1 00:00:01,760 --> 00:00:05,040 Speaker 1: Hey, welcome to episode one forty two of the Bobby Cast, 2 00:00:05,040 --> 00:00:07,280 Speaker 1: which we're brought in Gator Harrison, the program director of 3 00:00:07,400 --> 00:00:09,320 Speaker 1: our Nashville radio station, didn't even know he's coming in 4 00:00:09,360 --> 00:00:12,879 Speaker 1: for this, and I'm frightened. Now you shouldn't be. Also, 5 00:00:13,039 --> 00:00:16,279 Speaker 1: Eddie from the radio shows here too. Thanks for letting 6 00:00:16,280 --> 00:00:17,840 Speaker 1: me sit in. Well, you can be a part of this. 7 00:00:17,880 --> 00:00:20,720 Speaker 1: It's kind of cool. Well, so, Gator, you ever listened 8 00:00:20,760 --> 00:00:23,000 Speaker 1: to the Boby Cast episodes? Have you heard of? It's 9 00:00:23,000 --> 00:00:24,560 Speaker 1: always kind of behind the scenes stuff. So I kind 10 00:00:24,600 --> 00:00:25,680 Speaker 1: of want to talk to you about what a radio 11 00:00:25,680 --> 00:00:29,479 Speaker 1: program director does, because like I kind of know, and 12 00:00:29,480 --> 00:00:33,320 Speaker 1: even I don't really know, but I kind of know. 13 00:00:33,479 --> 00:00:35,000 Speaker 1: But I think a lot of our listeners and we 14 00:00:35,000 --> 00:00:36,960 Speaker 1: talked to so many songwriters and we talk about music. 15 00:00:37,280 --> 00:00:38,879 Speaker 1: So that's why I'm glad you were able to hop 16 00:00:38,920 --> 00:00:44,120 Speaker 1: down downstairs where the peons live. Gator works up man, 17 00:00:44,159 --> 00:00:45,760 Speaker 1: and sometimes y'all let me come in here. It's cool. 18 00:00:45,840 --> 00:00:48,400 Speaker 1: Episode one forty two brought to us by Sleep Number. 19 00:00:48,800 --> 00:00:50,640 Speaker 1: So let me talk about Sleep Number for one second. 20 00:00:51,000 --> 00:00:52,240 Speaker 1: I have a sleep number, you know. I do the 21 00:00:52,280 --> 00:00:54,000 Speaker 1: show from my house, and I do have a sleep 22 00:00:54,080 --> 00:00:56,920 Speaker 1: number bed and I love it. Think about Sleep Number 23 00:00:56,960 --> 00:00:58,360 Speaker 1: is and think about just your bed period. If you 24 00:00:58,400 --> 00:01:00,360 Speaker 1: have a better bed, you sleep or and if you 25 00:01:00,440 --> 00:01:03,280 Speaker 1: sleep better, it's more energy, You feel sharper, You're just 26 00:01:03,320 --> 00:01:05,360 Speaker 1: in a better mood. And I can tell you you'll 27 00:01:05,360 --> 00:01:07,640 Speaker 1: be more productive. And if you're more productive, and that's 28 00:01:07,640 --> 00:01:11,200 Speaker 1: how as lunchboxes say, you make that cheddah that right, Eddie. 29 00:01:11,480 --> 00:01:14,119 Speaker 1: The new Sleep Number three sixty smart bed helps everyone 30 00:01:14,120 --> 00:01:17,280 Speaker 1: from parents to pro athletes improve their daily performance through 31 00:01:17,360 --> 00:01:20,400 Speaker 1: proven quality sleep. So many couples disagree on mattress firmness, 32 00:01:20,600 --> 00:01:22,640 Speaker 1: the Sleep Number bed lets you choose your ideal firmness 33 00:01:22,640 --> 00:01:24,000 Speaker 1: on each side, so it's right for both of you. 34 00:01:24,240 --> 00:01:25,880 Speaker 1: The new beds are so smart they sent you every 35 00:01:25,880 --> 00:01:28,520 Speaker 1: move and they automatically adjust right to you, keeping you 36 00:01:28,600 --> 00:01:31,600 Speaker 1: sleeping comfortably throughout the night. 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Look at 47 00:01:57,080 --> 00:01:59,960 Speaker 1: that you hate. I didn't even have mind on my app. 48 00:02:00,000 --> 00:02:03,400 Speaker 1: I just I'd like to do. Yeah, I told you 49 00:02:03,400 --> 00:02:05,920 Speaker 1: get to stay number two. I was like, dude, trust me, 50 00:02:05,600 --> 00:02:10,560 Speaker 1: trust okay, So Gator Harrison, Yeah, program director? What? First 51 00:02:10,560 --> 00:02:12,400 Speaker 1: of all, what I'm gonna act like I'm five because 52 00:02:12,400 --> 00:02:15,519 Speaker 1: I read these things on Reddit and they're called, um, 53 00:02:15,720 --> 00:02:20,320 Speaker 1: explain like I'm five. So because if I wasn't sitting here, 54 00:02:20,320 --> 00:02:22,240 Speaker 1: I would definitely want to know what a program director does. 55 00:02:22,520 --> 00:02:24,520 Speaker 1: So like I'm five years old, what is a program 56 00:02:24,560 --> 00:02:27,560 Speaker 1: director of a radio station? Uh, it's a little tough 57 00:02:27,600 --> 00:02:31,280 Speaker 1: to kind of explain. Um, It's essentially, anything that comes 58 00:02:31,320 --> 00:02:32,840 Speaker 1: out of the radio has got to go through the 59 00:02:33,080 --> 00:02:37,120 Speaker 1: program director's desk. So, whether it's music, trying to figure 60 00:02:37,120 --> 00:02:40,440 Speaker 1: out what songs that listeners, whoever your target audience is, 61 00:02:40,480 --> 00:02:43,079 Speaker 1: whoever your target demographic is, whatever listener you're trying to 62 00:02:43,120 --> 00:02:45,080 Speaker 1: go get, what music do they love, do they care about? 63 00:02:45,080 --> 00:02:48,040 Speaker 1: Do they consumb? Doing the math around that and then 64 00:02:48,080 --> 00:02:51,120 Speaker 1: making sure you play that with the right strategy. That's 65 00:02:51,120 --> 00:02:53,040 Speaker 1: that's a big part of it. What about like the 66 00:02:53,440 --> 00:02:56,480 Speaker 1: voice guy stuff? Absolutely, it's basically the image or the 67 00:02:56,520 --> 00:02:59,040 Speaker 1: brand of a radio station. So think about any product, 68 00:02:59,120 --> 00:03:02,560 Speaker 1: it's it's says something, it stands for something, it means something. 69 00:03:03,040 --> 00:03:05,320 Speaker 1: So for your radio station, you've got to identify what 70 00:03:05,320 --> 00:03:07,400 Speaker 1: what is what is it you stand for, what is 71 00:03:07,440 --> 00:03:09,720 Speaker 1: it that makes you different from all the other radio stations, 72 00:03:09,720 --> 00:03:14,359 Speaker 1: figuring out that the brand, and then writing things around 73 00:03:14,400 --> 00:03:16,840 Speaker 1: what that brand would say or stand for. And that's 74 00:03:16,919 --> 00:03:19,360 Speaker 1: essentially the voice guy or the imaging that you hear 75 00:03:19,400 --> 00:03:21,080 Speaker 1: on the radio station. So a big part of it 76 00:03:21,120 --> 00:03:24,160 Speaker 1: as well, I mean revenue. It all comes down to ratings, 77 00:03:24,160 --> 00:03:27,919 Speaker 1: revenue and and um you know digital and that sort 78 00:03:27,919 --> 00:03:29,639 Speaker 1: of thing too as well. So it's a big part. 79 00:03:29,680 --> 00:03:32,639 Speaker 1: I mean commercials, even commercials, I'll get emails going, hey, 80 00:03:32,720 --> 00:03:34,880 Speaker 1: is it okay to run this commercial on the radio station? 81 00:03:34,920 --> 00:03:37,000 Speaker 1: Does it line up with the brand? So there are 82 00:03:37,000 --> 00:03:40,080 Speaker 1: commercials you'll have to say no to because we like, 83 00:03:40,200 --> 00:03:42,480 Speaker 1: what would be something that doesn't line up with a brand? 84 00:03:43,920 --> 00:03:47,040 Speaker 1: I think being sensitive to a situation. Uh, Like in 85 00:03:47,160 --> 00:03:51,240 Speaker 1: Nashville we had uh a shooting incident at the waffle 86 00:03:51,280 --> 00:03:55,400 Speaker 1: house and and there was UM an advertisement for guns, 87 00:03:55,640 --> 00:03:59,560 Speaker 1: and it was like, no, we appreciate it, and I'm 88 00:03:59,600 --> 00:04:02,960 Speaker 1: a gun her myself, but that doesn't fit what right 89 00:04:02,960 --> 00:04:05,760 Speaker 1: now is happening on the station and in the community. 90 00:04:05,800 --> 00:04:07,400 Speaker 1: When you think about country music, I mean, we're all 91 00:04:07,440 --> 00:04:09,800 Speaker 1: about one and guns, but that wasn't the right moment 92 00:04:09,840 --> 00:04:12,400 Speaker 1: for that for that commercial. And you get pushed back 93 00:04:12,440 --> 00:04:13,680 Speaker 1: from that from like cel Staff and they'd be like, 94 00:04:13,720 --> 00:04:15,880 Speaker 1: hey man, we're trying. We always have guns, why why 95 00:04:15,920 --> 00:04:17,680 Speaker 1: can we do it now? So I would think in 96 00:04:17,680 --> 00:04:19,880 Speaker 1: that situation, no, not a lot of pushback. There is 97 00:04:19,920 --> 00:04:22,760 Speaker 1: times where you will get it, like if it's UM 98 00:04:22,800 --> 00:04:25,559 Speaker 1: an adult novelty store or a condom commercial or something 99 00:04:25,600 --> 00:04:28,440 Speaker 1: like that that you don't feel like is appropriate play 100 00:04:28,640 --> 00:04:30,760 Speaker 1: for the middle of the day in the car when 101 00:04:30,800 --> 00:04:32,719 Speaker 1: you might have the kids with you, and then you 102 00:04:32,800 --> 00:04:35,960 Speaker 1: compromise and say, Okay, after ten pm at night, I'm 103 00:04:35,960 --> 00:04:38,240 Speaker 1: good with it, or after seven or whatever, so your 104 00:04:38,320 --> 00:04:41,920 Speaker 1: day part even the Yeah, sometimes if it doesn't line 105 00:04:42,000 --> 00:04:43,919 Speaker 1: up with the brand or the again, if it's just 106 00:04:44,000 --> 00:04:47,400 Speaker 1: something that's a little questionable or you don't want to 107 00:04:47,400 --> 00:04:49,520 Speaker 1: have that conversation with your kids, because I'm a parent. 108 00:04:49,560 --> 00:04:51,160 Speaker 1: I got a five year old and a twelve year old, 109 00:04:51,200 --> 00:04:54,640 Speaker 1: and I'm fine with condom commercials myself. But if my 110 00:04:54,640 --> 00:04:57,200 Speaker 1: five year old is going, hey, dad, what's a condom, 111 00:04:57,240 --> 00:04:59,200 Speaker 1: I'm not really ready to have that conversation. I don't 112 00:04:59,200 --> 00:05:02,000 Speaker 1: want to put my listeners in that same kind of situation. 113 00:05:02,400 --> 00:05:04,960 Speaker 1: Makes sense, I guess my question is what what's a condom? 114 00:05:07,440 --> 00:05:12,800 Speaker 1: Five year old son? Say, you've been a program director 115 00:05:12,839 --> 00:05:19,640 Speaker 1: for how long? Oh? Um, she's twenty five plus years. 116 00:05:19,880 --> 00:05:23,479 Speaker 1: I've been in radio for thirty two and I was 117 00:05:23,520 --> 00:05:26,400 Speaker 1: in radio, yeah, a few years before I became a 118 00:05:26,400 --> 00:05:31,320 Speaker 1: program director. Yeah, how old are you? Album? Might be 119 00:05:31,400 --> 00:05:34,159 Speaker 1: the youngest, coolest forty seven year old, Like he's about 120 00:05:34,160 --> 00:05:37,000 Speaker 1: thirty five. Yeah, he looks really young and he acts young. 121 00:05:37,040 --> 00:05:38,680 Speaker 1: He doesn't act like an old dude. I appreciate you 122 00:05:38,680 --> 00:05:42,919 Speaker 1: saying you started where I started in when I was 123 00:05:42,960 --> 00:05:47,159 Speaker 1: fifteen years old in my hometown, which is Sparta, Tennessee. Um, 124 00:05:47,520 --> 00:05:50,599 Speaker 1: and I usually I have an older brother that's in radio, 125 00:05:50,760 --> 00:05:52,359 Speaker 1: and so I would go hang out at the radio 126 00:05:52,400 --> 00:05:55,640 Speaker 1: station and think get paid for doing this. He killed 127 00:05:55,680 --> 00:05:57,480 Speaker 1: me like I'm in and this was in the days 128 00:05:57,480 --> 00:05:59,520 Speaker 1: where you had albums on the wall and you were 129 00:05:59,560 --> 00:06:02,520 Speaker 1: playing the rotary pot boards. If you don't know radio, 130 00:06:02,600 --> 00:06:04,080 Speaker 1: you have no clue what I'm talking about. But you 131 00:06:04,080 --> 00:06:06,160 Speaker 1: know what I'm saying. It's like old old school. You 132 00:06:06,240 --> 00:06:08,760 Speaker 1: got cubern on albums. It was that kind of radio station. 133 00:06:09,080 --> 00:06:10,360 Speaker 1: But I love music, and so I just knew I 134 00:06:10,400 --> 00:06:12,080 Speaker 1: wanted to be a part of music. So at fifteen, 135 00:06:12,920 --> 00:06:15,320 Speaker 1: my older brother came and got a job in Nashville. 136 00:06:15,400 --> 00:06:18,000 Speaker 1: I took over his slot at the classic rock station. 137 00:06:18,000 --> 00:06:19,800 Speaker 1: When I'm fifteen years old, trying to sound like I'm 138 00:06:19,880 --> 00:06:22,680 Speaker 1: smoking forty four year old, right, who knows who the 139 00:06:22,720 --> 00:06:25,640 Speaker 1: crap led Zeppelin is, right? Or the Eagles or the 140 00:06:25,680 --> 00:06:27,960 Speaker 1: Doobie Brothers are all these artists. So that was my 141 00:06:28,040 --> 00:06:31,640 Speaker 1: musical education. But I literally would go in at six 142 00:06:31,640 --> 00:06:35,039 Speaker 1: in the morning, work until eight, be late for my 143 00:06:35,080 --> 00:06:38,400 Speaker 1: first period class in high school, get out of school 144 00:06:38,520 --> 00:06:41,360 Speaker 1: basketball practice, back to the radio station, and I would 145 00:06:41,400 --> 00:06:44,440 Speaker 1: do either afternoons or nights, depending upon what the need was, 146 00:06:44,520 --> 00:06:46,960 Speaker 1: and I would sit there and do my homework like there. 147 00:06:46,960 --> 00:06:50,880 Speaker 1: I honestly, it's uh, it's crazy to look back and think, 148 00:06:50,880 --> 00:06:53,280 Speaker 1: but when you love something so much, you don't think 149 00:06:53,279 --> 00:06:55,480 Speaker 1: about Bobby. You can attest to it. When you love it. 150 00:06:55,480 --> 00:06:57,160 Speaker 1: It doesn't feel as much like work, so you can 151 00:06:57,160 --> 00:07:00,160 Speaker 1: devote your life to it. So you've been I'm a 152 00:07:00,160 --> 00:07:03,080 Speaker 1: program director for the first time, and how old? Uh? 153 00:07:03,320 --> 00:07:06,680 Speaker 1: I mean essentially then, I mean you did everything at 154 00:07:06,680 --> 00:07:09,680 Speaker 1: that radio station. You did production, which was doing the commercials. 155 00:07:09,720 --> 00:07:12,440 Speaker 1: You did, figured out there was a music wheel, so 156 00:07:12,480 --> 00:07:14,720 Speaker 1: it was like what based on the color was what 157 00:07:14,760 --> 00:07:16,720 Speaker 1: the era of music that you played? But you could 158 00:07:16,720 --> 00:07:19,240 Speaker 1: pick anything off the wall that you wanted to. So 159 00:07:19,280 --> 00:07:21,680 Speaker 1: I was actually training to be a program director at 160 00:07:21,720 --> 00:07:23,720 Speaker 1: that time, but I didn't know I was. I think 161 00:07:23,920 --> 00:07:27,040 Speaker 1: the first legitimate shot that I got. I spent six 162 00:07:27,120 --> 00:07:30,880 Speaker 1: years from ninety ninety six in Nashville, UM, while I 163 00:07:30,920 --> 00:07:33,200 Speaker 1: was going to MT s u U. I became a 164 00:07:33,280 --> 00:07:37,559 Speaker 1: music director at that point. UM and uh John Ivy, 165 00:07:37,560 --> 00:07:39,280 Speaker 1: who shot out to him, who's in l A, was 166 00:07:39,320 --> 00:07:41,960 Speaker 1: the first guy that made me a music director. And 167 00:07:42,200 --> 00:07:46,320 Speaker 1: uh In gave my heart to Jesus. Uh said, Hey, 168 00:07:46,400 --> 00:07:49,000 Speaker 1: the outrageous FM and all the stunting and everything that 169 00:07:49,040 --> 00:07:51,320 Speaker 1: was going on was not where I felt like my 170 00:07:51,360 --> 00:07:53,840 Speaker 1: heart was. UM. And I got a call from my 171 00:07:53,960 --> 00:07:56,920 Speaker 1: hometown radio station in Cookeville, Tennessee, which is a neighbor 172 00:07:56,920 --> 00:08:01,240 Speaker 1: of Sparta Country station. You want to come programming? Sure, 173 00:08:01,880 --> 00:08:05,960 Speaker 1: And so that was jeez, I's twenty something years old. 174 00:08:06,760 --> 00:08:09,200 Speaker 1: How does someone get a song on the radio now? 175 00:08:09,480 --> 00:08:11,920 Speaker 1: If someone just have to have a song, like people 176 00:08:11,920 --> 00:08:13,120 Speaker 1: want to know, like, how does this song get on? 177 00:08:13,960 --> 00:08:16,520 Speaker 1: You know it's in the fifties, because I will still 178 00:08:16,520 --> 00:08:18,960 Speaker 1: get mail from people who are a songwriter or they've 179 00:08:19,000 --> 00:08:20,520 Speaker 1: done because now you can do a demo in your 180 00:08:20,720 --> 00:08:23,520 Speaker 1: in your house, right on your computer and people will 181 00:08:23,560 --> 00:08:26,000 Speaker 1: still drop off stuff and and God love him. It's 182 00:08:26,080 --> 00:08:28,760 Speaker 1: like it can be good, but you can't just stick 183 00:08:28,800 --> 00:08:31,680 Speaker 1: that on the radio, right, So I think you have 184 00:08:31,760 --> 00:08:35,200 Speaker 1: to have your plan, right. I mean I can say 185 00:08:35,240 --> 00:08:37,079 Speaker 1: that you know, you get your pop deal if you're 186 00:08:37,120 --> 00:08:39,440 Speaker 1: a writer or whatever, and you get a label deal 187 00:08:39,520 --> 00:08:43,600 Speaker 1: and they work the records. That's essentially how it happens 188 00:08:43,640 --> 00:08:45,520 Speaker 1: on a mass level. And they are all of those 189 00:08:45,600 --> 00:08:49,080 Speaker 1: rare exceptions. I remember Old Dominion coming in and not 190 00:08:49,200 --> 00:08:52,400 Speaker 1: having a record deal, but hearing them and seeing them 191 00:08:52,440 --> 00:08:55,240 Speaker 1: and said, you know what, I'm gonna play that anyway. 192 00:08:55,280 --> 00:08:57,520 Speaker 1: But they still had to have a management company that 193 00:08:57,600 --> 00:08:59,760 Speaker 1: believed in them that saw something and there to be 194 00:08:59,800 --> 00:09:02,640 Speaker 1: some a and are involved right to say that there 195 00:09:02,720 --> 00:09:05,680 Speaker 1: is something here. And I think in today's age it's 196 00:09:06,360 --> 00:09:10,319 Speaker 1: a lot of times not even the labels are leading it. 197 00:09:10,320 --> 00:09:14,280 Speaker 1: It's listeners out there finding and consuming music, right because 198 00:09:14,320 --> 00:09:16,480 Speaker 1: consumption is a is a big deal. So what are 199 00:09:16,520 --> 00:09:18,800 Speaker 1: they out there looking for? And they're finding and that 200 00:09:18,840 --> 00:09:21,120 Speaker 1: can sometimes point in the right direction of an artist 201 00:09:21,200 --> 00:09:23,160 Speaker 1: that may not be relevant today but could be relevant 202 00:09:23,160 --> 00:09:24,959 Speaker 1: two years from now with the right team around them. 203 00:09:25,280 --> 00:09:28,320 Speaker 1: So yeah, you're saying if you see something where someone's 204 00:09:29,200 --> 00:09:31,760 Speaker 1: or a group is consuming a song so much, you 205 00:09:31,840 --> 00:09:34,680 Speaker 1: may not look at the artist right now, but but 206 00:09:34,760 --> 00:09:37,560 Speaker 1: that's the thing to you that you'll see them again 207 00:09:37,559 --> 00:09:39,559 Speaker 1: in a year, year and a half, two years, because 208 00:09:39,600 --> 00:09:41,360 Speaker 1: if they're being consumed so much, other people are coming 209 00:09:41,360 --> 00:09:43,719 Speaker 1: to them as well, absolute managers, and then by the 210 00:09:43,760 --> 00:09:46,040 Speaker 1: time it comes around, you already know them. Or if 211 00:09:46,080 --> 00:09:48,080 Speaker 1: it's somebody that I don't think has a management deal 212 00:09:48,160 --> 00:09:50,600 Speaker 1: yet that I've heard or discovered on my own and 213 00:09:50,640 --> 00:09:53,319 Speaker 1: I think they're good, I'll pass their name law. Oh yeah, 214 00:09:53,360 --> 00:09:56,000 Speaker 1: I don't know. So I've spent um I spent six 215 00:09:56,080 --> 00:10:01,640 Speaker 1: years in Chattanooga. Ironically, enough, Lauren Lena and Kane Brown. 216 00:10:02,600 --> 00:10:06,760 Speaker 1: We're in Fort Oglethorpe, Georgia, which is essentially part of Chattanooga. 217 00:10:07,000 --> 00:10:09,800 Speaker 1: So we were playing Lauren when it was Lauren Suteth 218 00:10:10,679 --> 00:10:15,760 Speaker 1: right on our little hometown backwoods before American Idol. She 219 00:10:15,880 --> 00:10:17,960 Speaker 1: hit American Idol and then of course we were Lauren 220 00:10:18,040 --> 00:10:20,920 Speaker 1: Champs from then on. But even Kane. I remember Kane 221 00:10:20,960 --> 00:10:23,880 Speaker 1: Brown didn't have a deal, and he had this he 222 00:10:23,920 --> 00:10:26,679 Speaker 1: had just started posting, you know, is when he had 223 00:10:26,720 --> 00:10:29,200 Speaker 1: not made the reality shows that he had tried out for, 224 00:10:29,440 --> 00:10:31,280 Speaker 1: hadn't done well, or stepped away when the one had 225 00:10:31,280 --> 00:10:33,000 Speaker 1: put him in a boy band on one of the shows. 226 00:10:33,840 --> 00:10:36,760 Speaker 1: But he was releasing his music online and this crazy 227 00:10:36,920 --> 00:10:39,840 Speaker 1: following was there, and then you're like, oh, where did 228 00:10:39,840 --> 00:10:42,480 Speaker 1: all these people come from? How did they know about him? Right? 229 00:10:42,760 --> 00:10:44,600 Speaker 1: But it got your attention. You said, Okay, I gotta 230 00:10:44,600 --> 00:10:46,680 Speaker 1: figure out what this dude's about. And so we started 231 00:10:46,679 --> 00:10:49,080 Speaker 1: looking at Kane Brown music. And I remember sitting in 232 00:10:49,080 --> 00:10:51,960 Speaker 1: a parking lot and I heard used to love him, uh, 233 00:10:52,160 --> 00:10:54,600 Speaker 1: used to love you sober? And to me that was like, 234 00:10:54,800 --> 00:10:56,440 Speaker 1: that was the most commercial thing I had ever heard 235 00:10:56,480 --> 00:10:59,240 Speaker 1: from him to that point. And so we started playing 236 00:10:59,240 --> 00:11:02,320 Speaker 1: that song, um, and then again came today. Not that 237 00:11:02,360 --> 00:11:04,959 Speaker 1: it was us, but it's it's paying attention to little 238 00:11:05,000 --> 00:11:07,400 Speaker 1: things even before it gets to your desk from a label. 239 00:11:07,480 --> 00:11:10,160 Speaker 1: I think. So if they are songwriters or they want 240 00:11:10,160 --> 00:11:12,800 Speaker 1: to be artists, or artists that have started the process, 241 00:11:12,960 --> 00:11:14,240 Speaker 1: they're like, man, I just can't get my stuff on 242 00:11:14,240 --> 00:11:17,839 Speaker 1: the radio. What would you say to them? Ah, one, 243 00:11:17,880 --> 00:11:21,560 Speaker 1: I would say, just be uniquely yourself and build a 244 00:11:21,640 --> 00:11:24,840 Speaker 1: following if it's if it's I've got a nephews in 245 00:11:24,840 --> 00:11:27,240 Speaker 1: the music industry, and I said, you know, whether you're 246 00:11:27,240 --> 00:11:30,920 Speaker 1: playing to ten people or ten million people, do it 247 00:11:31,120 --> 00:11:35,079 Speaker 1: authentically to who you are and create something that you're 248 00:11:35,080 --> 00:11:39,320 Speaker 1: proud of, and then build out from that. Right, So 249 00:11:39,400 --> 00:11:41,480 Speaker 1: those ten people become a hundred people, and you tour 250 00:11:41,559 --> 00:11:44,720 Speaker 1: those cities and you build your following that way. I 251 00:11:44,760 --> 00:11:47,320 Speaker 1: think now when you come to a label, you've got 252 00:11:47,320 --> 00:11:49,880 Speaker 1: to have something. You can't just come with a great song. 253 00:11:49,960 --> 00:11:52,520 Speaker 1: You've got to come with Hey, I've got I'm I'm 254 00:11:52,520 --> 00:11:54,719 Speaker 1: pulling into this Many people right now are coming to 255 00:11:54,840 --> 00:11:58,480 Speaker 1: shows in this region or in this city or anywhere 256 00:11:58,520 --> 00:12:00,440 Speaker 1: I go. Right, I think you have to build that 257 00:12:00,520 --> 00:12:05,520 Speaker 1: following touring before you can really get your shot unless 258 00:12:05,559 --> 00:12:09,040 Speaker 1: it's just, you know, something crazy in the consumption world. 259 00:12:09,440 --> 00:12:12,000 Speaker 1: Kane was that he never really built a touring following, 260 00:12:12,040 --> 00:12:14,440 Speaker 1: but he built a following online. Florida Georgia Line. Did 261 00:12:14,480 --> 00:12:17,880 Speaker 1: that too, Georgia Line. Same way. On the On the 262 00:12:17,880 --> 00:12:21,679 Speaker 1: flip side, someone like Brandley Gilbert built it through touring 263 00:12:21,760 --> 00:12:25,559 Speaker 1: to the Southeast and he would just saw massive shows 264 00:12:26,200 --> 00:12:28,560 Speaker 1: and you would go, what's what's happening here? Something must 265 00:12:28,559 --> 00:12:31,240 Speaker 1: be happening because a lot of people are coming and 266 00:12:31,280 --> 00:12:34,000 Speaker 1: it's before Bradley had a big deal. Yeah, no, absolutely. 267 00:12:34,640 --> 00:12:36,880 Speaker 1: I'll give you a real time example. Cody Johnson is 268 00:12:36,920 --> 00:12:38,959 Speaker 1: kind of one of those guys who's being He kind 269 00:12:38,960 --> 00:12:41,880 Speaker 1: of got his start in Texas, built a regional following, 270 00:12:42,240 --> 00:12:45,440 Speaker 1: but he's playing a show in Nashville and gotten very 271 00:12:45,640 --> 00:12:49,040 Speaker 1: little radio play and its people that sold out show. 272 00:12:49,080 --> 00:12:50,520 Speaker 1: How did they find out about him? How do they 273 00:12:50,520 --> 00:12:53,400 Speaker 1: know about this guy? So there's different ways to to 274 00:12:53,480 --> 00:12:55,839 Speaker 1: find your audience. And I would say, if you're just 275 00:12:55,880 --> 00:12:58,520 Speaker 1: getting started, find your audience, whoever that is, and then 276 00:12:58,559 --> 00:13:01,000 Speaker 1: build on that. So how does it go for you 277 00:13:01,000 --> 00:13:03,400 Speaker 1: to actually add a song to the radio, Because I 278 00:13:03,280 --> 00:13:07,200 Speaker 1: imagine you're getting lots of calls from everybody in their cousin. Sure, 279 00:13:07,600 --> 00:13:11,680 Speaker 1: UM lots of different metrics that that uh that you 280 00:13:11,720 --> 00:13:14,880 Speaker 1: look at. Um metrics the over used word in our 281 00:13:14,920 --> 00:13:18,400 Speaker 1: industry by the way, right now, Uh, the label obviously 282 00:13:18,400 --> 00:13:21,920 Speaker 1: has an agenda. You've got record labels. Record labels have 283 00:13:22,280 --> 00:13:25,120 Speaker 1: an agenda. They have a roster of artists that they 284 00:13:25,120 --> 00:13:28,880 Speaker 1: are promoting different projects in any given time. And then 285 00:13:28,920 --> 00:13:32,200 Speaker 1: you've got uh, you've got your superstars that are coming 286 00:13:32,200 --> 00:13:34,640 Speaker 1: out with songs and who have a history that your 287 00:13:34,760 --> 00:13:37,520 Speaker 1: artists are. Your listener wants to know what the new 288 00:13:37,559 --> 00:13:40,319 Speaker 1: Tim McGraw song is and when's the album coming out, 289 00:13:40,320 --> 00:13:43,200 Speaker 1: So you have to pay attention to those things. But 290 00:13:43,200 --> 00:13:45,760 Speaker 1: when you're trying to figure out, you know, what is 291 00:13:45,760 --> 00:13:47,680 Speaker 1: going to be the next song on the radio station, 292 00:13:48,080 --> 00:13:51,079 Speaker 1: I'll look at um everything from the history of the artist, 293 00:13:51,360 --> 00:13:53,880 Speaker 1: what is the brand and relevancy of the artist right now? 294 00:13:54,760 --> 00:13:58,559 Speaker 1: And then I'll look at consumption uh sells as well, right. 295 00:13:58,600 --> 00:14:01,120 Speaker 1: But consumption is one of those things that it's it's 296 00:14:01,160 --> 00:14:02,640 Speaker 1: kind of one of those gray areas that I think 297 00:14:02,640 --> 00:14:04,680 Speaker 1: pets are trying to figure out, like what's an on 298 00:14:04,760 --> 00:14:07,760 Speaker 1: demand stream versus a regular stream and then how do 299 00:14:07,880 --> 00:14:11,240 Speaker 1: I really equate that versus sales? And where does all 300 00:14:11,280 --> 00:14:14,560 Speaker 1: of that information fall out? Um, And everybody kind of 301 00:14:14,559 --> 00:14:16,880 Speaker 1: has their own little mad science as to what it is. 302 00:14:16,960 --> 00:14:19,200 Speaker 1: But you know, consumption per spense is something big to 303 00:14:19,200 --> 00:14:20,840 Speaker 1: look at. If you're if it's only getting spun a 304 00:14:20,880 --> 00:14:23,880 Speaker 1: certain amount of times and people are going out and 305 00:14:23,920 --> 00:14:26,400 Speaker 1: buying it and consuming it and streaming it and it's 306 00:14:26,400 --> 00:14:28,640 Speaker 1: on their on demand playlist and that sort of thing, 307 00:14:29,000 --> 00:14:31,680 Speaker 1: it makes a difference. You can usually tell what's going 308 00:14:31,720 --> 00:14:34,400 Speaker 1: to be a hit based on what's getting consumed today. 309 00:14:34,720 --> 00:14:36,720 Speaker 1: It's weird you talking about streaming because even just with 310 00:14:36,760 --> 00:14:38,000 Speaker 1: me and when I look at music and I look 311 00:14:38,000 --> 00:14:40,840 Speaker 1: at it a different way than you do. Um, I, 312 00:14:41,440 --> 00:14:45,400 Speaker 1: you can't believe streaming numbers a lot of the time 313 00:14:45,920 --> 00:14:48,600 Speaker 1: because if things get playlisted, they just get played and 314 00:14:48,840 --> 00:14:51,400 Speaker 1: people like them. Yeah, and we are obviously gonna talk 315 00:14:51,400 --> 00:14:54,480 Speaker 1: to somebody about how they were talking about how. Um. 316 00:14:54,520 --> 00:14:56,640 Speaker 1: You know, on demand streams could be like on a 317 00:14:56,680 --> 00:15:00,440 Speaker 1: playlist like Spotify for example, and if people are listening 318 00:15:00,480 --> 00:15:04,600 Speaker 1: to that at work, right, the skip rates and stuff count, right, 319 00:15:04,640 --> 00:15:07,120 Speaker 1: If it gets skipped within thirty seconds, it doesn't count. 320 00:15:07,200 --> 00:15:08,880 Speaker 1: But if you're at work and you're just streaming that 321 00:15:08,920 --> 00:15:10,640 Speaker 1: in the background, you're not taking the time to skip. 322 00:15:10,640 --> 00:15:13,920 Speaker 1: You're doing your job, right, And I think and people 323 00:15:13,960 --> 00:15:16,560 Speaker 1: are just doing life. Even if you're listening to playlist, 324 00:15:16,840 --> 00:15:19,200 Speaker 1: you're just doing life and you're not taking the time 325 00:15:19,240 --> 00:15:23,200 Speaker 1: to really give consistent feedback. But consistency, I think is 326 00:15:23,240 --> 00:15:25,880 Speaker 1: the key. Right, You're gonna have spiked weeks and streaming 327 00:15:25,880 --> 00:15:29,080 Speaker 1: in that, but you can certainly see it's an indicator 328 00:15:29,120 --> 00:15:31,760 Speaker 1: of of hits to come. You can even buy streams 329 00:15:32,480 --> 00:15:36,280 Speaker 1: which people are doing numbers. Yeah. Well, and back in 330 00:15:36,320 --> 00:15:38,920 Speaker 1: the day, like seven years or so ago, I bought 331 00:15:38,920 --> 00:15:42,560 Speaker 1: five thousand Twitter followers and I was like, why opened 332 00:15:42,560 --> 00:15:45,400 Speaker 1: my eyes to the world of buying followers. Since then 333 00:15:45,440 --> 00:15:49,800 Speaker 1: Twitter got all smart and wiped them all away that 334 00:15:49,920 --> 00:15:52,640 Speaker 1: I was like, I'm paid for those, man, But what 335 00:15:52,680 --> 00:15:56,160 Speaker 1: I used to cost, yeah, like thirty bucks back in 336 00:15:56,200 --> 00:15:57,760 Speaker 1: the day. But this is what I did. It was 337 00:15:57,760 --> 00:15:59,240 Speaker 1: stupid because the New York Times put me in the 338 00:15:59,240 --> 00:16:01,760 Speaker 1: story about that bought Twitter followers and mine was so 339 00:16:01,800 --> 00:16:03,520 Speaker 1: small they didn't really they just had my name in it. 340 00:16:04,000 --> 00:16:06,240 Speaker 1: But what I used to do, and I'm glad they 341 00:16:06,240 --> 00:16:07,880 Speaker 1: didn't put it in there is I used to buy 342 00:16:07,960 --> 00:16:09,800 Speaker 1: all my I used to bomb on with Twitter followers, 343 00:16:09,800 --> 00:16:11,320 Speaker 1: meaning they would just wake up and have five thousand 344 00:16:11,360 --> 00:16:13,520 Speaker 1: extra followers and they'd be like, what did I do? 345 00:16:13,640 --> 00:16:15,880 Speaker 1: Because I thought it was the funniest joke ever, says, 346 00:16:16,080 --> 00:16:17,720 Speaker 1: So I was buying Twitter follw. I was glad I 347 00:16:17,720 --> 00:16:21,120 Speaker 1: didn't put all my friends in there. Every Luckily it 348 00:16:21,160 --> 00:16:23,720 Speaker 1: was just me because there was other radio and TV people. 349 00:16:23,720 --> 00:16:25,240 Speaker 1: I would buy them and I would sometimes I do 350 00:16:25,280 --> 00:16:27,680 Speaker 1: ten thousand, and I'd send them over and they'd be like, 351 00:16:27,680 --> 00:16:29,440 Speaker 1: why do have What did I do? Mind the news? 352 00:16:29,720 --> 00:16:31,320 Speaker 1: So that was a funny joke to me. But you 353 00:16:31,360 --> 00:16:34,800 Speaker 1: can buy YouTube views. I didn't realize that really easily. 354 00:16:35,720 --> 00:16:38,400 Speaker 1: Nothing you can't believe in in my mind. The only 355 00:16:38,400 --> 00:16:42,360 Speaker 1: thing you can believe is ticket sales. Yeah to me, now, 356 00:16:42,400 --> 00:16:48,080 Speaker 1: you really but much harder. If I can see eyeballs 357 00:16:48,240 --> 00:16:50,440 Speaker 1: at a place like if I can see you know. 358 00:16:50,800 --> 00:16:52,760 Speaker 1: But again, you're looking music different than I am. You're 359 00:16:52,760 --> 00:16:54,640 Speaker 1: looking at long term, you're looking at radio station heal, 360 00:16:54,680 --> 00:16:56,480 Speaker 1: if you're looking at a lot of songs. So, but 361 00:16:56,520 --> 00:16:58,240 Speaker 1: you can buy YouTube views, you can buy streams. I 362 00:16:58,320 --> 00:16:59,920 Speaker 1: know people who bought a million YouTube views on on 363 00:17:00,680 --> 00:17:05,240 Speaker 1: videos and so nothing is real to me except for 364 00:17:05,320 --> 00:17:07,200 Speaker 1: what I think is real, and that may not even 365 00:17:07,240 --> 00:17:10,199 Speaker 1: be right. I'll be honest with you, Well, what you 366 00:17:10,240 --> 00:17:12,720 Speaker 1: think is real? I think you have to uh look 367 00:17:12,720 --> 00:17:15,520 Speaker 1: at all those metrics on a consistent level, and usually 368 00:17:15,560 --> 00:17:19,160 Speaker 1: you can spot those oddities, like if you're doing it, Yeah, 369 00:17:19,160 --> 00:17:21,000 Speaker 1: if you're doing it on a weekly basis, you can 370 00:17:21,040 --> 00:17:23,240 Speaker 1: kind of see that because even if the labels or 371 00:17:23,240 --> 00:17:25,439 Speaker 1: management can manipulate those, they don't have the money to 372 00:17:25,480 --> 00:17:28,480 Speaker 1: manipulate those on every artist every week. So I think 373 00:17:28,520 --> 00:17:31,520 Speaker 1: you can spot those oddities, and you certainly do. But um, 374 00:17:32,040 --> 00:17:34,639 Speaker 1: I think it's also frustrating to me as a as 375 00:17:34,640 --> 00:17:36,560 Speaker 1: a music lover and a program director. I have to 376 00:17:36,560 --> 00:17:39,760 Speaker 1: separate the two things. That's crazy frustrating because in my opinion, 377 00:17:39,800 --> 00:17:43,720 Speaker 1: some of the best music in country is not getting 378 00:17:43,760 --> 00:17:46,960 Speaker 1: played or supported on country radio, and I I don't 379 00:17:47,000 --> 00:17:48,919 Speaker 1: really I mean, you've got your theories on why that is, 380 00:17:48,960 --> 00:17:52,879 Speaker 1: but it's just, uh, it just hurts my heart sometimes 381 00:17:52,880 --> 00:17:56,160 Speaker 1: to see what actually does work versus what I think 382 00:17:56,240 --> 00:17:59,159 Speaker 1: should work. That's that's that's different. It's tough. It's your 383 00:17:59,160 --> 00:18:02,720 Speaker 1: heart versus your head, and that's not an easy conversation 384 00:18:02,760 --> 00:18:04,959 Speaker 1: to have in a music meeting. Do you feel sometimes 385 00:18:05,000 --> 00:18:08,120 Speaker 1: people are going, oh, radio or they had the fist out, 386 00:18:08,200 --> 00:18:10,720 Speaker 1: like come on. I don't think people can care enough. 387 00:18:11,400 --> 00:18:14,119 Speaker 1: I think the only people that talk about terrestrial radio 388 00:18:14,240 --> 00:18:17,120 Speaker 1: versus streaming versus playlist thing, or people that are either 389 00:18:17,200 --> 00:18:20,280 Speaker 1: just mad passionate about music or in the music industry. 390 00:18:20,480 --> 00:18:23,639 Speaker 1: I think most people don't have time to care. Music 391 00:18:23,760 --> 00:18:25,520 Speaker 1: is definitely a big part of their life, and it's 392 00:18:25,520 --> 00:18:29,760 Speaker 1: certainly you know, it owns and captures certain moments in 393 00:18:29,880 --> 00:18:31,800 Speaker 1: time for them, whether what's going on in their life 394 00:18:31,840 --> 00:18:33,360 Speaker 1: when they hear a song or whatever. I mean, it's 395 00:18:33,520 --> 00:18:36,199 Speaker 1: music is important to them. But I don't know, you 396 00:18:36,240 --> 00:18:38,840 Speaker 1: know that they're listening to the radio to find out, oh, 397 00:18:38,840 --> 00:18:43,080 Speaker 1: well that's that's not the correct hit right that they 398 00:18:43,080 --> 00:18:45,280 Speaker 1: should be playing. They just go though, I like that 399 00:18:45,400 --> 00:18:47,400 Speaker 1: or not, and maybe they change it, maybe they don't. 400 00:18:47,400 --> 00:18:50,000 Speaker 1: Maybe they're not even paying attention because they're worried about 401 00:18:50,040 --> 00:18:52,080 Speaker 1: what's for dinner and getting their kids to soccer practice 402 00:18:52,160 --> 00:18:54,199 Speaker 1: on time, and their bosses on their back. They just 403 00:18:54,240 --> 00:18:56,399 Speaker 1: want to break right. I'm gonna ask you, coming up 404 00:18:56,400 --> 00:18:59,920 Speaker 1: after this sixty second commercial here about women and kind 405 00:19:01,119 --> 00:19:03,040 Speaker 1: because that's a hot topic right now. So I'm gonna 406 00:19:03,040 --> 00:19:04,320 Speaker 1: give you a second here. I'm gonna talk about this 407 00:19:04,520 --> 00:19:07,560 Speaker 1: heads up everybody. Hackers exploited that security vulnerability a Facebook 408 00:19:07,600 --> 00:19:10,440 Speaker 1: and a lot of personal information of nearly fifty million 409 00:19:10,480 --> 00:19:14,000 Speaker 1: accounts were out there. These attackers, they get in and listen. 410 00:19:14,000 --> 00:19:17,440 Speaker 1: Once people have your information, they can sell it, they 411 00:19:17,480 --> 00:19:20,119 Speaker 1: can use it. You know, with your personal info from 412 00:19:20,119 --> 00:19:22,560 Speaker 1: a data breach, criminals can do things like open accounts 413 00:19:22,560 --> 00:19:25,320 Speaker 1: to file tax returns or even crazy things you wouldn't 414 00:19:25,320 --> 00:19:27,439 Speaker 1: think of, like by property. A lot of threats, but 415 00:19:27,480 --> 00:19:30,040 Speaker 1: I'll tell you for me, I have life Flock and 416 00:19:30,160 --> 00:19:32,439 Speaker 1: good thing new life Flock identity theft protection as the 417 00:19:32,480 --> 00:19:35,080 Speaker 1: power of Norton Security to help protecting in threats to 418 00:19:35,080 --> 00:19:37,080 Speaker 1: your identity and your devices. I'll tell you there have 419 00:19:37,119 --> 00:19:39,360 Speaker 1: been at least four times where they've called me and said, 420 00:19:39,359 --> 00:19:41,359 Speaker 1: hey did you open this account? Or hey did you 421 00:19:41,359 --> 00:19:42,520 Speaker 1: do that? And most of the times I haven't. But 422 00:19:42,560 --> 00:19:43,960 Speaker 1: one time I was really stupid and I was like 423 00:19:44,000 --> 00:19:47,120 Speaker 1: shut it down, but I did open account. That's not good. 424 00:19:47,440 --> 00:19:50,600 Speaker 1: Uh No, No one can stop every cyber threat, prevent 425 00:19:50,680 --> 00:19:53,920 Speaker 1: all identity the after, monitor transactions at all businesses, but 426 00:19:54,000 --> 00:19:56,119 Speaker 1: new life Flock with Norton Security can see threats that 427 00:19:56,119 --> 00:19:57,920 Speaker 1: you might miss on your own. Go to life flock 428 00:19:58,000 --> 00:20:01,040 Speaker 1: dot com or callfelock. Use the promo code bones for 429 00:20:01,080 --> 00:20:02,840 Speaker 1: an extra ten percent off your first year, plus a 430 00:20:02,840 --> 00:20:05,800 Speaker 1: twenty dollar Amazon gift card with annual enrollment. Promo code 431 00:20:05,840 --> 00:20:09,680 Speaker 1: Bones terms apply. So yeah, the big hot button question 432 00:20:09,720 --> 00:20:13,200 Speaker 1: now is, first of all, what's the deal? Like why 433 00:20:13,680 --> 00:20:16,000 Speaker 1: as and you're not just a program director, but recently, 434 00:20:16,040 --> 00:20:19,400 Speaker 1: in the last year or so, you're now uh vice 435 00:20:19,440 --> 00:20:21,080 Speaker 1: president in the company. Have I already I don't know 436 00:20:21,119 --> 00:20:28,400 Speaker 1: what the crap I am? And neither do I. That's so, 437 00:20:28,600 --> 00:20:31,280 Speaker 1: why do you think because you kind of inherited some 438 00:20:31,320 --> 00:20:33,320 Speaker 1: of this mess, you kind of walked into and it 439 00:20:33,359 --> 00:20:36,560 Speaker 1: was already happening, why do you think the situation was? Well, 440 00:20:36,640 --> 00:20:39,200 Speaker 1: there aren't a lot of women on the radio. This 441 00:20:39,280 --> 00:20:43,359 Speaker 1: is one. This is a huge, huge question. Um and 442 00:20:43,359 --> 00:20:45,919 Speaker 1: and any time you're a mail p D and you 443 00:20:46,000 --> 00:20:48,600 Speaker 1: get this topic at all, it can scare some folks. 444 00:20:48,680 --> 00:20:51,000 Speaker 1: I'll just speak honestly how I see it right, whether 445 00:20:51,040 --> 00:20:53,280 Speaker 1: it's truth or not, it's just kind of my version 446 00:20:53,359 --> 00:20:56,520 Speaker 1: or my vision of what's happened. I mean, you can 447 00:20:56,560 --> 00:20:58,320 Speaker 1: go back to the nineties and you can see that 448 00:20:58,400 --> 00:21:04,159 Speaker 1: there certainly were strong females with great songs and and 449 00:21:04,320 --> 00:21:08,200 Speaker 1: great brands and great vocals. I think we went through 450 00:21:08,480 --> 00:21:11,800 Speaker 1: uh an an um a period of time in country 451 00:21:11,880 --> 00:21:16,320 Speaker 1: music to where we had great female singers but not 452 00:21:16,880 --> 00:21:20,560 Speaker 1: truly great female artists. And that might upset some people, 453 00:21:20,560 --> 00:21:22,800 Speaker 1: but that's just how I see it. And then I 454 00:21:22,840 --> 00:21:27,680 Speaker 1: think over that time there became this subconscious kind of 455 00:21:28,040 --> 00:21:32,639 Speaker 1: blindness from program directors seeing all of these female acts 456 00:21:32,680 --> 00:21:36,520 Speaker 1: that didn't connect, didn't work, didn't happen, and then it 457 00:21:36,640 --> 00:21:41,120 Speaker 1: kind of made this subconscious kind of stereotype that, oh, 458 00:21:41,160 --> 00:21:43,240 Speaker 1: if I add this female record, it's gonna take forever 459 00:21:43,359 --> 00:21:45,679 Speaker 1: to have. So I think that's one part of it. 460 00:21:46,240 --> 00:21:50,080 Speaker 1: I think another aspect of it is, uh, listen, I 461 00:21:50,119 --> 00:21:53,280 Speaker 1: just I live with two daughters and a wife, and 462 00:21:53,320 --> 00:21:56,800 Speaker 1: there's always trauma at my house, and so I think 463 00:21:56,840 --> 00:21:59,239 Speaker 1: there is something to be said with country music being 464 00:21:59,320 --> 00:22:04,360 Speaker 1: driven by email listenership of fifty four in some cases 465 00:22:04,560 --> 00:22:08,359 Speaker 1: that uh, the women have to like you and not 466 00:22:08,400 --> 00:22:10,720 Speaker 1: all women like women. And I know people hate to 467 00:22:10,760 --> 00:22:13,320 Speaker 1: hear that, but I think that is a part of it. Now, 468 00:22:13,359 --> 00:22:16,240 Speaker 1: I will say, I think that's changing, and it's changing 469 00:22:16,240 --> 00:22:18,920 Speaker 1: because it's become a big conversation not only in country music, 470 00:22:18,920 --> 00:22:21,720 Speaker 1: but with the me too movement and this woman empowering thing. 471 00:22:21,920 --> 00:22:24,560 Speaker 1: And I love it as the data two daughters. I 472 00:22:24,560 --> 00:22:28,120 Speaker 1: am all about it. So I think that's that's part 473 00:22:28,160 --> 00:22:31,600 Speaker 1: of it as well, um, because I don't think Pete's 474 00:22:32,000 --> 00:22:33,760 Speaker 1: we want to play stuff that works. I agree with 475 00:22:33,800 --> 00:22:37,880 Speaker 1: you that part of it. Yes, as a radio program 476 00:22:37,920 --> 00:22:40,640 Speaker 1: director or even me listen, I just want to play 477 00:22:40,680 --> 00:22:43,080 Speaker 1: what helps me get the best ratings so I can 478 00:22:43,160 --> 00:22:46,600 Speaker 1: have food like that. Essentially, that's what it is now. 479 00:22:46,640 --> 00:22:49,719 Speaker 1: I came in into country music after you did, and 480 00:22:49,800 --> 00:22:52,760 Speaker 1: so from my perspective, what I saw is something working. 481 00:22:53,040 --> 00:22:55,359 Speaker 1: There was a sound that was so male. Now this 482 00:22:55,400 --> 00:22:57,080 Speaker 1: is after what you're talking about, so I didn't see 483 00:22:57,119 --> 00:22:58,840 Speaker 1: any of this. But what I saw was such a 484 00:22:58,880 --> 00:23:01,440 Speaker 1: male sound working. And what happens not even just music, 485 00:23:01,480 --> 00:23:04,800 Speaker 1: not radio, but anywhere in any industry. If something is working, 486 00:23:04,800 --> 00:23:07,439 Speaker 1: everybody chases to it. It's like a magnets and they 487 00:23:07,440 --> 00:23:09,880 Speaker 1: try to reproduce it so they can then make that money. 488 00:23:09,960 --> 00:23:12,600 Speaker 1: Because it's all about money. I've never met one person 489 00:23:12,640 --> 00:23:16,640 Speaker 1: who goes you know what, just not in the female voice. Never. 490 00:23:17,520 --> 00:23:19,440 Speaker 1: But you can say that about traditional country. You know, 491 00:23:19,480 --> 00:23:20,639 Speaker 1: there are a lot of artis they're like, where's the 492 00:23:20,640 --> 00:23:23,119 Speaker 1: traditional country? Well, people were chasing this one sound that 493 00:23:23,200 --> 00:23:26,320 Speaker 1: drowned a lot of that out, you know. And I 494 00:23:26,359 --> 00:23:28,760 Speaker 1: would credit people like Florida Georgia Line with doing a 495 00:23:28,840 --> 00:23:31,399 Speaker 1: separate new thing that made everybody else go to it 496 00:23:31,440 --> 00:23:33,080 Speaker 1: and they get kind of you know, ball bash a 497 00:23:33,119 --> 00:23:35,200 Speaker 1: little bit. But they did their own thing. They didn't 498 00:23:35,240 --> 00:23:38,199 Speaker 1: create a movement to piss everybody off. They created their 499 00:23:38,240 --> 00:23:41,280 Speaker 1: own sound that was huge, and then everybody copied them, 500 00:23:41,320 --> 00:23:43,679 Speaker 1: and then because they were the trailblazer, they get hated on. 501 00:23:44,520 --> 00:23:48,560 Speaker 1: So what I saw was nothing about holding people down 502 00:23:48,600 --> 00:23:50,680 Speaker 1: anyone bands, because there's a thing about bands. There aren't 503 00:23:50,680 --> 00:23:53,639 Speaker 1: any bands on the radio. There aren't. There's not traditional country, 504 00:23:53,880 --> 00:23:56,920 Speaker 1: there's not. But it became a cycle of everybody trying 505 00:23:56,960 --> 00:23:59,360 Speaker 1: to mass produce the one or two things that really 506 00:23:59,400 --> 00:24:02,320 Speaker 1: really worked, and it just covered the whole radio spectrum 507 00:24:02,320 --> 00:24:03,639 Speaker 1: and now we're trying to dig our way out of it. 508 00:24:03,680 --> 00:24:06,000 Speaker 1: But I believe it affected the culture too, because once 509 00:24:06,000 --> 00:24:07,959 Speaker 1: everything is working this way, you're trying to develop more 510 00:24:07,960 --> 00:24:11,800 Speaker 1: of that and therefore there was a development of traditional 511 00:24:11,800 --> 00:24:15,359 Speaker 1: country female artists bands, and so you're chasing that. And 512 00:24:15,400 --> 00:24:17,720 Speaker 1: I think the culture in the last couple of years 513 00:24:18,320 --> 00:24:21,040 Speaker 1: has changed and now we're just now starting to see 514 00:24:21,280 --> 00:24:24,680 Speaker 1: the bloom from the seeds from the last. But again, 515 00:24:24,960 --> 00:24:28,640 Speaker 1: I'm coming in after you. That's what I see and 516 00:24:28,640 --> 00:24:31,720 Speaker 1: and listen a few years. I mean, this is all 517 00:24:31,760 --> 00:24:36,840 Speaker 1: in my five almost almost six years now. Huh So 518 00:24:38,040 --> 00:24:40,479 Speaker 1: a couple of other thoughts on this topic too, right 519 00:24:40,600 --> 00:24:45,040 Speaker 1: to your point of chasing what's working. We always talk 520 00:24:45,080 --> 00:24:47,960 Speaker 1: about the percentage of how much females are played versus 521 00:24:48,000 --> 00:24:51,440 Speaker 1: males on country radio. Look at the labels. How many 522 00:24:51,480 --> 00:24:55,120 Speaker 1: male artists do they have versus females aboutely radio, Yeah, 523 00:24:55,119 --> 00:24:57,000 Speaker 1: we can't play fifty fifty if we're not being I 524 00:24:57,040 --> 00:24:59,680 Speaker 1: mean of what we get from our play on the 525 00:24:59,760 --> 00:25:02,440 Speaker 1: radio is coming from a label. If that number is off, 526 00:25:02,600 --> 00:25:04,359 Speaker 1: and then I will say, maybe it's not even the 527 00:25:04,440 --> 00:25:07,080 Speaker 1: label's fault. I think if you're a songwriter over the 528 00:25:07,119 --> 00:25:11,199 Speaker 1: past ten years, if you write a hit song for 529 00:25:11,320 --> 00:25:13,600 Speaker 1: a female, what does that do versus a hit song 530 00:25:13,680 --> 00:25:16,240 Speaker 1: for a male. So if you're a songwriter and you 531 00:25:16,320 --> 00:25:20,520 Speaker 1: gotta write songs to feed your family, and male artists 532 00:25:20,560 --> 00:25:23,359 Speaker 1: songs are working better than female artist songs. Who do 533 00:25:23,400 --> 00:25:25,640 Speaker 1: you write the song for? So I think there's a 534 00:25:25,680 --> 00:25:27,919 Speaker 1: there's a bigger kind of culture. It's it's a culture, 535 00:25:28,760 --> 00:25:32,879 Speaker 1: and cultures don't shift quickly they shift. This industry is 536 00:25:32,920 --> 00:25:35,720 Speaker 1: following the consumer, right, like do we do what the 537 00:25:35,760 --> 00:25:39,080 Speaker 1: consumer wants? Everyone does what the consumer wants in every 538 00:25:39,119 --> 00:25:43,000 Speaker 1: industry whatsoever, period. That's a reason like Cam's Burning House, 539 00:25:43,119 --> 00:25:45,680 Speaker 1: that's the reason it was able to maintain because people 540 00:25:45,720 --> 00:25:47,800 Speaker 1: just kept buying it. Yes, they wanted it, and there 541 00:25:47,840 --> 00:25:49,880 Speaker 1: were times when researchers happening and it wasn't great for Cam. 542 00:25:49,960 --> 00:25:52,320 Speaker 1: People just kept buying it, and you waited it out, 543 00:25:52,320 --> 00:25:54,120 Speaker 1: and all of a sudden you're like, oh, everyone was right. 544 00:25:54,200 --> 00:25:56,160 Speaker 1: It was an amazing song. Because once in a while, 545 00:25:56,200 --> 00:25:58,480 Speaker 1: you try to push something that you think consumers would 546 00:25:58,480 --> 00:26:00,080 Speaker 1: like and it just doesn't. They don't need it, like 547 00:26:00,200 --> 00:26:01,760 Speaker 1: they don't want it. Is that they don't like that? 548 00:26:01,800 --> 00:26:03,639 Speaker 1: Of course I've done that many times, and so you're right. 549 00:26:03,720 --> 00:26:05,760 Speaker 1: So that's the thing where you're just like, Okay, you 550 00:26:05,800 --> 00:26:07,760 Speaker 1: stop doing what you think you're supposed to be doing 551 00:26:07,760 --> 00:26:10,760 Speaker 1: and just follow what they want from you. What's that? 552 00:26:10,840 --> 00:26:13,439 Speaker 1: What's the change? What? What? What needs to happen? Gator? 553 00:26:14,320 --> 00:26:20,960 Speaker 1: Oh Um, listen for for more females, or not even 554 00:26:21,000 --> 00:26:24,280 Speaker 1: just females, but for any of those females. So we're 555 00:26:24,440 --> 00:26:27,639 Speaker 1: we're best when we're broad, right, And I think the 556 00:26:27,680 --> 00:26:33,840 Speaker 1: way we get broad is people creating authentic music and 557 00:26:33,960 --> 00:26:37,560 Speaker 1: not afraid to be different. Right. And I think just 558 00:26:37,680 --> 00:26:40,560 Speaker 1: like if you're a songwriter or an a n R 559 00:26:40,640 --> 00:26:42,920 Speaker 1: person at a label, or you're a label president, or 560 00:26:42,960 --> 00:26:45,800 Speaker 1: you're the p D of radio station or you're the 561 00:26:45,840 --> 00:26:49,280 Speaker 1: morning guy over a hundred plus radio stations, you're gonna 562 00:26:49,280 --> 00:26:51,919 Speaker 1: get it right sometimes and you're gonna get it wrong sometimes. 563 00:26:52,920 --> 00:26:56,639 Speaker 1: But I think it starts with just being authentic, being real, 564 00:26:57,080 --> 00:27:00,920 Speaker 1: finding the best song and delivering that to an audience 565 00:27:00,960 --> 00:27:03,360 Speaker 1: that gives a crap. And if they give a crap, 566 00:27:03,800 --> 00:27:07,199 Speaker 1: trust me, everybody else will give a crap. What is 567 00:27:07,200 --> 00:27:09,359 Speaker 1: that light? Being a program director with it? And I 568 00:27:09,440 --> 00:27:13,320 Speaker 1: mean I'm your example, but with a show sometimes that 569 00:27:14,280 --> 00:27:20,640 Speaker 1: you have trouble reigning in, well, it's a good question. Yeah, um, 570 00:27:21,640 --> 00:27:25,680 Speaker 1: think about how would you reign in your kids? Right? 571 00:27:25,720 --> 00:27:28,320 Speaker 1: I know you you haven't gotten there yet in your life, 572 00:27:28,359 --> 00:27:30,399 Speaker 1: but this will make sense to you when you do right. 573 00:27:30,840 --> 00:27:32,960 Speaker 1: You love your kids, You care about your kids. You 574 00:27:33,000 --> 00:27:35,520 Speaker 1: wish you could make decisions for your kids, but you can't. 575 00:27:36,200 --> 00:27:38,680 Speaker 1: And you're always going to forgive your kids, but you're 576 00:27:38,720 --> 00:27:40,800 Speaker 1: always going to try to steer them in the best 577 00:27:40,840 --> 00:27:44,520 Speaker 1: direction that you think is best for them. So the 578 00:27:44,640 --> 00:27:48,359 Speaker 1: same way, right, Uh, In this case, it's it's we 579 00:27:48,359 --> 00:27:51,000 Speaker 1: don't have those conversations at bedtime prayer, right, but we 580 00:27:51,480 --> 00:27:53,520 Speaker 1: set a meeting weekly and we just talk and I 581 00:27:53,560 --> 00:27:56,399 Speaker 1: try not to talk about everything that there that I 582 00:27:56,480 --> 00:28:01,040 Speaker 1: don't agree with. Their morning shows me, and morn shows me, 583 00:28:01,200 --> 00:28:04,920 Speaker 1: and the whoever is doing mid days or afternoons or nights. 584 00:28:04,960 --> 00:28:07,359 Speaker 1: I think your job as a program director is to 585 00:28:07,480 --> 00:28:10,880 Speaker 1: essentially make everybody around you better. That's your goal. And 586 00:28:11,040 --> 00:28:13,240 Speaker 1: my goal is to not just make them better so 587 00:28:13,280 --> 00:28:15,600 Speaker 1: that I benefit, It's to get them to wherever their 588 00:28:15,640 --> 00:28:18,639 Speaker 1: goal and their dreams are. So setting up those conversations, 589 00:28:18,920 --> 00:28:21,920 Speaker 1: being honest and authentic in those conversations and making sure 590 00:28:21,960 --> 00:28:25,240 Speaker 1: that they know you give a crap about them more 591 00:28:25,320 --> 00:28:28,680 Speaker 1: so than their performance. And I think if they see 592 00:28:28,720 --> 00:28:31,359 Speaker 1: that in you, then I think they're more in line 593 00:28:31,400 --> 00:28:34,760 Speaker 1: to follow you, to listen to you and so essentially 594 00:28:35,600 --> 00:28:37,960 Speaker 1: become a better version of themselves on on the radio. 595 00:28:38,160 --> 00:28:40,560 Speaker 1: What is it like working with this show, specifically me 596 00:28:40,680 --> 00:28:43,640 Speaker 1: this show because we're not on just your radio station, 597 00:28:43,640 --> 00:28:46,280 Speaker 1: which has gotta be difficult for you at times. Oh uh, 598 00:28:46,600 --> 00:28:48,920 Speaker 1: you know. Um, so this is the first time that 599 00:28:48,960 --> 00:28:52,280 Speaker 1: I've ever worked with a morning show that I had 600 00:28:52,320 --> 00:28:56,800 Speaker 1: to share really, right, Um, I think obviously your time 601 00:28:57,600 --> 00:29:01,720 Speaker 1: is you don't have any but right, so having a 602 00:29:01,800 --> 00:29:04,560 Speaker 1: morning show that shared with other markets. First, having your 603 00:29:04,600 --> 00:29:06,440 Speaker 1: own guy that I can go to and say, listen, 604 00:29:06,440 --> 00:29:08,920 Speaker 1: you're doing this regardless. I can't really do that with 605 00:29:08,960 --> 00:29:11,840 Speaker 1: you because I have to be mindful of the bigger 606 00:29:11,880 --> 00:29:14,120 Speaker 1: picture when it comes to the Bobby Bones show. Right, 607 00:29:14,480 --> 00:29:17,440 Speaker 1: So there's a little of that. There's sometimes that will disagree. Dude. 608 00:29:17,440 --> 00:29:19,160 Speaker 1: There was some one time that I was trying to 609 00:29:19,240 --> 00:29:21,560 Speaker 1: be that big brother for you and I sent you 610 00:29:21,600 --> 00:29:23,360 Speaker 1: a text based on something you were talking about on 611 00:29:23,400 --> 00:29:25,440 Speaker 1: the air, and then you read it on the air 612 00:29:25,560 --> 00:29:29,360 Speaker 1: and tell me how to do my job. I'm like, no, 613 00:29:29,520 --> 00:29:31,320 Speaker 1: that's not That wasn't what I was trying to I 614 00:29:31,360 --> 00:29:32,880 Speaker 1: was trying to be your body and go, hey, have 615 00:29:32,920 --> 00:29:35,680 Speaker 1: you thought about this perspective of the topic you're talking about. 616 00:29:36,000 --> 00:29:39,520 Speaker 1: So there's those moments that I'm going, Bobby, what the crap, dude, 617 00:29:39,520 --> 00:29:41,440 Speaker 1: I thought we were bodies, what are you doing? But 618 00:29:41,840 --> 00:29:44,600 Speaker 1: you're just, you know, doing your thing. So there's those 619 00:29:44,640 --> 00:29:49,600 Speaker 1: moments that are challenging. But I honestly I love it 620 00:29:49,800 --> 00:29:52,960 Speaker 1: because when I when I listened to your show, I 621 00:29:53,320 --> 00:29:56,160 Speaker 1: don't know exactly what's going to happen. And to me, 622 00:29:56,400 --> 00:29:59,760 Speaker 1: that's what makes it interesting. It's always compelling, you know, 623 00:29:59,800 --> 00:30:02,400 Speaker 1: they're sometimes I rolled my eyes, and there are sometimes 624 00:30:02,400 --> 00:30:06,800 Speaker 1: that I just, you know, uh, enthusiastically throw my fist 625 00:30:06,840 --> 00:30:08,640 Speaker 1: in the air fist or the fans because I hear 626 00:30:08,760 --> 00:30:11,720 Speaker 1: something that's so brilliant. So I don't know that that 627 00:30:11,760 --> 00:30:13,640 Speaker 1: answers your question. I don't know that I can answer 628 00:30:13,720 --> 00:30:16,920 Speaker 1: your question. To be honest with you, you have a 629 00:30:17,040 --> 00:30:20,400 Speaker 1: question do you trust Bobby? Like? Do you Is that 630 00:30:20,440 --> 00:30:22,160 Speaker 1: a thing as a program director to put a lot 631 00:30:22,200 --> 00:30:25,239 Speaker 1: of trust in the morning show hosting In this case, Bobby, like, 632 00:30:25,280 --> 00:30:27,520 Speaker 1: do you how much trust do you have in him? Well, 633 00:30:27,560 --> 00:30:30,480 Speaker 1: if you're putting all your trust and whoever the morning 634 00:30:30,840 --> 00:30:33,200 Speaker 1: the guy is, because it leads the whole radios, you're 635 00:30:33,240 --> 00:30:35,240 Speaker 1: the face of the radio station. And by the way, 636 00:30:35,280 --> 00:30:38,480 Speaker 1: if you do something incredibly stupid, you don't just suffer 637 00:30:38,560 --> 00:30:41,040 Speaker 1: for it. We all suffer for it, right because if 638 00:30:41,080 --> 00:30:44,000 Speaker 1: it tanks the morning's ratings, it tanks the station's ratings. 639 00:30:44,040 --> 00:30:47,040 Speaker 1: It takes the station's ratings. The market president's going, hey, 640 00:30:47,040 --> 00:30:49,760 Speaker 1: what the crap? While you down three shares. If I'm 641 00:30:49,800 --> 00:30:52,680 Speaker 1: down three shares long enough, they're gonna go, hey, we're 642 00:30:52,680 --> 00:30:54,960 Speaker 1: gonna find a different program director. Good luck with you 643 00:30:55,000 --> 00:30:56,640 Speaker 1: and your family. And by the way, I work in 644 00:30:56,640 --> 00:30:59,760 Speaker 1: an industry that's sort of entertainment industry, so I have 645 00:30:59,800 --> 00:31:02,720 Speaker 1: no pension, there is no union, I have no retirement 646 00:31:03,000 --> 00:31:05,480 Speaker 1: except for what I lay up for myself, and so 647 00:31:05,640 --> 00:31:08,880 Speaker 1: there's yes, you have to trust not only who's doing mornings, 648 00:31:08,920 --> 00:31:10,720 Speaker 1: you have to trust everybody on the radio station. I 649 00:31:10,720 --> 00:31:14,400 Speaker 1: think that's what makes a good family, right. Uh, it's 650 00:31:14,440 --> 00:31:17,000 Speaker 1: just being able to trust each other and encourage each other. 651 00:31:17,480 --> 00:31:21,240 Speaker 1: Mm hmm. Well is there anything we haven't touched on? Um? 652 00:31:21,440 --> 00:31:24,160 Speaker 1: I wanted to know if Gator has ever broken an artist, 653 00:31:24,200 --> 00:31:27,040 Speaker 1: like we talked about breaking artists and going on going 654 00:31:27,040 --> 00:31:29,040 Speaker 1: out on a limb, taking a risk. Is there anyone 655 00:31:29,080 --> 00:31:32,760 Speaker 1: that you can say I take credit for whatever one. 656 00:31:32,800 --> 00:31:36,280 Speaker 1: There's nothing, none that I would take credit for. I mean, 657 00:31:36,320 --> 00:31:39,040 Speaker 1: I think you there's been those moments where I've recognized 658 00:31:39,120 --> 00:31:43,480 Speaker 1: it earlier, uh than other program directors might have. But 659 00:31:43,840 --> 00:31:45,720 Speaker 1: by the time it gets to me, the consumers have 660 00:31:45,800 --> 00:31:48,959 Speaker 1: already discovered it. The A and R people are the 661 00:31:49,000 --> 00:31:51,920 Speaker 1: teams around them, the management folks, they've already discovered it. Right. 662 00:31:51,960 --> 00:31:54,240 Speaker 1: So I don't know that I've been the guy that said, oh, 663 00:31:54,320 --> 00:31:56,520 Speaker 1: here's a kid on the street, I'm gonna make him, 664 00:31:56,600 --> 00:32:00,520 Speaker 1: you know, the next Garth. Right. But again, those uh, Lauren, 665 00:32:00,640 --> 00:32:03,320 Speaker 1: before she was a star, she just her vocals were 666 00:32:03,360 --> 00:32:06,000 Speaker 1: just so sick, right, So we were supporting and playing 667 00:32:06,000 --> 00:32:09,760 Speaker 1: her Cane before he had a record deal, Old Dominion, 668 00:32:09,880 --> 00:32:12,160 Speaker 1: before they had a record deal. We decided to stick 669 00:32:12,200 --> 00:32:14,720 Speaker 1: their song. I haven't done that a ton. I'm just 670 00:32:14,800 --> 00:32:18,720 Speaker 1: I'm a pretty conservative guy when it comes to music. Um, 671 00:32:18,760 --> 00:32:20,840 Speaker 1: But those would be the three that would stand out 672 00:32:20,880 --> 00:32:23,040 Speaker 1: that says I wouldn't take credit for him by any means, 673 00:32:23,040 --> 00:32:26,800 Speaker 1: But I was certainly one of the early believers. Well listen, 674 00:32:26,800 --> 00:32:28,160 Speaker 1: I know we pulled you down here. I gave you 675 00:32:28,200 --> 00:32:31,760 Speaker 1: like a fift even tell me what it was like. 676 00:32:31,800 --> 00:32:33,560 Speaker 1: He can come back down. It was like, ye, I 677 00:32:33,560 --> 00:32:35,240 Speaker 1: think he think he thought he was walking into a 678 00:32:35,240 --> 00:32:37,120 Speaker 1: meeting or something. I'm so stressed out, man, I'm one 679 00:32:37,160 --> 00:32:38,960 Speaker 1: of those I'm like, I've got to prepare for things. 680 00:32:39,000 --> 00:32:41,360 Speaker 1: I got to know what. And I knew that was 681 00:32:41,360 --> 00:32:43,760 Speaker 1: the case too, and I knew you'd be like, but 682 00:32:44,200 --> 00:32:46,600 Speaker 1: I feel like you answered everything honestly. Do you feel good? 683 00:32:46,600 --> 00:32:49,440 Speaker 1: You feel good about this? Sure? Yeah? No, Listen, I'm 684 00:32:49,600 --> 00:32:52,720 Speaker 1: honored of that. Um. I want to think a lot 685 00:32:52,720 --> 00:32:55,040 Speaker 1: of you and I respect you, and we probably have 686 00:32:55,120 --> 00:32:58,239 Speaker 1: more in common than you even realize. But just for 687 00:32:58,280 --> 00:33:01,040 Speaker 1: you to even give a crap what I think, uh, 688 00:33:01,240 --> 00:33:02,920 Speaker 1: to put me on the Bobby Cast, It's an honor. 689 00:33:03,000 --> 00:33:04,600 Speaker 1: And I want you to know I'm just not saying 690 00:33:04,720 --> 00:33:06,800 Speaker 1: I don't just say things. I really mean that. So 691 00:33:06,920 --> 00:33:09,240 Speaker 1: thank you for caring and put me on the Bobby Cast. 692 00:33:09,800 --> 00:33:13,920 Speaker 1: I believe him. I'm just sort of I'm just short 693 00:33:13,920 --> 00:33:19,280 Speaker 1: of saying I love you. I think it's short of it, Gator. Thanks. 694 00:33:19,280 --> 00:33:22,160 Speaker 1: I really appreciate I appreciate you coming down, and I 695 00:33:22,160 --> 00:33:23,920 Speaker 1: think a lot of people want to know those things. 696 00:33:23,920 --> 00:33:26,280 Speaker 1: I don't know about anyone else, but I learned a lot. Yeah, 697 00:33:26,360 --> 00:33:27,840 Speaker 1: I learned a lot about what he does. I see 698 00:33:27,880 --> 00:33:29,160 Speaker 1: him every day, but I don't know what he does. 699 00:33:29,280 --> 00:33:31,440 Speaker 1: I didn't even know his name, not really. I still 700 00:33:31,480 --> 00:33:33,040 Speaker 1: don't really even know your real name. I don't think 701 00:33:33,520 --> 00:33:36,400 Speaker 1: episode one forty two of the Bobby Cast. Gator, thank you, Eddie, 702 00:33:36,440 --> 00:33:38,280 Speaker 1: thanks for sitting over there. Yeah man, thanks for having 703 00:33:38,320 --> 00:33:41,000 Speaker 1: me good. I love sitting here watching this. I'll see 704 00:33:41,000 --> 00:33:43,640 Speaker 1: you next time. Everybody,