Bobby goes In The Weeds on why he supports firing people when they no longer fit the culture of a team, using the Jason Aldean crew drama as the starting point. He also explains why the definition of “radio” has completely changed, how podcasts, video, social clips and long-form content all fit into the new version of broadcasting, and why everything should be repurposed if you want it to last. Plus, Bobby looks back on Bare Bones turning 10, how the book almost never happened, the rejection he faced before getting a yes, and why he’s still proud of the stories people connect with a decade later.
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Episode Transcript
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Speaker 1 (00:07):
So I'm not sure what we started. The thumbnail as
you've seen it by now, but I considered the thumbnail
saying I support firing people just to get people to
click in. So I don't know if we ended up
settling on that, but I'll start with that. I read
a story and then I saw Jason Audn't talk about
it a little bit too, where he said that there
(00:28):
were people and his crew that were bad mouthing him,
and he fired him. And there was a little more
to that. So he put out of this song called
tried that in a small town. That song was pretty controversial,
and he was on a podcast talking about that song.
And there'd be division amongst his crew, and he has
a large crew, so you can't really assume that everybody
(00:51):
has the same beliefs or political beliefs, and that some
of the guys were even bad mouthing him. And how
about a paraphrase, He's like, again, I'm paying for the buses,
I'm paying salaries, I'm paying for food, like you're working
for me, and you're bad mouthed me, like I'm gonna
fire you. And so it seems harsh on the surface,
and now I'm not having any opinion in this conversation
(01:13):
about him or the song. I like Jason. The song
is a little corny in my opinion, but I do
also like some corny songs. But that's not even what
I'm talking about here. But I support Jason saying, hey,
you can't be a part of my team that I'm
paying and be bad mouth and me outwardly, because I
think culture is a big part about what makes an
(01:36):
operation successful. And so I was thinking about our show.
On my show, like, nobody talks crap about each other.
If they did, if there was that kind of incidence
where anyone was even talking will use me as an example,
was talking bad about me to everybody else, Yeah, I
would get rid of them too. It's not even about me.
If because this didn't happen, I feel free to use this.
(01:58):
If Eddie was talking bad about Amy, it's like, man,
she sucks, she doesn't work hard, like behind her back,
I'd probably have to get rid of Eddie. Now, we
would address the problem first. I don't want to use
a problem. We'd adress the hiccup first, but if it
became a problem, then we got to cut the problem out.
And inside of a successful organization, like ours. We just
(02:20):
don't do that or we don't stand for that, and
there has never been that, and if there has, it's
never gotten to me. So when Jason said that, and
he was getting a lot of crap for it, like,
I get it. You don't really want there to be
a cancer within And if he's the one that's funding
everything and paying for everything, like it's his right to
remove whomever he wants, and I would do the same thing.
(02:44):
And again, what a matter, who is nobody on our
show is irreplaceable. Heck, I'm not even irreplaceable. Because what
happened is if one day could be soon, could be later,
they decided they don't want me to do the show
anymore for whatever reason. People are gonna get upset for
a minute, and then they're gonna move on with their lives.
Like I hope that I can be a part of
everybody's lives for a part of their day, And the
(03:09):
day's gonna come where that's just not gonna happen anymore,
and it'll suck for a second, but everybody moves on.
So that's where the I support firing people was gonna
come from. And again, I don't know if that was
the right thumbnail to use. I don't even know if
we used it, because in the end Brandon suggests all
the thumbnails and then he usually picks it as well,
and usually it performs wonderfully, and that's all him. So
(03:30):
if we do use that, I get in trouble. It's
Brandon's fault. But I do think that that would be
a funny thumbnail. But also it's like the environment in
media is just real bad right now. ESPN, different radio companies,
like a lot of people are getting laid off because
this is a really really hard business to make money
at right now, and so there's kind of that. That's
not a double on Dendre, but I think people would
(03:52):
see that and go, is you talking about ESPN? Is
he talking about radio podcasting? No? No, I'm talking about
Jason Alden firing his people because they were running their
mouth about their boss that pays them, And in our show,
I would do the same thing. So that's the first
thing I wanted to talk about. Secondly, what's really cool
(04:12):
is that I went semi viral with a post on Twitter,
and I don't tweet that much. I don't find there
to be much to gain from Twitter these days as
far as output input. I do read a lot of
news and a lot of sports over there. My favorite
sports writers and commentators or sports influencers over there. I'm
(04:32):
a big Brandon Walker guy at Barstool. I like Josh
Pate a lot, who does his own show, especially for
college football. And so I'll go and I'll read a
lot by I own post a lot. And I posted
this tweet because we're seeing a lot of what they
call blue dot fever with concerts right now, meaning shows
that if you go to the map to buy a ticket,
(04:53):
there are tons of blue dots because those are the
seats that haven't sold yet, and that's called blue dot fever.
Seeing a lot of people cancel shows. We saw earlier
a couple months ago post Molin and Jelly Roll cancel
some shows. Keifer Sutherland famously said, I'm not selling enough tickets.
I got to cancel the story about Casey Musgraves where
(05:14):
she had to cancel a few shows. Now they're not
saying that's what it is, but I think it's very
hard for people to go to concerts right now. And
this is what I tweeted regarding that, because all these
articles are saying things like we don't understand why people
aren't going to concerts. So I wrote this and it
went semi viral, and it's about half a million views
right now and climbing rapidly. But here you go, there's
(05:35):
no mystery. All these concerts are getting canceled because it's
hard to pay for inflated concert tickets and with tons
of fees added, especially when both groceries and gas are
inflated too. So I post that it's getting hundreds of retweets,
is hundreds of thousands of views. Here's the annoying part.
(05:56):
And I do this all the time. I freaking have
a typo in it, and I can't do anything about it.
When you load something up on Twitter. Let's say I
tweet something. I have basically sixty minutes to edit that,
and even then it is edited, but still it's edited
my typo it actually says this, there's no mystery all
these concerts getting canceled because it's hard to pay for
(06:17):
inflated concert tickets and with tons of fees added when
groceries and gas or inflated too. So I don't tweet much.
I get one that goes somewhat viral. It's got a
real chance to go super viral, and there's a freaking
typo in it. I typo so much, and a little
bit of me remember sometimes to go back and look.
(06:38):
But I think like I just think and send, and
I don't like that about me. I kind of do
that when I talk too, I just and sometimes I
talk way too fast. I was watching a clip of
me talking about Tulsa Softball and if all of a sudden,
I'm this massive fan of Tulsa Softball out of nowhere,
and you're going, wait, I thought you were an Arkansas fan.
(06:59):
That's true. But my brother in law is the head
coach at Tulsa Softball. A little quick backstory, so he
takes that head job. He was the head assistant at Arkansas,
takes the head job at Tulsa. It's very exciting for him.
Heck for me, I'm super excited about him getting his
first job. He's like in his early thirties. Love him,
greatest guy. It's going to be an amazing coach. But
(07:20):
he's going to a program that's had very little success
over the past half decade. Haven't looked much longer than that,
maybe even decade, I don't know, but they were bad,
so he takes over the team. And the number one
thing with coaching now in college is you have to
have money. All these football programs that are winning, it's
because they have massive boosters that are giving a lot
(07:42):
of money or massive boosters that are giving a lot
of money to both, you know, provide the players with money,
but also pay the coaches. So you need both. But
you have to have money and a lot of it,
especially for players. And so I tell DJ, hey, if
you take that job, consider me your first big booster.
And so he takes the job, and I am just
(08:06):
trying to figure something creative to do. I don't want
to name like the locker room or anything. So I
did Bobby's Home Run Boneyard. So basically I have left
field and on the wall and left field it says
it on what's going to be the blue outfield wall,
it's going to say Bobby Bones home run Boneyard. And
so it was a six figure donation and so sent
(08:29):
the money over. They agreed to that. I was talking
with the athletic director and what I did too with
DJ's I kept him out of it because I needed
him to just I need him like it's me that
needs to win, but I don't want him to have
to focus on any negotiation with me about what it is.
So he's out coaching. I'm talking to the athletic director,
whose name is Justin Moore, by the way, same as
a country singer. I think I texted the wrong one
(08:49):
once because their names are the same, and so we
negotiate this, and it wasn't much of a negotiation. I
just thought they would think it was weird that I
wanted to name something the boneyard. And so not only
do I say, hey, I'll pay this money for this.
Every home run that's hit there's a hospital there, Children's hospital.
Every home run that's hit out of left field over
(09:11):
the next two years, I'll donate one hundred dollars per
home run. They and a decent amount of home runs,
and most batters are right handed, not all, but if
you're a pull hitter and you're right handed, it's going
to go over left field. So I realize it's going
to be some more thousands of dollars, and that's amazing,
and so I'm going to donate to the hospital. I'm
helping DJ hopefully and hopefully Tulsa can be pretty good
next year. It's going to be real hard to be
terrible and then real good. But if they can go
(09:33):
from terrible to pretty good a plus, that's awesome. Now
why am I talking about this Well, because I didn't
talk about it for a few days on the air.
It was kind of a personal thing. I reposted it,
but I finally go on the air to talk about
it because we're on in Tulsa and I really like
Tulsa anyway. I like Tulsa before DJ went there, played
(09:55):
Kaine's Ballroom multiple times, which, by the way, Legendary venue
A dumped to play like great venue. I actually watched
Brooks and Dunn on YouTube do a special from Kayne's
Ballroom this past weekend. Legendary I remember playing there and
seeing pictures of three eleven massive country acts and it
may be repaired now and shout out to Kaine's Ballroom
(10:16):
because it was a really cool experience. But man, that's
a tough place to play. So I've love Tulsa. I'm
talking about it on the show. And they'll do a
thing where you can see the words on the screen
a close caption basically for Instagram, and so they're putting
the captions up and I'm talking so fast at one point,
if it weren't for the captions, I wouldn't even understand
(10:37):
what I'm saying. So then I was kind of embarrassed
to put the clip up because I'm talking about something.
But at times I think my brain is finished with
what I'm talking about and my mouth has not quite
gotten there yet, so I just rush it all out.
And for someone who speaks professionally for a living, that's
(10:58):
not the best trait. I've always had it, but I
hate listening to myself. I try to talk slow, but
when I won't even say get excited. When I get
motivated to talk about something, things come out way too fast.
My whole point with that was I talk to you fast,
and it's weird to have a career in this whenever
I talk way too fast and with an accent, and
I kind of have a puny voice. By the way,
(11:21):
this show's called in the Weeds. We're ten minutes in.
I don't like to put this at the very beginning
because no one wants to watch if they're just scrolling
through YouTube's the first fifteen seconds of something where someone's
describing what it is like. I wanted to kind of
hit you gas with some stuff. First, this show is very,
very inside. I'm so surprised that people watch this show.
(11:42):
It performs really well audio wise. It performs extremely well
on YouTube for a pretty much virgin YouTube channel. So
I never thought this show would take off. It's crazy
that it does, or that it did. Yeah, so this
is in the weeds. It's very inside. So if it's
if it doesn't interest you, I get it.
Speaker 2 (12:03):
All right, moving on, hang tight, The Bobby Cast will
be right back and we're back on the Bobby Cast.
Speaker 1 (12:21):
This book, I'm holding it up. It's ten years old
as of today. So this is the first book that
I ever wrote. This is called bear Bones, and it
was published like ten years and a week or so ago.
You know how I knew? It popped up on Facebook
(12:42):
ten years ago. First of all, it feels like it's
been a day ago and fifty years ago. At the
same time, I'm very proud that I don't hate this
book because a lot of stuff that I've done in
the past I hate. It's not that I'm upset that
I did it or ashamed of it. I just feel
like I've gotten better at stuff. So it's kind of
hard to go back and listen to things or see
(13:05):
things or I can't even watch my Ted talk that
I did because it makes me cringe so hard. But
this book, I haven't reread it ever except for me
doing the audio book. But I'm still proud of it
because I really poured my guts into this thing, and
I didn't know how to write a book. So the
quick story about this book that I'm holding up here
(13:26):
bear Bones, which is ten years Happy Birthday, double digits,
is that it's probably twenty fourteen and I had finished
a kid's record with Eddie the Raging Kidiots, because we
were doing a Raging Idiots record, and I was at
the studio by myself and I wrote a planet rap
(13:47):
by myself, and I said, hey, let's record this, and
so I went into the studio, me and just a producer, Nick,
and I recorded this planet rap and I thought, well,
this is kind of wholesome and I don't know, a
bit educational, kind of fun and people liked it. As
(14:07):
far as the executives, they said, you should do more
kids songs. So before we ever put out the Raging
Idiots record, now we were touring doing comedy, we put
out the Raging Kittiots record and it had a bunch
of kids songs on it, and Cracker Barrel bought it
almost immediately and just to put the CDs in their
Cracker barrels, so they didn't own it digitally or anything,
but they bought the rights to have the physical CDs,
(14:29):
and I think we have some physical CDs somewhere still.
But this Raging Kitdiots album gets put out and it
does what I would consider successful numbers. Well, simply because
the numbers were a major company bought it and it
wasn't sold anywhere else except for Cracker Barrel. They had exclusivity.
But that was pretty neat that somebody thought it was
good enough to feature. So I think, well, I want
to do a kid's book. We did a kid's album,
(14:50):
did pretty well. We do a kid's book. And I
went and I pitched this kid's book idea called Big
Head Bobby to five publishers. Maybe it's been a while,
and there was a song on the kids record called
the Ballot a Big Head Bobby. You could still find
it if you're streaming music, and it's about a kid
(15:11):
me obviously, because I have a massive head that was
made fun of for having a massive head, and he
was always made fun of and the kids always poked
out him, even the adults laughed at him, and it
would go, this is the story a big head Bobby.
He was the kid with a big old head, and
then it would tell another verse of the story. Well,
(15:33):
at the end the town, because I lived in a
town that had a damn, a big damn, and it
separated two lakes at the end of the song because
it was obviously written about me. The dam was breaking
and they didn't have anything to plug the damn, and
everybody in the town was gonna die because it was
about to be a huge flood until big Head Bobby
(15:54):
came around and stuck his head in the hole. And
that's how the song ends because what he was being
made fun of for ended up being what saved the town,
which was his massive head. So that was the book
I wanted to make based off the song that I
wrote and so, but nobody wanted it. That's okay, although
(16:15):
I still think it's a pretty good idea, even right
now we're twelve years after that, I still think that's
a pretty good idea. So, and the whole reason I
think it's a good idea is because it teaches kids, Hey,
people may be making fun of you now for something,
but they have no idea like that could end up
being the thing that changes your life for the good.
That is something that you're being picked on for it now,
(16:38):
maybe for wearing glasses, maybe for having braces, maybe for
being way too smart, maybe for being tall, maybe for
running faster than the boys if you're a girl. But
once everybody matures a little bit, that trait is going
to rock. And so that was the whole point of it.
So nobody wanted it. And I got into all these
book publishing companies no no, no, no no, and they
(17:00):
were all in New York. And there's a difference in
New York Nice and La Nice. La Nice is very fake.
La Nic says, this idea is so great, Oh my god,
it's going to revolutionize the industry. Let us talk to
your people. We'll hear and talk to you soon. And
then they never call, They never plan to move forward.
(17:20):
That's La Nice. New York Nice is really not gonna
work for us. We don't see it, but we appreciate
you coming in now. I really appreciate New York Nice
because it is matter of fact, nobody has time. Everybody's
going on to the next thing, but at least it's honest.
So I get New York niced about six times, and
I'm at the final meeting at HarperCollins, which is a
(17:43):
massive publisher, and I'm doing the story big head Bobby.
I play the song it's just this all No, it's
not for us, And they gave me some reasons. They say, hey, look,
you're just not famous enough. You are in a market
that is oversaturated with children's books, and it takes years
to put out a kid's book. We just don't see
(18:05):
that right now. We don't see how that can make
money with all these factors. I get it. They were
right about all three of those things. And so I remember,
we're gonna walk out and listen. I don't get super
sad when things don't work out now, because most things
don't work out now, and I don't want you to
feel sorry for me. But in this industry, most things
are nos. Over ninety percent of things are nos. That's
(18:30):
how people in this world, in a creative space make it.
They have tenacity, They get a lot of no's and
they just keep going. I mean in life too, but
this is the grind that I find myself in creating.
It's not good enough creating. We don't like it. Creating. Nah, creating,
that's amazing. Oh we don't have the budget now, it's
(18:50):
just no, no, no, no note. But if you can
last eventually sometimes you get a maybe. And if you
can last, sometimes you get a yes. And so I
was ready go fly home. Wasn't sad get a lot
of nose? And I remember one executive in that meeting,
(19:11):
I think I said, pulled me aside. I don't know
if it was that dramatic. I was talking to them
because everybody was getting up from their their tables and chairs,
and I was like, hey, I was reading about you
on Wikipedia. While you're talking, you have an interesting life story.
Would you want to write that? And I didn't, mostly
because I didn't think anybody cared, honestly, And I said
(19:34):
I haven't thought about it, but maybe, and they said, hey,
we'd love for you to pitch that. And so I'm
thinking I'm gonna do the pitch right there to those
same people that are there. But that was like the
children's book area or the group. And I said okay,
and they said, we come back tomorrow. I was flying
out that night, and it's not like I can just go.
(19:55):
I got a radio show to do, a hotel that
I'm checked out of. But I stayed, and I'm so
glad I did, because I easily could have said, yeah,
let's set that meeting. I'll come back in a month
and a half or two months or so. And that
happens a lot, and I didn't have anything looking back
scheduled that next day. I got very fortunate in that
that there wasn't something I had to for sure get
back for. I had a dog. I got to take
(20:16):
care of it. I'd somebody taking care of the dog.
Other than that, I got grabbed a studio of New York.
I went to that meeting the next day, and it
did my spiell like, this is where I'm from, This
what I believe, This is the struggle that I went through.
This why I'm proud of the struggle. That's my story.
They bought it immediately, which was crazy to me because
(20:36):
they just told me that meeting before. I'm not famous,
So how am I going to sell books if I'm
not famous with the story, So then you may have
heard part of this. Just bear with me, please, They
offered me a decent amount of money, like six figures,
and I didn't want to take the money. I didn't
take the money because I didn't know if I could
do it to the level that I would have wanted
(20:59):
it to be, to be proud of it, because I
had to promote it. So I said, let me write
half the book, or let me write thirty thousand words.
I didn't know how to write a book. But I'll
say yes to anything and then I'll figure it out.
If it's something that I think I want to do
or something that's so interesting to me, can you do it? Yeah, yeah, yeah, yeah,
they walk out, can you really do it? I have
no idea, but I'm going to figure it out because
(21:22):
I feel like much less driven, equal intelligent people have
done equal or better things. So I feel like I
can do it, and so I did. I wrote essay
after essay after I says and it n They said,
we want to write thirty thousand more words. I wrote
sixty thousand words. Actually wrote more than that, but my
editor was like kicking stuff out and saying, expand on
(21:44):
this and finish the book. It was a four week
New York Times number one best seller. I didn't know
the difference. Really. I knew there was something called a bestseller, obviously,
and then i'd heard New York Times bestseller, but I
wasn't it really in the the industry, and that it
was a number one, And you can see it here
in New York Times Bestseller. That actually meant something extra.
(22:06):
So it's super cool and I'm loving it. And the
book comes out and it's it's pretty raw. This book's
pretty raw at times. There's some really really, really really
personal things in there. But ten years ago I put
this book out and people still send it to me
to get signed, and people bring up stories from it,
(22:26):
and I'm so grateful for that. And I remember this
picture because it's bare bones. I'm not lonely. If you're
reading this book, that's the sub sub subheader, subtitle. It's
a picture of me and I'm sitting on a curb
with upside down roses. This picture was from a Raging
Idiot's album song picture. It wasn't for the book. I
(22:49):
just thought the picture was interesting, so we put it
on the cover of the book. It they were not
supposed to go together. I didn't have a title for
the book until the last minute, so all that to say,
here's the real kicker of this story. If you set
through that. I appreciate that somebody delivered a box of
my books to me in the last week to sign,
(23:11):
and I have no problem with that. I love signing
books in person, and if people send them, I'll sign
them all day. If you send away for the books
to get back to me, and this person, I mean,
they send me a self addressed envelope, the book doesn't
really fit. That's the problem here, Like this doesn't go
in this. I'll find a way to send this one back.
But the letters from twenty sixteen, someone sent this in
(23:34):
twenty sixteen. No, no, twenty eighteen, someone sent this in twenty eighteen.
I just now got it. And so I'm going, wait,
how did this get lost? And there's seven other books
in that box, all from twenty eighteen to twenty nineteen.
I don't know who dropped that box off. I'm thinking
it was either an old agent, maybe somebody management who
(23:56):
found an old box that was sent. So I have
all these people that sent these books to me eight
years or so ago that never got signed and never
got them back, and so I'm going to send them
all back. I don't even know if the people are alive,
he'd be dead. So if you send me a book,
this person here, we find their name, Oh yeah on
the envelope, Carl in Monroe Township, New Jersey. I don't
(24:22):
even know if you live at this address anymore, but
I'm going to send it back. That's crazy. So that's
what's up. But the book is ten years old. It's
still on Amazon. I would love for you to get it,
if you want to get it again. I haven't read
it back, but I'm very proud that it still exists
and people are still buying it. They've had to do
(24:42):
a few different I don't think they're called reprints. I
don't know what they call that when they have to
print them again, but they do that every once in
a while because it continues to sell moderately, they go, hey,
we're printing out another ten thousand or something. And I
never promote it. It's on my desk at work, but
I never promote it. But it's on Amazon. I wonder
(25:05):
how much it is. Let's see Bear Bones book Bobby
Bones right now on Amazon. If you want to get
the book, it will cost you ten dollars and thirty
eight cents paperback. Not bad. I wouldn't pay anything over
(25:30):
ten forty, but ten thirty eight that's a steal. My
second book is up there, you can prime it for
twelve oh five, and my kid's book is at nine
to ninety six. That's another story how I ended up
doing a kid's book when originally that's what I wanted
to do. First, I'll move on. I'll get a lot
of messages from people, and I just don't want this
(25:53):
to seem like I'm doing a Q and A. So
I've had a lot of messages asking me about what
are some of the things when you started out that
you spent money on that you look back at and go, man,
that was stupid. So I made a list of stupid
things that costs me way more money than it should
in this industry. And the list has one thing on it.
(26:15):
A stylist. Crazy expensive. And I would pay a stylist
full time, and it'd be kind of cool because they
bring over racks of clothes and you go through them,
and the clothes are so expensive. I think I wasted
more money on a stylist than anything else I would
(26:40):
consider a waste. And whenever new artists or artists that
are making enough money to have to consider getting a stylist.
We'll ask me, Hey, you know, can you give me
some advice? I would say, if you can, don't if
you're going to a lot of a lot of award shows.
(27:01):
I don't know. It's hard for me to justify that.
You can almost now with the internet, find something you
like and do one of those like show me where
it's bought from, buy something similar. The one thing that
is good is a tailor. That's what you call that,
a tailor, seamstress. Maybe that's from like little house in
(27:24):
the prairie, but somebody that makes the close fit on you.
Because I never ever did that until I started going
to things or being on television. A lot that is
worth it. That's not that expensive, But that's the thing
that I think has cost the most money that I
look back on and go, man, that's kind of a
waste of money, because man, I spent a lot of
money on clothes. It was just stupid. I see a
(27:48):
lot of artists that are taking pictures of themselves flying private.
That's always weird to me, the picture taking. I think
maybe if you look to all of my pictures ever
in the history of my life. You might see me
on a private plane one time ever, and it wasn't
even about the plane as much as I just had
finished I know the picture I had just finished hosting
for rich Eison, and I was working on something on
(28:09):
my computer and there was a rich Eison cup in
front of me, and it wasn't about me in front
of the jet. It wasn't about me. I liked that
cup and what I had just done. I was proud
of my time. I think it was the first time
i'd filled in for Richison, who's a big ESPN guy
who has a massive show now, And it wasn't really like,
look at me on the jet, but I wasn't a
private plane. But I see people taking pictures like out
in front of private jets just for the sake of it.
(28:33):
I think, man, there are spending so much money. That's
such a waste of money. Now, if I'm being honest,
I do fly private some, especially if I got to
get somewhere and get back and there is no NonStop
or direct same thing. But also, like, what's the point
of taking a picture outside of a private jet unless
(28:55):
you're really in the picture going we can't believe we're
on a private jet. That's cool if you're being honest
about it. It's so much the subtle, like yeah, just
another day and you're all like gathering in front of
a private jet man, especially like I was talking about
concert tickets earlier, where it's concert tickets are expensive because
groceries are expensive. Because like, if you're gonna do it,
like admit it and be like, we can't believe we're
(29:16):
on a private jet. This is crazy. I think people
would think that was so much cooler than just trying
to subtle FlexIt. Now. I'll also say there are some
people who fly private so much. Is not even a
thing to them to take a picture. They're just taking
a picture because it's another normal day. And I think
that's a different animal itself, because I'll see guys and
that's all they do is fly private, So I don't
think they know it's even anything different. They're just taking
a picture in their natural habitat. That's another money thing though,
(29:40):
that I will say to people, Let's say you love
doing it, because it can be addicting, cut it down
to about thirty percent of what you think you should.
For me, I never did, cause I it felt like
such a waste of money because it's so expensive. My
business manager, who is so conservative with money, and this
(30:00):
is when I was touring, it's when I was doing TV.
This is when obviously having to get back for the
radio show I was doing Red Eyes. I remember her
calling me and saying, hey, I would recommend that you
fly private some and I'm going, wait, no, You're the
one to always telling me, hey, watch out, watch out,
don't spend here, be careful. She's like, yeah, you're gonna
kill yourself if you don't do it a little bit.
(30:22):
But man, it can get addicting. But I would say
stylist and flying private are the two biggest money wasters.
If there's a non stop just freaking take it. There's
part of my deal though, too, And this is way
in the weeds. And so sometimes I when I do
fly private, it's not my I'm not paying for it,
like the company having in my contract I can use
a plane certain amount of times. So sometimes that's it
(30:44):
as well. But and also I think I'm just getting
older and I'm going, man, I just don't want to
waste money on stuff, Like I have some stuff that
I really love. That's I'm cool with spending money on
but some stuff if it's like forty bucks too much,
like what the heck? But then my wife says that too.
She goes, Man, some things, you'll just be like, let's
do it. Let's get it.
Speaker 2 (31:06):
That.
Speaker 1 (31:06):
We bought a couple of buildings to build all of
our studios in for like the shows that we do here.
I think twice about it. Was it expensive? Yeah? Property,
it's super expensive, two buildings, completely gut and put all
the latest technology. Do yeah expense? Their cameras are wild.
It's not even the cameras, you know what I learned.
(31:27):
It's the lenses. I think I'm right about that because
I think, thank you, it's the lenses. It's like seven
granded camera, full lens, camera and lens, and so we
have multiple. So I have no problem spending things on
I spending money on things that will help me produce something.
It's like paying good people, no problem. I want everybody
(31:51):
to feel so compensated. I'm not gonna nickel and dime
at all, because I want you to feel valued and
I want what I do and produce to be a
value you. But that being said, sixty five bucks for
a T shirt, I don't know, Like, what's that about
like this this is all so the money thing. Those
(32:15):
are the two things. I don't even know how I
got on that, but I see that on social media,
and I think a lot of times these young artists
that want to be seen flying private jets are going
to regret spending the money on it.
Speaker 2 (32:28):
Hank Tight, the Bobby Cast will be right back, and
we're back on the Bobby Cast.
Speaker 1 (32:45):
I had a friend that was turning it into a
pro an he's going from college to pro and he
called and said, hey, like, what do you do with money?
And I'm like, I'm not a money guy, but I
had to learn a decent amount because I didn't have any.
And now I do pretty good. And I see, I
know you're gonna want to buy like jewelry and stuff
(33:06):
because a lot of the other guys on your team
are gonna have jewelry. And my advice to him was,
whatever jewey you want to buy, by eighteen percent of that,
not eighteen percent of one piece, like smaller. But if
you can like just do like a quarter of what
you really want to do, you're not going to miss
the other seventy five percent. You're still going to have something.
And you did get to waste a little money on jewelry,
(33:26):
because if you go straight cold turkey, no jewelry and
you're playing Pro Bowl, that's like, what's the fun of
being a pro athlete if you can't have big iced out.
I'm not gonna say any letters that'll tell you who
it is. But how am I to talk about this sensitively?
(33:50):
I saw a guy that's in the industry that I'm
in one of the industries, and he had some unfortunate
circumstances with his job, and he was talking about it,
and he was claiming all of this success, and he
couldn't understand why he was no longer at his job
(34:12):
based on all of the data that he was listing.
And he's good at a job, but he was listing
this data, this success, and I was like, I don't
know if that's accurate or not, and so I'm curious.
So I started digging in for my own sake just
to see and none of it was true. But what
(34:32):
had happened is he had talked about all the success
and the fact that he was no longer at that
place anymore even though he had all this success, is
that there started to be kind of an uproar, even
an uprising within people within whatever industry I'm talking about, going,
this is not fair. He had this, this, he accomplished this,
but none of it was true. Like he was just
able to say something and everybody just believe it and
(34:56):
it not be true. And I think of the Internet
as a lot of that these days. And I was
thinking about this, and I was doing the math, and
I don't think our podcast has hit a billion streams.
I think it's close. I think the Bobby Bone Show
podcast now for twenty years, you'd have to do fifty
million a year. Now we have that now and we've
(35:16):
been podcasting for twenty years, but early on there's no chance.
But I think I'm just gonna put up a graphic
that says, man, so happy to be part of the
billion streams club, and then watch everybody congratulate me. And
this is just gonna be a science experiment that nobody
researches anything. You can write whatever you want and people
will just believe it. And I learned it from this
(35:40):
guy lying about all of his Now this will be
one of our little jokes. You may see it and go,
here's what you say. I knew you could do it.
If you say I knew you could do it, I'll
know that you're in on the joke. But my whole
point with this is I'm gonna go, hey, big deal,
We'll do a graphic the Bobby Bone Show one billion. Overall,
(36:00):
I don't think we're there. I think we're probably kind
of close, but I just want to see how everybody
reacts to it, because I think everybody will believe it.
And let this be a lesson that you shouldn't believe
everything you see on the freaking Internet. Just because someone
yells it or proclaims it does not mean it's true.
So when you see the billion streams, just know that
it's a science experiment. And if I put that graphic
(36:22):
up and you say I knew you could do it,
I'll know you're in on the joke too. So I
gotta make a note to make that graphic. There's some
stuff that we do on our show that our affiliates
have never liked, and one of them is the Friday
morning dance party. And there's been a lot of drama
(36:42):
over the years with station managers or city operations managers saying, hey,
you're doing a country show, but you're doing this thing
on Friday where you're playing music that's not country. Now,
some of it is, and mostly it's nineties, but there's
like some nineties hip hop in there. May do like Blackstreet,
(37:05):
no Diggity, maybe in sync, Bye Bye Bye, some Shenandoah,
maybe something current. But the whole thing is supposed to
make you feel good. Right. We've been doing that since
back in my pop days when I was putting country
in and program directors were going, why are you putting
country music on a pop station? But we still do it,
and we still get station managers going, stop doing this now.
(37:26):
I've never stopped doing it, not because I'm defiant, but
because about once a year, maybe once every eighteen months,
I'll do a research project on our show. You know
what comes back is the highest or second highest rated
thing every single time is the Friday morning dance party
every time, because people really aren't in a box, like
(37:49):
you know, sometimes you have to genre specific for sales reasons,
but people don't live in a box. And every year
I get new station manager complaining about the Friday morning
dance party. It is not a wheel that I invented.
It's just something that I've consistently done and have often
(38:09):
fought for because I know people just like to feel good.
And the reason I bring it up that happened again
pretty recently where I had to go, let's look at
the data. I can say all I want that I
think people like it, but we can go to research
and it's number one or number two. One of the
most popular things we do as a show, and we
(38:31):
have done that for twenty plus years or so. Something
on social media that's been interesting for me is when
people will get in the comments and tell me that,
how I do a video, it's pretty stupid. There's this
thing that we're doing now where if you're looking at Instagram,
you know it's kind of vertical. And then about five
(38:53):
to six seconds in we put up a second, bigger
box down below, and people will go, oh, you just
put up a second box just showing me the same
thing over and over again. This is stupid. What's up
with this bigger box? Two things. One, when people do
a lot of cuts in a video, it's so it
keeps your attention longer. This is a psychological Sometimes they'll
(39:15):
even flip there'll be one to top, one a bottom,
and they'll flip them, and they'll flip them. It's any
little trick to keep you looking at the video for
two seconds longer, because in that two seconds, you might
actually commit to staying for ten more seconds. And so
we started doing that box for that reason. One, it's
an added element that you kind of don't expect. It's
(39:37):
another video of the video you're already watching. But also
what it does. It's a full horizontal video, so you
can see even more around them. Does it change anything. No,
But some guy went at me. He was like, that's
the dumbest thing I've ever seen, and they said, I
can understand why you would say that. But here's why
I say it's not. One, it made you comment on it.
(39:59):
And the reason that videos get shared is engagement. So
you just engaged with the video about something that you
thought was stupid. Thank you for the engagement. Two, it's
visually stimulating. Even if it's adding well, not a lot,
it's still something that maybe subconsciously makes you stay for
another second or two. And that's my goal, just to
(40:20):
get you stay for a second or two. So yeah,
we're not showing you a picture in a picture, I
don't have a game on in the news in another picture,
but you'll see in the Instagram videos. That's what we do,
that's why we do it. We don't think we're, you know,
doing something remarkably different. We're just trying to fight for
three more seconds of your attention, and we have found
that it works tremendously. That's all I want to clip that.
(40:47):
I was watching a guy online and he was talking
about his frustration with radio. Doesn't really do a podcast, baby,
he does a radio show, and he said he can't
wait for the new version of radio so he can
be happy. I'm watching this, and look, I do a
(41:08):
radio show every morning, a live one, but that's only
part of what radio is. What I'm doing right now
is the new version of radio. So I don't know
what he's waiting for. And I respect this guy, but
he says this will never work as it is. Can't
wait for the new version of radio to come so
I can be happy. This is the new version of radio.
(41:30):
I'm talking on a podcast right now that people are
listening to. I'm talking into a camera that's on YouTube.
I'm doing content that is not over traditional broadcast ARA waves,
but it's all connected because I'm the same person and
all of these and they're all on the same feet.
This is the new version of radio. This is radio,
(41:51):
and it's going to be difficult for those that continue
if they keep continuing the same way they've always done it,
like this is radio. I do a live broadcast terrestrial
radio show in the morning. I also take that show
and put it on podcast. It doesn't stop there. I
(42:13):
do a whole second show only on podcast that some
would argue is better than the show that went on
broadcasts because there aren't the constraints of time. I don't
have to do something in seven minutes, or I don't
have to be out at a certain minute of a
quarter hour. So if any of my radio friends are
watching this, this is the new version of radio. Anything
(42:36):
that you're doing that can be seen or heard by
anyone period, this is it. By the way, I don't
get paid extra to do a whole second show on
the podcast feed. There is no hey, we're going to
give you a different check if you do a second show.
We've been doing that for years. One because I want
our listeners to have a more enjoyable listening experience. Two,
(42:56):
I want them to feel connected to us in ways
that sometimes I feel like the time restraints that we
have on broadcast radio can't do for us. And then three,
I'd love to build the streams up too. That's that's awesome.
We get bigger guests because we can go we have
this many streams. I mean, then Netflix being a part
of the Bobby Cast, the amount of guests that we
get that have never heard of me, that go, oh,
(43:19):
it's on Netflix. Ya, I'll take it. But he only
got to be on Netflix because it was successful in
other ways. Like they agreed, we like it, we like
how it's shot, we see the numbers it's getting. Let's
do it. So my only point was, this is the
new version of radio. What I'm doing right now is
the new version of radio. Am I actually on a
radio station right now? Nope? Will this ever be on
a radio station? Nope. Anything that's audio or video or
(43:42):
content is now radio. You know, I have call they
can call it content. But this is the new version
of radio. And have friends that are really good at
what they do, but they haven't embraced this yet. And
my feeling is this is so in the weeds right
now that if you can't do long form content that
you can duplicate, and I would say duplicate by putting
(44:05):
up in multiple forms in multiple places. It's the industry
as it is is not gonna last that long for you.
Back in the day, you could just sound great between
songs and have a wonderful career. It isn't It isn't
that anymore. There should be nothing that you're doing that
you can't put somewhere else and hope that that somewhere
(44:28):
else also gets streams or clicks or is able to
be monetized. Nothing. If there's anything that's going over broadcast
radioation should be able to be reused somewhere else to
grow your platform. So that's the new version of radio.
You don't have to call it radio, but if you're
in radio, you should call it radio.
Speaker 2 (44:49):
Hank Ty, the Bobby Cast will be right back, and
we're back on the Bobby Cast.
Speaker 1 (45:06):
I want to talk about clabbing. And I've said before
on this show that I hate asking people to clab
on my Instagram posts. I just feel like I'm begging,
like suh, can I have a dollar? I feel like
that's me. I'm tiny Tim from whatever that Christmas Story
show was, Oh can I have a dollar? Kinds of
I hate asking people to collab because I'm just begging
(45:26):
for them to share me in their feed, and I
don't ask unless, like Brandon or Mike will talk to
whomever's team and if they're like, hey, we love to clab.
Only when I hear that, while I send them a
collab invite, but when someone is so generous about sharing
the content that we did together, like, I love that
(45:49):
and I'm so thankful for that. And I can give
you an example. Karen Fairchild is a real one now
she is in Little Big Town. I'm a fan of
Little Big Town, regardless of the story that I'm going
to tell. But they came. We did an episode of
The Bobby Cast and the first clip that I posted
was before the episode was up, and to be honest,
it was mostly a clip about me. And in that clip,
(46:10):
I was just saying, Little Big Town is going to
be on tomorrow, which I was going to start posting
their clips, and in that it's kind of funny. We
were doing a little back and forth on not remembering
phone numbers at all from back in the day, and
I said, I can't remember my wife's phone number, but
I know the full chickeny chine of the Chinese Chicken
Barnack Lady song and I do it and she reposted
it in her story and I thought, oh, that was
(46:31):
so nice of her to do that. Yeah, they're in it.
That clip wasn't about them. That was me going, hey,
here's me doing something funny. But Little Bigtown will be
on and then they were like, hey, we want to
clap with everything. And so they have a massive following
online and so I would put a story up and
I'd hit collab and they'd hit accept Like, I'm so
(46:54):
thankful for that. That's the good side of it, because
I think we put a lot of effort into our
com We try to pick clips that make the artist
or the interview we look great. We make it look great. Lighting.
You know, the cameras I was talking about earlier, multiple cameras.
I got Brandon over there on a camera switcher. It's
(47:15):
not even just editing, like they'll go on an edit,
but Brandon's got a whole setup over there where he's
running cameras. We're doing everything to make everybody look and
sound as great as possible, from how I'm interviewing them,
to how we're picking the clips, to what we're putting
up to the lighting, to the little double boxes in
there that make people stay for two more seconds, Like
I'm doing everything possible that I'm hoping people want to
share the content, but I don't ask them to unless
(47:37):
they say we like to share it, And whenever they do,
I'm so grateful and I remember that and some other
times little bit down's gonna say can you help us out?
And do absolutely, you got it. It's very much a
gift take in interviews anyway. And I've said this before,
where if somebody comes on the show, they're coming on
to promote something, and I'm having them on to give
(47:58):
me some compelling content, and we meet in the middle
of them getting promotion and me getting compelling content, and
that's the dance, and we both win. That's what's amazing
about it. We just promoted your new project and you
told me a couple of really good stories that people
enjoyed listening to live or hearing in a clip. We
both win. That's the dance. And then you go and
you share it on your own socials. We just made
(48:21):
love after prom That's it's the greatest. Now on the
flip side, if people don't share it and they don't
want to share it because I'm not above tagging them
in a story, because a story that's like the backyard,
Like you don't want to have garbage in your backyard,
but it ain't as important as the front yard. So
(48:43):
I tag them. If they were posting a story, that's amazing.
But if they repost nothing and we really worked hard
to make them look good, sound good, we feel like
nobody can replicate the quality we're doing. From the interview,
they're getting, to the equipment, to the cameras, to the lights,
and they do nothing. And then I see them reposting
other interviews. I remember that crap too, and I wish
(49:05):
I wasn't so petty. I wish I wasn't that petty.
But I remember that too, and that affects my decision
making because I'm petty. I'm twelve years old, And it
could be that you just didn't like how it came
out on our show. But when it happens multiple times
and I see you reposting other people's stuff and you're
(49:25):
not reposting ours, off, you have the right to do that.
And if you're posting nothing from no One double nag there,
that's fine because I understand you have an esthetic too.
On some of your Instagram feeds, and you have an aesthetic.
I completely respect it. NBD, when you're posting other people's
(49:45):
you ain't posting mine, And then you would come back
to me and go, hey, I want to be on again.
That's double thumbs down for those that are just listening. Yeah,
I'm petty about that. Anyway, shout out a little big town.
You guys are awesome to work with in every way.
And that's all I'd like to say about that. Let's
clip that whole story. I like that Brandon's doing a
(50:07):
double duty today. He's doing a video and sound because
everybody's on vacation at once. Everybody help me, Yes, Everybody's
on vacation at once. Kevin's on vacation, Dylan's on vacation,
Eddie's on vake, everybody's gone. It's me and Brandon. A
couple more things. I've had listeners ask me about the
(50:28):
listener couch now. Years ago, we had a couch in
the studio that I used to just bring listeners in
and sit and watch the show. It was fantastic. Nobody
loves the people that listen to their show like I
love the people that listen to our show. Because you
got to be just a little bit off to love us,
and you got to be able to be annoyed by
us and still come back the next day and know
that that was just an annoying day from us, that
(50:50):
we're not always like that. So when I put the
couch in the studio and listeners got to come in
all the time, it was sometimes four days a week,
four or five days we'd have listeners in there sitting
and watching a plus so listeners will ask, now, hey,
what happened to the listener couch. I'm going to tell
you what happened. Too many death threats, too many people
(51:10):
that write really in saying things on Instagram about how
they want to hurt me or harm me, that my
company then goes no more listener couch and also me too.
It was time for that not to happen. It's also
why I have a security guard all the time inside
the building. I don't talk about this because I don't
really want to perpetuate the idea that I feel like
(51:30):
I'm always in danger. I don't feel like I'm always
in danger because we live in are we working to
live forty in slip live at work, we work in
a really secure place now, but for insurance reasons and
because of the threats that I constantly get when I'm
in the office, I have a security guy with me.
I'm very close to him now, and if you came,
(51:52):
you'd wonder what the guy's doing hanging out there. And
when I walk, he's with me all the time. And
it's not my choice, but it's weird to be insured
and not like me buying car insurance or house insurance
or even life insurance, but like, uh, I'm a bottom
line to the company. And so yeah, we have no
(52:15):
listener couch and it's probably just a few people that's
ruined it for everybody. And I have security, and it
feels weird to have security with me all the time.
I'm telling you, it is odd, and because it's such
a personal thing and he's with me all the time,
Like at this point, I love him. He I ain't
gonna say his name, but he's awesome. He's my guy. Yeah,
but that's why there's no listener couch. And I don't
(52:38):
think I do anything that's so controversial that people want
to kill me. But I what happens is when you're
on a platform and it solely rises more people see
you and just just a numbers game. The more people
to see you, the more crazies there are in those numbers.
I don't think it's anything more than that, but it's
semi constant where I get some sort of threat and
there's no reason for me to get threats. I'm not
(52:59):
doing anything that's it's really worth that. But that's why
I'm going to clip this too. There's no listener couch,
and I wish there could be. The final thing I'm
gonna mention is people will say, hey, when an artist
comes in, like, what's something that they do in an
interview that you don't like in one way or another.
I'm asked this a lot, and mostly it's whenever an
(53:26):
artist does the whole. This is my most personal album yet.
I just want to be me. And it's not that
they're not telling the truth, but everybody says that, every
single person ever. I've never heard anyone come in and go,
you know, kind of a fake album. I really don'tant
people to know me, so I made this music that
doesn't really okay. I'm going to feel like that if
(53:48):
you're putting out music, this is going to be something
that's really close to you right now that you wanted
to make for a certain reason. But I'm telling you,
if I do ten interviews, six of them there's a
version of Man, my most personal record yet, favorite record
I've ever done. Okay, I mean it should be right,
or you wouldn't do it. So that is such a
tiny thing to be irritated by. And it doesn't irritate
me to the point where I think about it more
(54:09):
than ten seconds. But I do get the question a lot,
like what's something someone does in an interview that's a
bit irritating. It's if they just say the same thing
everybody else says. And when someone says, yeah, it's my
most more personal music yet, they're probably telling the truth.
But they've probably said that multiple times over multiple albums,
(54:29):
And that's a dumb thing to be annoyed by, and
I can freely admit that. But that's it, all right.
That is it for this round of in the Weeds.
Look like we did about fifty plus minutes there. I
add a lot of weeds today, So I'm not sure
who's getting to the end of this. If you're watching
on YouTube, stay weedy. If you're listening in a podcast,
(54:53):
stay weedy. You're write down the comments. Stay weedy, I'll know.
And also I get a lot of this because I'm
trying not to just read the questions because sometimes if
i'm addressing something, it's because I've had multiple questions. I
don't want this to feel like a mailbag. But if
I get a lot of questions or comments about something,
I make a note of it to address. And that's
what I did throughout today. So I'm really trying not
(55:15):
to go what do you think is? I'm just trying
to like have a list and go through them. And
so we had a long list today. But if there's
anything you want me to address, put it into comments.
Appreciate you, guys. There's a long one. Stay weedy, and
we'll see you next time here on the show that
should not be successful, but just kinda is all right byeybody.
Thanks for listening to the Bobby Cast.
Speaker 2 (55:36):
Share this episode with a friend because they don't pay
to advertise us.
So I'm not sure what we started. The thumbnail as
you've seen it by now, but I considered the thumbnail
saying I support firing people just to get people to
click in. So I don't know if we ended up
settling on that, but I'll start with that. I read
a story and then I saw Jason Audn't talk about
it a little bit too, where he said that there
(00:28):
were people and his crew that were bad mouthing him,
and he fired him. And there was a little more
to that. So he put out of this song called
tried that in a small town. That song was pretty controversial,
and he was on a podcast talking about that song.
And there'd be division amongst his crew, and he has
a large crew, so you can't really assume that everybody
(00:51):
has the same beliefs or political beliefs, and that some
of the guys were even bad mouthing him. And how
about a paraphrase, He's like, again, I'm paying for the buses,
I'm paying salaries, I'm paying for food, like you're working
for me, and you're bad mouthed me, like I'm gonna
fire you. And so it seems harsh on the surface,
and now I'm not having any opinion in this conversation
(01:13):
about him or the song. I like Jason. The song
is a little corny in my opinion, but I do
also like some corny songs. But that's not even what
I'm talking about here. But I support Jason saying, hey,
you can't be a part of my team that I'm
paying and be bad mouth and me outwardly, because I
think culture is a big part about what makes an
(01:36):
operation successful. And so I was thinking about our show.
On my show, like, nobody talks crap about each other.
If they did, if there was that kind of incidence
where anyone was even talking will use me as an example,
was talking bad about me to everybody else, Yeah, I
would get rid of them too. It's not even about me.
If because this didn't happen, I feel free to use this.
(01:58):
If Eddie was talking bad about Amy, it's like, man,
she sucks, she doesn't work hard, like behind her back,
I'd probably have to get rid of Eddie. Now, we
would address the problem first. I don't want to use
a problem. We'd adress the hiccup first, but if it
became a problem, then we got to cut the problem out.
And inside of a successful organization, like ours. We just
(02:20):
don't do that or we don't stand for that, and
there has never been that, and if there has, it's
never gotten to me. So when Jason said that, and
he was getting a lot of crap for it, like,
I get it. You don't really want there to be
a cancer within And if he's the one that's funding
everything and paying for everything, like it's his right to
remove whomever he wants, and I would do the same thing.
(02:44):
And again, what a matter, who is nobody on our
show is irreplaceable. Heck, I'm not even irreplaceable. Because what
happened is if one day could be soon, could be later,
they decided they don't want me to do the show
anymore for whatever reason. People are gonna get upset for
a minute, and then they're gonna move on with their lives.
Like I hope that I can be a part of
everybody's lives for a part of their day, And the
(03:09):
day's gonna come where that's just not gonna happen anymore,
and it'll suck for a second, but everybody moves on.
So that's where the I support firing people was gonna
come from. And again, I don't know if that was
the right thumbnail to use. I don't even know if
we used it, because in the end Brandon suggests all
the thumbnails and then he usually picks it as well,
and usually it performs wonderfully, and that's all him. So
(03:30):
if we do use that, I get in trouble. It's
Brandon's fault. But I do think that that would be
a funny thumbnail. But also it's like the environment in
media is just real bad right now. ESPN, different radio companies,
like a lot of people are getting laid off because
this is a really really hard business to make money
at right now, and so there's kind of that. That's
not a double on Dendre, but I think people would
(03:52):
see that and go, is you talking about ESPN? Is
he talking about radio podcasting? No? No, I'm talking about
Jason Alden firing his people because they were running their
mouth about their boss that pays them, And in our show,
I would do the same thing. So that's the first
thing I wanted to talk about. Secondly, what's really cool
(04:12):
is that I went semi viral with a post on Twitter,
and I don't tweet that much. I don't find there
to be much to gain from Twitter these days as
far as output input. I do read a lot of
news and a lot of sports over there. My favorite
sports writers and commentators or sports influencers over there. I'm
(04:32):
a big Brandon Walker guy at Barstool. I like Josh
Pate a lot, who does his own show, especially for
college football. And so I'll go and I'll read a
lot by I own post a lot. And I posted
this tweet because we're seeing a lot of what they
call blue dot fever with concerts right now, meaning shows
that if you go to the map to buy a ticket,
(04:53):
there are tons of blue dots because those are the
seats that haven't sold yet, and that's called blue dot fever.
Seeing a lot of people cancel shows. We saw earlier
a couple months ago post Molin and Jelly Roll cancel
some shows. Keifer Sutherland famously said, I'm not selling enough tickets.
I got to cancel the story about Casey Musgraves where
(05:14):
she had to cancel a few shows. Now they're not
saying that's what it is, but I think it's very
hard for people to go to concerts right now. And
this is what I tweeted regarding that, because all these
articles are saying things like we don't understand why people
aren't going to concerts. So I wrote this and it
went semi viral, and it's about half a million views
right now and climbing rapidly. But here you go, there's
(05:35):
no mystery. All these concerts are getting canceled because it's
hard to pay for inflated concert tickets and with tons
of fees added, especially when both groceries and gas are
inflated too. So I post that it's getting hundreds of retweets,
is hundreds of thousands of views. Here's the annoying part.
(05:56):
And I do this all the time. I freaking have
a typo in it, and I can't do anything about it.
When you load something up on Twitter. Let's say I
tweet something. I have basically sixty minutes to edit that,
and even then it is edited, but still it's edited
my typo it actually says this, there's no mystery all
these concerts getting canceled because it's hard to pay for
(06:17):
inflated concert tickets and with tons of fees added when
groceries and gas or inflated too. So I don't tweet much.
I get one that goes somewhat viral. It's got a
real chance to go super viral, and there's a freaking
typo in it. I typo so much, and a little
bit of me remember sometimes to go back and look.
(06:38):
But I think like I just think and send, and
I don't like that about me. I kind of do
that when I talk too, I just and sometimes I
talk way too fast. I was watching a clip of
me talking about Tulsa Softball and if all of a sudden,
I'm this massive fan of Tulsa Softball out of nowhere,
and you're going, wait, I thought you were an Arkansas fan.
(06:59):
That's true. But my brother in law is the head
coach at Tulsa Softball. A little quick backstory, so he
takes that head job. He was the head assistant at Arkansas,
takes the head job at Tulsa. It's very exciting for him.
Heck for me, I'm super excited about him getting his
first job. He's like in his early thirties. Love him,
greatest guy. It's going to be an amazing coach. But
(07:20):
he's going to a program that's had very little success
over the past half decade. Haven't looked much longer than that,
maybe even decade, I don't know, but they were bad,
so he takes over the team. And the number one
thing with coaching now in college is you have to
have money. All these football programs that are winning, it's
because they have massive boosters that are giving a lot
(07:42):
of money or massive boosters that are giving a lot
of money to both, you know, provide the players with money,
but also pay the coaches. So you need both. But
you have to have money and a lot of it,
especially for players. And so I tell DJ, hey, if
you take that job, consider me your first big booster.
And so he takes the job, and I am just
(08:06):
trying to figure something creative to do. I don't want
to name like the locker room or anything. So I
did Bobby's Home Run Boneyard. So basically I have left
field and on the wall and left field it says
it on what's going to be the blue outfield wall,
it's going to say Bobby Bones home run Boneyard. And
so it was a six figure donation and so sent
(08:29):
the money over. They agreed to that. I was talking
with the athletic director and what I did too with
DJ's I kept him out of it because I needed
him to just I need him like it's me that
needs to win, but I don't want him to have
to focus on any negotiation with me about what it is.
So he's out coaching. I'm talking to the athletic director,
whose name is Justin Moore, by the way, same as
a country singer. I think I texted the wrong one
(08:49):
once because their names are the same, and so we
negotiate this, and it wasn't much of a negotiation. I
just thought they would think it was weird that I
wanted to name something the boneyard. And so not only
do I say, hey, I'll pay this money for this.
Every home run that's hit there's a hospital there, Children's hospital.
Every home run that's hit out of left field over
(09:11):
the next two years, I'll donate one hundred dollars per
home run. They and a decent amount of home runs,
and most batters are right handed, not all, but if
you're a pull hitter and you're right handed, it's going
to go over left field. So I realize it's going
to be some more thousands of dollars, and that's amazing,
and so I'm going to donate to the hospital. I'm
helping DJ hopefully and hopefully Tulsa can be pretty good
next year. It's going to be real hard to be
terrible and then real good. But if they can go
(09:33):
from terrible to pretty good a plus, that's awesome. Now
why am I talking about this Well, because I didn't
talk about it for a few days on the air.
It was kind of a personal thing. I reposted it,
but I finally go on the air to talk about
it because we're on in Tulsa and I really like
Tulsa anyway. I like Tulsa before DJ went there, played
(09:55):
Kaine's Ballroom multiple times, which, by the way, Legendary venue
A dumped to play like great venue. I actually watched
Brooks and Dunn on YouTube do a special from Kayne's
Ballroom this past weekend. Legendary I remember playing there and
seeing pictures of three eleven massive country acts and it
may be repaired now and shout out to Kaine's Ballroom
(10:16):
because it was a really cool experience. But man, that's
a tough place to play. So I've love Tulsa. I'm
talking about it on the show. And they'll do a
thing where you can see the words on the screen
a close caption basically for Instagram, and so they're putting
the captions up and I'm talking so fast at one point,
if it weren't for the captions, I wouldn't even understand
(10:37):
what I'm saying. So then I was kind of embarrassed
to put the clip up because I'm talking about something.
But at times I think my brain is finished with
what I'm talking about and my mouth has not quite
gotten there yet, so I just rush it all out.
And for someone who speaks professionally for a living, that's
(10:58):
not the best trait. I've always had it, but I
hate listening to myself. I try to talk slow, but
when I won't even say get excited. When I get
motivated to talk about something, things come out way too fast.
My whole point with that was I talk to you fast,
and it's weird to have a career in this whenever
I talk way too fast and with an accent, and
I kind of have a puny voice. By the way,
(11:21):
this show's called in the Weeds. We're ten minutes in.
I don't like to put this at the very beginning
because no one wants to watch if they're just scrolling
through YouTube's the first fifteen seconds of something where someone's
describing what it is like. I wanted to kind of
hit you gas with some stuff. First, this show is very,
very inside. I'm so surprised that people watch this show.
(11:42):
It performs really well audio wise. It performs extremely well
on YouTube for a pretty much virgin YouTube channel. So
I never thought this show would take off. It's crazy
that it does, or that it did. Yeah, so this
is in the weeds. It's very inside. So if it's
if it doesn't interest you, I get it.
Speaker 2 (12:03):
All right, moving on, hang tight, The Bobby Cast will
be right back and we're back on the Bobby Cast.
Speaker 1 (12:21):
This book, I'm holding it up. It's ten years old
as of today. So this is the first book that
I ever wrote. This is called bear Bones, and it
was published like ten years and a week or so ago.
You know how I knew? It popped up on Facebook
(12:42):
ten years ago. First of all, it feels like it's
been a day ago and fifty years ago. At the
same time, I'm very proud that I don't hate this
book because a lot of stuff that I've done in
the past I hate. It's not that I'm upset that
I did it or ashamed of it. I just feel
like I've gotten better at stuff. So it's kind of
hard to go back and listen to things or see
(13:05):
things or I can't even watch my Ted talk that
I did because it makes me cringe so hard. But
this book, I haven't reread it ever except for me
doing the audio book. But I'm still proud of it
because I really poured my guts into this thing, and
I didn't know how to write a book. So the
quick story about this book that I'm holding up here
(13:26):
bear Bones, which is ten years Happy Birthday, double digits,
is that it's probably twenty fourteen and I had finished
a kid's record with Eddie the Raging Kidiots, because we
were doing a Raging Idiots record, and I was at
the studio by myself and I wrote a planet rap
(13:47):
by myself, and I said, hey, let's record this, and
so I went into the studio, me and just a producer, Nick,
and I recorded this planet rap and I thought, well,
this is kind of wholesome and I don't know, a
bit educational, kind of fun and people liked it. As
(14:07):
far as the executives, they said, you should do more
kids songs. So before we ever put out the Raging
Idiots record, now we were touring doing comedy, we put
out the Raging Kittiots record and it had a bunch
of kids songs on it, and Cracker Barrel bought it
almost immediately and just to put the CDs in their
Cracker barrels, so they didn't own it digitally or anything,
but they bought the rights to have the physical CDs,
(14:29):
and I think we have some physical CDs somewhere still.
But this Raging Kitdiots album gets put out and it
does what I would consider successful numbers. Well, simply because
the numbers were a major company bought it and it
wasn't sold anywhere else except for Cracker Barrel. They had exclusivity.
But that was pretty neat that somebody thought it was
good enough to feature. So I think, well, I want
to do a kid's book. We did a kid's album,
(14:50):
did pretty well. We do a kid's book. And I
went and I pitched this kid's book idea called Big
Head Bobby to five publishers. Maybe it's been a while,
and there was a song on the kids record called
the Ballot a Big Head Bobby. You could still find
it if you're streaming music, and it's about a kid
(15:11):
me obviously, because I have a massive head that was
made fun of for having a massive head, and he
was always made fun of and the kids always poked
out him, even the adults laughed at him, and it
would go, this is the story a big head Bobby.
He was the kid with a big old head, and
then it would tell another verse of the story. Well,
(15:33):
at the end the town, because I lived in a
town that had a damn, a big damn, and it
separated two lakes at the end of the song because
it was obviously written about me. The dam was breaking
and they didn't have anything to plug the damn, and
everybody in the town was gonna die because it was
about to be a huge flood until big Head Bobby
(15:54):
came around and stuck his head in the hole. And
that's how the song ends because what he was being
made fun of for ended up being what saved the town,
which was his massive head. So that was the book
I wanted to make based off the song that I
wrote and so, but nobody wanted it. That's okay, although
(16:15):
I still think it's a pretty good idea, even right
now we're twelve years after that, I still think that's
a pretty good idea. So, and the whole reason I
think it's a good idea is because it teaches kids, Hey,
people may be making fun of you now for something,
but they have no idea like that could end up
being the thing that changes your life for the good.
That is something that you're being picked on for it now,
(16:38):
maybe for wearing glasses, maybe for having braces, maybe for
being way too smart, maybe for being tall, maybe for
running faster than the boys if you're a girl. But
once everybody matures a little bit, that trait is going
to rock. And so that was the whole point of it.
So nobody wanted it. And I got into all these
book publishing companies no no, no, no no, and they
(17:00):
were all in New York. And there's a difference in
New York Nice and La Nice. La Nice is very fake.
La Nic says, this idea is so great, Oh my god,
it's going to revolutionize the industry. Let us talk to
your people. We'll hear and talk to you soon. And
then they never call, They never plan to move forward.
(17:20):
That's La Nice. New York Nice is really not gonna
work for us. We don't see it, but we appreciate
you coming in now. I really appreciate New York Nice
because it is matter of fact, nobody has time. Everybody's
going on to the next thing, but at least it's honest.
So I get New York niced about six times, and
I'm at the final meeting at HarperCollins, which is a
(17:43):
massive publisher, and I'm doing the story big head Bobby.
I play the song it's just this all No, it's
not for us, And they gave me some reasons. They say, hey, look,
you're just not famous enough. You are in a market
that is oversaturated with children's books, and it takes years
to put out a kid's book. We just don't see
(18:05):
that right now. We don't see how that can make
money with all these factors. I get it. They were
right about all three of those things. And so I remember,
we're gonna walk out and listen. I don't get super
sad when things don't work out now, because most things
don't work out now, and I don't want you to
feel sorry for me. But in this industry, most things
are nos. Over ninety percent of things are nos. That's
(18:30):
how people in this world, in a creative space make it.
They have tenacity, They get a lot of no's and
they just keep going. I mean in life too, but
this is the grind that I find myself in creating.
It's not good enough creating. We don't like it. Creating. Nah, creating,
that's amazing. Oh we don't have the budget now, it's
(18:50):
just no, no, no, no note. But if you can
last eventually sometimes you get a maybe. And if you
can last, sometimes you get a yes. And so I
was ready go fly home. Wasn't sad get a lot
of nose? And I remember one executive in that meeting,
(19:11):
I think I said, pulled me aside. I don't know
if it was that dramatic. I was talking to them
because everybody was getting up from their their tables and chairs,
and I was like, hey, I was reading about you
on Wikipedia. While you're talking, you have an interesting life story.
Would you want to write that? And I didn't, mostly
because I didn't think anybody cared, honestly, And I said
(19:34):
I haven't thought about it, but maybe, and they said, hey,
we'd love for you to pitch that. And so I'm
thinking I'm gonna do the pitch right there to those
same people that are there. But that was like the
children's book area or the group. And I said okay,
and they said, we come back tomorrow. I was flying
out that night, and it's not like I can just go.
(19:55):
I got a radio show to do, a hotel that
I'm checked out of. But I stayed, and I'm so
glad I did, because I easily could have said, yeah,
let's set that meeting. I'll come back in a month
and a half or two months or so. And that
happens a lot, and I didn't have anything looking back
scheduled that next day. I got very fortunate in that
that there wasn't something I had to for sure get
back for. I had a dog. I got to take
(20:16):
care of it. I'd somebody taking care of the dog.
Other than that, I got grabbed a studio of New York.
I went to that meeting the next day, and it
did my spiell like, this is where I'm from, This
what I believe, This is the struggle that I went through.
This why I'm proud of the struggle. That's my story.
They bought it immediately, which was crazy to me because
(20:36):
they just told me that meeting before. I'm not famous,
So how am I going to sell books if I'm
not famous with the story, So then you may have
heard part of this. Just bear with me, please, They
offered me a decent amount of money, like six figures,
and I didn't want to take the money. I didn't
take the money because I didn't know if I could
do it to the level that I would have wanted
(20:59):
it to be, to be proud of it, because I
had to promote it. So I said, let me write
half the book, or let me write thirty thousand words.
I didn't know how to write a book. But I'll
say yes to anything and then I'll figure it out.
If it's something that I think I want to do
or something that's so interesting to me, can you do it? Yeah, yeah, yeah, yeah,
they walk out, can you really do it? I have
no idea, but I'm going to figure it out because
(21:22):
I feel like much less driven, equal intelligent people have
done equal or better things. So I feel like I
can do it, and so I did. I wrote essay
after essay after I says and it n They said,
we want to write thirty thousand more words. I wrote
sixty thousand words. Actually wrote more than that, but my
editor was like kicking stuff out and saying, expand on
(21:44):
this and finish the book. It was a four week
New York Times number one best seller. I didn't know
the difference. Really. I knew there was something called a bestseller, obviously,
and then i'd heard New York Times bestseller, but I
wasn't it really in the the industry, and that it
was a number one, And you can see it here
in New York Times Bestseller. That actually meant something extra.
(22:06):
So it's super cool and I'm loving it. And the
book comes out and it's it's pretty raw. This book's
pretty raw at times. There's some really really, really really
personal things in there. But ten years ago I put
this book out and people still send it to me
to get signed, and people bring up stories from it,
(22:26):
and I'm so grateful for that. And I remember this
picture because it's bare bones. I'm not lonely. If you're
reading this book, that's the sub sub subheader, subtitle. It's
a picture of me and I'm sitting on a curb
with upside down roses. This picture was from a Raging
Idiot's album song picture. It wasn't for the book. I
(22:49):
just thought the picture was interesting, so we put it
on the cover of the book. It they were not
supposed to go together. I didn't have a title for
the book until the last minute, so all that to say,
here's the real kicker of this story. If you set
through that. I appreciate that somebody delivered a box of
my books to me in the last week to sign,
(23:11):
and I have no problem with that. I love signing
books in person, and if people send them, I'll sign
them all day. If you send away for the books
to get back to me, and this person, I mean,
they send me a self addressed envelope, the book doesn't
really fit. That's the problem here, Like this doesn't go
in this. I'll find a way to send this one back.
But the letters from twenty sixteen, someone sent this in
(23:34):
twenty sixteen. No, no, twenty eighteen, someone sent this in twenty eighteen.
I just now got it. And so I'm going, wait,
how did this get lost? And there's seven other books
in that box, all from twenty eighteen to twenty nineteen.
I don't know who dropped that box off. I'm thinking
it was either an old agent, maybe somebody management who
(23:56):
found an old box that was sent. So I have
all these people that sent these books to me eight
years or so ago that never got signed and never
got them back, and so I'm going to send them
all back. I don't even know if the people are alive,
he'd be dead. So if you send me a book,
this person here, we find their name, Oh yeah on
the envelope, Carl in Monroe Township, New Jersey. I don't
(24:22):
even know if you live at this address anymore, but
I'm going to send it back. That's crazy. So that's
what's up. But the book is ten years old. It's
still on Amazon. I would love for you to get it,
if you want to get it again. I haven't read
it back, but I'm very proud that it still exists
and people are still buying it. They've had to do
(24:42):
a few different I don't think they're called reprints. I
don't know what they call that when they have to
print them again, but they do that every once in
a while because it continues to sell moderately, they go, hey,
we're printing out another ten thousand or something. And I
never promote it. It's on my desk at work, but
I never promote it. But it's on Amazon. I wonder
(25:05):
how much it is. Let's see Bear Bones book Bobby
Bones right now on Amazon. If you want to get
the book, it will cost you ten dollars and thirty
eight cents paperback. Not bad. I wouldn't pay anything over
(25:30):
ten forty, but ten thirty eight that's a steal. My
second book is up there, you can prime it for
twelve oh five, and my kid's book is at nine
to ninety six. That's another story how I ended up
doing a kid's book when originally that's what I wanted
to do. First, I'll move on. I'll get a lot
of messages from people, and I just don't want this
(25:53):
to seem like I'm doing a Q and A. So
I've had a lot of messages asking me about what
are some of the things when you started out that
you spent money on that you look back at and go, man,
that was stupid. So I made a list of stupid
things that costs me way more money than it should
in this industry. And the list has one thing on it.
(26:15):
A stylist. Crazy expensive. And I would pay a stylist
full time, and it'd be kind of cool because they
bring over racks of clothes and you go through them,
and the clothes are so expensive. I think I wasted
more money on a stylist than anything else I would
(26:40):
consider a waste. And whenever new artists or artists that
are making enough money to have to consider getting a stylist.
We'll ask me, Hey, you know, can you give me
some advice? I would say, if you can, don't if
you're going to a lot of a lot of award shows.
(27:01):
I don't know. It's hard for me to justify that.
You can almost now with the internet, find something you
like and do one of those like show me where
it's bought from, buy something similar. The one thing that
is good is a tailor. That's what you call that,
a tailor, seamstress. Maybe that's from like little house in
(27:24):
the prairie, but somebody that makes the close fit on you.
Because I never ever did that until I started going
to things or being on television. A lot that is
worth it. That's not that expensive, But that's the thing
that I think has cost the most money that I
look back on and go, man, that's kind of a
waste of money, because man, I spent a lot of
money on clothes. It was just stupid. I see a
(27:48):
lot of artists that are taking pictures of themselves flying private.
That's always weird to me, the picture taking. I think
maybe if you look to all of my pictures ever
in the history of my life. You might see me
on a private plane one time ever, and it wasn't
even about the plane as much as I just had
finished I know the picture I had just finished hosting
for rich Eison, and I was working on something on
(28:09):
my computer and there was a rich Eison cup in
front of me, and it wasn't about me in front
of the jet. It wasn't about me. I liked that
cup and what I had just done. I was proud
of my time. I think it was the first time
i'd filled in for Richison, who's a big ESPN guy
who has a massive show now, And it wasn't really like,
look at me on the jet, but I wasn't a
private plane. But I see people taking pictures like out
in front of private jets just for the sake of it.
(28:33):
I think, man, there are spending so much money. That's
such a waste of money. Now, if I'm being honest,
I do fly private some, especially if I got to
get somewhere and get back and there is no NonStop
or direct same thing. But also, like, what's the point
of taking a picture outside of a private jet unless
(28:55):
you're really in the picture going we can't believe we're
on a private jet. That's cool if you're being honest
about it. It's so much the subtle, like yeah, just
another day and you're all like gathering in front of
a private jet man, especially like I was talking about
concert tickets earlier, where it's concert tickets are expensive because
groceries are expensive. Because like, if you're gonna do it,
like admit it and be like, we can't believe we're
(29:16):
on a private jet. This is crazy. I think people
would think that was so much cooler than just trying
to subtle FlexIt. Now. I'll also say there are some
people who fly private so much. Is not even a
thing to them to take a picture. They're just taking
a picture because it's another normal day. And I think
that's a different animal itself, because I'll see guys and
that's all they do is fly private, So I don't
think they know it's even anything different. They're just taking
a picture in their natural habitat. That's another money thing though,
(29:40):
that I will say to people, Let's say you love
doing it, because it can be addicting, cut it down
to about thirty percent of what you think you should.
For me, I never did, cause I it felt like
such a waste of money because it's so expensive. My
business manager, who is so conservative with money, and this
(30:00):
is when I was touring, it's when I was doing TV.
This is when obviously having to get back for the
radio show I was doing Red Eyes. I remember her
calling me and saying, hey, I would recommend that you
fly private some and I'm going, wait, no, You're the
one to always telling me, hey, watch out, watch out,
don't spend here, be careful. She's like, yeah, you're gonna
kill yourself if you don't do it a little bit.
(30:22):
But man, it can get addicting. But I would say
stylist and flying private are the two biggest money wasters.
If there's a non stop just freaking take it. There's
part of my deal though, too, And this is way
in the weeds. And so sometimes I when I do
fly private, it's not my I'm not paying for it,
like the company having in my contract I can use
a plane certain amount of times. So sometimes that's it
(30:44):
as well. But and also I think I'm just getting
older and I'm going, man, I just don't want to
waste money on stuff, Like I have some stuff that
I really love. That's I'm cool with spending money on
but some stuff if it's like forty bucks too much,
like what the heck? But then my wife says that too.
She goes, Man, some things, you'll just be like, let's
do it. Let's get it.
Speaker 2 (31:06):
That.
Speaker 1 (31:06):
We bought a couple of buildings to build all of
our studios in for like the shows that we do here.
I think twice about it. Was it expensive? Yeah? Property,
it's super expensive, two buildings, completely gut and put all
the latest technology. Do yeah expense? Their cameras are wild.
It's not even the cameras, you know what I learned.
(31:27):
It's the lenses. I think I'm right about that because
I think, thank you, it's the lenses. It's like seven
granded camera, full lens, camera and lens, and so we
have multiple. So I have no problem spending things on
I spending money on things that will help me produce something.
It's like paying good people, no problem. I want everybody
(31:51):
to feel so compensated. I'm not gonna nickel and dime
at all, because I want you to feel valued and
I want what I do and produce to be a
value you. But that being said, sixty five bucks for
a T shirt, I don't know, Like, what's that about
like this this is all so the money thing. Those
(32:15):
are the two things. I don't even know how I
got on that, but I see that on social media,
and I think a lot of times these young artists
that want to be seen flying private jets are going
to regret spending the money on it.
Speaker 2 (32:28):
Hank Tight, the Bobby Cast will be right back, and
we're back on the Bobby Cast.
Speaker 1 (32:45):
I had a friend that was turning it into a
pro an he's going from college to pro and he
called and said, hey, like, what do you do with money?
And I'm like, I'm not a money guy, but I
had to learn a decent amount because I didn't have any.
And now I do pretty good. And I see, I
know you're gonna want to buy like jewelry and stuff
(33:06):
because a lot of the other guys on your team
are gonna have jewelry. And my advice to him was,
whatever jewey you want to buy, by eighteen percent of that,
not eighteen percent of one piece, like smaller. But if
you can like just do like a quarter of what
you really want to do, you're not going to miss
the other seventy five percent. You're still going to have something.
And you did get to waste a little money on jewelry,
(33:26):
because if you go straight cold turkey, no jewelry and
you're playing Pro Bowl, that's like, what's the fun of
being a pro athlete if you can't have big iced out.
I'm not gonna say any letters that'll tell you who
it is. But how am I to talk about this sensitively?
(33:50):
I saw a guy that's in the industry that I'm
in one of the industries, and he had some unfortunate
circumstances with his job, and he was talking about it,
and he was claiming all of this success, and he
couldn't understand why he was no longer at his job
(34:12):
based on all of the data that he was listing.
And he's good at a job, but he was listing
this data, this success, and I was like, I don't
know if that's accurate or not, and so I'm curious.
So I started digging in for my own sake just
to see and none of it was true. But what
(34:32):
had happened is he had talked about all the success
and the fact that he was no longer at that
place anymore even though he had all this success, is
that there started to be kind of an uproar, even
an uprising within people within whatever industry I'm talking about, going,
this is not fair. He had this, this, he accomplished this,
but none of it was true. Like he was just
able to say something and everybody just believe it and
(34:56):
it not be true. And I think of the Internet
as a lot of that these days. And I was
thinking about this, and I was doing the math, and
I don't think our podcast has hit a billion streams.
I think it's close. I think the Bobby Bone Show
podcast now for twenty years, you'd have to do fifty
million a year. Now we have that now and we've
(35:16):
been podcasting for twenty years, but early on there's no chance.
But I think I'm just gonna put up a graphic
that says, man, so happy to be part of the
billion streams club, and then watch everybody congratulate me. And
this is just gonna be a science experiment that nobody
researches anything. You can write whatever you want and people
will just believe it. And I learned it from this
(35:40):
guy lying about all of his Now this will be
one of our little jokes. You may see it and go,
here's what you say. I knew you could do it.
If you say I knew you could do it, I'll
know that you're in on the joke. But my whole
point with this is I'm gonna go, hey, big deal,
We'll do a graphic the Bobby Bone Show one billion. Overall,
(36:00):
I don't think we're there. I think we're probably kind
of close, but I just want to see how everybody
reacts to it, because I think everybody will believe it.
And let this be a lesson that you shouldn't believe
everything you see on the freaking Internet. Just because someone
yells it or proclaims it does not mean it's true.
So when you see the billion streams, just know that
it's a science experiment. And if I put that graphic
(36:22):
up and you say I knew you could do it,
I'll know you're in on the joke too. So I
gotta make a note to make that graphic. There's some
stuff that we do on our show that our affiliates
have never liked, and one of them is the Friday
morning dance party. And there's been a lot of drama
(36:42):
over the years with station managers or city operations managers saying, hey,
you're doing a country show, but you're doing this thing
on Friday where you're playing music that's not country. Now,
some of it is, and mostly it's nineties, but there's
like some nineties hip hop in there. May do like Blackstreet,
(37:05):
no Diggity, maybe in sync, Bye Bye Bye, some Shenandoah,
maybe something current. But the whole thing is supposed to
make you feel good. Right. We've been doing that since
back in my pop days when I was putting country
in and program directors were going, why are you putting
country music on a pop station? But we still do it,
and we still get station managers going, stop doing this now.
(37:26):
I've never stopped doing it, not because I'm defiant, but
because about once a year, maybe once every eighteen months,
I'll do a research project on our show. You know
what comes back is the highest or second highest rated
thing every single time is the Friday morning dance party
every time, because people really aren't in a box, like
(37:49):
you know, sometimes you have to genre specific for sales reasons,
but people don't live in a box. And every year
I get new station manager complaining about the Friday morning
dance party. It is not a wheel that I invented.
It's just something that I've consistently done and have often
(38:09):
fought for because I know people just like to feel good.
And the reason I bring it up that happened again
pretty recently where I had to go, let's look at
the data. I can say all I want that I
think people like it, but we can go to research
and it's number one or number two. One of the
most popular things we do as a show, and we
(38:31):
have done that for twenty plus years or so. Something
on social media that's been interesting for me is when
people will get in the comments and tell me that,
how I do a video, it's pretty stupid. There's this
thing that we're doing now where if you're looking at Instagram,
you know it's kind of vertical. And then about five
(38:53):
to six seconds in we put up a second, bigger
box down below, and people will go, oh, you just
put up a second box just showing me the same
thing over and over again. This is stupid. What's up
with this bigger box? Two things. One, when people do
a lot of cuts in a video, it's so it
keeps your attention longer. This is a psychological Sometimes they'll
(39:15):
even flip there'll be one to top, one a bottom,
and they'll flip them, and they'll flip them. It's any
little trick to keep you looking at the video for
two seconds longer, because in that two seconds, you might
actually commit to staying for ten more seconds. And so
we started doing that box for that reason. One, it's
an added element that you kind of don't expect. It's
(39:37):
another video of the video you're already watching. But also
what it does. It's a full horizontal video, so you
can see even more around them. Does it change anything. No,
But some guy went at me. He was like, that's
the dumbest thing I've ever seen, and they said, I
can understand why you would say that. But here's why
I say it's not. One, it made you comment on it.
(39:59):
And the reason that videos get shared is engagement. So
you just engaged with the video about something that you
thought was stupid. Thank you for the engagement. Two, it's
visually stimulating. Even if it's adding well, not a lot,
it's still something that maybe subconsciously makes you stay for
another second or two. And that's my goal, just to
(40:20):
get you stay for a second or two. So yeah,
we're not showing you a picture in a picture, I
don't have a game on in the news in another picture,
but you'll see in the Instagram videos. That's what we do,
that's why we do it. We don't think we're, you know,
doing something remarkably different. We're just trying to fight for
three more seconds of your attention, and we have found
that it works tremendously. That's all I want to clip that.
(40:47):
I was watching a guy online and he was talking
about his frustration with radio. Doesn't really do a podcast, baby,
he does a radio show, and he said he can't
wait for the new version of radio so he can
be happy. I'm watching this, and look, I do a
(41:08):
radio show every morning, a live one, but that's only
part of what radio is. What I'm doing right now
is the new version of radio. So I don't know
what he's waiting for. And I respect this guy, but
he says this will never work as it is. Can't
wait for the new version of radio to come so
I can be happy. This is the new version of radio.
(41:30):
I'm talking on a podcast right now that people are
listening to. I'm talking into a camera that's on YouTube.
I'm doing content that is not over traditional broadcast ARA waves,
but it's all connected because I'm the same person and
all of these and they're all on the same feet.
This is the new version of radio. This is radio,
(41:51):
and it's going to be difficult for those that continue
if they keep continuing the same way they've always done it,
like this is radio. I do a live broadcast terrestrial
radio show in the morning. I also take that show
and put it on podcast. It doesn't stop there. I
(42:13):
do a whole second show only on podcast that some
would argue is better than the show that went on
broadcasts because there aren't the constraints of time. I don't
have to do something in seven minutes, or I don't
have to be out at a certain minute of a
quarter hour. So if any of my radio friends are
watching this, this is the new version of radio. Anything
(42:36):
that you're doing that can be seen or heard by
anyone period, this is it. By the way, I don't
get paid extra to do a whole second show on
the podcast feed. There is no hey, we're going to
give you a different check if you do a second show.
We've been doing that for years. One because I want
our listeners to have a more enjoyable listening experience. Two,
(42:56):
I want them to feel connected to us in ways
that sometimes I feel like the time restraints that we
have on broadcast radio can't do for us. And then three,
I'd love to build the streams up too. That's that's awesome.
We get bigger guests because we can go we have
this many streams. I mean, then Netflix being a part
of the Bobby Cast, the amount of guests that we
get that have never heard of me, that go, oh,
(43:19):
it's on Netflix. Ya, I'll take it. But he only
got to be on Netflix because it was successful in
other ways. Like they agreed, we like it, we like
how it's shot, we see the numbers it's getting. Let's
do it. So my only point was, this is the
new version of radio. What I'm doing right now is
the new version of radio. Am I actually on a
radio station right now? Nope? Will this ever be on
a radio station? Nope. Anything that's audio or video or
(43:42):
content is now radio. You know, I have call they
can call it content. But this is the new version
of radio. And have friends that are really good at
what they do, but they haven't embraced this yet. And
my feeling is this is so in the weeds right
now that if you can't do long form content that
you can duplicate, and I would say duplicate by putting
(44:05):
up in multiple forms in multiple places. It's the industry
as it is is not gonna last that long for you.
Back in the day, you could just sound great between
songs and have a wonderful career. It isn't It isn't
that anymore. There should be nothing that you're doing that
you can't put somewhere else and hope that that somewhere
(44:28):
else also gets streams or clicks or is able to
be monetized. Nothing. If there's anything that's going over broadcast
radioation should be able to be reused somewhere else to
grow your platform. So that's the new version of radio.
You don't have to call it radio, but if you're
in radio, you should call it radio.
Speaker 2 (44:49):
Hank Ty, the Bobby Cast will be right back, and
we're back on the Bobby Cast.
Speaker 1 (45:06):
I want to talk about clabbing. And I've said before
on this show that I hate asking people to clab
on my Instagram posts. I just feel like I'm begging,
like suh, can I have a dollar? I feel like
that's me. I'm tiny Tim from whatever that Christmas Story
show was, Oh can I have a dollar? Kinds of
I hate asking people to collab because I'm just begging
(45:26):
for them to share me in their feed, and I
don't ask unless, like Brandon or Mike will talk to
whomever's team and if they're like, hey, we love to clab.
Only when I hear that, while I send them a
collab invite, but when someone is so generous about sharing
the content that we did together, like, I love that
(45:49):
and I'm so thankful for that. And I can give
you an example. Karen Fairchild is a real one now
she is in Little Big Town. I'm a fan of
Little Big Town, regardless of the story that I'm going
to tell. But they came. We did an episode of
The Bobby Cast and the first clip that I posted
was before the episode was up, and to be honest,
it was mostly a clip about me. And in that clip,
(46:10):
I was just saying, Little Big Town is going to
be on tomorrow, which I was going to start posting
their clips, and in that it's kind of funny. We
were doing a little back and forth on not remembering
phone numbers at all from back in the day, and
I said, I can't remember my wife's phone number, but
I know the full chickeny chine of the Chinese Chicken
Barnack Lady song and I do it and she reposted
it in her story and I thought, oh, that was
(46:31):
so nice of her to do that. Yeah, they're in it.
That clip wasn't about them. That was me going, hey,
here's me doing something funny. But Little Bigtown will be
on and then they were like, hey, we want to
clap with everything. And so they have a massive following
online and so I would put a story up and
I'd hit collab and they'd hit accept Like, I'm so
(46:54):
thankful for that. That's the good side of it, because
I think we put a lot of effort into our
com We try to pick clips that make the artist
or the interview we look great. We make it look great. Lighting.
You know, the cameras I was talking about earlier, multiple cameras.
I got Brandon over there on a camera switcher. It's
(47:15):
not even just editing, like they'll go on an edit,
but Brandon's got a whole setup over there where he's
running cameras. We're doing everything to make everybody look and
sound as great as possible, from how I'm interviewing them,
to how we're picking the clips, to what we're putting
up to the lighting, to the little double boxes in
there that make people stay for two more seconds, Like
I'm doing everything possible that I'm hoping people want to
share the content, but I don't ask them to unless
(47:37):
they say we like to share it, And whenever they do,
I'm so grateful and I remember that and some other
times little bit down's gonna say can you help us out?
And do absolutely, you got it. It's very much a
gift take in interviews anyway. And I've said this before,
where if somebody comes on the show, they're coming on
to promote something, and I'm having them on to give
(47:58):
me some compelling content, and we meet in the middle
of them getting promotion and me getting compelling content, and
that's the dance, and we both win. That's what's amazing
about it. We just promoted your new project and you
told me a couple of really good stories that people
enjoyed listening to live or hearing in a clip. We
both win. That's the dance. And then you go and
you share it on your own socials. We just made
(48:21):
love after prom That's it's the greatest. Now on the
flip side, if people don't share it and they don't
want to share it because I'm not above tagging them
in a story, because a story that's like the backyard,
Like you don't want to have garbage in your backyard,
but it ain't as important as the front yard. So
(48:43):
I tag them. If they were posting a story, that's amazing.
But if they repost nothing and we really worked hard
to make them look good, sound good, we feel like
nobody can replicate the quality we're doing. From the interview,
they're getting, to the equipment, to the cameras, to the lights,
and they do nothing. And then I see them reposting
other interviews. I remember that crap too, and I wish
(49:05):
I wasn't so petty. I wish I wasn't that petty.
But I remember that too, and that affects my decision
making because I'm petty. I'm twelve years old, And it
could be that you just didn't like how it came
out on our show. But when it happens multiple times
and I see you reposting other people's stuff and you're
(49:25):
not reposting ours, off, you have the right to do that.
And if you're posting nothing from no One double nag there,
that's fine because I understand you have an esthetic too.
On some of your Instagram feeds, and you have an aesthetic.
I completely respect it. NBD, when you're posting other people's
(49:45):
you ain't posting mine, And then you would come back
to me and go, hey, I want to be on again.
That's double thumbs down for those that are just listening. Yeah,
I'm petty about that. Anyway, shout out a little big town.
You guys are awesome to work with in every way.
And that's all I'd like to say about that. Let's
clip that whole story. I like that Brandon's doing a
(50:07):
double duty today. He's doing a video and sound because
everybody's on vacation at once. Everybody help me, Yes, Everybody's
on vacation at once. Kevin's on vacation, Dylan's on vacation,
Eddie's on vake, everybody's gone. It's me and Brandon. A
couple more things. I've had listeners ask me about the
(50:28):
listener couch now. Years ago, we had a couch in
the studio that I used to just bring listeners in
and sit and watch the show. It was fantastic. Nobody
loves the people that listen to their show like I
love the people that listen to our show. Because you
got to be just a little bit off to love us,
and you got to be able to be annoyed by
us and still come back the next day and know
that that was just an annoying day from us, that
(50:50):
we're not always like that. So when I put the
couch in the studio and listeners got to come in
all the time, it was sometimes four days a week,
four or five days we'd have listeners in there sitting
and watching a plus so listeners will ask, now, hey,
what happened to the listener couch. I'm going to tell
you what happened. Too many death threats, too many people
(51:10):
that write really in saying things on Instagram about how
they want to hurt me or harm me, that my
company then goes no more listener couch and also me too.
It was time for that not to happen. It's also
why I have a security guard all the time inside
the building. I don't talk about this because I don't
really want to perpetuate the idea that I feel like
(51:30):
I'm always in danger. I don't feel like I'm always
in danger because we live in are we working to
live forty in slip live at work, we work in
a really secure place now, but for insurance reasons and
because of the threats that I constantly get when I'm
in the office, I have a security guy with me.
I'm very close to him now, and if you came,
(51:52):
you'd wonder what the guy's doing hanging out there. And
when I walk, he's with me all the time. And
it's not my choice, but it's weird to be insured
and not like me buying car insurance or house insurance
or even life insurance, but like, uh, I'm a bottom
line to the company. And so yeah, we have no
(52:15):
listener couch and it's probably just a few people that's
ruined it for everybody. And I have security, and it
feels weird to have security with me all the time.
I'm telling you, it is odd, and because it's such
a personal thing and he's with me all the time,
Like at this point, I love him. He I ain't
gonna say his name, but he's awesome. He's my guy. Yeah,
but that's why there's no listener couch. And I don't
(52:38):
think I do anything that's so controversial that people want
to kill me. But I what happens is when you're
on a platform and it solely rises more people see
you and just just a numbers game. The more people
to see you, the more crazies there are in those numbers.
I don't think it's anything more than that, but it's
semi constant where I get some sort of threat and
there's no reason for me to get threats. I'm not
(52:59):
doing anything that's it's really worth that. But that's why
I'm going to clip this too. There's no listener couch,
and I wish there could be. The final thing I'm
gonna mention is people will say, hey, when an artist
comes in, like, what's something that they do in an
interview that you don't like in one way or another.
I'm asked this a lot, and mostly it's whenever an
(53:26):
artist does the whole. This is my most personal album yet.
I just want to be me. And it's not that
they're not telling the truth, but everybody says that, every
single person ever. I've never heard anyone come in and go,
you know, kind of a fake album. I really don'tant
people to know me, so I made this music that
doesn't really okay. I'm going to feel like that if
(53:48):
you're putting out music, this is going to be something
that's really close to you right now that you wanted
to make for a certain reason. But I'm telling you,
if I do ten interviews, six of them there's a
version of Man, my most personal record yet, favorite record
I've ever done. Okay, I mean it should be right,
or you wouldn't do it. So that is such a
tiny thing to be irritated by. And it doesn't irritate
me to the point where I think about it more
(54:09):
than ten seconds. But I do get the question a lot,
like what's something someone does in an interview that's a
bit irritating. It's if they just say the same thing
everybody else says. And when someone says, yeah, it's my
most more personal music yet, they're probably telling the truth.
But they've probably said that multiple times over multiple albums,
(54:29):
And that's a dumb thing to be annoyed by, and
I can freely admit that. But that's it, all right.
That is it for this round of in the Weeds.
Look like we did about fifty plus minutes there. I
add a lot of weeds today, So I'm not sure
who's getting to the end of this. If you're watching
on YouTube, stay weedy. If you're listening in a podcast,
(54:53):
stay weedy. You're write down the comments. Stay weedy, I'll know.
And also I get a lot of this because I'm
trying not to just read the questions because sometimes if
i'm addressing something, it's because I've had multiple questions. I
don't want this to feel like a mailbag. But if
I get a lot of questions or comments about something,
I make a note of it to address. And that's
what I did throughout today. So I'm really trying not
(55:15):
to go what do you think is? I'm just trying
to like have a list and go through them. And
so we had a long list today. But if there's
anything you want me to address, put it into comments.
Appreciate you, guys. There's a long one. Stay weedy, and
we'll see you next time here on the show that
should not be successful, but just kinda is all right byeybody.
Thanks for listening to the Bobby Cast.
Speaker 2 (55:36):
Share this episode with a friend because they don't pay
to advertise us.
Host
Bobby Bones
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Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Betrayal Weekly
Betrayal Weekly is back for a new season. Every Thursday, Betrayal Weekly shares first-hand accounts of broken trust, shocking deceptions, and the trail of destruction they leave behind. Hosted by Andrea Gunning, this weekly ongoing series digs into real-life stories of betrayal and the aftermath. From stories of double lives to dark discoveries, these are cautionary tales and accounts of resilience against all odds. From the producers of the critically acclaimed Betrayal series, Betrayal Weekly drops new episodes every Thursday. If you would like to share your story, you can reach out to the Betrayal Team by emailing them at betrayalpod@gmail.com and follow us on Instagram at @betrayalpod and @glasspodcasts. Please join our Substack for additional exclusive content, curated book recommendations, and community discussions. Sign up FREE by clicking this link Beyond Betrayal Substack. Join our community dedicated to truth, resilience, and healing. Your voice matters! Be a part of our Betrayal journey on Substack.