The Questlove Show - Questlove Supreme: Lisa Cortés Part 2

Episode Date: May 31, 2023

Part 2 of the Questlove Supreme in-studio discussion with award-winning filmmaker and former record executive Lisa Cortés. Lisa recalls her career pivot from being a music executive with dreams of singing to becoming a filmmaker who learned every step of the process. After discussing working on Monster's Ball and Precious, Lisa opens up about his newest project, Little Richard: I Am Everything. Team Supreme and Lisa discuss Little Richard as a trailblazer, a pioneer, and a complex legend.See omnystudio.com/listener for privacy information.

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

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

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

the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. I'm Daniel Alarcon. And this is my friend, is much more famous than I am. I wouldn't go that far. But I'm John Green, co-hosted the podcast The Away End with my old friend Daniel. On our podcast, The Away End, we'll share with you the magic of international football, all leading up to the 2026 World Cup. Together, we'll find out why, of all the unimportant things, football, soccer, is the most important.

Listen to The Away End with Daniel Auerkone and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This financial literacy month, we are talking about the one investment most people ignore, building a business around the life you actually want. It was just us. Making happen whatever he said was going to happen and then it happened. On Those Amigos, entrepreneurs like America Sam and Joe Huff get real about money, taking risk, and while your dream might be the smartest move.

At the end of my life, what am I really going to care about? And the conclusion I came to is what I did to make the world a better place in whatever way. Listen to those amigos on the IHare Radio app, Apple Podcast, or wherever you get your podcast. On the Ceno Show podcast, each episode invites you into a raw, unfiltered conversation. about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon Danny Trail, talk about addiction, transformation, and the power of second chances. The entire season two is now available to bench,

featuring powerful conversations with the guests like Tiffany Addish, Johnny Knoxville, and more. I'm an alcoholic. And without this probe, I'm going to die. Listen to the Cino show on the IHart Radio app, Apple Podcast, or wherever you get your podcast. Questlove Supreme is a production of IHeart Radio. Yo, yo, what up, y'all? This is Fonte, Fonte dello, and we are back with part two of our New York City in-studio interview

with filmmaker, music executive, and all-around wonderful human being Lisa Cortez. In this episode, we're going to talk about her new documentary, Little Richard, I Am Everything, which you should definitely check out, this is a great film, and it is available on YouTube, Amazon Prime, wherever you went, wherever you stream. Also, please listen to Part 1, where Lisa talks about growing up, her early musical memories, and also working at Def Jam Records at a very crucial time in this history. We love this combo, and we hope y'all do too.

All right? It's Quest Love Supreme. Peace. I always wanted to know, since you were there, around like 89, 90, post-terodome, post-Griff interview, there was like a really scary period

where, like, some of us thought, like, Def Jam was about to shut down during the entire, you know, Griff interview, public enemy thing, I remember seeing Chuck on entertainment tonight, I think, with tape over his mouth or had a, like, he sat for an interview, but then, like, I'm not giving any comment or whatever. How weird was that period? Like, were you guys the type to embrace a controversy? Was it sort of like, oh, damn, the JDL might shut us down or that sort of thing?

Or did Leor have to sort of get in front of the bullet? I think Leor did his thing. Okay. I think Bill Adler has always been an important strategist in telling the, you know, the. true story of the artists and where they were coming from. Bill was a great interpreter who could call a guy Trebe, who could, you know, talk to all these different people to really give them the broader context of who this person is and what they're talking about, why they're talking about it.

We got to get Bill Adler on the show also. Oh, my gosh. It's too. Yeah. We got Lisa now, so yeah, let's go. Are you still in contact with like your... Oh, my gosh. Yes.

I imagine y'all have dinners. Seasonal. Faith Newman. Faith Newman. Heidi Smith. You know, even the Def Jam's soul songs artists. We had a little reunion. So that's...

I occasionally talked to Oren in D. Did not know he was Puerto Rican. Oren, Tayshan, Chuck Stanley, and Alison Williams. Allison Williams. And we went to Europe and I was the tour manager. It was one of those, if it's Tuesday, it must be Belgium. Okay, if it's Wednesday, we got to get in the bus and get to Frankfurt.

And that was actually, we had a reunion like two months ago. I knew y'all did reunions. And even the band members, you know, were all there. That's so full circle, too. You said Allison Williams, then I thought about you with the Luther concert. Then I thought about Ramon Harvey and the whole I-A-M-Rae. It's just a beautiful circular kind of connection between all of y'all. That's beautiful.

Why did Wendy Goldstein ruin my life? We would have been BFF. Did she do? Did everything happen the way it was supposed to? I believe so. I mean, look, what made the deal irresistible was that, you know, most artists will, the label will have options to instantly drop if they see the band's not fit. And we didn't even learn how to craft this song until our fourth album.

So in this situation, the thing that brought us there was the fact that if you, our contract was hooked up so that if you did album number one, they had to do two and three. If we did four, they had to do five and six. It was really the true reason why we've had 17 albums under our belt because the label, trust me, there are many times where the label was like, give rid of those, oh, damn, another two records.

And so that's the story. So why did you leave Def Jam and what brought you to Mercury? Well, Ed Eckstein offered me a gig. and then everybody did because people were afraid of Leoran Russell but they were like yo Ed is talking to her

and then you know I remember I met with Tommy Motola and you know and just like the whole gamut but I you know what I loved about Ed and I'd still love is we grew up listening to all kinds of music you know

because I got my you know I can sing all a stairway to heaven and you know darkness on the end edge of town, Patty Smith and Nick Drake and, you know, then do a little Brazilian lullaby with Sarah Vaughn and

then drop into a cumbia. She is auditioning mill. You contain multitudes. I think Steve's in love. Coombia all day. She's talking about language. She's talking about darkness, Springsteen, yeah. I know. Because there's a darkness on the edge of town. And so, and Ed

you know, as the son of Billy Eckstein, growing up in California, he has a diverse, he's a good one to talk to. Oh, I already talked to him. He's ready to go. I know he's listening. That's what I'm glad you're talking about. Yeah, yeah. Yeah, he's coming. And he said to me, Lisa, I said, Ed, I don't know if I just want to do black music. He said, you can do whatever you want. And I knew that I would want to produce the cast recording of Jelly's Last Jam, which I did when I was there working with George Wolf. I did records with John Lucien. I just had loved so much, you know,

And then on the flip side, I'm working with hip hop. I'm working with reggae. I worked with all kinds of music. You know, I was the person when talking loud came to the States because I was the point person. And incognito, Omar, young disciples. So wait, were you the one that introduced Jal Peterson to us? Might have. Wow.

Hip-hop Zellig is now as a jazz zelle. Literally, when. When Giles got the word that he lost us, he didn't take that line. He flew to Wendy and was like, I still went and she let him do it. Because I used to go to London and I was looped in with all those folks. And when they brought the Talking Loud label because of, you know, it came to Mercury. And I was a person like, yes, I want to work with them. You know, I love what he was doing.

And even when I had my label, I was going to sign Jalisa Anderson. in. Wow. Bobby Bird's stepdaughter or daughter. I think she's a cousin. Carlene is a daughter and she's a cousin. Oh, Jalisa. Jalisa.

Oh, shit. I worked on our record. Pressure. I was going to sign her. Oh, my. This happens like once a week. Do you? Like, oh, I played on her record.

Wait. That's like a famous thing here. This is. Do you have a lot of her demos? I've worked on like five songs with her when we were living in London. and never got to hear. Me and the bass player of Jamaica, Stuart, we worked on her record and it never came out.

Well, it probably was for the UK label because I was going to sign her before my tragic end, but we'll get to that. Oh, yeah, yeah. So I was the point person for all the talking loud folks. So, of course, I knew, you know, Morin-Spernstein and Jonathan doing giant stab and blah, blah, blah, blah, and that was at, you know, I was,

So I love that Ed allowed me that space to connect with and try things out and really be able to broaden the scope of expression within black music. And I worked with Angela Winbush. No, Angela. Angela Winbush. Oh, that's it? She's Angela. I thought it was Angela. Okay, I'm always.

She's Angela. Who is incredible. She is producer, songwriter, voice like an angel. You're in the studio with her? Or are you in, oh, damn, 85 was... But she was married to... Ronald? Yeah.

I went to their spaceship studio in California. Okay. I want to ask, Lisa, you mentioned Larry Smith. He's just someone that we always just, you know, very rare we get people that actually work with him. So, like, what was he like in the studio? What was that relationship, like, working with him? Because he's just an unsung hero for me.

So it was Houdini. And, you know, he had this whole connection to other UK artists because of Zamba, multi-instrumentalists and just the and a peacemaker. Because you have to remember, a lot of these artists are very young. This is all new. They had a way and a pace. And Larry had come from where they had started. But he had traveled and he had the hits.

and he was really great talking to the artists and talking them down and cooling them out. And you know it's funny, I ran into, Paul Schaefer came to a screening of Little Richard over the weekend and Paul Schaefer did a hip-hop record. When my radio's on? And Larry Smith He produced that song.

He produced, no, the album that has Will. Yeah, when my radio is on. Yeah. I was, that's Larry. I didn't write the songs, so I put that deal together. So you know the world famous, my first show was that Radio City Music Hall thing. So Dion of Dion in the Belmont is also on the show and brings Paul Schaefer out, who I guess obviously just released the single. And I remember like because Will and Jeff weren't there or whatever and they wanted to do that song.

and for half a second it was like they looked at my direction like oh do you not a rap like you know that sort of thing and it was like no I'm not doing it but you orchestrated that song because it's a whole album

with that Larry produces yeah that I did not let me just be clear let me be clear yes it's a doo-wop it's like Dion of Dion in the Belmont's running around soon it's Dion in Paul's mind he's doing what boys

successfully did. He wanted to do a duop joint with hip hop. You know, and he's New York. And, you know, Paul was like a nerdy, hip New Yorker type, whatever. So he wanted to just amalgamate all that. And there was like a few performances

where Jeff and Will and Dion and Paul Schaefer. Yeah, check. Yeah, well, this was, no, it was 89. So it was like, you don't say no to Paul Schaefer. Yeah, the check was good. Right, right. The opportunity is well. Exactly.

Right. But, you know, it was. It's also how they then get invited to go on David Letterman. The opportunity. That's what Fonte talks about. That was like how it didn't just happen. You know, all these people were resistant. You know, the way now that they want to have push a tea on or whoever on the show,

they didn't want to have these artists. No, no, no, no. They did not, you know, want their children, just like with Little Richard. To be exposed. He produced that song. So, like, how do you? You became president of, what was your highest position of Mercury? I was VP of A&R.

So for you in music, what do you deem like your three crowning achievements? Yeah, like I ceded this and blah, blah, blah, blah happened. Don't say Paul Schaefer. I like that song. When my radio was on. How can you all know this, Steve? Because I have taste. It wasn't, look.

Because see, it's funny, we should look up. Wait, Dad, I'm allowed to play this song? He said, yeah, he gave you the thing, the thumb up. Until he cuts it out. Until he thinks of her answers because I know she's cheating. All right, here we go. Ten seconds or less, she said. Yeah.

Ten seconds or less. Wow. Ten seconds. I got it. So that's ten seconds. That's ten seconds. Deanna in the Belmont. Whoa, this shit made MTV.

Oh, this is definitely a last. Barry Smith drum track. Yeah. Straight from the Houdini's Open Sesame Sessions. But what is Paul Schaefer doing? Vibing out. Dude, Paul, do you not know, like... In the song.

He's the DJ college. Oh. Okay, thank you. I didn't even know that Houdini was a part of this. No, but you got to understand, like, in... Like, Johnny Carson was just the standard of late night. I get it.

And Letterman was the... Letterman was like, he was hip. Like, him and Paul, as nerdy as they were, they were like the cool guys that, like, not stuffy suit, like, Carson. So, you know, this... I mean, no one brought this shit. And only nerd... Me.

I'm the one person that knows this song. All right, so... Okay, I brought it. I'm sorry. Yeah, go ahead. So Lisa, we should answer. Shut up, Steve. Thank you for giving me time.

Yeah. You see how I do? So, wait, three... It's crowning achievement. Crowning achievements? Or three magic moments that you got to witness, because I'm very impressed about you being in the room with the bomb squad. Okay, so bomb squad and Ice Cube,

singing backup on the Lesson Zero soundtrack, the Danzig song and the Roy Orbison song. Who are you? Who are you, Lisa Cortez. Danzig, Lonely and Lesson Zero. And Rick Ruben producers? Yeah. Because, you know, I had thoughts that I was going to be a singer.

That's how I thought I could get a job in the music industry and get discovered. And I very quickly learned that it's not just about you got a great voice and you have a look and a style and a vibe. But you also have the right label. You have the right manager. Like all the stars have to line up. And when I fell into this Motley family. that was so exciting and all these different characters. And, you know, in the office, you got bottles coming in.

You got people smoking crack outside. You got, like, it was craziness. And I was like, I can do the art, but I can also do the commerce. And I can be an advocate. And so I gave up the singing, but for some reason they needed a fourth voice. And I think I worked my way in to join. So I love that moment because we're not credited on those two songs, but it's Chuck Stanley, Allison, myself,

and I think Tashon might have been singing. Yeah. Really? A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions,

my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that

not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next, we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told,

and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects, from hidden traits teams look for to the biggest mistakes franchises make to the

players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. 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, 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 Auerkone and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. If you're watching the latest season of the Real Housewives of Atlanta, you already know there's a lot to break down. Gorsha accusing Kelly of sleeping with a merry man. They holding Kay Michelle back from fighting Drew. Pinky has financial issues. I like the bougie style of Housewives show.

I think it looks like it's going to be interesting. On the podcast, Reality with the King, I, Carlos King, recap the biggest moments from your favorite reality shows, including the Real House Wise franchise, the drama, the Ler House Wise franchise. the drama, the alliances, and the T, everybody's talking about. As an executive producer in reality television, I'm not just watching it. I understand the game. As somebody who creates shows, I'll even say this. At the end of the day, when people are at home, they want entertainment. To hear this and more, listen to Reality with the King on the IHard Radio app, Apple Podcast,

or wherever you get your podcast. On a recent episode of the podcast, Money and Wealth, 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. So when did you do, in your mind, we

the music industry? So I started this label after several years at Mercury. I was going to go to another label. What was the name of the label? So my label was called Loose Cannon. Okay. Yeah.

And it was very challenging to have a small boutique label struggling to have the promotion people take your records out because, you know, you become second and third. And I had like my little team and we'd do in our own. you know, street team and blah-de-bba.

And I just hit the glass ceiling. I hit the ceiling and I ultimately left. I took action for gender and racial discrimination. I was the only woman in this worldwide company and I didn't have the same opportunities that I saw people around me who were failing but going up. And, you know, I, and it was for my. my parents because my parents were so about, we're not, you know, like we as black people have to stand up for injustices, not only for ourselves to be example for others.

You know, and not only them, but their grand, their parents, my grand, you know, they, like, I come from people who just were always fighting to, to, and not accepting and finding, you know, trying to bring community forward. So I left and I didn't listen to music for six months. And you established this label. Yeah, I established this label. I did the Tilshiloh record with Buzhou. And, you know, I like all different shit.

I put out a folk group of Aboriginal women from Australia called Titus. I put out... Titties. Titty, no, Titties. I want to buy that record. Is that on Spotify? Or is that on Spotify? Can you sell that.

I would actually play your own song if you had a song, Fite. You got to make yourself a song. Will you make a Titty record, Fonte? And I'll sing back. It's made. I'll come out of retirement for you. I got to have Bill Sherman on it. You'll be dope.

Titty's the musical. Tiddy's the musical. Mm-hmm. You have to be a gentleman for. T-I-D-D-D. Tittes. Tittes. Tittes.

It's Australian. They're Aboriginal now. Wow. Okay, just so that I feel like I'm not crazy. Like, there is definitely a discussion on like, guys, are you sure this is the name that you want to go by? Titus, it's Australian Aboriginal. It was nipples.

They changed her from nipples, so this was better. That was the first drive. And then they tried ariola, but that didn't we go. Oh, wow. This is why you're in full. You're so quick. Okay. I love it.

I love Till Shiloh. It's a record I'm incredibly proud of. But I also did the, I reissued Red Fox and Richard Pryor, all those early comedy records. Laugh record. That's you? Yes. You're the reason for this? Yeah.

And so I got that catalog. I got people like Walter Mosley to write the liner notes. Wow. Come on. People don't even know about Walter Mozilla. Like they just think. He's the sidekick. Snowfall now.

He's thinking snowfall. Right, right, right. And so, yeah, so boom, chapter close. I'm not listening to music. What do you do? You go to India. So I went to India. That's right. You eat right love.

What's up with us in India? I don't know. Well, I just, I wanted to get away from everything to figure out what was going to be next. And why not go to a place where I was going to be challenged? And what year was this for you, Lisa? This is 1997. Okay. After the movie or before the movie.

movie. This is before the movie. Okay. Okay. Yes. And I didn't really eat that much. I was afraid to eat. I don't know. I'm just going to be a vegetarian for three months. But I was traveling and just like reading books by local, you know, Indian authors like Mystery and Salman Rushdie and hanging out with tabla players and Varnasi and just like doing yoga and going to the beach and, you know, whatever. And I went to a movie theater. When I was in the middle of watching this film, I realized, like, I want to make movies. And I had studied film as an undergrad. And I just saw that film gave me a bigger platform to communicate. And even if you watch Little Richard and you don't understand language, you're going to see this roller coaster ride he goes on.

You're going to have a sense of how his music affected people. You're going to see his legacy. And so film then became my next kind of place to go to. I came back to New York. I took a production class at New York Film Academy. I started volunteering. I started from Ground Zero. And I just did the hustle.

You know, I worked at Urban World Film Festival. I put the panels together. I met people. I went to the Toronto Film Festival. I would watch four films a day. I would go meet directors. I would volunteer. I would use my music background and try to help people out.

And then finally one day I got a call from someone I had known for many years. And he said, I'm going to New Orleans to make a movie. Would you like to come and work for me and also for the director? And that was Lee Daniels. And that was Monsters Ball. Oh, wow. Yes, Lisa. Never heard.

You said go to New Orleans. I immediately thought my first thought was unbowed it by Master P. I was so hoping. I was so hoping you was going to tell you worked on I'm about it. I was like, but lead angels this cool, too. You know, in the metaverse, maybe I did.

You know what I'm saying? I could totally see you fitting in with Master V. And I so would. I mean, like, I would just, I would love to be there because I love these people who are entrepreneurs

who are, and are pulling, you know, from a space and at the same time moving culture forward. But that was an Oscar winner. What were your experiences like? So it was really fantastic because Lee, so I'm assisting him.

I'm assisting Mark Forster, the director, and I would do the famous drive to take our talent up to the place where we shot all the... Angola? Yeah, yeah. So, Heath Ledger. And most was three hours late. Oh, well, because I had worked with most in the interim years, and I had done with D.O. Danny Hastings, a video for Mo's. I had done Moes and Tali Kali, EPK.

You know, and I told Lee about Moose. And I was like, I love him and he's great and he can act also, but on, but da, but on. Part one. Then part two, I would have to take the talent to Angola. So we were all in New Orleans, and we knew we were going to go there at one point to shoot some of the scenes there.

So I remember, like, driving, you know, the hour and a half with each way with Heath Ledger and talking about life and books and whatever. And then you go and you tour this place that former plantation, still a plantation, and, you know, seeing the actual room that they execute people in, and then the drive back home in that conversation. So I spent a lot of time with the talent, but I also started spending time with the DP, with the accountant, with a wardrobe,

and understanding, like, what, they did and scheduling and lead like gave me that space to go and learn so I had my little indie knowledge but I also have arts and crafts knowledge my mother was really big about making things I like to make things whether it's a record or a movie or a documentary I get a lot of joy with all the people I get to work with and the assembly of it and so that's a That opportunity allowed me to have that access. And, you know, that was a low-budget film. You know, Hallie, but it was, there's so many funny, crazy stories.

Can I ask? What was the budget for it? It was like around $3.5 million. Oh, y'all had to really cut corners and... So nothing. Prestige film. And, you know, it's interesting because originally West Bentley was supposed to play the lead. And then West Bentley kind of went off the rails, disappeared.

and Heath Ledger was huge. But, like, we had to... Was he the one from American Beauty? American Beauty, yeah. He was the neighbor. So we had to convince them that Heath Ledger could do this because he didn't have a Southern accent, and we got him this...

I did, like, had my own little mixing. A dialogue coach. And then I had to splice. I had to play from cassette to cassette to make something that would sound good to... So it was a lot of fun. It was very interesting. Getting to live in New Orleans was,

fantastic. How did y'all keep it light on the set? Because it was so heavy. Like, you know. A lot of love, a lot of care, a lot of taking care of people. You know? Yeah. I was wondering if I had conversations.

Hip-hop Mama. Yeah. But also, you know, Mark Forster, it's his second film. And he just is a brilliant director, very loving and caring. You know, creating that safe space, having the right people. Like, you know, when you're doing certain scenes, you don't have. everybody's standing around. You do last looks and then everybody's out.

That was that scene. And you have to give them that privacy to go to some really deep, emotional, vulnerable places. But nobody thought that that film was going to do what it did. That Halle Berry would win the Academy Award, that it would go on to make over $30 million

for a $3 million film. But what happened is Lee's like, Lionsgate, they made all the money. I'm not making any money. I'm going to take Lee Daniels Entertainment that had been a management company. Lee had represented Michael Shannon, Marina Baccarin, West Bentley.

I didn't know that about Lee. He represented all this great talent. And he said, let's start Lee Daniels Entertainment as a production company. So the first film that we then did on our own, which was very hip-hop, was The Woodsman, with Kevin Bacon. So that's when I then moved to Philadelphia

to then make two films there. Oh, I'm a 215. Oh, day. Oh, damn. Yeah. Yeah, that Cuba Goodt and Junior joint. That was my, ooh. Yeah, Shadowboxer was my joint.

That's the best I ever seen him. I like the Woodsman, too. I really like both of those. And Mosteth, you know, he's in that also. And David Allen Greer and Eve. So that was the other thing. We always wanted to mix up. You always pulled the music in.

Yeah, the music and making it interesting with the casting. And with those films, we found the scripts. We developed them. We found the internet, you know, our investors. We did our, pre-sales, we did the production, all the deals, and then the, you know, post, and then bringing it to a festival and delivery. And in the beginning, it was Lee, a guy named Dave Robinson, who did international sales and myself. And, you know, we were doing material that other people were not

looking at. Oh, yeah. Oh, yeah. And after Shadowboxer with Helen Mirren and Joseph Gordon-Levin, Monique, Cuba Gooding Jr. Nice and great. That's when Sapphire, who we had been chasing. for years gave us the option to push. What took it so long that it was a struggle to nail, nail that deal down? She just was protective of who to give her word to. I know she had been chased when the book first came out by Madonna,

who had wanted to tell it. Like, she directly called her and was like, all I know is that she wanted to option the material, yeah. And we showed a shadow boxer and she said, you guys aren't afraid to go there. Because as you remember in the film, there's Helen Marin, who is an assassin. And she carries off hits with her stepson, Killer Gooding Jr., who's also her lover.

What the fuck? I read the script, and I was blown away. So when I saw the visual and you got done, I was like, yo, it's really one of my favorite films. I'm sorry, I'm so hype about it, but it was just a mind-blower. In doing the Apollo Theater documentary, where is the Apollo's, their footage of I would have thought they would have had more footage at least between their early years in the

40s and up until the mid-70s. They never recorded or documented those shows at all? There's very few shows that were captured. And I mean, I've become like a big

archival person and luckily on that show there was a Jerry, I forgot Jerry's name who had worked with Percy when Percy took over and did the remodeling. And Jerry lives in Yonkers, and I went to his house, and we crawled through the basement. And he had those beautiful tapes of the renovation and the reveal because Percy tried to have a multimedia center. So he started taping, and that's also the onslaid of, you know, showtime at the Apollo.

But, you know, I mean, I would have loved to have seen when the Motown Review was there and so many of those incredible classic moments. But it didn't exist, you know. And, you know, I think the thing about documenting black stories is that oftentimes our archival has been lost because we had to leave our homes in the middle of the night and escape. Or our homes got burnt down. Or, you know, the flood came. Like, you know. Or we're just not sentimental. Well, maybe.

That's a lot. I get a lot of that. Like, Don Cornelius literally blew up the soul train stage and everything, the signs because he didn't want to pay. for storage. So he was like, get rid of it all. So they had to like crush it in, like literally his entire history.

He didn't care. Yeah. And the valuing of black cultural product and black cultural archival is really important to me. Because as I tell these stories, as you tell the stories you're doing, we want to bring people back to that moment.

We just don't want a bunch of contemporary people saying it was like this, it was like that. No, we want it to be immersive and we want you to see and feel. and get a sense of the journey that we're on. We were talking outside before we started taping. You said this documentary, the Little Richard Doc, about two years working on, what was the hardest part?

Like, what was, I guess, the biggest kind of the bottleneck that took the most time? Well, you know, we have this great partner, CNN films. And when you do a film from them, it's 98 minutes. It ain't 97 and an 801. Because I kind of go like, can't it be 101? No. So, you know, like when you got to back into that time, there's things that have to fall out. For me, I wanted to talk a little bit more in the film about the shenanigans of the music business,

how it is that you can sign someone and take everything and that they don't see. And it's legal. Yeah. But as I like to say, I had to stay on 95 and not get off on exit 5, you know, because that would have taken us too long in our runtime. Is this because they, for broadcast purposes, you had to fit? Yeah, that's their broadcast standard. I was under the impression, and I believe that he said this, that Michael Jackson, ATV, gave him his rights back. So that's why John Brank is in the film.

Yeah, right. That's why I interviewed him. Because John Brank, of course, had the relationship with Richard when Richard officiated at his marriage that Michael Jackson was, and Bubbles were best men. for John Branca. There are pictures. Niggi. I just got marinate on that. Google, Google, Google.

Yes. It's the craziest picture. I'm like, really? We got to get him, too. We got to get him. Yes. And so Branca, who, you know, was Michael Jackson's attorney and is still involved in the estate, I interviewed him not only about that moment, but because when Richard protested at ATV music for

his royalties and then Michael Jackson bought the catalog. So in his book, and in his autobiography, Richard goes, oh yeah, Michael gave me money. But I learned very early on making this film that a lot of things that Richard said, you know, were not completely true. So I was like, okay, John Barranca, you were there, you were there all the time. Did Michael Jackson give Little Richard money? And yes, he did. I should have asked him about Slice Stone and Doris Day. And, Doris Day. because maybe he would have known about that. But we could confirm that Michael Jackson felt really bad, and he gave him some bucks.

In your opinion, like, what was your mission statement in doing Little Richards' story? Because there's so much to uncover as an artist, as a human being, as a pop culture figure. What was your mission statement? Before day one, I'm going to... going to, when people watch this, they are going to blank. The thesis mission was Little Richard's an icon. Why is he an icon? Why is it that when he passed away this wide range of people from Bob Dylan to Harry Allen to, you know, Dave Grohl are talking, Bruce Springsteen talking about how important he is.

So why is he an icon? Why does he matter? And if he is the innovator, the architect, what did it take to get there? Who is his foremother, forefather? And how does blackness and queerness factor into a conversation about rock and roll? Oh, my God. The black queer conversation that you start very early on in the movie, that was the initial thing that blew me away. Seeing black queer people, beautiful black queer people of that time. That time, yeah. Because we don't see black and white photos of, like, trans people and what that meant. So after I saw the movie, I had a physical reaction.

Like, I had so much of a reaction. I had to, like, I had to reach out to Lisa. Did you expect for us to not only be, of course, empathetic and sympathetic, but also pissed. I was mad at times. Toward the end, I got mad seeing Mick Jagger and, you know, the Paul McCartney, I don't know, I got mad because I was like,

I got mad when Little Richard said, you know, Elvis told me that if it wasn't for me, there would be no him, basically. Did you know that that was... I knew I wanted it to be immersive, you know, because you can't just do Little Richard as shut up. You know, he's more than the one-note comedic foil that he had

it become on these talk shows. He is so deeply nuanced. And also he's this connector to the Beatles, to the Rolling Stones, to Jimmy Hendricks. James Brown, he brings him to Macon, and that's where James cuts his first hit. And when Little Richard blows up at the same time

and goes to Hollywood to be in these rock and roll movies, he has James Brown go out on the road as he, him because people didn't know what little Richard looked like. So he's like, oh, you go out as me. You know, he was so giving and has been, there's been a lot of erasure

about his contributions. So yeah, you've got to be you got to feel moved by it, you got to be mad, and you have to say, you know what, we need to know our history. And an inclusive history, a history that many people are trying to

either negate or criminalize. and you know what, sorry people, this is America. There's documentation of drag balls in D.C. in the 1800s. So don't come through now and say, like, no, this has been here. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space.

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

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

you don't want to miss this episode. Listen to the Sports Slice podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12. and TikTok Podcast Network on TikTok. 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, 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 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. or talk. 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 where. ever you get your podcast. If you're watching the latest season of the Real Housewives of Atlanta, you already know there's a lot to break down.

Gorsha accusing Kelly of sleeping with a married man. They holding Kay Michelle back from fighting Drew. Pinky has financial issues. I like the bougie style of Housewives show. I think it looks like it's going to be interesting. On the podcast, Reality with the King, I, Carlos King, recap

the biggest moments from your favorite reality shows, including the Real Housewives the drama, the alliances, and the T, everybody's talking about. As an executive producer in reality television, I'm not just watching it. I understand the game. As somebody who creates shows,

I'll even say this. At the end of the day, when people are at home, they want entertainment. To hear this and more, listen to Reality with the King on the IHard Radio app, Apple Podcast, or wherever you get your podcast.

What is your hope? Because I think this is probably the most compelling argument that one can have. And again, I know that there's a big sort of divide between. And really, I'm not just saying conservative people. I'm being real, like, with conservative blacks, like, would turn a blind eye to them or whatever. Like, it's very interesting. Even in watching, like, Soul Train, a place where literally, like, you know. that, you know, the LGBTQIA culture is thrive,

especially in the mid-70s and the disco period and all that stuff. There's an artist from D.C., a group named The Dynamic Superiors. They give one of the greatest performances I've ever seen on that show, but the lead singer is way beyond what we would call, like, flamboyant, whatever. And Don's reaction to him is, it's clearly like, I'm just going to act like you're not there. Oh yeah, he got on eye liner everything. Yeah, it wasn't even like hostility.

And it wasn't, it was... You're invisible, huh? I never even seen indifference. Like, most people would just be like, ignore like, okay, like you're not there. But it's a level of conservatism that I can't even describe that Don does to him. Whereas like, I'm clearly not going to acknowledge the, what I see here is what I feel I don't understand. So let me just act like it's not bare. But I feel like,

this film could actually sort of open that door? Like, is that for you, like... Yeah, I think people learning this history, learning that, you know, the complexities of someone that most people really love Little Richard. Like, you know, you say Little Richard, like, oh, Tootie Fruitie, Longtall Salley, you know, people start shouting lyrics.

Yeah, I didn't know about that someone either. I didn't know about, toody-frudy. I didn't know what Tootie-Fruity was about, yeah. But you do now. I do now, yeah. I have no doubt. And I went to four. Florida to screen it.

And I was like, oh, God, I don't want to go to Florida. We know what's going on in Florida. Hey, man, you might as well go to America's painous. It's ground. It's the fun. It was the best thing. First of all, there's, like, all these older people who, you know, they've got this

memory of their teens and they saw him. And they love this story. And they embrace this story. They didn't go, oh, I like this part, but I don't like the queer part. And then I talked to the young people who were like, yeah, they want to take African-American you know, AP history out. And so what this film does,

it's very corrective to a history that has not included the multitudes that someone like a Richard contained. Do you think that he, I mean, we accepted all of him. Do you think he accepted all of himself? I don't think so.

I don't know. I mean, he's on such a roller coaster. And that part where you really go into the 80s version of him, where he denied, like that means, inherently sad. Yeah. Yeah. Like nothing sadder than a person that has to suffer as themselves or whatever.

So have you screened it for anyone with the two on the far left digit of their birth year, like millennials, Gen Z? What is their reaction to it? They actually are like, oh, this isn't some old foggy stuff. They're all, I think I get a lot of, where can I get a mirrored suit? We're going to have that great fashion moment But I think that, you know, they like the music And they're really captivated by

How his DNA went forth To artists like And how he paved away You don't have saucy Santana Right You don't have little necks You don't have, right? Yes, a little Nas X I was like, I wanted all of them in it actually

At the end, toward the end When you start talking about that I was like You call them and did they not want to? I called the people. I always do charts when I'm directing films of, you know, who's the family, who are the friends, who's the artists, and in this case, who are the incredible black and queer scholars, who are not the usual history of rock and roll. I was very intentional in the academic voices who are narrating. I was really happy to see Zandria in it.

Like she... Zandria. Yeah, yeah, yeah. She bodied it. I mean, when she says, you know, it's not appropriation, it's obliteration. I was like, okay, everybody can go home now. Okay, you know what this is about? And, like, it tore him asunder.

And I love that in this film, we have that level of commentary. Because that's who we are. You know, we can be talking about, we can deconstructing. instruct Tootty-Fruity and, you know, Richard as Princess Livone, as a drag queen, but we can also talk about a harm to our community because those are all apart. You know, someone said to me, they'll take our rhythm, but they won't take our blues. I got a T-shirt, yeah. Right?

Yeah, yeah. And so to know little Richard, you know you need to know the joy, but you also need to know the intense pain of him feeling invisible, feeling that all of his kind of. and all these people he helped out are not there. Like when he's at the Otis Redding, he goes, I still sing, you can record with me, you know, call me. And that is the part of the complexity of his journey that is more than, oh, I'm the Bronze Libraachi.

Yeah, yeah, no. You made us get to know him a little more. And it also kind of answered the conflict with that, I think, all of us, because it was like, was he, wasn't he? Now I understand even his own personal conflict. and why I felt that way, because he was unsure. Yeah, he was unsure. Yeah, he was unsure.

Yeah, yeah, yeah. Yeah, I wish you would have known that. We would have loved him regardless. Thank you, Lisa. I definitely feel like it'll help people. No, you really, it's a beautiful film. Like, we, nah, we, I super enjoyed it. The black dust.

That's what I wanted to ask about. I'm sorry. What was the black dust in your mind? What we, boom? Throughout the movie. It's beautiful black dust. So it's energy. Okay.

I believe he is elemental. He came from another planet. He's a super. And he arrived and unleash this energy that we established in the beginning of the film and it continues and it grows in specific places of innovation, of expansion, of creation

and how the energy is him. And that was a great motif, you know, working with the editors. Because I was like, how do we do it? How do we show all this? You know, and... I felt that. I like the sequences too. like the musical sequel.

Yeah, oh, Valerie Turner. John Bickey, yeah. How'd you choose them, the reinterpreters of the song? So when I pitch this film, I always said I wanted to have dreamscapes. I love magic realism. And I wanted to have contemporary artists who are part of his legacy. You know, when I spoke to Valerie June, who does the sister Rosetta Tharp scene,

I said, Sister, and she said, Rosetta. I mean, she just, like, completed. So good. She understood why Sister Rosetta is important to this. Corey Henry, I adore. And Corey started in the church. Then he goes and, you know, he does gospel, hip-hop, jazz, pop. And I just thought musically he could bring so much.

He's such a, he's so fantastic. And Pastor Key, that is not a little Richard song, but I'm a big fan of John P. Key. And that's one of my favorite songs, Standing in Need of Prayer. And I thought it really spoke to how low Richard is when he has lost every, every, everything. And, like, the only thing he has is God. Was there convincing him to do it? No. Oh, really?

Okay. We've been talking for years about a project I want to do with him. Okay. And when I called and I told him what was about, he said yes, and he knew Richard. And he was really helpful for us even finding the church, et cetera. So, you know, all of those artists are part of this desire to make this immersive. And to be also in scenes that are part of portals opening, portals of possibility for Richard, being seen by a sister Rosetta, creating Tootie Frutie.

And even the portal of I've lost everything. and I'm now going back to the church. They're big emotional shifts for him. I hate to admit this, Fonte, but my actual introduction to John P. Key was crash cuts. Oh, crash cuts. Oh, wow. John P. Key.

Right. John P.ke. Oh, wow. Well, you know what, Lees, as we wrap up, I'm actually sitting here, like in some sort of Paltrow-esque sliding doors I did not see that coming I'm expansive

I'm expansive you are the expansivist a 48 hour decision changed the entire course of my life of which I am extremely happy of my journey especially in light of

okay so y'all wouldn't have got 17 albums on death jammed though right but even at that I'm like okay this is a tortoise in the hair journey and was it better for me on my second album to sell 17 million copies. And now, you know, 20, 23, I'm going to jail for espionage.

Wow. Or to be on this path. But now I'm like, damn, if I just signed a Mercury, I think I would have had an amazing-ass relationship of Lisa Cortez. It's never too late. I never have regrets, but I'm now trying to figure out what would have happened in my life if we just went through it and we had at least at the top

of the pyramid team. It could have been on Brian McKnight albums. Yeah. You know what I mean? You would have met Ralphie Siddique earlier. Wow. Oh, do you have a Latin quarter story? Oh, yeah.

Do you have a Latin quarter story? I survived. Oh, so you do have a story. Oh. I mean, she had to. She had to go. Yeah, yeah, yeah, yeah. No, I've had many.

Hit the ground. Hit the ground. Before we wrap, I just want to say to Lisa, because I said to Lisa after I watched this movie. Okay, so Lisa, this was amazing. I don't know what you're going to do next. Can you just tell the folks the two projects that you got cooking

that's going to be blowing their minds away too? So premiering at Tribeca, I have something called the Space Race. It is the story of Ed Dwight, who almost became an astronaut, black man, and it focuses on the shuttlemen, the black astronauts who in 1983, Guy Blufford, Fred Gregory, Ron McNair. Oh, Guy Bluford, Fred Gregory, Ron McNair. Oh, Guy Blu. Yeah, yeah.

go to space. But it's really about this community because it's also Victor Glover and Leland Melvin. It's about Afrofuturism and black astronauts and moving things forward. So that's the space race. You're doing this? Yep, it's all done. You've got to get Thundercat to do the score.

Ooh. Yonique Bon Tamp is on it. Never mind. You're fired. Thunder Cat. Next one. And then your other. Is the Empire of Ebony.

It's a three-part series on Eunice Johnson, Ebony Jet magazine. And I know somebody here has a collection of these magazines. Yes, I do. I do. You know, at one point, I was part of the board. So, you know, the MoMA, so they're doing the food version of the MoMA. And at one point, we owned the Ebony Kitchen. We had to dismantle the board and, you know, raise more money.

So we had to sell our Ebony Kitchen, but literally the... They moved it, do you mean? From the builder? When we dismantled it, very meticulous, and we moved it to New York and set it up back in its original 70s, 60s. I mean, 2000s, too. Tacky, sort of. But, yeah, man, I was upset when we had to get that up. Yeah, it's, you know, how do you build a media empire where in a space it did not exist?

and how can you be a race man and a capitalist while doing this? And then finally, I'm EP in a great film coming out. The milk goes on forever. The art of David Hammonds. Oh, and I've produced Invisible Beauty, which is the story of Bethann Hardison, the incredible model muse activist. All right, so in closing.

Hey, you found it. With the echo on. Oh, yeah. Oh, that's so racist. I'm sorry. That's so good. Wait, time out. Yeah, we've...

So can you give us a tale from the Latin quarter? The fucking Timbale shit is so good. Every time. Well, it's like Mexican, Colombian. There's some cumbia in it. I'm just saying. Anyway, moving on. Speedy Gonzalez, Steve, leave vocals.

I just remember going and having to hide in the bathroom, and that's all I'll say. Well, I take the fifth. Ladies and gentlemen, that was Tales of Latin coordinator. Lisa Cortez. Oh, yeah. I can't stop doing it. Thank you. That's Fonte, Lisa.

Thank you very much, Lisa. I appreciate it. I apologize, and it took three decades for our BFF courtship to start, but no time like the president. Well, and congratulations to you. Thank you. I feel it every Academy Awards, we need to go back and give you guys your award again properly. But the art, the work is there. So many people talk about the glorious summer soul, but thank you.

And, you know, like, and all the projects. I want to come and interview and hear you talk about all your films that you're doing. Like, you're doing your wrist-a-cat, right? I talk about myself all the time. Yes. Oh, my God. No, you don't. On the next Questlove Supreme.

Yes, Questlove. Questlove. We're going to do that. We are going to do that. Oh, no. Thank you, everybody. On behalf of Fonsegolo in Laia and Sugar Steve, and I'm Pete Bill and the great Lisa Cortez.

Yes, Questlove. Shout out to Cousin Jake and Brittany. And also, thank you. Again, live at CDM Studios in Manhattan. Thank you very much for hosting us. Count Dad Money. Count Dad Money. Count that money.

That's what it stands for. I'll see you all later. That's fucking awesome. Next go around. Peace. Much Love Supreme is a production of I Heart Radio. For more podcasts from IHartRadio,

visit the IHart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win. I don't care 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 Clifers Show. This is a place for raw, unfilled of conversations with athletes,

creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to the Clifford Show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports

Slice podcast to break down what really matters when evaluating draft prospects. from hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode.

Listen to the Sports Slice Podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slice of Life 12 and TikTok podcast network on TikTok. I'm Daniel Alarcon, and this is my friend. He's much more famous than I am.

I wouldn't go to it. that far. But I'm John Green, co-hosted the podcast The Away End with my old friend Daniel. On our podcast, The Away End, we'll share with you the magic of international football, all leading up to the 2026 World Cup. Together, we'll find out why, of all the unimportant things,

football, soccer, is the most important. Listen to the Away End with Daniel Auer Kohn and John Green on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This financial literacy month, we are talking about the one investment most people ignore.

building a business around the life you actually want. It was just us. Making happen whatever he said was going to happen and then it happened. On Those Amigos, entrepreneurs like America Sam and Joe Huff get real about money, taking risk, and while your dream might be the smartest move. At the end of my life, what am I really going to care about? And the conclusion I came to is what I did to make the world a better place in whatever way. Listen to those amigos on the IHare radio app, Apple Podcast, or wherever you get your podcast.

On the Cino Show podcast, each episode invites you into a raw, unfiltered conversation. about recovery, resilience, and redemption. On a recent episode, I sit down with actor, cultural icon Danny Trail, to talk about addiction, transformation, and the power of second chances. The entire season two is now available to bench, featuring powerful conversations with the guests like Tiffany Addish, Johnny Knoxville, and more. I'm an alcoholic. And without this group, I'm going to die.

Listen to the Cino Show on the IHart Radio app, Apple Podcast, or wherever you get your podcast. This is an IHart podcast. Guaranteed human.