The Questlove Show - Questlove Supreme: George Faison

Episode Date: July 17, 2024

Class is in session! Questlove Supreme prides itself on bringing you stories from masters of their craft. George Faison's story derives from a time that established and birthed the beauty of diverse Black dance and dancers to provide the foundation for what we see on the world's stage, film, and music videos today. Dancing has remained at the epicenter of his career, but Mr. Faison is also an actor, director, composer, producer, essayist, playwright, and writer who is the first Black choreographer to earn a Tony Award for the original Broadway production of The Wiz. How did that lead him to work with legends like Aretha, Stevie, EWF, and Ashford & Simpson? Listen up!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. I'm Daniel Alarcon, and this is my friend. This is my friend. 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 Alarcon and John Green on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Hey there, folks, Amy Robach and T.J. Holmes here. And we know there is a lot of news coming at you these days from the war with Iran to the ongoing Epstein fallout, government shutdowns, high profile trials. And what the hell is that Blake lively thing about anyway? We are on it every day, all day. Follow us, Amy and TJ for news updates throughout the day.

Listen to Amy and TJ on the IHeart radio app, Apple Podcasts, or wherever you listen to podcasts. It's Financial Literacy Month, and the podcast, Eating While Broke, is bringing real conversations about money, growth, and building your future. This month, hear from top streamer, Zoe Spencer, and venture capitalist Lakeisha Landrum Pierre, as they share their journeys from starting out to leveling up. There's an economic component to community strides. If there's not enough money and entrepreneurship happening in communities, they failed. Listen to Eating While Broke from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Hey, it's Edwin Castro, also known as Castro 1021. And I'm Kunky, his best friend and business manager.

And we've got a new show called The 1021 Podcast. I'm taking you behind the scenes on how I became one of Twitch's most popular streamers. We also love sports. And with the World Cup right around the corner, we'll be breaking down the biggest storylines ahead of the big tournament here in the USA. Listen to the 1021 podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

Questlove Supreme is a production of IHeart Radio. Suprema, Submina, Submina role call. Suprema, sub, sub, subprima role call. Suprema. Subrima, Sura, Sura, S, Suc, Sucrema. Suprema roll call Suprema Subrema

Subrima Because I freestyle I need time Uh Yeah It's time to jam Yeah Nasty girls

Yeah Dance dance Roll call That's all I got Supra Supraima Role call Supremma

Sub prima Submma role call My name is Fonte Yeah I handle my beers Yeah My favorite horror movie? Yeah.

The Whiz. Rocah. Suprava, Sats, Srava, Rolcar. Supriva, Rolcar. My name is Sugar. Yeah. I love to dance. Yeah.

I just need a choreographer. Yeah. To give me a chance. Rola. Supriva. Supriva, Sucrema, Sucrema, Rolka. Supriva. Supriva.

Supriva role car. I'm unpaid bill. Yeah. I'd like to say. Yeah. Can you feel it? Yeah. It's a brand new day.

Roll call. Yeah. Suprema, sub, sub, sub, sub, supremo roll call. Supremma, sub, sub, suprema, roll call. Yes, Laeam. Yeah. Y'all know I'm hype. Yeah.

George is here. Yeah. We're just talk all night. Roll call. Supremea, Subma, Sup, Supraima, Role call. Suprema, sub, sub, Supremma, roll car. It's Faison. Yeah.

And I'm here to say, yeah. I got some news. Yeah. Roll car. Yeah. Suprima. Superma, roll car. Suprema, sub, sub, suprema roll call.

Supremma, sub, sub, subprima role call. Supreme a role. You get pissed when someone else is. roll call is funny. Take your words. I thought mine was a funny. I think you did well. You guys were expecting me to

have a roll call? Yeah, yeah, yeah. Be prepared for your radio show? Yes, you know. No, I think I did fine. Freestyle is freestyle. Yeah. Freestyle is a freestyle, yes.

This is a freestyle, yes. This is Love Supreme, and we are in person. We aren't live, but we can pretend it's live, but we are in person in this very tight room. episode there's there's a little more nuance added to the scenery yeah it feels like between two ferns if anybody knows that's it definitely has it between two verbs but to it right so yeah we're in new york city right now there's our logo and i guess a 2014 version of me i haven't looked like that in a

minute but uh no we have teen supreme unpaid bill i forgot what's your new name brand new No, no, you're, it was just Bill. Just Bill. You're just a bill. Natural Bill. Right. Maybe we should take a poll on our social media. That's a good idea.

All right. Yeah. I'll take any nickname I can get. Because right now, your name is not that exciting on Instagram. Or I think you want it that way. Do you want civilian? Bill Sherman, too, too, too, too. I'm not sure if you did.

Be Sherman, too, too, too, too. Oh, but that's just Bill. Just Bill. Just Bill. Just Bill's fun. Thank you, Jim. Just. Lifetime.

Bob, Bob, Bob, Bob, Bob, Bob, Bob. Showboat. Oh, he took it there. And you know who screams Showboat? This guy. Absolutely. Because he's just my bill.

There you go. Or I thought, Marvellous, don't mess with milk. Don't mess with you. Right, exactly. All right, Sue Gah, how's it going? Oh, it's good, man. It's good. I like this couch arrangement.

I was unsure, Mir. I was like, is this? I was very 20-24. Yeah, we got time. we got space. It's like men can sit together like this. This is nice. We all got, we can man spread.

Yeah. We got space. We good. How's it going, pal? I got my brothers and sisters with me, you know. Yes, we're family. Yes, we are. I got where you going with that.

Fon, take a little. Cool, man. Welcome to New York. Yeah, man. How's it going? What's going on now? Like, now that the documentary is complete and, you know, you guys are musically,

sort of churning them out or at least I assume that you're turning more out. I hope that you're turning more out. What's the plans for the summer? For the summer, so we actually do Mailo watch the Little Brother story. It's out now on YouTube. Check it out. I'm just working. More music is coming on the F.E. side.

I'm producing, arranging, doing stuff from Sesame Street. You know, I'm working, man. You know, I follow the example. Yes. Diversify. Yeah, diverse. Shit, I'm trying to get out of it.

I ain't going as hard as you going. That's like a mere like stage 15 certification. Like he's been there, done that, and now it's back to the hood again. Yeah, I'm trapped. I'm coming back home. Yes. Oh, I'm good. I'm trying not to just quote the Wiz all day.

I want to be hot-gated red. I wouldn't be seen meaning great. I don't know. I feel like more than anything, this is the episode that for the last, and why can I not commit to how many years we've been active? Eight. Eighth. It's our eighth year. We're a granddaddy podcast.

Yeah, I feel like for the last eight years, this is the episode you've been hoping, wishing, praying, and dying for. So I will say that our guest today has helped introduce what I would like to say to the postmodern generation, those that need of visuals to sort of navigate them through records, i.e. the first generation of video watches or whatever. or even television show performances. Our guest today helped introduce a postmodern generation to a level class through movement and choreography, sort of in that tradition of his peers, be it Charlie Ackins, Jeffrey Holder, Harold Nichols, Michael Peters, there's Lester Wilson, I might be forgetting the name or two, Frankie Manning, Debbie Allen, we can't forget, Debbie Allen was in Fatima Robinson, even modern. Alvin Alley.

Yes, Alvin Ali started all that. Yes, exactly. In a sense, we were taken... Oh, he didn't say your name yet, but the people don't know. I didn't mean, I...

I'm doing your buildup. I'm doing your buildup. Intro, intro. Yeah, get these flowers. Take these flowers. Yeah, this is some flowers you get. Yeah. But more than that, like our guest is

Emmy Award winning choreographer. Tony. Tony. Tony, Tony. Oh, I'm sorry, Tony. But wait, for... First person. Were you nominated?

for Josephine. No, I won it. For the Emmy. For you nominated for Josephine. For Joe, okay. Ah, okay. By the way, Lynn and Grace, Gracie give their regards to you. Lynn Woodfield and.

Oh, wow. Grace was like, tell, tell, uncle. That's a good suggestion because they need, yes. Yes. They're friends of the show and they're excited

you're doing this as well. They gave their regards. But more than that, our guest today, I got excited, of course, because of his association with The Wiz, which of course is getting a new lease on on Broadway with Amber

Ruffin's production of it and a friend of the show. Wayne Brady has the Wiz. Shout out of Candy Burrs. And as Fonte has said, yeah, the Wiz was a horror movie. Yeah, man, listen. The Wiz is a horror movie. Yeah, that scared to death of me. A metaphysical horror movie.

Yeah. Interesting. When Evelynne with her nails rolled back, I was like, oh, my God. Even now. The monkeys are hard to look at. The monkeys are hard. The subway scene. Yeah.

Oh, my God. But more than that, man, just the idea of theatrics and concerts, especially when it comes to the work of Earth, when it fire, our guest today helped sort of facilitate a vision that turned that group from just an 11-piece soul review into this modern theatrical presentation. And we've been dying to pick your brain for a long time. I'm glad you here. Welcome, George Faison to Korsloff's Supreme.

Wow. Thank you. D.C. in the house. Yes. Yes. So can you tell me about your, you grew up in D.C.? Yeah. Your formative years in D.C.

What was that like? Well, D.C. at that time was a divided city. It was, you know, the racism. I think it still is. Oh, it very much is that same thing. But we had a life. We had the Howard Theater where our universe are surrounded. And for a lot of cities, you have your black theater.

The Howard Theater, we had a lot of R&B, starting with Roy Hamilton, and on and on. Gladys Knight, Jewel Box Review, Laverne Baker, Edda James, you name it. This is not the sophistication that you would see at Motown. We were still growing, but at least we were out there. We could see the people, and they brought us another kind of glamour. And it is the magic of our people that makes us do that. And that propels you through that. So if you are growing up without people knowing who you are,

you get tired of the labels and stereotypes, and you get busy with, what can I do about that? and education and letting them know who you are. Because we love these people. You know, our mamas and daddies, biscuits and so forth. And I grew up, my father was in the awning business. And he put up ladders. I don't know.

It's a metaphor for something in a sense. Like awnings. Like awnings. On the side of building. So I had, I had to learn his business. You know, so I can go out two or three stories on a ladder that you push up. Okay, so I learned that. My father taught me that, but it was his business.

And I thank God that I had a father. I had a father as long as I lived in D.C. until I left his house. So, and, you know, you have the discipline and all of that. And you go to school and you learn things and so forth. And then we had TV, you know, early TV, probably one of the first families to have the TV on the block. we saw all of these things. Explain to me. So the thing is that, okay, so me being born in the 70s,

and especially like the year I was born, like most people or historians will say like 68 is the Mason-Dixon line of pre-civil rights and post-civil rights period. So I came of age in which, if you even had anything close to a passion for the art, there were institutions that you could go to. Like there was a school in which you can come teach your kids ballet or tap dance or acting or that sort of thing. For you, though, if your formative years are in the late 50s and early 60s as far as like preteen and all that stuff,

what was the environment like? Was art something that we took seriously or survival? Get a job, get money, or pursue your dream? What I chose, nobody at that particular time thought that was going to be the way you were going to be a doctor, teacher, or something you were going to go. Survival, you have to have a little happiness. You have to have a little joy to survive, to have something that you're going to be reaching for. So you look left or right on your graduation day in 1964. What, you know, you're never going to see these people again.

and what are you going to do? That day that you even walk out of the school or down those streets, you walk down those streets as somebody else, like an adult. What are you going to do? You're going to go to college? Can you afford college? You know, you've got to break those barriers too.

Well, at 15, I had started going to Howard University, not going at school, but in their departments that were like developing. There was no dance department. So Mary Rose Allen started the dance department in the gym. You know what I mean? And I would go every day at 3 o'clock or something and change my clothes and go down there and meet Carolyn Tate, who you don't know about.

But she had worked with choreographer Donnie McHale, who I would later meet when I came to New York. Owen Dotson was the head of the drama department. and he brought James Baldwin. I saw Blues for Mr. Charlie at Howard University when he was still working on that. I saw in 1964. You saw a Baldwin preview?

Yeah, they were friends. Wow. They were friends. No, but everybody, I mean, Roberta Flack was there, Donnie Hathaway, Tony Morrison, was in that bunch. What?

Right. This is the education renaissance. Yeah, so who else was there? There. But you're young. You said you're 15. I was 15. You're 15.

Why did you not even know to go to Howard? At that particular time when we were trying to get educated that you went on school trips. So we went to Howard University. From Dunbar. Right. So the Dunbar, because his high school that he went to was close to Howard anyway. Well Dunbar was the first African American high school in the U.S. Right.

M Street High. And everybody went there, Charles. Drew also who created the plasma was a graduate of, of that. Right, all of that. But you were dancing back then, so you were dancing. I know we were dancing. No, you were dancing at home. What are you talking about?

That's true. You know, you had 45s and all of that. They played bikina cards, drank. And they had, we had a life, right? Right. Okay, we did have a life. They did everything, you know. and also it was the migration.

I saw people that were living in the alleys in garages. You understand what I mean? Because they couldn't do, they didn't have a house, they didn't have anything. And they took that shelter and moved on all the way across the country, you know, until they found a place that they were going to settle in. The Wilkerson book, Warped of Other Sons. Yeah, Israel, Wiccson. I love that book so much.

I started, you know, like when I came to the last 10 pages, I was turning a page a night because I did not want it to end. Dang. It's called The Wharf of Other Suns. It's about like the Great Migration. Okay. So, yeah. And how people, you know, they picked up and they moved.

That's how I guess my father, my mother, their families and so forth, got to D. Carolina. Where do they migrate from? North Carolina. That's up. D.C. all day. Everybody's right. Right.

And then they went on to other cities. What city in North Carolina? What part? Wallace, my father. Oh, wow. You know that? Yeah. Wallace is going this headed towards Wilmington from me.

I'm in Raleigh, so it's like going back. Right. I know Wallace. And there's a face on North Carolina. There's all of that. And that's our pass. You know, so it's like you find yourself in an environment when you are, when you grow up. What am I going to do?

Okay, you see the white folks on one side of town and you go back to wherever you're going. Everything is full. I mean, you're not missing anything. I'm not missing anything. But you see, you're drawn to art. Art draws art. It doesn't, you know, it doesn't claim just one person. I mean, it's open, it's universal, you know, and you can go and grow through all.

And I was just curious. So I would wander to the other side of town. I would read the papers, auditions and so forth. But Howard was Mecca. But, you know, the musicians we had, you know, everybody was there. So I didn't miss that. But the caveat in our growing up to be whoever we're going to be, we were intersegregated.

Mm-hmm, mm-hmm, within black people. Within black people. Yes. If you didn't pass the paper bag tests. Jack and Jill. No, this is what Jack and Jills went up the hill, but this was harder. Oh, shit. Damn.

And you didn't get over until James Browellon. Say it loud. What? I'm like to cry. Okay. A win is a win. A win is a win. I don't care what you're saying.

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

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

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

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. I'm John Green. You may know me as the author of The Fault and Our Stars, and now I guess also is 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, its hope, its 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 Auer Kohn and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. On a recent episode of the podcast, Money and Wealth with John Hobriant,

I sit down with Tiffany the budgetista Aliche to talk about what it really takes to take control of your money. What would that look like in our families if everyone was able to pass on wealth to the people when they're no longer here? We break down budgeting, financial discipline, and how to build real wealth, starting with the mindset shifts. Too many of us were never, ever taught. Financial education is not always about, like, I'm going to give it. rich. That's great. It's about creating an atmosphere for you to be able to take care of yourself

and leave a strong financial legacy for your family. If you've ever felt you didn't get the memo on money, this conversation is for you to hear more. Listen to Money and Wealth with John O'Brien from the Black Effect Network on the I'd Heart Radio app, Apple Podcasts, or wherever you get your podcast. Will Ferrell's Big Money Players and IHeart

Podcast presents soccer moms. So I'm Leanne. This is my best friend Janet. Hey. And we have been joined at the hips since high school. Absolutely. Now a redacted amount of years later. We're still joined at the hip.

Just a little bit bigger hips, wider. This is a podcast. We're recording it as we tailgate our youth soccer games in the back of my Honda Odyssey. With all the snacks and drink. Sidebar. Why did you get hard seltzer instead of beer? Oh, they had a bogo. Well, then you got it.

Do you want a white collar or something here? Just hit you. Oh, what are y'all doing? Micropones? Making a rap album? Oh, I would. Come on. Can you pull?

I would buy it. Cuts through the defense like a hot knife through sponge cake. That sounds delicious. Oh, you're lucky. I'm not a drug addict. You're lucky I'm not an alcoholic. You are. I'm lucky I'm not a killer.

I love this team. And I'm really trying to be a figure in their lives that they can rely on. Oh. Listen to soccer moms on the I Heart Radio app, Apple Podcasts, wherever you get your podcasts. American soccer is about to explode. The World Cup is coming. Ramos sending on the Army.

Score at the chip. I'm Tad Ramos. I'm Tom Boe. On our podcast, inside American soccer, you'll get the real storylines. I'm not worried about Policic. I'm not worried about balligan.

I'm not worried about McKinney. My only concern is what happens in the back. The biggest decisions. If you're going to look at stats and numbers, He has no shot at making this World Cup team. And the truth about the U.S. national team. It wouldn't be a huge surprise if our team ends up in the quarterfinals or potentially a great run into the semifinals.

The World Cup is almost here. Experience it all with us. Listen, Inside American Soccer with Tom Bogart and Tab Ramos on the iHeart radio app, Apple Podcasts, wherever you get your podcast. What was the seed that was planned for dancing? Because I'm certain that... Oh, no, I didn't start with dance. What did you start with?

I started with music and art and all of that. Okay. Pictures and things. The stars that I really love were Fred Astaire and Gene Kelly and all of that. Nothing really happened until I saw Norma Miller and Frankie Manning in Hells of Popping, you know, doing that crazy Lindy that they were doing. Yeah. And so forth.

But I didn't do, I didn't meet all of them until I came after I had been in New York. and we were but Mama Lou Parks and all of that dance history. You know, I was there making up dances, you know, not even thinking, trying to turn in the, the hall was like 36 inches wide. That you walk down. Right, and I taught myself how to pirouette in the hall. So you hit the walls. Don't hit the walls. Thank you.

Don't hit the walls. How straight. Can you be? So that was, you know, and I was learning like that, and then somebody came up and said, oh, there's going to be an audition. What is an audition? They said you have to do this audition, go sing and dance and act, and you get into a play.

So I said, okay, I was going, this guy was a senior and everything. So I trusted that. And I went through the whole audition. I hadn't ever been. And so I come bouncing out. We got a job. We got a job. And so we're going to start rehearsal on so-and-so.

I'm telling him all the business. He says, I didn't get it. Oh, wow. Sorry. But that was the beginning and end of that friendship. Oh, wow. You know, so you're going to go alone, folks. you can take as big a crowd as you want

it's just going to be on you so what was the audition process like back then what was the process well they gave us steps and you had to do them boom you had to go up the scale if you couldn't sing you had saying happy birthday and if you and you read a little bit

oh they're not going to get a speaking part so so when you go to an audition now when I watch movies or whatever and you know art the arts are never accurate when showing it how it really is. But for the dancing part of it, when I see like, when they do five, six,

seven, you're going to rush in a thing, and they pick it up instantly. Wait a minute. They weren't moving like that. Well, no, no, but I'm... They weren't moving like, wait a minute, let's go back. They were not moving like that. You add the spice. A potter-a-bou-ray is still a pot-a-re

unless you turn it into something. A pirouette is a pirouette, unless you can turn it, it into something. I didn't have any training until I heard some some guys talking about well, Glissade Padouré

Yeah, how did you even hear? No, but that that's movement and you have to learn that language and I was like, I gotta get that I didn't even know what our best but I got that job. Pleiae A, pleiae I had not heard and so forth so but I would do it all

I would do it. You look and you do your IQ is how good are IQ? You like a musician? that plays by ear. Yes. Now, is it not respected, but like from those that did train at the blah, blah, blah,

institute, are they looking down on you? Are they? Well, you have to conform to all that because that's what it is. It's just like a musician playing notes. And all of that, and I played the French horn and the trumpet in, you know, while you grow up,

and that's what we had in school to do. So I was trying to try. Ryan Natt, sang in the glee club, saying, you know, did all of the things that I really liked. You know what I mean? And do you remember I was hanging awnings with my father and hanging out the third floor window, putting them on the mansions that were out in Silver Springs, Spring Valley, and all of those other neighborhoods and ducking down in the seat if I was riding through the neighborhood because I didn't know. I didn't want anybody to see me with my father, with the lattice, you know, hooked up to the thing. It was very deep. But it was work, and it was his work.

What did your mother do? You've been your father. She was home with us. Oh, okay, got you. So, and raised us. So y'all was a very middle-class family. In a sense. Yes, yes.

I think you, if you would take it like that. And we had dinner every day together. every day. Required? Yes. No, you know, required. You just, you know, habit. Anyway, I got that part.

What's the part? Oh, yeah, Bill has that. What was the part? I became the lead dancer for Kiss Me Kate. Wow. And guess where we did it. We did it at Howard University at the newly built, Crampton Auditorium.

That had not, you know, And then we walk in the new. I graduated in that building. Wow. Magical. And, you know, but I don't know. In your dreams, you have every part. You know, dreams don't, you know, aren't segregated in a sense.

You dance through this, you feel that, and so forth. I mean, it's just real life. And then that you have to deal with and how you interpret that and how you take that. And how do you survive that? to go on and have a career. I have not done anything but work with my father and been in the theater. Nothing.

And who can say that at that time? Right. His life was the same. He has not. All the way through. I had a, you know, I had a theater job, you know, so I became the first dancer and led this, I'm like one of two maybe people. No, there are three black characters,

Queenie, Joe, and me. I was the dancer. And I led the dancers out there. I didn't know anybody at Howard. So I met all those guys, the Howard players. Still don't know what a play is. The cut-frope best players in the world. They went and majored in bidwits.

And so it's just like that. Oh, no, they were wild, wild, wild, wild, and they were going to school and so forth. But let me tell you, getting through that level of discrimination among your own people was a part of that. You know what I mean? That was a part of that because, so my mother was very light skin and my father was black.

You know what I mean? So it's like, here we are. You know what I mean? Yeah. So here we are, and they raised us best they could, you know, as well as they did. Not best they could, as well as they did. Christmas and Easter and you did all of the traditional things. You got clothes, new clothes, and you went to church and so forth.

And so I just stepped out there. You were at Howard when you got that role. No, no, I was still in high school. Okay. So it was, you know, I did all of the, this before I was in. I was like in the 10th grade when I got that job. Kiss me Kate. Wow. That was temporary. At Howard, the Krampton? Right. I met Jesse Norman. She was 15 too.

But I had never heard a voice like that. Who has? No, we went on a trip to this. It was scary. She opened her mouth and we had never heard a sound like that come from anybody. anybody. And then, you know, all of the other people, Roberta Flack on Capitol Hill, you know, singing at Mr. Henry's and doing all of that.

I'm just tripping as you were still in high school when all this was happening. And you're still at Howard. Right, and I went there. They allowed me to go there and so forth. And, you know, I worked with Ted Shine. I did the zoo story with him. You know, the plays and things like that.

Was Howard the first institution that lets you study your craft? And like at what point are you choosing dance and movement as your... I think it all kind of meld together. I mean, I was kind of looking at dance. I was still 15. I hadn't graduated. So it was like I still had to go, you know, through the 10th.

11th. That's what we're saying. So like Howard, did you say I'm going to be a dancer? No, I was, no, I wondered at two Howard. Yeah. But I'd never been into the Binawitz department. I was over there with Mary Rose Allen in the gym. in the gym.

But you ended up attending Howard, right? Yes. So what was your major then? That was drama. Oh. So no dance still. So I'm at Howard? No, I know.

No dance, but I'm dancing. But you're dancing. But when you graduate, then you graduate. And then Louis Johnson, another choreographer from that era, he's the only black dancer in that damn Yankees movie. If you look at damn Yankees movie, if you look at damn. Yankees with back in the day. The movie.

No, you can see, you can see him. You can see him? You know, but he was that. But he grew up in Washington at the Jones and Haywood School. And that was where Cheetah Rivera came out of, Sylvester Campbell, who danced in Europe. He was able to dance the Prince in Swan Lake and all of that in Europe. And they trained those kind of dancers. I did not go to that school.

Where would you say the epicenter of the great were? Is this? It's no Kennedy Center. There is no any of that. I opened Kennedy Center with a couple pieces, but that was when I was old. I've done workshops there. You know, just everywhere.

Right. You know, everywhere. But back then, that wasn't there. But you could read in the paper where there were certain auditions. you had to go to, and you had to go to, you know, out of our sphere. You know, the people that were going to those houses were maids and cooks and so forth. They were working in that neighborhood, but I'm saying that whatever institution, I did liturgical dance with Mary Craig Hill, who was at the Johnson,

and we're Johnson worship. So I started, you know, a dance ball, all of that. That's D.C. still? That's D.C. And I worked at the, and my summer jobs were at the Library Congress, NIH, and all of that working. Right. And I didn't want to, you know, you don't want to work. But Lewis Johnson came to Howard. He put something on. We did one of those, one of the musicals. And I asked him to call me if there are any auditions, because I wanted to be out of there. Oh, in New York. in New York. So that's how he's doing. If someone's putting a production on,

is it just assume that all the students at Howard are seasoned enough to do that? And I'm thinking of production. Lights, pacing, staging, staging. But Howard and the finance department

was advanced to that point. They had great teachers. And you could get a real, well-rounded, you know, theater experience going to Howard. Because later on, Debbie and Felicia, all of them will have passed through those doors and the teachers progress. You know, they made costumes.

They did. The first production I saw there was Medea and Africa. So it had that African flavor, but here it was still Medea, you know, and the legend and all of that. And so you got a feeling, and the kids and the actors. were studied that and strive for that. The rigor was really hard. You know, how you still have to be the best, you know, and if you're a fool enough like me.

So when I went to New York, I audition for Arthur Mitchell, and they were going to go to Africa for the festival of two worlds in Senegal. And I was like, stealth. I made that audition. I got into that company, but the first day of rehearsal, I saw Paula Kelly. I saw, no, I'm chilled. I get chills right now.

I saw Paula Kelly. You know, beyond the dances, I saw in Alvin's company down there, who were excellent. I saw Judith Jameson down there. Miguel Goddra, Takako Asakawa, All of And dancing works by Tallibati and all of that's what really inspired me

To want to go So I get the job so it's like I see all of these guys Then you got Tommy Johnson They did a nightclub at dancing Along with Sandy McPherson And another Dang New York got such a beautiful dancing back then

Like that's just it's all his names And all of it. No, she danced, Pauli Kelly dance at MoMA with Gene Kelly and some other dance, and we would watch so intensely. The choreographers were on, you know, on TV doing specials with Duke Ellington and so forth. And they were absolutely the best, Claude Thompson, Jaime Rogers, who had been, you know, in West Side Story and all of that. And you had to fight to be on the front line.

You know, they give, you know, you lines, lie, lied, you know, so sometimes you be hiding because that shit is so difficult. But that was a specific with fighting on the front line, what do you mean like in terms of? Trying to get to the front line, trying to be in the first chair, trying to be first trumpet. As a dance show. So how does one, how does one achieve that?

You hone all of your stuff. So when I got into, I see all these daryans and thoroughbreds walk into the into the room. I'm like, I'm not having, we haven't even started dancing. I'm looking at these human beings that are poised, ready, and had danced all of the stuff of Catherine Dunham had danced. Talley Beatty had danced, Donnie McKeel.

And they were seasoned. You know, the whole, you know, all of that that works. So I'm looking at these gods and goddesses, you know, like that. So I know which leg is. the best, so I'd go to get on the good foot. Real. Wait, time out, so you're telling me in your first

two decades? Ten years. There was not an aly sort of institution or... No, he was struggling. Everybody didn't love it. We got thrown out of restaurants and denied that. We were a black dance

company. I was on the road when they killed King, and we still had to dance, and we did Revelation or any of those pieces. It was, but I mean as far as training is concerned. Training, you know, on the job training, if you're lucky.

And I took it, that's the rigor. Can you do it? You know, my, you know, your body is rebelling because you're trying to stand in fifth and fourth and pirouette and you're trying to do all of that clearly and cleanly. because you're judged by that every time you step. A win is a win.

A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clivert 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. I'm John Green. You may know me as the author of The Fault and Our Stars. And now, I guess also is 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, its 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 Auerkone and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

On a recent episode of the podcast, Money and Wealth with John Hobriant, I sit down with Tiffany the budgetista Aliche to talk about what it really takes to take control of your money. What would that look like in our families if everyone was able to pass on wealth to the people when they're no longer here? We break down budgeting, financial discipline, and how to build real wealth, starting with the mindset shifts. Too many of us were never, ever taught. Financial education is not always about, like, I'm going to get rich. That's great.

It's about creating an atmosphere for you to be able to take care of yourself and leave a strong financial legacy for your family. If you've ever felt you didn't get the memo on money, this conversation is for you to hear more. Listen to Money and Wealth with John O'Brien from the Black Effect Network on the I'd Heart Radio app, Apple Podcasts, or wherever you get your podcast. Hey, earners, what's up? Look, money is something we all deal with, but financial literacy is what helps turn income into real wealth. On each episode of the podcast, Earn Your Leisure, we break down the conversations you need to understand money, investing, and entrepreneurship. From stocks and real estate to credit, business, and generational wealth, we, we,

We translate complex financial topics into real conversations everyone can understand. Because the truth is, most people will never taught how money really works. But once you understand the system, you can start to build within it. That means ownership, smarter investing, and creating opportunities not just for yourself, but for the next generation. If you want to learn how to build wealth, understand the markets, and think like an owner, earn your leisure is the podcast for you. Listen to Earn Your Leisure on the IHeart Radio app.

Apple Podcasts or wherever you get your podcast. Will Ferrell's Big Money Players and IHeart Podcasts presents soccer moms. So I'm Leanne. Yeah. This is my best friend, Janet. Hey. And we have been joined at the Hips since high school. Absolutely.

Now a redacted amount of years later, we're still joined at the hip. Just a little bit bigger hips, wider. This is a podcast. We're recording it as we tailgate our youth soccer games in the back of my Honda Odyssey. With all the snacks and drink. Sidebar. Why did you get hard seltzer instead of beer? Oh, they had a bogo.

Well, then you got it. Do you want a white collar something here? Just take it. Oh, what are y'all doing? Microphones? Are you making a rap album? Oh, I would. Come on.

I would buy it. Cuts through the defense like a hot knife through sponge cake. That sounds delicious. Oh, you're lucky. I'm not a drug addict. You're lucky I'm not an alcoholic. You are. You are.

I'm not a killer. I love this team, and I'm really trying to be a figure in their lives that they can rely on. Oh. Oh. Listen to soccer moms on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. At these auditions, is it like, so is it like Michael Peters there? And are you, oh, thank you for putting me with Michael Peters, but Michael Peters. He's younger? He's older, older.

He's older. He's younger than, get out. You are looking at. Because you're younger than other ones, so it's weird, right? Because you're younger. I was born right in the middle of all of this. So like Judith Jameson. So I'm 40, it's 80.

Okay, so she's older than you. Yes. All of them are older than me. Okay, okay. So they were all older. Debbie Allen, Michael Peters, and all of them came later. They're babies. They were babies.

In my company, I gave Belisha the job of being a munchkin and the whiz. She was a munchkin? Belisha. She was a Moshat. Two-time Tony Award-winning actress, okay? That's when she said. She was a munchkin, and she did it, okay. I know she, okay.

But for you, at any point are you looking at the major institutions? Like, are you even looking at, like, auditioning for white valley companies? No. Are they even looking at us? I don't know Alvin Ely was my goal. That was the hardest dancing you could possibly do. Okay.

What? That was the top. How long had Alvin Elling been doing his thing? 60. Okay. Because I'm trying to put everybody's age together. Is it 60 years now? 80?

But when you get to New York, Alvin Ely Company is, Alvin Ailey is doing what? This is the first 10 years. Okay. That's the first 10 years. And then I left. And then from graduating from high school to 1975 is 10 years. I won the Tony then.

Wow. Going through it like that. But my first job, Broadway show, was, don't bother me. I can't cope. What is that even about? I don't. no bother me, I can't go but that's Benet Carroll and

Mickey Grant and the Bradford and the Bradford singers and all of that I hadn't read those reviews until maybe a couple years ago. Oh man. Right, I wish I had an age. You were in Pearly before that.

Oh, that was it when I left Ailey in 70 I opened on Broadway. And there's the one at Melbourne Moore won the Tony Ford. And Clevon Little as well. Okay. How did you get that audition in? Well, Lewis, you know, like this frustration of trying to be a leader

and guide people and so forth, you know, kind of came to a head when we were working with Hugh Massacilla with Massacilla, with Masacila, with Alvin Ailey. That was a piece that Alvin did. It's the piece I left on. I left in 69 and 70. I opened with Pearly, but that was my last season. And I danced the like Stephen B. Go role.

But I had read about all of this. You know, news is going around. Where are you getting your inspiration from? The people. You know what I mean? So it's, you know, when they say, oh, I'm on remake the Wiz, then remake it. Don't fuck around with it.

Remake it. You know what I mean? Don't play it. You are different people. You are living in this century, in this decade. This is your time. And then, you know, that was what, you know, I'm sitting up here. How old is everybody in this room?

Oh, all right. We can do that. We can do that. All right. I'm 53. I'm 43. God damn, I'm 10 years old than you? I'm 45.

40. Oh, me. A 46. 46. Min is 20. I'm 40. M 78. Okay.

Okay. You are a phone. That's a lot. Wow. Okay. So it's like all of that. So I've lived this life in real time. So all of the changes.

I saw all of them get shot and murdered because I live right there in D.C. You know? And that was in a row. D.C. was something. This is Margaret Mitchell. I'm seeing this is the background. I'm growing up in that, trying to go to how. You know, they're drafting people for the Vietnam War, the people, you know.

It was a time. It was a time. Who were your contemporaries around this time? Like, who else? I was young. I didn't. No, but not you. Like, who else of Newt was in your circle as far as, like, legendary dancers that we might

have heard of? That was. Who are you hanging with? The new children. The last of the new children. You know, Elio Parmari. But Elio was a choreographer. great choreographer too.

All those people in, I was trailing the Ailey Company. See, I was born in between. There was nothing behind me. You know what I mean? There was nothing behind me. So I had to keep moving forward. So that's how, you know,

and then I would be leading people. They weren't going. Where were they going? I scooped up Debbie Allen. Yes, he scooped with Michael Peters. And all of the, Michael Peters. And he was my roommate with Ailey. Before 1975 comes and, you know, your 30th comes, what was your end game, your dream or your destination that you wanted to establish yourself?

Well, I was being pushed. I started as a dancer and then I started dancing between shows at Pearlie, you know, working out a few things. I had gone to Africa and to all of those countries with Ailey doing 67. was in Israel six days after the six day war. All of that was happening. And we were teaching people. So you didn't look at it like that. You didn't look at like, you know, in 20 years I'm going to be, I want to do this. I want to be here.

No, but that was like 10 years after that. And then I left Ailey and. How many years did you do Ailey? Three. And how? And that started in 67. 66. Would you say that's probably the most difficult, rigorous training that you've done?

No, it was before that because I didn't, you know, when I first went, I did tell you that the Arthur Mitchell Company was disbanded because we didn't go. And since Alvin was, I went to meet Alvin, he was already in Europe. So the state department decided to send him to Senegal because it was easier for, for them and also then I was left on the street I couldn't and didn't want to go back

you can't go back home not to D.C. Not to face those people and not the Howard players I don't know every day and night of ridicule. I had already appeared in the Jet magazine

with Lauren McCall and the APO and all of the papers how could my mother would say oh the star is born My son is so strong. So I had all of that.

So I couldn't go back to D.C. So, you know, you buckle down, and that's where the rigor really happened. With them, all of those choreographers that were at the Y, that's Thelma Hill, Charles Moore, Jimmy Truitt, Pepsi Bethel, all of them. Can you talk about the impact that going to Africa for the first time had when you? I found out how small I was. how infinitesically small we are and nothing. And because I was nothing, I had to do something about that. We flew over the Kilimanjaro, Mount Kilimanjaro a couple times.

You know, in the plane, you could look down, look in the crater. You know, Victoria Falls, I'm talking about going all the way to Madagascar. So I didn't even know that I had been there until I saw Walt Disney. and the lemur I was saying that's where it was in Madagascar. You know what I mean?

And there they were you know crawling around and we did that and then they had Lagasino like this long and I mean 12 inches long I mean they're big as a lobster

I was right oh delicious and food and then you know on the banks in Tanzania that's Dar Salam On the banks, they had a campfire. They built a huge campfire, and the natives were dancing.

Oh, I can dance with them. But, you know, there's a rhythm. I discovered, you know, how it's circular. You don't know how long it is, but you begin to recognize when you jump into it, how the cycle ultimately comes back around. and how you recognize that. What is that, what is that, you know, in Polly rhythm?

It has to do with understanding the rhythm. So did you bring all of that into your dance once you were finished with that trip? Well, my first ballet is in the Smithsonian, the gazelle. Because I had seen them. Yeah, I had seen them, you know, in the camp. What is that? On the reserve, on the reserve, you know, going down a hill.

And they moved in like almost a chain kind of thing. And that's where I got the movement for the gazelle and so forth. And so that became the prelude to a ballet that I later did called slaves. It was the hunters become the hunted. And so the Maasai were out hunting and they captured the gazelle. And we took it back to the village and so forth. And then you hear shots in the distance. And my sire are the ones that do the leap too, right?

Right, straight up. Yeah, yeah. So did you use any? No. No. I had technique. A win is a win. A win is a win.

I don't care what I'm saying. Yep, that's me. Clever 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 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. I'm John Green. You may know me as the author of The Fault and Our Stars.

And now, I guess also is the co-host of The Away End, a brand new world soccer. 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 there most loyal and sometimes only fan. I love this game.

I love its history, its hope, its 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. On a recent episode of the podcast, Money and Wealth with John Hobrient, I sit down with Tiffany the budgetista Aliche to talk about what it really takes to take control of your money. What would that look like in our families if everyone was able to pass on wealth to the people

when they're no longer here? We break down budgeting, financial discipline, and how to build real wealth, starting with the mindset shifts. Too many of us were never, ever taught. Financial education is not always about, like, I'm going to get rich. That's great. It's about creating an atmosphere for you to be able to take care of yourself. and leave a strong financial legacy for your family.

If you've ever felt you didn't get the memo on money, this conversation is for you to hear more. Listen to Money and Wealth with John O'Brien from the Black Effect Network on the I'd Heart Radio app, Apple Podcasts, or wherever you get your podcast. American soccer is about to explode. The World Cup is coming. Ramos sending on the only store at the chip.

I'm Tad Ramos. I'm Tom Bo. On our podcast, Inside American Soccer, you'll get the real storylines. I'm not worried about Policic. I'm not worried about Balagan. I'm not worried about McKinney. My only concern is what happens in the back. The biggest decisions. If you're going to look at stats and numbers, he has no shot at making this World Cup team.

And the truth about the U.S. national team. It wouldn't be a huge surprise if our team ends up in the quarterfinals or potentially a great run into the semifinals. The World Cup is almost here. Experience it all with us. Listen to Inside American Soccer with Tom Bogart and Tab Ramos on the IHeart Radio app, Apple Podcasts, wherever you get your podcast. Hey, Ernest, what's up? Look, money is something we all deal with,

but financial literacy is what helps turn income into real wealth. On each episode of the podcast, Earn Your Leisure, we break down the conversations you need to understand money, investing, and entrepreneurship. From stocks and real estate to credit, business, and generational wealth, we translate complex financial topics into real conversations everyone can understand. Because the truth is, most people will never taught how money really works. But once you understand the system, you can start to build within it.

That means ownership, smarter investing, and creating opportunities not just for yourself, but for the next generation. If you want to learn how to build wealth, understand the markets, and think like an owner, earn your leisure is the podcast for you. Listen to Earn Your Leisure on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Having dealt with choreographers in the post-90s, you know, oftentimes they'll come to the site where musicians are and they'll record it now. You know, people just take out their phones and record whatever. But how are you able to thoroughly absorb?

the pieces that you have to choreograph, if there isn't a Walkman or an iPhone or some sort of device that tells you what the music is, because I know people that just listen to music and see, all right, where does it take me? Take them. Where were you? See, I work with Yusef Latif and all of them.

Yeah, but his band's not set up in your living room playing live. No, but we used to have radio, and that was WBLS, and WLIB and all those jazz stations that played all of these artists that didn't get any kind of stage. And all of that, that music was epic enough for me to set the drama to it. You know, but we have to take the lead from what you're playing. You know, the music is kind of first as far as that. And what you, not what you were thinking of, but what,

universally is that. You give it a name. You give it, you know, you've done some. You're a composer. You know, you start with the... Were there cassettes out back then? Like, how are you able to listen back and forth? Rewind, listen to that part.

When this change comes... In some, in some instances you could buy it. We had colony. We had all of those things where you were working with vinyl. See, I'm from that. I can get that music. All of those artists were on those labels. Most of the artists I worked with had that music.

They weren't, Earth, Wind and Fire, we're not going to put fantasy on that in the show. What? No, but that's choreographical. That is music. Not everything can you put a dance to, this is not TikTok. You know what I mean? It's not that.

I just want to know generally when someone to ask you to put a piece together for them, what's your creative process in figuring out what it is that you want them to do? It's what they said. I did Asher and Simpson. That's all romantic. They had mics with cords and stuff like that. So I had to grab the cord. I had to wrap them up in those loving embraces and unwrapped them too.

So you didn't notice that. No, no. I know that they're very theatrical when they're going. No, but I'm saying no, and falling in their arms and they are groaning and doing all that stuff. Yeah, but what I'm saying is before you get to that place, I'm certain that you have to sit with the music and absorb it and listen. But remember, I studied the French horn and the trumpet. I could count. I could read music too.

So it's not, they come, they don't even know what you're talking about. They dance right through the bridge or they don't even recognize the bridge as some sort of release or anything like that. And then you're coming up to another chorus and then they'll start their routine over again. But that's another level of what you're trying to express. And you learned it in that shorthand when you do those little rock and roll records. You know, like you got the intro, you got the first, first, second chorus, bridge. you know, verse, bridge, and out. That's a form.

That is technique. How did all this experience and knowledge funnel into what you did with the whiz? Well, I had everything. I went to different lands. That's a great question. Thank you. I went to, right, thank you.

Thank you. No, you had munchkin land. They had to be, you had dancing crows. I thought of Gladys Knight and the Pips. Right. Ah. Okay, now everybody breathed. Damn, I had to hook it on to something.

Jesus. You know, you understand what I mean? I do. And that's why it lives today. At the time when Charlie Smalls is approaching you about his redoing of the Wizard of Oz, are you thinking like, you're crazy? This will never fly or? No.

Yes, I long for that. No, but I imagine. But I imagine myself in everything that I saw that you grew up with. Anybody grew up here. The Filipino, Chinese, anybody. So this is what you saw when you saw The Wizard of Oz. Yes. We loved your.

Judy Garland was ours. Mm-hmm. Yeah. I don't know. We don't know that. It was like, yeah, this is great. Yeah. Judy is in our family.

Yeah. Right. And all those other scary monsters were out there. Scary monsters. Do you know what I mean? No, I was good. It was right. Isn't it America?

Don't I own that? Do you remember those first creative moments of the whiz like that? Like the impetus like that? No, no, no, no. We were going through it together. And I changed it every night until it got right. Wait, what? George.

Oh, no, they brought me. They tried to bring the dances. They got mad. They had a meeting with me. What? You don't look good or you don't sound good. You fucked up that goddamn. that solo that you were supposed to be.

And you're acting like if you're being the boss or the conductor, you would call him on that. That wasn't right. Let's go back. So who's in the room? Can you set the scene? Because I mean, I know. Nobody's in the room.

Me and the dancing. This is in air. Where does the music come? It's in the air. Come on. Did you have to also tell Charlie that when it came to some of the songs or... That it didn't work? Yes.

Yes. That's why I'm still collecting royalties. Right, because you actually added to one of the songs. on the whiz, right? No, he said what he thought was going to pass for Emerald City. I said, no. I can't, this sounds like a dirge. We're coming into sparkling Emerald City.

So it had to be, ding, da, ding, da, ding, do. And then a pop of fans and the ladies in Chafon and moving like, and moving like that. Come on. We're in Emerald City. Storytelling. That's a certain story. That's why they can't get by it.

And, George, were you, you were in. involved in the play and the movie Diana Ross? No. Okay. So then can you tell people, because people don't realize too that there was differences between the stage and the movie. They had no tornado. That was the woman that's the

emblem on the cover. That's the tattoo. This is what I have. This is the tornado. That I was like, that's a tornado? That's the tornado. Let me tell you how that came about. I wasn't really satisfied with where he was going. And I needed something that would really do the terror of the tornado.

So, you know, we started out there, doom, doom. We were through a lot of tapes, you know. You know Harold Wheeler. I know the name, yes. Yeah, Harold Wheeler was, I went to, I was at Howard with, and he was the orchestrator. Right. and they didn't know I had this younger guy that I'm Timothy Graffin Reed who actually did the dance arrangements.

They said, well, we have had. I said, I want this guy. So I was taking on all of that because they had all it all planned. Charlie Coleman was going to be the conductor and Harrow Wheeler was going to be. They said, no, no, I got my man here. I didn't know. that you couldn't do that or I was crossing boundaries already. And he is an unknown. And we got in there and we did the tornado. You know, like... How does she come in? I don't even remember.

From the side, after the girls with the umbrellas and I stirred it up with the guides. You know what I mean? Do-da-da-da-da-da-da-da-da-da-da-da-dum-boom-boom-boom-boom. And he floated some eerie kind of music over that. And then there we were in a storm. So wait, do you feel like, because most of us, most people have not seen the production that you put together in that way, right? The Stephanie Mills original production.

So most people have seen the movie with, so do you feel like the choreography? But that was mundane. That's not magic. So you're saying, so it wasn't even influenced by you in that way. We're going to roll down linoleum all night, yellow linoleum. What were we going to do? No. We had the guides, those guides.

became the Yellow Brick Road. So I could dance all over the stage and they had to follow it. And the audience said, we had those big Afro, yellow afros and the tails that were, you know. So how did y'all do the scene and the play? Like, for instance, it was so large in the movie

when they did, it went to Emerald City and of course the whole red, gold, green, gold, gold, and red, that was a part of the play as well. No, no, no, no. That's what I'm trying to figure out, because I saw it as a very young girl. I was so little. So we did a doubt.

Well, you saw the 80 revival version, right? I saw the Stephanie Mills. Right, but she came back in 81, 82. Yeah, that's when I probably saw it. Right. I saw the 77 version. No, but I forget, so I'm trying to remember. It was all green.

You were in Emerald City. Wait, she has a whiz tattoo on her shoulder. No, no, no, no. Well, that's for different reasons. It's silver. Yeah, my whiz tattoo is because Charlie wrote these songs, and these songs still translated from the play to the movie. If we remember.

in the much talked about but extremely defunct Quincey Jones episode when he started introducing us to the alpha, whatever, 1 a.m. thing. Someone told Sidney like, dude, you don't have a big dance number for

Emerald City and so they had to that whole gold, red, yellow thing was a last minute addition to and that so you didn't have an Emerald City and we were just in green and it had to be fierce and it had to be sparkling and That's why, ding-da-ding-de-de-de.

It's just magical, you know, to start with. And you needed something like that. Charlie came through a dirge of some sort. We were collaborating. You understand what I mean? So I had to win him over to that, and he had to see that. And it had to change all of that. And then they had characters.

You know, they were snooty and all of that. And Jeffrey put all kinds of things, and then he put traps. I mean, getting back to Broadway, was a bitch. No. We were 42nd Street, for real. The Blackbird version of 42nd Street is the whiz. You know, traps in costumes and shit.

Traps? I don't understand. What are you talking about? You traps. No, I'm my, if my leg has to go up higher, why? You stitched? No, I found, I discovered. I did.

Sherlock. Yeah. Sherlock discovered. And I had to have all of that. taken out of those costs. I was like, why aren't they moving, like, in a certain way? Are you referring to the Jeffrey Holder beef? Is this how this happens?

That's what, no, but that's, that was the business. I mean, yeah, no, I was standing my ground. But see, I had been a dancer in front of them. Everybody's older than me. It's like. Who were you to tell me what to do? Yeah, yeah. But I had cut it before he could come back.

And they ought, I only gauge anything to everything. I can only gauge everything by applause. How loud the applause was not that hitting the note, just got to hit the note. But I'm talking about the dancing. So are we basically hearing that there was a sort of battle of the control between him and Jeffrey in terms of... Well, the producer didn't want to put all the power in one person's hands.

And I'm confused about Jeffrey Holder's role in that way, because Jeffrey Holder at the time, what was his role? Jeffrey walked out on the first day of... rehearsal because he wasn't going to be the director. Oh. No, no, he was just, he was just. No, no, he did the costumes.

We went out on the road. Wait, the Jeffrey Holder? The, yeah. Is there another one? Oh, no, I just. The colon, not. Here's the thing. I knew of Jeffrey Holder as an actor because I saw Annie first.

We got to have him. And then my mom was like, no, man, he was a quiet. I was like, wait. This guy can dance. This big guy can do that? I did not know. He was from Trinidad. He did Barron Sandy, you know, the island guy, half white, half black, you know.

He was in one of the 007. Yeah, I was a Von movie. He was a Von. James Bond. He was a Von character. But that was his acting side. Oh, no, he did dance. He did great pieces like Dougler for the dance theater of Harlem and his own company.

He did prodigal prince, which was about the past. painter and I was in the chorus. And I was, right, right. So why he doing costumes and you doing choreography? Because the guy hired me after they saw Sweet Otis in the park in Delacourt. And they came up to me and asked me what I do this piece called The Whiz. And it was the black version of the Wizard of Oz and so forth and so on. And I said, when you get the money, call me.

That part. And that part. And because I had a dance company. And I didn't know I was going to do that. I didn't know it was going to be, you know, but I put my best foot forward. I did the best that I could for the piece. I was serving the piece. It's not like that, what you say, you come in with a, they come in with a microphone.

It takes more. You got to go to books. You got to do some research. You got to do all of that. How was it teaching Stephanie to dance? You have that beautiful picture. Stephanie could dance. She was a kid, 15 years.

Yeah, that's racist. Right. And Hinton Battle was a train ballet dancer that I found on the street at 85th Street. Hidden Battle was the scarecrow? Yeah, he was the scarecrow. He just died not two, a couple weeks after Cheetah. Cheetah died too. Yeah.

Yeah. Right. So all of that went on. So Jeffrey wasn't going to be the director. And Gilbert Moses, who did, ain't supposed to die. a natural dad and worked by NEC, Negro Ensemble Company, was gonna be the director. Jeffrey walked out, I'll see you in Baltimore,

and he came with the costumes and all of that. And that was a nightmare because, you know, we hadn't, nobody had tried on anything, and then he made the Yellow Brick Road again with trying to make the road, you know, and so they, the, tails were like dragging the floor and I'm saying how could you let $15 a yard silk and fit like that dragged the floor I'm feeling like that

that's that's not gonna last eight shows and then I have to put another step in there to keep the tails out so I had them put it over their arm and carry like that and cut them the excess off and that's how we got that costume just like we cut their first costume. A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me,

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

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

So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or we're you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok podcast network on TikTok. 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. On a recent episode of the podcast, Money and Wealth with John Hobriant, I sit down with Tiffany the budgetista Aliche to talk about what it really takes to take control of your money. What would that look like in our families if everyone was able to pass on wealth to the people when they're no longer here? We break down budgeting, financial discipline, and how to build real wealth starting with. with the mindset shifts, too many of us were never, ever taught. Financial education is not always about, like, I'm going to get rich. That's great. It's about creating an atmosphere for you to be able to take care of yourself

and leave a strong financial legacy for your family. If you've ever felt you didn't get the memo on money, this conversation is for you to hear more. Listen to Money and Wealth with John O'Brien from the Black Effect Network on on the I'd Heart Radio app, Apple Podcasts, or wherever you get your podcast. Will Ferrell's Big Money Players and IHeart Podcasts presents soccer moms. So I'm Leanne. This is my best friend Janet. And we have been joined at the hips since high school.

Absolutely. Now a redacted amount of years later, we're still joined at the hip. Just a little bit bigger hips, wider. This is a podcast. We're recording it as we tailgate our youth soccer games in the back of my Honda Odyssey. With all the snacks and drinks. Sidebar. Why did you get hard seltzer instead of beer? Oh, they had a bogo. Well, then you got it.

Do you want a white collar or something here? Just take it. Oh, what are y'all doing? Microphones? Are you making a rap album? Oh, I would. Come on. Could you put? I would buy it. Cuts through the defense like a hot knife through sponge cake. That sounds delicious. Oh, you're lucky. I'm not a drug addict. You're lucky. I'm not an alcoholic. You are.

You are. I'm not a killer. I love this team, and I'm really trying to be a figure in their lives that they can rely on. Listen to soccer moms on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. American soccer is about to explode. The World Cup is coming. Ramos sending on the only score at the chip.

I'm Tad Ramos. I'm Tom Boke. On our podcast, inside American soccer, you'll get the real storylines. I'm not worried about Policic. I'm not worried about Balligan. I'm not worried about McKinney. My only concern is what happens in the back. The biggest decisions.

If you're going to look at stats and numbers, he has no shot at making this World Cup team. And the truth about the U.S. national team. It wouldn't be a huge surprise if our team ends up in the quarterfinals or potentially a great run into the semifinals. The World Cup is almost here. Experience it all with us. Listen, Inside American Soccer with Tom Bogart and Tabramos

on the iHeart radio app, Apple Podcasts, wherever you get your podcast. So with all the hoopla over the whiz, and of course, I can't even convey to our audience how much of a force. I mean, the Wiz was, the Wiz's run in 1975 to 77. The first two-year period, I meant to me, maybe the whole hoopla over Hamilton, like you couldn't get tickets, none of that stuff. maybe for this generation if you had an opportunity to see Beyonce's homecoming in the flesh

that's what it was like to see the whiz back in the mid-seventies like when it and yeah we saw twice as like even I barely remember it was like five or six but I still just remember

everyone's reaction to it and it was nothing like I ever seen before with all the hoopla with all the celebrities I remember I think Michael Jackson came to see it like at least six times, I believe, where he said in an interview, he kept coming night after night after night to night to see it. How did it feel to see something at that magnitude

really hit the heart? Yeah, the target and all the subsequent Tonys and all the... It was really unbelievable to have, you know, that happen, to experience all that. But also it's a personal journey. too because we all land. And I remember a stage manager saying to me when all of this turmoil was going on, just do your job. Just do your piece. And that's what I did. And did it the best that I could. I know some people didn't like it because I changed it. And you had to change the

arrangement too. And the copyist were sitting in a hotel room copying it. That's why I was asking the question about music and choreography. Like if you have to change something. Right, but we were making this up. Okay. This, you know, and then you tell how weiller that, okay, it's so many bars, 64 bars or 32 or in those increments so that we could keep track. of what we, technique. It's all down to that. Not what you hear and what you feel. You know, all of that.

You make all of that. So this obviously leads to you getting a lot more work with the professional world of musicians. So who was your first client in terms of like, hey, can you stage art show like that? Ashran Simpson. Okay. You do the video too?

All of them. like solid? No, this is like... Before solid? Way before solid. Everything, yeah. Asper Rums Simpson was in this... Everything.

Okay. For 30 years, I keep telling vows. You should give me a royalty. We need now. Oh, so when they're like looking at each other... I'm right. And then they walk away from each other and y'all would applaud and I told them how to do that. That's you.

And that's me. Right. And there's, you know, that groaning one where they had like... It seems to hang on. Yes. Loose me. Loose me. Yes.

Yes. Yes. I got to the rest. I can't understand. Right. And I told you to walk over here and do this. And the audience is going to a blog. They didn't believe me.

Oh, no. And the audience went crazy. And I said, no. And then you go over here. See, I didn't think like that took. I just thought that was this, their natural chemistry as husband and wife. But that's how it was supposed to be. And that's how it was supposed to look with Earth and Fire.

I mean, that's, you don't change, you use what the person has. So when do you enter the Earth Wouldn't Fire spear? What year? 76, 77. Oh, God. So you're here for all in all. Yeah. I saw the Philadelphia show in which.

Yeah, the tubes came down. The tubes. Came down. One of them couldn't get out of the tube in Philadelphia. for you. Then all 10 of them on the front line wanted, we had one trick

where they all came out in suits that you, suits, and they all wanted them to rip off and disappear. And there they were. Oh no, we had that trick. So how did you work? But if it, you know,

but if it, you know, you got dates and things to make and if it doesn't work, you know, we got them there. Yeah. But it's, he all not. I kind of want to go up in the pyramid. In the pyramid.

Then the pyramid takes off and then it explodes and they're not there. And then Burdine. How about to hear? Please. One to 11th is some Burdine story. No, Verdeen is really enthusiastic.

And he has a spirit. Call me three times in this interview already. Shut up. Yes. What? We owe him. He's calling him here. I said, we owe him here.

Yeah. Are you? working with Doug Henning and or Copperfield at this point? Who was first? Doug Henning or Coppheel? Okay. So Copperfield was his apprentice? No, just separate.

Okay, so Henning was first. Because that were different tricks. Yeah, but this is like unheard of. Are that about magic for real? Well, yeah, David Copperfield and Doug Henning first got their start. Oh, the magicians. Oh, my. Okay.

Yeah, like Maurice White. Maurice. playing. Yeah, like they recover. He said they would leave them with me. So basically, Maurice wanted to figure out how to really introduce metaphysics

to the black audience, make them believe in magic. So, but literally, that's how the Jackson is like, they would be in the audience, like, taking notes. We want to levitate. It started with Verdeen was floating first. Are you kidding? I didn't realize all that. Yes.

Well, you were there. You helped facilitate it. I know, but you're giving me information that I didn't have. I didn't know that were they. Welcome to Quest. The Pleks. Marys' whole plan was through the music and through the presentation to introduce metaphysics. And he figured magic tricks are a surefire way. Like, you know, watch the birdie.

Like that sort of thing. And it worked. So he sounded like a puppet man. First, Verdeen started levitating in the air and all that stuff. And then it went further. Then I saw them after. after, I didn't work on that show. Okay.

Because they had, it was sparse, but I worked on all of the subsequent. Well, you worked on the first show that they stepped their game up and did this presentation. And how long did you stay with them? Weeks. Yeah. But I'm in like project to project. Oh, then I went on tour. We went to Egypt. We went to Paris.

Wow. We went to, we played with Nassimento in Brazil. Oh, Nassimto, yeah. Right. All of that. Really? Wow. What are some of your favorite dances, like, or styles of dance, like tango or the salsa or whatever? Yeah.

You know, I did the Josephine Baker story with it. But, you know, it takes a little bit of time. You've got to have all the time to learn them for real, you know, like. But what's your most fun? Like, did you have really, you had a good time doing? Like, if you go out to a club and your song, come on, what are you doing? Oh, no. What am I doing?

I'm doing what the people are doing. Oh, no, I can clear the floor. Oh, still? Oh, no, still. Okay, all right. No, when I went to Brazil, you know, you go to, you know, the club. I work with Fannie Mickey down there in Colombia. She had the international theater down there, and I did a step with them.

But then they would go out to the clubs at night, and people are just dancing. And then they'd back in some of the club, the people are playing salsa club. up here and stuff like that. I just jumped in there with them. And then the crowd happens. When you're doing it, when we are doing it, we're not showing off when we are doing it. And you love it and you're in it and you can feel it.

Ain't nothing like it. You ever been to the Latin Quarter? Yeah. Right, no. The original Latin Quarter. the back when not when the rapists was there not when the rappers was there

yeah no he ain't about that life no for a lot of us that are into that have the knowledge of at least my knowledge of this really came because I'm an

MTV generation person so watching those Michael Jackson Michael Peters videos then I was like oh choreograph and then you know I realized like okay

this is a Gene Kelly reference or Fred Astaire reference or whatever But what was your feeling towards that whole, like, early 80s rush for? Now everybody wants choreography in their videos and all of it. Well, if you remember, Michael Jackson was the first one to have that. So that left Stevie, Maurice, and all of them feeling left out.

See, MTV was not creative for you. Yeah. Okay, you got to remember that. Michael Jackson broke that color line. Okay, so, you know, that's how we weren't. So you got to, you know, embrace all of that. So, yes, and that sparked a whole lot of, it stepped everybody's game up, you know, to want to, you know, do that. Or to be recognized that.

MTV was all over. That was around the world, all over the world. But for you, like, did you see it as, like, finally the world's opening up? Oh, no, no, no. I was different. I did something else. I work with the artists. It's what they do.

It's what you do. No, we'd still be, you know, working on a combination that I could give Maurice. No, they had their own sexiness. They had their own moves. You just work on that. So their own grooves, you work on that person. And, yeah, why fight that? And then you could use his sexiness.

you know, serpentine fire and all of that. And then the music. Then the music. Yeah, that was his movie. Oh, come on. The Phoenix horn. I mean, I have never in my life heard anything as great as them and the rhythms that they were, you know, playing.

That was, it was magic. It was just like, you know, Aretha Franklin here and her sing or all of that. If you took them separate and apart, Phil Collins tried to take them up, take them on. We know. I know. I know.

So, you know, that was all of that. But, no, but that's what he was doing. And then he was already a fantastic drummer. Right. You know, from Ramsey Lewis. But, you know, I think that the great thing was that I had Miles Davis. See, I started with Miles Davis. I started with Miles when I'm my, one of my first.

How do you couriers? Yeah, how do you do miles? The fusion. When he, with Joe Zavinole, all of that, when they were breaking into the fusion. Business brewing on the corner. Yeah, no, I'm listening. You got to listen. I'm listening.

You know, like you got to, and you got to find your way in there. You know, I did a piece, not with Miles on stage, but I did a piece that I used his music. Oh, okay. I see. which I did poppy, you know, the drug, you know, heroin. Oh, okay, yeah, yeah. And that was the street. And so I became, I became the character.

Oh, you personified. I was personified it with my, with his, with his music. Now I'd like to really do it and then get one of these hip-hop freaks to really. Don't call it. Oh, no. Oh, no. But I'm saying, but I need to, you need to get all of that. All of that.

because they're thinking that, they're feeling that, but they don't have a narrative. Yeah, I really wish you and, I wish that you and, like, Fatima knew each other because who knew that y'all had such parallel stories and the fact that y'all are both kind of, y'all self-taught. You know what I'm talking about? You know what I've gone to school.

Alvin Ailey. You're not, no, I'm talking about way back then. I'm talking about before when you started in D.C. That's what I was talking about. We were probably raw. Yes, yes, yes, yes, that's what I'm at. Yeah, yeah. But you got to continue to go to school.

Yes. Oh, well, then maybe you and Fatima, to me later then. We know for each other. Y'all know each other? Yeah. Okay, good. Right, we're good.

You know, she know everybody. So before we wrap, could you tell me what it was like to choreograph the inauguration of 91 of the Clinton White House? I'm a director and a choreographer. Okay. That was all history. And what I had to do was bring all that together. Bring a through line. So there was either a Dorothy Haidt that went through all of them.

I'm talking about from the women not being able to speak in 1963 all the way. They're still struggling. You know, when you look at it now, you know, that story and that all of that takes over even now. So whatever struggle they had, it was integration, it was so forth. the men fighting, you know, Wilkins fighting Stokely Carmichael over what they were going to do. All of that is part of that. You know, so all I have to do is just follow that trail. And then, you know, we used to substitute, you know, whenever you did a white person, you had a white mask or something like that.

No, take off the mask. Everybody's going to do their part. It's an inauguration, too? No, no, yeah. We had songs about protests and then we don't want them in here. We had the flag when the flag, you know, I have three big Confederate flags and they sang that song in front of them. You know how you reacted, and that's what I wanted.

You're a provocateur, I get it. And then there so had to be the sheriff that sang the song. So, you know, you got what it was, the struggle. the confrontation, all of that. And then we could have those moments, we shall overcome and all of those other things. But why were we singing all of that? Why were we doing that?

There was a purpose. And there was a purpose for that show. You know, so what are we doing? You know, like I think that we will find ourselves, you know, where we should be if we stopped denying the truth. and sharing the truth. Okay, all of these are periods that we are going through. And what we're going through right now, the reintroduction.

This is, what is this? This is a retelling of something that we had overcome, that we had been past. All it, we still have to come together. We still have to share all of these wonderful things that we have. You know what I mean? The technology and so forth. Our kids are sitting over there with computers that can't work, but there is so much that's beyond that, you know, other people can teach you. We are there.

You know, and I did, I have a piece that I'm doing with AI, and I have Gandhi telling his story. But I have Cutter and all of the techniques, you know, the dance techniques, opposing the British tap dancing. and the other people are doing cutter and stuff like that. I want to go there. That's where we are. You know, and we are vamping right now. Why are we going back to the whiz? We are celebrating.

No, no, you're not going to have a memory over there. We're celebrating. I don't know what kind of memory you're going to be. See, how do we get? We were so in a positive face. I mean, part of the human experience is looking ahead and occasionally looking in the rear of your mirror. Occasionally.

This is 50 years. years ago. Just have all that an antique and all that. Let me have some memories. I went like a nice documentary at some point though like between the original play and the movie. I think that would be dope if I haven't missed that already. You haven't missed that. That's what that's what you could do. That's what you could do that. Another thing on the back of West love. I'm done. You're not done. I'm sure done. I was there with the first movie in that crowd. Yeah, they used to dance on that stage. Right? You were in the Harlem. Crossman. Really?

That was how you at. That's when they were doing it. Equal opportunity. You know, all of that. Wait, you were in the park as a spectator? Because there were dance troops there that we had to drop out, cut out the film. But I thought you were about to tell me

that you were one of the dancers. I was like, oh, God. On the stage in Mount Morris. You are a burst of energy and education in history. and I thank you for doing our podcast with us. Somebody do this documentary. Thank you guys.

We were going to do all this. Right. Wow. This is amazing. Actually, I was going to play the fanfare theme because he... The fanfare thing. The way you were speaking about our history and everything, I just felt like I needed a diploma after that.

A lot of names. I brought there. But, yeah, on behalf of Unpaid Bill and Sugarsteefe, Steve and Ponziolo and Laia, But thank you, Brother Payzon, for doing this for us, and we appreciate you in your art. And this is Questlove Supreme. We'll see you next week. This is Sugar Steve.

Thank you for listening to Questlove Supreme. This podcast is hosted by Amir Questlove Thompson, Laia St. Clair, Fonta, Colman, Sugar Steve Mandel, and Unpaid Bill Sherman. The executive producers are Amir Questlove Thompson, Sean G, and Brian Calhoun. Produced by Brittany Benjamin, Jake Payne, and Laia St. Clair. edited by Alex Conroy Produced for IHeart by Noel Brown What's Love Supreme is a production of IHart Radio.

For more podcasts from IHart Radio, visit the IHart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care what 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 Clifford Show. This is a place for raw unfilled conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it.

Listen to The Clifford Show on the 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. 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. Hey there, folks, Amy Robach and T.J. Holmes here. And we know there is a lot of news coming at you these days. days from the war with Iran to the ongoing Epstein fallout, government shutdowns, high-profile

trials, and what the hell is that Blake lively thing about anyway? We are on it every day, all day. Follow us, Amy and TJ for news updates throughout the day. Listen to Amy and TJ on the IHeart radio app, Apple Podcasts, or wherever you listen to podcasts. It's Financial Literacy Month, and the podcast Eating While Broke is bringing real conversations about money, growth, and building your future. This month, hear from time. Top streamer, Zoe Spencer, and venture capitalist Lakeisha Landrum-Pierre, as they share their journeys from starting out to leveling up. There's an economic component to communities thriving.

If there's not enough money and entrepreneurship happening in communities, they fail. Listen to Eating While Broke from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. On a recent episode of the podcast Money and Wealth with John Hope Bryant, I sit down with Tiffany the budgetista Aliche. to talk about what it really takes to take control of your money. What would that look like in our families if everyone was able to pass on wealth to the people when they're no longer here?

We break down budgeting, financial discipline, and how to build real wealth, starting with the mindset shifts. Too many of us were never, ever taught. If you've ever felt you didn't get the memo on money, this conversation is for you to hear more. Listen to Money and Wealth with John Hope Bryant from the Black Effect Network on the I'd Heart Radio app, Apple Podcasts, or wherever you get your podcast. This is an IHeart podcast, guaranteed human.