The Questlove Show - Questlove Supreme Celebrates Womens History Month Part 3

Episode Date: March 26, 2025

This year's Questlove Supreme salute to Women's History Month closes with Part 3. This compilation includes potent segments from the incomparable Tracee Ellis Ross, Corrin Tucker, and Carrie Brownstein from the band Sleater-Kinney, Shirley Jones of The Jones Girls, and music executive (and all-around great storyteller) Monica Lynch. Please enjoy.See 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-Heart 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. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice in so much, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing.

Greg Gillespie and Michael Marincini. My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands.

I vowed, I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe. On the IHart Radio app, Apple Podcasts, or wherever you get your podcast. I'm Ikew, I'm Ego Wud.

My next guest, it's Will Ferrell. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there.

Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest, the director of the NFL's East West Shrine Bowl, Eric Gowler. joins the SportsSliced podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. Questlove Supreme is a production of IHeart Radio. Welcome back to Questlove Supreme. And we are celebrating Women's History Month here in March with some special programming drawn from nearly a decade of shows and conversations.

And shout out to Laya from Team Supreme, who always push the programming to QLS to make sure that there is space for these conversations to even happen, especially at times when the team was sometimes crowded by guys in the room. Yes, we are guilty. It's so weird how we take for granted women's roles in music and in history. I remember as a child oftentimes getting records and legit being shocked. I remember one time my aunt was a part of the Columbia Music House.

Ask your parents about that or Google Columbia Music House. That was the original Spotify. That's how we got records. rapidly. And one day we got Nightbirds by LaBelle in the package, in the mail. I believe that was the very first

time that I saw all women on an album cover. And I kept staring at it. And I remember asking my aunt, I was like four years old. And Nightbirds is the LaBelle album that kind of brought them to prominence. Of course, their timeless Lady Marmalade

was the lead single, that monster single, from the that album. And I remember asking my aunt, like, are women allowed to make music? And, you know, it's so weird how even at the age of four, I have to ask that question. But because, you know, you just often didn't see such a thing, which now, you know, after having worked on the Sligh and the Family Stone documentary, I see how revolutionary Sly Stone was in 1967. As far as like a gender pairing is concerned. Seeing Cynthia Robinson on the trumpet,

that's something you just didn't see every day. You know, you didn't see those things. I remember there was a group called Ecstasy, Passion, and Pain from Philadelphia. They had a drummer named Cookie, and they were on Soul Train. And I was like, wow, girls are allowed to play drums?

And, you know, I lived in a household with three women, my aunt, my sister, and my mother, and they were constantly, constantly reprogramming me to always give consideration to women and to give them their proper due and their proper respect. And so that's kind of how it starts with me. And, you know, as a result, women were a big part of our creative circle. Like, you know, if you just look at the first movement of jam sessions

that we have with Black Lily, primarily female lead, simply because when that movement started out initially as the Roots jam session, a lot of the women that would come would just be huddled up in the corner, rather, you know, kind of pissed off that they're not getting any time on the microphone. Like, they would sing for like two seconds and then suddenly like an MC would come on. And then, you know, they just give up and walk away and in the corner. I remember one particular night, this epic battle between Tracy of the jazzy, fat nasties. And rest in peace, mom's the poet. And they were going at each other. And Tracy was getting in his ass like like I'm tired of y'all hocking up the microphone not giving us our say and whatever

and you know richard nichols is his whole solution rich's job was always to come with the solution he didn't break up arguments he just came up with the solution the solution was okay we will now start a female lead jam session so that women get their their say and that's the black lily jam sessions for you so shout out to tracy for holding it down. This is part three. Enjoy. All right, so we're going to begin with the amazing Tracy Ellis Ross. In this clip, she speaks about wishing to use the physical life changes that women experience to push her towards stand-up. This conversation also touches on blackish covering postpartum and how Tracy had a complicated relationship being an actress with a very

famous mother. I really enjoyed this conversation. I always tried to imagine what it was like to grow up in Los Angeles or Hollywood, assuming that you grew up in Los Angeles. I grew up in New York. Really? Yeah. New York and Europe. So I was born here in L.A.

I went to the center and then we moved to New York so my mom could do the whiz in 79. And we left and started school in New York in 79 and stayed there until seventh grade. And we moved to Paris and then Switzerland. So I did eighth and ninth grade in Europe, which are pivotal years. And then moved back to the East Coast and then went to Brown. Oh, you got a couple languages. Maybe. We should be a fancy.

Oh. Okay. So you've just got all my French in that moment. Way la toilets. Yes. I have lost most of my vocabulary, but I have a strong French accent that can, you know, get me and I can speak English with a French accent like nobody's business. And then you have no idea because you don't know that I speak English or French, it doesn't matter because the people they wonder.

I don't know how you say in English because the people they wonder all the time, you know, how you say, how you say, you know. Wait, I'm sorry. Amir, I'm going to you off. Tracy, do you write? I do. I write. So it's funny because I was just thinking you, I know you've done improv. I've seen you sketch comedy with the lyricist's lounge.

Of course, you're a funny lady. How come, and I know you're a fan of stand-up. Have you ever thought of, like, just doing it? I've not done stand-up, but I have to tell you, I mean, this, I'm 48 years old. Am I 48? I'm 48. And I'm going through the beginning of some changes, some perimenopause. Yes.

And I've got to tell you that I want to stand-up on this shit. Yes. First of all, it's got it. Did you see the, that, that, that, two second pool video I posted. Yes. Okay. I thought I was going to right under there.

Sorry. I heard about that pool video. It's funny. I don't think it's two seconds. It's two seconds. Nothing happens in that video. Tracy, it don't matter. You was in a bathing suit.

That's what I heard. That's all I heard. In a pool. I was in a pool. I mean, I, you know, I have a, like, I wasn't me in a bathing suit in the kitchen. Actually in the pool. Yeah.

I'm just like, why is this two seconds? You should do that because a female comedian told me that females shouldn't talk about female issues. So please do that. Why? That was... I wish more people would talk about it. Me too.

I mean, I don't know about you, but some of the sexiest and most admirable women that I look at are my age and older. I want to know what's happening. And if it's still happening, how it happens, you know. And what it is. And like, it should be demystified. And I don't think it should be scary to men either. I think it's certainly.

not the end of my life. I am not being pushed out on a canoe out into nowhere. I'll tell you that right now. I, as I said before, am a liberated woman. I am out here living my life in all of its fullness. Well, yeah. And I think people, we should talk about it in that way so that we let go of the stigma. It's the same thing like on Blackish when we did that episode on postpartum depression. Why are we not talking about these things? When you're siloed off by yourself, that's when you feel terminally unique and you don't think that you can, you know, it's just you that's in that situation. Nah, we're all doing it. And by the way, men have their own version of what's happening at this age as their

hormones are shifting and changing. Yeah, yeah. Hey, well, yeah, I was about to say, we'll set it off yesterday, even though this is coming on way later. Oh my God. That was so charming and lovely that he did that. And that was my favorite post. Yes.

It was so lovely, but I also have to say like a friend, so many friends and me, a text. I did a video on that on Instagram. too, of people saying, you know, I've gained so much weight. Good, bravo. Thank your body. You just made it through a pandemic. What else were you supposed to do? And I'm sorry, but that layer of softness, welcome it because the shit was hard and scary and sharp

out there. Everybody ain't make it. No, you know? And so, and our joy and spontaneity was all funneled into very few spaces, most of which involved food and drink. So I don't know what y'all thought was going to happen. And some edibles and some smoke for you. Well, I've never done that.

But, you know, but don't worry. It's okay. I'm a, you know. Okay. You never, didn't have no tree. Okay. Tracy Ellis Ross, you never had no tree at all. No, and my friends know I call it the devil's lettuce.

Oh, gosh. How did they let you in the lyricist's lounge? I don't know. I don't know. It can happen. I'm a late bloomer to, Trace. That is true. I will guide you through this.

Yeah. I've been saying, I mean, I have so many stories about me thinking I'm going to walk that way and wait till 50. Just go ahead and wait till 50. Go ahead. Okay. Maybe it'll be my 50th birthday. You can send me a package. I'll leave the lighter one for you. I got you. I got you. Okay. So I always wanted to know as far as you're growing up is concerned in that you were paired with other kids that were sort of in the same position as you. At what point, at any point did you ever have to? to adjust in a world in which people weren't of that sort of cut from that same cloth where you had to deal with everyday people. Like at what point were you? Yeah, every day in life. I mean, you know, I, first of all, the way I was raised again is everybody is a person. I am one of people. I was not raised to think I was better than anybody.

I had certain different opportunities and experiences than other people. but I was always taught to connect on the places that we are the same. We've all got blood running through our veins, and we all have feelings, and most of us are getting up every day trying to do our best and work our hardest and sort of make at least our lives work and function properly. So I also come, I don't know if I was taught this, if I came up with this, you know, but to sort of put my, my humanness as the frontrunner of who I am, not, and first of all, I didn't do that.

My mom did all those things. Yeah. I didn't do those things. Did she keep you around like a couple of Detroit cousins just to make sure that y'all knew, you know. I went to Detroit every summer. That's how you do it. Yeah, on a palette on the floor at our Bobby's house.

Yes. She went up the street from grandmommie. And Aunt Bobby sat me between her legs and did my hair with that goody. comb and tried to kill my scalp. And, you know, my grandma lined us up outside the fancy bathroom downstairs and put all the cousins and put mayonnaise in our hair on the on the on the, laid on the kitchen sink, put our head in the sink and then filled our hair with mayonnaise. You had to walk around smelling like a sandwich forever.

To condition your hair. I mean, all, all of our cousins and boys and girls. It wasn't just the girl, the girls like the boys and girls. We all got lined up. Stephen Monica, Kevin, Kevin. We all just lined up. We see that in rainbow. That is so beautiful.

That's dope. It's funny. Just layers. So, yeah, that's what I'm saying. Like, we weren't sheltered to be up in some crystal palace somewhere. Okay. Although we lived, you know, in a hotel. And I got driven to work and a Rollsburg to school at a Rollsburg every day with a driver by the name of Barthor.

But that's a five minutes. As you do. Wait a minute. What? Okay. So, yeah. I'm like, okay, so these things also did happen. I'm not saying they didn't.

But, um, wow, that's amazing. I spent Christmas in St. Moritz. But then we were in Detroit in the summers. So there you go. Even it up. Even it out. Did you, I know that singing, at least when I first met you in the early arts, singing was always a big passion of yours.

With a household like yours. In an environment like you grew up in, how easy was it for you to express the desire to want to do something in the arts or not be shy about it? Like, where you're- Gary. My mother supported us in finding our version of expression in whatever that looked like. But, you know, are you the only singing Ross? No, Rhonda. Rhonda is a singer.

Evans is a singer. I'm the last- I forgot your brother was Evan Ross. That's okay. I'm the last to the party. And it's so funny because I remember, I can't remember how many years ago it was, but my mom was in Vegas and on stage,

and she was like, you know, my children sing, blah, blah, whatever. And I want to bring someone up to sing with me. And I'm like standing there like, go ahead, Evan, go ahead, you know, whatever. And she said my name and I was like, what's happening right now? This is not my thing.

I'm the funny one. What are we doing? What's happening? And she made me sing on stage And it was so hilarious because if you watch the video, you see my mom turn into my mom and think, oh, no, did I just put Tracy, put my baby in a position that she didn't want to be in inadvertently? Like, did I make her, put her, you know, too exposed on something that makes her shy?

And she sort of, she got this tone in her voice that was such my mom's tone of, okay, everybody be quiet because this is important. Like, be quiet. We need to support this moment. Be quiet. Are you speaking of the infamous when she puts people on the spot to sing reach out and touch? No, she put me on stage and had me sing this. Oh, to sing a real, like Billy Holiday.

Oh. Oh, damn. Like I was, she knows I sing that around the house. Oh. And she was like, go ahead. Because every time, I mean, I sang in high school and whatever, every time I sang, when I was 22, my mom said to me, all right Tracy it's time

and I was like it's time for what she's like it's time for you to record an album and I was like hell no no no no no no no no no no no I'm gonna go the other way nope we're gonna make people laugh and we're just gonna keep them at arm's length and that'll be good

but why okay in hindsight why do you think that was your decision uh for a lot of reasons I think unconsciously I the idea of being compared to my mom was just too much to think of.

I had also seen children of be obliterated in the press, just shredded. And you think back to that time, and being the child of or any of those things, that's not, that was not cool then. That was not something, that was also the time when you didn't move from TV to movies, when you didn't move from being a host to an actor,

like everything was very pigeonhole. And there certainly wasn't this spirit of, oh, you're Diana Ross's child. Maybe you want to sit. No, not at all. And I look like my mom. And the truth is, I sound kind of like her. So, you know, there was no, you put you, as soon as you put a sparkly dress on me. I mean, I've seen it now.

I've won a golden globe. I've been doing working in, I'm 48 years old. I'm not a child anymore. and I still cannot do anything without my mom's name. Like me being my mom's child. Like it's she's larger, she's an international. She's an icon. She's an icon.

But let me, let me interject. I definitely now feel as though, you know, to Diana Ross, it's like, yo, Tracy Ellis is your daughter. Like, you've done, you've definitely done something that is, I don't know if any person, And maybe Janet overcoming who her brothers were to be in her own right. But yeah, like, you've made your own name, though. Yeah. Yeah, you're, when history books are written, like, you know, you have your own. And not even to compare, like, you know, like we can all have got.

Well, that was part of what I came to, Amir and understood it's like, and an adult mind can look at it that way, but a kid cannot. And so now I know, like. Right. Like, I'm not trying to be here. I'm not, like, never. That's not what's happening. But as a kid, you think, you know. And you have something that's really super special.

I was going to ask you because your production company is named Joy Mills. But I'm assuming that you're aware that you have that superpower. And that's why you named it that. Are you aware that, like, Tracy Ellis Ross is a joy bringer? That, like, makes my heart very, very full. I'm just trying to tell me. truth, sis. My, I was born Tracy Joy Silverstein.

That's my name. So. I'm like, well, what about Mr. Ellen? Okay, okay, go ahead. Okay, so this is, and that was the third point. Okay. About my dad.

So when I joined, so like many kids, so then I was Tracy Joy Ross Silverstein all through growing up, T.J.RS were my initials all through growing up. But then, like so many people, you drop this name, that name's too long. I was Tracy Joy Ross. You know what I mean? Drop these names. It's too many names. So I became Tracy Joy Ross.

And then when I joined SAG, there was another Tracy Ross. Really? In the union. Remember Tracy Ross? She was Brad Johnson. Star Surge. The black model. Yo.

I thought that was you. Yeah. A mere. There you go. I was like she grew up. Wow. I didn't know you were my age. I thought like, you know.

We don't all look alike. They look nothing alike. I heard the name Tracy Ellis. I remember watching that Tracy Ross on Star Search. She was a hero. And then she thought like, oh, that's Diana Ross's daughter. That's the one she talked about. When I joined the union, there was another Tracy Ross.

So they were like, do you want to be Tracy Joy Ross in the union? And I was like, yes. But everybody, like I look like my mom. And people know I'm my mom's child and I'm so much a product of both of my parents. Like I am my dad's child and I'm a mom's child. And I wanted him to have a stake. You know, it's so crazy because I talk so much about women and women of color and particularly black and brown women that we historically have not had a stake in what we make.

And even with our children, we give up our name. And so there's often this, you can't even follow our bloodline because of that. But we have been at the center of economic, cultural, political revolutions in this country, and we are often doing the work but not centered in the prize from that work. And strangely enough, I was worried about my dad having a piece of what he made. And so I put Ellis in my name and I became Tracy Ellis Ross at the beginning of my career. And my first, you know, sag card was Tracy Ellis Ross. and now my name goes up there and people go and Bob Ellis's kid. Okay.

What was the first major creative thing that you, at least for you, what was the first major creative thing that you did as far as doing television or commercials or? Well, the first big thing I did was the Gap ad with my mom. Your mom, okay. Yeah. And I remember it was on billboards and it was like a big wall and an air. airport, I walked through and I was just like, oh my God, and I made $1,500 and I thought I had made, I was like, I'm rich. I went, oh my God, I don't need my mother's pen.

I was like, that was so incredible. I was so much money. I was like, I was like, I will never work again. Like one month of rent. You know what? I actually think it was seven hundred. It was $750. And then I think I made $1,500 on the first show I did.

But then the next thing was I did an infinity commercial. So I was modeling with Willamina Agency. And I went in for a modeling, like, commercial job go see. And at the place where they were doing it, they were like, the people that are doing the infinite. Oh, it was a secret deodorant ad I went in for. and there was a sign-in sheet next to it for Infinity Car Commercial, and whoever ran the commercial audition place was like, you should go in and try for the Infinity Commercial.

And I was like, yes, of course, I'll drive. So I went in and that was the job that Taft-Heartlead me into SAG, which is the job that will pay the money to get you into SAG. I just love the idea that Tracy Ellis-Ross had to Taft-Hartley. I mean, I've done that, and it just makes a job. makes me laugh. That's okay. Keep continue. Please. I mean, doesn't.

But also, also why are there not people with multiple names in SAG? Couldn't there be multiple traces? No, there's not. Really? Vanessa Williams, remember? Vanessa Williams.

Vanessa L. Williams. Vanessa L. Williams, yeah. Well, shit. Okay, cool. Yeah. I just learned something. Again. So I got Taft Heartlead in.

I did that commercial. And then, I don't know. I mean, it has not been a fast, an easy road for me. I remember there was a movie called Mixing Nia that Karen Parsons from Fresh Prince.

She ended up getting that movie and I've never been more devastated in my life. Really? I was like, I mean, I was sure, Amir, that this was going to launch me into the stratosphere of the Oscars. I was going to the Academy Awards with my $750 from my,

gap ad, I was going to march my way into Hollywood and be received with open arms for a career that would last a lifetime. Didn't happen. What is that process like? Like your version of the Hollywood shuffle? As far as callbacks, near misses, what did you audition for that you didn't get? Oh my God. I don't even remember. I had a three ring binder, like one of those Whopper three ring finders of like every audition I had auditioned for. Mm-hmm. I didn't get. Oh, you keep all the receipts of everything?

I didn't get nothing. Really? Oh. Because according to us, it's like daddy's girls a high note in, right? Like, I'm trying to think. No, no, no, no. From the time that I did, I did Far Harbor, that first movie I did with Jennifer Connolly and Marsha Hay Hardin.

Okay, so I did that. And then I did the show. And before that, I did the show, The Dish on Lifetime that was, because I'm a TV girl. I live in your TV and I'm a TV girl. It's like, it was like a magazine show about TV shows. That's before you were born by you. What?

Nothing. He can't say nothing. He says it before. She said it first. Oh, that was before my period. And I'm like, oh, I started watching Lifetime. Yeah, okay. I, you know, and then I got an agent and auditioned and auditioned and auditioned and auditioned and auditioned and auditioned and auditioned and auditioned and auditioned and auditioned and I auditioned some more.

And I didn't get many callbacks and then they dropped me and this is what they said. It stuck with me for a really long time. Listen, Tracy, we're going to let you go because you come with all these bells and whistles, but then you get. get in the room and you just don't pop. Wow. Whoa. And you go to your face, bitch. I could, but you know what?

It was a turning point for me. That's crazy. I could not get out of there without those, you know, those tears sit. They sit there. Oh, you almost start to cry the little. And you're, yeah, because you're trying so hard to hold the tears in. And I felt like, you know those office chairs with the wheels,

the wheels on the bottom? above them. I felt like my heart had come out and it was like stuck underneath the wheel. And she kept moving the chair and it was just getting all tangled in there. It was my heart. And then there was blood and stuff and then the tears and I couldn't get out fast enough. But I made a decision at that point. I remember calling my sister. I called God. I was like, I'm a no popper. You better do that stand up. At any point, did you ever consider drop? the Ross from your name.

It was too late. The thought that like, okay, maybe they're holding that against me, like my lineage and... Well, you know, I used to say that people were like, well, doesn't being John Rose's daughter open doors for you? And I was like, no, what it does is it unlocks the door and then people sit on the other side like this going, how's she going to walk in? Oh. They're like, mm-hmm, okay, show us what.

But I don't think that had anything to do with it. I think I sucked. I think I didn't know how to bring the person that I was inside myself and in the privacy of my home out into the world. And I needed that hit in order to ask myself, did I have the courage to do what it took to bring that person out? Or did I just want to go back into my hole and sort of live privately as I chose? you know. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clivert Taylor the fourth. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but sell. One week I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your

podcast. And for more behind the scenes, follow at Clifford. and a TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones.

It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used. for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Gregalespian and Michael Marantini. My mind was blown.

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

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

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

I vowed. I will be his last target. He's going to get what he deserves. Listen to the Girlfriends. Trust me, babe. on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. I'm Ego Wadam. 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 hanging.

in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director

of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits, teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. That was Tracy Ellis Ross, and next up is Shirley Jones at the Jones Girls.

In this clip, she speaks about the power of Tracy's mom, Diana Ross. and the sexism that went into see a strong black woman who was a perfectionist in the early 1970s. Shirley also tells how Diana made a way for her as an artist outside of an accomplished background singer. Shirley also speaks about a powerful anthem for women. 1979s You're going to Make Me Love Somebody Else, a sample by J.C., as well as being covered by Escape in the 1990s. There's some great history here. Shirley Jones from 2021.

What was it like to finally land that job? It was amazing. We actually, we were perfectly happy. We had just moved to Detroit to L.A. With McKinley Jackson, he was managing us at the time. And we were perfectly happy doing background sessions because we were doing like three and four a day. It was either us or the waters that people wanted to do their background back there. Oh, yeah. Those are my buddies. Yeah, it was either us or them. That's who we were those premier groups for background singing back then. And McKinley said, well, you know, Diana's auditioning for some singers. And she's been turning everybody down. And, you know, and he said, you guys want to try it. We like, Diana, yeah. I mean, you know, we're from Detroit. Hey, let's give it a shot. And so we went up there actually thinking we were singing for Gil Aski, her music director and her roe.

manager Don Peake up Lower Canyon somewhere. And we went up there and McKinley started playing. We had rehearsed Ain't a Mountain High enough and reach out and touch somebody's hand for our audition and right in the middle of singing who comes down the hall, but Diana Ross. And the only words out of her mouth was you guys are terrific. Can you get passports? We're going to London. And we, of course, you know, we were like, yeah, we can go to London. But we had to work out some things on our contract because of our background singing, which she did allow. We traveled seven months of the year with her.

And then when she was on hiatus, she did allow us to keep our background singing career for other artists. Okay. So she yelled you on retainer, but you were allowed to. We were allowed to sing, right? but we were still getting, you know, we were getting half of our paycheck when she was, when she wasn't working, but she still allowed us to do our singing, our background singing. And over the years, I have defended and said, so many people have said, what was she like? I hear, you know, she's this, she's that, and the other. I said, let me just tell you one thing. She was the hottest entertainer in the world back in the 70s.

nobody was bigger than Diana Ross, except maybe Frank Sinatra. And she was a perfectionist. She was a female. And she was demanding. She demanded that her, from her band to her singers to be as into the show and rehearse and be on top of your gig as she was. And because that was, it drilled in us and that's what we did anyway. she was absolutely one of the best people to work for. And she was so concerned for us because up until we went to London with her,

the only places we had been was Detroit, surrounding areas, and then California. And she loved and respected our sounds so much that after the European tour, is when she came to us, she was getting ready to do her yearly, twice a year, residency at Caesar's Palace and she came to us and said, you know, you girls are too good to be singing background behind me or anybody else forever. So you know I changed clothes at least five times in my show. I want you to get a song together and I want you to sing it. I'm going to bring you out the Jones sisters and I'm going to introduce you to the world. And that's actually, she did that. We chose, if I ever lose this heaven from Quincy Jones album that was hot back then.

And that's how we got with Gamble and Huff at the Schubert Theater. Yeah, the Schubert theater. Yeah, the Schubert Theater. And she called us and Cynthia Biggs and Dexter Wanzell, they were in the audience. And they said, all they could think about and look at during the whole show was us. They kept saying, you hear those girls, you hear her background singers. They're tearing it up. And Gamble and Huff came backstage.

And they said, you guys are terrific. Are you signed with anybody? And we're like, no. And we're like, oh, my God, gamble. I'm asking us if we're signed with anybody. And so we went back to L.A. and within a month, we had our attorneys work. We worked out the deal.

And within two months, we were flown to Philadelphia to work on that first Jones girl's album. Wow. Yes. That's amazing. That's amazing. Wait a minute. I always wanted to know.

Was this the tour where she would, it would start with the video thing with the guys carrying her over? No, no, this was before then. Okay, because I always wanted to know how she did that illusion. No. Okay. I was a kid when I seen like a long time ago, but yeah. Wow.

Can you also talk about like the gig with her and how it was different than other background kids as far as like she said she changed her clothes five times. Did you guys get to change your clothes? Did you have the same outfit you had to wear every night or because it was Diana Ross, y'all had like a nice rotation And what does she require before every show as far as rehearsal and stuff like that?

It's the comparison to everybody else you work for. With her being a perfectionist, we rehearsed a lot before we would go out on tour with her. I mean, we rehearsed a lot. And yes, she did curse. She would come in there. And if you, if the bad, she never had to curse it us because we were going to be on top of our game. But if she would, she would curse them out. And I often tell people, I said, now if she were a man, like Frank Sinatra, coming out, cursing because somebody wasn't doing their absolute best and she felt that they should be, he'd be applauded. He would be applauded and said, oh, he's just such a strong individual. He'd make sure that, you know, but because she's a woman and she was that demanding at that time, you know, women weren't supposed to, you know, come. If you weren't doing your job, you were supposed to be demure and say, well, would you please?

you know, she would come in there cursing like a cell. Oh, yeah. It makes me think of Beyonce and who Beyonce is allowed to be today. Yeah, exactly. So I give her kudos because she was demanding. Yes, she was. But she would also make sure that she was doing, you know, as far as rehearsing too. She was always, always immaculate, impeccable. I two people that I learned the most from as far as entertaining myself I always say is Diana Ross and Eddie LeBurt from the OJs because they are show people absolutely show people I can't wait to hear what you learn from can I yeah I want I want to know for you or is it a thing where the grass is greener on the other side do you prefer studio sessions or do you prefer uh traveling this I'm talking strictly in terms of your days as a background singer. As a background singer, I prefer being in the studio. Yeah, I prefer being in the studio because I'm more of a, well, when we were traveling doing background for her, that was exciting because that was the first time we, you know, we're traveling doing background and making money.

But now, I mean, I prefer doing studio work versus traveling, singing background for someone. Isn't it a bigger pressure, though, in the studio? Because I'm almost certain that there's, you know, there's really not enough time for you to, you borderline have to catch it and perfect it. And, you know, in a short amount of time, I would assume, correct? Yeah, in real time. Yeah, in real time. That's one of the reasons why.

But so many people wanted us to do background because they knew that we were going to rehearse so much so that when we got in the studio, you know, time is money. we would knock that stuff out just like that. That's why sometimes we would have two and three sessions a day because we were able to, we would rehearse and practice our parts for whoever and to make sure that when we went in the studio, bam, bam, bam, we could do it. And you know, back in the day,

you're talking about eight tracks, and you're talking about not being able to sing one little part and then they fly it through the song. You had to sing that exact same way, four and five, you know, three to double it And so, and I think that's one of the reasons why the artists today, the today don't, as far as live performances, they cannot do it like us that were trained to have to sing a song all the way through three and four different times to stack that harmony and sound the exact same way each time. Right. I see. I agree. I agree with you. I'm curious, who were your peers, or I don't want to say competitors, but who were.

the peers who, if you can't get the Jones sisters, you know we should call so-and-so. The waters. The waters. That was it. It was just yon. And it was us in California for the longest. Yeah, that was it. I'm sorry, Mayor.

Yep. Yeah. So what, I know you mentioned working under Holodosa Holland, when you came to Los Angeles, what year was that? We went to Los Angeles in 1975. Yeah, about 75, 76. That's when Motown moved and then, you know, they had given Holland Dozier Holland the Invictus and the music merchant labels. Right.

And I think Motown moved, what, in 73, 74. And then those late McKinley and Holland Doja Holland moved out, I think, 75. So it was just basically everyone in Detroit was migrating to Los Angeles and we might as well follow suit and follow them as well. And follow them. Exactly. Exactly. I see. Could you tell me what other notable acts were you singing background for that we might not be aware of?

Helen Reddy, Cher. What songs? Yeah. Helen Reddy, oh my God, somebody just posted it the other day. I forgot that song that we did for her. We did the entire album because she just passed, I think, recently. And someone posted it and share. For sure, like half read or take me home or...

I forgot what song, but the song that we did do for share, I don't think it made the album. Okay. But we did a session. We did a session because we did two songs with her and they never made. I don't think they made the album. Now, somebody's going to probably prove me wrong and post it, you know. Okay. I know that you've done background on some notable affiliate international songs as well.

So, am I to assume that you're... You're basically all the female voices that I hear on like, you'll never find another love like mine and those, those songs as well, like with Lou Rawls and. Now, we did do Lou Rawls album. There was a group of girls in Philadelphia. Okay.

I can't think of their names that were doing a lot of background singing for gambling them. Because once we became the Jones girls, you know, we didn't do as much background singing for other people. once we got with Gamble and Huffin' 79, just select people, you know, when we had the time, because, you know, with you're going to make me love somebody else coming out the box being so big. We immediately sent us to Ohio with Charlie Atkins, who put the OJs and temptations with him.

And we were rehearsing to go out on tour with the OJs, who took us out on our very first. Oh, yes. What was that like? Oh, man. Because I know he was a taskmaster. He was. He was. And I have two left feet.

So he was always on me. He was constantly on me because I'm not. I was the only one that couldn't dance. Brennan Valerie could dance, you know. And me, I'd always try to. Well, I'm singing lead anyway. Can I just stand on?

No, you cannot. You're going to do those harmonies. You're doing them too, girl. And so, oh, he was a test. And you just, just eat a banana. Eat a banana before you come in here to rehearsal for that potassium so you can move those feet. He was a drill master. No, I heard.

Every, every act that's ever worked with him. Oh, my God. Wait, what period were you guys with Aretha Franklin? We did the Almighty Fire album with her. Oh, God. Yeah, 76. Yes. Wait, that was before.

Only say this because the kind of household I grew up in, I would, I grew up with three binge shoppers when it came to records. So like every week, stacks and stacks and stacks and stacks of 45, stacks and stacks and stacks of 33s would come in the house. But the thing is, is that I would get the records that my parents didn't want. So, you know, as far as my Aretha collection, Like there was a period like Almighty Fire, the U record, all the way up to La Diva. Like basically the post Sparkle records that really weren't hitting the same. Right. I inherited.

So I know all those like sweet passion, like all those Aretha records that weren't quite, you know, up there with the legacy albums. What was it like? Oh, God. And she was wearing that space suit too. Yep. The green space. I remember that period. What was it like?

And how intimidating is it, you know, working with her? Or was she just, you know, another Detroit person that you could connect with? Well, we had sang as children at her father's church with my mother one Sunday. Okay. When we were there, I believe it was one of her father's anniversary. And we knew that she was going to be there at that time. She was a superstar. She had respect out.

You know, she was like, and they said she was going to be at the church. And after we performed, she came up to my mother and said, boy, those are some singing girls you got there. And then fast forward, like 15 years later, we were doing Almighty Fire. And what a lot of people don't know is that when that Sparkle movie was, you know, they were looking for the actors and actresses for that movie. Aretha Franklin and Kenny Gamble wanted us to play the sisters Hired Oh, Rietha pitched in for

She wanted us to do it because Because of our voices And we had just sang on her album And Kenny felt that that would be a great We were the, you know, the Jones girls He felt that we were just coming out That would be perfect They sent us to New York and a limo

and it was a I think they both were very and I know we were disappointed especially when and you know Aretha she was activists but back then especially when those girls they you know was very light bright girls that got apart her thing was to them was you know this this is ridiculous those girls can you know they they're singers and they could be taught to be actresses too and she she was quite upset about that. So there was almost a chance that you could have. Yeah. Had a chance to sparkle.

Wow. Yes. At least sing the songs. That was crazy. You know, yeah. Was there ever a background gig that you had that was like a little too intimidating or that you, you know, was just all right to you? No, we, we, no matter who the artist was.

And there were a lot of artists that, you know, hadn't even made it yet. But if we liked the song and they were willing to pay the money, you know, we would do it and we would give our best. And the thing that a lot of people don't know is that for another reason why so many people liked us is because we created a lot of those backgrounds. They knew that if they gave us the song, we were going to create the background parts. Oh, yeah. So, I mean, you do the actual arrangement. Some, some on some for a lot.

Now, some did come with, you know, specific backgrounds, but our reputation became such that they'd be like, okay, well, hey, here's the song. What do you guys think? You know, and then drop a few, Shirley. Norman Connors, Lou Rawls, who else, that we let us do just, you know, control the background. God, it's so many people. Not just songs, but he were just like artists that were like, it don't matter what song I'm doing, let the Jones girls come in here and do our thing.

Now, Brenda was alive because her memory is so much better than mine. She can remember every single artist we did background on and everything. But me, it gets a little fuzzy sometimes because when people post stuff now and I'll be like, oh, yeah, I remember that we did do that song, you know. Right. So with signing to Philly International, I'll say that probably in my opinion, because, you know, my dad purchased all the records and played it at the house all the time. I will say that you guys were probably given a more contemporary up-to-date town than a lot of the acts that were on Philly International back then. Like it was almost a thing where, you know, you knew instantly within the first two seconds that you were listening to a Philly International song based on like the trademark of the strings and all the mixing of the record or whatever. But like you're going to make me love somebody else sounded nothing like what Philadelphia, especially what was happening in 1979, like of anything.

For a Philly International. Right. Yeah. It was like a woman telling me, you better get your shit together. Right, exactly. Yeah, so what, I mean, I would assume that it's still the same group of people. Like, it's still Dexter Wanzell and Gamble and Huff and all those. Well, I know McKinley Jackson also worked on the record as well.

Right. Like, what was the discussion basically on how to present you guys and your sound? That's one of the things that I think Gamble. and Huff, they were purposely trying to take us away just a little bit from the strings and horns of, like, say, like, of what they did with three degrees. Three degrees, right. And they wanted us to be more funky, more soulful, more R&B. And if you notice the very first Jones Girls album, that's exactly, I mean, I'm at your mercies on there, which is a, you know, heart wrenching. ballad. Then, of course, there's you going to make me love somebody else.

Also like show love today. Yeah, exactly. So it was- And who can I run to? Yeah, who can I run to? Yes. Yep. What were your feelings on? Of course, not what your feelings on. Were you, how did it feel for escape to sort of reintroduce that song to a whole new generation? Yeah, when I heard it, when I first heard it, it was, what, 1995. So by that time, it was 16 years future from when we did it. And so many, I remember so many of the producers when Gamble, back in the day, you know, you had an A side and a B side on records. And who can I run to was on the B side.

B side, right. And so many people did not want Gamble to put that. They said put show love today, put anything on that on the B side of you going to make me love somebody else besides who can I run to because that is a, that is a single of its own. But of course, that didn't happen. So, I mean, we, you know, we were working and the girls and I had broken up by then. And when we heard, who can I run to, I was happy actually because back then when their record came out, there was. So many DJs that were, you know, into new that we had done it first because people used to flip it on the radio sometimes and play who can I run to. So what they would do is like, yeah, y'all, I know you guys love this one by Escape, but guess what?

Escape didn't do it first. Then they would play our version too and have people call in which version they like the best and all of that. And I happened to the girls were on a radio show some years back. And they said, we hope we did a good job. But we just love you guys and love you all sound. And I told them, I said, you all did a great job because what you did was you brought back a lot of attention to the Jones girls. And so I was, I told them. I said, so, hey, thank you.

Thank you all. Because it brought back some attention because, I mean, up until, you know, from 16 years later, You know, we had kind of died out like we weren't together anymore. We had done, we would do some things occasionally over in Europe, but it was, it brought back a lot of attention and put that Jones girl's name back out there. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me, Cliver Taylor the fourth.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right 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. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth.

You doctored this particular test twice in so-ins, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfectant. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini.

My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges.

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

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

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

My next guest, you know from 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 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 does. doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration.

It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the Iheart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft.

And we've got a special guest, the director. of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slico Slice of Life 12 and TikTok Podcast Network on TikTok. And last week's episode, we heard an excerpt from My 101 with Kathleen Hena.

A few years earlier, we spoke to Sleader Kinney. And in this group, Carrie and Corin speak about Kathleen's influence and the Riot Girl movement. You also hear about being a part of a strong community and the challenges of fame and success coming out of that. At what point for the both of you

are you realizing that you have a voice or that music is something that you're interested in pursuing, not just something that casually just happens, you know, in your household. I think for me, I moved to Olympia to go to college. I went to like, you know, the Evergreen State College when all of the stuff was happening. And I have to credit Bikini Kill and Bratmobile. playing a show. And I was just, I just got to be like right up close, like right there when they were doing

their thing. And I was like, I want to do that. I'm going to start a band. And I, in my head, I started a band like that night. I was just like, I'm in. I'm doing it too. Okay. You know, because I saw them do it.

They were my age. And they were, they were just starting out. And so it just like opened the door. Can you explain to me the, the whole idea. of what Rye Girl represents. And is that a title that was invented by the proprietors? Or, again, was it some guy from Spin Magazine sort of searching for the next big thing and then said, okay, this is Rite Girl with a bunch of R's in it?

No, it was actually like a genuine movement. You know, it was the title was, you know, started by a young woman in D.C. who was like, we need to start an actual movement for women in the independent music scene that highlights women's roles and supports women and talks about safe spaces for women. And there were meetings. You could go to a meeting. You could talk about all these things. You could talk about, you know, being in a bad relationship, sexual assault,

like all of the kind of like taboo stuff at the time. At that time, yeah. At the time, there just wasn't another. space for that stuff to come out and happen. So it was, it was very real. It was very taboo at the time. And, you know, Kathleen, Hannah was, she was, you know, very much like a cultural leader, right? She was, she was, she was like our poet because she was writing the stuff that she was an incredible poet, incredible writer and performer, you know, and very confrontational. But she was saying all the stuff that We were all so afraid to say ourselves.

Okay, so the first time I met Kathleen Hena, I didn't know, I was mean, like, I didn't know anything about Rye Girl, like, the roots are just doing a show somewhere up in Seattle. I forget the spot in Seattle that we were playing. I know it's across the street from the spot where they throw fish. Oh, yeah, the showbox. Yeah, we were at the showbox. Yeah, I'll say Yeah, I met Matter of fact, the first three times I've met

Or seen Kathleen She was like cursing someone out Like it was always like Yeah My manager of Rich was Those two were like really good friends So he's sort of My manager who passed away

Him and her really became good friends And You know, he just like That makes all the sense Oh my God Yeah, you see it down right and you describe, oh, my God, that makes, yeah. Oh, that's how I know this shit.

Like, my shit is all trickles down economics from rich. And him and Kathleen were like talking whatever. Like, I mean, but she was just, I'd never seen that person so just wild and unhinged and just told what the fuck she felt and all that. And like, I was just like, oh, this is unheard of, whatever. So that was like my introduction to her. She was cool and very nice to us. But like in a second, she will, she'll bring the ruckus.

And I just never seen that shit. so you know and I don't be like oh intense or whatever but that's what it was like for me meeting her so could you tell me what the environment was at least at the time in in the northwest that really prompted this movement to to really find its legs yeah I mean the you know the northwest was was this hotbed of like independent music so there was all of this like criticism of mainstream music that wasn't genuine, it wasn't genuine, it wasn't, you know, real art and everything.

And this music scene was about, you know, like real people telling their stories and making music available to everyone. So, you know, $5 shows and all of that. But it was also this kind of like slam dancing, rather violent culture. at every show. And so there was just not a lot of space for women to feel like, am I going to be safe going to this show?

Am I going to feel like, you know, my voice is heard. And the roles for women were still like, oh, yeah, you know, my boyfriend's in that band. And just like when we're still, yeah, a foil. And so when you had a personality like Kathleen, who's like protagonist, missed, right? So she was like center stage at all times.

It was like an arrow like shot through our hearts. It was like I want to be like that. Like I'm, I was a shy, awkward kind of academic type kid. But I saw someone just like take control of the stage. Be like, I have a story to tell and everyone in this room is going to listen. And that just opened the door. It kind of took feminism.

And even though there are definitely, you know, very fair critiques of riot girl, like, just like other early iterations of feminism, it lacked intersectionality. And, you know, it was it was largely white women, although there was tons of women of color there as well. But it definitely took feminism out of an academic context and gave it a very, like, punk, very colloquial vernacular. It was like here was, you know, like a world of punk had just come out of like a hardcore phase, especially on the West Coast, which was super violent. So all of a sudden it was like, what if we took this movement, these ideas that are largely like in, you know, college textbooks and just put it over three courts and screamed it. And that was very liberating, I think, to think that if you had a message, it didn't necessarily

need to be couched in a book, you know, that it could be couched in a scream or a Yelp. And I think that just freed up a lot of people to express themselves. I mean, the same way, so much music just becomes like a source of liberation for people where it's like, I have something to say. And now I can say it over this song instead of, you know, writing out. And I can say it my way. Exactly. So what's the point where you two meet each other and sort of talk in terms of starting a group in and starting the beginning of a, Sleader Kinney.

That was, yeah, I was 94. I was already living in Olympia to go to college as well. Corinne was, I think you were in your senior year. And we were both in other bands. Corin was in a much more like prototypical or archetypal right girl band called Heavens to Betsy. And I was in a band called Excuse 17. You know, that was that like day, those days were in that group too, correct? The Kathleen, no.

She was in neither. She was in a bunch. I know she was in other bands. I didn't know if everyone was in so many bands. Everybody was straight. All right. Okay. Yeah.

And so we just saw this kindred spirit in each other. Like, you know, Corin was the only, her band was two people. Corinne on guitar and a drummer. And then I was in a band with a similar setup to Slater Kinney. What Slater Kinney would be two guitars and drums. And we just, we thought, I know, I was, I heard Corinne sing. And I was like, I would love to be writing songs with this person. And she heard me play guitar and had the same feeling.

And so we started playing kind of as a side project. And then pretty quickly that became what we wanted to do. It was just a very innate chemistry. Why was there always no bass players? I'm just, just because you didn't want them? It was, it was definitely like a thing in the Northwest of like, you know, how can we be different and not, not like, you know, sort of the archetype rock band. Yeah, and neither of us played. I think it just was played bass, and we just wanted to be this kind of tight unit. I think there's sometimes when you're,

when something is perceived as a lack, it actually can be a strength. We're like, how can we find a way into these songs without the traditional instrumentation? You know, it kind of forces you to write differently. We detuned to see sharp. So Korn was singing in this really high register and, you know, trying to get low-end sound out of her guitar. And, yeah, I think we used it to our advantage, although now in the past couple years, you know, obviously we like bass. Early on, though, people always ask us, like, do you guys not like bass? I'm like, no, 99.9% of all music we listen to has bass.

Okay. How long have you been playing guitar, Carrie? I started when I was 15, so it has been, what is that, 30 years? Okay. Yeah. And Corinne, how long have you been playing guitar? It is. It's like 30 years because I started when I was like 18. Okay, resisting the temptation of making a spinal tap joke.

And I know that Janet joined the band three albums later, but was it always the plan to sort of have various musicians? Because I noticed that what determines what your sound is probably also depends on the musicians that are playing with you as well. So your first drummer, Laura McFarron, how do musicians come in the group and how do they leave? Like is it just a one and done thing or you guys are just taking this a little more serious than the other? No, I mean, definitely just to say about Janet, and she was an integral part of the band. I mean, I wrote about it in my book.

When she joined, you know, we were like. Yeah, that's when you jelled. Yeah, we were like, this is great. I am sure as people assess us, you know, 10, 15,000. years from now, you know, they're like, that'll be the classic period of the band. So, you know, they were never throw away. She'll be in the Rock and Hall of Fame. I get it. Yeah, she's a great driver. So, no, but Corin can talk about Laura, because yeah, she had brought her own avant-garde style for sure. Yeah. I mean, I think a lot of it is like a little bit happenstance on,

on our part. Like, you know, we went to, we did go to Australia, I'm thinking like, hey, let's play music, you know, and there was, there was like this international underground music community for real. And we wrote her letter. We wrote like the record label a letter. And she wrote back like, yeah, let's play music. And that's just how it happened. And, you know, and then eventually it was like, well, she did come over and we played music here. And then she was like, I kind of need to go back to Australia. We're like, yeah. Okay. Now that you're in the game of. being on an indie label, can you just walk us through the process of how do you manage to survive and be creative at the same time? Like, for those first few albums, did you still have to have day jobs?

Or was it like, okay, you know, we can sort of survive off of our club gigs and what units that we're selling? I mean, I think there's definitely some back and forth, you know, like, There were still temp jobs, I think, even after Dig Me Out, I think that we kind of put this, like, idea about being creative and being control of the creative part of things as something that was really important to us. So we were always willing to, like, do whatever other jobs needed to be done, I think, just to, like, make money or whatever.

I mean, we weren't, we weren't not making money from touring, and we were always wanting to figure that out and make it better. We were always like ambitious about that. It just, it took us a while to get there. But at what point are you absolutely full time? We're banned. I can pay my bills. I could put cheese on my whopper and not break the bank.

Probably dig me out, I would say. So that's 97. I mean, let's also be clear. I was living in Olympia. I think my rent was $3.95 a month. That doesn't take that much. You know, you can play a couple shows even as a tiny band and make, you know, so we were living in small towns in like, you know, sharehouses and stuff.

But Dig Me Out, I mean, one thing at the time on indie labels was these profit shares, which, you know, you just, it was a split and people actually bought records. So even though these records weren't going gold or platinum, you know, when DigMe Out sells you know, 75,000 copies or 100,000 copies and you have, you know, getting 50% of profit share. Like at the time when you're in your early 20s, that's definitely enough to live off of even if you're splitting it three ways. So by the time that you guys are out, I also know that every major label was looking up and down the aisles for the next big thing or whatever.

I mean, so at no point, like, you know, I know you guys started off a. chainsaw and then the lovely title Kill All Rock Stars First of all with those labels Is that Are there actual Are these actual labels or is just like

Okay well where are we going to call the label this time Or like is that your label And you guys have a distribution system Or Is Kill All Rock Stars like an actual label like subpop is and you know Yeah no kill rock stars is definitely an actual label. And that point, I think, was pretty

critical for us because after the first record came out on Chainsaw, which was a label run by fellow musicians, but they were like still touring. It was Jody and Donna from Team Dresh. So that

was problematic. We did have a time when we were recorded by major labels before Dig Me Out. And we considered it. We considered We argued about it. We fought about it like crazy. So I'm going to ask you a question.

Okay. Because I knew this was a parallel story with hip hop and with with with this movement. How at what point are you able to really relax and really not live in fear of the the idea of quote unquote selling out, you know, that shadow following you? like the perception of how we're, because the thing is, is that knowing what I know now, and again, because I worked backwards, I'm like, yo, like, you know, and you can even tell them that, like,

with the videos that you're doing now and all that stuff, like the humor element and all those things that you're really showing your personalities, whereas once I went back to the beginning and realized like, oh, okay, it started off here and then you guys slowly blossomed into this thing, I can imagine that the perception

of who you guys were as a group or trying to present also probably played decisions made by the band. And I always wanted to know like how the perception of being seen as sellouts or being too successful, should we do this commercial or should we sign to this label, this major label, like will we be the same? Like how important is that perception playing in the band at that period in your, at least for the first three or four records? It was huge. I mean, I mean, you were around during that time too.

I mean, it just was such a different beast, you know, this idea that somehow, you know, a major label was going to, you know, rob you of your artistic credibility that by aligning yourself with anything that was corporate or commercial, you know, signified, you know, something that was anti-art, you know, and there were a lot of arguments, treaties, you know, books, zines, you know, and very lively polemic and a lot of real anger, I think, from people that never really took into consideration how anyone grew up in terms of, you know, if they had money and that, you know, like it just never, it was not a very nuanced conversation, but it was very real because you cared about your friends and to sort of admit, you know, I want something

more than I can get this route was really tricky. So we just, we really didn't consider it. And I was probably the most hard line at the time. I was like the youngest. I was the baby in the band. And I think Corin was probably, you probably were the most interested. Am I right? No. Steel Magnolia is the term I like to use. Stealing. I was always, my eyes were always on the business route more than anyone else. Yeah, she's good about that. But, you know, there were also these horror stories. You know, you would, for every band that had a decent relationship with their A&R person, there was someone that had signed to a major and been dropped, you know, like a band like Spoon

or like, or even for coming from the Northwest, you see Nirvana. You see this, this guy that was supposedly, you know, tortured by the fact that, you know, he no longer felt connected to who he was and his fans. So there were all these cautionary tales. 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 Clivert 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. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity

scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Gregalespian and Michael Marantini.

My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over

until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. 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 gonna 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 Vodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like,

and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place. that come look for up-and-coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah.

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

It would not be on a calendar of, you know, the cat, just hang in there. Yeah, it would not be... Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest.

The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make. to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcasts on the IHeartRadio app, Apple Podcasts, for wherever you get your podcast.

And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. In 2022, we did a two-party with Monica Lynch. As the president of Tommy Boy Records, Monica is responsible for releasing some of my favorite hip-hop by De LaSoul, Queen Latifah, and others. To listen to Monica speak, you can hear her passion and dedication, which remains today. In this clip, she speaks about being a white woman in a position of power and influence in a male-dominated space.

What's cool about Monica is she also was a steadfast supporter of Afrocentric hip-hop, as well as other forms of music and sometimes marginalized communities. At this place, are you shocked that even though, though, you know, Sylvia Robinson was running sugarhole records or whatnot, were women in executive positions really not a thing? And I'm, I'm taking it out of hip hop, just general at labels. Like I know about Sylvia Rohn, at least her, you know, coming up at at Atlantic and start in East West and whatnot. Maybe, I mean, Cassandra Williams was more. At Casablanca before then. Well, okay. Well, I knew about Neil Borgart, but who was.

running, who was at Casablanca? Well, I believe Sylvia had started. That I did not know. Oh, wow. I didn't know all right. We can fact check it. This is a great, great subject matter. I'm really happy you brought this up because, you know, there's a lot of women from that early 80s period who didn't necessarily get their shine or necessarily get titles. I was, I think I was made president in 85. I still have the press release. And why do I have it? Because I had to write. it. It's like writing your own Wikipedia entry. Yeah, he was like, yeah, you're present.

Now, could you go write this up? Yes, okay, fine. So the, but yeah, before, in that early 80s period, I would say that the people that really come to my mind is like women who were doing a lot in the early hip-hop labels would be Anne Carly, a Jive records. Yeah, yeah. You know, who I actually knew Anne when she was working in the New York office of EG records. I used to harass her for

Roxy Music tour tickets. And then there was Janine LeClair, who was at Next Plateau Records. It worked with Eddie O'Laughlin. There was D. Joseph who worked

with at PRISM records, which began, you know, which began Colchillin. Yeah. Of course, there was Sylvia and there were others, and I'm really sorry because I should have prepared a list for this, because it is important, and there's a lot of people who, you know, it was a bit later in the 80s when there were more women who were getting into the business,

but there were a lot of women who were in the business then, and they just didn't necessarily get as much recognition. They might have started as receptionist and became press or promo. So there's this whole wave of women. they were part of the even like late 70s and early 80s whose names just don't tend to come up as much. So much in hip hop has been told and told again through books and documentaries and everything. But there's still a lot of terrain that hasn't been touched, really. What's the difficulty level of you like really as far as like pounding the desk and demanding that respect?

Like, do you have to be Tough as nails? Who ran Vogue? Anne. Right. Do you have to come? Do you have to run it Anna Winter style and, you know. No.

No. No. There's, well, I don't. Yeah, no, I know what you're saying. I know what you're saying. You know, I get asked a lot over the years. People said, well, what was it like being a woman in the hip hop world? Or what was it like being a white woman in the hip hop world?

And I'm like, my response is usually like, you know what, there were so many opportunities for women in the fledgling hip hop industry. Again, it was so small back then. If I had gone to say, oh, you know, Columbia Records or Mercury or Polygram or whatever, Warner Brothers, you know, and said, hey, you know, I'm looking for a job. I would have been lucky to get, you know, be the coffee runner for some guy. doing mid-Atlantic radio promotion, okay? So, and hip-hop because it was just a small little industry and no one was really checking, you know, like a lot of women were able to sort of get ahead in this business because there wasn't like a precedent.

It wasn't an old boys network, you know. So it was still being, it was still being, the story was being written and the, you know, there was a lot of opportunities. Although I will say when I went to the first Jack, the rapper, convention. A lot of people thought I was hired help for another reason. So it was like, oh wow. You know, the rapper convention, that's another documentary somebody should too.

Oh, boy. Tales from the rap convention. So, okay. When, when, okay, so at 86, when club nouveau starts hitting, you know, lean on me and jealousy and all that stuff was highly, it was unescapable. By that point, you guys are just, you know, a force. Was there ever temptation to say leave Tommy Boy and maybe, and I don't want to discredit hip-hop's, you know, force or whatnot,

but in the mind state of 87, did you ever have a temptation or did someone from RCA or Warner Brothers or, quote, a legit major label, try to poach you away and say, come work for us? Yeah, there was a label, A&M, actually. And A&M was a real class operation, you know? It was. I mean, they were like, and they even bought me a plane ticket and put me in a hotel.

It was like, oh, my God, you know, this is pretty great. But it didn't happen. I really sort of sensed that I was better where it was. And it turned out to be true, you know, because it was towards. you know, I was, made president, I guess, 85, 86, I can't remember exactly, but, you know, it was towards the end, you know, towards the late 80s where I really oversaw A&R and the creative direction for the label. I was already doing quite a bit already in both of those areas. And also, you know, in the early days, whether it was collecting money from distributors or putting in

pressers with the pressing plant or getting the label copy. typed up or sitting with Bambada while he wrote out of special things or creating a press list and writing press releases talking to you name it it's like you got to do a lot of different things but it was you know in the late 80s where I sort of really I think that was a really golden era for Tommy boy in the late 80s in the early 90s in in 1980s in 1980s you know for me at least in my life, one of the greatest paradigm shifts that really affected. I mean, 88 was such a ban of year, but you sign a group that literally changes the course of my life. And we've had various people involved with De La Sol project. So you know,

you don't have to go through the everyday. But what I do want to know is who was responsible for the genius marketing of De LaSoul because from the press photos to the fonts to the stickers you know, for only time in my life I ever got sent to the principal's office was because I put De La Sol stickers all over my high school.

So who was responsible? Like what was the brainchild operation of we can make these guys bigger than hip hop? I read that hip-hop. pop for hippies. Wasn't that your shit moment? Yeah, yeah. I was very involved in all of that, but it was also, there's a lot of people at Tommy Boy that I would credit for being a huge part of this campaign. I think that it was a very critical decision to have the gray organization

do the, all the, you know, all of the, the Daisy, all the imagery for the, for the, for the album cover. That was so, that was, I would say, such a radical move at that point because they basically sort of threw down a gauntlet to what the prevailing visual aesthetic was of hip-hop. And I think it was the type of thing that a lot of people were like, what is this? But you know, but the thing is, before the album, before the album and you saw all those visuals, You know, PlugTunin was a radical record. And I still have, I still have the demo tape and I still have the write-up that I did after my meeting with Dadio. And I want to make sure to credit Dadio because it was Dadio from Stetsasonic who called me and said,

hey, I've got these groups I'm shopping. Can we set up a meeting? I'm like, yeah, da-da-da-da. And he sat on the phone. There were three groups. two of them were like sort of these more mainstream like Renee and Angela type of groups or something. And he mentioned De La Sol. He said, oh, and there's this group that Paul's working with called De La Sol.

And I do remember thinking, that's a really intriguing name. You know, what is that? It didn't sound like a hip-hop group. And so I met with him. And that's in that demo tape of Plug Tuning and was it Freedom of Speak, I think, On the B site, yeah, Freedom of Speak. Yeah, but it was the two tracks on the one cassette, and it was like, you immediately knew that it was either going to be big or nothing.

And that's where I think Tommy Boy's legacy largely lies with signings that were sort of in that category. You're going to love it or you're going to hate it, but it wasn't in the middle. And De La Sol, I think, personifies that. And, you know, the demo of plug tuning sounds pretty much. I'm pretty sure. I don't think that it was even even mixed. I think it was an eight track that Paul did. And I don't think it even went beyond that by the time it was mastered.

I think it was still like this eight track demo sounding thing. And we did this ad campaign where we got all these different people to say, you know, you know how it is. You know, like when you know. Oh, Latifah's mom. She was part of it. Latifah's mom, the late Rita Owens. We did a campaign that I came in for Dela Sull.

I came in for Patty LaBelle. I came out with Dala Sull. We had this one with like some goofy, you know, sort of straight looking white guy. Like, you know, I came in for, I forget. It wasn't Steely Dam. We hung that up in Sam Goodies. I worked at the same goodies at the time. Oh, man.

Well, then you know. So this, yeah. So that imaging. campaign, I think, was fantastic. We had a great full-page ad in Billboard that said, Dela Gold, when it went gold. But, you know, I think a lot of it sprung from the group itself because, you know, I still have, and I shared this with PAS actually just last week. He sat down in the office with this, he has a very distinctive style of cursive.

and he was writing down the history of De La Sol on this notebook paper describing who each group member was. And he was writing it in De La Speak. And that was another thing, too, because, like, nobody knew what the fuck they were talking about. Right. They had their own language. Like, what do they talk? What do you mean plug tune in? What's that, you know?

And what is Trujui the dove? You know, what is all this stuff? Right. But they had a different look. They had a different sensibility. So there was a lot there to already work with and to sort of get inspired to do interesting and creative marketing and promotion. You really can't do something unless the project and the recordings and the artists that you're working with are interesting in and of themselves. You can blow it up and magnify it.

But if it's not inherently interesting and great, you can't really do anything. So they really, they were like, wow, this group is pretty interesting. A lot of people played a role. I don't know if you know Rod Houston because he's also from Philadelphia. He's now one of the biggest voice artists. He's a voice actor guy. Yeah, yeah. He's huge.

He's huge. And Rod, I still have the copy that he wrote up because we did this contest to name the sample. Yeah, I remember that in Billboard, yeah. Did you enter the contest? I didn't know the Liberace or any, yeah, I didn't know that. Yeah, we got, I still have a lot of the entries from the contest that I kept. A lot of people thought it was Bobby Bloom. And the only person who got the, who, the only person who got it right was Joel Weber,

as I mentioned earlier with the partners in the new music seminar. And he's the guy who put out, he was an A&R guy at Fourth and Broadway and Ireland. He put out the dominatrix sleeps tonight. And he was the only one who identified the invitations, it's written on the wall as a sample. Right. So there was a lot of really great things that sort of sprung from the fact that the group themselves were so different and so interesting. And I think that that whole Daisy Age imagery, you know, was certainly a blessing and a curse for the group because and they didn't really like being named the hippies of hip hop and, you know,

pushed back against it. You know, but that was that album, three feet high and rising, you know, and that was actually the first project I assigned to Dante. So, Dante, make sure you get the this, da, da, da, da, da, da, get the clearances for so and so and so. But it was the first project that he worked on, which was fantastic. He did an amazing job. And Paul, of course, you know.

Yeah, he's Paul. Yeah. Thank you for this listen back for the Women's History Month. Catch new episodes of Questlove Supreme coming soon. Thank you for listening to Questlove Supreme, hosted by Amir Questlove Thompson, Maya St. Clair, Sugar Steve Mandel, an unpaid Bill Sherman. The executive producers are Amir Quesloff Thompson, Sean Cheek, and Bronzer. Brian Calhoun.

Produced by Brittany Benjamin, cousin Jake Payne, Elias St. Clair. Edited by Alex Conroy, produced by IHeart by Noel Brown. Questlove Supreme is a production of IHeart Radio. For more podcasts from IHart Radio, 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 what you're saying. Yep, that's me. Cliver Taylor the 4th. You might have seen the skits, my basketball and college football journey,

or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Cliford Show. This is a place for raw, unfilled 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 Cliford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins.

But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and Michael Marantini. My mind was blown. I'm Stephanie Young.

This is love trapped. Laura, Scottsdale Police. As the season continues, Laura only. someone finally faces consequences. Listen to a love-trapped podcast on the IHeart radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands.

I vowed, I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that, trust your girlfriends. Listen to the girlfriend. Trust me, babe, on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. What's up, everyone? I'm Ago Wood.

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. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

from hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeart Radio app, Apple Podcasts,

or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. This is an IHeart podcast, Guaranteed Human.