The Questlove Show - Questlove Supreme: Chris Robinson Part 2

Episode Date: September 13, 2023

In Part 2 of his Questlove Supreme interview, Chris Robinson discusses his creative process in making legendary music videos for Alicia Keys, N.O.R.E., and Busta Rhymes. He also speaks candidly about changing business models in music, video, and film—including the ongoing fight. Chris sheds some details on directing The New Edition Story as well.See omnystudio.com/listener for privacy information.

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

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

So let's get to it. Listen to the Clifford show on the IHeard Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. When a group of women discover they've all dated

the same prolific con artist, they take matters into their own hands. I vowed, I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe.

On the IHartRadio app, Apple Podcasts, or wherever you get your podcasts. Everyone, I'm Ego Wood. 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 in luck. Listen to thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. I'm Daniel Alarcon and this is my friend. He's much more famous than I am. I wouldn't go that far. But I'm John Green, co-hosted the podcast The Away End with my old friend Daniel. On our podcast, The Away End, we'll share with you the magic of international football, all leading up to the 2026 World Cup. Together, we'll find out why, of all the unimportant things, football, soccer, is the most important. Listen to The Away End with Daniel Auerkone and John Green on the IHeart Radio app, Apple Podcasts,

or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. Hey y'all, this is Unpaid Bill from Team Supreme. We're back with part two of our QLS interview with Chris Robinson. In part one, Chris spoke about growing up in Baltimore and cultivating a career as one of the biggest music video directors of the 1990s and 2000s. He shared some secrets about working with Erica Badu, Lord Tarika Peter Guns, and Ella Cool J. He also discussed his new project, Shooting Stars, which covers the upbringing of Bron James.

If you haven't already, please check out that episode. Now here's part two. I want to hear if there's a way that you can give cautionary tales without compromising your position or your relationships and whatnot. But this is a theory that I have now at this stage of my life, which is, I think when we turn 30 or 40, this is when we start to become experts. And I don't think it's more or less that we become experts more than, I think in the first 20, 25, 30 years of our life, we took an assessment of, okay, this is pleasurable and this

is painful. And so we basically want to just do the greatest hits and just take a compilation of all the pleasurable things and then apply that to it. And then we become experts. Like, we know that, you know, if you touch the show, if you're going to get burnt, you know, if you walk across the street without looking both ways, you're going to get hit. So basically, you know, it's a compilation of life lessons and then that's how you're supposed to proceed on from 40 and above. So for you, are there never again moment? for directing in terms of, and I don't mean like, I'll never work with this particular person again, but you already know that like, all right, I can't double book.

Yeah. That like, what lessons have you learned that are like never again? That's a crazy question. Open my brain up. It's wanting the gig so bad that you compromise. what your vision is. It has never, ever, ever, ever, ever, ever worked for me. Right.

And so you've said yes to an artist before you even have a solid creative vision for it. Oh, I've definitely done that. And that's worked out. That might be a timing thing, right? Right. What I'm talking about is like you have to take this job, but you have to to use this DP and you have to shoot in this city or you have to use this, use either use someone or put a patina on it that we want it to be, right?

Now, commercials are different, right? Because an ad agency works on that for a year before you ever get a phone call. So we, we understand their vision of what they're looking for. But when it comes to something creative, any time I've attempted to do it, it didn't work or it wasn't satisfying. So my advice would be never compromise your thought for the money. You know, it just doesn't work. I have a dad thing, as I always tell my son, I go, okay, when I was on JV, I could kick.

Like so we were just in practice and I was kicking, booming the ball. And the coach was like, Robinson, you can kick, you're a lineman. I ain't never seen a lineman kick. I go, yeah, I can kick. So he gives me the job. I'm kicking off. So before that, a coach comes up to me and he goes, hey, man, you're planning your foot all wrong. You got to put your foot closer to the ball so you can get more lift on.

So here we go, our first scrimmage against our high school rival. And I go out, I listen to the coach. I plant my foot where he tells me, and the ball goes straight up and straight down. and I get fired. I'm no longer kicking the ball. And that to me is the metaphor of when I'm listening, I'm in my flow. I know how to do this. I know the people I want to use because it's a business in an art form where you collaborate.

But then somebody tells you not to do what you do. It's been working for you. Working for you and the reason you called me. Right. Because this is what I do. And I've done it a couple times regretfully. because the opportunity was so big. And so when they come at you and they go,

hey, man, this opportunity is big. You're going to do what we say. It's difficult to turn it down. You know, and if you have enough political acumen that you know how to twist it and turn it to still do what you want to do, cool. I really don't have that gift.

You know what I mean? I'm like, I'm true to whatever that thing is. So I would say never, ever do that. And I know it's a difficult thing, you know, because opportunities are what they are. But I think that for me is the biggest one. Are you the type of director? And I don't mean micromanage in that annoying way, like always over your shoulder looking. But for me, I feel like the editing is the most important part of your presentation.

Like, because editing can be, I know for some would say, well, no, the story concept is the most important part. And some people would say, no, it's actually the look of it, like the art direction, the lighting. Some people can say the shot's the most important part. For me, I fall in love with the editing. I mean, a lot of, you know, nine times out of ten, I'm working with footage that already exist already, so it's not like I have to shoot all my content. But in terms of storytelling, do you allow your lighting person, your lensman, your editors, Do you give them free rein to do what they do?

Or are you always over their shoulder from soup to nuts? Like micromanaging what it is? Like I do in that I'm giving everyone the vision. I'm going, hey, this is how I see it. Before we ever get out there on the playing field and before we ever roll one second of zeros and ones, it's not film anymore. So I always like to meet.

I like pre-pro. I like setting down. I like looking at references. And I include the editor in that. Right? I'll send the treatment. If it was a video, I would send the treatment to the editor

before we ever shot. And there were certain guys like Jeff Sellis, amazing dude. And he was like Scorsese's editor to me because I could give him, you know, when we were shooting two videos a week back in the day, I had to have trust, you know, to go, all right, here's this. I'm going to shoot this. When I get back, we'll talk. And Jeff, 90% of the time, you know, he would, he would hit it.

You know, so, but those kind of relationships are few and far between, right? So in videos, I work with like four or five different editors. When you were in the eye of the storm of video making, how many videos? Well, you said a week. How many videos a month would you book? Well, I know this. For three years in a row, I hit between 48 and 50 videos. Wait. Wait, just we say it again. For three years in a row. Right. I noticed because that's when I had left partisan, left HSI, and I had my own company.

I did between 50 videos a year to 50 probably the year I did the most videos were like 56. So that was doing about a video week. And I had three rotating producers who only work with me. I had about five rotating editors. and my executive producer Roseanne, which I told you earlier as well, he really managed all that well. And it was, go ahead, Chris, get on a plane, go,

and I would have to show up and do my job. And I, you know, it was such a beautiful time that we were able to do it and still keep the integrity of the art, right? because I was big on that too. No vacation. No vacation, Christo, in three years. Let me tell you, I was upset if people wanted to take a vacation.

I remember. Listen. You are the roots. I had this guy, Michael Lucero. I don't know if you guys know. I know this name, yes. Yeah. Michael Lucero was amazing.

He's passed, you know, rest of peace. Michael Lucero did 93 till infinity. Yes. Yes. He did busting dirty. And when I first had a company interested in me, which is where I met Roseanne, she was the executive producer of his company. It was called What You See is What You Get.

And they were in San Francisco. So I flew out from Baltimore to San Francisco, met them, and the whole nine. Well, he was such a good dude. He was kind of like a, you know, one of these guys who climbed mountains and, you know, kind of, kind of dude, but an amazing direction. As you can see that video. Okay. Yeah. Learned a lot from him.

Learned a lot from him. Learned how to write treatments, but such a good man. But he, every year, he would take us on vacation. And we were going to Mexico. He would take the company on vacation. And the first year I was there, I wasn't really, you know, getting a lot of work. and I was pissed that they wanted to take a vacation. And he wanted to fly me and pay for it, pay for my room.

And I did not go. And I was like, who's taking a vacation? We need to work. So I was a little over indexing. I was saying back then because I wanted it so bad. And, you know, there's great photos that Robin Frank, who was my rep, had sent to me recently, like of that trip that I missed. That you could have been.

That I could have been at, you know. I was sitting home in Baltimore convention about, you know, not working instead of going on vacation. Exactly. So can you walk me through the process? Because I'm learning now that in order to be creative, you should really dedicate, or at least for me, what works for me is a lot of silence. A lot of solace, a lot of silence. I used to be the type of person that that sort of reveled in in chaos. But I realized like, oh, like during the pandemic, then every idea came to me.

And suddenly inspiration came. So, okay, so in the eye that storm. So, all right, let's go to, let's go to 2005. Okay. Right. Like, how long do you sit with? and I'm going back to videos because I feel like video I feel like videos are harder than movies because you basically have four minutes to tell a story and really knock it out the part. So what is your process?

How long do you sit with a song? Do you sit with a team of people and think of ideas? Do you look at the physical build of the person? Do you get to know them and see if they're athletic if they know how to run? If they know how to drive a car, like what they're in. Walk me through the basic. Like how long do you sit with a song before you suddenly see what it is? It, for music videos, man, it is, it was, it's different.

It depends on what the song, the song truly inspired me, right? So a script will inspire you, but the song really inspired would inspire me. For instance, you know, when I heard, you know, I received Noriega song. what what what what what what what super thug i got super thug i wrote that in 20 minutes because i had had this idea about camels in the desert and it'd been around for a long time in my head is rolling around in my head so i wrote that and it's funny because my rep was like this is the quickest treatment you've ever written uh are you sure you want me to turn this in and i was like yeah this is it because i was a little notorious for sending in a treatment late because of exactly what you're describing of taking your time.

Living with it. Living with it. So when I did, I received, you don't know my name from Alicia. I remember sitting in the house eight hours just listening to it. And I kept almost getting it. Then I flew to L.A. And I had an assistant. Her name was Nia Andrews. She's, she's in music. Like her dad was in, he wrote, all freak out. Like, he's part of that legacy. So we drove around L.A. for eight hours. I remember we went to Malibu. We just were listening to this song on repeat.

And then later that night, she called me and she goes, well, what about, you know, and then the idea. So she, it would ping pong back and forth. So there's some things I would do. do totally solo. There's some things Jesse Terrero used to be my assistant. Good brother. And he was one of my best friends. And he may come up with something. Neil Feldman wasn't assistant mine. I'd given the outline and do it. But about, I'd say a good 70% of the time, it would just me dipping out. You know, I got a house in Maryland, sitting on the back porch and playing it in the headphones.

And just vibing. And sometimes that could take me two days, three days. And I just say, since you mentioned the Alicia Keys video, did you have everything in your head, even the casting of that video when you were thinking of the concept if you don't know my name? And did most of the stuff show up on time? Listen, I don't remember. I remember. I don't remember. Yes, you do.

Wait. Listen, he's an artist, brother. He's a guy. never on schedule always on time but yeah but did you think so in your mind is that did that come out the deck directly way you wanted it to players and everything or that just came later

most however I really truly can't remember how most became involved but Alicia's very she still is and she was she lived that whole complete life right so she wasn't just down for some video model, you know, coming through.

She wasn't down for people all up in her mouth, kissing her. You know, even no matter what the concept was, she was very focused on, you know, being authentic, telling the story, but also being respectful in her life versus just the art. And I don't, I've known most of my boy set free, another Philly Cat for a minute. Yes. Yes. Yes. Yes.

Free. Shout out to set free. And I truly can't remember. But when he came through, I was so happy because I'd love the movies he'd been in. And he was down. You know, it was not a lot of money involved in it or anything like that. He just came through and represented. And, you know, I still think that video, I should create a movie. You love Frankie and Johnny. Al Pacino Michelle. I think it would be so dope to, you know, do that. And we shot at Pan Pan. And we shot at Pan. And Harlem and Pan Pan Pan's not there anymore right so that brother made the best man I miss Pan pans yeah Pan Pan pan was drunk I miss it man since you mentioned that Chris what's another video you feel that way about this you could have just continued on and it could have been a whole like movie there's a break you off no plan it's too many videos Chris did so many videos I forgot he did my video I'm sitting here like wait a minute I think Chris directed a Roots video and I just Oh shit. Because when you said the wire, I was like, wait a minute.

A couple of wirecats are in my video for Break You and then. That's right. But I produced that video. Jesse Pereira directed that movie. I was there and we did the thing under the bed and the whole joint. But it was, that was, I loved that video. You know, the era of kind of the big budget videos just kind of pretty much evaporated. How did you and other directors?

How did y'all transition during that period? Went to movies. Listen, listen. And what was that like, man? Kind of seeing that ecosystem just kind of dwindled. You are, man, it's such a great question. And like, is YouTube your Napster? Oh, yeah.

Napster's my Napster because Napster is the reason the video budgets disappeared too. And I'll tell you, man, once again, I wish I could say I saw it coming. But we did not. And we, I remember literally there was, there was like a week where the bottom dropped it out. I think fortunately I'd already like maybe started working with Kevin on real husbands or whatever it was. But, you know, my bread and butter, it was chopped at the knees. And it was very much like, I almost thinking it was a joke. at first.

Like, you know, labels will call and go, yeah, we got X. And I'd be like, ha, ha, really? Now, okay, so what is it really? Because you know who, you know this artist and what they, you know, the budget you're telling me is what they need for their, you know, writer. You know, like what this artist is. So I think, you know, for me, it was just a, it was just a very difficult switch. but I started to understand it. And I actually would call people.

I'd call all the people I met over the years and go, like, yo, what's going on? Like, what's happening? Like, I didn't understand the ramifications of Napster and digital and all that stuff. I was still going to the record store getting CDs. Yeah. You know what I think?

I think, well, you know, in the music business, many people look at Usher's Confessions as the last album. of that era. I mean, it was the last album. It's the last brick and mortar album where it sold 10 million units. Wow.

And then, you know, like it came on 2003. And then the age of ripping and all that stuff really came into play. But I also feel like I have a theory that maybe for the video world, even though it wasn't financially responsible, I kind of feel like the rock the boat video really marked an end

even though other opulent videos were made kind of after I feel like the effect of the rock the boat video and kind of what it represented like just the whole thing with the Leah's death flying to other locations, private planes that a da da, big buses, on a boat, on a yacht, I definitely remember moment where that just kind of

paused the whole entire industry for a second. So even though it wasn't like a direct thing where it's like, you know, like a 9-11 thing that changes the world or a January 6th thing, like where you can literally see a tangible thing.

But I kind of, I always wanted to know, like, in the video world, was that a moment that gave you personal pause? Like, your soul, like your soul was like, put on pause. And I think we all had been moving at 100 miles an hour for so many years and had all these relationships and were so deeply entrenched in, you know, going for excellence

that we didn't realize the, you know, how precious life is, right? Because we, we so indexed on working. An example is when the pandemic has, happened and I was home for three weeks and I was bugging out a little bit I realized that I hadn't been anywhere for more than two weeks for 20 years. Right. So I had to stop moving around and I'm sure you guys went through that same thing. And to your point, you know, when that video happened and all those things happened, there was a real, the party will almost stop. right there was a there was a halt in because we all felt like alia was our little sister a little cousin and we loved it it was a different kind of a feeling when that happened and and you know we're all jumping on planes and jumping on private planes and we're moving you know we've been to i've been to Brazil to shoot and we never really took um we never thought about it about safety and what could happen and i think look, that's just something that happens in life. And I think it just was business as usual for us to achieve a great art form. I think that video is beautiful.

And I think, of course, like, you know, Hype himself as an artist wasn't only a music video director. He was like our North Star. And he was tight with these artists and had relationships with these artists in a way where, you know, a Hype Williams video could change your life as a musical artist, right? And it just felt like all of our business, all of our craft, had took a moment to breathe in when that happened. So I agree with you, man. It was tragic and beautiful at the same time.

A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clipper Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media.

Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated.

One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right what 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. 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 Slical Life 12 and TikTok podcast. podcast network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes.

And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care.

So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts,

or wherever you get your podcasts. What's up, everyone? I'm Ago Vodam. My next guest, you know from Stepbrothers Anchorman, Saturday Night Live and the Big Money Players Network, it's Will Ferrell. Woo, woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like,

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

and he's like just give it a shot he goes but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore it's okay to quit if you saw it written down it would not be an inspiration it would not be on a calendar of you know the cat just hang in there yeah it would not be right it wouldn't be that there's a lot of luck yeah listen to thanks dad on the iHeart radio app apple podcast or wherever you get your podcast I'm John Green. You may know me as the author of The Fault and Our Stars and now I guess also as the co-host of The Away End,

a brand new world soccer podcast. I'm Daniel Alarcon, a writer and journalist and John and I have known each other since we were kids. My first World Cup was Mexico 86. I was nine years old. I watched every game and I fell in love. On our new podcast, The Away End, we'll share with you the magic of international football,

all leading up to the 2026 World Cup. For us, soccer, is a story we've shared for over 30 years since Daniel was the star player on our high school soccer team. Very debatable. And I was their most loyal and sometimes only fan. I love this game. I love its history, its hope, its heartbreak, and above all, its beauty. Together, we'll find out why, of all the unimportant things, football, soccer, is the most important.

Listen to the away end with Daniel Alarcon and John Green on the IHeart Radio app, Apple Podcasts, wherever you get your podcasts. I always wanted to know, if you can name a name, what artist always makes you go back to the drawing board and re-does? Like, for me, I will say that I was in a situation

when I know never to give the song that I want to give Jill Scott or Erica Padu as the first song. Like, I actually create, and sometimes Tariq, like it's always, it's almost like I have to do a horse and pony show. like, all right, here's the song, and it's not the song.

And now I'll do a second song. All right, I tried hard. Here's the song. And then I'll do the song. I really want to give me, all right, here's the song. They're like, yeah, this is the one? So is there an artist that always makes you go back to the drum board to read? I don't like this treatment.

I don't like this treatment. Or where you have to explain to them. Like, in other words, okay, well, I guess with the Honey video, and you said, Erica, you didn't say she's micromantic, but, you know, I know. No, I am not saying she's Michael Badenegy. She is of an amazing artist. Yeah, we're going to recreate these classic album covers, which looks good on paper. But what artist makes you always go back to the drawing board because they just don't see it in the paragraph that you're explaining it.

It's a good challenge. Yeah, no, no. Or an annoying challenge. I immediately know too, honestly. One is Busterbop. That's a good challenge. That's a good challenge. Buster Bimes is a visual.

He, you want to talk about somebody who's paying attention to the visual? I mean, and wants to call you at 2 a.m. Because he's on that time as a musician in the studio. You're gone. I don't understand. Exactly. Exactly. I don't understand why you didn't pick the phone up at 2 a.m.

Like, he is, you know, to his credit. I mean, look at, I just, on his tribute, I was looking at the Janet Jackson video that he did. And that thing is crazy. Wooha, everything he does has a visual component to it. So what happens is he likes the first treatment too. But then you get there and he's in the details. He's going classic, classic Busted Limes and Bust.

I love me, my man, and we already know what it is. classics only. But when we did Pastor Cavassier, that was each setup was a conversation. Like he,

classically, he didn't, he did his fight scene. He felt was better than his fight scene. And he wanted to re-choreograph the fight scene to make sure that it's his video. So I get it.

So we re-coigraph that fight scene in that room. Now, at the time, when the clock is ticking and you're going to go into overtime, and you've written the treatment, and you've

done the costume design, and you've got all the martial artists who are going to be in it, and you have the moment, that seems like a request that is going to be tough to create. But it doesn't

matter because we still did it. And when you look at that video, when I look at that video, I go, wow, we probably had 65% of that on paper, 65% of that plan. And what Busser will do is he's not just making arbitrary request. He's so deep in it that he's pushing you. He's pushing for greater. He's pushing for better. So he's not the guy who just disappears and goes and smokes. He's on the set, setting in the director's chair, looking at playback.

And as you're moving through your day as the director, you know, there's certain time things you have to hit. But interestingly enough, I think we did shoot like an extra eight hours on that video. So do you already

have overages written in the budget? Do you already have overages written in budget when you know that is what you try to do right and then like once again my executive producer rose and cunningham that's what you try to do but the reality is you cannot predict some things now the tough conversation that i've seen many times is when the producer goes over to the you know music video rep and goes okay we're having this or it's this much time or chris wants a crane the crane broke and we have to bring in another, whatever that is,

the record label has to sign off to say, okay, you know, cost plus, if the crane costs you another $10,000, we'll pay for it. And usually that's where the power shifts, right? Because the power shifts, because we already have a contract.

Right. So no matter what happens, I need to do what's on this tree. to fulfill the contract to get paid. Like that's just a reality of the business that is really the only way that you can do it, right? You have to make sure that it's done, but there's extenuating circumstances that I've seen over the years. But if the artist and the label are like down with you, right? You can change things a little bit to accomplish the same goal.

But, you know, I think Busta is, is, you know, he, he understands it early. He understands like, okay, this, even if this treatment is a, we've got to move quickly. So this treatment is a blueprint. We're going to get it where it needs to be once we get there. You know what I'm saying? Okay. I vow to never do this on this podcast. But since you're here, I got to know the politics of that.

video joins. Come on now. You've got agencies now. There's entire careers and Instagram accounts that have made legends out of the right seven seconds in a video. Is that still a thing? No, y'all think?

I don't think videos are. I don't know. Ain't what Esther Baxter. You know, I'm like, I'm thinking of like. Yeah. So,

but the thing is that by this, by this era, you know, even video models have just as much leverage as the artist themselves.

And so is there, how do you wrangle, like, and I'm not trying to objectify like their product placement, but is it written ahead of time like, okay, I'll make sure

that, you know, when you're wrangling with her manager, whoever it is. Gloria Valis. She was a good one too. Like, dude, when Grace was at Jive, like, grace was responsible for, like, from, from Corrine all the way down, like, all those videos. So, but, but she told me that she was there to rank, not only wrangle, but also to protect

them. You know what I mean? Mm-hmm. And so, but I didn't realize that there's, like, negotiations where this particular artist has a certain cachet and she wants to be featured and da-da-da-da-da-da. Oh, a feature girl versus a... Is that just decided or is it random or is it already pre-planned at the gate? Like, okay, we'll make sure that you're the featured and we're not going to feature your rival

that you might have beef with in said video or is it just like up to the artist who gets in or not? No, listen, in my experience, it's always been... this is going to be a boring answer. It's always been like casting on a feature film. Now, you would think like, oh, that's kind of random. You know, or you look at it and you go, that must be random.

Where did they get all those girls from a club? No. The answer is there's a casting director. Ulysses Terrero, his brother is one of the best that everybody. Wow. And, you know, at that point, there was an era where

those young ladies, that were, you know, video vixen or whatever you want to call them, it was a portal. Right. So now you decide, you know, like there's very memorable moments of different video vixions in video, right? So, but then it was, it's literally a portal. Like, think about every actress who does. Shout out to Melissa Ford. Shoutouts to Melissa Ford.

I mean, you want to talk about the hype Williams of video vixen. Like he was, he was dope. You know, that Jada kiss video, knock yourself out. Like, he's amazing. But let's talk about her, the portal. Now she isn't another part of the business. Now she does podcasts. Now she's, she, she was, you know, part of that era with the magazine with, um,

DeTuan Thomas and creating, um, you know what I mean? And then let's talk about Lauren London. The first thing she did was she was Paul Hunter's assistant. number one. He was in Drop It Like His Hot, which is in his video. She was in Farrell's video. Brunton. And in my assistant at the time, brother named Carl Reed, they were friends.

And he goes, Chris, you should audition Lauren for ATF. And I said, absolutely not. No, well, I'm not, I'm going, I'm not having a video girl. I'm trying to be a serious filmmaker. But he was like, look, man, you got to just be a good brother, man. You got to get a shot. She wants to be an actress. And she came in and it's a great story because she came in and she was late.

We had packed the film equipment up, right? She came in and she goes, I got to pee. I got to pee. Can I go to the bathroom? So she delayed us further by having her to the bathroom. Okay. So I'm just sitting there looking at a car like, see. Okay.

And we said action. and I had been looking for Nunu for probably eight to ten weeks. Wow. And it was her. Wow. Was it true in ATL that a lot of big boys lines, did he improv, a lot of that? How did that work? I wanted to ask about it.

Let me tell you something. What he said, you didn't do that money in my face. The whole group was like trying not to laugh. big boy is genius with his his ad libs and the way big boy was moving was you know he's big boys from outcast he didn't really understand you know oh it's a 6 a.m. call you have to be there all these things and he would come directly from the studio to set okay not having slept or whatever it was and every day i'd be worried every day he delivered every scene you know, he always added that extra

that was beyond the script. Yeah, he had led a lot of that stuff and he's a gig. How was it with Tia because that was him, I don't think that was his first, was that his first feature? It was. It was.

How was it working with him? It was a lot of actor, yeah. It was similar in the fact that he wasn't, he didn't, he never worked on a set before. So, you know, me and him, I did his very first video. I'm serious. Before that video. Yeah.

Exactly. So I was always like, man, this kid is dope. And Dallas Austin was like, I think TI could really play this role. So Tip would, I think he came in the first day in a Rose Royce. And he came to set. He pulled up for the set with it was a Rose Royce. And then he had a big. Like, you know, when it's a movie, it's favorite nation.

So every actor has the same kind of a trailer. And he had his own Winnebago. And all the other actors were in like a two bank. So, you know, I talked to him and I said, brother, you know, you're leading this. Like, this is, everybody's looking to you. You are number one on the call shoot. So, I mean, in our other world, in your music world,

but he's in the studio every night too, night too. He's super popular. He's becoming the king of the South. I just had a conversation with him and we just got on the same page about work effort coming in being the leader because we're all looking to you as the lead in this picture. And, you know, he, I think the hardest part for any artist is not being TI or being. being tipped to your audience, being Rashad, who is in high school, a guy who just got out of high school, who has got to show vulnerability. But I think what we both learned for each other, because both of our, you know, you can never do your first movie again, right? So everything was bet on tip for me.

Everything for tip was bet on me. Like, so we both had to, you know, we're going to win the Super Bowl, the quarterback and the receiver better. be connected. I'm sorry all references. So you know, we, I think we did a good job. I think it's people still reference it and still love it. And

I watched him turn into a superstar. That's the one human being I watched turn from a really hot commodity into a superstar through that process. That's what's up. How did you know that Evan Ross was right

for that role? You know what? He came in the audition. I didn't know who he was. I met him in Los Angeles, and I didn't know he was Diana Ross' son until we were shooting. Okay.

Good, good. But, yeah, I just with Evan as a restaurant out here now. Evans are good, man. Evans grown up. Does he? What's the name of his restaurant? Leonnas. Leonas. Okay, thank you.

Leonas. It's on Ventura. And he has a club. called Warwick on sunset. Didn't know that was his. See, people would look at Evan Ross and they're like, what is he doing? Decides being married to Ashley Simpson.

That's dope. Count me. Count this money. I have one more question about videos. And be honest about the mind-stated directors. I know you're saying I can only speak for myself. Right. But half that's time,

do you guys already have treatments in your head or stock footage pre-shot already that you're just waiting for the right artist to sell that on? Like in other words

is every video a bespoke kind of customized video? I'm only asking this because you know I had a situation with

I don't know if you know who Sanji is. Of course. He did. that far size passed me by. Yep. And, dude, always wanted to work with Sanji.

And we finally got a chance to work with them on our tipping point record. And my manager was always like, mm-mm, somebody right here. Like, what I feel like? Hold up. Wait a minute. We did the star video. Oh, I was wondering which one. Okay.

And Rich is like, why don't I feel? like he shot this video already and just basically sold us a bit because the thing was we weren't there for it when you talked about shooting your B shots without the artist first I was like wait a minute that might be a Sanji trick on which my it's my manager rich Nichols rest in peace it's this assessment that we got got and basically like he had already shot the video already and sold it to us and he just shot our shots like at the end for a day or whatever but like do you do stock shooting of stuff you know like neighborhood shots or just random things that doesn't have a home yet is that a thing

no i listen in my experience no i'm just kidding uh you got to go watch this video again chris i think they might have got the mirror might be yeah look i i think they're all everything is bespoke for every director. One reason is, you know the label owns everything. So if we would finish a video, you would see 2,000 feet of it, but we'd send the whole 20,000 feet of film to the label. So I don't know if they,

and that's when we were shooting film, but the label owns everything, period, point blank. But, yeah, but I mean, like, right. Back of the day, like all my reels go to the label, but now by turning a record, I'm just turning that record. They're not getting the demos and the stuff that didn't make the record. Right.

They're supposed to. You, I always, here's what's funny. I always talk to my producer and I say, you know what we should do? And it's exactly what you said. I said, when we shoot a video, why don't we have this concept? Because let's say this, for every video you shoot, you wrote five three, there's five videos I didn't. get, right? I'm battling hype, Benny. We're all battling each other. So for every video I did, there were five concepts that are setting on my show. I always thought it would be a genius idea

to shoot all the components of a video and then put the artist in it. But you never really could do it because everything has a certain vibe. Every song has a certain vibe. Like I said, I thought that would be a great, great idea. And maybe artists would like it where you could go, hey, here's a video. And here's how we would insert you in it. I always wondered that. Never had the opportunity to do it. But I'm now going to watch this video.

It's yes. Because I hate Roots videos. I just rewatched it. I was like, wait. Really? Shut up. A win is a win. A win is a win.

I don't care what I'm saying. Yep, that's me. Clipper Taylor, The 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 Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL. draft and we've got a special guest.

The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar, this is the

insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for More follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. There's two golden rules that any man should live by.

Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield. And in this new season of the girlfriends, oh my God, this is the same man. a group of women discover they've all dated the same prolific con artist.

I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves.

Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Everyone, I'm Ego Wooden, 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. My dad gave me the best advice ever. I went and had lunch with him one day. And I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through.

And I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you. which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit.

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. I'm John Green. You may know me as the author of The Fault and Our Stars, and now I guess also as the co-host of The Away End, a brand new world soccer podcast.

I'm Daniel Alarcon, a writer and journalist, and John and I have known each other since we were kids. My first World Cup was Mexico 86. I was nine years old. I watched every game and I fell in love. On our new podcast, The Away End, we'll share with you the magic. of international football, all leading up to the 2026 World Cup. For us, soccer, football, is a story we've shared for over 30 years since Daniel was the star player on our high school soccer team. Very debatable. And I was their most loyal and sometimes only fan.

I love this game. I love its history, it's hope, it's heartbreak, and above all, it's beauty. Together, we'll find out why, of all the unimportant things, football, soccer, is the most important. Listen to the away end with Daniel Alarcon and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Anyway, let's talk New Edition, please. I just wanted to know about New Edition as a director from your vision. First of all, what were the, you have to have these things in place for you to direct this project? You have to have power over this.

Like, did you have any of those moments? Can I ask some to your question? Yeah. Please. All right. You remember how the guy who did the Bel Air thing, like actually pitched. Yeah, yeah, yeah. Hey, why don't we do it, Matt?

And he did like a, a scissor reel or a fake trailer. Mm-hmm. Yes. There was once a fake trailer for the new edition biopic that was like roaming on you. In the early days of YouTube, like back in 2006, did you have anything to do with that? I did not. Did you know what I'm talking about? Absolutely.

And I met the brother. All right. I met the brother. And let me tell you what else. He showed up on set with Marie Star. Oh, wow. So look, he, look, God bless him. That's a Hollywood lesson, man.

Like, we, I've been the same way earlier in my career. Like, yo, I'm just going to shoot this sizzle. And then they'll know that I'm the guy for the job. I did it. seven, eight years ago. I shot an ATL2 trailer. Uh-huh. I got everybody together, paid for it.

Me and Tip Taylor. Oh, I remember. Yeah, I remember saying it. Yes, okay. We're trying to get, we're trying to, you know, create momentum. So, you know, studio would say, hey, man, yeah, we'll make it. You know, it was an effort to, you know, show all those people together again. So nothing has come of it as of yet.

We hope that we can make ATL2. But I do remember that quest. And I met that brother, and he was a young director, and he was really dedicated to wanting to make that happen. And, you know, I didn't have anything to do with it, but I do know that he got so far as he showed up with Marie Starr. And what did they want? No, Marie Starr, of course, we invited him to set. Okay. You know, to see, to watch.

but he was there with him and I actually had a conversation with him. His heart must have been so broken. Oh, Lord. It's tough. It's tough, but that is a Hollywood 101 lesson that's hard to get. But I think he's still, like he's still pursuing the art. He's still pursuing directing. And I think he's, I think, look, it was dope for him to do that, right?

He had to love. And he just kind of, he came up with it and he goes, I'm going to do this. The fact that he made that happen, and I got to go back and look at it. But I remember thinking, this is pretty good. You know what I mean? Before I was ever involved in any new edition project. I kind of thought that was the impetus that allowed this to happen because that thing was so viral that about a year or two later, then it was like, you know, we're really going to make this happen. I thought he was a part of that.

No. You know what? I knew about this project. Jesse Collins produced it. So Jesse told me about this maybe seven years before we shot it. He had the project, obviously, you know, he does VET awards and everything. And so he got with them. So you can imagine in order to develop it with all those human beings to do the life rights and to come together, it took that long.

So about seven, eight years later. I remember the new edition was my first concert, 15, Spectrum, Philadelphia. I went to see New Edition, Lisa Lisa Colch Jam, and they was a fresh fest. And, you know, stole the car from my parents, did the whole thing. So, you can't just casually say that? What? What? Yeah.

That was my first. concert as a kid. Like, I love the new edition. It's my point. Did you get away with it? I did not. We, uh, what was the punishment? I didn't steal the car. I took the car when they told me no. And I drove all my cousins up there. Worse. It's bad. We got the car towed. One of my uncles had to drive from Maryland to Philadelphia to get us and was silence on the way back. It was worse than Vanessa on the Cosby show. I was just thinking about that episode, literally think about that episode. We'll explain Bill and Steve. Go ahead.

I watched the Cosby show. Yeah. What was your question about New Edition? It was, oh, shit. What was your question about New Edition? Oh, oh, did you get away with it? Oh, no. Did not.

Did not. But when I finally did it, I made sure my uncle and my dad got to see it. And they were like, okay, it was worth it. You know what I mean? How long was your initial? treatment because I'm almost certain it was the three-partner right three three nights two I'm almost certain that you had enough content for almost an entire week like your original vision how long would it have been well um the script it was the original script was one big script right

it was like 160 pages and then stephen hill and b t said look we want this to be like an event we want this to be three nights. So the writer, Abdul, who's amazing, we started that process. So Jesse told me about it seven years prior. All those seven years, I was like, man, I wish I would, I wish I could do that new edition movie. And then he asked me, would you be interested in doing this? I was like, yes.

So it's interesting because I was just, this was two at 2015-16. I just decided to move back to the East Coast. So I had a house out here, the whole thing. We shut the house down, you know, gave up the lease. And I was headed to the airport when he called me to say, would you want to do this movie? It's a green light with BET. We start next week.

So I had to change everything that I was doing, stay out of here. And so then it happened. And then we worked for maybe six months before we started shooting. So I think one of the questions was how did we pull all those actors and whatnot together? And that was a real casting thing with Robbie Reed. We'd have Robbie Reed, Spike Lee's casting agent for years and year. You've got to get her on the show. Yeah, she's amazing.

She's amazing. And it's just so each person, Like Woodie, McLean, who's now doing his thing, he's killing him. He used to be a dancing for Chris Brown. What? Wait, wait, wait, wait, wait, wait. He was a dancer for Chris Brown before he had ever acted in anything.

So I had called for Tima Robinson to go, hey, do you know anybody who I'm looking for Bobby Brown? And she gave the RECO for Woody. Then we saw Woody and Wood was really like he was a dancer so he wasn't used to acting. He was rather shy, but he could dance his ass off. He could do all the Bobby Brown stuff. And we had the conversation and I just was like, listen, I'm going to bring you back for like the third audition. Be bold, brother.

He's not an actor. He's not an actor. But look what he's done. That's what I always say. like, you know, that's something that me and Jesse Terrell always said. Like, a lot of times we weren't able to work with the big actors in our career. Like, they weren't checking for us as directors. And they always looked at us as video directors.

So we said, let's make our own star. Right. And I'm glad that we, you know, had that kind of blockade because it spawned of a thing. Because he was Bobby for a long time to the point where when he got to power, I was like, I don't know, but now he's cane. Right. He did new edition and then he did the Bobby Brownson. Yeah.

Yeah. He killed it. Yeah. You feel, I feel the same. I guess you must have felt very strongly about algae in that way, the actor that played Ralph Trezvant because you've circumvented him back into a couple of projects, right? At least I know he was in shooting stars. Yeah.

No, listen. It's always a curveball, right? I was like, I didn't see it. I didn't see Algae as Ralph Trassant because there were people that looked exactly. that looked a lot more like Ralph Trezman. I could see that, yeah. And I didn't see it. But then Jesse really believed in it.

And I was like, okay. And then when he came to the part in the audition where they would sing, Alice you can sing. And I was like, I mean, listen, I was torn all the way up until we were shooting. And then he just, he did it. Like he killed it. So even free shooting, you weren't, you still weren't sure? I wasn't sure. I wasn't sure.

Because we had let this guy go that I'm talking about if there was a Ralph Trezvan twin, but obviously Algae embodied the character. Like he had a sensitivity, no pun of him. He could dance. He could sing. And even the tone of his voice was just perfect. I need something specific from you, Chris. I'm so sorry. As you're telling these stories about this casting, I need you to please tell the story why you casted Dustin Felder for Jimmy Jam.

May he rest in paradise for fucking ever. Like, please, please, please, please. Listen, Dustin Felder is, was just, he was, um, our acting coach for the kids. Right? Yes, that's what we does. He was our action coach. And his energy was, it was just grounded and real, like the exact kind of person that I, the way I wanted to communicate to the boys. And I would, we would have sessions where I would just be in a corner

quiet and the way he spoke to them and the way he talked to them about performance and being real. You watch them more because these were all guys who were kind of afraid, right? Because not only is, is this material, material tough, the real guys are visiting in the rehearsal. Like they did the dance, like they came. You know what I'm saying? And then what Dustin would do, would be amazing. And we were looking for like Jimmy Jam and Terry Lewis. And I would look at him every day and go, man, you could be Jimmy Jam. You know what I'm saying? Like you could do it. And we'd laugh about it. And then one day he wore a fedora. And I go, it's him. It's him. And all the boys were like campaigning for him too. Like all the guys who were, you know,

played new edition. They were campaigned for him too. It was a natural fit. He's really coached some amazing black actors out of L.A. Like there's a very, a generation of black actors that have a lot to give to him. And he's from Philly. And he's a Philly. He's a Philly. I didn't even know that.

That's what's up. Good brother. I heard a rumor that you were, were you one of the initial actors that I guess for a long time, both Will Smith and Kevin Hart were going to do Uptown Saturday night. Did I not hear your name tossed in there as a director? I'm glad you're telling me because I heard about that project too. I think Will Packer was involved in it. And that's one of my favorite movies at all time.

Wow. Favorite movies all time. And a couple years, a few years ago, it was going around Hollywood that that was happening. I haven't seen a script yet. But, man. I could have sworn I heard your name mentioning it. Thank you. Good.

Because you might be in some rooms I'm not in. That's a good thing. I love that. Lord. Speaking of script. Chris, with the writer strike that's going on now, how, with you as a director, how does that affect you, one and two, how do you think it affects the future of filmmaking as a whole? Where do you think the game is right now and where you think is headed? I think we're having a Napster moment.

And I think it's completely, people can't imagine what that the industry would change, right? But, you know, writer's strike, for instance, right? I still get, ATL was 18 years ago, I still receive residual from it from that, right? Because the business model was, okay, we saw it in the movies, now we see it on TV, now we see it in the airplane, now we see it in Africa. That's the way TV has always worked. Now it's streaming. So streaming for us, too, for Directors Guild, for everybody is. well, no streamer wants it to ever go anywhere else.

It's a subscription model. This is only available here. So I think what we're looking at is going, wow, like the business change. What is it? How do you figure it out? It's the Wild Wild West to a degree. And I think there are some streamers who got it figured out at least the best that it can. be, but it will never be what it was.

And I think just like with videos, we, it took a long time to go, maybe I should stop making horseshoes because they're driving cars around. There needs to be tires, right? There's a, it's a long way to look at how you, the way content is valued. So what is that? That's just the, what I'm telling you is just a realization. I had recently. Maybe, you know, I've been so involved and so in the marketing and everything with

shooting stars and the edit right up until it came out that I wasn't even really on the page, but then when I've been having some conversations, it's like I don't quite understand the answer yet or what it means, you know. So to answer question, the world is not my oyster. I don't think the world is an oyster for anybody right now because we don't know. The opportunities are shrinking, right? There's a statistic in the DGA that of every member that makes a feature film, 85% only make one.

This is before any of this, right? So that tells you how difficult it is to make a feature and how, slim the opportunities are. 85% of the union makes one feature film and not another one. It's the same. It's almost the same on the Sags side as well, like on our side. You have your Tom Cruise's or whatever, but then the other 90% is, you know, people struggling to get commercials or whatever, you know.

That's why I'd be saying to mirror. You got to keep your ear to the street street because if you keep it in the bubble, you're going to think it's sweet. But, no, it's people are out in L.A. Shit is changing and it's, you feel it. Yeah. You know, but it's interesting, right? Because that's the thing, the thing about the business, even if you want you're in it for a long time, for me is that every day there's the opportunity

for possibility, right? And that can, that can, that can keep your motivation flowing. You can keep your, you wake up every morning. There's a possibility of writing that script or moving forward, but I think that what we have to look at are great examples of the business aspect of it. You know, when we look at Amir and how he does things, how we look at Tyler Perry and he does things, Lee Daniels, these guys who have Kenya Barris,

these guys who have taken their talent, understood how it works in business and how to play the game. And me personally, I've always been leaning more towards the artist side, right? And having reps and agents and things and just happy to be able to be creative. Because at some point, as a creative, you go, man, I couldn't live any other way. Like, I couldn't have another job, you know what I mean?

And that satisfaction of when something that you create connects to your audience, right? But I think that because of the way that the world and the technology is moving, it's a more of, there needs to be more of a focus on understanding the business, not even just from a Hollywood perspective, but from a Wall Street perspective. You know, how content is being valued, how the business model of subscriptions are different. Yeah, all the streaming companies are kind of collapsing into one another, like with Max becoming HBO becoming Max and showtime going collapsing into Paramount. And it just reminds me a lot of what happened with major labels like when you said, MAPS the moment. It reminds me for the same thing that happened with label. Well, sir, thank you. This is long overdue.

The next time we're in Atlanta together, I'll treat you to Follies. he's in LA he's in LA I said the next time we're in L.A. I'll hop on a plane though no problem okay there you go yeah L.A. don't count is you know no man I just want to say Chris I really just appreciate your work man and I love the way just to watch how you is you a lot of the directors

I follow my guy Seeth man who I'm sure you know Seath yeah the Y Cif Anthony Hemingway Just like your brothers, man. I'm just really proud to see y'all, like, you know, transition and just keep working, man. I just love what y'all do. So, respect. Thank you, brother.

Thank you, man. Expect. Absolutely. What's up? On behalf of Shigdh, Steve, and I'm Pey Bill and Fon Ticcolo and Laiaa and the great Chris Robinson. I love your work. I love your songs that you do with your brother,

Rich, and all the Vicks formula for. All right. That's dope. That was for Dustin. I just wanted to show it on the YouTube. There we go. That's right. We are on YouTube now.

Damn. Oh, go. Congratulations. Yes. I still don't know how that works for us. We're still on our soft lunch. Anyway, this is great Chris Robinson, and then we'll see you on the next go round, y'all.

Peace. My brother. Thank you, y'all. Watch Love Supreme is a production of IHeart Radio. For more podcasts from IHartRadio, visit the IHart Radio app, Apple Podcast, or wherever you listen to your favorite shows. A win is a win.

A win is a win. I don't care what I'm saying. Yep, that's me. Clifford Taylor the 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, 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 Cliford show on the I-Hard Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast.

And for more, follow Timbo Slical Life 12 and TikTok Podcast Network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe.

On the IHart Radio app, Apple Podcasts, or wherever you get your podcast. What's up, everyone? I'm Ego Wood. 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. I'm Daniel Alarcon.

And this is my friend. This is much more famous than I am. I wouldn't go that far. But I'm John Green, co-host of the podcast The Away End with my old friend Daniel. on our podcast, The Away End, we'll share with you the magic of international football, all leading up to the 2026 World Cup. Together, we'll find out why, of all the unimportant things, football, soccer, is the most important. Listen to The Away End with Daniel Auerkone and John Green on the IHeart Radio app, Apple Podcasts,

or wherever you get your podcasts. This is an IHeart podcast. Guaranteed Human.