And, you know, then his band was Bobby Watson and Andre Fisher. Andre Fisher,

Eddie Watson, and Tony Maiden. Okay. Was this before George and Lewis Johnson of the Brothers Johnson came into play? Were they were the Rufus guys with him before the Brothers Johnson guys were there?

We only had one Johnson, and that was the first. Then we were getting touring opportunities. And the Johnson brothers were talented, so they went on their own, so he replaced him with Tony and Bobby, Tony Watson and Bobby. Oh, okay.

I got it. So that's how it came to be. That was Rufus. Okay, his rhythm section was Rufus. And then they jaca. And so in the beginning, if you look at the records, it was just Rufus, you know. And then like, I don't want to make comparisons,

but the Supremes. And then they, you know, to keep everybody happy, it was Diana Ross in the Supremes. I don't know the Supremes when she still was Supreme. Right. I see. When we called Preston the fifth beetle, was there actual, I mean, of course, we know they imploded in 70, 71 70, but was there actual serious talk about literally making him a fifth beetle or did that fifth beetle talk sort of happen

after the fact, like after they broke up? No, it was all part of Billy Preston's magic. He even in England he was known as he was the only one that was around them that wasn't a beetle. And so it was his ability to play and not

have to hear a note but add to their music. George and Billy were the closest, George Harrison. And you know there was that myth in, you know, there was a music express. I can't remember but there were so many, you know, there were so many magazines

in England that were music-oriented because of what was happening, you know, with Pink Floyd, you know, Queen, Led Zeppelin, you know, there was just, but he was into it. You know, the boy bands came, you know, and then it just morphed into something different. It's kind of like clothing with, you know, now I see that Pandora's got, the new station is Studio 54. You know, they're bringing back disc. And I'm gone, oh, man, I remember when there were burning disco records, you know, in the stadium, you know, because everybody had had it. I don't even remember what stadium it was. Okay, I'll let you ask the questions.

I get too excited. Yeah, because I still want to know, I'm still tripping on the fact that there may have been a black beetle at some point. Is that what y'all is saying? Like, that would have been a good? Is that really a conversation? Yeah. I mean, he basically, Billy Preston came to prominence even before as a solo artist because he was, he was there for their very last show. Were you there on that rooftop show?

I was not there at the rooftop show. I was there for... The Let It Be sessions, though, correct? Yes. Can you describe what those last days were like? Was there tension in the air? Like, how to... Especially with Phil Spector, as a producer.

Like, what was just the general Let It Be sessions like, especially with Preston's involvement with it? You know, there was no... You know, everybody had their quirks. You know, but the one thing in common was music. You know, nobody told anybody what to play. It was all done by Felix. You know what I'm, you know, kind of leading when you're writing a song, you know,

the trailer for Paul McCartney is, you know, the road he says, pass me the salt and pepper. I'm sure you've seen it. Yeah, I've seen it. And Paul says, Sergeant Peppers, what are you talking about? He says, no, the salt and pepper. man. And so Paul then says, you know, it's, I haven't

seen it, but it's that kind of thing, you know, where you feed off of one another. It's, it's, unless you studio, I got to remember, I'm not a musician. So, I mean, did you sense tension in the air, like, because they basically broke up

on the record that Billy was involved with the most. So I'm just trying to figure out, like, how. I did not. I did not anything, you know, it was just a team of people playing music. 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, 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 Cliverts show on the IHeart Radio app, Apple Podcast, or we're 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 Sinnfield. 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. They 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. Everyone, I'm Ago Wodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell.

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

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

Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Can you describe what I'm working with Jerry Moss and Herb Alpert were like in the sort of the 70s or incarnation of A&M records? There was another guy, too, Gil Friesen. I don't know what he does now. Gil Friesen, yeah. You know, but they were just absolutely incredible.

You know, they had Lou Adler with what was his? He had a record label within the Moss. So it was a, I don't know if you remember, they bought the, I'm going to say, Laurel and Hardy Studios. So this, the, on the break. Charlie Chaplin. Yeah, Charlie Chaplin.

Charlie Chaplin. Well, now it's in. Same thing to me. But it was kind of a unique place. In Chong, Carol Adler, Billy Preston, you know, all of the acts. Everybody was on the lot. you know, you had to reserve the studio.

Sly wanted to record there. It became like a record plant, the place to record. You know, like, that's crazy because, you know, we take an episode with Shaka at that building. You did? Yeah. Yeah. Shaka's up for Hall of Fame this year, I believe.

Well, she was nominated, but I'll try for next year. Oh. No, you know, I mean, it's, you know, it's, you know, It's, you got to pick and shoot. That's a long story. That's a long story. Hills and mountains, got you. When you're, when you're getting the, you know, the people to vote or however one gets on the Hall of Fame, maybe you can remind them that Diana hasn't been nominated.

What? That's right. That's right. Well, she's not there as a solo act, but she's there as the Supreme. Right. But the same argument as Tina in a way, right? Like, is, I mean, my personal opinion is, it's like, once you're in the Hall of Fame, Fame, you should be in the Hall of Fame. I meant for me to do solo acts in that, I mean,

that's basically just to nuance the Hall of Fame as an entity. Like, okay, we need somebody exciting. I don't know. I kind of feel like once you're in, you're in. Bodies of work, isn't it? Like, you're respecting a body of work with the Supreme. It is. And I'm Diana, but then she had our whole body of work by herself. I get it. But my whole thing is like, but when we start like double dipping, then that just takes other slots away from other people. Like in other words, if Tina, who's already in the rock and roll of fame, where I weren't there, then I'm certain that Chicago's Shaka would have been an easy ushering. I mean, it's, it's, it's, it's hard.

I'm just trying to. Bob, fix it. No, I said fix it. I'm aware of it. There's two sides to every, maybe three sides to every store. And it's political too. You know, it's very political. You know, it's like the Grammys, finally, they made a change.

You know, we could bring up the weekend, but, you know, let's just stay focused here because I'll go in any you want to. So, okay, so walk me through the process of in the early 70s, walk me through the process of what it really takes to break in our. artists open. Now, today we have a different mentality, of course, to be, you know, you break your artists out on social media, which spreads faster. But in the 70s, with limited resources, as far as like talk shows are concerned, music shows are concerned. Like, how do you strategize breaking an act like Billy Preston open? Especially when like three of his biggest hits were instrumentals. Speaking of space race, speaking of like

all those early songs of his. So how can you walk us through what your strategy was in breaking him wide open? Independence. Do you remember the old independent? You know that would promote your record that could guarantee you a top 50 record.

Okay. Walk us through that for our artist who doesn't know. Okay. So let's take a, let's take a, we'll go or sing a simple. I sing a simple. No, no, let's do, we'll it go around in circles. So, okay, we'll go around in circles is completed. Now, how do you break that open? What's the first thing that happens?

What's the first phone call you make? Jerry, Gil, Herb all believed in this song. It was rhythm, you know, there was a rhythm to it. It was something that you would repeat afterwards. And it was like the perfect song for them to get behind. And so they hired the promotion department had, I would say, 20 independent guys that could buy program directors. I got to remember there wasn't radio. Each city had their own R&B, you know, it was either a black record or a white record or, you know, every once in a while.

Like, you know, you didn't know, but so you could buy, you know, if the record was good and it was getting play on both. stations, both sides of the, you know, you could buy, you could buy program directors now. They used everything from cash to trips, you know. Walk us. Walk us. Whatever you're allowed to say. I mean, it's been written about in Hitman. So, okay, so at the time when you're hearing the song, are you guys instantly saying

this song has the right elements to actually be a pop hit? Or you're just like, let's establish him on the orange. And B chart. First of all, it's like, Black music. With his Beatles sort of pedigree, with Billy Preston's Beatles pedigree, are you guys instantly thinking that,

okay, that's enough to just instantly take them to the pop charts? Or are you like, okay, let's establish his black roots first, and then we cross over to pop. Like, we never thought, we always thought of pop and R&B at the time. We never, or as a pop act. We just categorized him because of the Beatles, because of the interviews and everybody wanted to know

what it was like to play with the Beatles. We had some momentum, you know, is that wave you're waiting for. So now how do we ride that wave, you know? So, you know, we knew we had to get a, I didn't pay for it, Billy didn't pay for it. It was a matter of doing business. You got these 10 independents

that could buy major cities and then all the small cities would follow the major cities playing those 20 records, you know, and it was paid for. It was called Paola. I didn't know they used that word out loud. What, Paola?

Yeah, that's an old term that, you know, usually TikTok is used now. That's what it was. I don't even know the algorithm for TikTok, but you know, you got people popping up 70 million downloads, you know, from TikTok. I think somebody's selling algorithms. You know.

I always, always wondered. You got over a million viewers on TikTok too, right? You know, driver's license is good, but come on, man. I mean, you know. You got Olivia Rodriguez smoke already. Nice. Billy Preston to Olivia Rodriguez.

It's just like that. With any, but you could take 10 top artists and they didn't sell that many downloads, you know. So, you know, it's payola. I don't know. maybe, you know, the Chinese are selling the algorithms like Facebook does. I don't even know anymore. But, Theola was, you know, I remember going to court.

Did I hire them? No, I didn't hire them. All the record companies did. You know, and they all got their hands slapped. And then for a minute, it never stopped until I-Hart or until there was one program director across the country. You know, I can't remember when it stopped. I think it stopped in like the early 2000s, like early 2000s. I'm going to say.

Yeah, I think one sound scan came into play, then you couldn't just independently. No, I was after that, man. I can't even give you a date because they're kind of convoluted. Yeah. Okay. I've been on a couple of them trips. At the time, and I know that for a lot of Black Axe in the 70s, it seemed like a whole new world of it's a whole new playing field because all the limitations that

were there in the 60s as far as non-Motown black acts in the 50s and 40s and 30s and 20s and before the 70s is suddenly a brand new type of playing field. I won't say that's an even level playing field but I'll say that it was a new type of playing field whereas black acts could sort of experience the kind of accolades and bells and whistles that were there for their rock or white counterparts. So that said, I know that in the 70s, there was you, there was Shep Gordon,

there was Freddie Demand, Bob Covello, Ruffalo, and I forget. Farganoli. Yeah, Farganoli, all those cats. Is it the equivalent of trying to muscle a rebound in an NBA game? Like as far as As far as sports metaphors go.

Well, no, no, no. I just mean in terms, well, I'm just saying in terms of, you know, someone's the big dog, you know, and you, someone's the big dog in the game. And then you've got to figure out how to also muscle your way into a situation so that your act does get on Dinah Shore or your act does get on Don Kirson's rock concert or your act does get his 50 spins a week on a particular radio station. Like, as far as your peer.

were concerned, at least for those acts I'd name. Am I naming the correct acts of managers that were the super, like who in your opinion were like the top five managers for black acts that were crossover? I mean, do you agree that the man, Freddie Demand and Shep Gordon, you? Yeah, Madonna, I think back then. But Shep Gordon was my friend.

So through Luther, I have. had an act, you know, I think that Billy introduced me to Donnie Hathaway. Really? Yeah. But Lutte was Shep's act. So it was Alice Cooper, but I office in a guy's, a big accountant's office called Bert Padel. Yes, sir. Yeah.

You know what I mean? So it was on Broadway. And Earl of Pearl Monroe had his little rome. record company up there. Really? Yeah. Brother Burrow had a label? Yeah.

Wow. Okay. Michael Lang from Woodstock had Joe Cocker. That's how he did. You are so beautiful. That's how I got that hit. Billy wrote it, of course, you know, about God. And then Joe Cocker made it, you know, more popular.

You know. Right. It's just, it's been in the right place at the right time and had some you know, I know, you work your, you work together, that A side, the publishing, then the B side is just a B side, but everybody knows the A side is a hit and then the program directors play the B side, but at least you have the B side, but you go with it and say, oh, you know, that was the right song all the way. And, you know, we always believe in the, you know, we like that song too. Everybody take credit for being lucky and be at the right place at the right time, four or

five times that I can remember, even with Billy. You know, everybody's for sure. Everything sounds good in the studio. I used to take the cassette outside and put it in my car and say, you know, it's one listening to the studio, but let me see it sounds in the car. You know, sounds corny, but I wanted to know how that cassette or A-track sounded in the car. I can't even remember, you know, and then, you know, not that I could even influence a Phil Spectre, or a Billy Preston or whoever else I worked with.

But, you know, I was involved in it, you know, from the beginning, you know, going to the studio, to go into the record label, you know, to, I'm just, it's total involvement. You know, it's a commitment that you make, you know, with even with meatloaf, with Shaka, with Rufus, with Billy, you know, with the English acts that I've had, you know, there's a tremendous commitment. You know, I'd go on the road. I'd be flying, you know, four or five days a week so I could be. Then I had children, and then it's not like my ex didn't, you know, tour.

You know, that was the height of her touring days. So, you know, it was a constant commitment. But I will tell you that it just brought up a story because you mentioned the Philly Sound. I sold out Shea Stadium 40 years ago with Shaka and the OJs. Wow. Wow. Really? Yeah.

For 10 other acts, but I was involved with a promoter, and I can't think of his name. Maybe it was Rod Delsner. Quest, do you know who Ron Delsner is? I've heard the name. Not, I've heard this name before, just in. He's the first one to do Central Park. He's the first one to clean it up. He did Elton John and Eric Clapton at Chase Stadium during the summer, and then we resod

the outfield while they had three away games. I mean, he is a legend. And then Live Nation was formed from his, he still has the lease on Jones Beach, which is a public. You know, it's a state park. And then when Live Nation bought Pace and bought, you know, there was before AEG, it was before Clancy and the Bowery Ballroom. Do you know, I mean, the Bowery productions, you know. So, you know, then I had theaters with Delsner. during that 40-second redevelopment.

What was your phone book like? Because I also know that relationships, like just to be a manager, and your name and all these names, I'm certain, and that's just like New York connections. I'm certain like with Philly with Larry Marshack and all these like Ticketron and all these other spots.

This is post-Billy Preston, right, too. Like you're getting all-in-old. Yeah, in the early 70s. So it's just how exhausting is it maintaining relationships, especially when this is such a favor for favor of business. I'm still doing it, Crest. Okay.

You know what I mean? I mean, I'll match my contacts to your contacts on my phone, man. I mean, I'm still doing it. You know, I'm still friends with the guy that made the deal for priority to go to EMI. You know, I stay in this house. That was 30 years ago. He was also the CEO and Aristore. You know, he was the CEO for Chris Blackwell when Chris brought Bob Marley to America, Island Records,

Yellow Man, all of those people, you too, Homer. I mean, I can go on and on how many acts that I've been around, but I developed these relations. Yellow man, wow. I don't know. It's fascinating how your story and Shep's story sounds so similar, especially in your beginnings, because it seemed like both of y'all had artists that just looked, I don't want to say just look. you, but had a conversation looked at you and said, you should be a manager and it just built from there. Yeah, what do you think it is that those artists saw and you, Bob,

that made them say like, hey, we trust you to do this. You know, I have that, that, you know, Quest plays the drums, you know, don't have some, some hidden talent, you know, I see on, you know, America's got talent that autistic can't see, can't talk, You know, but they'll sit at the piano and sound like Elton John. I don't know maybe I was, you know, the way Billy was taught by God to play the piano, you know. I don't think you could play baseball or basketball to either have it. You know, I don't care if you coach them or tennis, whatever it is.

I think that, you know, you kind of find your way. I was lucky enough to find my way in life and take advantage that I had a way with people, you know, that they went away that they liked me. but I genuinely like them. And I never stopped networking. I mean, you know, Cres you know, I had a rap label with Africa, Mabana, and a guy called Rocky Buchanan in 1985 called Strong City.

That the guy from... Wait a minute. You were part of Strong City? I was half owner, yeah. Shit. Okay. I didn't know that. That's a busy bee and...

Yeah, Busy B, Lady B for Philadelphia. Yes, Lady B. Well, I had a crush on her, man. I can't wait to tell her that. I cannot wait that. We all did. She still looks timeless. Okay, so since we're talking about that, can you, what is your general rule of thumb for management?

I know Shep's whole thing was like, don't forget the cash. Rule number two is remember to always never forget, don't forget the cash. And then rule number three is. always remember to never forget don't get to cash but for you because even okay like I know that

even though I'm social I don't really I'm a reluctant people person like I know that with managing you have to sit and talk to people one-on-one you got to talk with you got to spend time I'm personally I'm kind of a hands-off guy

and like I'll do just enough just to nuance the release But I mean, was there ever time in your, especially in those like first 10 years where you got an eye roll because you got to take this guy out to dinner in order to get spins here or, you know, whatever you did to negotiate Billy Preston for that fast break movie in the 70s or whatever. What are your general rules of management? There were no rules. I genuinely liked people. Don Cornelius and I were friends before he. put Billy Preston on.

Don Cornelius and I played basketball with Mary Wilson's second husband, Pedro. You know, we had a regular game. I was up at Don's house a lot. Don had a record label. I don't know if you know this. I don't have a record label and that he needed me in New York, you know, and, you know, I'm not going to be obvious, but I'll be obvious. You know, he knew that he needed somebody a Jew in New York, you know, to go in.

Oh, we all need a Jew in New York, Bob? where I was trying to get us and had a real conversation. Thank you. It seems like everybody needs in a certain time. Yeah, okay. Courtney. Quest, I have a story that you might not think is funny, but you know, that's me. Let's go.

Let's go. Oh, God. Oh, yeah, I, I, please understand. Okay. So it just came to me. All right. So Diana and I are friends. She was picking out of a gift for Barry Gordy.

I happened to be in a clothing store. So the first time I meet Barry and Smokey and all of those people from Motown that Barry had them, we had an entourage, and we're having dinner at Diana's house. And I'm really cool. This is 52, 53 years ago. And so we're eating soul food. And, you know, I mean, you know, I'd already been used to it. But under the question, at that moment, at that time, I said, pass me the colored greens. There is our animation right there. There's our animation right there.

There is our animation clip right there, ladies and gentlemen. Oh, my God. Imagine the way they carried on. And then Diana, that's the way Diana was feeling you. Oh, that's so much embarrassment. It's so much from so many places. Yo, I just want to say that's what we call it collard greens from here on now. That's what that's color green.

Give them color greens. It is a distinction. Wait, it's only almost an hour, and we only got to one client. Okay. Oh, yeah. With Rufus and Shaka Khan. I got to skip to Rufus and Shaka Khan. Yeah, at what point do you enter?

Because I know that Rufus was a ban on Epic Records before they went to ABC. How did you enter into managing Rufus and Shaka Khan? I'm not sure if it was Bobby. Watson or Tony Maiden. I was really close with one of them. I think it was Tony, the guitar player, because he used to play. You remember they used to have a mouthpiece in and play the chords,

and somehow it would come. Oh, wow, wow. Talk box. Yeah. Oh, wow, okay, guitar. Yeah, you know, and so we had this relationship, and Tony or Bobby found Shaka, and it was Rufus, and would I be interested in managing them?

And, you know, I had to worry about Billy being jealous or, you know, I don't have to say that if a manager has 10x and one of them is doing better, you know, than the other. So Shaka and Rufus were opening for Billy Preston. And so, you know, it was a fine line there before, you know, then obviously, just like your children, one's more successful than the other. And so watch the scales just turn. And then Billy was the opening act. And I was able to deal with it. I mean, I never went out and said, you know, I could manage you better. You know, a meatloaf came to me because I was, you know, considered a real serious kind of guy when it came.

You know, I'm playful. Yeah, but, you know, we all did in the 70s, you know, but when it came to work, I didn't want to get high with my lawyer. I didn't want to get high with my accountant. My man. Business business. You know, you know, so it was, you know, I always went to, if I didn't know something, I always got somebody better. Now I get people that are analytical strategic planners. You know, I never, you know, the accountant that I got for Rufus, I never touched anybody's money.

I never. I get A&M to pay me my commission direct. They had an accountant that was an IRS agent, Billy and Schock, and they had total control over their money. Knew back. Meatloaf never got involved with his finances, you know, always through the record company. And I think that's the mistake. a lot of artists make. We hear about Elton John,

his manager now has a hotel chain, you know, in the Bahamas, and then they took his American Express card away. Billy Joel lost all of his publishing to, to his brother-in-law, his sister's friend, you know,

and couldn't make his house payments, you know, and took years to straighten it out. And so it's one thing, you know, I just was aware of other people. Maybe I'm lucky that I had a mom Dad that taught me right from wrong that gave me no boundaries.

Yeah, I'm really lucky. 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 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, 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. They 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 IHartRadio app, Apple Podcasts, or wherever you get your podcasts. I'm Igger, My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo.

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

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

There's a lot of luck. Listen to Thanks, Dad, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Let me ask you, in the imaging of Shaka Khan, in the very beginning, you know, the group was kind of, quote unquote, green. And then, you know, one or two, three records in, you know, this new image of Shaka, which is, I guess, probably the perfect balance of Betty Davis, who was totally wild, so wild in her imaging that, you know, she really kind of couldn't be marketed. And that of Tina Turner, like she sort of rode the middle of it. How, how instrumental were you in sort of encouraging Shaka? I'm kind of saying in a business way, but I mean, Chicago was, I mean, Shaka was, I mean,

Shaka was very flamboyant and wild with their outfits and whatnot, you know. And I know that was kind of a first for a mainstream artist to really, especially a black woman to do those things. Even though Tina Turner and Betty Davis were kind of out the gate. But she, Shaka, like, perfected it. How instrumental were you in sort of encouraging, like, the wild outfits and just her general imaging? Well, if you notice on our early records, I tried to create a logo to keep her happy and Rufus happy. And touring with the stones, those lips, everybody today still knows. All of those are the Rolling Stones.

So if you look on the early albums, their logo was Shopper's mouth, okay? Yeah. You'll see that red logo, and I tried to drive it home. and then I owe you that that that gave five-year-old me nightmares

with that big ass poster on the wall in the dark like no you can blame me for that honestly gosh so I have you to think

for that okay well no no but she you know she was wonderful you know I had this idea

that she needed to be this is way before costumes and you know and I thought she needed it to be different, so I dressed her up.

She kind of had this wild Indian look, and I happened to be in Denver. And, you know, it started with a headdress and then it became an outfit. And then, you know, we built on it, you know, and she was really good to work with. I mean, she was, you know, she was open to ideas. I can't say that there were, a lot of those were my ideas, but she made the final decision. I would never tell you, you got to record a song, or why don't you bring back Donnie Hathaway? or what are you? I'm very good friends with Elle.

She's got some L. Varner. Do you know Jimmy Varner at all? I know Jimmy, her father used to be in a click. Really? Her father used to be in the click. Wait, didn't he play Jackie Wilson in, and some Motown stuff? Yeah, he was part of that.

He played Jackie Wilson in a movie singing Stop Dogging Me Around. I forget one of those, was it LaBomp? LeBahn, but he, yeah, I remember El Warner's dad was in a group called. Yeah, no, no, they're friends of mine, you know, and I'm just thinking how I can keep entertaining and throw some stuff out there. Shaka, Shaka was really easy. And you got to remember, I'm traveling around with Mick Jagger and nobody, no, I mean, they're better live than they are by it, records.

Really? You know, I absorb a lot. I take it in like a sponge. And so I'm watching Mick. You know, they're not selling all these records, but, you know, there's crowds of people. We filled stadiums 40 years ago. We were just talking about, like, marketing Shaka's wildness

in a way that, you know, I mean, in my opinion, like, she definitely was one of the first artists that really, in a nuanced way, sold her sexuality in a way that was definitely pushing the envelope, but not like where Prince would really take it further in the 80s. But, I mean, for me, that was revolutionary in the 70s. Sexy, sweet, and kind of natural in a way when you look at all of chocolate. Yeah, but no, I mean, watching old, like she, you know. Yeah, she got it in live, yes, I got you.

Yeah, yeah, yeah. She, you know, she used what she got to get what she won. That was all influenced by Jagger and the way he pranced on stage and the bowers and the stuff that he wore. That's around the time of David Bowie. And if you're with Nick, you see David or you, you know, so I saw this happening. And I tried to bring it out into, in Shaka. I thought she was beautiful and she was sexy. And without being, you know, today it's almost overdone.

You know, we didn't have to work back then. But we can be and want to see more. So I was always careful not to offend anybody. You know, we all remember the Janet Jackson and the Justin Timberlake.

I mean, so many stories pressed to fly in and out of my head. There's a question I always wanted to know, though. Like one of my all-time favorite records of Rufus and Shaka Khan was their album Asked Rufus in 77. but I also know that the group imploded that year, and that's before, you know, they had to, you know,

replace musicians and whatnot. Can you, what was the situation like in 77 that broke the band, the original incarnation of Rufus and Shaka Khan? What was that, what was the situation that made that happen? If you can get into it. Every band, every band goes straight. this, you know. Every band, you know,

when they get too old, you can't get back together, but I see Journey is playing Joan's speech. You know, they all start to think with success. You know, they all have opinions that they didn't have before, you know, when you're trying to

make it. It's not so easy, you know, to explain. But I saw the friction, you know, as it was happening and I you know then we take shoppa and it's rufus with shock the con and then of course with the success you know people are filling her ear she doesn't need rufus you'll make you know instead of splitting it five ways i don't know i felt the friction i tried to separate it with rufus and shaka con but there reached a point where she was writing and then you know she had a

boyfriend and it it just became very convoluted and as much as i want to to keep it together because it was a huge success. You know, we could two gigs in a day at her height. We didn't know where I had a plane. You know, she'd play an afternoon festival and we'd fly to another gig at night. I mean, the weekends were ridiculous during the summer with her. You know, and honest to God, I mean, I filled Shea Stadium with her and the OJs and some five or six other acts.

How much babysitting did you have to do as far as, like, did you have to do as far as, like, did you have to operate out of your office or was it like mandatory for you to be on site at all times to make sure that everything runs swimming? I had an office, you know, building Johnny Kirchner was my tenant. John Kerr-Kirzner? Yeah. Bert Sugarman. Do you know who that is?

I also know Bert Sugarman, Midnight Special. Yes. Yeah. I was I was a kid that had to go to bed at 8. 8 o'clock, but his parents were cool enough to wake him up at like midnight to watch all those shows. So I go to bed at 8. They wake me up at 1145. I watch those shows till 2 a.m. Then go back to sleep. So we didn't have VCRs back then. So it's sort of like, this is your only chance to see Earth went and fire. So we got in trouble. We didn't have streaming. We didn't

have cell phones. If you're in Houston, Texas, what are you going to do? So, you know, I would always organize that we take the two one bedroom suites that make one big living room. So we would get sledgehammers and, because you're in Atlanta, there's nothing to do. So we'd remove the wall and have a big giant suite, you know, so it would be a two-bedroom with an enormous suite. But we get the roadies and we vacuum it. We were really proud of it, you know, that we did a really nice job, you know. You could do that? You could just sledgehammer a room down and the hotel be like, all right, cool.

So to make the two living rooms, one big room, yeah, all the time. hotel damaging was just a 70s thing, like, okay, well, we'll pay the... Keith's wound, he was scared. It would scare me. Yes, I know who, in, of all your clients, who was the most unruly in terms of, got to get bail money, or got to make sure the press doesn't hear about this, or, all right, how much hotel damage did they do, or missing the plane, or... Without saying stories, can you just say the one artist that you kind of had to have an eye on more than the other ones?

Billy Preston. Okay. I see. I do him a favor in between his houses. I registered his car to my office building. It was still in his name, but so that we could get insurance on his cars because he was moving into Topanga Canyon. I would tell you he was in the studio with Slice Stone with Phil Spector when they did all of this. That's all you have to say.

No, no, no. They need beer. So Billy has a little friend and he goes to the 7-Eleven, hypothetically. I don't know where he went. He runs over 10 people and hits about 15 cars and brings the car back to the studio. Okay? And never says a thing.

Wait, save this one more time, please. Save this one more time. Yeah, that whole sentence was chaos. Bill Specter. Stay that story one more time to make sure I heard it correctly. So they want some Kavassier and some beer. So they send out one of the roadies or whatever you want to, you know, what are Billy's friends?

And they send him out in Billy's car to go and buy beer. Well, he ran over, you know, six or seven people. He hit about 15 cars and then came back and never said a thing. thing. Luckily, my roommate was Bob Shapiro. Okay? Before I got my first. Wait, wait, wait, wait, wait, wait, wait. Wow. He was, that was your roommate.

With Assistant District Attorney after a graduate, somebody introduced me and I said, could I stay there for a week? I'm just getting acclimated, and I stayed there for two years. Okay? Oh my God. Yeah. And so, you know, so

I mean, with Billy, with Shaka, I mean, he was on speed dial. With everybody, people would call me because my roommate was Bob Shapiro. OJ. I mean, I don't. OJ and legal Zoom. Thank you, Bob. That's right. Yes.

Shootcastle, the honest company with Jessica Alba. I didn't know that. That's Jesus Christ. Oh, Bob, you're the greatest. Nothing compared to honest, but there are 800 lawyers. But, you know, and so Billy was, you know, that's just one of many stories, okay, Billy Preston. But that's a good one. Thank you.

Okay. Wow. Sheesh. I just want to know that there was anybody who they wanted you to manage them and you were like, it's not a good fit. Yeah. Who did you turn away that asked you to manage them? Best one.

And Verdeem will tell you, you know, when they came to me, I said, I'm too busy. Oh. Wow. Wow. At the time, who were you busy with Billy and? He'll say, you know, maybe, you know, 50 years later, maybe you should have thought about management because they're surrounded and they're still unbelievable lives.

That part. Wow. Wait, this is the question I always had wanted to know. And even when I played with them, I forgot to ask. I'm asking about Ron Wood right now. His very first record, I've got my own album to do. Were you his manager at the time in Faces and Small Faces, or were you as a manager at the top of Ron Wood's career?

I was not. That was the end of Ronnie Woods career. That's going back. That's even back before Billy the Faces and Rod Stewart. Okay. So you came to Ron at the beginning of his solo career after he left Faces? Yes. Well, not even, he had a solo career.

I want to be correct. He had a solo career and had an album out, I think, on Warner Brothers. But, you know, it wasn't going anywhere. He didn't really have a manager. There are managers and then there are managers, you know. And so there are agents, agents. I don't have to tell you. You've probably been through a few over the years.

Just one. Right? That's how good I am. One person. I respect loyalty, man. I really do. But, you know, Woody came to me through a divorce, and I knew the Stones contacted me because of Billy Preston.

Okay. And then I found out they needed a guitar player. And they interviewed Jeff Beck, but he was out there. And they interviewed Jeff Beck. I remember flying to Amsterdam. I remember flying Woody to Amsterdam. I remember. And he had that personality that clicked with Keith like Billy did.

And, you know, they had to earn the respect with Keith. And so I was able to do that sideman deal on that 76 tour. Then the next tour came out, but Billy had a career, maybe 1970. And Woody stayed with them and then eventually they made him a stone because he fit in. He had his own personality. And we call him followers today, but he brought more followers, you know, to the stones, more, you know, more personality, let's say. He gave it a new face. I didn't make the deal.

I made the deal, the first deal for him to join as a sideman with Billy Preston in 1976. I did make that deal. So that's how Ron Wood was on Soul Tree. I get it now. Absolutely. And Ron stayed with me in Malibu, but you got to remember, Rod was living in Los Angeles. And so Woody was, you know, we're spending a lot of time in L.A.,

but he didn't have a home. And I said, you know, come on down. You know, so we lived together for the summer. And that was one heck of a summer because as well known as Billy was, you know, Woody was from England and, you know, and, you know, from, I had a house in Malibu Colony. And, I mean, you cannot believe the people that were coming by, you know, from Stephen Tyler, you know, to Keith Moon. What's her name? Bonnie Raid.

Wait a minute. Who else? The girl, she was dating the governor at the time. She was a regular. Linda Ronstadt. Thank you. Thank you. I'm on it.

Yeah, it went by and now you're just picking up that E. Man, that's ESPN. No, I'm on it. Can you settle this debate? Is it true that Billy Preston is really one of the co-authors of the Stones Miss You? You know, when that song became a monstrous hit, I've heard rumors and stories that they were touring in Paris or whatever. and then Billy Preston played a riff and then Mick was like,

what's that, was that, was that, let's work on it. Was he ever properly compensated or included as a songwriter on Miss You? Or was it just all glimmer twins and we'll just keep you on payroll? Glimmer twins. Damn. Yeah, glimmer twins.

Yikes. Are there any other stories similar to that? Like, did he co-write My Sweet Lord too? or? No, my sweet lord is old Billy. That's all, okay. That's all, you know, that's his roots. That's from growing up in James Cleveland's church.

You know, that's what he believed in. You know, the Joe Cocker hit. I mean, you know, Billy played cakewalk. I mean, I learned how to cakewalk. No, it's funny because I was like, I, what is? You know, when you feel the music, you get up and you prance in a black church. Are you just teaching me black and street? I know.

When's the last time a white person taught us a black shit? Never happened before ever. This is a big night. If it was going to be somebody, you got to see me moonwalk. And you can moonwalk too? Okay. Oh. So much.

Gamewalk, cake walk, moonwalk, okay. We got it all. So wait, Bob, I'm sorry. I'll be shady, but not what I'll be in crass, but I have a feeling. Like, was Diana your first sister? Was Diana your first sister? Yes. Really?

Yes. Was she your last? Yes. Really? Off the books. I'm not dead. Okay. Actually, wait, I do have a question.

Did you manage Diana Ross, or was she just your wife at the time? She was just my wife at the time. Wow. And the very wordy Diana thing was just too strong, you know. She went to RCA. You know, so did Michael go to, you know, Columbia. You know, I have nothing but respect from what Barry created and the whole thing. I'll just leave it at that, you know.

But people grow up, you know, and start to ask questions. And so from the 70s to the 80s, we see a change. And then, of course, Prince, you know, felt he was a slave to, was it Warner Brothers? You know. Yeah. And just went on strike, you know, and slowly but surely there were groundbreaking moments like that. But the stones always paid homage to muddy waters, B.B. King, you know, all of those. John Lee Hooker.

I mean, they would, I can remember going with, you know, where Woody and Keith and Mick, you know, just would get on the stage. and pay their, you know, respect. Of course, they took all the licks from them. I was about to say, what else they pay? You know, Eric Clapton, the same thing, you know. But he'll not deny it. Eric Clapton would tell you that he learned from John Lee Hooker

and Muddy Waters. And they don't deny it. They honor these guys. Yeah, but they also, did they understand their position and why, you know, they kind of been pushed forward, even fast? You know, it's interesting in that way, right? because they have succeeded and sold more records than because of this?

You know, what can I say? You know, a lot of people, a lot of people got rich on the back of other people, you know. It's not only the music business. Look at the basketball players, the football players. Look at this guy that did 60 minutes with the baseball players coming out of DR and Cuba, you know, giving them the advance because there's,

you know, eight people sleep into a room. But, you know, they know who's important, But, you know, then they have to pay. I don't know if anybody saw that baseball guy that has a public company that invests in the players and you sign away 25%. But he takes care of your family now. And he takes – so he's hitting like six out of ten guys making it to the major leagues. And he's got a hedge fund that, you know, takes advantage of these Hispanic ballplayers. You know, but that'll change too.

But they're getting out of Cuba and they're getting out of DR. But you go down to the D.R. are. Baseball diamonds are like, you know, soccer fields in England. You know, everybody's playing baseball. It's the way out. It's, you know, we're just open to it. You know, the internet has made us aware of all of this, this nonsense that's going on. And it seems to be not connecting us, you know, but separating us. Well, yeah, because the way you just broke it down too, Bob, it's like based on at least Billy Preston's story and what we just talked about is like with Muddy waters and all those folks. It's like this music business was on their backs and, you know,

most of them didn't receive accolades are cool, but again, they ain't get no pay. What else they get? And that still is what it is. And this music business become a billion trillion dollar situation. So it's just, it's fascinating in the music business in that way, how it's just literally on their backs. You know, we've seen a tremendous change, you know, when Apple came along with the iPod, you know, when, then there was a Spotify. But before that, there was a, there was company at Australia that was playing songs on the internet. It was actually a Facebook movie because he was one of the investors in Facebook. What was the name?

Napster. Yes. Thank you. Thank you. Do you know, do you remember any of those stories? Yeah. Yeah. Lived them.

Napster was the first streaming service for music, but you didn't, nobody got paid. It was like the boats off of England that could. broadcast, you know, rock and roll music. Pirates. Pirates. I'm seeing some head shaking. You remember those stories.

Yeah, of course. It was a film done. I love that film. I saw that. It was good. I'm about the pirate radio station. You know, we're going back 55 years. A win is a win. A win is a win. I don't care what you're saying.

Yep, that's me. Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement

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

So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends.

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

I vowed I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I'm Ego Wodom. My next guest, you know from Step Brothers Anchorman,

Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo! Woo! My dad gave me the best advice ever. I went and had lunch with him one day, and I was like, and dad, I think I want to really give this a shot.

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

It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcasts. What was it about meatloaf that told you, all right, I'm going to take a chance on this guy. Because, you know, even with, even with sort of Todd Rundran, and I said that incorrect because Steve's not here to correct me, he gets mad when I mispronance Todd's name, my fellow Philadelphia.

No, no, no, but how, what was it about meatloaf? because I mean, I know that, you know, in the 70s, you could sell any artists. I sort of feel like after Christopher Cross at the Grammys in the 80s, that's when the age of the motley artist was over. Like, you had to have a look, a good look, or a unique look, memorable look, after that point. Now we're sort of like getting away from body shame and all those things. But it was like, at the time when you're being a. approached by meatloaf. Like, what was it about him that said, you know what?

This shit's going to work. You know, I... And how'd you get 12 million people to agree with you? You know, once again, you know, I was around, I got to see the Who do Tommy, which is the first opera, rock and roll opera. Tina Turner was the Ascent Queen. Ashton Queen. So, theater. High Theater, yeah.

Radio City. At the palladium or whatever it was in England, you know, I think that helped her career, you know, by being involved crossover kind of, I don't know if it crossed over, but this rock and roll opera. And I knew that there was something there, you know. And Meatloaf, although I wasn't the first manager, but Todd Rungood was, you know, was Jim Steinman and Todd are the reason that this rock opera happened, you know, and because I'm aware of the Who and Townsend, you know, and Daltrey,

and I'm watching these live performances because I'm part of that inner circle, you know, I'm hearing something, you know, where it doesn't have to be a whole opera. So it has to be an extravaganza, you know, it's when we had pyro when Emerson Lake and Palmer, the piano would go around, While he's playing the grand piano, the entire piano was going around. If he ever saw some of those bands and the special effects that they had was incredible. So, I mean, I'm seeing that Zeppelin Ping Floyd.

You remember they used to fly things in the air. The big was in the air. You know, I'm aware of it. So I tried to bring it into a stage performance where, you know, I had a 40, foot motorcycle, you know, that actually you could ride and smoke came out of the, you know, smoke came out of the first, you know, it was part of the stage. It was part of the staging. Back then, you know, you had to, you know, we were competing, you know, to draw attention. But in England, you know, whatever he did, you know, he was on the charts for two years. You know, it was absolutely incredible. So we moved,

we moved to England. We were lucky enough to be put up in England. And then we just, we could tour England, you know, go around the entire country, Scotland, you know, Ireland, and then come back and we could do, you know, we could do Wembley Stadium again, not the stadium, but the indoor. But what I want to know is that bad out of hell was his first record. So it's like I would think in breaking an artist,

like you start off small, like you, you know, you play the troubadour, you play the thing. But I mean, am I to believe that this unknown, unproven act just comes out the gate. And you're instantly thinking, and I know it has to be costly, expensive rock opera. And we're going to sell gazillion units. I'm not even going to believe this story. And you can't make this stuff up. The record comes out, okay? You know, he's a ex-football player, a lineman.

I mean, he's bigger than life, okay? Mm-hmm. And it's time to tour, and he loses his voice for eight months. Do you hear me? He can't talk. Nothing comes out of his mouth for eight months, and the record's starting to climb and climb and climb. And we're going to vocal coaches, psychiatrists.

We're going to try and figure out what's the matter with his voice, and we couldn't get his voice back. Was he psychosomatic? do you think? Oh, I think we all are. Okay. I was about to say eight months in losing your voice, that's, that's fear right there. That's fear, fear of success, fear of everything. But I mean, it came out in a way where it wasn't nervous or not sleep. It came out where he lost, he couldn't sing. I'm telling you, he couldn't sing. And so once again, being at the right place and timing and everything, so what's happening is

that there's who's meat love? Where is he? Why doesn't he perform? He can't even do TV or any of that. And then when he got his voice back, man, we went to England where the record was number one for 20 weeks in a row, you know. And that's how he burst onto the scene. So he had an eight-month sort of build-up thing.

Six or eight-month, I remember. A tantric career. Yeah, no, but that. David Sonnenberg was the original manager. But, you know, he had some. successful acts and didn't want to deal with somebody. You know, it all happened kind of suddenly. And, of course, he lost his voice.

And then, you know, I met him. And I said, oh, my gosh, you know, I know his voice is going to come back. Right. And that's how come he came onto the scene. But I had the experience of watching Freddie Mercury, of watching The Who, of watching Led Zeppelin, you know. I mean, at that time, at that time, my favorite song. for a moment with stairway to heaven. Of course, now it's become my theme shock,

meaning there's a new meaning to stairway to heaven for me. No, you're here, man. So, wait, were you, were you his manager also between both out? Because I know that after a bat out of the hell, he took, what, an eight to 12 break, I believe before. We went to Tom Dowd at criteria. Do you remember Criteria in Miami? You know, Tom Dowd was like the Wall of Sound with Phil Specter.

Tom Dowd and Mussel Shoals. I don't know if you have ever seen the Netflix special on that white rhythm section that was doing all the great black artists. You know, they were really released. But, man, you know, that sound was all Muscle Shoals. It's a great Netflix special because, I mean, I looked at it. I couldn't believe it. You know, and people were flying in, you know, James Brown.

I mean, some ridiculous names were flying to muscle shows, muscle shows for that studio and that sound. And so, you know, Tom down. And then what happens is that, you know, everything is recoupable. And that's a word that you probably know, of course. I barely know it, yes. I know the hard way. You know, do the video. You want to spend 100 grand?

Here's 100 grand, but it's recoupable. And before you knew it, you know, he was in debt to Columbia, to Epic. In such debt, there was no way if he had another bat out of hell that he could pay them back. And so, you know, there was a way to get out of that debt. And that was called bankruptcy. And then your contracts became null and void. Oh, eight years. I get it. Wow, really?

With the new deal, but I didn't say it. So he could survive for eight years without neither hit nor. And he didn't care like the age of videos going by and all those things. And I mean, you know, he came back with whatever. I won't do that. I'll forget the name of the song. I do anything for love. Is that when that came?

Yeah. I mean, he came back. But still, that's a hell of a risk just for bankruptcy. Well, we also. Or to avoid bankruptcy. You know, like Billy Preston had A&M records. We had Aresda Records, England that couldn't wait to sign them. And I don't think it was eight years.

I think it was more like five or six years in between records. But what brought him back a second time was that he went back to Jim Steinman. Bonnie Tyler had, which was Meatloaf. But that was really for meatloaf. But there were a few ones like Lewis and Chalkin everybody else, like the Beatles, like a foreigner like journey. I mean, you know, it's just going on and on. And so Stein gave her to Bonnie Tyler.

She did a hell of a job. You're so right. Dude, totally clips of a heart is such a amazing. It is a song. It's a song. All right. All this.

More than ever. Yes. Yes. Hero is. Shit. Fair use. Fair use. Fair use.

stop after 12 seconds, right, right, right. Okay, I do, all right, my last two main questions. I know that Franklin and Ajai was also one of your client's help. Were there any other clients that you have that we don't know about or for a brief time? I was spending so much time in England. I made friends with other matters. I can't think of his name, but Wham was one of his groups.

curiosity killed the cat. The stranglers, if you look at the stranglers, they were like, you know, like some of those punk rock bands that had a bit of success. But the guy didn't want to travel back to New York or the United States, so I would handle not that, you know, I only commissioned the touring in America. So I was involved with a lot of English bands

and I had a lot of success as being a reasonable guy to deal and represent the managers in England that didn't want to be bothered coming over. So when their acts would come to the States, you sort of tag team and sort of co-managed. Agents to the whole nine yards. I was able to handle their American tours, yes. At what point, well, you mentioned Wham at all. you have to deal with them when those albums were first coming out or make it big or the fantastic record at the beginning?

No, I was very good friends with their manager. And so it brought me into the, you know, into the chef Bordons of England, you know. Right. And so one relationship led to another relationship. You can remember it was my life, you know. And so, you know, I was very. comfortable in England, in the music industry, you know, of course, traveling with, you know, with the stones.

And, you know, I was, I was part of that, you know, that Clive Davis going back to Columbia, you know, this is before Tommy Motola. Right. You know, and I think. Walter was a very good friend. In fact, you brought up a name, Howling at the Moon. Did you ever read his book? I just got done reading.

That was one of my pandemic books. Yes. That's a crazy story. It's absolutely crazy. We're not going to go there, but trust me. You know, he was a great friend of mine. As crazy as he was, he was loyal. You know, I have the most respect for him.

And a lot of the English fans that I managed in this country came through Walter. In fact, he put me up from curiosity, killed the cat. Okay. There's a three hit miracle band, all three good-looking kids, you know, that could really sing, like BTS or something like that. But, you know, 40 years ago. But you read Howling at the Moon. I've read it. Trust me. Is there a point where, was there ever a point in the 80s or the 90s where you're just like,

I'm lost. Like every manager sort of has a breaking point with even split seat label CEOs. You mentioned Walter yet in the coffin. You know, he's he's very forthcoming with like his cocaine addiction and that sort of like sort of did him under. Shep of course made it known that, you know, having almost two cardiac arrest told him I better slow down and he just took on Alice and no one else. Was there? Shepp did one other thing. He discovered chefs. So Emeraldegosy, before there were chefs, the men, so his special. It's very special because he's the one that kind of created the chefs for the food network. There wouldn't have been a Gordon Ramsey.

There wouldn't have been Bobby Flay. There wouldn't have been, you know. If it wasn't for chef. None of those guys. That's how I got connected with Chef. My friendship with him was, actually in his food world. And then, you know, he's talking about Teddy Pendergrass and everyone beforehand. But yeah, in the food world, that's, you know, that was his pivot. Did you,

did you wind up having any other, well, I know now you're involved in the, the long overdue hip-hop museum? First of all, can you explain what the, what the general plan is with the hip-hop museum and as far as like building in and structuring it? We broke around you know about three or four months ago.

I wasn't invited but okay email we couldn't get your email even with the DM finally we were able to communicate but down in the DM I'd get real snarky on Twitter before I

got an answer back, but go ahead. No, I'm playing. I'm playing. I was working that day. No, no, it's fine. It's fine. Look, we're together now. That's important. You know what I mean? And so we had Nas, we had Slick Rick, Fat Joe. A lot of these, you know, I think Nas is from Queens, Fat Joe and Bronx. But hip-hop started in the Bronx.

I mean, there's no doubt about that. You know, of course, we lost Biz Marti. this weekend. So Rocky's dream for the last nine years, and once again, I did Strong City with Rocky Buchanan. It is his dream. It is his idea. He's the CEO of this nonprofit.

He wants to do a Hall of Fame for hip-hop artists. He wants to do the Walk of Fame with hip-hop artists. It was a little hard catching on. We were able to close a Microsoft deal, but it wasn't just money. It was their technology that would make this an AI museum, an interactive experience where you could actually tag the subway car, but it would disappear,

but you could get that selfie like the pink wall. So, you know, have a machine that you could tell what you, you know, the kind of music that you liked from the past and the present, and it'll actually give you a playlist on Spotify, automatic, you know. And so it's a dream of Rocky's just going to be a theater. We're hoping that, you know, we've got a commitment from the state, a commitment from the city. We're up to about 35 million.

We've just got the interior design. And we're hoping that more people will get involved. But it's off to a great start. We're about 70% there. And we broke the first. ground and there's so much more that Rocky could tell you about, but, but everything is going in the right direction and I see, you know, we'll be done by 2024. We've brought on the right people. There are some companies that all have diversity departments now. Oh, yeah. Right.

What about do you think Adidas or something to the rap community? Do you think Nike owns something to the rap? Timberlin. And Chris, how we can go on. You know, Polo? I mean, how long have they taken advantage of hip-hop and not giving back? So is that why you decided to be on the committee? Oh, no.

But I mean, Rocky's my friend for 30 years. But I mean, come on, man. I mean, you know, I mean, you know, sometimes, you know, Rocky needed help with Strong City. I went to Universal. And this is, you know, this, to me, if I can help Rocky, Wow, what a way to go out. You know, I mean, so keeping me really active.

You know, we're trying to put on Archer Beach and welcome back New York when they're doing the Great Lawn. Clive Davis is doing the Great Lawn, you know, with Springton and Paul Simon. Nas is on that show, Earthwinded Fire, Jennifer Hudson. But, you know, we just got George Clinton for Forest Hills and the Funkadelics. It's his 50th anniversary or something, but we're going to be a lot of guests, you know, to participate in that show. We've got the pier in Brooklyn. I don't have the list, but, you know, next Friday is the deadline for everything. And then we have the hip-hop museum is doing Staten Island, Brooklyn, Queens in the Bronx.

and they're going to give us three minutes on the big screen for CNN is going to broadcast live from the Great Lawn. So when Noz comes on, they're going to give us two and a half minutes of the history of hip-hop, which we're putting together now. So that would be kind of cool for everybody to see where hip-hop originated. So 24, we used to see completion on this. Yes. Absolutely. All right. I'm going to get my contribution on so I can earn the quest leveling.

Yeah. To be involved. We don't want your money. We want you. I feel you. I feel you. Okay. Because I just want to know, okay, so, you know, as you know, one of the reasons that we brought you to the show is because we were talking to your daughter, Tracy.

And I have to ask. I forgot Tracy was her daughter. Yes. And I have to ask you because if anybody follows you on Instagram, you're the ultimate grandpop, you're the ultimate girl dad with Rhonda and Chutney and Tracy, of course. But I want to know for you and Diana, because Tracy talks about her upbringing and how she never felt at a loss. Like, her mom was a superstar.

Her dad is a superstar manager, but she never felt like she didn't see her parents. She never felt like she wasn't raised in a wholesome environment. I wanted to know, like, what conscious choices did you two make as parents? Because you're torn. You didn't told us for an hour and a half, all these places that you've been, but you still, to her, the best daddy ever. How did you make a conscious decision to make sure that happened? We both saw our weaknesses.

I was lucky enough to go to college. You know, Diana started singing when she was 16. We never saw other people. We never saw color in our house. We saw other people. We were able to talk about it. You know, that's 53 years ago. We just celebrated.

I didn't celebrate. I mean, I just, this past January, I married her 50 years ago. You know, I know for 53 years, we were conscious of the way they were going to raise because they were mixed. You know, we were conscious that we had to educate them. It was a lot different back then. I think maybe two years before I got married, it was illegal. You know, there was just Sammy Davis and I, you know, that were out there that probably. emphasize it. There's been movies, some great movies, you know, of illegally, but, you know, I think when did I get married?

69 or something like that. I can't even do the numbers. So Diana took the children everywhere. And I spent, you know, even when we were divorced, I had them every weekend, you know. We were on top of it, you know. I can remember what I'm putting Tracy out of the car, you know, because she has my first. in Elton. Yes, she does. Yeah, I was on 95. I'll never forget this story. One time on the way to school, she was telling me which way to go, and she had her foot up on the seat. I took her shoe, and I threw it out on Park Avenue. Oh, I like that. She bought some pants. She put it 25. She needs the pants. Dad, can you pick them up? Can you pick them up a pair of suede pants? The guy said,

that'll be seven. Now, you got to remember her, you know, she's 16 or 14, and I pick up a Paris Wade pants, there's about $700. And all she thinks puts it, she needed them, she had them shortened. And she's always been into clothes. But, you know, we've always had this. We are so much alike in so many ways. You know, Rhonda and I have a special bond and Chudney's the baby. And I don't know, I don't see, I still see them as young girls.

You know, we just had the opportunity of the three grandchildren and my three daughters at Rhonda's apartment for a great get-together and pictures, you know, that we can compare when Tracy and Rhonda and before Chuddy was even born. It's just being in touch. Now I text and I do these robots with my grandson. Yeah, he's a star all day. You know, I'm making, what is the name, a hero? I make my own robots with their own costumes, and I try it out and do them.

So it's staying involved. It's being aware. It's just, it's a strange time in this country. And so, you know, some things you want to share, some things you don't want to share with children. It's just being aware. And, you know, everybody's got to get together. It's all about love. I mean, it really is.

There you go. you know you man there it is well you know i was told not to call you mr ellis no no you're my pal bob bob we thank you for coming on the show um once again ladies and gentlemen give it over for bob ellis yes indeed on behalf of uh sugar steve and fantigolo and umpai bill and liaia uh this is quest love another educational educational Quest Love Supreme. We will see you. Oh, wait, did I say something wrong?

No, I was agreeing with you on the educational. I'm sorry. That drone was, okay. Oh, my bad. I was like, wait, this is Quest Love Supreme. And we will see you on the next go-round. All right. Thank you very much.

Yo, what's up? This is Fonte. Make sure you keep up with us on Instagram at QLS. And let us know what you think and who should be next to sit down with it. Don't forget to subscribe to our podcast. All right. Peace. Watch Love Supreme is a production of IHeart Radio.

For more podcasts from IHartRadio, visit the IHart 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 which I'm saying. Yep, that's me,

Clifford Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The 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 Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok's podcast network

on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe. On the iHeart radio app, Apple Podcasts, or wherever you get your

podcast. What's up, everyone? I'm Ego Vodom. 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 Podcast, or wherever you get your podcasts. This is an IHeart podcast.

Guaranteed Human.