The Questlove Show - Questlove Supreme: Dallas Austin Part 1

Episode Date: February 8, 2023

In the first of a two-part interview taped live in Atlanta, producer and songwriter Dallas Austin speaks about his incredible life journey. He recalls growing up around music greats, earning his first credits in the 1980s, and eventually producing hit songs and albums for TLC and Boyz II Men. Dallas also recalls the challenges of producing films, including Drumline and ATL.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 Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I got you. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Ellen's, correct? I doctored the test once. 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 Manchini. 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. What's up, everyone?

I'm Ago Vodam. My next guest is... It's Will Ferrell. Woo. Woo. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't

feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah. It would not be. Right. It wouldn't be that.

There's a lot of luck. Listen to thanks, Dad. on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Questlove Supreme is a production of IHeart Radio. All right, my verse might be weak. Suprema, Sub-Sup, Suprema, Roll Car. Suprema, Sub-Sah, Suprema-Role car. Supremma, S-Sup, Supremma roll car.

Suprema, S-Sup, Supremma roll car. I'm out of ideas. Yeah. I'm so afraid. Yeah. Somebody help. Yeah. I ain't too proud of rain.

No. Supreme. Superma Roll car. Remix. Supremic. Slays next. I'm playing. Superima Roll car.

My name is Fonte. Yeah. I ain't trying to be funny. Yeah. If I'm just going to keep it real, yeah. I like must be the money. Roca. Roca.

Suprima. Suprima, Sub prima roll car. Suprema, sub, sub, Suprema, Supremma, Suprima, Suprima.

My name is Sugar, yeah, and I got my booster Yeah So I could be here with this great producer Rocault, Supremea, Subrama, Roca Cobra. Supraima, Subrauma, Rocault. It's Laia, and Jesus Christ Dallas Austin's music

It's changed my life. Ro call, Supremma, Suprama, Subprema, Supraima Roll Call, Suprema, SUCREMA, SOCREA. You song right to hit it. Roll Call. My name is Dallas.

Yeah. I'm here for show. Yeah. I'm with class love. Yeah. Going to give me some more. Roll car. Suprema.

Subrema, SU, SU, SUPremma roll call. Supremma, SUPra. Submina, SUPrauma, Ro car. Supremma, Submina, SOC, sub, sub, sub, suprema roll car. All right. This is Questlove. That's Fonte. That's Laia.

And that's Sugar Steve. And I'm going to pay Bill somewhere on Sesame Street. Look, I could take 12 minutes. Look. Ain't too proud to bait. Creek. Just one of them days. Boy, you won out my life.

Had to the back. Hit him up style. Aisha. Oh. I like the way. You know, Sammy got like a... Yeah, yeah. Super weird now, right?

Yeah, dog. I was not ready for that because he still has a baby face. Troops. always love you. The fucking Motown, Philly Must be the money. Must be the money.

Playground. The DeAndre. Playground. Where'd you get that little squeaky thing? Never right. I'm going to ask you all your production. Just know that this show is more about the creative process.

Please don't go away from me. My baby's got a secret. Yo, I need some justice. I need some justice for silly ho. I think that got grafted. I'm sorry. The boy's mine, they don't care about us. All that shit.

I have so many questions about too bad, man. Yo, I was two seconds old. I could have sworn I remember when I brought Tasty. And I was like, oh, damn, okay, for real and Chad, y'all, y'all, y'all hooking up. I'll get more matured with your join. I didn't know he did trick me. Yeah. That's my favorite joint.

Dude, I'm pretty. What about I can go on? What about your friends? Ladies and gentlemen, this doesn't happen often. It's going to be a super producer episode. One of the greatest producers. Just how do you get here? We don't know.

Did he do that song, too? This is literally, no, I'm sorry. I would normally do all these long accolades, take 12 minutes, but, you know, that's for the seven-hour Jimmy Jam episode. You lucky. Oh. Let's get to the smoke. He's definitely about to do five hours.

He just don't. know we yet. Anyway, ladies and gentlemen, please walk out. Looking at Charlotte's like Right, this is like, no, you're not. He out on the clock. That's where I'm rushing. Ladies and gentlemen, Dallas Austin is what's in the Portia Lep Supreme. Yes, yes, yes.

We are here. This is our Atlanta series, and we've been here for a while. I've just wearing the same clothes every five weeks. Shout out to Soundbite studio. How are you, Mr. Austin? I'm good, man. I'm really good.

I got to say, the day that we're speaking is the 26th anniversary of the Ilytheft Half-Life release, of which the very song we worked on was at DARP Studios. We did panic

and started episodes at DARP. We were just, and we cold-knocked, I think. We just knocked and was like, you know, can we get a studio room real quick? And all I remember was you were there recording

the fishbone record. Yep. And Joy was there too. And this is the first time that I saw, Angelo, he was very much in love with that Thurman. Oh, my God. Dog.

If you can hear, like if I had the stems to panic on Tarek's vocal track, you can still hear like the bleeding through the wall. That's my memories of Dart. But no, thank you very much for doing this with this man.

And we couldn't, I didn't know where to do with that thing. It was like, you couldn't control the there, man. So, and he was just, He was determined to use it on the record. It was almost impossible to put it in tune. And that's what bleed no way into their sessions.

Dude, like he would just be in the hallway and it was like he was doing a caravereira. That's just like four hours straight. Your legacy runs deep, so we're just going to dive right into it. Where's your first musical memory? My stepdad played for James Brown. It was Jimmy Nolan. Jimmy Chank Nolan? Here we go.

This ain't going. That's the show. Yeah. So this is crazy. I would wake up with him. Jimmy Chank Nolan? Yeah. Does Winnie and Melvoine know this?

Does Chris? I don't know. Have you ever mentioned this? I don't know if I mentioned De Winnie before. But every morning, I would wake up in third grade and play guitar with him. And he would teach me to play with my fingers like this. Think it to Kinketik, you know. And I would probably smoke a little bit of a joint and then go to school.

because it was, you know, 70 and stuff. So my mom, my mom on the nightclub in Columbus, Georgia, and during the 60s, it was segregated so that when Tina Turner, James Brown, anybody came to town, they had to come perform, you know, in my dad's party club, stay in that area,

eat in the Soul Food Restaurant that's right there. And, you know, so I came up kind of in the nightclub restaurant business first. And there's a lot of 70s, you know, the wannabe bands and blue shad carpet and clavinet horners. And, you know, so my mom doing books, I'm running around playing on the equipment every day.

And Jimmy would be on the road. And whenever he would come back, then I would sit and play guitar with him. And then I would go on the road with the J.Bs when I was like seven. Well, that explains everything. Thank you. This literally took every question out of my head.

I'm still fucked up that I'm sitting next to someone that knew Jimmy Chank Nolan. Yeah, man. Like Hurling Cheese and Jimmy Chink Nolan are, I mean, the wonder twins of, of syncopated rhythm. They're just, you know. And I don't know why.

Their timing was... I don't know why my mom, you know, I was just so in the music, you know, so crazy about music, but yeah, I went on the road with the J.Bs on summer. And I rode the bus with them the whole time.

And me, Sweet Charles, Sinclair, Macyo. You knew these people? Yeah, I would be under the organ while Steve Charles is rehearsing, right? And this is how crazy this is that it goes full circle. So Catherine Bruton had a thing of BMI.

When she first got to BMI, she said, we're going to honor James Brown. And we want you, Pharrell, Chad, Rodney Jerkins, all you are going to be the Jee's. Wow. Not knowing your connection. Farrell got on drums and started playing. Forel was going to drum. What it is is. What it is.

Yo, he called me the night before and said, yo, I'm about to do mind power with James Brown. This is that night? This is that night. So we're all in rehearsal And for one, everybody's like, that's going to be impossible to getting together. So we all in rehearsal doing what it is, is what it is.

I'm playing the same chinky notes I was playing in third grade. I'm like, this is getting surreal. Just giving me a trip. And so by the time we hit the stage with James, and I was little, so I didn't know how much he remembered me or not or followed my history of music or not.

But soon as he's taught me on the stage, he goes, that's Jim and Nolan's boy right there. And then he started talking about how he knew me since I was little. He used to see me under the organ and all this kind of stuff. But it was a trip going on the road with them because I remember this one time

where they were all lined up. The band was, the J.Bs. And then James was in the dressing room, getting ready to come out. And they're out there just talking, doing their thing, smoking cigarettes, talking trash, whatever. And this dude comes out,

and he walks out and he slapsed the hell out of all of them. And I was so terrified, I don't know what to do. I was just like, what just happened? You know what I'm saying? All of a sudden, they were just like, and he walked right through and went straight to the stage, And then they went to the stage and started playing.

And so afterwards, you know, as a kid, you're still just like in your own version of shock. Like, what just happened? Right. And Jimmy said to me, he said, man, you know, he does that to get out attention. So I'm like... Is that the face? I'm sorry, when you say slap in the face? Yeah, yeah. It was...

You know, if you feel like, you know... Shit. Get your attention off the bat. If you feel like he's playing too much or you're not serious about what's about to happen, you don't know what he'll leave you. He'll leave you. If somebody messed up, he'll lead the whole band. You can be right. He wasn't playing.

Man. Wait, you can smack motherfuckers? Back then you could because nobody had the internet back then. But it was part of what really started me, started shaping me into playing, you know, started on guitar. And then the guitar started hurting my fingers,

so I started playing keyboards. And then from that point, I was just... And you were all self-taught, like no formal lessons and under that. Self-taught by Cassio. Started with the Cassio calculator. And then asked my mom to give me a big one every Christmas. And then I worked my way up to it.

Roland JX3P. Oh, you weren't the big boys I stopped at the SK-1 I was at the SK-1 But I couldn't play in the local bands If I didn't have a keyboard for real A real keyboard, right Yeah, so my brother financed it was $1,200

He financed it for five years Wow He played $10,000 for that Yeah, he was sneaking in concerts Like because my mom's restaurant in Columbus Was down the street from the auditorium Then I went to every concert So I seen the mothership land

That was one of my first concerts Yeah, tell me about the concerts you saw When you were a kid That's one of the first ones because I said, Mom, you know, George Clinton, they're coming to town and the parliament funkadelic and the roof is going to open up and the spaceship's going to come in. And she's said, well, honey, I don't think that's going to happen. I said, you didn't see the commercials? Look at the commercial on TV. The spaceship's coming in. I got to see this. So, she's like, all right, I'm just, don't want you to be disappointed. So I go to the concert. My brother would always take me to the concerts. He would sneak me in with a snare drum that was mine from school, like saying it was for Zapp's drummer. And, you know. Smart. Yeah. My brother was always, everybody was in, we're all in music.

So I'm like when I got to the concert, and I'm watching the show, and all of a sudden start doing the swing down, so we cherry it stopped. And I'm like, here it comes, here comes, it's going to open up. And I didn't realize as a kid how it was happening, but I know the spaceship came down on the stage. You know, and I was just like blown away from it and all the costumes and watching Bootsie

and watching like the whole, you know, I was able to see. You actually got to see Glenn Gohens call down the most of you. I've seen a whole thing, bro. Like the same one you can watch on the old 70s film if you see it. And when George comes out with the whole cane, and the hat and you know. And the thing about my mom's restaurant was that

I was able to meet all these people before I ever, ever worked with them and knew them. So they would come to the restaurant afterwards? They would go before and eat because of a soul food restaurant. And then that was the closest restaurant to the venue, the auditorium. It was only one place. So every time these Roger, Zapp, Lionel Richie,

Commodores, Earth, went and fire, all these people, I'd seen them when I was little in my mom's restaurant. Did you ever, is it ever a circle back to some of these folks now? You're like, remember me I was a little boy? Especially. George. Okay.

George has been, since the times you were there, George was around then. Yeah. That's when he was really starting to hang around us. He worked on Hollywood, right? Yep, I did Hollywood. But him, Lionel Richie, all of them. I got a chance, Natalie Cole.

They must be so proud of you. Like, damn. Yeah. It's a full circle trip. What was your favorite Parliament album, Parliament people in that? I was in the Cosmic Slops album first. Like with Maggap Brain and, you know,

just because my brothers and then was just playing it over and over and over. How much older were your brothers than you? Like five years. Are you the middle or are you the baby? I'm the baby. Wait, you're the baby? Yeah. I thought that the, who's the hype man for another bad creation?

GA, that's my nephew. GA, that's right. I thought that was your brother. Okay, I'm sorry, I thought that was your brother. That's your nephew. That's right. My cousin, my aunt's son. That was like an urban legend when we was younger.

Like, you know this? Okay. All of us was down in Columbus, man. And then my brother, who brought the keyboard, I was playing, get it up one day from the time, over and over and over again,

because that's how we learn how to play. And my brother came in one day, said, clean up the room, and I wasn't listening, so he picked the keyboard up, through it, broke it. I tripped out, flipped, my mom's restaurant was connected

to the house we stayed in at that time. So it was like sold food restaurant in downtown Columbus, so everything was going down. Like, everything was going down. And it was just bad. It was just dark. And so...

He broke your keyboard, the one he paid for? Yeah. And I tried to kill him. Oh. No, this is. But I was so little, you know, when you're little, you don't know better. So, you know, I ran downstairs, my mom at restaurant, get a knife, run upstairs, and crying.

My mom was, what's what's going on? Because that keyboard was the only thing that got me into bands with people that was, like, bigger. You know, like Kevin Bradshaw and them, who ended up being, like, basic black, they had bands, you know? So I wanted to play in the band and be, like, Dr. Fink for real, or Jimmy Jam for real. And now you just ruined my dream. And how old are you now? Are you talking about it? 12.

Speaking of which, we found this out recently that Prince initially wrote Get It Up for Brick. For Brick? They didn't like it. Oh, my God. Morris just laid it on us on his episode. Oh, my God. I was a straight up fanatic. I was a Prince time fanatic.

I was such a fanatic. That's how I learned to play everything because I would go home every day and learn Get It Up solo. I'll go home every day and learn cool. Go home every day and just be like, girl. and all this, all this stuff. And I was so little that, you know, you just sat there and did it over and over and over and over again. And by the time I got to be 12, you know, I was really good.

By the time he broke my keyboard, that's what made me move to Atlanta. Because I told my mom, I was like, yo, it's a Greyhound bus station around the street. So after he broke my keyboard, I went to that bus station. I'm like, I'm going to Atlanta. But you're 12, so I don't understand how that. Well, she didn't either at first. Okay.

You ran away You announced that you're running away from home We all do that But not to the bus station Could they stop you? I went to the bus station I'm waiting on the bus And it's late at night

So my mom was like Yo, what are you doing? He broke my keyboard I can't be a big producer I got to get to Atlanta And she was like, what? And what did you get into an Atlanta for? Because at the time

Atlanta's different But my auntie lived up here And this was still not there And I knew something else could happen here You know, like you still had Brick and you still had cameo and you still had SOS band and like,

you know, Atlanta rhythm sections and all this stuff was going on back then. But in your mind, like, at least if I'm 12, you know,

what I knew of Atlanta pre, like when Bobby Brown came down, then I was like, okay, something's about to happen. But before then, the only person I knew

that like bragged about Atlanta back then was Peebo Bryson. Peebo Bryson. Peebo Bryson. And cameo. Right, but I didn't know, even,

like, not even reading the labels. Like, you know, I'm just saying that why, again, you're 12, so I'm glad you kind of went next door instead of like, you know, 2,000 miles away. Why was New York or Hollywood not on your radar?

Because I've been to Atlanta. We would come up on the weekends, and they had the biggest music store, like Rhythm City or something was called. So you look at the yellow pages, and it was like, that was the closest dream I could see for real. You know, it was like, if I get up there, I can go to the music shops,

so I can do this, I can do that. But I just knew that Columbus wasn't the place for it. And so my mom came the next day, she came and said, look, okay, it's late at night. I know you're stubborn. I know you're mad. Just come on back to the house and we talk about it. And no buses are leaving the night anyway. So, you know, come on back home.

It's fine. We can deal with it tomorrow. So I went back home, woke up the next day. Was he there? Oh, yeah. No, he was going drinking Budwiser's by then. He was like, he realized at that point how, you know, would that happen. Right.

And so the next day I got up during the day. I went down to my mom's cash register in the restaurant, got me like $20.40. I went back to Greyhound Bus Station. And then now it was full on. Now it was daytime. The buses are leaving. And so she comes back around again.

And she's like, yo, what are you doing? I'm like, I'm going to Atlanta. I can't stay down here. Dude broke my keyboard. All my brothers were like, you know, in jail a lot. Like, we had a lot of just jail and darkness. So me and my mom are really close. And it's absolutely not repairable at all?

It was repairable. It just didn't look like it. Right. The two first, the two keys came off the beginning. Oh, you mean the, you mean the good. Keyboard. I thought you meant the relationship. My bad. Oh, yeah, that too.

Oh, the keyboard. Well, then, you know, my mom was like, well, look, if you're that determined, you're that stubborn, then give me some time to sell the restaurant. I'm going with you. You're not leaving me. Wait, time out. That's dope. She's willing to do that for you?

She did that. That's your best friend for real. And that's how I got to Atlanta. So she came up, sold a restaurant. My dad was really, he was really prominent in Columbus. He did a lot of stuff with the city. He did a lot of stuff with streets and, you know, gangsters and all this stuff. He was just that guy.

So, you know, I was just. Like, nothing's down here for us except for legacy that he left and some problems with police and all this kind of stuff. Let's just go. And so we left, came to Atlanta. She got a job at Polfolks on Old National. I moved to College Park. Poe folks. And she didn't even know how much money to ask for because she was always self-employed in a little restaurant.

So she started making $12,000 a year. And I started going to school sometimes. How long was that period between the bus station and y'all actually moving? About almost eight months to a year. Oh, wow. Okay. That's good. Like time when she was like, all right, let me situated, let me figure it out, where am I going to work?

How do I sell this? How do I, you know, because my father, he got killed in front of us when I was two, right? Because he, what? Yeah, he had his nightclub and his restaurant, and this dude had a dream or something. And he was a friend of his that my uncle beat him with a pipe or something crazy, but just some craziness. And he came down to shoot my uncle at the restaurant. My dad was standing in the door. So he shot him first and then came in where I was playing with my uncle.

came in and shot my uncle and then jet it. So, I mean, they called him. He went to jail, but then my dad didn't end up making it. My mom had to take over the club and take over the responsibility of the nightclub and the restaurant. Now, the nightclub is full of all the politicians I know now in Atlanta, pimps, street hustlers,

Gene Griffin, like all, you know. That Gene Griffin? That Gene Griffin was part of my growing up too with my dad. What was Gene Griffin exactly besides the name? that always was in Teddy Riley's place. My God. I don't know what he looks like. I just know that I've seen his name a lot.

Gene Griffin was one of the most notorious, like, gangsters back then. He was the showgov. Oh, Beyond. It wasn't playing. Him and Bill Underwood, who's connected to Johnny Gill out of New York. They had New York on lock. That was back in the, you know, post-Frank Lucas? Frank Lucas days.

That was all during that time? So was Atlanta his base and he would work out in New York or was New York his base? And then I got some shit down south too. Columbus and New York was his base. So they would take it from New York to Columbus and then distribute out through Georgia, Atlanta, everywhere else, heroin, coke, whatever they were doing.

And so we knew Gene Griffin, when I was little, I knew Gene from being married to my auntie and being gangster and them showing up with mean coats on and me hats and Maserati's and, you know, guns and just the whole 70s, you know, what you're doing at the time. It wasn't until, so Gene went to jail for a long time. and during that time

Andre got Teddy and Guy but Teddy was already signed the Gene before that with kids at work Okay So when he got out He came out saying hey I want my guy I want my I want my producer back

So it was a little episode With him and Andre Because they were in Guy And he didn't want to give him guy Right So Gerald Busby was like Yo okay Let's stop the turmoil

You take Teddy Guy stays over here with us And then we'll So that's how Teddy End up being producing with Gene Ah He wouldn't let him go Now check this out.

My mom's at work at Polfolks one day, right? Now I'm up here. I did, hey, Mr. DJ with Joyce Irby, by then. So now I'm about like my 16, you know. Wait, time out. You did that at 16? Yeah. Wow.

Wait, was that you wearing the Batman shirt on Soul Train? Yes. Exactly. I was also in some, got into some contracts for her that would work for higher contracts. But she was the first one to really get me to Gerald Buzzbee and to doing troop and doing stuff like that. at that age, found out I was in some work for hire contracts. There wasn't good contracts, right?

And so one day, my mom's at work at Polfolks, and she gets a call from Gene Griffin. Okay. Oh, boy. And she's like, she don't understand, right? Because the Gene Griffin that she knows was in jail, was gangster, was running with my dad and him back then. So she knows that gene, but she had no idea. So he's like, Bill, I got to get in touch with Dallas.

He needs to understand, I'm doing music. And she's like, what? And then she calls me and she says, oh, no, Dallas. Gene Griffin called. I said, who? She said, Gene Griffin, what do he want with you? I said, I don't know.

What do you want with me? She said, I don't know. He said something about Teddy Riley. And I said, oh, wait, because I was always seeing Jean Griffin's name, but I didn't know it was him. Right, yeah. I thought it was somebody else. So you didn't put you with you together.

No. Okay. And then when I did, I'm like, oh, man. So I called him. He's like, yo, if your dad knew I was letting you out, be out here like that. Turnover in this. great, boy, I got to come and protect you, you know, so it turned into that. And so then they moved to Atlanta.

Right. He was the first one really like, you know, getting Teddy $100,000 a track was unheard of. Getting producers that much money was just insane. Teddy was the first one getting that kind of money. Because of Gene, you know. And what he did that was really smart was he was trying to, when Teddy got really big, what he did was he did production deals everywhere, but he never did a label.

So he could keep putting them at different places. Well, Gene own Sony music. It's called Sounds of New York, right? I was wondering how that, I remember when Teddy... Because when we had today... Yes. Do you really want him? Right, right, right.

That was on Sounds of New York, right? Wow. I was wondering how Sony allowed that to happen. They didn't. That's why they came in and disrupted him and Teddy and everything else because, you know, he had the rights to Sony music because of sounds in New York. And so they were Columbia back then.

Okay. And so he was so disruptive with everything he was doing at the time. He was like, should. So, but he was real, real with it. So, you know, they kind of wanted to separate him and Teddy and get Teddy away from one to him. And so people like that. Is this why Teddy moved to Virginia?

So I teddy moved to Virginia. But does that stop a cat like Gene? If Gene is Atlanta, New York, and that, like, I can easily get to Virginia Beach. Well, he, you know, he was still, it was dispute where there still been getting money, but then Gene said, okay. Fuck it, I'm going to go to Atlanta. And he started Basic Black to be his new guy, remember?

Yeah, yeah. So that started up. But by that time, you know, he's Gene. He's rolling in all the Teddy Rale money anyway. Now, can we assume that, hey, Mr. DJ, was your first debut as a producer? Yeah, I mean, I did a couple of little things before that. But that was the first one to get on a national level. Yeah.

And then Dougie Fresh said my name in the record. I thought I was just going to die. He's like, yo, Dallas. It's time to rock. And I was in on Mallholl and some runner car at like 16, 17, working with Joyce. And I heard it on the radio. And I heard my name. And I was like, God, this is it.

I've been waiting to do this all my life. And then every time from that point, I had a record, I would go to Mallholl into the same spot. And listen to it. And tested there. Yeah. 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 Fourth. You might have seen the skits, the reality. actions, 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. Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl.

You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me?

The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts,

or wherever you get your podcasts. I'm Ego Wode. My next guest, you know from Stepbrothers, Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. 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 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 Iheart radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth.

You doctored this particular test twice in so on, 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 Marincini.

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 Ameriopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

What gear were you recording on at that time? Did you make that Joyce Fenorella Irvie? Dude, it was the R-X, it was the Yamaha drum machine that just came out with back then. Yeah. And it sounded really thin. I was going to say, when you get to the bridge, Like, what I remember the song, like the verse was high-powered

and the chorus is high-powered, but then when y'all get to the bridge, it's almost like a sonic difference without the samples and all that stuff on top of it. And, you know, back then, sampling, you can only sample this long. Right. So it was on like, clap to this.

Uh-uh, uh, one, two. James Brown, that's all the sample link that you had. So it's going to clap, clap, clap to this over and over. But it was like, you know, it was the closest thing to swing at the time to New Jack Swing. And then when Gerald Buzzbee, heard that, he said,

yo, man, I got this group that I want you to work with, but I don't think Joyce should work on them with you. I think you should do it by yourself. I said, okay. He said, you had to call Boys and Men. He says, Mike Bivens Group, but I think your influence is better without her. You know, because she would come mix the records and stuff too. So if you listen to, like, I will always love you from Troupe.

There's a lot thinner to me than other songs I was doing after that. Your trademark wasn't there. Your trademark wasn't there. My drums didn't got thick yet, my leg. From my point of view, like, as a fan listening, it was impossible, at least back then, 90, 91, to escape the bomb squad. Oh, my God. How influential.

Because the thing is, is that even though they did an awesome job on the Poison record, which is basically like 70, maybe 80 percent samples and whatever. But, you know, I mean, a lot of the stuff is atonal. But, I mean, you just took that shit to the hilt. And I always wondered your level of just chaotic. production without sort of a linear melodic thing. Hats of the back is a great example. Like there really isn't a melody there.

So it's like when you're writing this stuff, and again, I know the chaotic form of production at the time, especially with like Teddy doing more nuanced, steady new jacks, you know, by the numbers thing. But you were just like the wow-while west with it. How hard was it for you to convince, not the acts? because I feel like you and the acts were like of age and all that stuff. But like the buzzbies of the world, like the older, I'm assuming these guys are at least 40 years old. Like how do you convince them that cramming 42 gazillion samples in something is like, that's what they want?

Yeah, it was a lot of samples, bro. Like I wanted to be in the bomb squad so bad with Hank Shockley in them. I was like, I was going down to Green Street, like studios. And I'll see Mike Bivens and them working with them. And I was like, man, Dick, the bomb squad, it was just so incredibly. incredible how they would take all these samples that was just like out of nowhere and make sure that they were out of tune and make sure that they had nothing to do with each other Right So I would take that same formula right now I would do that

But then I would write a regular song on top of it like so if think about just took all that out of the way and then write a song like had to the back Or write a what about your friends as a song? Because I always knew that like production is a vehicle but you got to have a song and you got to cram that song in the three minutes You got it usually have two hours to tell it in the movie you got like two minutes now but three minutes back then to tell a story in the song So then if you took all that away, you could hear the song. All the keyboards, all the strings. Everything's on there just like I had to ignore all the samples and don't think anything about them.

So how hard is that if you have a singer that doesn't have something to... The thing is, like, I'm hearing the final... Like, we're hearing the final mix. Yeah. But I'm certain with, like, ain't too proud to debate. Like, it was just, like, not completely mixed. There's so much noise in that song.

Like, radio wouldn't play it because it has so much noise. in it at first. It was like, no way. It was like, when they first took it at the radio, they were just like, no. They was like, what is this? No, it's too much noise. It's like, it's too much noise. And then she said, she was saying two inches all y'all at rock hard at the second. Oh, yeah. That's the problem. No. Yeah. Just no. And so then Lamont Bowles came back. He used to work at LaFace and he was just like, you know what? They got to see the girls first. Trying to tangle them in through this. There's too, there's too much noise. It's too, they don't get it. They got to see the whole piece. So they try to white label it first and see what's up.

Oh yeah, they went to radio first like usual, but then radio was like, nah, uh-uh, too much noise. It's a video, yeah. And then when they shot the video and you saw, yo, mic check one, one, two, one-two. We saw the video, everybody was like, oh, we get it now. Right. And that's what really set the girls off. And then, but, like, sample clearances hadn't came in yet. It's kind of like the blockchain.

It was like, sample clearances was like something that we all did. We all got a hold to it for fun now. We could do whatever we want. Nobody ever done that before. Nobody's ever taking somebody's song and then recorded it and sung something different on top of it. Like, they was doing remakes, but not that. That's when y'all was pissing off all the old heads. Everybody. And nobody knew how to clear it.

But your shit was so chaotic that it would take like one of us, our generation, and know, like, oh, that snare came from there. Dude, okay, but look at it like this, though. So if you got Fly Robbin Fly, right? Then you got the average white band, and then you got cool in the gang. And then you got Parliament, right? And then you got, now to think,

okay, there's 30 people in each group, right? So when they started to break down the sample, clearances and say, okay, we figure this out. We got to go back and get these people paid. Oh, no. Oh, goodness. Yeah, I saw those credits. It ain't but 100% of us on.

Oh, my God. Like, 0.1% to the horn players. Zero on one of this. Like, because you didn't realize that each one of those samples has so many people connected to it. And I would have, I would have, like, 25, 30 samples going across the board. And we just, like, mute out different ones at different times and whatever. But, like, it was, so it became crazy.

And if you notice, by the time we got to the second record with Creeper, You're just like just one. Straight. Right, right, right. But even creep at that time was still, it didn't sound like nothing else. Okay, I'm so glad you mentioned this. Because they're the craziest story of my life where, and I'm talking about the shinehead situation. So I guess the story of creep is a haying world.

So I guess Slick Rick never cleared the guess who's back? Shinehead sample on Hey Young World. Guess who's back? Right. So then you guys use that. And so Shinehead's people try to go after you guys for it. You're like, no, we cleared Hey Young World. Thu's like, right.

Yeah, like, we cleared it. Here's the clearance. And they're like, yeah, but. Rick never cleared it with us. So can you explain that situation? Like how, like, did you wind up clearing Shinehead sample? For Rick? For Def Jam?

They had to go back and sort, because again, at that time, nobody was, it was all new. And, you know, so they had to go back and pay him too. You know, they slick, I mean, they had to go and situate him not being paid from not only that, but from a young world too. Yeah, but I'm saying, like, did you guys have to pay him to? Like, is Shinehead a first generational sample on creep? Or did you tell them at Def Jam, like, yo, clear this shit the right way. So that way, parts it straight. Yeah, because when we cleared it through them,

and they cleared it, then that's when he popped up and was like, hold on, but that's my, you know. Right. I thought it was Slick Rick. I didn't pay attention to it. I thought it was Dougie Fresh or Slick or somebody saying, guess who's back, but I thought it belonged to the song. And when they did come back and clear it,

then they had to go back and take care of him for not only that, but for a young world. Or what Hey Young World was going to generate coming up, you know, because he's never got to take care of it because people didn't know how to clear samples back then. I thought they forced you to pay for both as here's Shinehead. This is for creep. And then since they didn't do it, here's Hayong World Mike.

No, Devjum had to go take care of him. Okay. I guess if anyone makes any reference to any parts of the song that Aaron Fuchs owns on anything. So in the case of Otis, because Kanye and Jay said, Jay is chilling, yay is chilling. What more, right? Oh, yeah, yeah. So Aaron Fuchs was like, hello, Nat Robinson, they're sampling our song.

And, you know, Nat and Milk D were like, no, that's like rapists don't suit each other. It's like a cadence, right? No, no, but yeah, rapists just don't suit. Like, you know, if Premier scratches your shit, you think it's an honor, like, oh, he said. But litigious people, and I'm talking very official because even when I talk about AF, he tries to get litigious with me. But, you know, that was this a messy situation. Yeah, I always wanted to know that shine his situation would creep. Man, it was crazy as, you know, when sampling came around like that, George Clinton obviously had, you know, the whole West Coast Sound, period.

But nobody knew how to clear it. And he had signed over so many different contracts to different people. Right. Back then, you know, he was just selling stuff and on the road partying and not keeping up with anything. And nobody ever knew this was going to happen. Nobody ever knew that sampling would come around the corner and, you know, change people's lives like that. and so he had to get Cochran and them to try to help undo a lot of his stuff. Right.

Cochran. Yeah, because George Clint samples, between him and James Brown, they have to be the most, I would think. Yeah. He just, just got his contractual financial thing straight. You know, I got, I have a lot of the, I have the Funkadelic Masters to Cosmic Slot, to needy. So you're friends with the Armine? Well, George gave him to me. Oh, okay.

That part. Yeah. And he would, wow, that's amazing. George gave him to me, and I had them baked, you know, that master's bake, but you can hear like, when you go and you listen to each one of them, it's just like you get chills because that moment is captured on that tape. You can hear them like,

something about music. Really? Yeah, and all of them had to be in the room together at the same time when they were doing it. I'm sorry about it. Oh. That's your, that's your, that's your, Yo, let me tell you something.

I love that record so much, right? Yes. That's what the best pop songs ever written, right? So I'm riding on top. That's your ringer? Call me maybe is your... That's somebody else's ringer. No, that's my ringer.

That's just the full, everybody called. Oh, yeah, that's it. That's it. That's it. That's it. Totally. I tweeted it when I heard that. I used to love the song so much.

I just tweeted it one day. I said, I love this song, right? And the manager tweet me back, like, are you serious? Right? I said, you want to work with her? I'm like, yeah. So I did three or four songs on the album. Wow.

That was crazy. Made her whole life. So Nick Sinan, who engineered the public enemy records, he told me, he said, you'll never believe this, but we never automated once. And I was like, what is the mixing process like? And he's like, you know, Keith and Eric were such sticklers, well, mainly to save money, kind of in a way that when, I forgot, Ray Parker Jr. told us that Barry White never overdubbed.

because he didn't want to pay for overtime, so, like, everyone played it once. Yep. But Nixon Sano showed me the 9-11 bass head tracking sheets, and literally, like, they're, like, Eric Sadler's, like, you know, 81 bars cut off da-da-da. So they would do everything ahead of time before tracking. Is that how you track your things, or, like,

is it just you drop it and then you mix it at the end, like everyone else does? I would drop it and mix it at the end, but, like, I would have, like, You know, back at that time, the engineers like Dave Way or like, you know, you'll find Timmy Regist for was crazy mixing back then. That was your main guy for TLC? I used Dave Way a lot back then because Teddy was using Dave Way. Okay.

And then Alvin Spites, of course. But it was, they would have a fit at first. They were like, okay, give me a second. To figure this out? Yeah, because I would have so many tracks and then so many samples. And how do you put the samples and it bedded back in the tracks so that the chords stand out and so that the roughs would sound a lot different than when they were mixed because. unless I sat with him, you know, we kind of make the roughs and then, you know, give him a sketch for the mixer.

But if you just sent it to a mix engineer, he was just like, though, this is crazy. Were you working? Was Leslie? Was he mixing in or something? Not yet. He hadn't came in yet. Leslie?

Leslie. Leslie? Leslie. Leslie? He's at Full Cell. So he came in as an intern first. And then from that point, he just started going at it. Like, you know, I just knew that he was going to get there, you know?

So him coming in and then being my engineer, my recording engineer, there and then I was working on Madonna Secret when he did the rough mix to it she was like I like that mix better. Wow. And that's what kind of kicked off his mixing I was going to ask, are you a demoitis person or? You know what? It's horrible. Or your artist demoitis? I learned

to, at first I was horrible because I was total demoitis person, but then the whole first Boys Demand album, the two album that's all the rough mixes. Word? Yeah. It's like, thank you. That's all. Well, before that, this is sometimes, Motown Philly.

Oh, oh, oh, you're a cool in, oh, I, one end, too. Please don't go all the songs, so right. So all these records, when Gerald Busby told me, I had Dave Wade mix the whole album. But then Gerald Busby said, you know what, I like the ruffs better, man. I said, oh, no, don't do that to me, man. You know, I got to sound better. I can't let people like Teddy here that don't sound good, you know. He was like, nope, these ruffs are this is it.

I think we're going with the ruffs. And I didn't want to listen to the record when it came out. Okay, so now I'm like crazy, sexy, cool. Which obviously is, you know, there's multiple producers. Multiple producers. But who's the alpha producer? Are you there during the mastering and the sequencing as well? When it got too crazy, sexy cool by that time, like when I was doing the,

one of TLC Tip record and you just captured, you know, records are you captured a moment that just happened to you? You recorded an event that just happened to you. That's why they called the record. Right. So we were just, whatever we were doing, you know, we acted it out. We were just at the studio 24-7 and recording it. Right.

So that album came out to be more cohesive as like, okay, you can tell that that's kind of what happened. Somebody had the same person kind of did it all. By the time we got to Crazy Sexy Cool and the girl sold all those records and all the madness had happened in LA and them, you know, when they come in and say, okay, now they got into. Let us go situate. Let us bring in. Let us do this. And it wasn't until, and I was like weird on that because I would go, they were going to say, yo, you start the project because you know what to do. And then we'll come in and fill in the blanks and bring in.

stuff, right? So, or I would go and say, okay, here's four or five songs. Let me find the other ones that have fit in from Babyface or from this person or that person, right? By the time we got the crazy, sexy cool, it was like L.A. was trying to make, I think, sure that they didn't fail in that sense. So it was like song, song, song, song, song, right? And then he wasn't going to put creep out.

He shot the video. We've heard he shot three videos. He shot three videos, yeah. And then he wasn't going to put it out. And so they went to Clive and said that. Clive was like, Keith Clive called me. He's like, nope. L.A.'s wrong.

He's like, and this is the first time I've heard this thing. He goes, and that Miles Davis Horn sound you have in there is going to get you a Grammy. And I was like, what Miles Davis Horn Sound? And Creep? Yeah. See? So I was the same way, but that's funny because that's how he interpreted. But what I was doing is I had creep up on my MPC 60 for a week, right?

I would come in and sing the song, not save it. Yes. And just be like, oh, man, I think it's not too country. And I said, but keep it on the download. But I'm like, well, I kept singing it every day. So I was like, you know what? Let me just get Deborah Killers to come to the demo so I can get it out of my head, right?

So I wrote the whole song, I had to come sing it, and I couldn't find a symbol crash. But I like, so I just went, oh, I put this in. Because like, you know, Pete Rock and everybody would put the horns on the one. Right, right, right. So I found out and put it in there and didn't think of it as anything that would be a signature.

It was just like, hey, this is the horn hit on the one. But Clive was like, that Miles Davis horn sound is going to get you a Grammy in. What Miles Davis horn sound? That's a Miles Davis horn sound. And it's not even Miles Davis. It's the sound of it. I know it's not his. That was the closest thing that Clive could have in the front of it.

Yeah, I was going to say, even to this day, when Creep is still like maybe the first 20 records that I spend when I do DJ gigs. And when it comes in, it's almost the effect. And it's weird because, like, that record used to be Troy. Whenever you spend the top of, they reminisce over you, place goes pandemonium. And then, you know, after 15, 20 years, then silence. It ain't going to save you no more. Yeah, the generational change. But creep has never lost its luster.

It gets you a chance to get on the floor. The first 15, 30 seconds, they give you a chance to get on the floor and then you can really get it. Right, yeah, yeah, yeah. But just when people hear it, it's almost like I hear the screams of when I was 14 years old in ninth grade. Like, that's the yells I hear. Wait, so at the time when I was, we were living in London when Crazy Sexy Cool came out.

There was this white singer that did... Texas. Charlene Sputari, right? Yo, I was like, is it me? Or is she pulled in the... Oh, yeah. Give me another non-germaine, me?

Kind of like a person. Raphael's... You know, like, when the song comes out. Yeah, yeah. If you like white diamonds, you'll like this. Yeah. Was it me or when I heard that song, we'd be in the tour bus. Like, it would come on MTV or whatever.

And I was like, yo, this is the, this is creep. That is creep. And they came, my publisher called me to say, yo. I always wanted to know. It's this group, Texas. And they've done this song called Once in a Lifetime. Once in a Lifetime. Yep.

And you ever heard it? I don't know. And so they played the song for me and they said, you got two choices. They said, well, they actually. bit it because they really, really like you and they wanted a song to sound like yours. So either you could sue them for that or you could work with them. I said, well, why don't I work with him?

That's the Dallas way. And I worked with him and I did so millions of records with them on the song I did with him. In demand, like years after it. Yo, man, I've been for 20 years trying to figure out, they ran that joint in Europe forever and then I just stopped hearing it. But I always wanted to know if it was that. I mean, that always happens in songwriting.

Like even to this day, Like I always use the example, on the original reels of Fleetwood Max Dreams, it still says the spinner's idea number three because they were making I'll be around. Yep. And Stevie Nix was doing when she's doing a stab action, doing a little red corvette. Yeah, exactly. You know. And got them to come in and.

Yeah, because then you would, that's kind of how they would look at stuff, you know. You only got this many notes. So there's 12 notes in there. So that's got to make everything you've ever heard in their life. All the jazz, all the classical, all the hip-hop, all R&B. or the pop is made between here and here. That's all. That's what's so genius about music because...

Manipulation. And you're going to run across it again. It's just impossible not to. That's why every reggae song will sound pretty much alike. And that's why, you know, you had the thing with Farrell and them talking about blurr lines. But it's like you're starting to run out of... You're starting to run out of combinations. Right.

A win is a win. 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. the reactions, my journey from basketball to college football, or my career in sports media.

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

stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes,

follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man.

A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target.

He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Vodom. My next guest, you know from Step Brothers Anchorman,

Saturday Night Live, and the Big Money Players Network. It's Will Farrell. My dad gave me the best advice ever. I went and had lunch with him one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up-and-coming talent.

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

Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your 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. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at 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. The question I had about sequencing an album is when you're sequencing Coley-Eye Harmony, the album, I always want to ask producers,

whoever the executive producer, is like, how much balls do you have to start an album off with a ballot? That, you know, when... Especially when you have Motown Philly in your pocket. And yes, I see Motown... I do see Motown Philly as a side-to adrenaline-banger thing. But y'all didn't once say,

like, maybe we should start this record with Motown Philly? Man, please don't go away. That's that change. Yeah, and under pressure. And, like, it was... I would sequence records like this most of the time where I would say, okay, well, just have the mood right.

So y'all don't want to have a fast on, slow song, fast on a song. You want to have like, here's your flash, here's your mids, and then slow it down towards the kind of towards the end of it. When he did Crazy Sexy Cool, obviously that was L.A. Right. And I felt a little more disconnected

from Crazy Sexy Cool than the first one. Just because it felt to me patched up, not patched up, but it felt like a bunch of different. Even with the arrowlood, sort of. That was supposed to be the thing tied it together. Who did those interludes? Different people.

Not you? Not you? Oh, damn. I thought of you. But it was just because at a certain point, I did all, you know, if you go in, you start off and you do all these songs and then you start to say,

okay, and then he starts to say, okay, well, now I'm going to put this person in. Now I'm put that person in. Now I'm going to let somebody listen to all your stuff, and then we're going to put somebody else in to try to do better than yours. And we had this thing before me organizing and Jermaine. We've known each other since the skating rinks.

So since we were like 16. Since I first got to Atlanta, You know, me and J.D. I used to go over his house with his mom and make beats on Jermaine's MPC. And his mom would, you know, feed us teddy grams or Kool-Aid or whatever. And so we would just be like, yeah, you know, that's just what we were doing. We were young and not just in the high school and all this. And didn't really, you know, we're dressing the kids at the mall and kind of just doing, you know, just having fun.

So we really didn't know and think about how it was going to blow up. And myself, Rico and Jermaine, we had, you know, know, after we started to come up, we ended up doing all of the face records. That was all the records right there, me, Jermaine, and Rico. I did not think about that. At one point...

Highland police mobsters? That was the... Yeah, that was the... Yeah. And so, at one point, I hit... We had all got way off track. Like, we wasn't messing with each other. We was just, like, way off track.

When did it get competitive? It got competitive, like, after crazy sex... I was going to ask, how did you feel about waterfalls? Because even L.A. said himself, like, he saved organized noise for last. Well, I love the waterfall. See, I knew all of them. These are like all my guys in the first place

because we all hung out the skating rink and stuff together before L.A. even knew any of us. So we felt like when L.A. kind of came to town, here was the opportunity. But we was more crazy about baby face. You know, but we couldn't really access. Yeah, we couldn't really access. Like that.

It was like, L.A. came to the forefront and was like, hey, by the time we got the crazy sexy cool, we realized I called him one day and I said, yo, man. And we had all this ABC crisscross beef and all that stuff when it was kids. And it just turned into a bunch of mess. in the first place, but I called

Germaine and one day and say, yo man, you know, we need have a meeting. You and Rico come meet me at this restaurant and don't bring any security. What you mean? Don't bring no security. Set up. I was like, we don't need security. We've been knowing each other since high school, but we've been way off. It's been a long time. Yeah, everybody don't make money and went on their own thing. Put Atlanta back on the map.

So we had a meeting with him and I said, I had you. Sorry. You don't like that. So I said, yeah, man, what's going on with us? Like, you haven't noticed that we all work on the face records, but we don't work on any of our own records together. Like, you never worked, this was before Jermaine did first night. I said, you never worked on Monica.

I was about to ask you this, but I never worked on escape. You never worked on working, something, what's going on? So, Jermaine goes well, L.A. said, man, you don't really like my stuff. And I said, well, damn, L.A. told me you don't like my stuff. Cool, L.A. And then RICOWade goes with, L.A.

told me that neither one of y'all liked my stuff. He admitted that. He meant it that he wanted friction between the three of you, so that way you'd be competitive. He'd be competitive. And so he gave us the book. for Christmas, the art of war, none of us have paid the intention to it.

Or y'all would have known. I said this thing that gave us the book of when you pulled on us in the first place. And so we, from that point, we was like, okay, we got to stop. Because Atlanta's small, for us to be separated, and we're the glued to the whole thing.

It's like that doesn't make any sense because we don't function like that down here. So is that when the monica relationship started? That's when the monica relationship started with first night. Okay, okay. For those of us that aren't Atlanta adjacent, and I know that your connection to the ATL film, Could you explain to us outsiders about skate culture in Atlanta and how important it is or the epicenter?

Oh, man. It was the only other outlet, you know. So when I did, I did drumline first, right? Everybody kind of said, okay, it brought the marching bands to the forefront. And then I had ATL. It was called Jelly Beans. I had that movie at the same time. It was based out, because the skate rink was called Jelly Beans that me and T-Bas and Organized Noise and Divine Stevens.

And all of us went to the skate rink every Sunday. So what the trip is, is then after I did drumline, Fox was like, okay, he's got the skating rink movie, so we're going to put out row bounce. Because I took out. Oh. So I had taken the other movie to Warner Brothers. And so when they put out roll bounce, Warner called me, it was like, yo, we can't make a skating rink movie. He just put that one out. That's not going to make sense.

Oh, ACL is old. So it was a, yeah. So then, so I looked at and I said, well, look, man, that's a period piece. I was like, that's like watching the wood. Like, this is. I said, we're doing this now in Atlanta. Right now, two days on Sundays, they're skating. Does it still happen?

Yeah, right now. Okay. We and Usher and Germain still go. Skates are bad crazy anyway. That's why Usher's so good. He got it from me and Jermaine. He didn't change L.A. in that way. He'd go to the skate ring out there.

Usher's like, Thai Babylonia and Randy Gartner on his IG, yo. Like, I was like, you know, I didn't even know you. Thai Babylon, you better bring it back. That's all I know. That's the last skaters I know. But right now. Debbie, what's her name? If you go to Cascade on Sundays or you go to Spade.

A Jermaine will call me and be like, yo, Sonny, what you doing? Let's go skating. Oh, I can see Jermaine's with his hand on somebody's back, like, throwing a joy, yo. And we went to New York for the flippers, right? Because Jimmy Ivaney and them were opening the skaters at 30 Rock.

Yes, we went to New York for that. But yeah, the skate culture here has always been super strong. And when I did ATL, the crazy part about it is, I went and got the same guys that I was skating with because they still skating. So all those dudes in the movie, they still like cascade. They still skating. That's the authentic, Atlanta. That's it.

Now, do you skateboard as well, or is there, like, is there a skatecocious as well? Skate boarding more than we was younger. But then once we start getting to the, because our skate culture is so competitive. Like, we have out of, like, 10 people in the line and, you know. Oh, y'all really? Hey, get that shit out of the way. Getting folks on the bus to get out of the way. Oh, yeah.

Does the express line have to be the outer line? Right, that's a good question in me. What about geriatric skating so I can. Excuse me. And they'll be going so fast. Like, once you just get going, you don't realize how fast you're really going. I love it. And if you feel.

fall, like, all the people in your line, they're going to get it. So, like, it becomes really intense. It's like driving. Wait, you open the door, though. You open the drumline door. So you told one story about one movie. You got to tell us a little something that we don't know about this movie. And the fact that why did you choose that era of your life?

Because what we know right now is you got a couple of movies about three or five of your life. So please. Well, it was when I first pitched drumline, I was in a meeting with Fox and they were asking me about musicals. Like, hey, man, we need to try to find a way to do cool musicals again. And then I said, well, you can't break out doing singing in the rain. That ain't what happened. You need an excuse like a marching band.

And there was like a marching band, what's interesting about that? And in the meeting, I was like, oh, it's about this kid that can't read music. And he's in his marching band. And I kind of pitched the whole my story to them in the meeting. And then a couple of days later, they called back said, we want to make this film. And I said, all right, cool.

So we started making it. We started like developing it. And by the time the script got to a point where it was done, it was written by this girl, Sean Shepts at first, but she just did bring it on two or something. And so when, they wrote it, I was like, oh, no, this ain't it. Some lines.

It's a lot. And then they, and so Fox was like, oh, that's not it. Okay, well, we're going to put it in, you know, we're going to sit it over here then and let it just sit. And I'm like, no, well, we'll give it back to me. Yeah. They said, no, no, no, we can't give it back to you, you know, because we bought it. And we want to put it in a turnaround, which is like, they got it, they own it.

They don't want to make it, but they don't want nobody else to make it either. Because if it happens, then it doesn't look right, right? So now the movie's sitting. You mean if it gets successful. then... Not through them. Like sitting on an artist, right? So they have so many movies

they put in turnaround where they just sit. And then later on they'll go back and go, oh, you know what? We got one of those somewhere, you know? So it was sitting and it was sitting and I was like, I gotta get my movie back. So I called Quincy Jones. And I said, yo man, one of the things Quincy showed me

before was I was at his house one time and he goes, Dallas, look at him. Look at this video. So I look at the video and it's Oprah, Danny Glover, and they look busted. Like, they just got off the bus at the West End Mall. They got on green. The Western Mall.

I mean, it looked like rough. And they're in this like high school theater and they're rehearsing lines for the color purple. And so, and you can see the VHS tape at the bottom and stuff. So he's going on. He said, so let me ask you a question. I said, who's holding the camera? I said, you are.

I said, nope. Steven Spielberg. Wow. I said, he's holding the camcorder? So yeah. He said, because I needed a scene, a train scene. It was going to cost me more than $13 million to make the movie. And they were saying that black movies don't go over

$7 million, so they wasn't going to give it to me. So when he got my friend Stephen, and I said, okay, Stephen, you're directors for me? He said, yeah, he said, okay, so that turned everything around. I said, oh, that's why Stephen I never understood Stephen Spielberg directing color purple. So he goes, he said, this is what I'm

going to tell you. When to get that movie made, find a friend of yours, that's Jewish. Well, we, that's done. That was his, that was his. Check out what I did. I called Jody Gerson. That email my publishing. Right. She's my publisher at the time, so I said, Jody.

Quincy said, I need to find somebody Jewish. You're my closest Jewish friend. How do I get this movie made? She goes, okay, can I come on as a producer? I said, yeah. She said, cool, because I'm going to bring

him my other friend, Wendy Feyneman. I said, who's that? She said, well, she just finished Forrest Gump and Castaway. Shit. Sold. So I walked back in Fox years later.

I was trying to talk them out of the movie. I want to get this movie back because I was going to take it. Someone else to them said, but, you know, but Wendy Feynman is going to work on it with me. They said, what? They said, hold on.

You got Wendy Feynman to work on this marching band movie? It's black? I'm like, yeah. Marching man. She said, okay, well, I'm going to tell you like this. Can it take place in college? I said, it's bigger in college than in high school. She said, okay, we got to make this movie.

I said, I was trying to talk you all out of it. She said, no, no, we got to make this movie. I was like, oh, it's just hip-hop kid, can't beat music. Nope, then they said, you got to make it. So Wendy was like, all right, I have no idea what this is about. I'm just going to fort you off. I'm probably going to make a lot of money, and you're not if it's successful. but I'm going to make it so you can make the movie

exactly how you want to make it and so when I came back to Atlanta and I was in Miami during that time I had moved and started doing Blue Cantrell and pink and black and all this stuff out of Miami I came back and Charlotte was like yo you got to come back they're scouting for Drumline and they need you here to the locations

and all this or that so they didn't start to turn real and I'm like all right this is about looking at Orlando Jones and Jamie Fox and different people for Dr. Lee and as we're starting to get going and it started to really turn into the movie in the script and stuff started to get developed the right way about in Tina Chisholm who

she's incredible and she kind of like, you know, from that point she knew how to tell my stories because she would be around me all the time so we went back, started shooting a movie here. Everybody I called to all the rappers, like, nope. A movie about a band? I called Luda. I called everybody, oh, yo, I need this part. He need a rapper for the

field. I think they thought I was doing it. I got the hookup. That's how you got Pee de Pee de Pueblo? That's how I got Pita Povillo. So Luda said, who Who was your initial asks? Luda was first. Who else was it around here then? It's like two more Atlanta, you know,

I think it was outcast. I know they regret that shit now. But nobody knew the magnitude because, you know, in all fairness, nobody had seen anything like it to hit Atlanta. And so then as I'm making the movie,

you got to a point where it started to go over budget because obviously I'm recording 300 piece marching bands that I have to use for playback. So I got to record them first. Write the songs like they're out now. Record them on the marching band

so they could use it for playback at the field, right? Started going over budget. So then Fox call. They said, yo, this movie's turning into an $18 million movie instead of a $15, 13. Put white people in it. We need white bands. I'm like, white bands. They don't do that.

So he's like, I don't care. It's a pop movie now, white bands. So now I got to go. Yeah. So I got Georgia State, Georgia Tech, and he just like, And I'm like, dude, I can't put this. It's horrible. I can't put this in the movie.

Already, the bands don't want to be in the movie because they don't want to lose. Yo, shout out to Fan You. And our film crew. Our film crew is all Fam U. Yeah. Well, yo, FAMU was not going to drumline because we're like, we're not losing to nobody. Yeah. So that's true.

It's okay. Well, that's why we're making a fake band because we don't want anybody's band to lose to anybody. You know what I'm saying? They said, nope. We don't care if it's a fake band. Even hypothetically with another title they didn't want it. They just didn't want to have family losing to Atlanta A&T, which ain't even a school.

It ain't even in the world's school. It had A&T colors, but it wasn't, you know. Yeah, man. But so I put the white bands in, and then at the end, I looked. I said, this is horrible. This is making these schools look really bad. That's not what this is supposed to do either. So he said, you got to find some kind of narrative line. And so I went, how am I going to do this? So I went to the school, Morris Brown, and I saw this white kid in the band. Okay, that was Morris Brown. Okay.

So I was a white kid in the band with red hair. And I was like, so how did you get here? Tell me your story. He's like, man, I live down the street. I always wanted to be in this band since I was little. I was like, okay, there we go. We got a catch now. And then by the time I edited the movie and took all the white bands out,

then you know, you look on the DVD, it's still got the white bands in there for like. They call it white bands just all white tape truth. And you look at Georgia Tech, Georgia, you know. But then the great part about it was, you know, seeing when drumline, when I finally got it right, because I always said it didn't belong to me. belongs to everybody in the band.

I'm telling my story, but if I don't tell it like it is. It's a real culture. Oh, it's such a culture. I got to get it right. I got to hit it on the head and it's right. If I could get it wrong, it's just no, right? So on the release date, I would go around to the theaters and see them sold out in Atlanta and everybody would be in marching band outfits.

Wow. And me and my mom would just ride around being like, dang. It took me 10 years, 10 years of every day making that film. And then because I wanted to do ATL next, they tried to get me to go to New Orleans. and so I ended up bringing the New Orleans bill to Atlanta and passing the film bill here. So that's why people come to shooting Atlanta? Yeah.

Does Tyler Perry thank you? All of them. It cost me like 200 grand passing that bill back now. I had to do lobbying. So you're the reason why the Georgia logo comes on down near everything. The peach. Wow. No, I was just trying to get ATL done back then.

And so Governor Purdue, he basically said, okay, well, I don't know what to do. you tell us what to do. And we kind of came up with the plan that's the Georgia film bill now. And the door ribbon cutting, spoke to the G8 Summit and all that stuff on behalf of Georgia so we can have what we have now going on. Hey, y'all. It's Laid here from Team Supreme. Okay, so right here is where we're going to end part one of the Quest Left Supreme with Dallas Austin.

You're going to want to stay tuned for part two. Because this is when Dallas talks about working with Michael Jackson and Madonna. And he tells some really dope stories about the group illegal and producing must be the money for Dion Sanders. Remember that? This was like one of our favorite episodes, and don't forget, we were actually live in Atlanta for this. So make sure you check out

Part 2 when it becomes available. See y'all. What's Love Supreme is a production of Iheart Radio. For more podcasts from Iheart Radio, visit the Iheart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. 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 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 IHeard Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. 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 network on TikTok. When a group of women discover they've all dated the same prolific con artist. They take matters into their own hands.

I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe, on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax.

You doctored this particular test twice, Ms. Ellen's, correct? I doctored the test once. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian. Michael Manchin. 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. What's up, everyone? I'm Ego Vodom. My next guest, it's Will Ferrell. Woo, 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 is an IHeart podcast. Guaranteed Human. Thank you.