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Speaker 1: I think, as far as behind the scenes goes, this

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Speaker 1: could be a real good one episode three sixty two.

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Speaker 1: Rod Phillips, he's basically the biggest thing in country radio

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Speaker 1: as far as his decisions, hold the most weight and

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Speaker 1: half for probably the last five years and probably will

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Speaker 1: for a couple more years. I don't know what's happening

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Speaker 1: all around, you know, I don't know what. But he's

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Speaker 1: still the king daggling. There are other dinglings that have

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Speaker 1: grown there, I mean honestly, but he's still the king dangling.

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Speaker 1: Like he could make somebody's career with a couple of decisions.

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Speaker 1: So we had him on and I feel like I

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Speaker 1: asked him some I'm gonna say tough questions, but I

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Speaker 1: just wanted people to hear the real answers to things.

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Speaker 1: Would you agree? Like people complain, why don't this is single?

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Speaker 1: Why don't this song make it? This is a real

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Speaker 1: country Like I hit him with some of that stuff,

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Speaker 1: and I think this is good. And maybe it's not

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Speaker 1: the sexiest radio guy on on the header here, but

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Speaker 1: I think it's a really good one. And so Rod Phillips, Uh,

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Speaker 1: just the guy. I He talks a bit about his

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Speaker 1: radio career, but you know, it's partially that, but mostly

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Speaker 1: it's about, you know, kind of his goal when he

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Speaker 1: programs national country music and even how he doesn't program

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Speaker 1: all national country music. Like some companies have blanket playlists.

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Speaker 1: We do not, um, but you can. He talked about

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Speaker 1: it and listen. Yes, Rod and I are close by

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Speaker 1: challenge and I've we've always challenged each other on things,

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Speaker 1: and I think that's what's great about us. But Rod

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Speaker 1: and I've been together for a long, long long time.

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Speaker 1: He is the guy that really convinced me that, hey,

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Speaker 1: Nashville will be awesome. I know you think you want

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Speaker 1: to do it, and you also think and then I

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Speaker 1: hope you get him over here. So it's awesome. So

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Speaker 1: check it out. This is Rod Phillips, his official titles

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Speaker 1: the VP of Programming for I Heart Country. UM, I

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Speaker 1: think that's all. It's like I'm putting a cousin on here,

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Speaker 1: like a really close cousin on here. All right, here

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Speaker 1: you go, thank you and episode three, which, by the way,

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Speaker 1: let me say this, go check out last week's all

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Speaker 1: the stories about first number one. Great great, great episode.

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Speaker 1: If you missed that one, wonderful job Mike on that one.

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Speaker 1: Thank you. All right, here's Rod Phillips episode three sixty two.

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Speaker 1: My wife called me a second ago. She said, why

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Speaker 1: didn't you tell me? I said, tell you what She said, Well,

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Speaker 1: if Keith Urban comes over or Reeba comes over, you go, hey,

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Speaker 1: Keith Urban, Reeve's coming over, And I go, that's cool.

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Speaker 1: She said, you didn't tell me Rock and Rod was

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Speaker 1: coming over. I swear to you. She just called and

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Speaker 1: was like, I was leaving, and I looked at because

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Speaker 1: she has my calendar. She goes, Rock and Rod's coming

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Speaker 1: to do an interview. And I didn't even get to

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Speaker 1: be part of this. And so is this how she

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Speaker 1: makes fun of me when I'm not around? I think

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Speaker 1: I've not heard her referred to me as that. When

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Speaker 1: did we find out your name is rock and Rod?

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Speaker 1: Was it your wife that told us so? No, we were.

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Speaker 1: We were playing basketball and somebody my memory is bad?

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Speaker 1: Who's from Paduca? Nick? Nick? My friend Nick? That's what

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Speaker 1: he listened to you growing He freaked out because he

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Speaker 1: listened to you growing up. Yes, I've never heard Rod

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Speaker 1: on the radio. It's ever Nick has and I do

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Speaker 1: want to get to your radio days, but I think

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Speaker 1: first we should establish that Rock and Rod if you're

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Speaker 1: listening now, if you're one of the rock and Rod fans,

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Speaker 1: Rod is now like, if not, the one of the

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Speaker 1: king Dinglings of country music. Because what you decide determine

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Speaker 1: so much about an artist's career. Now you don't go

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Speaker 1: it's now my fingers. Your career is now made, but

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Speaker 1: you affect a lot of things that affect their career.

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Speaker 1: Is that fair to say? That's fair to say? What

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Speaker 1: is your title now? Because all the titles always change.

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Speaker 1: It's actually even more complicated than what I'll give you,

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Speaker 1: but it's basically my Heart. Programming executives have an e

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Speaker 1: v p P title Executive vice President of Programming for

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Speaker 1: I Heard Country, So there's other e v p ps.

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Speaker 1: My e v PPS status, if you will, is over

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Speaker 1: I Heard Country. Heart Country means a hundred and fifty

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Speaker 1: country radio stations, shows like The Bobby Bones Show, the

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Speaker 1: Top thirty Countdown Women of by Her Country, all the

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Speaker 1: things that go under the umbrella of anything we do

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Speaker 1: in country at I Heeart Media and I Heart Radio.

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Speaker 1: You're the head of country, head of country at the

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Speaker 1: biggest company. That's the way to say it. Yeah, Because

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Speaker 1: they always changed the letters and I don't know the

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Speaker 1: other's letters. And so there's an e v p P

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Speaker 1: of rock, Yes, an e v p P of hip

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Speaker 1: hop yes. Okay, so youll spanic top forty and with

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Speaker 1: that power comes great responsibility and yeah that's spider Man,

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Speaker 1: but that's that's also your job. Correct. As much as

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Speaker 1: I'm like, hey, this guy's King Dingling, like, you really

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Speaker 1: have to spend a lot of time, even you know,

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Speaker 1: probably going over your decisions many times before you make them,

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Speaker 1: because it does affect an artist or a label or

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Speaker 1: a manager's career just by you going yes or no.

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Speaker 1: Would that be accurate? That's also accurate. Word King Dingling.

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Speaker 1: Come by. When I see you walk in, I'm like,

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Speaker 1: there's King Dling, And somehow I like that better than

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Speaker 1: rock and Rods. I like them both, rock and ron King.

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Speaker 1: You're king rock and rod You're King Dingling here come

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Speaker 1: and so. But now we'll come back to that because

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Speaker 1: I do want to talk about your early radio experience.

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Speaker 1: You started radio on what town? Oh, started in little

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Speaker 1: old Elizabethtown, Kentucky, tinytown, well near what about thirty miles

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Speaker 1: south of Louisville. It wasn't a Louisville station. No Am

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Speaker 1: Am radio. You know how far those go. So you're

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Speaker 1: in Elizabethtown, Kentucky doing what on an AM station? Man,

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Speaker 1: I was hired to do to host Solid Gold Saturday Night,

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Speaker 1: which was the oldies show six A six pm to

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Speaker 1: midnight they did. They did music on AM. Yeah, we

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Speaker 1: were an a C station. Basically AM played Fleetwood Mac

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Speaker 1: and Gloria Stefan. How crappy did that sound? Oh? Probably

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Speaker 1: really bad, just because AM doesn't have the texture of

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Speaker 1: the depth that. Yeah we had. We had a C

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Speaker 1: on A on the AM and a country station on

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Speaker 1: the FM. Wow. So how did you get hired as

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Speaker 1: a host if you had and then that's your first job.

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Speaker 1: I was seventeen, had never been on the radio. The

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Speaker 1: I knew the news guy through some other stuff I

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Speaker 1: was doing, so like the voice of the town Ron Boone,

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Speaker 1: because oh, you should get a job in radio because

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Speaker 1: there's a lot of radio jobs, and I'll hook you

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Speaker 1: up with my program director. So I called him. You

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Speaker 1: didn't have like a lifetime desire to be in every

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Speaker 1: minute a radio station. Never thought about it. Some random dude,

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Speaker 1: Damn Ron Ron Boone told you should be in radio,

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Speaker 1: and now you're running country music. I wanted to be

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Speaker 1: a sportscaster like every other you know, seventeen year old dude. Um.

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Speaker 1: And we did high school basketball, football, wrestling, soccer. We

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Speaker 1: did all that on the local cable TV channel. I

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Speaker 1: did that with Ron Boone, who was sort of the

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Speaker 1: voice of radio in the area, and he got me

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Speaker 1: the job with the program director. I called the p

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Speaker 1: D and he I have no idea why he hired me,

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Speaker 1: literally hired me over the phone. Never met him before.

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Speaker 1: I have that voice, seventh year old rock and calling.

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Speaker 1: I do you know. I do wonder not to get

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Speaker 1: sidetracked on. I do wonder, especially the way we used

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Speaker 1: to try to sound on the radio, if you sort

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Speaker 1: of train yourself to sound, you know, would I would

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Speaker 1: have had I not been on the radio, would have

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Speaker 1: the exact same voice, you know, at my age now.

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Speaker 1: I do wonder if we sort of trained ourselves to

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Speaker 1: to have that, If that makes sense. Hey, Mike, the

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Speaker 1: movie you watch on Netflix where it goes back and

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Speaker 1: forth from the two scenarios look both ways, so it's

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Speaker 1: like she meets a dude, they hook up. One scenario,

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Speaker 1: she's not pregnant, and it's her living her life not pregnant.

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Speaker 1: She's pregnant. Yes, okay, So we're gonna do that with

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Speaker 1: not to one fictional scenario, but I want to walk

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Speaker 1: through your career now and flashback to your career is

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Speaker 1: in to go back and forth, and so just so

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Speaker 1: you know why I'm bouncing around. That's kind of my

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Speaker 1: vision for this. When you look back at your time here,

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Speaker 1: when did you become the head of country at I

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Speaker 1: Heart Radio? What year was that? The summer of two

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Speaker 1: thousand fifteen, two years after your show started. So from

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Speaker 1: two thousand fifteen to now, what artists have you seen

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Speaker 1: catapult the fastest after Luke Combs? Because I think comes

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Speaker 1: the answer, right, Combs is the answer, and Morgan is

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Speaker 1: trying to catch him. And and as on fire as

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Speaker 1: Morgan Wallen has been really statistically speaking, number of songs

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Speaker 1: fastest on the chart, number of hits, he hasn't gotten

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Speaker 1: to that level of number of songs that are hits.

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Speaker 1: But but he's trying, right, He's he's getting there. So Combs,

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Speaker 1: Morgan Wallen, if I'm playing the game too, who do

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Speaker 1: you put next? Like a Sam he kind of came

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Speaker 1: out of nowhere all of a sudden. He was a

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Speaker 1: star pretty quickly, Uh, Sam, But he started before Luke

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Speaker 1: and then he's actually Combs comes right, Yeah, he started

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Speaker 1: before Luke Combs, and then he sort of has taken

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Speaker 1: more breaks. Most of the country artists don't take a break.

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Speaker 1: Talking about breaks, so I'm talking about how quickly they're

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Speaker 1: here and then how quickly it's like, oh, we gotta

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Speaker 1: play them because they're a star. I think that happened

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Speaker 1: before the first break when you agree, yes, oh yeah, yeah,

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Speaker 1: Sam was on fire. Sam was the hottest new country

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Speaker 1: artist into Luke Combs. In my opinion, Marion Morris is

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Speaker 1: in there, and came Brown is in there. I can Yeah,

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Speaker 1: that's a five really strong ones strong Legit gonna be

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Speaker 1: around for a long time. So when Luke Combs appeared

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Speaker 1: on our scene, I remember I used to do a

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Speaker 1: little thing where it was like, all right, let's pick

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Speaker 1: five artists who we believe in, and you're also at

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Speaker 1: the same time going, let's pick one artist that we

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Speaker 1: believe in, meaning the on the verge artist, and you

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Speaker 1: have the power of that. So that is such a

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Speaker 1: significant part of country music. Explain what the on the

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Speaker 1: verge artist is and what goes into your reasoning and

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Speaker 1: who you pick on the verge of a program where

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Speaker 1: we get all of our program directors onto a project

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Speaker 1: at the same time, and and that matters because you

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Speaker 1: said earlier, we're the biggest radio come we're the most

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Speaker 1: number of radio stations, and fifty program directors could go

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Speaker 1: get fifty different songs, So we ask everybody to agree

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Speaker 1: on one song at the same time, so we can

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Speaker 1: have sort of that consist and push and escalation onto

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Speaker 1: the radio, get to the most ears as possible at

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Speaker 1: the same time, and then evaluate the song. And why

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Speaker 1: that matters too when you say there are so many stations,

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Speaker 1: there's a chart that's monitored, right, It's not just as

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Speaker 1: a bunch station so a lot of people hear it.

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Speaker 1: It's there's a there's a literal chart that's monitored. And

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Speaker 1: you know, if you have more stations that are monitored,

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Speaker 1: you're able to move it up the chart monitor meaning

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Speaker 1: literally electronically they listen to them and when a song

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Speaker 1: is played, it a computer catches and says, okay, we

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Speaker 1: played Luke Cohns, we played Mary Morris, and all those

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Speaker 1: spins then determined spins, meaning all those plays of that

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Speaker 1: music on those radio stations determine where they are in

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Speaker 1: the chart. So I would imagine again, and I've only

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Speaker 1: been ankle deep in this situationally that maybe dirty is

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Speaker 1: not the world, But I imagine there's some politics and

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Speaker 1: going on, because that's a significant thing for any art

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Speaker 1: but the biggest thing in new artists can get. Yeah,

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Speaker 1: politicking is probably the right way to say it. Um.

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Speaker 1: And that's what labels are paid to do promote their artists. Um.

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Speaker 1: But yeah, the politics in comes from, uh, you know,

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Speaker 1: how do you how do you promote better than the

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Speaker 1: other guy? How do you make your artists, your project,

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Speaker 1: the song appear or seem like it's it's more relevant,

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Speaker 1: going to have a better track to success than everybody else. Um,

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Speaker 1: So politicking is probably right. That also, probably you started

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Speaker 1: to say the word dirty. I mean it's I associate

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Speaker 1: the industry with just being dirty in general, which you

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Speaker 1: probably don't as much as I do. I just get

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Speaker 1: angry at everyone all the time. Um. But so for me,

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Speaker 1: I would say it's kind of sometimes it gets lazy.

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Speaker 1: But politicking is a word that I would use because

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Speaker 1: you have to deal with it every day. Yeah, so

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Speaker 1: you just know it as the nature of you're here

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Speaker 1: people want to get stuff. I have to figure out

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Speaker 1: what strategy they can use to get their artists that

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Speaker 1: they're paid to get on to get on. Sure, so

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Speaker 1: with the on the Verge, they can't have a hit, right,

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Speaker 1: isn't that a thing? For the most part, like it's

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Speaker 1: not an established artist at all. It's not established. We've

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Speaker 1: often thought, doesn't matter if they've had a hit or two,

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Speaker 1: but but today you're right, no, no, no artists that

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Speaker 1: we've picked has had a hit or even a half

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Speaker 1: a hit. If you will, remember in the studio when

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Speaker 1: we told oh yeah, legit he was on the air,

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Speaker 1: he started crying. Well, it's always you know, we have

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Speaker 1: a long list of on the Verge um folks, if

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Speaker 1: you will, people that were part of the program. It's

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Speaker 1: easy to look back and go, of course you pick

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Speaker 1: a Loup Combs, but at the time it wasn't. Of course,

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Speaker 1: it was like, we feel really good about it, and

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Speaker 1: of course that's a lightning rod um. Most of them

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Speaker 1: have been very successful in terms of the song we

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Speaker 1: picked with that artist Marion. Marion was fantastic. There were

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Speaker 1: some of the other big ones you can think of

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Speaker 1: that you think on the Verge game a good goal.

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Speaker 1: I think Dustin Lynch was the first. He was before

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Speaker 1: you or I came to Nashville. I believe he was

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Speaker 1: the very first on the verge that obviously worked well.

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Speaker 1: Sam Hunt was on the Verge. Um, I shouldn't have

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Speaker 1: the list because it's it's it's pretty fantastic. I mean again,

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Speaker 1: the rate at which are programmers collectively picked the song.

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Speaker 1: And you know, no, you put fifty people in the room.

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Speaker 1: Fifty people are not going to totally agree on a song.

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Speaker 1: But we tried to get the one that's got the

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Speaker 1: most kind of action around it that everybody agrees is

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Speaker 1: going to be a hit. Um. Yeah, I wonder who

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Speaker 1: else is on the list. We should look at it.

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Speaker 1: It's significant Cam she got it immediately, right. We did

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Speaker 1: a couple of those right too, where we can run

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Speaker 1: it together. In Grand Andrews Christians, I popped buy Me

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Speaker 1: a Boat, Our listeners popped it, and you were like, well,

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Speaker 1: we can't fight this moment, this momentum huge song Jansen

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Speaker 1: and Cam and Burnie launched and literally launched a career. Yeah.

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Speaker 1: So flashing back, You're in elizabeth Town, You're work in

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Speaker 1: a day m station, you are hosting some Gold Show,

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Speaker 1: right like solid gold Saturday night? Now? Is that like

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Speaker 1: a disco or is it like old gold as in

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Speaker 1: like big hits from the past. It was kind of

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Speaker 1: everything we played, you know, all that motown from the

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Speaker 1: sixties and some of the disco stuff from the seventies.

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Speaker 1: It was basically a Saturday night party show. Did you

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Speaker 1: develop a love for radio or did you go I

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Speaker 1: can't leave a get to do this and get paid? Uh?

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Speaker 1: Both we in the business. We talked about catching the

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Speaker 1: radio bug. People probably catch different bugs their industry. But

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Speaker 1: I had never been to a radio station and walked in,

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Speaker 1: got trained, and was on the air the next night,

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Speaker 1: which is still crazy. I don't care how small of

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Speaker 1: a town it was. Somebody somebody put me in charge

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Speaker 1: of our radio station, which was weird, um, but it

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Speaker 1: worked out. And from really, from very early on, I realized,

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Speaker 1: this is the only thing I want to do. I mean,

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Speaker 1: I caught that bug being a music It definitely wasn't

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Speaker 1: the music. I've never been like a music officiated auto.

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Speaker 1: I mean, it's always interesting to me how much you

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Speaker 1: know and how how many lyrics you know? And yeah,

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Speaker 1: and I'm not even in it for music. Yeah, you

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Speaker 1: know music at a much deeper, you know, level than

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Speaker 1: I ever have. Again, I wanted to be the sports guy.

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Speaker 1: I just want to talk about sports. Um, So it

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Speaker 1: was more about the the exciting part for me in

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Speaker 1: a studio with a microphone and we played music that

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Speaker 1: didn't matter to me as much what the music was

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Speaker 1: is you know, you get into it and you're you're

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Speaker 1: the DJ. I mean, there's kind of an ego thing

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Speaker 1: about that. I liked doing. I liked being person It's funny,

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Speaker 1: I've never thought about the fact that I don't really

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Speaker 1: I still seate myself with doing this job for music

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Speaker 1: at all. But I freaking love music. I think I

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Speaker 1: would anyway even if I didn't work in this because

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Speaker 1: I don't do it because the same with the same

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Speaker 1: with you. I don't do it because the music. I'm

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Speaker 1: surprised that wasn't the start for you though, just with

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Speaker 1: your zero music knowledge, none, absolutely none. I have things

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Speaker 1: to say and I want people to hear them, and

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Speaker 1: I want to compel folks. I was always it. Yeah,

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Speaker 1: just have a love from music like I do sports.

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Speaker 1: Is that why you are so open to to switching

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Speaker 1: from being a host that played top forty music sort of.

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Speaker 1: You didn't really play music that much on your show,

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Speaker 1: but it was on a top forty station, and to me,

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Speaker 1: you were you were super open minded to go into

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Speaker 1: country that's very different in our world. I may not

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Speaker 1: mean much to a listener, but is that why you're okay?

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Speaker 1: Because you were able to have a bigger voice. Yes,

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Speaker 1: and also you were like, you don't have to change

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Speaker 1: your show. Yeah. I mean, honestly, that was a big

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Speaker 1: part of it because I was when I was in Austin,

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Speaker 1: and you know, I built from one station, and just

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Speaker 1: the quick version of this is, you know, I had

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Speaker 1: hustled and got a couple of the stations, but you

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Speaker 1: were the first person ever put me on anywhere in

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Speaker 1: another company, and so it was the first stations I

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Speaker 1: don't have to pay pay money out of my own

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Speaker 1: pocket to do. Honestly, where you put me on in

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Speaker 1: the market, Yeah, and Georgia somewhere Alabama's it was it

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Speaker 1: was yes, I do all we need Georgia Tuscaloosa, Alabama. Um.

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Speaker 1: I think those were the first too, though, I mean,

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Speaker 1: but there were several they came yes and soon after that,

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Speaker 1: But you were the first person to ever tell me

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Speaker 1: that Hey, you're you're good enough to do this, and

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Speaker 1: we should be using you because we can also get

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Speaker 1: better by using you. The first person ever and I've

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Speaker 1: said this many times, but that's why you spoke when

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Speaker 1: I got put in the Radio Hall of Fame. Who

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Speaker 1: else am I gonna ask? My friend and also the

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Speaker 1: first person who ever believed in me? That that was

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Speaker 1: literally it. And so I remember, and you weren't running

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Speaker 1: the format, and I wasn't in the format, but they

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Speaker 1: obviously knew that. I don't trust anybody but probably you,

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Speaker 1: and you said, hey, you don't have to change the show,

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Speaker 1: like there'ld be some little corners in some places. You'll

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Speaker 1: have to kind of, you know, manipulate how you do things,

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Speaker 1: but you do your show. We wouldn't hire you. And

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Speaker 1: I was like, all right, cool, then let's go. That

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Speaker 1: was my pitch to John Hogan was who was our

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Speaker 1: CEO at the time, was Hey, we're looking for a

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Speaker 1: country show. We have a top forty show that eighty

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Speaker 1: five percent of the content it could be on country

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Speaker 1: morning radio right now, and the other is maybe a

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Speaker 1: little too aggressive for the people who listen to the

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Speaker 1: country and a little more of a family atmosphere. That

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Speaker 1: we had to protect and it probably wasn't. Let's be honest,

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Speaker 1: you didn't have a Top forty show that was talking

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Speaker 1: about sex and no hard words, and yeah, yeah it wasn't.

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Speaker 1: It wasn't edgy for Top forty, but it was obviously

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Speaker 1: crazy popular and successful. So the fact that we could

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Speaker 1: take that content and keep it similar, because the whole

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Speaker 1: point was not to change the Oh it's too it's

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Speaker 1: too natural, so we don't want you. We didn't want

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Speaker 1: anybody to play a part to be the country guys.

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Speaker 1: I think my edge came from authenticity and technology, white technology,

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Speaker 1: because I was doing crap before anybody else was. We

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Speaker 1: were we were investing in podcasting before it was even

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Speaker 1: a thing. We had somebody sitting right notes on every

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Speaker 1: big bit of the show so we could load it

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Speaker 1: up so people will go podcast it. And so whenever

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Speaker 1: it became a thing, we were already sitting there going

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Speaker 1: we're here, We're ready for you, you know, come on

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Speaker 1: with it. And so yeah, I felt like you said, hey,

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Speaker 1: you know, I got to change the show much, and

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Speaker 1: I had to change a couple of things, but for

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Speaker 1: the most part, I'm gonna do from Arkansas sensibilities their

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Speaker 1: sensibilities here and I was probably too country to do

382
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Speaker 1: pop realistically, and so here we are, moved here. It's crazy,

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Speaker 1: crazy part of my life. And then you weren't here.

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Speaker 1: That was the weird thing too. Yeah, I move here

385
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Speaker 1: and you're like, let's go. You can do it all right?

386
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Speaker 1: So where are you gonna? Are you gonna meet me? No,

387
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Speaker 1: I'm not. I was like, what the crap? And so

388
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Speaker 1: and you you end up coming later on, But back

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Speaker 1: to Kentucky and solid Gold. You're on the air, and

390
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Speaker 1: when do you leave and where do you go? Well,

391
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Speaker 1: I was seventeen, got hired as a senior in high school.

392
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Speaker 1: So then I went to college and my goal, and

393
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Speaker 1: happened fairly quickly, was to go to Kentucky, UK in

394
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Speaker 1: Lexington and then just start hitting the I don't know

395
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Speaker 1: why I decided then or how I even knew I

396
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Speaker 1: needed to talk to the top forty program directors. But

397
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Speaker 1: there were two radio stations, and I pitched both pds

398
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Speaker 1: on putting me on the air, and the smaller, less

399
00:19:29,359 --> 00:19:32,639
Speaker 1: successful station agreed to hire. So you didn't get a

400
00:19:32,680 --> 00:19:34,399
Speaker 1: job before you left, Like you didn't go I'm going there,

401
00:19:34,440 --> 00:19:36,480
Speaker 1: I gonn start sitting tapes over and beg for a job. Now,

402
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Speaker 1: I was going to go to college, and my and

403
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Speaker 1: I had other part time jobs, but I wanted to

404
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Speaker 1: continue this cool radio thing I was, you know, in

405
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Speaker 1: my mind, I'm like, oh that's cool. I I want

406
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Speaker 1: to keep doing that. So he moved to Lexington Moodle Lexington. Uh,

407
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Speaker 1: you know, I got a degree in communications. Um really

408
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Speaker 1: just because that was the closest thing too broadcasting. Um,

409
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Speaker 1: they didn't have a a dynamic broadcasting school thing to

410
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Speaker 1: go to. But that was just kind of checked the box.

411
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Speaker 1: I was always going to go to college, Go to college,

412
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Speaker 1: check the box. Um, it was more important to me

413
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Speaker 1: to get the job of the radio station. So I

414
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Speaker 1: had a full time job in college. The whole time

415
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Speaker 1: is doing nights on the top forty station. Your day

416
00:20:16,480 --> 00:20:20,840
Speaker 1: to day now different than when you were programming individual stations.

417
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Speaker 1: Do you have any sort of music log? Like what

418
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Speaker 1: do you do? I mean, I know what you do

419
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Speaker 1: macro and like what you oversee, but like what are

420
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Speaker 1: you Because it's it's weird when a position gets so

421
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Speaker 1: high up, like what do you do every day from

422
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Speaker 1: nine to five? A lot of people probably wonder what

423
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Speaker 1: to do? The people who pay me. Maybe I do

424
00:20:40,480 --> 00:20:45,159
Speaker 1: program some stuff via music directly every day. So I

425
00:20:45,280 --> 00:20:49,520
Speaker 1: program the I Heart Country channel that that means other things.

426
00:20:49,520 --> 00:20:51,400
Speaker 1: But there's an iHeart Country channel on the I Heart

427
00:20:51,480 --> 00:20:55,200
Speaker 1: Radio app. That is last I checked, the most listen

428
00:20:55,280 --> 00:20:57,600
Speaker 1: to channel on the app, which is cool. So of

429
00:20:57,680 --> 00:20:59,760
Speaker 1: all the app, the I Heart Country channel more than

430
00:20:59,800 --> 00:21:03,639
Speaker 1: anything else yet the most not most different people listening

431
00:21:03,640 --> 00:21:05,240
Speaker 1: to it, but probably I mean, our show is on

432
00:21:05,280 --> 00:21:06,959
Speaker 1: the morning there too, right, your show is on Big

433
00:21:07,000 --> 00:21:10,840
Speaker 1: Factor hopefully a h your show is the morning show. UM.

434
00:21:10,960 --> 00:21:13,880
Speaker 1: We have other hosts through the day that um are

435
00:21:14,040 --> 00:21:17,480
Speaker 1: across the country, and then we build So that's a

436
00:21:17,560 --> 00:21:20,159
Speaker 1: that's a radio station like any other radio station. You're

437
00:21:20,240 --> 00:21:21,600
Speaker 1: used to hearing when you get in your radio and

438
00:21:21,640 --> 00:21:23,040
Speaker 1: turn when you get in your car and turn on

439
00:21:23,040 --> 00:21:26,320
Speaker 1: the radio. So I programmed that that has some influence

440
00:21:26,720 --> 00:21:30,200
Speaker 1: across the country in terms of our other radio stations.

441
00:21:30,200 --> 00:21:32,600
Speaker 1: There's pieces of it the play elsewhere. So it's a

442
00:21:32,680 --> 00:21:34,880
Speaker 1: sort of a big piece of the puzzle that impacts

443
00:21:34,880 --> 00:21:37,680
Speaker 1: the chart, which that's the day to day that I

444
00:21:37,760 --> 00:21:41,440
Speaker 1: personally program that has an effect. And then I work

445
00:21:41,520 --> 00:21:45,040
Speaker 1: with literally every program director we have, and we talk

446
00:21:45,080 --> 00:21:48,400
Speaker 1: about music and we we think about, you know, where

447
00:21:48,400 --> 00:21:51,080
Speaker 1: can we expose new music in different places so we're

448
00:21:51,119 --> 00:21:55,440
Speaker 1: not all playing the same music. Will you go, okay, Midwest,

449
00:21:55,800 --> 00:22:00,080
Speaker 1: we're looking at Michigan, Wisconsin, Iowa. Will you take a

450
00:22:00,160 --> 00:22:02,399
Speaker 1: section of the country and go, okay, we're gonna do

451
00:22:02,440 --> 00:22:06,040
Speaker 1: Bailey Zimmerman here and see how just what the research says. Literally,

452
00:22:06,080 --> 00:22:08,600
Speaker 1: he's who I was picturing as you're asking the question.

453
00:22:08,640 --> 00:22:11,159
Speaker 1: He's from central Illinois, so it would make sense that

454
00:22:11,200 --> 00:22:13,359
Speaker 1: it could start out the Midwest. Now he's had an

455
00:22:13,400 --> 00:22:16,480
Speaker 1: amazing start from streaming perspective and a lot of stations

456
00:22:16,480 --> 00:22:19,240
Speaker 1: are paying attention across the country from coast to coast.

457
00:22:19,400 --> 00:22:23,080
Speaker 1: But absolutely we we I feel like there's certain music

458
00:22:23,119 --> 00:22:25,560
Speaker 1: that pops in different parts of the country. First, you know,

459
00:22:25,680 --> 00:22:28,440
Speaker 1: Midland was able to do more in Texas. They were

460
00:22:28,440 --> 00:22:32,280
Speaker 1: from Texas. Granger Smith came out of Texas and had had,

461
00:22:32,640 --> 00:22:35,960
Speaker 1: you know, easier access to radio stations playing music there.

462
00:22:36,640 --> 00:22:39,879
Speaker 1: Um for the most part, once you're Luke Brian and

463
00:22:40,040 --> 00:22:43,760
Speaker 1: Blake Shelton, everybody's just adding the music. But we encourage

464
00:22:43,760 --> 00:22:46,200
Speaker 1: more and more. Let's find the people who make sense

465
00:22:46,200 --> 00:22:48,600
Speaker 1: in an area to give it its best shot. There

466
00:22:48,960 --> 00:22:51,400
Speaker 1: and obviously you're not gonna put on eighteen new artists

467
00:22:51,520 --> 00:22:55,639
Speaker 1: all from Minnesota in Minnesota, but there possibly could be

468
00:22:55,720 --> 00:22:59,359
Speaker 1: someone who is getting their first radio shot. Maybe they

469
00:22:59,359 --> 00:23:01,479
Speaker 1: wouldn't get it on a national brand, or maybe they

470
00:23:01,520 --> 00:23:03,480
Speaker 1: only get it on one station. But instead you can

471
00:23:03,520 --> 00:23:05,480
Speaker 1: go this is section of the country we feel good about,

472
00:23:05,480 --> 00:23:07,479
Speaker 1: and we're gonna give somebody a shot that probably wouldn't

473
00:23:07,520 --> 00:23:11,320
Speaker 1: get a shot Minnesota. Noah Schnacky is from Minnesota. So

474
00:23:11,800 --> 00:23:14,560
Speaker 1: our program Jerector in Minneapolis. Greg Spudberg, you know him,

475
00:23:14,600 --> 00:23:16,880
Speaker 1: put him on that radio station and played it a lot.

476
00:23:16,960 --> 00:23:18,840
Speaker 1: He gave it a shot out of out of Minnesota.

477
00:23:18,960 --> 00:23:21,679
Speaker 1: That's much more and I won't call it local, but

478
00:23:22,280 --> 00:23:25,520
Speaker 1: localish than I actually imagined it, being that you're making

479
00:23:25,560 --> 00:23:29,919
Speaker 1: decisions based on regions and people from regions and the

480
00:23:30,000 --> 00:23:34,080
Speaker 1: tastes of people in those regions or relationships they have

481
00:23:34,119 --> 00:23:36,280
Speaker 1: with artists because they've been local for a while. I

482
00:23:36,320 --> 00:23:38,720
Speaker 1: think he I don't think I knew that. Yeah, well,

483
00:23:38,760 --> 00:23:41,080
Speaker 1: I think even if a couple or a few years ago,

484
00:23:41,119 --> 00:23:43,840
Speaker 1: we realized that that we had gotten away from it,

485
00:23:43,880 --> 00:23:46,239
Speaker 1: meaning the industry of radio had gotten away from it.

486
00:23:46,520 --> 00:23:48,879
Speaker 1: And we've had this conversation with our our programmers across

487
00:23:48,880 --> 00:23:51,760
Speaker 1: the country to to you know, for those folks, to

488
00:23:51,800 --> 00:23:54,439
Speaker 1: let us know who who's coming out of Fresno, California

489
00:23:54,640 --> 00:23:58,600
Speaker 1: or wherever, and really encouraging them. I think I think

490
00:23:58,720 --> 00:24:01,040
Speaker 1: too many programmers have has sort of gotten caught in

491
00:24:01,359 --> 00:24:04,200
Speaker 1: having to play the I mean, we want to play

492
00:24:04,240 --> 00:24:07,840
Speaker 1: the biggest hits, and we want our pds, pds meaning

493
00:24:07,880 --> 00:24:11,840
Speaker 1: the program juctors to know that they have absolutely green light.

494
00:24:12,040 --> 00:24:15,520
Speaker 1: And beyond that, it's like, bring that music to us

495
00:24:15,560 --> 00:24:17,600
Speaker 1: that we should be paying attention to and let's try it.

496
00:24:17,920 --> 00:24:19,640
Speaker 1: So you're saying, you don't hand a piece of paper

497
00:24:19,680 --> 00:24:22,480
Speaker 1: down everybody. This is a national piece of paper. You

498
00:24:22,560 --> 00:24:26,879
Speaker 1: must adhere to it, line for line correct. Some radio

499
00:24:27,040 --> 00:24:30,720
Speaker 1: companies do. I always thought that was some urban legend. No,

500
00:24:30,880 --> 00:24:34,280
Speaker 1: that's true. That's true because I knew we one company

501
00:24:34,320 --> 00:24:37,600
Speaker 1: in particular, and I don't really want to call names.

502
00:24:37,600 --> 00:24:39,560
Speaker 1: It's just not a beneficial enough nobody will know who

503
00:24:39,560 --> 00:24:42,040
Speaker 1: we're talking about. But there's a big radio company that

504
00:24:42,320 --> 00:24:44,440
Speaker 1: has done it and then stop doing it, and they're

505
00:24:44,440 --> 00:24:46,680
Speaker 1: doing it again. So and they do it in country.

506
00:24:46,760 --> 00:24:50,040
Speaker 1: The country stations are sent to list here's here's what

507
00:24:50,080 --> 00:24:51,960
Speaker 1: you'll play and how often you'll play it. I think

508
00:24:52,000 --> 00:24:54,679
Speaker 1: I gets a bad rap as the one doing that. Yeah,

509
00:24:54,960 --> 00:24:58,960
Speaker 1: because I as just the biggest company, most influenced, But

510
00:24:59,040 --> 00:25:00,919
Speaker 1: I didn't really know that was the thing. And we

511
00:25:00,960 --> 00:25:04,280
Speaker 1: do things again sort of commonly when it makes sense.

512
00:25:04,720 --> 00:25:07,280
Speaker 1: If Luke Combs put out the song, you just put out,

513
00:25:07,320 --> 00:25:09,800
Speaker 1: we want to. It's only we have talking anybody into

514
00:25:09,800 --> 00:25:11,640
Speaker 1: playing that. We all play at the same time. So yes,

515
00:25:11,720 --> 00:25:14,800
Speaker 1: it's easy to to appear that you're all doing it

516
00:25:14,840 --> 00:25:18,199
Speaker 1: at the same time because somebody's telling you to, but

517
00:25:18,240 --> 00:25:20,760
Speaker 1: we we really don't. I spent a lot of my

518
00:25:20,880 --> 00:25:24,320
Speaker 1: time reiterating back, you're you're right, that's easy to get

519
00:25:24,359 --> 00:25:31,400
Speaker 1: that perception. And even our closest business relationships with people

520
00:25:31,440 --> 00:25:34,000
Speaker 1: who work at labels who promote music, I think sometimes

521
00:25:34,000 --> 00:25:36,520
Speaker 1: they question it, not in a bad way. They're like, okay,

522
00:25:36,600 --> 00:25:39,480
Speaker 1: so you're sure that you don't just tell them what

523
00:25:39,560 --> 00:25:48,679
Speaker 1: to play, and we we assure them. So educate me

524
00:25:48,800 --> 00:25:51,080
Speaker 1: on if somebody calls and goes, why don't you play

525
00:25:51,400 --> 00:25:55,240
Speaker 1: track seven from Blake's album called Kicking Fish. That's a

526
00:25:55,240 --> 00:25:57,679
Speaker 1: good one. Once you play that one on radio, I

527
00:25:57,680 --> 00:25:59,760
Speaker 1: wouldn't know it if I wasn't in it, and I

528
00:26:00,160 --> 00:26:01,600
Speaker 1: that we get I get that call a lot, and

529
00:26:01,840 --> 00:26:04,440
Speaker 1: every six months I'll explain, so I'll do it on

530
00:26:04,480 --> 00:26:05,719
Speaker 1: the end, be like, okay, here's that kind of how

531
00:26:05,680 --> 00:26:10,040
Speaker 1: it works. But educate me on how a song ends

532
00:26:10,160 --> 00:26:12,000
Speaker 1: up on the radio, because it's gotta go through a

533
00:26:12,040 --> 00:26:17,000
Speaker 1: lot of steps before that. Well, it really starts outside

534
00:26:17,000 --> 00:26:20,560
Speaker 1: of our industry, being the radio industry. It starts from

535
00:26:20,680 --> 00:26:24,399
Speaker 1: the artist and probably the manager working with the label,

536
00:26:24,520 --> 00:26:29,120
Speaker 1: meaning the folks that run Universal Records or Warner Music Nashville.

537
00:26:29,160 --> 00:26:32,200
Speaker 1: They go to their label and they've got people who

538
00:26:32,400 --> 00:26:36,440
Speaker 1: work in A and R who are picking what they

539
00:26:36,480 --> 00:26:39,280
Speaker 1: think are the best songs in terms of we think

540
00:26:39,440 --> 00:26:41,320
Speaker 1: this sound has the best chance to be a hit,

541
00:26:41,960 --> 00:26:44,920
Speaker 1: typically on the radio or wherever else they're pushing music.

542
00:26:45,080 --> 00:26:50,240
Speaker 1: So songs come to you already like this is the song, correct,

543
00:26:51,280 --> 00:26:53,360
Speaker 1: I'm not. Here's eleven songs. Pick whichever want to play

544
00:26:53,359 --> 00:26:56,359
Speaker 1: in the radio. It's a single song from an album

545
00:26:56,480 --> 00:27:00,280
Speaker 1: or the next single from the album, and they say

546
00:27:00,400 --> 00:27:01,879
Speaker 1: we think this has the best shot. We hope you

547
00:27:01,960 --> 00:27:05,800
Speaker 1: agree because we're gonna push this now. As a program director,

548
00:27:05,960 --> 00:27:08,160
Speaker 1: you're they're on a national or local level. I can

549
00:27:08,160 --> 00:27:10,200
Speaker 1: go get a different song. But if I'm gonna be

550
00:27:10,240 --> 00:27:13,080
Speaker 1: the only one playing it and everybody else is playing

551
00:27:13,080 --> 00:27:15,960
Speaker 1: the song that a bunch of people who are experts

552
00:27:15,960 --> 00:27:18,960
Speaker 1: in their own field have picked, then you're always sort

553
00:27:19,000 --> 00:27:21,600
Speaker 1: of just gonna be an outlier and you're not participating

554
00:27:21,600 --> 00:27:24,080
Speaker 1: in the song that's most likely going to be a hit.

555
00:27:24,800 --> 00:27:28,399
Speaker 1: It's hard to change a single songs trajectory about being

556
00:27:28,400 --> 00:27:30,760
Speaker 1: one or two or just five stations. Correct. It almost

557
00:27:30,800 --> 00:27:34,320
Speaker 1: has to be a unified front as proposed by the

558
00:27:34,400 --> 00:27:36,640
Speaker 1: record label. Correct. So they come to you, they say,

559
00:27:36,640 --> 00:27:38,439
Speaker 1: this is a single, Kicking Fish. Just made that up.

560
00:27:38,600 --> 00:27:41,000
Speaker 1: So they bring you Kicking Fish, and you're a radio

561
00:27:41,119 --> 00:27:45,000
Speaker 1: you're the guy. But does every single get pitched to you, like,

562
00:27:45,040 --> 00:27:49,920
Speaker 1: every single one of them from every artist? Yeah? Yeah,

563
00:27:50,000 --> 00:27:51,840
Speaker 1: so they all every song comes to But then what

564
00:27:51,880 --> 00:27:55,840
Speaker 1: do you do, especially if it's a new artist. Well,

565
00:27:56,840 --> 00:28:00,320
Speaker 1: I mean that's a loaded question. Um, you know we

566
00:28:00,320 --> 00:28:06,800
Speaker 1: we at any given time there are probably seventy five

567
00:28:07,080 --> 00:28:12,959
Speaker 1: to nineties songs being pitched, all new songs. Yeah, well

568
00:28:13,040 --> 00:28:14,840
Speaker 1: let's just say let's say thirty of them are are

569
00:28:15,080 --> 00:28:17,560
Speaker 1: are are already solidly on the chart. But you play

570
00:28:17,600 --> 00:28:21,400
Speaker 1: on your countdown. So now there's what there's forty five,

571
00:28:21,800 --> 00:28:26,720
Speaker 1: call it fifty sometimes sixty songs, and you're choosing from

572
00:28:26,760 --> 00:28:30,920
Speaker 1: those songs to decide one or two to put on

573
00:28:30,960 --> 00:28:33,920
Speaker 1: a playlist that week. I mean, you might put three

574
00:28:34,000 --> 00:28:36,919
Speaker 1: or four on in a week sometimes, but that's usually

575
00:28:36,920 --> 00:28:39,280
Speaker 1: don't have that much room. I mean, there there's usually

576
00:28:39,560 --> 00:28:41,720
Speaker 1: the thirty songs you have to play because they're they're

577
00:28:41,760 --> 00:28:44,120
Speaker 1: solidly on the chart. Some other stuff you're playing in

578
00:28:44,120 --> 00:28:47,000
Speaker 1: a new category, and now you're deciding from the rest

579
00:28:47,560 --> 00:28:50,280
Speaker 1: what you think has the best chance. Now, if I

580
00:28:50,280 --> 00:28:52,040
Speaker 1: know that Dirk Spentley is coming out with a song

581
00:28:52,160 --> 00:28:55,200
Speaker 1: he just released gold, I think it's fantastic. Suddenly that

582
00:28:55,680 --> 00:28:57,680
Speaker 1: kind of goes to the front of the line, if

583
00:28:57,680 --> 00:29:01,400
Speaker 1: you will, from a selection process. Um, but all all

584
00:29:01,440 --> 00:29:04,080
Speaker 1: of them are available. And then to the point we

585
00:29:04,160 --> 00:29:06,800
Speaker 1: made earlier, if Noah Shnacky has got a song in

586
00:29:06,880 --> 00:29:09,400
Speaker 1: Minneapolis and Greg thinks that's good, he may go and

587
00:29:09,440 --> 00:29:11,760
Speaker 1: get that one, and that might be the sixty six

588
00:29:12,200 --> 00:29:16,520
Speaker 1: song being pitched. Um. So it's that's why it's not easy.

589
00:29:16,560 --> 00:29:18,880
Speaker 1: I mean, you know, Luke Hombs emerging and becoming a

590
00:29:18,920 --> 00:29:23,400
Speaker 1: superstars is is not the norm. So if kicking Fish

591
00:29:23,480 --> 00:29:26,000
Speaker 1: is presented, somebody calls me and goes, no, man, I

592
00:29:26,120 --> 00:29:28,400
Speaker 1: like that song, my, but where's the cowboy hat? And

593
00:29:28,400 --> 00:29:30,320
Speaker 1: if you don't play that, you and country that's not

594
00:29:30,400 --> 00:29:33,320
Speaker 1: on us because it wasn't presented to For the most

595
00:29:33,320 --> 00:29:36,480
Speaker 1: part radio, it wasn't even an option to because anyone

596
00:29:36,480 --> 00:29:39,000
Speaker 1: in radio knows if they play it there by themselves,

597
00:29:40,160 --> 00:29:41,680
Speaker 1: and if they're going to create a story, it's gonna

598
00:29:41,720 --> 00:29:46,000
Speaker 1: take forever because it's one station. So it isn't the

599
00:29:46,040 --> 00:29:49,440
Speaker 1: person's fault at the radio station. It isn't the person's

600
00:29:49,440 --> 00:29:53,240
Speaker 1: fault that's running the radio company. It's not anyone's fault.

601
00:29:53,280 --> 00:29:55,200
Speaker 1: It was just a song was chosen by the record

602
00:29:55,280 --> 00:29:58,680
Speaker 1: label in the artist. I think there's and I would

603
00:29:58,680 --> 00:30:01,880
Speaker 1: be confused about that too if I hadn't worked inside

604
00:30:01,880 --> 00:30:04,040
Speaker 1: of this for a long time. But also I'm I'm

605
00:30:04,040 --> 00:30:06,320
Speaker 1: almost starting to be a bit disconnected from the radio

606
00:30:06,360 --> 00:30:08,200
Speaker 1: part of it because I don't do that really as

607
00:30:08,280 --> 00:30:11,360
Speaker 1: much anymore. Which I like that because then I get

608
00:30:11,560 --> 00:30:15,480
Speaker 1: feedback from you on other stuff. That's yeah, that that

609
00:30:15,280 --> 00:30:17,040
Speaker 1: that I even heard about. Yet I like that too,

610
00:30:18,080 --> 00:30:20,000
Speaker 1: Yeah know that It's it's a good thing. People be like,

611
00:30:20,120 --> 00:30:21,880
Speaker 1: why does radio, But I don't know. I don't know

612
00:30:21,920 --> 00:30:23,640
Speaker 1: what's going on, you know, And I'd be like, well,

613
00:30:23,720 --> 00:30:25,120
Speaker 1: let me call a rod and ask a question or two,

614
00:30:25,160 --> 00:30:27,520
Speaker 1: but I really don't know anymore. So, Okay, you have

615
00:30:28,640 --> 00:30:31,200
Speaker 1: a song that goes and you're picking up, you're putting

616
00:30:31,200 --> 00:30:34,120
Speaker 1: in new music. Is there like a national new music category?

617
00:30:34,360 --> 00:30:36,320
Speaker 1: Because the national that's that's quite the big word with

618
00:30:36,360 --> 00:30:38,360
Speaker 1: a lot of if it's playing national, get a lot

619
00:30:38,360 --> 00:30:40,640
Speaker 1: of spins. Not on the verge. But where would you

620
00:30:40,640 --> 00:30:42,560
Speaker 1: put a song that you like, it's a it's a

621
00:30:42,600 --> 00:30:43,840
Speaker 1: song You're like, I think this has got a lot

622
00:30:43,840 --> 00:30:47,600
Speaker 1: of potential. Do you put it every station at two pm?

623
00:30:47,680 --> 00:30:49,200
Speaker 1: Do you put it? Like? What do you do? As

624
00:30:49,200 --> 00:30:51,640
Speaker 1: soon as the song's new artists, new song? You believe

625
00:30:51,640 --> 00:30:53,160
Speaker 1: in it, but it's not beyond the verge? Well, I

626
00:30:53,160 --> 00:30:55,479
Speaker 1: don't put them in at every station in terms of

627
00:30:55,480 --> 00:30:59,600
Speaker 1: the the stations that I heart owns UM. But again

628
00:31:00,200 --> 00:31:03,720
Speaker 1: I have influenced in terms of when when you say national,

629
00:31:04,200 --> 00:31:07,160
Speaker 1: we have some programs that do go out nationally. Your

630
00:31:07,200 --> 00:31:10,480
Speaker 1: show Women in My Hard Country. You obviously picked some

631
00:31:10,560 --> 00:31:12,400
Speaker 1: music for that. We pick some music for that. So

632
00:31:12,440 --> 00:31:14,400
Speaker 1: when we picked the songs, they go on that show

633
00:31:14,480 --> 00:31:17,360
Speaker 1: it plays you know, that weekend on a hundred and

634
00:31:17,360 --> 00:31:22,480
Speaker 1: fifty different radio stations or really UM. But you know,

635
00:31:23,600 --> 00:31:27,400
Speaker 1: because we're sort of the net, we control the national pieces.

636
00:31:27,840 --> 00:31:30,760
Speaker 1: We're not taking as many out there, out of left

637
00:31:30,800 --> 00:31:34,960
Speaker 1: field chances as individual stations or regions of the country

638
00:31:35,080 --> 00:31:39,560
Speaker 1: might be that taking up it's not going to hurt bad, right.

639
00:31:39,600 --> 00:31:42,240
Speaker 1: We're taking the best of the best, if you will, UM,

640
00:31:42,520 --> 00:31:44,320
Speaker 1: and then the ones that are going to be the best,

641
00:31:44,560 --> 00:31:47,200
Speaker 1: it's okay that we don't go with them immediately because

642
00:31:47,640 --> 00:31:49,840
Speaker 1: I always say that that I do believe the hits

643
00:31:50,000 --> 00:31:52,440
Speaker 1: rise right to the top. I mean, it's hard to

644
00:31:52,480 --> 00:31:54,280
Speaker 1: hold a real hit down. I'm sure there's a lot

645
00:31:54,320 --> 00:31:56,959
Speaker 1: of great music that never makes it, because it's like

646
00:31:57,160 --> 00:32:01,200
Speaker 1: there's great basketball players who the NBA never discovered. UM.

647
00:32:01,240 --> 00:32:03,360
Speaker 1: But for the most part, the best hits, I think

648
00:32:03,400 --> 00:32:06,240
Speaker 1: do make it through the clutter. If you will have

649
00:32:06,360 --> 00:32:09,440
Speaker 1: a lot of really good music. UM. But from a

650
00:32:09,520 --> 00:32:12,400
Speaker 1: national standpoint, we can sort of wait and see what

651
00:32:12,920 --> 00:32:17,000
Speaker 1: pops out of the you know, Southwest, or UM out

652
00:32:17,000 --> 00:32:20,840
Speaker 1: of Florida, or something that then shows itself that wasn't

653
00:32:20,880 --> 00:32:24,479
Speaker 1: already obvious. Do you get at your position people go on,

654
00:32:24,480 --> 00:32:28,400
Speaker 1: what do you do a man in a country music Yeah,

655
00:32:28,400 --> 00:32:32,800
Speaker 1: oh yeah, it's still that reaches you. Oh yeah, who

656
00:32:32,800 --> 00:32:36,000
Speaker 1: would tell you that? Um? Well, so that's a good

657
00:32:36,000 --> 00:32:38,200
Speaker 1: point when when when you asked it, I get the

658
00:32:38,280 --> 00:32:43,760
Speaker 1: feedback because we also h big radio company. We still

659
00:32:43,800 --> 00:32:46,840
Speaker 1: doing more research probably, but nobody comes to I'm saying

660
00:32:46,840 --> 00:32:50,080
Speaker 1: because if somebody you don't have a face that people

661
00:32:50,200 --> 00:32:53,680
Speaker 1: know and connect with country music because you're the guy

662
00:32:53,720 --> 00:32:55,840
Speaker 1: making the decision and you the god's up front. Being like,

663
00:32:55,880 --> 00:32:58,880
Speaker 1: I'm the guy I have that have the face that's

664
00:32:58,920 --> 00:33:00,440
Speaker 1: up front, people can get to me are easily. They

665
00:33:00,440 --> 00:33:02,280
Speaker 1: can call me, they can message me, and you know,

666
00:33:02,320 --> 00:33:04,000
Speaker 1: they're like, you suck, You're not country, this music is

667
00:33:04,000 --> 00:33:06,040
Speaker 1: not country. So I hear it all the time. Yeah,

668
00:33:06,240 --> 00:33:07,800
Speaker 1: that's true. I guess it's not a one on one

669
00:33:07,840 --> 00:33:12,720
Speaker 1: personal People are not contacting me personally, but I feel

670
00:33:12,960 --> 00:33:15,680
Speaker 1: the feedback because we ask a lot of people and

671
00:33:15,720 --> 00:33:18,640
Speaker 1: then we roll up under research teams. But what are

672
00:33:18,640 --> 00:33:22,719
Speaker 1: what our country fans in total saying about, you know,

673
00:33:23,040 --> 00:33:25,160
Speaker 1: the strength or lack of strength or what they like

674
00:33:25,160 --> 00:33:27,200
Speaker 1: about country music. But they don't like about country music.

675
00:33:27,720 --> 00:33:31,600
Speaker 1: So research, I don't know what is that. So research

676
00:33:31,880 --> 00:33:35,840
Speaker 1: is like any company, they reach out to consumers. I mean,

677
00:33:35,840 --> 00:33:38,440
Speaker 1: we find ways to find people who listen to the radio,

678
00:33:38,480 --> 00:33:40,160
Speaker 1: who listen to the Bobby Bones show, who listened to

679
00:33:40,320 --> 00:33:43,520
Speaker 1: country radio and don't listen to your show, Um, who

680
00:33:43,640 --> 00:33:47,960
Speaker 1: consume country music on streaming but not so much on radio.

681
00:33:48,040 --> 00:33:49,880
Speaker 1: We talked to all those people, you know, the ways

682
00:33:49,920 --> 00:33:52,000
Speaker 1: we reach out to them, and we talk to them

683
00:33:52,000 --> 00:33:55,160
Speaker 1: about why they're using things, and you collect that data,

684
00:33:55,200 --> 00:33:58,200
Speaker 1: but you also reach out to those people. And and

685
00:33:58,400 --> 00:34:01,640
Speaker 1: now it's online. They people go and listen to pieces

686
00:34:01,640 --> 00:34:04,560
Speaker 1: of music online and find people like and go here's

687
00:34:04,560 --> 00:34:06,920
Speaker 1: the link. Can definitely find people, We can definitely send

688
00:34:06,960 --> 00:34:10,320
Speaker 1: them to. This happens in you know, the auto industry.

689
00:34:10,360 --> 00:34:11,600
Speaker 1: I mean I get them all the time when you

690
00:34:11,640 --> 00:34:15,520
Speaker 1: go and we want to ask you questions about four trucks. Um,

691
00:34:15,560 --> 00:34:17,640
Speaker 1: so we do the same thing. How many people do

692
00:34:17,680 --> 00:34:20,120
Speaker 1: you think is a good sample size for a week

693
00:34:20,200 --> 00:34:24,840
Speaker 1: of making decisions about music? Well, um, I mean I

694
00:34:24,880 --> 00:34:28,520
Speaker 1: can tell you that that that radio stations can can

695
00:34:28,640 --> 00:34:31,480
Speaker 1: use a hundred people and feel good about it. Now

696
00:34:32,400 --> 00:34:34,799
Speaker 1: that that's sort of over time too. You wouldn't want

697
00:34:34,840 --> 00:34:38,160
Speaker 1: to go and have one research project for the year

698
00:34:38,280 --> 00:34:40,439
Speaker 1: and talk to a hundred people in any town. It's

699
00:34:40,800 --> 00:34:43,920
Speaker 1: it's too narrow. But if you're consistently talking to a

700
00:34:43,960 --> 00:34:46,000
Speaker 1: group of a hundred and another group of a hundred,

701
00:34:46,000 --> 00:34:48,680
Speaker 1: another group of a hundred over time, you can see

702
00:34:49,239 --> 00:34:53,799
Speaker 1: what people's tendencies are if you will. So you most

703
00:34:53,800 --> 00:34:56,440
Speaker 1: research companies don't talk to even when you you look

704
00:34:56,440 --> 00:34:58,680
Speaker 1: at a gallopole, I mean, you would probably know better

705
00:34:58,680 --> 00:35:02,760
Speaker 1: than me. But uh, they'll survey where the presidential racism

706
00:35:02,840 --> 00:35:06,480
Speaker 1: they'll be talking to do nationwide? Couple of thousand people? Yeah?

707
00:35:06,560 --> 00:35:09,840
Speaker 1: Nation wide? Yeah, like not a lot. So, but what

708
00:35:09,920 --> 00:35:13,959
Speaker 1: you're saying is you do depend on people's opinions on

709
00:35:14,280 --> 00:35:17,919
Speaker 1: the format, on the actual actual amusing. Yeah. We asked

710
00:35:17,960 --> 00:35:21,279
Speaker 1: him what they think about Luke Brian as a persona

711
00:35:22,080 --> 00:35:24,920
Speaker 1: versus you know, here's Luke Bryan song, what do you

712
00:35:24,920 --> 00:35:27,200
Speaker 1: think of it? Um? We asked him what they think

713
00:35:27,239 --> 00:35:29,640
Speaker 1: about their radio station, what they think about the morning

714
00:35:29,640 --> 00:35:31,279
Speaker 1: show on that radio. So we asked him a lot

715
00:35:31,360 --> 00:35:38,000
Speaker 1: of stuff. You make decisions on personalities as well, you know,

716
00:35:38,080 --> 00:35:41,120
Speaker 1: that's part of your job. Say, also the people that

717
00:35:41,160 --> 00:35:47,040
Speaker 1: are on the radio, who's good besides Mike d Besides

718
00:35:47,080 --> 00:35:50,319
Speaker 1: Mike Dy, Who's glove Mike d Um, I only want

719
00:35:50,360 --> 00:35:54,919
Speaker 1: like five though I know you're gonna get on the list.

720
00:35:55,400 --> 00:35:56,960
Speaker 1: It just happens to you. I will tell you who

721
00:35:56,960 --> 00:35:59,520
Speaker 1: I messaged and you can actually um talk about her

722
00:35:59,560 --> 00:36:01,000
Speaker 1: and say her name the stuff. But I I hit

723
00:36:01,000 --> 00:36:02,160
Speaker 1: you up the other day and I said, Hey, there's

724
00:36:02,160 --> 00:36:05,959
Speaker 1: somebody that I really admire what she's doing on the air,

725
00:36:06,400 --> 00:36:09,279
Speaker 1: and she's branched out into sports, and I was like,

726
00:36:09,640 --> 00:36:11,880
Speaker 1: let me get I've only met her once, but I

727
00:36:11,920 --> 00:36:12,880
Speaker 1: was like, let me get her number. I want to

728
00:36:12,920 --> 00:36:15,120
Speaker 1: call her and tell her. I'm I'm jealous of what

729
00:36:15,200 --> 00:36:17,799
Speaker 1: she's doing because it's super cool and she's inspiring a

730
00:36:17,800 --> 00:36:20,239
Speaker 1: lot of folks. Like when I think people that's doing it,

731
00:36:20,400 --> 00:36:22,279
Speaker 1: like she comes to mind. And she's had a couple

732
00:36:22,320 --> 00:36:25,279
Speaker 1: of names. That's the weird thing about radio too, people

733
00:36:25,760 --> 00:36:28,520
Speaker 1: and so well, I've had rock and Rod and head

734
00:36:28,600 --> 00:36:33,520
Speaker 1: dangling or whatever that is your current name. So, Okay,

735
00:36:34,480 --> 00:36:37,560
Speaker 1: where does she work? Not Madison, She's in Milwaukee, Milwaukee.

736
00:36:38,320 --> 00:36:42,239
Speaker 1: It's in Shannon now Shannon Shanna. But what did it

737
00:36:42,320 --> 00:36:44,319
Speaker 1: used to be? Quinn? Okay, I think I knew in

738
00:36:44,400 --> 00:36:47,400
Speaker 1: my phone it's Quinn. It literally says Quinn or Shanna.

739
00:36:48,160 --> 00:36:50,160
Speaker 1: I'm not sure why she has two names. I don't either.

740
00:36:50,480 --> 00:36:51,880
Speaker 1: I would put her on that list for me, A

741
00:36:51,960 --> 00:36:53,520
Speaker 1: people that I think is doing really great things right,

742
00:36:53,520 --> 00:36:56,040
Speaker 1: and I think you not send that, don't get mad Shannon.

743
00:36:56,120 --> 00:36:59,680
Speaker 1: I don't. Maybe wouldn't have thought of her, and then

744
00:37:00,120 --> 00:37:02,200
Speaker 1: later I'd have been like, damn it, she should have

745
00:37:02,200 --> 00:37:03,879
Speaker 1: been in the top five. You know. It's funny though

746
00:37:03,960 --> 00:37:05,879
Speaker 1: I don't know what she sounds like, and it doesn't

747
00:37:05,880 --> 00:37:09,840
Speaker 1: matter to me. So I know what I see people

748
00:37:10,000 --> 00:37:16,640
Speaker 1: doing and and creative decisions, strategic decisions and always come

749
00:37:16,680 --> 00:37:19,000
Speaker 1: a little risk, and I go that person is killing it.

750
00:37:19,840 --> 00:37:21,840
Speaker 1: And I see her and I go, that's awesome that

751
00:37:21,920 --> 00:37:23,839
Speaker 1: she's she's she's the first female on the Green Bay

752
00:37:23,840 --> 00:37:26,520
Speaker 1: Packer broadcast team. Yeah, so she does afternoons on our

753
00:37:26,560 --> 00:37:30,200
Speaker 1: country station. She hosts the afternoon show. It's amazing and

754
00:37:30,239 --> 00:37:33,359
Speaker 1: now she's doing And by the way, that I mean,

755
00:37:33,400 --> 00:37:35,880
Speaker 1: I'm a Packer fan, but I will say that broadcast

756
00:37:35,880 --> 00:37:39,239
Speaker 1: team is really good. I think they're they're so you

757
00:37:39,200 --> 00:37:41,319
Speaker 1: wanna tell me who's good they're they're amongst the top

758
00:37:41,400 --> 00:37:45,239
Speaker 1: five in my mind for for the NFL anyway, and

759
00:37:45,280 --> 00:37:47,279
Speaker 1: now she's on the team that, by the way, I'm

760
00:37:47,360 --> 00:37:49,359
Speaker 1: jealous too, Like that's I told her. I was like, hey,

761
00:37:49,360 --> 00:37:53,399
Speaker 1: it's I'm not never jealous of folks like I won't

762
00:37:53,440 --> 00:37:55,080
Speaker 1: admit it to them because I'll be like, yeah, I

763
00:37:55,120 --> 00:37:57,120
Speaker 1: don't know what you're doing, but like I am. I was.

764
00:37:57,200 --> 00:37:59,200
Speaker 1: I was like, I'm openly jealous because that is so cool.

765
00:37:59,400 --> 00:38:00,600
Speaker 1: The only other person. And I tell that to his

766
00:38:00,680 --> 00:38:03,320
Speaker 1: Charlett Magne. We're dearest friends, and I'm like, I'm freaking

767
00:38:03,360 --> 00:38:05,040
Speaker 1: so jealous that you get to do this. And I

768
00:38:05,160 --> 00:38:08,760
Speaker 1: have that jealousy, but it's such a healthy, respectful jealousy

769
00:38:08,520 --> 00:38:11,960
Speaker 1: that so I list her. Okay, give me somebody else

770
00:38:11,960 --> 00:38:15,680
Speaker 1: that's good, that's doing things where you're like, okay, they

771
00:38:15,680 --> 00:38:17,600
Speaker 1: could do this here on the radio. If they wanted

772
00:38:17,640 --> 00:38:19,879
Speaker 1: to go and do it in the streaming podcast world,

773
00:38:19,920 --> 00:38:21,759
Speaker 1: they could do it, like just like a talent that

774
00:38:21,800 --> 00:38:24,680
Speaker 1: you go, there's something there and there always will be

775
00:38:24,719 --> 00:38:28,719
Speaker 1: something there. Well. Uh, one of the first, one of

776
00:38:28,800 --> 00:38:31,600
Speaker 1: the first that comes to minds was he does Mornings

777
00:38:32,000 --> 00:38:36,319
Speaker 1: with Carletto. Was is the host, if you will, of

778
00:38:36,400 --> 00:38:39,360
Speaker 1: the country morning show in Cleveland. You know, he was

779
00:38:39,400 --> 00:38:42,920
Speaker 1: in Rally for a while Um, he's to your point

780
00:38:42,960 --> 00:38:46,640
Speaker 1: of you know, besides radio, he does a good radio show.

781
00:38:46,680 --> 00:38:48,799
Speaker 1: The ratings are good, it's successful. But he's also an

782
00:38:48,800 --> 00:38:52,920
Speaker 1: interesting guy who can do other other things. You know.

783
00:38:52,960 --> 00:38:58,800
Speaker 1: He does w z W A z Z Yeah, Bobby Bones.

784
00:38:59,040 --> 00:39:00,839
Speaker 1: But I better say that, Better make that joke out loud,

785
00:39:00,880 --> 00:39:03,120
Speaker 1: because people were like, why are you attacking what? Steve

786
00:39:03,400 --> 00:39:07,040
Speaker 1: was his name? Steve was yeah, okay, alright. He just

787
00:39:07,040 --> 00:39:10,760
Speaker 1: has cool stuff where he creates videos. I should say.

788
00:39:11,040 --> 00:39:12,799
Speaker 1: You know, it was years and years ago that he

789
00:39:12,880 --> 00:39:15,200
Speaker 1: was doing he would send out a video air check

790
00:39:15,239 --> 00:39:17,239
Speaker 1: and it was a cartoon kind of like we've done

791
00:39:17,400 --> 00:39:20,239
Speaker 1: with your show, but he was doing it early on,

792
00:39:20,280 --> 00:39:22,600
Speaker 1: and I'm like, well, that's unique and different and people

793
00:39:22,640 --> 00:39:26,080
Speaker 1: who find ways to you know, sort of express their

794
00:39:26,120 --> 00:39:28,400
Speaker 1: talent in in different platforms. I mean you and I

795
00:39:28,480 --> 00:39:30,560
Speaker 1: paid attention to that for a long time. So aside

796
00:39:30,560 --> 00:39:32,920
Speaker 1: from what he's doing daily to do a morning show,

797
00:39:33,040 --> 00:39:36,719
Speaker 1: I think he's interesting in today's world of multimedia. Yeah,

798
00:39:36,719 --> 00:39:38,120
Speaker 1: I think. I think the cartenser quo, I didn't even

799
00:39:38,120 --> 00:39:39,440
Speaker 1: know what they were happening. They'd be like, hey, check

800
00:39:39,440 --> 00:39:41,279
Speaker 1: out the cart too. We made you Like how about that? Well,

801
00:39:41,320 --> 00:39:43,600
Speaker 1: it's all Amy lunchbox. But it' still kind of cool. Yeah,

802
00:39:43,960 --> 00:39:46,960
Speaker 1: they're cool. So do you ever make a decision and

803
00:39:47,000 --> 00:39:50,160
Speaker 1: go dang, missed big time? And not because the decision

804
00:39:50,200 --> 00:39:52,160
Speaker 1: you made, Maybe the person you didn't play that later

805
00:39:52,200 --> 00:39:54,560
Speaker 1: blew up and you're like, I missed it, missed that one.

806
00:39:54,560 --> 00:39:57,320
Speaker 1: Who would you miss on? I'm wondering if I'm missing

807
00:39:57,320 --> 00:40:00,680
Speaker 1: on some now, But I gotta think about uh and

808
00:40:00,680 --> 00:40:02,680
Speaker 1: who do I mean? There's definitely you know, your personal

809
00:40:02,719 --> 00:40:07,520
Speaker 1: opinion only goes so far. And uh, yeah, I mean

810
00:40:07,520 --> 00:40:10,840
Speaker 1: you know this as much as anybody. I mean, program

811
00:40:10,920 --> 00:40:14,920
Speaker 1: directors who play music become very opinionated and think they

812
00:40:14,920 --> 00:40:20,279
Speaker 1: can hear the hits and pick them. I mean I did. Uh.

813
00:40:20,320 --> 00:40:24,040
Speaker 1: I think in country it's sort of exasperated. I think

814
00:40:24,040 --> 00:40:27,320
Speaker 1: there's a lot of opinion going into the decision the

815
00:40:27,360 --> 00:40:31,000
Speaker 1: decision make, meaning meaning personal opinion too much. We had

816
00:40:31,040 --> 00:40:33,960
Speaker 1: to be careful of, right, what you personally like could

817
00:40:34,200 --> 00:40:35,400
Speaker 1: and how many times have you heard it? Have you

818
00:40:35,400 --> 00:40:38,160
Speaker 1: heard it twice or have you heard it times? Because

819
00:40:38,160 --> 00:40:42,520
Speaker 1: your opinion changes as you hear music over time. That's anybody, right, Um,

820
00:40:42,640 --> 00:40:44,920
Speaker 1: some people hear a song and they instantly like that.

821
00:40:44,920 --> 00:40:48,320
Speaker 1: That's very very rare though. Um so the question is

822
00:40:48,360 --> 00:40:50,160
Speaker 1: what did I miss? Man? I'm pro I'm sure of missing.

823
00:40:50,200 --> 00:40:53,520
Speaker 1: Who did you miss? Where? Like I think when I

824
00:40:53,520 --> 00:40:55,040
Speaker 1: look back, I was looking to see if Kine was

825
00:40:55,160 --> 00:40:57,759
Speaker 1: on the Virgin He wasn't, and he was and we

826
00:40:57,760 --> 00:41:01,080
Speaker 1: were no, no, no, he wasn't right, I mean, but

827
00:41:01,160 --> 00:41:04,320
Speaker 1: it was close. I mean I remember remember the conversation.

828
00:41:04,360 --> 00:41:06,120
Speaker 1: But he was making a lot of noise in the

829
00:41:06,200 --> 00:41:09,040
Speaker 1: right way, meaning he was on YouTube with the videos

830
00:41:09,040 --> 00:41:11,480
Speaker 1: that were interesting, and it was you know, it was

831
00:41:11,480 --> 00:41:14,200
Speaker 1: a little more. Uh. I don't know if raw is

832
00:41:14,239 --> 00:41:15,759
Speaker 1: the right word, but I mean it was when you're

833
00:41:15,800 --> 00:41:18,080
Speaker 1: singing with the speaker on the ground, yeah, and you're

834
00:41:18,120 --> 00:41:21,960
Speaker 1: getting three million views on Instagram of that. Raw is

835
00:41:22,000 --> 00:41:24,759
Speaker 1: a good word because that's what I would. There wasn't

836
00:41:24,760 --> 00:41:27,600
Speaker 1: a lot of money being put into Kane whenever he

837
00:41:27,680 --> 00:41:30,040
Speaker 1: was first expected. He made noise. By the way, I'm

838
00:41:30,040 --> 00:41:31,719
Speaker 1: the biggest Kane fan in the whole wide world, and

839
00:41:31,760 --> 00:41:33,040
Speaker 1: I only say this guy. I love Kane, and he

840
00:41:33,040 --> 00:41:34,799
Speaker 1: would not care if we talked about this. But raw

841
00:41:34,840 --> 00:41:36,279
Speaker 1: is a great word because he did it from such

842
00:41:36,280 --> 00:41:38,160
Speaker 1: a place where nobody scooped him up and said, here's

843
00:41:38,160 --> 00:41:40,799
Speaker 1: millions of dollars dollars, Kid, We're gonna make you a star. Yeah,

844
00:41:40,840 --> 00:41:43,880
Speaker 1: people started to pay attention, and slowly that team got bigger,

845
00:41:43,880 --> 00:41:47,760
Speaker 1: and radio and I Heart Radio was certainly paying attention.

846
00:41:47,800 --> 00:41:50,960
Speaker 1: But we we we almost couldn't decide when to pull

847
00:41:50,960 --> 00:41:53,200
Speaker 1: the trigger. I think is what that was, right. It

848
00:41:53,239 --> 00:41:55,359
Speaker 1: was a matter of which song was going to be

849
00:41:55,480 --> 00:41:58,680
Speaker 1: the one to sort of expose him to America, and

850
00:41:58,800 --> 00:42:01,200
Speaker 1: that was hard to find. Mine. With Luke Combs, it

851
00:42:01,280 --> 00:42:03,839
Speaker 1: was a little more that time. Everything was lined up.

852
00:42:03,880 --> 00:42:06,239
Speaker 1: He had record company ready to go. He had he

853
00:42:06,280 --> 00:42:09,520
Speaker 1: had all all all of the bats ready to swing.

854
00:42:09,560 --> 00:42:12,719
Speaker 1: At the same time with Hurricane, which again was an

855
00:42:12,719 --> 00:42:15,279
Speaker 1: easy to hear, a song that had a you know,

856
00:42:15,320 --> 00:42:16,960
Speaker 1: it was gonna sound great on the radio and probably

857
00:42:16,960 --> 00:42:19,600
Speaker 1: be a hit. He's organized. Oh yeah, it was very organized.

858
00:42:19,640 --> 00:42:23,040
Speaker 1: Was it was ready to go. Read d Do you

859
00:42:23,080 --> 00:42:27,520
Speaker 1: get calls constantly from artists? Not constantly, but I do.

860
00:42:27,640 --> 00:42:31,480
Speaker 1: I mean it is weird when it's weird when superstar

861
00:42:31,600 --> 00:42:36,640
Speaker 1: artists call me. What do they say, Hey, Rod? It depends.

862
00:42:36,640 --> 00:42:38,600
Speaker 1: I mean it's a pretty good intro, I mean the

863
00:42:38,640 --> 00:42:42,040
Speaker 1: one the ones who call me, you know, it's a

864
00:42:42,080 --> 00:42:44,160
Speaker 1: great question by the way, because this doesn't happen in

865
00:42:44,160 --> 00:42:48,000
Speaker 1: in most formats now, I don't know. Maybe Drake calls

866
00:42:48,280 --> 00:42:50,799
Speaker 1: Doc Winter, Doc does what I do you know, for

867
00:42:50,840 --> 00:42:53,680
Speaker 1: the for this company, for for our urban and hip

868
00:42:53,719 --> 00:42:57,279
Speaker 1: hop stations. Very possible they have that relationship. Doesn't happen

869
00:42:57,320 --> 00:42:59,400
Speaker 1: in Top forty. As you know, it sounds like Justin

870
00:42:59,440 --> 00:43:02,600
Speaker 1: Bieber was hauling program drivers. Justin Timber League might have

871
00:43:02,640 --> 00:43:05,000
Speaker 1: back in the day occasionally, but it was still, like

872
00:43:05,120 --> 00:43:08,719
Speaker 1: Tom Holman, pretty prevalent though here here. Yeah, you know,

873
00:43:08,800 --> 00:43:10,680
Speaker 1: I mean it happened the other day. I looked down.

874
00:43:10,680 --> 00:43:13,600
Speaker 1: I'm like, it still freaks me. It doesn't freakget it's

875
00:43:13,640 --> 00:43:16,360
Speaker 1: it's still I still notice it when Keith Urban is

876
00:43:16,400 --> 00:43:19,399
Speaker 1: calling him, Like, why would Keith Urban call? He's the best,

877
00:43:19,440 --> 00:43:22,359
Speaker 1: by the way, right, So what he calls it's kind

878
00:43:22,360 --> 00:43:25,080
Speaker 1: of just to catch up. I mean we we we

879
00:43:25,320 --> 00:43:28,719
Speaker 1: uh made some noise around his new single, which means

880
00:43:28,800 --> 00:43:31,080
Speaker 1: we we you know, played it on most of our

881
00:43:31,160 --> 00:43:33,120
Speaker 1: radio stations to kind of launch it that day, and

882
00:43:33,160 --> 00:43:35,239
Speaker 1: he was just super appreciative and called and thanked us

883
00:43:35,280 --> 00:43:38,239
Speaker 1: for it. Keith Urban calls your phone, Do you answer it? Like, hey, man,

884
00:43:38,280 --> 00:43:39,880
Speaker 1: are you like a little up. Do you have to

885
00:43:39,880 --> 00:43:41,359
Speaker 1: be somebody? Or do you just like when I call

886
00:43:41,440 --> 00:43:42,759
Speaker 1: you like it? What was up? I mean I'm a

887
00:43:42,800 --> 00:43:45,040
Speaker 1: little a little more up than I mean you and

888
00:43:45,040 --> 00:43:52,359
Speaker 1: I talk a lot my finger When someone says, why

889
00:43:52,360 --> 00:43:53,880
Speaker 1: did the same three songs get played over and over

890
00:43:53,960 --> 00:44:00,000
Speaker 1: again so that the most people in a given uh

891
00:44:00,000 --> 00:44:03,400
Speaker 1: hour day or week have the best chance at hearing

892
00:44:03,480 --> 00:44:05,839
Speaker 1: the most popular song. So if we play a song

893
00:44:05,880 --> 00:44:07,279
Speaker 1: at one o'clock and you get in your car at

894
00:44:07,320 --> 00:44:10,120
Speaker 1: one ten and we don't play it for the rest

895
00:44:10,120 --> 00:44:11,640
Speaker 1: of the day, you you're like, why is in my

896
00:44:11,680 --> 00:44:14,960
Speaker 1: stage room playing my favorite song? Um? So you obviously

897
00:44:15,000 --> 00:44:17,279
Speaker 1: can't play a song every ten minutes. So there's this

898
00:44:17,600 --> 00:44:21,680
Speaker 1: fine line between how you know, how many different songs

899
00:44:21,680 --> 00:44:23,960
Speaker 1: can you play and how fast can you play it again?

900
00:44:24,520 --> 00:44:26,160
Speaker 1: Because people who some people get in the car and

901
00:44:26,200 --> 00:44:28,200
Speaker 1: they they're they they've got a long drive, or they

902
00:44:28,280 --> 00:44:30,480
Speaker 1: listen to work and they listen for three hours, and

903
00:44:30,480 --> 00:44:33,480
Speaker 1: if they hear the same song twice, they might say

904
00:44:33,480 --> 00:44:35,160
Speaker 1: to themselves, so I already heard that song. That might

905
00:44:35,200 --> 00:44:39,120
Speaker 1: annoy them. But but typically if it's a popular song,

906
00:44:39,400 --> 00:44:44,480
Speaker 1: you don't mind hearing it again. Typically and probably played

907
00:44:44,480 --> 00:44:47,759
Speaker 1: it a lot more. Oh, I feel like we oh

908
00:44:47,880 --> 00:44:50,799
Speaker 1: really like every hour fifteen minutes almost. I felt like

909
00:44:50,880 --> 00:44:53,719
Speaker 1: that's probably the math. Yeah, I mean that that feels

910
00:44:53,760 --> 00:44:55,239
Speaker 1: like that's what I want. I know, the math, But yeah,

911
00:44:55,280 --> 00:44:59,280
Speaker 1: that's probably the math. Do you do you graduate from Kentucky? Yeah?

912
00:44:59,360 --> 00:45:03,480
Speaker 1: But the way I had a b s In communication

913
00:45:04,280 --> 00:45:07,040
Speaker 1: b S and a communication skill journalism. I guess the

914
00:45:07,040 --> 00:45:10,040
Speaker 1: BS is in journalism minor in sociology. Are your parents

915
00:45:10,040 --> 00:45:15,439
Speaker 1: proud mmmm of that? Yeah, that's a good question, I'm

916
00:45:15,480 --> 00:45:19,919
Speaker 1: telling you, like at that point your three are they like? Well?

917
00:45:20,480 --> 00:45:23,920
Speaker 1: So at that point, I was full time in radio

918
00:45:23,960 --> 00:45:25,360
Speaker 1: and it was just a matter of get the degree.

919
00:45:25,360 --> 00:45:27,399
Speaker 1: I didn't go to my graduation. I was like, yeah,

920
00:45:27,760 --> 00:45:31,480
Speaker 1: where't I go? So I was so focused on career

921
00:45:32,239 --> 00:45:35,680
Speaker 1: and I was just getting college done to say that

922
00:45:35,719 --> 00:45:38,080
Speaker 1: I had the degree and put it in a frame.

923
00:45:38,680 --> 00:45:40,920
Speaker 1: And I couldn't tell you where that is now. But

924
00:45:41,520 --> 00:45:43,920
Speaker 1: I'm sure that they were proud of it. It wasn't like,

925
00:45:44,160 --> 00:45:49,000
Speaker 1: look at you, Rodney, you just graduated college. We're so

926
00:45:49,280 --> 00:45:51,960
Speaker 1: proud of you. It wasn't about college that they were

927
00:45:52,000 --> 00:45:53,759
Speaker 1: proud of it. I think at that point everybody was

928
00:45:53,800 --> 00:45:56,080
Speaker 1: sort of into this radio thing, and what what's that

929
00:45:56,080 --> 00:45:57,920
Speaker 1: going to be? And they were they were super proud

930
00:45:57,920 --> 00:46:00,120
Speaker 1: of that, right, I mean that that's probably what they were.

931
00:46:00,239 --> 00:46:02,560
Speaker 1: If my mom was telling anybody what's up with me,

932
00:46:02,600 --> 00:46:04,400
Speaker 1: I'm sure it was a radio update, not that I

933
00:46:04,440 --> 00:46:07,399
Speaker 1: was about to graduate your parents, if I'm correct, they

934
00:46:07,840 --> 00:46:10,120
Speaker 1: met and then got engaged a few days later, three days,

935
00:46:10,760 --> 00:46:15,520
Speaker 1: true story, that is not made up. It's weird. Three days.

936
00:46:15,880 --> 00:46:19,080
Speaker 1: Now do you think? What do you think about that?

937
00:46:19,640 --> 00:46:22,160
Speaker 1: I think it was weird, Like it's three days, man,

938
00:46:22,320 --> 00:46:26,000
Speaker 1: they got married, So three days they got married within

939
00:46:26,080 --> 00:46:29,080
Speaker 1: three months, and to get married, he was already over

940
00:46:29,080 --> 00:46:32,279
Speaker 1: in Germany. So he had joined the army and he

941
00:46:32,360 --> 00:46:35,480
Speaker 1: knew he was going overseas and he was going very

942
00:46:35,520 --> 00:46:37,839
Speaker 1: quickly after after that to Vietnam. It's just a matter

943
00:46:37,840 --> 00:46:43,799
Speaker 1: of time. So she flew overseas to marry him three

944
00:46:43,840 --> 00:46:45,680
Speaker 1: months later. That's really I mean, your mom flew to

945
00:46:45,719 --> 00:46:49,560
Speaker 1: a different country to marry your dad. Crazy. I mean,

946
00:46:49,640 --> 00:46:52,279
Speaker 1: this is not like you know, flute and families that

947
00:46:52,440 --> 00:46:55,239
Speaker 1: like fly across the world. I mean, I'm most of

948
00:46:55,280 --> 00:46:57,680
Speaker 1: my I would say, most of my family still hasn't

949
00:46:57,680 --> 00:47:01,040
Speaker 1: been an airplane, right, that that kind of distant cousins

950
00:47:01,080 --> 00:47:02,960
Speaker 1: and aunts and uncles. A lot of them had never fly.

951
00:47:03,520 --> 00:47:06,120
Speaker 1: She got on an airplane and went overseas to get married.

952
00:47:06,160 --> 00:47:11,520
Speaker 1: It was crazy. Do you leave Lexington and go where? Uh?

953
00:47:11,920 --> 00:47:15,440
Speaker 1: Left lex as sous I graduated. Um, one of the

954
00:47:15,440 --> 00:47:18,920
Speaker 1: guys I worked with at the station in Lexington got

955
00:47:19,000 --> 00:47:22,200
Speaker 1: hired in Paduca and the Paduca story begins. Is that

956
00:47:22,640 --> 00:47:26,160
Speaker 1: a bigger market? No smaller, but a bigger job. What

957
00:47:26,239 --> 00:47:29,399
Speaker 1: was the job? Uh? Mid days? So to host ten

958
00:47:29,480 --> 00:47:32,399
Speaker 1: am to three pm and be the production director? Were

959
00:47:32,400 --> 00:47:35,160
Speaker 1: you rock and Rod in Lexington? In college? So that's

960
00:47:35,160 --> 00:47:36,959
Speaker 1: where it started because I was on the top forty

961
00:47:37,040 --> 00:47:40,520
Speaker 1: station and then if well, you won't remember, but I

962
00:47:40,520 --> 00:47:43,080
Speaker 1: admitted it was the second top forty station. In other words,

963
00:47:43,080 --> 00:47:45,400
Speaker 1: there was a more popular Top forty station. So we

964
00:47:45,400 --> 00:47:49,640
Speaker 1: weren't popular enough and we switched formats to oldies. So

965
00:47:49,719 --> 00:47:52,520
Speaker 1: when it became oldies, I was still doing nights and

966
00:47:52,520 --> 00:47:54,800
Speaker 1: the program director decided calling me a rock and Rod

967
00:47:55,280 --> 00:47:58,920
Speaker 1: because we were playing the Jackson five. Do you go

968
00:47:59,000 --> 00:48:03,520
Speaker 1: to Paduca as rock and Uh? Yeah? Because I got

969
00:48:03,560 --> 00:48:06,359
Speaker 1: stuck with I wish it would you know? Looking back, Yeah,

970
00:48:06,400 --> 00:48:08,359
Speaker 1: I wouldn't. Thankfully I didn't get stuck with I mean,

971
00:48:08,360 --> 00:48:09,680
Speaker 1: but it's stuck for a while. I was Rock and

972
00:48:09,760 --> 00:48:13,160
Speaker 1: Rod for I mean, I mean a long time, eight

973
00:48:13,440 --> 00:48:16,319
Speaker 1: or nine years. You're in Produca. Okay from Paduka? Where

974
00:48:16,320 --> 00:48:18,640
Speaker 1: do you go? So from why? I was in Produca

975
00:48:18,640 --> 00:48:21,200
Speaker 1: for a long time. So the reason Nick had heard

976
00:48:21,200 --> 00:48:24,480
Speaker 1: of a guy named Rock and Rod is um I

977
00:48:24,520 --> 00:48:26,520
Speaker 1: started on that. I started doing that midday show, but

978
00:48:26,560 --> 00:48:28,320
Speaker 1: I was doing sports. Remember, I wanted to be the

979
00:48:28,320 --> 00:48:30,760
Speaker 1: sports guy. They let me do sports on the morning show.

980
00:48:31,200 --> 00:48:33,040
Speaker 1: And that morning guy left and then I got the

981
00:48:33,040 --> 00:48:35,319
Speaker 1: morning show. So I hosted mornings in Paduka for five

982
00:48:35,400 --> 00:48:38,279
Speaker 1: years as Rock and Rod. Was that your dream to

983
00:48:38,280 --> 00:48:40,160
Speaker 1: be a big national or just a big morning show?

984
00:48:40,680 --> 00:48:42,160
Speaker 1: I thought it was big at that point, right, I

985
00:48:42,200 --> 00:48:44,960
Speaker 1: was doing mornings in Paduca. Man, let's go because it

986
00:48:45,000 --> 00:48:47,120
Speaker 1: was morning radio. I mean, you know it's still the

987
00:48:47,239 --> 00:48:51,040
Speaker 1: sort of the premier spot on a radio station these days. Um,

988
00:48:51,080 --> 00:48:53,440
Speaker 1: it was even more so. I would say, you know

989
00:48:54,239 --> 00:48:57,560
Speaker 1: in the yearly nineties, you're a produca for a while

990
00:48:57,680 --> 00:49:03,520
Speaker 1: doing mornings, have your first that you know management position. Yep.

991
00:49:03,640 --> 00:49:05,920
Speaker 1: I was also the p D eyeballs are big. You're like,

992
00:49:05,960 --> 00:49:09,880
Speaker 1: what's what's the next move. Next move was that I

993
00:49:10,000 --> 00:49:12,239
Speaker 1: needed a break from being a manager. I mean, I

994
00:49:12,280 --> 00:49:15,160
Speaker 1: was a program director at years old. It was crazy

995
00:49:15,239 --> 00:49:17,600
Speaker 1: because I shouldn't have been. Probably I made a lot

996
00:49:17,640 --> 00:49:20,400
Speaker 1: of mistakes. But I got an offer to go do

997
00:49:20,520 --> 00:49:24,480
Speaker 1: mornings in Green Bay, which is basically my hometown, and

998
00:49:24,480 --> 00:49:27,919
Speaker 1: it was mornings only. No program director, you just get

999
00:49:27,920 --> 00:49:29,759
Speaker 1: to do a morning show. I was like, yeah, that

1000
00:49:29,840 --> 00:49:35,120
Speaker 1: sounds cool, let's do that. It uh it was. I mean,

1001
00:49:35,160 --> 00:49:40,040
Speaker 1: I love this guy, um no chance. Well I guess

1002
00:49:40,080 --> 00:49:44,080
Speaker 1: he could hear this, but lived him as a human.

1003
00:49:44,160 --> 00:49:46,960
Speaker 1: But he was a bad top forty program director. And

1004
00:49:47,000 --> 00:49:49,759
Speaker 1: I was like, man, this is cool and I'm having fun,

1005
00:49:49,840 --> 00:49:53,040
Speaker 1: but this isn't gonna work. So I didn't feel confident.

1006
00:49:53,360 --> 00:49:55,560
Speaker 1: Now I'm not the boss, and now I'm picking on

1007
00:49:55,640 --> 00:49:57,960
Speaker 1: the boss, right. It was. I just didn't think with

1008
00:49:58,600 --> 00:50:01,719
Speaker 1: the way we were structured, we we're going to be successful.

1009
00:50:02,120 --> 00:50:04,640
Speaker 1: So then I took a different job to be the

1010
00:50:04,640 --> 00:50:07,279
Speaker 1: morning guy and the program director again. So now I

1011
00:50:07,320 --> 00:50:10,160
Speaker 1: moved again, and I moved to Warsaw, Wisconsin. I mean

1012
00:50:10,200 --> 00:50:12,759
Speaker 1: the careers jumping right, we're I mean I'm hitting all

1013
00:50:12,840 --> 00:50:15,719
Speaker 1: the small markets and from Warsaw, you go where Warsaw

1014
00:50:15,880 --> 00:50:18,160
Speaker 1: I went to Yeah, we should escalate this. So then

1015
00:50:18,200 --> 00:50:21,080
Speaker 1: I go to Louisville. Okay, I'm pretty good. Yeah, that

1016
00:50:21,120 --> 00:50:22,719
Speaker 1: was a big job. But that was a big job.

1017
00:50:22,719 --> 00:50:25,760
Speaker 1: That's market, you know. So Wasaw was ranked one hundred

1018
00:50:25,800 --> 00:50:27,640
Speaker 1: and fiftieth in the country. Was there was a hundred

1019
00:50:27,640 --> 00:50:30,560
Speaker 1: and forty nine other markets bigger than where I was,

1020
00:50:30,600 --> 00:50:32,200
Speaker 1: and I went to market fifty. So that was a

1021
00:50:32,200 --> 00:50:34,319
Speaker 1: big deal. I mean, you're Kentucky and Wisconsin. You're married

1022
00:50:34,360 --> 00:50:37,160
Speaker 1: to those two states at this point. Oh yeah, whether

1023
00:50:37,160 --> 00:50:40,120
Speaker 1: it's where I'm from. I was born in Wisconsin. Looking

1024
00:50:40,160 --> 00:50:42,480
Speaker 1: for markets where you had DNA. No, No, it's just

1025
00:50:43,080 --> 00:50:45,200
Speaker 1: that's a really good question. In a way deeper story.

1026
00:50:45,200 --> 00:50:47,160
Speaker 1: It was really ironic that I got a job offer

1027
00:50:47,239 --> 00:50:50,040
Speaker 1: in Kentucky. It really had nothing to do with being

1028
00:50:50,040 --> 00:50:54,160
Speaker 1: there before. Random Louisville. You have success there to get fired. Uh, No,

1029
00:50:54,400 --> 00:50:58,680
Speaker 1: big success there, and we uh launched a top forty

1030
00:50:58,680 --> 00:51:01,520
Speaker 1: station in Cincinnati, and they pulled me out of Louisville

1031
00:51:01,560 --> 00:51:04,319
Speaker 1: quickly to big some movie to Cincinnati and now it's

1032
00:51:04,360 --> 00:51:08,600
Speaker 1: on now. From a radio perspective, things are going well. Pressure.

1033
00:51:09,280 --> 00:51:11,799
Speaker 1: Oh yeah, our company was based out of Cincinnati, so

1034
00:51:11,840 --> 00:51:14,120
Speaker 1: I was working in Cincinnati and the bosses lived in

1035
00:51:14,200 --> 00:51:18,239
Speaker 1: that town. Your pressure program director program director of a

1036
00:51:18,280 --> 00:51:20,400
Speaker 1: Top forty is it? Was it a kiss FM? Then

1037
00:51:20,760 --> 00:51:22,440
Speaker 1: just a kiss one of the first kiss fms. I

1038
00:51:22,440 --> 00:51:23,960
Speaker 1: mean there's kiss f M and l A. So then

1039
00:51:24,000 --> 00:51:26,680
Speaker 1: we started having other Top forty stations called kiss and

1040
00:51:26,680 --> 00:51:29,799
Speaker 1: it was one of the first new kiss station. How

1041
00:51:29,800 --> 00:51:34,239
Speaker 1: did Cincinnati go uh, worst to first? In eighteen months?

1042
00:51:34,320 --> 00:51:36,120
Speaker 1: We were ranked fourteen And you must have been a hero,

1043
00:51:36,320 --> 00:51:38,160
Speaker 1: the bell of the ball in the company. Well, that's

1044
00:51:38,160 --> 00:51:41,920
Speaker 1: why I went to Chicago. You went Cincinnati, Chicago. Chicago's

1045
00:51:41,920 --> 00:51:44,840
Speaker 1: the third biggest market in the coral United States. Correct.

1046
00:51:45,080 --> 00:51:47,200
Speaker 1: I'd imagine that's a again, a whole different ball game

1047
00:51:47,200 --> 00:51:49,799
Speaker 1: when you get there. But yes, I I didn't think

1048
00:51:49,840 --> 00:51:52,840
Speaker 1: so as thirty two and didn't care. Youngest p D

1049
00:51:52,960 --> 00:51:55,480
Speaker 1: in town by a lot. But I had it right.

1050
00:51:55,480 --> 00:51:58,920
Speaker 1: I was cocky and thought I it all figured out. Um.

1051
00:51:59,000 --> 00:52:02,319
Speaker 1: But similar to other jobs that I had because I

1052
00:52:02,360 --> 00:52:04,400
Speaker 1: was sort of young. You know, at the time that

1053
00:52:04,440 --> 00:52:06,840
Speaker 1: I first got it, I only knew about half away

1054
00:52:06,960 --> 00:52:08,560
Speaker 1: when I should have, and I probably made it what

1055
00:52:08,719 --> 00:52:10,759
Speaker 1: I did. I made a lot of mistakes, but I

1056
00:52:10,800 --> 00:52:13,000
Speaker 1: was I was it was good enough at the radio

1057
00:52:13,040 --> 00:52:15,120
Speaker 1: thing to create a radio station and a brand with

1058
00:52:15,160 --> 00:52:18,200
Speaker 1: people and personalities and shows to make it to make

1059
00:52:18,239 --> 00:52:22,520
Speaker 1: it work too. What happened to Chicago? Uh, Chicago was

1060
00:52:22,640 --> 00:52:26,000
Speaker 1: great for six and a half years, which for my

1061
00:52:26,160 --> 00:52:29,480
Speaker 1: career was a long time. Yeah, and then it wasn't

1062
00:52:29,600 --> 00:52:34,239
Speaker 1: because they fired me. How do you get fired? Uh?

1063
00:52:34,760 --> 00:52:39,320
Speaker 1: It was in general, my boss got fired. Don't recall

1064
00:52:39,400 --> 00:52:41,440
Speaker 1: the right So new boss comes in, and then there

1065
00:52:41,480 --> 00:52:44,120
Speaker 1: was one other boss, you know, between me and him,

1066
00:52:44,400 --> 00:52:46,920
Speaker 1: and they were ready to just do it different with

1067
00:52:47,000 --> 00:52:49,120
Speaker 1: people they wanted to hire. How do they tell you

1068
00:52:49,160 --> 00:52:52,319
Speaker 1: that you're fired? That's I mean, no, no, no, that's

1069
00:52:52,400 --> 00:52:55,360
Speaker 1: they don't just go you're fired? And this over like

1070
00:52:55,400 --> 00:52:56,600
Speaker 1: do you get a call going need to see at

1071
00:52:56,640 --> 00:52:58,680
Speaker 1: nine am? Do you go? I would like to see

1072
00:52:58,680 --> 00:53:01,160
Speaker 1: in what what happened? I mean, I got a call

1073
00:53:01,200 --> 00:53:06,560
Speaker 1: I found out I was getting fired, which was, oh yeah,

1074
00:53:08,480 --> 00:53:09,920
Speaker 1: well I found out I was getting fired. So then

1075
00:53:09,960 --> 00:53:12,759
Speaker 1: I waited. I waited to go back to work after

1076
00:53:12,800 --> 00:53:15,960
Speaker 1: the ratings came out, because I at least figured the

1077
00:53:16,040 --> 00:53:19,360
Speaker 1: ratings would be good. I guess getting fired though for

1078
00:53:19,560 --> 00:53:23,920
Speaker 1: not cause meaning you didn't p on the secretary and

1079
00:53:23,920 --> 00:53:25,640
Speaker 1: you had a good six and a half years there.

1080
00:53:25,880 --> 00:53:29,919
Speaker 1: That's not you're You're not black bald, You're not unhirable. No,

1081
00:53:30,160 --> 00:53:32,120
Speaker 1: you probably did the company want to put you somewhere

1082
00:53:32,120 --> 00:53:34,680
Speaker 1: else because they understood how important you were. After they

1083
00:53:34,680 --> 00:53:37,319
Speaker 1: fired me, yes, but right after, within a couple of days,

1084
00:53:37,360 --> 00:53:39,920
Speaker 1: they were talking to me about within a couple of

1085
00:53:40,000 --> 00:53:43,400
Speaker 1: days days jeez. And so where do you go Miami

1086
00:53:43,920 --> 00:53:45,759
Speaker 1: and what do you do there? So I went to

1087
00:53:45,760 --> 00:53:51,160
Speaker 1: Miami to UH to run primarily again the Top forty station.

1088
00:53:51,239 --> 00:53:52,759
Speaker 1: That's what I did it for a living, right, I

1089
00:53:52,760 --> 00:53:55,080
Speaker 1: was a Top forty program director, and I was in

1090
00:53:55,120 --> 00:53:57,640
Speaker 1: charge of a couple of other stations at that time.

1091
00:53:58,000 --> 00:54:03,480
Speaker 1: Ironically one of them was Hispanic um reggaetone at the time,

1092
00:54:04,000 --> 00:54:07,320
Speaker 1: UH and a couple of other formats. And then quickly

1093
00:54:07,920 --> 00:54:10,160
Speaker 1: after being there, I was put in charge of all

1094
00:54:10,239 --> 00:54:15,600
Speaker 1: seven stations in Miami and we sort of had an

1095
00:54:15,600 --> 00:54:18,839
Speaker 1: incredible run with the Top forty station there. When I

1096
00:54:18,880 --> 00:54:20,840
Speaker 1: first met you, you flew into Austin, Texas, I was

1097
00:54:20,880 --> 00:54:25,280
Speaker 1: doing mornings. I've never met an executive before. The executive

1098
00:54:25,400 --> 00:54:27,520
Speaker 1: have had ever talked to me before. I thought it

1099
00:54:27,560 --> 00:54:30,479
Speaker 1: was a big deal. I remember going to have dinner

1100
00:54:30,480 --> 00:54:32,880
Speaker 1: a true lux and not the one downtown with a

1101
00:54:32,920 --> 00:54:34,600
Speaker 1: lot of riff raff. We went to the one a

1102
00:54:34,600 --> 00:54:38,680
Speaker 1: little north in town. It's very nervous. You weren't nervous.

1103
00:54:38,719 --> 00:54:40,680
Speaker 1: I was a huge day. I've never met an executive before.

1104
00:54:40,760 --> 00:54:43,480
Speaker 1: I mean, of course, I was petrified. You were going

1105
00:54:43,480 --> 00:54:45,879
Speaker 1: into Waco, which was your market, which I got later

1106
00:54:45,920 --> 00:54:48,600
Speaker 1: on as well, which you gave to me. And so

1107
00:54:48,880 --> 00:54:51,520
Speaker 1: what was that job and where were you living then?

1108
00:54:52,080 --> 00:54:55,160
Speaker 1: So I was probably when I wasn't. I moved quickly

1109
00:54:55,239 --> 00:54:58,600
Speaker 1: to Cincinnati. The Miami job went so well that then

1110
00:54:58,640 --> 00:55:03,239
Speaker 1: I got this executive job you're talking about. So um

1111
00:55:03,320 --> 00:55:06,040
Speaker 1: but but but I gotta back up, because I don't

1112
00:55:06,120 --> 00:55:08,760
Speaker 1: think we talked when I was a program director in Miami.

1113
00:55:08,800 --> 00:55:12,319
Speaker 1: But I wanted to use your show or parts of

1114
00:55:12,320 --> 00:55:13,920
Speaker 1: it on Why one hundred, and I was trying to

1115
00:55:13,920 --> 00:55:16,160
Speaker 1: figure out how to do that in Miami. But what

1116
00:55:16,200 --> 00:55:18,839
Speaker 1: do you mean parts of it so much about me? Though,

1117
00:55:18,840 --> 00:55:20,560
Speaker 1: because I didn't know you until you came. What Michael

1118
00:55:20,600 --> 00:55:22,759
Speaker 1: Yo told me about it though, He's like, you gotta

1119
00:55:22,800 --> 00:55:25,680
Speaker 1: hear Bobby bones Man, And then I listened, and I'm like, oh, yeah,

1120
00:55:25,680 --> 00:55:28,560
Speaker 1: we get we we should use the Bobby Bones show

1121
00:55:29,160 --> 00:55:32,239
Speaker 1: other places like Miami, and I was trying to figure

1122
00:55:32,280 --> 00:55:34,160
Speaker 1: out how to do that. This is before the technology

1123
00:55:34,239 --> 00:55:37,880
Speaker 1: that made it easier and way more common. Um, I

1124
00:55:37,880 --> 00:55:39,800
Speaker 1: just couldn't figure it out. At the time. I didn't

1125
00:55:39,840 --> 00:55:42,799
Speaker 1: know how to how to get that ball rolling. I

1126
00:55:42,840 --> 00:55:44,719
Speaker 1: did not know Michael Yo had ever said anything nice

1127
00:55:44,760 --> 00:55:46,840
Speaker 1: about me. I know he didn't anything bad. He I

1128
00:55:46,920 --> 00:55:49,320
Speaker 1: never met him because he left Austin. He was the

1129
00:55:49,440 --> 00:55:51,759
Speaker 1: night guy. There was one other night guy that was

1130
00:55:51,800 --> 00:55:54,040
Speaker 1: quickly there and now and then I was doing nights

1131
00:55:54,040 --> 00:55:56,319
Speaker 1: in Austin before mornings, and I always thought Michael it

1132
00:55:56,400 --> 00:55:59,239
Speaker 1: was awesome. It sounded good, but I never sounded good,

1133
00:55:59,440 --> 00:56:03,120
Speaker 1: meaning you didn't listen once and go that guy's got

1134
00:56:03,120 --> 00:56:05,720
Speaker 1: a heck of a voice and heck of delivery people.

1135
00:56:05,760 --> 00:56:07,839
Speaker 1: You know, they don't say that now, and they'll say

1136
00:56:07,880 --> 00:56:12,799
Speaker 1: that then. So why would you hear, uh, twenty five

1137
00:56:12,840 --> 00:56:15,480
Speaker 1: year old with a Southern accent who really doesn't talk

1138
00:56:15,520 --> 00:56:19,560
Speaker 1: that well and go gotta have them somehow. So there

1139
00:56:19,640 --> 00:56:24,200
Speaker 1: was something about about my brain that turned. We used

1140
00:56:24,239 --> 00:56:26,440
Speaker 1: to all talk, you know, we used to have a voice,

1141
00:56:26,600 --> 00:56:28,120
Speaker 1: bringing down as eve as we could. I mean, it

1142
00:56:28,440 --> 00:56:31,200
Speaker 1: was everybody tried to be that guy. And there was

1143
00:56:31,280 --> 00:56:34,600
Speaker 1: something about unique voices to me, even when I was

1144
00:56:34,640 --> 00:56:38,879
Speaker 1: sort of young in in helping build radio stations that

1145
00:56:39,239 --> 00:56:41,919
Speaker 1: I thought was more interesting. I mean, I hired Java Joel.

1146
00:56:42,040 --> 00:56:44,319
Speaker 1: I don't know if you're familiar with Java, but if

1147
00:56:44,360 --> 00:56:46,640
Speaker 1: you think you don't have a radio voice, he definitely

1148
00:56:46,640 --> 00:56:49,560
Speaker 1: doesn't have a radio pretty solid delivery. Though his delivery

1149
00:56:49,640 --> 00:56:51,399
Speaker 1: is good, but I mean, it's it's a sound that's

1150
00:56:51,480 --> 00:56:54,319
Speaker 1: definitely is not acceptable if you will, to a lot

1151
00:56:54,320 --> 00:56:57,640
Speaker 1: of program directors who wanted everybody the sound higher pitch voice,

1152
00:56:57,920 --> 00:57:01,359
Speaker 1: very high pitch, and but yeah, I love, I love

1153
00:57:01,520 --> 00:57:03,839
Speaker 1: Obviously I loved it. I hired him, so I hired him.

1154
00:57:03,840 --> 00:57:07,520
Speaker 1: I heard Mac at Night twice. Um, I hired people

1155
00:57:07,600 --> 00:57:11,040
Speaker 1: who didn't sound like radio people because I thought that

1156
00:57:11,120 --> 00:57:14,759
Speaker 1: was different. So this will go way too nerdy into

1157
00:57:14,760 --> 00:57:18,800
Speaker 1: programming radio stations, but there are there are voices of

1158
00:57:18,880 --> 00:57:26,120
Speaker 1: radio stations right the big at you. So on the

1159
00:57:26,200 --> 00:57:28,600
Speaker 1: last couple of stations that I ran day to day,

1160
00:57:28,760 --> 00:57:31,919
Speaker 1: I took the voice guy off and said, no more

1161
00:57:31,920 --> 00:57:34,680
Speaker 1: of that. Let's just use people who talk like Bobby

1162
00:57:34,720 --> 00:57:37,880
Speaker 1: Bones to do our sweepers and our liners to say

1163
00:57:37,920 --> 00:57:41,240
Speaker 1: the Big ninety eight, and I thought early on something

1164
00:57:41,280 --> 00:57:43,000
Speaker 1: triggered in me that we needed to be more real

1165
00:57:43,080 --> 00:57:44,640
Speaker 1: and more natural. I don't I don't know why. I mean,

1166
00:57:44,680 --> 00:57:47,320
Speaker 1: maybe maybe visit research project and I noticed something, or

1167
00:57:47,480 --> 00:57:49,760
Speaker 1: maybe my brain just clicked that I should do that.

1168
00:57:50,200 --> 00:57:52,320
Speaker 1: So for me, when I went to listen to your

1169
00:57:52,360 --> 00:57:54,520
Speaker 1: show because Michael Joe said you gotta hear it, and

1170
00:57:54,880 --> 00:57:56,560
Speaker 1: Mark Chase knew about it at the time, and we

1171
00:57:56,640 --> 00:57:58,400
Speaker 1: talked about you in Miami, and I had no idea

1172
00:57:58,440 --> 00:58:00,240
Speaker 1: what we're talking about you, and I went to listen

1173
00:58:00,280 --> 00:58:02,880
Speaker 1: to it, and I'm like, yeah, that's cool, that's great.

1174
00:58:02,960 --> 00:58:05,840
Speaker 1: I just the vibe, the energy, the realness, the natural,

1175
00:58:06,320 --> 00:58:11,240
Speaker 1: the anti radio sound that was also then the content

1176
00:58:11,280 --> 00:58:14,880
Speaker 1: was compelling and interesting. I was all in. So I

1177
00:58:14,920 --> 00:58:16,280
Speaker 1: had that in the back of my mind. Then I

1178
00:58:16,320 --> 00:58:18,360
Speaker 1: get the executive job. I'm still paying attention to what

1179
00:58:18,360 --> 00:58:20,560
Speaker 1: you're doing, and you're self syndicating and you're on in

1180
00:58:20,640 --> 00:58:24,680
Speaker 1: which tall and the ratings are screaming huge, and I

1181
00:58:24,720 --> 00:58:26,120
Speaker 1: just wanted to reach out and be like, Okay, what

1182
00:58:26,120 --> 00:58:27,760
Speaker 1: are we gonna do here? Because you need to do more.

1183
00:58:28,240 --> 00:58:31,880
Speaker 1: It shouldn't just be you syndicating your show. Throughout Texas

1184
00:58:31,920 --> 00:58:35,240
Speaker 1: and kind of that area into Oklahoma and Kansas. UM.

1185
00:58:35,480 --> 00:58:37,880
Speaker 1: So then we started talking, why would the company looking

1186
00:58:37,880 --> 00:58:40,840
Speaker 1: back let me run wild? I mean, I know why

1187
00:58:40,840 --> 00:58:42,200
Speaker 1: they let me spend it all money because I did

1188
00:58:42,280 --> 00:58:46,840
Speaker 1: spend most of my year and a half checks I'm building.

1189
00:58:46,840 --> 00:58:48,560
Speaker 1: Why would they let me do that? I don't know.

1190
00:58:48,880 --> 00:58:50,760
Speaker 1: Like they it was almost like they were like, we

1191
00:58:50,800 --> 00:58:52,400
Speaker 1: don't care what you do because it ain't gonna work.

1192
00:58:52,440 --> 00:58:54,680
Speaker 1: And they were they probably were right most of the time.

1193
00:58:54,680 --> 00:58:57,760
Speaker 1: But they just freely said, you can go beyond whatever

1194
00:58:57,800 --> 00:58:58,880
Speaker 1: you want to be on as long as you can

1195
00:58:58,880 --> 00:59:00,920
Speaker 1: do the work, pay for it, and just get out

1196
00:59:00,920 --> 00:59:03,640
Speaker 1: of our hair. Why would they ever let me do that?

1197
00:59:03,680 --> 00:59:05,720
Speaker 1: It definitely wasn't normal. I mean, we we do that

1198
00:59:05,760 --> 00:59:07,680
Speaker 1: more and more as we go along. There are a

1199
00:59:07,720 --> 00:59:11,800
Speaker 1: lot of personalities on in towns across the country. UM.

1200
00:59:11,840 --> 00:59:14,880
Speaker 1: But I don't have the answer. It was sort of unique.

1201
00:59:14,920 --> 00:59:17,760
Speaker 1: I mean, or at or at least let us help

1202
00:59:17,760 --> 00:59:19,000
Speaker 1: you pay for it and we'll own part of But

1203
00:59:19,040 --> 00:59:21,720
Speaker 1: they didn't. They were just like, hey, kid, going well,

1204
00:59:21,720 --> 00:59:23,200
Speaker 1: I think you did the right thing in terms of

1205
00:59:23,280 --> 00:59:26,720
Speaker 1: you know, you weren't on in Austin and instantly trying

1206
00:59:26,720 --> 00:59:31,960
Speaker 1: to syndicate into Houston where people of you know, uh

1207
00:59:32,200 --> 00:59:34,800
Speaker 1: with much who get much bigger paychecks are paying attention. Right,

1208
00:59:34,840 --> 00:59:39,960
Speaker 1: it was you were able to syndicate into towns across Texas,

1209
00:59:40,120 --> 00:59:44,840
Speaker 1: very small towns, Beaumont, Lubbock, Tuscal, Loose. I mean it

1210
00:59:44,920 --> 00:59:46,600
Speaker 1: was those, but that's all. Who would have me? Trust me?

1211
00:59:46,640 --> 00:59:48,959
Speaker 1: How have been on Houston immediately been like for sure,

1212
00:59:49,360 --> 00:59:50,840
Speaker 1: But when you were doing it on your own and

1213
00:59:50,920 --> 00:59:54,480
Speaker 1: kind of like like sliding you know, into home under

1214
00:59:54,560 --> 00:59:58,000
Speaker 1: the tag like it was like, I agree, I don't

1215
00:59:58,040 --> 01:00:00,920
Speaker 1: know why, but it worked because you were able to

1216
01:00:00,960 --> 01:00:03,080
Speaker 1: get a really witched all was the game changer for me.

1217
01:00:03,920 --> 01:00:09,040
Speaker 1: Um still not the biggest market around, but great sized town.

1218
01:00:09,680 --> 01:00:13,160
Speaker 1: Game changer because the ratings even today, like it's it's

1219
01:00:13,240 --> 01:00:16,200
Speaker 1: like nothing you see. Why are you so? Why are

1220
01:00:16,240 --> 01:00:19,320
Speaker 1: you so popular there? That's the question. I think I'm

1221
01:00:19,360 --> 01:00:22,600
Speaker 1: as popular. I think I'm still loyal to the place

1222
01:00:22,640 --> 01:00:25,360
Speaker 1: that was very loyal to me. Nick. We still do

1223
01:00:25,400 --> 01:00:28,120
Speaker 1: a good show. I think as much as we've changed

1224
01:00:28,120 --> 01:00:30,560
Speaker 1: and gotten older and things have changed, and I think

1225
01:00:30,600 --> 01:00:32,480
Speaker 1: a big change for me has been trying to somewhat

1226
01:00:33,480 --> 01:00:35,800
Speaker 1: I use the word normal, be normal even though my

1227
01:00:35,840 --> 01:00:41,960
Speaker 1: life has completely abnormal now, it was nothing normal about you. Nothing,

1228
01:00:42,040 --> 01:00:43,960
Speaker 1: I mean there was nothing. People would always go, man,

1229
01:00:44,000 --> 01:00:46,520
Speaker 1: you just sometimes I worry you're not gonna be relatable.

1230
01:00:46,520 --> 01:00:48,080
Speaker 1: I was. I guess I've never been. I've always been

1231
01:00:48,160 --> 01:00:51,680
Speaker 1: nuts neurotic, like people didn't the ways people relate to

1232
01:00:51,720 --> 01:00:55,360
Speaker 1: me or how I got here, meaning how I grew up.

1233
01:00:55,960 --> 01:00:59,240
Speaker 1: But I'm bonkers in the head, and so I was

1234
01:00:59,280 --> 01:01:02,640
Speaker 1: never the guy just related to by listening to his thoughts. Yeah,

1235
01:01:02,800 --> 01:01:06,280
Speaker 1: it was always the guy you related to because he

1236
01:01:06,440 --> 01:01:08,560
Speaker 1: understood I'm using me as a third person here. He

1237
01:01:08,600 --> 01:01:10,360
Speaker 1: understood kind of what you're going through and what you've

1238
01:01:10,360 --> 01:01:12,400
Speaker 1: been through. I think that was always the way i'd

1239
01:01:12,400 --> 01:01:13,960
Speaker 1: create a relationship and then hopefully I would just be

1240
01:01:14,040 --> 01:01:19,160
Speaker 1: entertaining a compelling But I think Kansas in general, which

1241
01:01:19,160 --> 01:01:21,600
Speaker 1: talks specifically, I think I've just been super loyal to them.

1242
01:01:21,640 --> 01:01:25,520
Speaker 1: I go back, Yeah, I've I'm vocal about it. Same

1243
01:01:25,880 --> 01:01:28,320
Speaker 1: when I say it's popular, I mean it won't always

1244
01:01:28,360 --> 01:01:31,320
Speaker 1: be right, but it won't always be It definitely won't always.

1245
01:01:31,400 --> 01:01:33,920
Speaker 1: I mean, it's been fifteen years about the sixteenth is

1246
01:01:33,960 --> 01:01:42,640
Speaker 1: always the bad one. How do you get here to Nashville.

1247
01:01:42,880 --> 01:01:44,560
Speaker 1: I would say a lot of it had to do

1248
01:01:44,760 --> 01:01:48,720
Speaker 1: with your show. So that launched in two You know,

1249
01:01:48,800 --> 01:01:52,280
Speaker 1: you came in and the country world is like, what

1250
01:01:52,320 --> 01:01:54,360
Speaker 1: the heck is going on here? Yeah, exactly, You're not

1251
01:01:54,400 --> 01:01:56,160
Speaker 1: a country boy. What's happening? I mean, you were a

1252
01:01:56,200 --> 01:01:58,360
Speaker 1: country boy. I got trouble every week. But yeah, oh,

1253
01:01:58,400 --> 01:02:00,840
Speaker 1: I remember it was it was really really bad. Yeah,

1254
01:02:01,120 --> 01:02:04,000
Speaker 1: And I guess because it was largely my idea. I

1255
01:02:04,080 --> 01:02:09,120
Speaker 1: was sort of the executive and charge um unofficially for

1256
01:02:09,160 --> 01:02:11,360
Speaker 1: the most part, but if something was going on with

1257
01:02:11,400 --> 01:02:14,560
Speaker 1: the show, I got the phone call um because I

1258
01:02:14,600 --> 01:02:17,480
Speaker 1: trusted you, and I would listen to you. That helped,

1259
01:02:17,640 --> 01:02:21,280
Speaker 1: and I would listen to others, but I would listen

1260
01:02:21,360 --> 01:02:23,440
Speaker 1: with they don't know what they're talking about, so I'm

1261
01:02:23,440 --> 01:02:28,200
Speaker 1: gonna here. I appreciate that, But it's because we connected earlier, right,

1262
01:02:28,200 --> 01:02:32,600
Speaker 1: and at least had had trust in each other, uh,

1263
01:02:32,880 --> 01:02:34,919
Speaker 1: loyalty in each other, and then like, if you're gonna

1264
01:02:35,560 --> 01:02:38,240
Speaker 1: I never thought you were. You had alterio motives of

1265
01:02:38,320 --> 01:02:42,160
Speaker 1: me insane. Yeah, and I think that's probably it's a

1266
01:02:42,160 --> 01:02:45,600
Speaker 1: good point. So you got here in two thirteen show launches,

1267
01:02:46,040 --> 01:02:48,360
Speaker 1: and then two years later the job I do now

1268
01:02:48,400 --> 01:02:52,080
Speaker 1: to oversee country. Uh Clay was doing it and he

1269
01:02:52,160 --> 01:02:54,440
Speaker 1: got out of radio and went to a different field

1270
01:02:54,640 --> 01:02:58,800
Speaker 1: and it was an open job. And uh that close

1271
01:02:58,800 --> 01:03:02,320
Speaker 1: pretty quickly. I mean I at that point largely with

1272
01:03:02,440 --> 01:03:04,960
Speaker 1: my connection to the show, which was quickly becoming the

1273
01:03:05,000 --> 01:03:10,160
Speaker 1: most syndicated show in country radio and now country radio history. Um,

1274
01:03:10,480 --> 01:03:13,160
Speaker 1: I think that's the most syndicated now in music period. Yeah,

1275
01:03:13,200 --> 01:03:19,320
Speaker 1: probably music Base for sure. Yeah. Um, so that had

1276
01:03:19,320 --> 01:03:21,400
Speaker 1: the door open, and then it really only I could

1277
01:03:21,400 --> 01:03:24,080
Speaker 1: screw that up. I mean, actually never programmed a country

1278
01:03:24,080 --> 01:03:26,840
Speaker 1: station before because it was always Top forty. But good

1279
01:03:26,840 --> 01:03:29,120
Speaker 1: programming is good programming, and I wanted that, and I

1280
01:03:29,160 --> 01:03:33,560
Speaker 1: was into country music, like genuinely into it, and we

1281
01:03:33,640 --> 01:03:36,720
Speaker 1: had our connection in the show was growing, and so

1282
01:03:36,800 --> 01:03:39,920
Speaker 1: they made me and named me head of our Country.

1283
01:03:40,160 --> 01:03:44,680
Speaker 1: The timing was actually didn't exist Country launched in two dozen.

1284
01:03:44,880 --> 01:03:46,800
Speaker 1: I think it was extremely fortunate for both of us

1285
01:03:46,840 --> 01:03:50,280
Speaker 1: that the show had turned a corner and wasn't just

1286
01:03:50,320 --> 01:03:53,080
Speaker 1: growing but was then starting to be successful. Take it

1287
01:03:53,520 --> 01:03:56,480
Speaker 1: because then, as you know, leverage support it and I

1288
01:03:56,560 --> 01:03:58,440
Speaker 1: was and I finally had ears of people too, and

1289
01:03:58,480 --> 01:04:00,960
Speaker 1: I was like, this is the guy, like he has

1290
01:04:00,960 --> 01:04:02,360
Speaker 1: every this is the guy, this is the guy, this

1291
01:04:02,400 --> 01:04:04,760
Speaker 1: is the guy. And they brought you here and now

1292
01:04:04,800 --> 01:04:08,840
Speaker 1: you've been here seven seven local. I mean again, attached

1293
01:04:08,880 --> 01:04:11,439
Speaker 1: longer than that. But you were attached before I got here. Yeah,

1294
01:04:11,600 --> 01:04:14,800
Speaker 1: you and I. You and I played golf in Austin.

1295
01:04:15,280 --> 01:04:16,480
Speaker 1: You were like, man, we can't we get JO some

1296
01:04:16,480 --> 01:04:19,080
Speaker 1: country stations, even before this was even a thing, and

1297
01:04:19,080 --> 01:04:21,200
Speaker 1: it was like, yeah, I love it, but pie in

1298
01:04:21,240 --> 01:04:23,360
Speaker 1: the sky. And then then we're kind of in the pine.

1299
01:04:23,360 --> 01:04:25,720
Speaker 1: Now do you think this runs? What do you think

1300
01:04:25,760 --> 01:04:31,520
Speaker 1: about this run? Uh? To date? Or I don't know? Yeah,

1301
01:04:31,520 --> 01:04:34,800
Speaker 1: I mean, what do you think about it? Um? Well,

1302
01:04:34,800 --> 01:04:37,680
Speaker 1: it's funny you talked about the the Radio Hall of Fame.

1303
01:04:37,680 --> 01:04:39,280
Speaker 1: I can't believe those five years ago. I don't think

1304
01:04:39,280 --> 01:04:41,439
Speaker 1: I talked about that here today. Maybe we talked about

1305
01:04:41,440 --> 01:04:43,680
Speaker 1: it when I walked in. Um, you're in the Radio

1306
01:04:43,680 --> 01:04:45,600
Speaker 1: Hall of Fame. That's true. No, we did, because you

1307
01:04:45,600 --> 01:04:47,680
Speaker 1: said you. I don't think it was on the mic though, Sorry,

1308
01:04:47,800 --> 01:04:49,520
Speaker 1: because there's a picture out there, and you said that.

1309
01:04:50,480 --> 01:04:52,400
Speaker 1: We went to Chicago and you were inducted to the

1310
01:04:52,600 --> 01:04:54,720
Speaker 1: Radio Hall. I said he spoke at the Radio Hall

1311
01:04:54,760 --> 01:04:56,040
Speaker 1: of Fame. That's right. You did, you spoke, and I

1312
01:04:56,040 --> 01:04:59,120
Speaker 1: was inducted, And that's crazy that that was two thousand,

1313
01:04:59,680 --> 01:05:02,120
Speaker 1: seven teen, five years ago to that seventeen, So it's

1314
01:05:02,160 --> 01:05:05,000
Speaker 1: five years ago. You know. Part of it is I

1315
01:05:05,040 --> 01:05:07,360
Speaker 1: feel like we've been doing this thing in Nashville together

1316
01:05:07,440 --> 01:05:09,760
Speaker 1: for three years, and part of it feels like fifteen.

1317
01:05:09,800 --> 01:05:11,360
Speaker 1: Like anything in life, I guess it is supposed to

1318
01:05:11,360 --> 01:05:13,160
Speaker 1: be through COVID. I mean, our timing just got messed

1319
01:05:13,200 --> 01:05:17,640
Speaker 1: up in our heads. So you know, let's go on

1320
01:05:17,680 --> 01:05:19,320
Speaker 1: the On the longer side, it feels like we've been

1321
01:05:19,360 --> 01:05:22,400
Speaker 1: doing it for quote unquote a long time. But in

1322
01:05:22,560 --> 01:05:27,400
Speaker 1: the grand scheme of radio, um, you know, Scott Shannon

1323
01:05:27,480 --> 01:05:30,919
Speaker 1: did morning radio at a high level in New York

1324
01:05:31,120 --> 01:05:34,760
Speaker 1: for thirty years. Probably so is ten a lot or

1325
01:05:34,840 --> 01:05:36,560
Speaker 1: is ten the beginning? Or is ten in the middle.

1326
01:05:37,240 --> 01:05:42,280
Speaker 1: I mean, it's been an incredible freaking nine and a half, right,

1327
01:05:42,520 --> 01:05:47,920
Speaker 1: it's been pretty wild. And I luckily on the executive

1328
01:05:47,960 --> 01:05:50,080
Speaker 1: side because you know my show, they've been with me

1329
01:05:50,160 --> 01:05:53,480
Speaker 1: the whole time Amy lunch Box, except for you know,

1330
01:05:53,520 --> 01:05:55,400
Speaker 1: when I was still figuring out who I was, way

1331
01:05:55,400 --> 01:05:57,880
Speaker 1: back in Austin before I was able to hire Amy.

1332
01:05:57,920 --> 01:06:00,840
Speaker 1: But Amy Lunchbox. You know, even Eddie this point, him

1333
01:06:00,840 --> 01:06:03,440
Speaker 1: and I've been friends even before the radio show. Raymondo

1334
01:06:03,520 --> 01:06:05,520
Speaker 1: was an intern, Mike was an intern. It's just a

1335
01:06:05,520 --> 01:06:08,800
Speaker 1: whole like I like to keep my crew and like

1336
01:06:08,840 --> 01:06:11,040
Speaker 1: to see them grow, like to watch them get better

1337
01:06:11,080 --> 01:06:14,280
Speaker 1: and they make me better. But even on the executive side,

1338
01:06:14,280 --> 01:06:18,880
Speaker 1: it's been like me, you and Jin Lime grouper time.

1339
01:06:19,960 --> 01:06:22,600
Speaker 1: That's also I think, Well, I guess we have to

1340
01:06:22,600 --> 01:06:24,960
Speaker 1: compare how often does that happen? But for us it's

1341
01:06:25,000 --> 01:06:28,520
Speaker 1: been it's been awesome in terms of we do feel

1342
01:06:28,520 --> 01:06:31,200
Speaker 1: like we're in it together, right with you and Gin

1343
01:06:31,360 --> 01:06:33,840
Speaker 1: in the trenches the whole time. And even when I

1344
01:06:33,880 --> 01:06:37,800
Speaker 1: know I'm getting reprimanded for something, I know it's either

1345
01:06:38,200 --> 01:06:40,520
Speaker 1: you guys have to do it, or I let Jen

1346
01:06:40,640 --> 01:06:43,880
Speaker 1: do that, or it's for a reason I probably don't

1347
01:06:43,960 --> 01:06:46,240
Speaker 1: understand all the different parts. And I know that I'm

1348
01:06:46,280 --> 01:06:47,800
Speaker 1: not in a lot of times because I'm being protected

1349
01:06:47,800 --> 01:06:51,120
Speaker 1: by you guys. Well that's true. Good point. We uh,

1350
01:06:51,120 --> 01:06:54,360
Speaker 1: we will run cover for you sometimes, um, but that's fine.

1351
01:06:54,400 --> 01:06:56,880
Speaker 1: That's also part of our job. I mean, um, things

1352
01:06:56,880 --> 01:07:02,000
Speaker 1: can seem uh can have misperceptions outside of what we're doing. Daily,

1353
01:07:02,480 --> 01:07:04,360
Speaker 1: and sometimes we have to talk to the people that

1354
01:07:04,400 --> 01:07:06,080
Speaker 1: I report to and say, well, no, hold on, let

1355
01:07:06,120 --> 01:07:08,240
Speaker 1: me let me, let me reset this for you on

1356
01:07:08,240 --> 01:07:10,800
Speaker 1: what this feels like, it looks like. Um, you know,

1357
01:07:10,800 --> 01:07:13,080
Speaker 1: it's very important what I Heart does in Nashville. I mean,

1358
01:07:13,120 --> 01:07:17,320
Speaker 1: we have a lot of partnerships and business conversations that

1359
01:07:17,400 --> 01:07:19,560
Speaker 1: happen every day, and your show is a big part

1360
01:07:19,560 --> 01:07:24,360
Speaker 1: of that. Um, you know most people now and really

1361
01:07:24,400 --> 01:07:26,120
Speaker 1: for years and years and years, but as of now,

1362
01:07:26,680 --> 01:07:29,720
Speaker 1: if your country music, country music artist country music want

1363
01:07:29,720 --> 01:07:31,960
Speaker 1: to be a country music superstar, you want to be

1364
01:07:31,960 --> 01:07:35,560
Speaker 1: on the Bobby Bone Show. So that is I mean

1365
01:07:36,440 --> 01:07:38,960
Speaker 1: that comes up daily in my job, and you're not

1366
01:07:39,040 --> 01:07:41,400
Speaker 1: the only part of my daily job, right, Like, there's

1367
01:07:41,400 --> 01:07:43,760
Speaker 1: a bunch of other stuff going on, but um, nothing

1368
01:07:43,800 --> 01:07:46,600
Speaker 1: gets mentioned more than the Bobby Bones Show and some

1369
01:07:46,640 --> 01:07:48,400
Speaker 1: guy named Boby Bones. Well, what gets mentioned to me

1370
01:07:48,440 --> 01:07:50,400
Speaker 1: most is Rod never answers his phone. Yeah, it doesn't

1371
01:07:50,440 --> 01:07:52,160
Speaker 1: matter who it is, Like, we can't get ahold of Rod.

1372
01:07:52,640 --> 01:07:54,680
Speaker 1: And I'm like, well, listen, when Keith Urban's calling them

1373
01:07:54,720 --> 01:07:56,840
Speaker 1: three times a day, what do you expect I pick

1374
01:07:56,920 --> 01:08:00,360
Speaker 1: up keys call the future of the format, let's say

1375
01:08:00,360 --> 01:08:02,840
Speaker 1: the future in the next three to five years. Musically,

1376
01:08:02,840 --> 01:08:05,160
Speaker 1: what do you what are you thinking guessing it's pure

1377
01:08:05,200 --> 01:08:07,520
Speaker 1: guests is gonna happen. Pure guests is going to happen?

1378
01:08:07,800 --> 01:08:15,400
Speaker 1: Is that the the um, the sonic branding of country

1379
01:08:15,480 --> 01:08:18,320
Speaker 1: is different. Right. What I mean by that is is

1380
01:08:18,760 --> 01:08:21,800
Speaker 1: um whether it's Dan and Shay and the pop side

1381
01:08:21,920 --> 01:08:26,439
Speaker 1: or Chris Stapleton on the traditional side. The uh sort

1382
01:08:26,439 --> 01:08:28,720
Speaker 1: of amount of music and different kinds of sounds that

1383
01:08:28,760 --> 01:08:31,360
Speaker 1: are allowed in, if you will, is wider than ever,

1384
01:08:31,479 --> 01:08:35,120
Speaker 1: meaning we're sort of accepting a more different sounds. I

1385
01:08:35,160 --> 01:08:38,120
Speaker 1: think we've I think we've reached our limit and maybe

1386
01:08:38,160 --> 01:08:41,160
Speaker 1: even are gonna narrow it in the next five years.

1387
01:08:41,479 --> 01:08:44,799
Speaker 1: And I think country music will sound more like country

1388
01:08:44,880 --> 01:08:49,080
Speaker 1: music from five really ten years ago for the next

1389
01:08:49,080 --> 01:08:53,720
Speaker 1: five years. I do. I think that there's a just

1390
01:08:53,800 --> 01:08:58,160
Speaker 1: a more pure music. UM. You know, we've been dealing

1391
01:08:58,160 --> 01:09:00,519
Speaker 1: with beats on songs for a long time time now,

1392
01:09:01,200 --> 01:09:04,920
Speaker 1: and I hear I hear artists who were using those

1393
01:09:05,080 --> 01:09:08,200
Speaker 1: stop doing that and it's all real, real instruments and

1394
01:09:08,200 --> 01:09:11,640
Speaker 1: things like that. UM, and country is gonna be country

1395
01:09:12,200 --> 01:09:14,800
Speaker 1: as why as it can be. It kind of ebbs

1396
01:09:14,800 --> 01:09:17,200
Speaker 1: and flows in in sound I mean, Shani Twain probably

1397
01:09:17,200 --> 01:09:20,160
Speaker 1: wasn't very country right when she was when her big

1398
01:09:20,200 --> 01:09:24,599
Speaker 1: big hits were out, they were also top forty hits. Um,

1399
01:09:24,680 --> 01:09:27,000
Speaker 1: so we have that always in this format. But I

1400
01:09:27,160 --> 01:09:29,080
Speaker 1: would say for the next five years, it's gonna sound

1401
01:09:29,080 --> 01:09:32,040
Speaker 1: a little more like what country gets credit for sounding like.

1402
01:09:32,520 --> 01:09:34,519
Speaker 1: Three final questions. I don't think you agree by the

1403
01:09:34,520 --> 01:09:37,360
Speaker 1: way you looked at me on that. I don't care. Yeah,

1404
01:09:37,720 --> 01:09:41,600
Speaker 1: you know, the people, well we'll decide, even though you

1405
01:09:42,000 --> 01:09:45,200
Speaker 1: you have a big handed decision making. You make your

1406
01:09:45,200 --> 01:09:49,120
Speaker 1: decisions based off what the people like in their tastes

1407
01:09:49,320 --> 01:09:52,160
Speaker 1: and so so. Yes, and not that I don't care,

1408
01:09:52,400 --> 01:09:55,840
Speaker 1: It's just there's only so much that I can care

1409
01:09:55,920 --> 01:10:00,519
Speaker 1: and control, and so I'll never be the guy that

1410
01:10:00,600 --> 01:10:03,680
Speaker 1: nails the music exactly. I like what I like. Some

1411
01:10:03,760 --> 01:10:05,479
Speaker 1: of it I really like in country. Some of it

1412
01:10:05,600 --> 01:10:07,639
Speaker 1: don't at all. But any mean, it's not my thing.

1413
01:10:07,680 --> 01:10:09,639
Speaker 1: It's not my personal opinion that that makes these radio

1414
01:10:09,680 --> 01:10:11,640
Speaker 1: stations go. And as long as I can come on

1415
01:10:11,680 --> 01:10:14,040
Speaker 1: and be compelling, I don't care if they play a

1416
01:10:14,040 --> 01:10:16,639
Speaker 1: song or not. You can play Frank Sinatra records well

1417
01:10:16,760 --> 01:10:20,080
Speaker 1: even true true, But yeah, I mean, country music is

1418
01:10:20,120 --> 01:10:22,920
Speaker 1: my original that's my o G music. But I've never

1419
01:10:24,200 --> 01:10:26,479
Speaker 1: gone well, I should be the voice of country music,

1420
01:10:26,560 --> 01:10:28,800
Speaker 1: like as far as I should tell everybody what they like. Yeah,

1421
01:10:29,640 --> 01:10:31,600
Speaker 1: you know, but it's interesting you're seeing more of that.

1422
01:10:31,600 --> 01:10:33,360
Speaker 1: But because you see it on a macro level, the

1423
01:10:33,400 --> 01:10:35,680
Speaker 1: sonic parts of the instrumentation, that's it's pretty cool. I like,

1424
01:10:35,800 --> 01:10:38,120
Speaker 1: well and you and you see just the artists who

1425
01:10:38,160 --> 01:10:42,439
Speaker 1: have made the most noise and and sort of had

1426
01:10:42,479 --> 01:10:46,880
Speaker 1: a career launch. Whether it's Luke Combs, I mean, Caan Brown.

1427
01:10:47,320 --> 01:10:49,439
Speaker 1: He obviously also has pop songs, but he can get

1428
01:10:49,479 --> 01:10:51,559
Speaker 1: pretty country. I mean it sounds a country boy. He's

1429
01:10:51,680 --> 01:10:56,559
Speaker 1: very country. Is a country guy, right, Laney Wilson. I

1430
01:10:56,600 --> 01:10:58,559
Speaker 1: think people love well I don't think, I know they

1431
01:10:58,640 --> 01:11:01,920
Speaker 1: love her sound. So I think that sound is going

1432
01:11:02,000 --> 01:11:04,320
Speaker 1: to be more prevalent than it has in the last

1433
01:11:04,320 --> 01:11:06,680
Speaker 1: couple of years. Final three questions, quickly, Why did you

1434
01:11:06,680 --> 01:11:11,720
Speaker 1: hate the Morning Corny? I thought the Morning Corny the

1435
01:11:12,200 --> 01:11:14,400
Speaker 1: name or the I didn't. I don't I've never hit it.

1436
01:11:14,400 --> 01:11:17,559
Speaker 1: Hated the bit I don't know about that really came

1437
01:11:17,600 --> 01:11:18,760
Speaker 1: to and I said, hey, I want to do this thing.

1438
01:11:18,800 --> 01:11:21,320
Speaker 1: It's kind of too simple, mean, very quick exactly like,

1439
01:11:21,400 --> 01:11:23,680
Speaker 1: that's a corny name. It is. That's the yes. I said, Hey,

1440
01:11:23,680 --> 01:11:26,360
Speaker 1: we're gonna do something called the Morning Corny's throw Away

1441
01:11:26,520 --> 01:11:29,320
Speaker 1: very quick top of the hour. You're like, I don't know.

1442
01:11:29,400 --> 01:11:32,800
Speaker 1: I'm like, just trust me on this. You're like, whoa, okay,

1443
01:11:33,000 --> 01:11:34,880
Speaker 1: and then we did it and listen. I don't know

1444
01:11:34,920 --> 01:11:36,439
Speaker 1: if it's about to die or not, but it's had

1445
01:11:36,439 --> 01:11:38,960
Speaker 1: it quite a run. Oh yeah, no, listen, I don't

1446
01:11:38,960 --> 01:11:44,400
Speaker 1: remember uh not liking the bit. It's there's nothing to it.

1447
01:11:44,400 --> 01:11:47,320
Speaker 1: It's literally nothing. But I like but I like the execution.

1448
01:11:47,840 --> 01:11:50,840
Speaker 1: I like the Yeah, it actually makes me laugh even

1449
01:11:50,840 --> 01:11:53,439
Speaker 1: when it's not funny, usually because of the reaction of

1450
01:11:53,479 --> 01:11:57,360
Speaker 1: the room. What's the craziest slash dumbest, slash riskiest thing

1451
01:11:57,360 --> 01:11:59,240
Speaker 1: that I've done where you felt, well, that could be it?

1452
01:11:59,720 --> 01:12:02,519
Speaker 1: Oh man, we could probably do a list of those.

1453
01:12:02,680 --> 01:12:05,120
Speaker 1: I mean, and it doesn't start with the with the

1454
01:12:05,320 --> 01:12:08,280
Speaker 1: uh the e A s a million dollar fine? Fine

1455
01:12:08,880 --> 01:12:11,360
Speaker 1: was a million dollars, it would have been more. Thankfully

1456
01:12:11,400 --> 01:12:13,360
Speaker 1: there's a station in California that fix that for us

1457
01:12:14,000 --> 01:12:20,040
Speaker 1: a million dollars. That's crazy. Um, So you know, I

1458
01:12:20,080 --> 01:12:23,840
Speaker 1: think early on, I feel like, well, let me say

1459
01:12:23,880 --> 01:12:28,360
Speaker 1: this way, You've done um a really good job of

1460
01:12:28,520 --> 01:12:33,760
Speaker 1: processing the feedback because I know you personally, and it

1461
01:12:33,800 --> 01:12:39,200
Speaker 1: does personally bother you when people attack anybody, like I've

1462
01:12:39,240 --> 01:12:41,960
Speaker 1: seen it. You protect people that you're loyal to when

1463
01:12:41,960 --> 01:12:45,160
Speaker 1: they get attacked, and social media allows people to get attacked.

1464
01:12:45,960 --> 01:12:48,720
Speaker 1: And even the bit from your live show the other night,

1465
01:12:48,760 --> 01:12:50,960
Speaker 1: you know, was there was a bit about you know

1466
01:12:51,080 --> 01:12:54,479
Speaker 1: what all the comments on social media and I I

1467
01:12:54,520 --> 01:12:58,840
Speaker 1: was really worried that you would get pulled into you know,

1468
01:12:59,080 --> 01:13:04,000
Speaker 1: a Twitter at all, and and it was so personal

1469
01:13:04,040 --> 01:13:05,559
Speaker 1: to you that you couldn't let it go. And I'm like,

1470
01:13:05,560 --> 01:13:08,839
Speaker 1: it just needs to let it go. And you've learned

1471
01:13:08,880 --> 01:13:12,240
Speaker 1: as a human, if you will, how to take that

1472
01:13:12,760 --> 01:13:14,840
Speaker 1: understand it. A lot of it's just bs right. People

1473
01:13:14,840 --> 01:13:16,679
Speaker 1: are just throwing it out just to be just just

1474
01:13:16,680 --> 01:13:19,960
Speaker 1: just because they get another better to do. And you

1475
01:13:20,000 --> 01:13:23,720
Speaker 1: would take it so personally because because it is a

1476
01:13:23,720 --> 01:13:26,559
Speaker 1: personal attack, whether the person means it or not, now

1477
01:13:26,600 --> 01:13:28,320
Speaker 1: you feel it. And I think because you felt it,

1478
01:13:28,400 --> 01:13:33,400
Speaker 1: you understand that how the sensitivity over how Caitlin gets it,

1479
01:13:33,600 --> 01:13:37,200
Speaker 1: and you're fiercely protective of that like you should be.

1480
01:13:37,760 --> 01:13:40,599
Speaker 1: But I think you know and and I'm sure she's

1481
01:13:40,680 --> 01:13:43,800
Speaker 1: learning the hard way, but you have and your response

1482
01:13:43,840 --> 01:13:46,880
Speaker 1: to that. Now it gets harder as we go further

1483
01:13:46,920 --> 01:13:50,360
Speaker 1: along through life with social media, and I think you've

1484
01:13:50,400 --> 01:13:54,240
Speaker 1: overcome that in a very quick, powerful way, because that

1485
01:13:54,280 --> 01:13:56,920
Speaker 1: could have caused problems right by the way. It could

1486
01:13:56,920 --> 01:13:59,920
Speaker 1: have been Twitter war with not only listeners, but are

1487
01:14:00,080 --> 01:14:02,599
Speaker 1: this and want to be not fought with everybody? Right,

1488
01:14:03,040 --> 01:14:05,200
Speaker 1: no doubt, I fought with everybody. Final question, did you

1489
01:14:05,200 --> 01:14:09,000
Speaker 1: think I'd ever get married? Yes? But I don't know why.

1490
01:14:09,400 --> 01:14:11,479
Speaker 1: Let me think about that. You know, there's this piece

1491
01:14:11,520 --> 01:14:16,120
Speaker 1: of me that thinks you're way more normal than you are, right, meaning, uh,

1492
01:14:16,240 --> 01:14:19,000
Speaker 1: people are. It's part of why people are intrigued with

1493
01:14:19,000 --> 01:14:21,599
Speaker 1: you as a as a persona right, as a as

1494
01:14:21,600 --> 01:14:25,240
Speaker 1: a as a celebrity, as a host, because the rest

1495
01:14:25,280 --> 01:14:28,640
Speaker 1: of us are just too boring to be interesting every day.

1496
01:14:28,720 --> 01:14:31,720
Speaker 1: And that's hard to ground somebody. But I know you

1497
01:14:31,840 --> 01:14:34,280
Speaker 1: personally enough to know that there's a grounded dude in

1498
01:14:34,320 --> 01:14:37,720
Speaker 1: there too, And it's probably this dynamic of how you

1499
01:14:37,800 --> 01:14:40,280
Speaker 1: were raised and the way your life has gone, and

1500
01:14:40,280 --> 01:14:43,839
Speaker 1: the people around you and relatives and not relatives raising

1501
01:14:43,880 --> 01:14:47,040
Speaker 1: you and being integrated with you friends coming and going,

1502
01:14:47,400 --> 01:14:50,960
Speaker 1: but I know there's a grounded guy who can get married,

1503
01:14:51,360 --> 01:14:54,639
Speaker 1: which you have now. And now we've seen Mike deal

1504
01:14:54,720 --> 01:14:57,640
Speaker 1: tell me if he's like honest enough or maybe you

1505
01:14:57,680 --> 01:15:00,800
Speaker 1: said it like and we've seen her bring that it

1506
01:15:01,160 --> 01:15:04,160
Speaker 1: out in you when we're just hanging out, which is

1507
01:15:04,600 --> 01:15:07,439
Speaker 1: awesome because if I ever said anything along the way,

1508
01:15:07,680 --> 01:15:10,200
Speaker 1: I wondered if I'd ever get married because I never

1509
01:15:10,240 --> 01:15:13,040
Speaker 1: even met anybody who I thought there's a possibility to marry,

1510
01:15:13,040 --> 01:15:14,760
Speaker 1: so then I thought it was just me. So that

1511
01:15:14,880 --> 01:15:16,920
Speaker 1: probably is what I'm like, yes, and I'm like, well

1512
01:15:16,960 --> 01:15:20,040
Speaker 1: did I because yes, because I knew you to be

1513
01:15:20,080 --> 01:15:22,400
Speaker 1: a person who could be married. But yeah, if I

1514
01:15:22,479 --> 01:15:25,320
Speaker 1: go back in time, how would you find her like?

1515
01:15:25,640 --> 01:15:27,680
Speaker 1: And who would be who would fill that role the

1516
01:15:27,760 --> 01:15:30,760
Speaker 1: right way. Any conversation we had that was long in

1517
01:15:30,880 --> 01:15:33,920
Speaker 1: my office or at a if we'd go eat somewhere

1518
01:15:34,040 --> 01:15:36,880
Speaker 1: or whatever, because we were together a lot randomly would

1519
01:15:36,920 --> 01:15:40,599
Speaker 1: be how's it going? Like what you think you'll ever like? Relaxed,

1520
01:15:40,600 --> 01:15:43,200
Speaker 1: slow down, settle down, which is a bit the opposite.

1521
01:15:43,240 --> 01:15:47,360
Speaker 1: I think of a lot of managers to their subordinate,

1522
01:15:47,800 --> 01:15:49,640
Speaker 1: where can you do more? Yeah? Where it's like we

1523
01:15:49,680 --> 01:15:51,439
Speaker 1: need you to do more. We need to just slow

1524
01:15:51,479 --> 01:15:53,880
Speaker 1: down every time, we need you to make sure that

1525
01:15:53,920 --> 01:15:56,880
Speaker 1: you're getting this cup. I would think at this point

1526
01:15:56,920 --> 01:15:59,160
Speaker 1: there's you don't worry about that, But I think sometimes

1527
01:15:59,160 --> 01:16:01,880
Speaker 1: you worried that I was so much like that that

1528
01:16:02,040 --> 01:16:04,160
Speaker 1: I might burn out or pop. Well, for me, it

1529
01:16:04,280 --> 01:16:07,080
Speaker 1: was it was frustrating, but not in a negative way.

1530
01:16:07,080 --> 01:16:10,000
Speaker 1: It was frustrating for you that I didn't feel like

1531
01:16:10,040 --> 01:16:14,840
Speaker 1: you were um understanding the success along the way or

1532
01:16:15,080 --> 01:16:18,040
Speaker 1: feeling this never You're like, no, not good enough, gotta

1533
01:16:18,080 --> 01:16:20,920
Speaker 1: keep going. And now I'm like, hold on, stop and

1534
01:16:20,960 --> 01:16:23,519
Speaker 1: realize what you've built in a very short amount of time.

1535
01:16:23,560 --> 01:16:26,439
Speaker 1: And then two years later, and I've said to you

1536
01:16:26,479 --> 01:16:28,360
Speaker 1: a couple of times, and I think you said, I

1537
01:16:28,760 --> 01:16:31,360
Speaker 1: hope I mentioned Scott Shannon twice in this right. I've

1538
01:16:31,400 --> 01:16:34,680
Speaker 1: never even met him myself, but you met Scott Shannon once,

1539
01:16:34,720 --> 01:16:38,120
Speaker 1: a long, long, long time radio guy, and I think

1540
01:16:38,160 --> 01:16:40,880
Speaker 1: he reiterated what I said, which was enjoy the ride.

1541
01:16:41,600 --> 01:16:45,320
Speaker 1: And I think now it's it's Caitlin. It's meaning Caitlin

1542
01:16:45,360 --> 01:16:48,719
Speaker 1: getting married to Caitlin, being with Caitlin. You're enjoying the ride.

1543
01:16:49,000 --> 01:16:53,040
Speaker 1: In my opinion, watching you more than ever. And that's

1544
01:16:53,080 --> 01:16:55,840
Speaker 1: what I wanted for you, was to enjoy it so

1545
01:16:55,880 --> 01:16:57,880
Speaker 1: you don't have to look back on it like enjoyed

1546
01:16:57,960 --> 01:17:00,800
Speaker 1: the successes while the successes are happening. I was gonna

1547
01:17:00,800 --> 01:17:02,720
Speaker 1: give out your Instagram because we often wrap that, but

1548
01:17:02,720 --> 01:17:05,240
Speaker 1: I don't want people messaging you begging for spins. Oh,

1549
01:17:05,320 --> 01:17:07,439
Speaker 1: by the way, last time, I mean and I get it.

1550
01:17:07,800 --> 01:17:10,080
Speaker 1: We talked a little bit more about how to pick music,

1551
01:17:10,120 --> 01:17:13,080
Speaker 1: and I just got berated by the people who who

1552
01:17:13,160 --> 01:17:16,960
Speaker 1: are music fans. You can never play enough different music songs.

1553
01:17:17,000 --> 01:17:18,880
Speaker 1: But yes, go ahead, I said what you said. You

1554
01:17:18,960 --> 01:17:21,200
Speaker 1: miss said music snob, you said music fan, but yes,

1555
01:17:21,479 --> 01:17:23,800
Speaker 1: this is not Yeah, well it's people who who Yeah

1556
01:17:23,840 --> 01:17:28,040
Speaker 1: that the active music seekers didn't like anything what I

1557
01:17:28,080 --> 01:17:30,640
Speaker 1: said about picking music on the radio, which is understandable.

1558
01:17:30,680 --> 01:17:34,080
Speaker 1: It's just a different thought process. But yeah, that social media.

1559
01:17:34,439 --> 01:17:37,200
Speaker 1: So I'm just gonna leave you off this. I'll end

1560
01:17:37,240 --> 01:17:39,639
Speaker 1: with two things. One, you still use the name Rod Phillips,

1561
01:17:39,640 --> 01:17:41,120
Speaker 1: even though that's not your name. Is your on air name.

1562
01:17:41,120 --> 01:17:42,960
Speaker 1: You can't just hard to shake your name. If I

1563
01:17:43,000 --> 01:17:44,800
Speaker 1: stop being on the price still have to be Boby

1564
01:17:44,800 --> 01:17:47,240
Speaker 1: bones is on the industry because that's whatever is correct,

1565
01:17:47,439 --> 01:17:49,240
Speaker 1: But I just think you should go back to rock

1566
01:17:49,280 --> 01:17:52,200
Speaker 1: and Rod Phillips and combine at all. That's another one.

1567
01:17:52,320 --> 01:17:57,400
Speaker 1: Head dangling king ding king ling dinging king king dinging,

1568
01:17:58,840 --> 01:18:03,080
Speaker 1: got it? Yeah? And then secondly, it has been for

1569
01:18:03,240 --> 01:18:05,960
Speaker 1: me the greatest to have been able to do this

1570
01:18:06,600 --> 01:18:09,439
Speaker 1: alongside of you, because I would not be here without

1571
01:18:09,479 --> 01:18:12,680
Speaker 1: you engine. Frankly, and all those times you guys have

1572
01:18:12,720 --> 01:18:14,519
Speaker 1: had in my back, I don't even know it. Every

1573
01:18:14,560 --> 01:18:16,800
Speaker 1: time you say it, I promise you I appreciate it

1574
01:18:16,840 --> 01:18:19,840
Speaker 1: like the first time you said it, because I think

1575
01:18:20,320 --> 01:18:22,240
Speaker 1: that as driven as you are and as fast as

1576
01:18:22,280 --> 01:18:25,719
Speaker 1: you can go, you could have, you know, gone faster

1577
01:18:25,800 --> 01:18:27,920
Speaker 1: than that, and right by people who are helping you.

1578
01:18:28,040 --> 01:18:30,160
Speaker 1: The fact that you stop and pay attention to those

1579
01:18:30,160 --> 01:18:33,400
Speaker 1: folks and one of them is me, is appreciated. Um.

1580
01:18:33,439 --> 01:18:35,880
Speaker 1: So I'm just glad we're doing it together. Mike, anything

1581
01:18:35,880 --> 01:18:38,000
Speaker 1: you want to say, here's your boss. Thanks for replying

1582
01:18:38,000 --> 01:18:41,240
Speaker 1: to my text, coming by how fast? I replied that

1583
01:18:41,320 --> 01:18:43,240
Speaker 1: pretty quick. Well, look, I know you got a lot

1584
01:18:43,240 --> 01:18:45,120
Speaker 1: of stuff to do and we we've done over an hour.

1585
01:18:45,760 --> 01:18:47,439
Speaker 1: Thank you. We should do this every couple of years.

1586
01:18:48,400 --> 01:18:50,800
Speaker 1: In five and yeah, how long ago since the last

1587
01:18:50,800 --> 01:18:52,160
Speaker 1: one we talked to, you know, that was on the

1588
01:18:52,240 --> 01:18:53,840
Speaker 1: radio show what do you do it on? Here? Oh? Oh,

1589
01:18:53,880 --> 01:18:56,920
Speaker 1: that was just in the seat. Yeah yeah, this is

1590
01:18:56,960 --> 01:18:59,400
Speaker 1: the first time we've done it this long then. Oh yeah,

1591
01:18:59,439 --> 01:19:02,920
Speaker 1: and if it was an hour, that's interesting and I

1592
01:19:02,960 --> 01:19:06,840
Speaker 1: don't get bored talking about it. Thank you you guys.

1593
01:19:06,840 --> 01:19:08,360
Speaker 1: That that's that's Rock and Rod. You can find them

1594
01:19:08,400 --> 01:19:11,240
Speaker 1: on your in Paduca radio station. On the dial, what

1595
01:19:11,280 --> 01:19:15,240
Speaker 1: was your station? Maximum hits seven? Maximum hits maximum was

1596
01:19:15,280 --> 01:19:18,280
Speaker 1: in the title of station name. I'm like, what where?

1597
01:19:18,360 --> 01:19:22,360
Speaker 1: What maximum Hits FM? Al Right, I gotta work out.

1598
01:19:22,360 --> 01:19:23,839
Speaker 1: All right, there is Rod Phillips. Everybody