#512 - HOW HISTORY MISLED US! + Bobby has AI tell him his Strengths and Weaknesses - Bobbycast

Episode Transcript
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Speaker 1 (00:06):
Welcome to episode five twelve. A lot of this is
just me alone, and then Eddie will be on in
a bit because we recorded something called I Think History
may have misled Us. I mean, things we learned that
are historical that probably aren't right, but they're so ingrained
in our brains that we'll always remember that version of

(00:27):
history regardless. So we'll get to that in a few minutes.
I also recorded when I got back from the ACMs
last week. I know we're a week out now, but
I'd recorded some behind the scenes stuff that I'll play
for you guys as well again by myself. But I'm
pretty happy with this episode because I did a bunch
of research on the history may have misled us. And
if you like these kinds of episodes, you can let

(00:49):
me know, or if you hate these kind of episodes,
you can let me know, because I do care, and
all you fifty minuts out there, I appreciate that, especially
when I'm just kind of rolling solo here. I do
have like four kinds of AI that I use. Grock
which is pretty good, which is the Twitter AI Genie,

(01:11):
which is really good for some things. I use Chat
GPT for some things, Chat GBT goes wrong a lot,
but also the most thorough. But I do type a
lot of stuff into chat GPT about my life just
so it kind of keeps a record of it so

(01:31):
well then I ask it questions. It knows a lot
about what's happening already. It's like if I have an
assistant with me and they're constantly taking notes, keeping notes,
and so if I'm like, hey, what about this at
this time? What do you think I should do in
this situation? Like I kind of use chat GBT as
an assistant. I use Genie a lot for research, and

(01:52):
grock or Google if I'm just online looking stuff up.
That being said, I went to chat GBT, which I
type a bunch of stuff in about myself, and I said, Hey,
what are my strengths and weaknesses? And I saw this
prompt online, so I didn't just go to it and
ask that out of nowhere, but I thought it was
pretty interesting. I can read you professional strengths and professional

(02:13):
weaknesses from CHATGBT about me. Number one professional strengths. There
are five of each. Number one relatable communication. You have
a rare ability to speak in a way that feels
personal to millions of people at once. Whether you're sharing
a story, cracking a joke, or giving advice. People connect
with you because you sound like them, and you talk

(02:34):
to them, not at them. That's pretty nice. Number two
self made hustle. You did not inherit fame, you did
not inherit money. You built everything from the ground up.
The grit shows in your discipline, work ethic, and the
loyalty you've earned from your audience. You also understand every
role because you've lived most of them so far. IM

(02:58):
feeling pretty good right because I'm only doing the strength.
Don't worry, we'll get to the weaknesses. Number three multiplatform mastery.
You seamlessly jump between radio, podcasting, TV books, live appearances, comedy,
and digital content. Most people are good at one. You've
turned your voice into a brand across all of them.

(03:20):
Really gassing me up right, feeling pretty good about myself.
Number four high emotional intelligence. You know how to shift
tone when needed, go from light and funny to honest
and raw. That emotional range creates trust. It's why your
interviews feel different from everyone else's. And Number five curiosity
and adoptability. You ask them our questions, but you really

(03:45):
genuinely want to learn that keeps your content fresh, makes
you easy to work with, and ensures you grow with
your audience instead of grow out of touch. Number five
and don't worry weaknesses are coming. Number five is interesting
because I've never felt like I've actually been in touch.
And there will be times people will say, oh, you're

(04:07):
so out of touch now because of one thing or
the other. I've never felt like I was in touch.
I've always felt like I've had like I've always been
the person not invited, and so I've always had a
peculiar outlook on things, or I hold things against people
that aren't fair because I didn't have them, so I
feel like people that did. I've just always felt off.

(04:30):
I've always felt out of touch for different reasons, and
so as I've become more in touch with some things
like having a family, like having a wife having her family,
eventually we'll have our own version of a family. Here
we have the dogs, but they don't even know the
term family. It's like horse racing not a sport. The

(04:51):
horse doesn't know what a sport is, and the athlete
can't not know what a sport is, and it'd be
a sport. I think that's the number one rule. If
your athlete he does not know what a sport is,
it can't be a sport. I digress, But in some
ways I have grown out of touch while also growing

(05:12):
extremely in touch in other ways. But I've always felt
like I didn't belong, even as an adult, even five
years ago, even seven years ago before I met my wife.
But that's interesting, it would say that. Okay, so let's
do weaknesses Number one. Sleep plus exhaustion equals performance risk.

(05:39):
Your job requires you to be sharp, funny, present, but
you're constantly running on fumes. That level of fatigue chips
away at your mental health, creativity, and long term sustainability.
There are simply times where you're not as good as
you are at other times because of this. I think
that's fair. I think where I'm fortunate as I'm able

(06:03):
to lean on others at times. Meaning if we have
a Bobby Cast and I know I need to sit
strap in and I got an hour, and the Bobby
Cast interview process is a very intimate thing because it
literally is me and one person for an hour, no stopping,

(06:24):
and it's about them. And I've got to, regardless of
how tired I am, listen, think ahead, be curious, or
at least present as curious. Some are harder than others,
like summer easier than others. But there are times where
I ain't feeling good or I don't even know what
I just asked, honestly, and that's when I lean on

(06:46):
my d Many times, I would say the same with
Eddie and Amy, and there's a lot of people on
that show, but I don't lean on the others. There
are times where I've had to lean on Eddie, especially
when Amy is gone, when she was physically gone for
a while because she was going through the drama with
the divorce which nobody knew about yet, or her dad dying,

(07:08):
or there was a time where I went to Eddie
and I was like, hey, man, I need you to
kind of be that guy that's just there and is
present and it's paying attention and can give me something back.
And amian that way most other times. But yeah, there
are times where I do get so tired, and not
just from working but also not sleeping, which is awful

(07:30):
that it does affect my performance, no doubt about it.
That is a weakness. Number two, trust plus delegation. Because
you've built so much by yourself, it's hard to trust
people with important parts of your brand, for example, like
hiring ahead of digital. You often default too, I'll just
do it myself, which limits growth and adds stress. Then

(07:52):
it goes back to number one, which is the stress,
the no sleep. That's really accurate. I've had a hard
time at delegating. I've gotten better, and I've taken half
steps back. I've taken two steps forward and two steps back.
We get together the kas attracting no remember that the cartoon.

(08:15):
Think his name was Scat cat Scat cat Cat Scat.
I don't know him and Paul Abdul, that's a jam
back in the day, back when I was a kid.
But yeah, like I think the hardest part for me
was when I hired scoop of Steve was actually letting
him run everything. Basically that's not on the air. He's
handling all sales meetings, he's doing making sure people are

(08:37):
places they need to be, people are on time, everything,
He's handling all of that guest booking, which I used
to do all that. Even giving Ray the board was
hard for me because I'd always run the board, meaning
I sit there with all the buttons to push, all
the buttons, all the sounds everything. So I've taken big steps,
but yes, when it comes to the brand two or
three times in a row doesn't go right, I I'm

(09:00):
just going to do it myself, and then it's hard
for me to relet it go. So yeah. Number three
weaknesses fear of vulnerability around money. Even with wealth, you
sometimes fear financial collapse. That fear can make it hard
to fully enjoy success or take strategic risks that might

(09:21):
be healthy. Number four overthinking intentions. You often wonder why
people like you. Is it success or is it something deeper.
That overthinking can lead to second guessing your own worth
or people's motives in both business and friendships. That's true
because I never really had people like me until I

(09:41):
had any success. It wasn't like I was a cool kid.
It wasn't like I was a hated kid. I was
just a nerdy kid who nobody hung out with. So
started to have some success, people were like, oh, I
like to hang out with you. Looking back, I think
a big part of it now is also that as
I had success, I was around more people that thought

(10:04):
like me or about the things that I thought about.
So my perspective was a bit skewed. Because it was Wow,
this is new, and now people are drawn to me.
It has to be because I'm successful, and I do
think at times that was a part of it. However
it was not all of it. What happened was I
then started to exist in a world that I had
never existed before, meaning just the media world if it

(10:25):
was ready or television or podcasting or comedy. But I
would be around other people that actually enjoyed it or
did it, and I was drawn to them. They were
drawn to me, and I think there was probably a
time where I was like, they wouldn't be friends with
me if I didn't have success, But in reality we
were just at the same place because we were into
the same things. And then Number five insecurity about creative validity.

(10:50):
Even though you've written sucessful books, hosted huge shows, and
built an empire, you sometimes doubt your creative skill. You
doubt your writing, You doubt your joke structure. Your instincts
are usually better than the people you're comparing yourself to.
You know, I some some of those that are the weaknesses.
They did find a way to compliment me still, which
is pretty nice because they know me. Because my friend,

(11:11):
my friend Chack gibbit. So thanks chat Gibbet. So if
you do use it, and you use it like me,
I encourage you to ask it that I didn't make
that up. I saw someone say, ask it your strengths
and weaknesses, and it did. And there's also a lot
about me online. But it obviously reads all of that,
so it's not just what I write, but it also,

(11:33):
you know, does searching the web and then it gives
you all that information. But that was fun, Well, that
was kind of fun. It was right on. So we're
gonna do this how we've been misled by history and
then after if you care, because it's been a week
at least and I just never had a place to

(11:53):
release this. So I'm gonna play back for you the
thoughts and the notes that I took from the ACMs
this year. All right, enjoy, all right. This part of
the episode is called we were Possibly Misled. Now Eddie
does not know anything about this. I brought him in
just to be my bounce back.

Speaker 2 (12:10):
Hey, I love it when this happens.

Speaker 1 (12:12):
Yeah, we've done this a couple of times. One we
did villains that maybe weren't actually villains. That was good,
like history taught us differently. And this one's mostly about
situations that were a little creative with the truth because
we grow up hearing stories that feel like facts. Were
taught it over and over because our parents and teachers

(12:32):
were taught it.

Speaker 2 (12:33):
Yeah Christopher Columbus, Yeah, bad dude, real bad dude. Right,
We grew up thinking that he was the dude that
discovered America.

Speaker 1 (12:41):
Oh, the guy, and I'll get to him.

Speaker 2 (12:43):
Oh he's in the list.

Speaker 1 (12:44):
I believe he is. So these stories all feel like
facts because again they're in our books. Dy'reing pop culture.
We see a flag, we think of Betsy Ross. Hey,
well foreshadowing. Yeah, no, you don't know the foreshadow.

Speaker 2 (12:58):
But I mean there's something there. Now, does she not
do the flag?

Speaker 1 (13:01):
Well maybe when you eat a piece of cake.

Speaker 2 (13:03):
My gosh, Betty Crocker didn't make the cake.

Speaker 1 (13:08):
Well I don't think she's even fighting that. She did
make the cake, really did a great job with it.
So I do want to start with Betsy Ross. And
Betsy Ross did what.

Speaker 2 (13:18):
Saying, ain't so dude. She made the flag. She sewed
the first flag of the United States of America.

Speaker 1 (13:24):
This is pretty much a staple of American history. Betsy
Ross widowed Upholsterer.

Speaker 2 (13:35):
Yeah, did you know that? I mean no, I mean
I figured since she sowed the.

Speaker 1 (13:39):
Flag, I did a little background on her in Philadelphia, and,
according to Lore, sits in her shop as George Washington
himself strolls in and says, miss Ross, would you create
the very first American flag? She humbly suggests five pointed stars?

(14:00):
Now not five pointed stars? Five pointed? Five pointed? Oh,
five pointed?

Speaker 2 (14:04):
Got it?

Speaker 1 (14:05):
Because the star could be I don't know, six, sure,
I don't know. I have never seen three point stars.
What about ninja star? What are they?

Speaker 3 (14:11):
Oh?

Speaker 2 (14:11):
Those are maybe eight? Yeah, she could have picked all
the way around it.

Speaker 1 (14:15):
So she suggests a five pointed star because they're easier
to cut. In my mind, I hear as he said,
it's a great image. But the whole story is almost
entirely built on a family's story.

Speaker 2 (14:29):
What do you mean?

Speaker 1 (14:30):
So the first time the Bettsyer hostel appears is eighteen seventy,
nearly a century after the Revolutionary War, so we're looking
at one hundred years after Her grandson William can be
told the story. At a historical Society meeting, he says
his grandmother told him about it when he was a kid.
There are no official records. There are no letters from
George Washington, there are no receipts, there are no flags

(14:51):
that she ever signed. Love Betsy, there's nothing.

Speaker 2 (14:53):
There is a painting of her so in the first flag, like,
did someone just make that up? I can make one
of those myself right now. Now you're telling me that
George Washington. There was no proof that George Washington, the
first president of the United States of America, walked into
Betsy's upholstery shop and said, make me a flag.

Speaker 1 (15:12):
There is no direct proof like that, and there wasn't
even a story until one hundred years after the fact.

Speaker 2 (15:17):
That's crazy.

Speaker 1 (15:18):
What we do know Betsy Ross, she was a flagmaker.
She made flags for the Pennsylvania Navy, not for the
United States as a whole. But the first flag thing
family lore that is probably national myth.

Speaker 2 (15:33):
Question for you, you think Betsy started that? I mean
say it's false, right, let's just go with a narrative
that it's not true. You think Betsy told her family
members like, I'm pull one on them real quick. Hey,
you know I made the first American flag, right, And
then all the grandkids and everyone started telling them, then
this grandson tells everyone or do you think the grandson
was like, i'll make a good story.

Speaker 1 (15:53):
I'm gonna give Betsy the benefit of the doubt, and
that I don't think she probably was saying I made
the first, but she probably eventually made some flags, and
she probably made early flags. And it's easy too if
you have one of the first flags, or if someone
else made it and took it to her and said,
could you make a bit of this in bulk.

Speaker 2 (16:09):
And you know, bulk not really a term, then I think.

Speaker 1 (16:13):
There probably was something based on the things that I
read that made the family believe she was one of
the first. And they couldn't prove it, So why would
you just not go ahead and say she was the first?
But it was one hundred years after and it was
a family member.

Speaker 2 (16:27):
And listen, don't let a good story get in the
way of the truth. And that what they say, don't
let the truth get in the way of a good story.
That's what it is. I'm dyslexic. Yeah, just switches around.

Speaker 1 (16:36):
Do you like that one?

Speaker 2 (16:36):
That's pretty good. I'm gonna go w she did though,
I'm gonna go she did.

Speaker 1 (16:40):
I'm gonna go if she didn't, because it was one
hundred years until that even existed, that thought existed, and
it was told by a relative. So many conflicts there.
So I'm gonna go Betsy Ross did not sow the
first American flag. Probably did so some flags at the time,
and maybe an occasional American flag.

Speaker 2 (16:58):
Okay, Vincent van Goh, yes, he cut off his ear. Nice,
But did he cut it off or did somebody else
cut it off?

Speaker 1 (17:06):
Well, according to the story, he cut it off, okay,
full ear hawk cut it the ear because he was struggling.
I even went to the exhibit.

Speaker 2 (17:12):
What do you mean he was struggling, like mentally. So
that's that's the story. Tortured artist, mentally tortured. So the
story we know is that Vince Mango is brilliant but
also very troubled, very unstable. He cuts off his entire
ear and he delivers it to a woman. I didn't
know this part. According to the legend, at a brothel.

(17:33):
Oh there we go, one of those girls at a brothel, like.

Speaker 1 (17:37):
Bro don't date a stripper. First thing people tell you
about going to don't data stripper. That's not what they're
there for. Come on, man, you know better never data stripper.
I've heard that from a lot of people. Huh so,
and that ear was a symbol of pain, love and madness.
Except well it wasn't true. We've kind of been misled.

Speaker 2 (17:55):
Oh my gosh.

Speaker 1 (17:56):
Medical records show he only cut off a very small
portion of his left ear lobe. Dude, that's nothing, and
even that part might not have been entirely self inflicted.
Historians now argue that it was actually sliced off by
Paul Galgwin, his friend and fellow artist, during a fight.

Speaker 2 (18:13):
Nice.

Speaker 1 (18:14):
So, first of all, his whole ear wasn't gone. It
was a very sliver of his low.

Speaker 2 (18:19):
The lobe is the little thing where that hangs.

Speaker 1 (18:21):
Yeah, well you get pierced.

Speaker 2 (18:22):
Yeah, and really I mean people, Yeah, people pierced. People
get those big circle ones.

Speaker 1 (18:28):
So the two had a notoriously tense relationship. Galgan was
bad tempered, van Go was struggling mentally. After the incident,
they both covered it up, possibly to avoid scandal, but
the full ear story took off because it was more
poetic and he was struggling and he was an artist,
and it made the Van Go legend grow. It was

(18:50):
click bit, it fit the brand.

Speaker 2 (18:52):
It was a PR move, even back in the Van
Go days, it.

Speaker 1 (18:55):
Made his work more valuable because a crazy brilliant man
is much more interesting than just a brilliant man.

Speaker 2 (19:02):
See that is even that's so more impressive than the
whole ear getting cut off. The fact that this was
PR and that he knew that it was gonna be
better for the image. That's next level man.

Speaker 1 (19:12):
And we do have records that show it was only
a little part of his ear lob. So with Betsy Ross,
we have nothing, yeah, just hearsay, just hearsay to say
she did it. Here we have medical records to show
that it was only a part of his ear lobe.

Speaker 2 (19:29):
When did When was he alive?

Speaker 4 (19:31):
Van Go?

Speaker 1 (19:32):
Yeah, I don't know. Seventeen hundreds, I'm guessing he was
late eighteen hundreds. There you go missed it by one hundred.

Speaker 2 (19:37):
So long time ago to have medical records. PR company
working for him about a.

Speaker 1 (19:44):
Company, but a firm. He died in eighteen ninety.

Speaker 5 (19:46):
He shot himself in the chest.

Speaker 1 (19:49):
He was struggling or did he or did someone shoot
him because they want to be value records now I'm
making it up.

Speaker 2 (19:55):
And him and his buddy were fighting over a chick
at the brothel. That's what it was.

Speaker 1 (19:59):
It never dated.

Speaker 4 (20:00):
Hang tight, the Bobby Cast will be right back. Welcome
back to the Bobby Cast. Thomas Edison invented the light bulb.

Speaker 2 (20:11):
Correct, I mean that's a fact.

Speaker 1 (20:13):
We love to crown historical geniuses. Yes, Edison, the king
of invention. I watched what did I watch recently? About inventions?
Because I told you and you had known the answer
about the horse the first pictures, the first motion picture
was a horse running. Yes, what show was that on?
But I watched some documentary. I feel like it was

(20:34):
a TikTok It could have been now shows on TikTok's
all blur.

Speaker 5 (20:38):
Also at the beginning of the movie, note by Jordan
Peele's say what they opened up with?

Speaker 1 (20:42):
Yeah, that wasn't it. But I remember the whole thing
was about Thomas Edison actually just patenting a bunch of
stuff and said he invented it. Yeah, which was because
he was a crazy businessman, like a crazy businessman, so yes,
which he did that with a ton of things. So
Thomas Edison was a genius, but was like a b
business man genius. The idea of a light bulb, which

(21:03):
was passing electricity through a filament, was already being worked
on by people like Sir Humphrey Davey, Warren de LaRue,
Joseph Swan and Britain. Swan even had a working light
bulb way before Edison even said anything about it.

Speaker 2 (21:14):
Who is that Swan? Gosh, that's the.

Speaker 1 (21:17):
Guy, Joseph Swan. Edison's real invention was making it last
longer thanks to a carbonized bamboo filament, and then making
it marketable. He also tried to sue his way into
exclusive credit, which he did a lot.

Speaker 2 (21:31):
Just now you want everyone to think that he's the
one that invented it.

Speaker 1 (21:34):
Man, I watched some documentary about all this and I
do not remember what it is. He fought Swan and court,
he lost in England and eventually had to merge their company.
So Edison was smart, but the idea of the invented
of the light bulb from scratch did not happen. It's
like giving Steve Jobs credit for creating Apple. Sure he

(21:55):
was one of the people, but he wasn't the code
or the computer guy. He was a marketing guy.

Speaker 2 (21:59):
Right, But who do you think of created creating Apple?
Steve John Steve Jobs one hundred percent? There we go.

Speaker 1 (22:04):
Here's another one. Napoleon was short.

Speaker 2 (22:08):
Yes, that's a fact.

Speaker 1 (22:10):
Have a Napoleon complex.

Speaker 2 (22:11):
Yes, that's a little man complex.

Speaker 1 (22:13):
Right, So it's you're little, so you're going to be
extra to proved of the world that you're not weak
because you're little. So Napoleon complex does suggest just that
that short men try to overcompensate with aggression. Napoleon wasn't
actually short.

Speaker 2 (22:26):
What he was even shortened?

Speaker 1 (22:27):
Bill and Ted's that's true. He was about five to seven,
which was average height for a Frenchman in the eighteen hundred's. Oh,
the myth of his short stature comes from a unit
conversion mistake. First off, French inches were longer than English ones.
That's always my excuse and no, no, no, trust me, and

(22:51):
British newspapers exploited the difference to Mockham, so it was
bad pr Wow. They were using that to make him
look weaker by being smaller. When he appeared in public,
he often stood with his imperial guard. What's the thing
you've seen about imperial guards?

Speaker 2 (23:06):
Uh, they're the ones like they're just the ones like
then stand in front of the palace. Sure, they're just
straight up, they're massive they're huge, so they have on
all the metal and or the.

Speaker 1 (23:20):
Fatigue type thing, but they're they're massive, they're guards, so
that would also make him look small in comparison, So
it was basically propaganda buy his enemies. He was of
average hied he was five seven. He's taller than Ray
is here on our show and the French to English conversion,
but again back then average height, so he was not small.

(23:44):
But once they could get that out, they continue to
beat that drum to make him look weaker.

Speaker 2 (23:48):
We've been lied to another one or now, of course
I love these I got a couple more.

Speaker 1 (23:54):
The Right brothers were the first to fly.

Speaker 2 (23:55):
No, that's that's one hundred percent factual.

Speaker 1 (23:57):
And where did they fly? Do you remember?

Speaker 2 (23:58):
Uh? Yeah, kit Hawk correct, North Carolina.

Speaker 1 (24:01):
In nineteen oh three. The Wright brothers made history in
Kitty Hawk, North Carolina.

Speaker 2 (24:05):
It's on the license plate. Still we all thought they
were the first to fly. Please tell me they're please
don't say that they're not, and.

Speaker 1 (24:12):
Turned into the room.

Speaker 2 (24:14):
Gustave Whitehead, Oh, mister Gustave Whitehead.

Speaker 1 (24:18):
A German born aviation pioneer who flew a powered aircraft
in Connecticut in nineteen oh one. Now you say nineteen
oh one, when did the Right Brothers fly Kittyhog, North Carolina?
Nineteen oh three?

Speaker 2 (24:31):
Oh boy, were they there? Did they hear about it?

Speaker 1 (24:34):
There are newspaper articles from the time describing a successful flight,
eyewitnesses diagrams. You haven't heard of him because the Smithsonian
Institutions signed to deal with the Right Estate. No a
worrying to credit them as the first in order to
display their plane. No way. If I were a whitehead,
I'd be so pissed. They literally locked in the story. Dang,

(24:57):
you're giving us the plane. We now say this is
the first place I never flown.

Speaker 2 (25:01):
That is crazy, even though Gustav was the first dude allegedly,
I mean according to yes.

Speaker 1 (25:08):
So while Orvill and Wilbur.

Speaker 3 (25:09):
Were for sure pioneers, Orble and Wilburg, it's possible that
history gave them the gold medal, even though I know
we're second or third.

Speaker 2 (25:20):
This is just like the race to so many things, right,
like all of these that you mentioned, I mean, not
not every single one, but like the Edison one, it's
just a race. It's a race to put on the
stamp and lock it in that you this was your
idea that You were the first to do this in
a time where there weren't really there really wasn't documentation.

Speaker 1 (25:40):
Even if you weren't, it was just do it and
it can be documented so you can show people if
they fight you about it.

Speaker 2 (25:45):
You could have seen it happen with your own eyes,
roding your horse to your village cell phone to record
it and publish it first. And now you're the you're
the one that first did it. That's crazy.

Speaker 1 (25:56):
You mentioned Columbus.

Speaker 2 (25:57):
Yes, Christopher Columbus from Spain fourteen ninety two sailed the
Ocean Blue.

Speaker 1 (26:04):
And completely missed what is now the United States. He
landed the Bahamas and later in parts of Central and
South America, but never set foot in North America. As
far as discovering America, leif Ericson beat him there by
five hundred years. And that's like, that's Canada, that's North America.

Speaker 2 (26:23):
What's his name? Lee?

Speaker 1 (26:24):
What Leaf Garrett? Leif Garrett was the kid lou Gar. No,
Leif Garrett was like the kids singer from like the
seventies and eighties. Leif Ericson was the explorer, beat him
by again about five hundred years and landed in what
is North America in Newfoundland, Canada.

Speaker 2 (26:41):
But so still not America.

Speaker 1 (26:43):
No Columbus got to South America, but leef Erikson beat
him to even the north the whole continent.

Speaker 2 (26:49):
So Columbus hit the Bahamas and then went to South America,
didn't it never even came to America. So well, is
it is it a case of where they just hit
land in the Americas since it's North America, Central America,
South America. It wasn't called that though then Okay, well
he definitely didn't discover.

Speaker 1 (27:07):
This because America is named after America of Vespucci, right,
and it wasn't named that at the time. The people
that are already living there the islands where Columbus landed
his boat, millions of indigenous people they actually discovered even
that land obviously. I mean they were sure they were
born there. They had been thriving for thousands of years.

(27:29):
He wasn't even the first European. He was just the
first on whose voyage was profitable for the Empire and
then documented. Well enough there go document said it's just
going like I did it. You have to put that
stamp on it that you did it. Then history takes over.
If we just would have had a couple of indigenous
people with cell phones back then. They could have showed
us he's a bad dude too. They like raped pillage

(27:50):
that took the land over, But he never was. Columbus
did not discover America. And if you're like, yeah, you
went to South America, okay, well then you have to
count North America and leif ericson found where Canada is.
South America's not think the same content as North America.
But you can put all Americans together.

Speaker 2 (28:07):
Where do you stand on changing you know, textbooks and
teachings of all this stuff. The more we find out
real things.

Speaker 1 (28:16):
Like this, well, I think it's interesting because textbooks aren't
really books anymore. It's all online.

Speaker 2 (28:21):
Yeah, I guess that's why.

Speaker 1 (28:22):
So it's very easy to change. And I think since
it is so easy to change with things that are
more true, I think we should constantly be evolving our
truth with the truth. If it weren't a book, and
you and schools are struggling financially and it's like we
should change a book every time, I would be like, no, financially,
that doesn't make sense. Yeah, But I think because this
can be changed and taught very easily, with a simple

(28:44):
control a select delete control copy paste from the Yeah,
I do. I think we're constantly, even in science, we're
learning things that are different all the time. We change
that constantly. Yeah, so, yeah, I think so Columbus never
was in America.

Speaker 2 (28:58):
Yeah, that one. I knew a lot of my blowing
things in this list.

Speaker 1 (29:01):
Albert Einstein you've heard have you ever heard?

Speaker 2 (29:03):
So?

Speaker 1 (29:04):
There was a couple Michael Jordan didn't make his high
school basketball team. You ever hear that one?

Speaker 2 (29:08):
You ever heard that?

Speaker 1 (29:08):
But he was in like ninth grade. They'd leave out
the stuff. Yeah, and that Albert einstein Feld math.

Speaker 2 (29:13):
I've heard that.

Speaker 1 (29:14):
Yes, so I've heard that too. It's like, don't worry
if you're bad at math. Einstein Feld math too.

Speaker 2 (29:18):
Hey, that sounds good.

Speaker 1 (29:20):
It's a very comforting story, but it's completely false. Einstein
was Einstein was a math prodigy. At twelve, he was
studying algebra and calculus on his own. At fifteen, he'd
mastered college level geometry. The myths started from a misreading
of a school transcript in Switzerland. A one was the
best grade and six was the worst. Someone reversed and
thought it was different, and they thought the high was

(29:40):
the low and the low was the high, and they
saw the low, which was actually the high, and they
gave them the low. So Einstein didn't fail math. Yeah,
your math problems or your math problems regardless.

Speaker 2 (29:50):
Leave Einstein out of this. Yes, the crazy too. Did
you know he died in like the fifties. Yeah, Like
you think of Albert Einstein and this is he probably
hung out with Tomas Edison. Not true.

Speaker 1 (30:02):
The two I think of in that world are Einstein
and Pablo Picasso, because he sounds like some fifteen hundred.

Speaker 2 (30:08):
He was big in the sixties.

Speaker 1 (30:09):
He died in like the sixties and seventies, maybe even
nineteen seventy eight or something that's.

Speaker 2 (30:12):
Crazy seventy three.

Speaker 1 (30:14):
Yeah, but Einstein, I knew. I've seen him in enough
black and white pictures. But secondly, whenever we watched that
movie that was about the atomic bomb, Oppenheim, Yeah, terrible.
He was basically in it. I was good.

Speaker 2 (30:26):
Too much dialogue for my taste.

Speaker 1 (30:27):
I'm gonna bring out Marie an Toinette again because we
had talked about her before where she's a villain and
I'm like, I don't know, guys, she came from a
bad situation, and so her line let them eat cake
is basically.

Speaker 2 (30:41):
Snob let them eat cake.

Speaker 1 (30:43):
Like snob central. The phrase first appeared in a book
written before she was even queen, that let them eat
cake phrase, and it was attributed to an entirely different
French noblewoman. Historians believe it was usual as propaganda during
the French Revolution to vilify her. Marie Antoinette was out
of touch. I can agree with that because she was rich. Well,
she wasn't until she married in to a guy she

(31:04):
didn't even want to marry. She was a kid ripped
out of her home. But the cake quote was slander,
invented to chop her head off, because that's what happened.
They chopped her head off.

Speaker 2 (31:13):
Oh they're brutal.

Speaker 1 (31:15):
Back then, I have two more.

Speaker 2 (31:18):
They would chop people's heads off, and it was an
event on a whim, But I also want a whim
like that too, Yeah, like I'm the king, I don't
like you.

Speaker 1 (31:26):
You littered bad shirt chopped their heads off.

Speaker 2 (31:29):
Because it also too was entertainment for the whole town, like, hey,
they're gonna chop someone's head off at noon, let's go
I know, yeah, good point, And they all watch it.
Like it's a super Bowl.

Speaker 1 (31:36):
Yeah, good point. I wonder if in like one hundred years,
it's like, yeah, they got into a stadium and just
ran each o their head first and gave themselves brain
damage over and over and fifty thousand and seventy thousand
people watching.

Speaker 2 (31:46):
Them were like, yeah, yeah, yeah, they would eat chicken
wings while watching this.

Speaker 1 (31:49):
Yeah, while watching people damage their brains. Shakespeare, I'm a
big believer that Shakespeare was a complete fraud. What do
you mean, I've heard these stories forever. It was a playwright,
I don't think. First of all, if you look back
at Shakespeare, nobody in his whole house could read. Oh no,

(32:09):
he couldn't read. He wasn't like from a rich parts.
I didn't have good, good education.

Speaker 2 (32:13):
Okay, so.

Speaker 1 (32:16):
This is a big rabbit hole. One and a bunch
of really famous people have spoken out about this. To
even Mark Twain, who's not alive now, was like, Shakespeare's
a fraud. He said that, yeah, but also that could
have been hater from.

Speaker 5 (32:26):
From author to Oh yeah, yeah, that could have been hater,
Like plays are trash.

Speaker 2 (32:30):
It's like Drake and Kendrick.

Speaker 1 (32:32):
Yeah that was the first, but one was alive and
then one wasn't. But when I say Shakespeare, what do you.

Speaker 2 (32:36):
Think Roman and Juliet wrote it?

Speaker 1 (32:40):
So playwright invented hundreds of words too, like phrases, new words, tons,
and I can't Michae, will you look up all the
words that Shakespeare invented? Finger quotes you think, you think,
but they were put into his play. So but but
these were like crazy words we use all the time.

Speaker 2 (32:54):
Now you think he'd be proud of cap No.

Speaker 1 (32:57):
But some of the stuff we use all the time,
Like what Michael them up? Because I read like twenty
of them, Like, oh yeah, we say that all the time.
Let me read this. He had no university education. He
was born to a glovemaker in Stratford. He wrote detailed
plays about royalty law, medicine, foreign affairs, ancient history, but
had no experience of being around it or knowing it.
So how do you know the integral if you can't read?

(33:20):
So you're not even reading books about it to give
you all these ideas.

Speaker 2 (33:23):
But he could write, Okay, how can you not read
and be able to write? Well, no, no, that's what they're saying, right,
So what if you had someone else write it for him?
But if it is out there like a ghostwriter.

Speaker 1 (33:33):
Well, there are people who they think actually were Shakespeare.
So and I can walk through some of these theories.
Some scholars argue that he didn't write them at all.
So there are people Edward de vere the Earl of Oxford,
Francis Bacon, or even a team of ghostwriters. There's no
evidence Shakespeare even traveled ever outside of England. Whoa no
surviving manuscripts in his handwriting. He left no books and

(33:55):
his will, and the two theories are one. Shakespeare was
an amagamation of all of these people that would write
and use Shakespeare because it wasn't looked at as something
that royalty should do, like writing a play was not
seen like what I compare to now a basement concert,

(34:17):
a gross basement concert, Like you didn't really do that.
That's what the peasants did. Now, if you write a
movie or you're a great writer, it's cool, it's celebrated,
it's yeah. But it wasn't then.

Speaker 2 (34:29):
Just because it was creative.

Speaker 1 (34:31):
They think it was either a person that was royal
that wrote and just used Shakespeare so he could get
it out or she could get it out, or it
was a bunch of like collective writers, and they just
use Shakespeare as the person that could publish their collection
of writings altogether. But the interesting thing, and I don't

(34:51):
have the exact age on this, but Shakespeare died or
excuse me, he retired and like at like thirty something
and then never wrote again. But the same time, and
there's a couple of these guys that died right around then,
and they're like, oh, that was a real Shakespeare. Because
he died and Shakespeare couldn't write anymore. It's a pretty
common theory that Shakespeare wasn't actually Shakespeare.

Speaker 2 (35:08):
I mean, I can get on. I can get on
with this one. I mean, I feel like this one
could totally just be real.

Speaker 1 (35:13):
And again, there was no evidence of him traveling, of
him having any education learning about law or medicine or
foreign affairs. Not only that, no books, no handwriting, nothing.

Speaker 2 (35:26):
But why would they choose him to be the publisher,
the so called owner of these things.

Speaker 1 (35:32):
Could have been a great dude, and they're just like, hey,
we like them.

Speaker 3 (35:35):
No, not even that.

Speaker 1 (35:36):
It just could have been a very un liked guy.
I don't have a d at that answer.

Speaker 2 (35:40):
That locked out.

Speaker 1 (35:41):
I don't think he made a munch of money. Oh really,
I don't think I mean.

Speaker 2 (35:45):
Goshn't think about does he have an estate? Like is
there a public domain?

Speaker 1 (35:50):
By now he's public domain for sure. You can do
any of that. My words Shakespeare invented some really common ones.

Speaker 5 (35:55):
Also have some phrases, words like addiction, but dazzled, eyeball, swagger, lonely, gloomy, majestic, zany, critic,
and eventful, and then phrases like break the ice, wild goose, chase,
Heart of gold, Heart on my sleeve.

Speaker 1 (36:09):
Wow. All that stuff was used for the first time
in his plays Good Riddance, so so, but dazzled. I
like that he invented knock knock? Who's there in a
pickle cap?

Speaker 4 (36:20):
I'm starting to believe this ain't real lit the Bobby Cast.
We'll be right back. This is the Bobby Cast.

Speaker 1 (36:29):
Okay, I have one more. Who drew Mickey Mouse?

Speaker 2 (36:33):
Walt Disney did. Absolutely, He was the creator of Mickey Mouse.
He even had a little relationship with him. Sexual No, no, no, no,
they were just friends. Walt Disney is the face of
the entire empire. But he did not draw Mickey Mouse.
He said he did.

Speaker 1 (36:46):
The actual drawing was done by you. It works. Walt's
top animator and lifelong friend, Disney came up with the
idea and voiced Mickey, but when he came to pencil
and paper, that was spelled U be no way. Overtime,
Disney became the brand, the icon, the man who made
the mouse, but the mouse was actually drawn by somebody
who spent his life in the shadows. Yeah.

Speaker 2 (37:03):
See, I believe that too, because Walt Disney's such a
good businessman. Yes, he was creative or whatever, but he
built the empire that we called Disney.

Speaker 1 (37:13):
He built that city.

Speaker 2 (37:15):
You know, like I don't see someone Usually the creative
isn't the really really good businessman who's gonna create the empire.

Speaker 5 (37:23):
This is also a big debate with stan Lee because
he's credited with a lot of superheroes. But he comes
up with the ideas, but he has artists who actually
draw the design, so it's like who actually created them?

Speaker 1 (37:35):
Well, I would say, okay, I'll give a bad, bad,
bad example my kid's book Stanley Dogg first day at school.
I didn't draw that crap. I can't draw It's awesome.
She did an awesome job. I can't when I draw
it. It is crap. Uh, but I don't claim that I
created the drawings. It even says literally says illustrated by yea.

Speaker 2 (37:52):
So did they say that in the movies Mike, where
it's like stan Lee film but also created Spider Man.

Speaker 5 (38:00):
And he came up with the idea he saw a
bug crawling on the walls, like they should create Spider Man.
He went to an artist called Steve Steve Didko who
actually drew Spider Man. So then they had a big debate,
and now he gets credited too. It's like Steve Didco
and stan Lee, but for the longest time it was
just stan Lee.

Speaker 1 (38:16):
He deserves to get credit. Stan no Steve gipmoh, did
go yeah? He credit now but did go yeah? So,
and I think too, I think some nuance can be
used in these situations. If stan Lee is literally going,
I can't draw, but I'm gonna give you all every
little element of it.

Speaker 5 (38:32):
That's how they create comics. He comes up with the
character and the story, and he has the artist designed
everything and draw everything like from their own mind.

Speaker 2 (38:38):
Yeah, okay, the artist is absolutely half the creator of that.

Speaker 5 (38:41):
Then he developed what's called the Marvel method, where we
are like, okay, I got these characters. Here's the idea,
here's the story. You draw all the frames and fill
in the gaps.

Speaker 1 (38:49):
So that's a co write.

Speaker 2 (38:50):
But what about like an architect and.

Speaker 1 (38:51):
A builder, but the architects as really but also architects
not getting publishing forever on that house. True, like writing
a song or intellectual property true, because a building is
not intellectual property. A building is just property.

Speaker 2 (39:08):
I just feel like that's kind of the thing with
so many businesses like McDonald's. You're like, I want a
restaurant with the best fries in the burgers. You're a
great cook, do that for.

Speaker 1 (39:16):
Me, But you're only doing the cooking though you're not
doing that. He's creating the character you're talking about. Didco
DIDCO create actually Drew spider Man?

Speaker 2 (39:25):
Yeah, that's not cool.

Speaker 1 (39:26):
The difference would be without Dico, none of that happens,
or whomever Dicko is. He's got to find somebody to
do it, or it never happens. Like writing songs in Nashville.
Let's say you have a song idea and you're like,
got acoustic and I've written the whole song and I'm
playing all the chords on the acoustic and then you
bring the band in and they're playing little solos over it,

(39:47):
and what if we change the drums up? You didn't
need specifically those people to do that. But if you're like,
I have all the lyrics to the song, I kind of,
but somebody else comes in and goes, you know, let's
go this bridge should now be this? What do you
and what if you didn't start it like this, but
hit let's use this melody. You're now a co writer
on that song, sure, because nobody else could have replicated

(40:09):
what that other person did.

Speaker 2 (40:10):
Yeah, you changed the song.

Speaker 1 (40:12):
So yeah, justice for Mike Dicka.

Speaker 2 (40:15):
Steve did go whatever what.

Speaker 1 (40:17):
If we've now gone to fully like dissing him too? Yeah?
I overrated? What if?

Speaker 2 (40:22):
What what if you sit there like what if stan
you're stan Lee or just go back to Disney you're
Walt Disney and you're like, all right, I want a mouse,
and you sit next to this artist and explain everything
that this art is different.

Speaker 1 (40:33):
That would be like you wrote the song and you
have it all, and you have the chords and the progression,
and you're bringing in players to actually play and record it,
but they're adding little elements to it. He could have
got ten different people that were talented as artists as
illustrators to say and do exactly what he did. But
because he didn't tell him exactly what to do, he

(40:53):
just described his vision and said I need you to
add because there's so much creative creativity that goes into
the drawing that he probably didn't even mention. He gave
a Macro and got Macro and micro Steviet, did Co
came up with the colors, the blue and the red trade,
did cow that's my new justice for give you another
example place the creator of Pokemon.

Speaker 5 (41:11):
He worked for a company called game Freak, and he
had this idea since he was a kid. He didn't
get really credit for creating Pokemon as far as monetary
value because he was working for that company.

Speaker 1 (41:21):
They own it, Okay, so I guess I would need
to know.

Speaker 5 (41:27):
He was just an employee there and they're like, we
need a.

Speaker 1 (41:29):
New video game. So idea, this is different, this is
what I want to make.

Speaker 5 (41:33):
But he like, it's a bill one of the biggest
media franchises in the world.

Speaker 2 (41:37):
It's the employee deal though sort of.

Speaker 1 (41:40):
So this is different. If you are hiring somebody and
they know the intention is to come in and create
under your umbrella, and whatever you create is theirs. I here,
here's an example. I work for a company. I create
all kinds of crap all the time. I don't own it.

Speaker 2 (41:56):
Yep.

Speaker 1 (41:57):
Like I sit here and I create some good craps
and bad craps and middle crap. My brain is working
all the time to think of show ideas, concepts. I
don't own it. So the Pokemon guy, depending on his contract,
if it was you create for us and we pay
you and you own it, or you don't, you buy

(42:19):
buy it, because I do. If I were to quit
this job today, I cannot. I don't own this audio
because I work for a company. So I would say
that I don't know his contract terms, but I would
say that would be the difference in that if it
were I signed a company with Mike Ditka. What's a
company called game Freak exactly, it's a different, different one.

(42:40):
In game Freaks company was, Hey, you're going to come
work here and you're going to create under us. Any
electoral property you create under our watch, is we own it.

Speaker 2 (42:46):
That's what he did.

Speaker 1 (42:46):
He created video games.

Speaker 2 (42:47):
Yeah, yeah, but they own it.

Speaker 1 (42:49):
They own it.

Speaker 5 (42:50):
Ninety two billion dollar franchise he's worth about ten fifteen
million dollars.

Speaker 2 (42:53):
I mean, they they probably treated him well, you know,
got on a parking spot.

Speaker 1 (42:58):
Who knows, I don't know. But still that's that's this,
it's you know what I would relate it to again,
and this is controversial, but Cheetos. Oh, I don't know
that story ahead. I like the janitor that Cheetos. I'd
be curious to have you tell me that. In a second.

Speaker 2 (43:14):
I don't think he did really well, there's that too, right.

Speaker 1 (43:17):
This first, go ahead? What's the Cheeto story? He the
legend is that he created Cheetos. He was a janitor
there and.

Speaker 5 (43:22):
Had the idea for it and flaming hot Cheetoh yeah,
flaming hot Cheetos. That he's like, hey, we have this
new flavor. We need to bring this to the company.
And he's been like touring that forever motivational speaker of
how I went from the janitor to being overseeing of
Cheetos and creating the flaming hot Cheetos. But really they're
already working on it, and do we know that? Yeah,
they were testing it. They even in the movie they

(43:43):
made about him, they were like, yeah, they were already
had it in the lab. It was just him more
so marketing, saying Hey, we have a whole Hispanic community
that would love this, we should market it towards them.

Speaker 1 (43:53):
Really more than marketing. I didn't even Lengori do a
movie on that. Yeah, on whose side was she? On?

Speaker 2 (44:00):
Y Janitor?

Speaker 1 (44:02):
Even though it seems to be.

Speaker 5 (44:03):
An act, even though they put that scene in the
movie where they're actually already testing it and they tell
them like, we're already kind of working on this.

Speaker 1 (44:09):
But kinda, and he was the one that kicked it over.
But if and again I would and again I don't
know enough about it to but if he works for
them but not in the capacity of the creation, and
he creates something and they use it, that's different.

Speaker 2 (44:20):
I mean he was employed by Freedom Lay.

Speaker 1 (44:22):
And do you think he gave them like any extra
they didn't already have.

Speaker 5 (44:26):
Because he was working on it in this kitchen, tried
all these different formulas and then went to them with
here is the flaming hot Cheetoh.

Speaker 1 (44:33):
So probably he didn't create the whole thing, but he
ended up improving their product, which he They probably took
his intellectual property and claimed they already had it all.
I'm speculating a guess.

Speaker 5 (44:45):
And then they didn't really tell him to stop like
spreading this thing. They're like, it didn't really hurt it,
like if anything, get kind of helped. But later they
came out and said, like not really true, Like we
just didn't really see any harm in him doing this
whole thing. And I would like decide it that he's
a Mexican guy. It's inspiring to me, but when you
look at the facts, then really created the story.

Speaker 2 (45:04):
Was that he found a bunch of Cheetos that weren't flavored,
you know, like the actual popcorn.

Speaker 1 (45:09):
Part before the even the orange or even the cheese
was put on it.

Speaker 2 (45:13):
So he had a lot of that, took it home
and said, let me try to spice this up and
perfected this flavor that we now call flame and hot Cheeto,
then proposed it to the higher ups.

Speaker 1 (45:24):
They loved it.

Speaker 2 (45:24):
He was already employed, and then they gave him a promotion,
so he went from janitor to executive but doesn't own
any I think it was.

Speaker 5 (45:33):
Also like head of marketing something too, and specifically to
like the Hispanic community.

Speaker 1 (45:37):
Can't two things be true? Meaning they were already working
on it, and he worked on it himself, not knowing
they were working on it, and created a really cool taste.
And what he did actually was a great addition that
like they learned and were like, oh, wow, this is
actually good. We can use this as well. And so
he didn't admit the flaming hot cheetoh, but he actually
probably improved it. So he didn't create it, and they

(46:01):
also didn't make him the creator because they could say, no,
we've already created this. So it seems like maybe he
got screwed a little bit. But he also got to
promote like two things can be true at once in
the situation without knowing enough about it. I would bet
that's what happened.

Speaker 2 (46:13):
And the marketing of a janitor of creating this product
is pretty.

Speaker 1 (46:16):
Good, especially if it's a Hispanic product. There are marketing
to Hispanic people boom, And I don't know if that
was fully true, was it? Yeah? It was a hispanically marketed.

Speaker 2 (46:23):
The first places they would put it in was Hispanic neighborhoods.

Speaker 1 (46:26):
That's where it popped off first. Yeah, Then if I
were just guessing, that would be what happened. Because if
they were working out and they had proof, great, and
if he was working on it and he didn't know
they were great. They probably said, Okay, we can use
this to our advantage and there's something about this that
we should also use. And then I have to pay
for it because they can claim they already had it
because they're not going to show the ingredients, they're not

(46:48):
gonna show they're not going to show you how they
made it. They can just say yeah, we're already doing it.

Speaker 2 (46:51):
Then why go back and be like, ah, start is
that true?

Speaker 1 (46:53):
Because when it becomes a movie, it starts to make
the company look really bad. It does then get bigger
because social media year was this when he did it? Yeah, okay,
so pre social media it wouldn't spread. Who cares? And
they didn't say.

Speaker 5 (47:06):
Anything until the movie came out a couple of few
years ago.

Speaker 1 (47:08):
Yeah, because that is a company hurder. That hurts your
company a little bit.

Speaker 2 (47:12):
It's a good movie. You should watch it now. I
don't want to watch it. We just did it.

Speaker 1 (47:16):
The one comparison that I was going to make was,
and it's a controversial thing is whenever an artist like
a Taylor Swift goes, hey I own my music, I
created it, and you go And I could go back
to me here, you wouldn't have been able to create
that music, nor would it have been as successful the
way it was. It could have been a different way

(47:36):
as an independent artist, but even it was impossible as
an independent artist to make it. Then they paid to
have the music done and paid you, but they also
had to pay a promotion team. They also had to
pay record executives. Yea, they also had to pay a
ton of money to make that money. So even though
you create it with your brain, you don't really own it,
like I don't own many things that I've said, because

(47:59):
they are paid me to perform this service, which is
to create using my intellectual self. So if you're like, well, no,
she created or she owns her own music. It doesn't
have to be heard. It can be any artist it
does this. You wouldn't have had that music blow up
like that had it not been for all of the
resources they put into the people that were spreading that music. Now,

(48:20):
it's not to say the music wasn't awesome or wouldn't
have made it, but in that situation, it that's not
the world you live in, unfortunately.

Speaker 2 (48:26):
Yeah.

Speaker 1 (48:27):
So if you signed to a label and they pay
you or pay for the music, to be made whatever
the deals to that contract are. And if you go well,
so and so Taylor, for example, was a kid, okay,
but she had her dad who was part of it all,
and she had representation. It's not like they found a
kid off the street made or signed papers that's not legal.

(48:48):
That's literally not legal. So that is that's a problematic
situation for companies. Yes, to just go well, if they
created it, they own it, even though the company it
poured endless resources into it to make it as popular
as it was. Straight Mike Dica came up, Dude, that
was awesome.

Speaker 2 (49:06):
Now Sam did go right? Steve did go so close?

Speaker 1 (49:12):
We love Steve Dica Okay, cool, yeah, fine, yeah.

Speaker 2 (49:15):
Man, good list. I like that. Thank you. A little
disappointed in things that I thought.

Speaker 1 (49:18):
Yeah, it's all sad. Yeah, well I forgot about that part. Yeah,
we're definitely worse people than before we started, and we
believe in just a little less.

Speaker 4 (49:24):
But yeah, thanks Hank Tight. The Bobby Cast will be
right back. This is the Bobby Cast.

Speaker 1 (49:31):
Okay, So it's Sunday as I record this, So as
of right now we're looking at this Sunday, May eleventh,
and the ACM awards were at Thursday night. My mine's
a bit of a blur because we did iHeart Country
for two days maybe I guess three days in total.

(49:53):
There was a home for one day and then had
to go to Dallas because rehearsals were on Tuesday for
a Thursday night show. But on Wednesday night I did
a Brooks and Tribute a gala, and that galla was
to raise money for Lifting Lives, which is the philanthropic
part of ACM, And so they asked me to come

(50:13):
and host it and tell some jokes. And I know
those guys pretty well, so I went roast, and so
I didn't really know what the room was going to be.
And I will say when I first went out and
started telling these jokes, it didn't go as wonderfully as

(50:33):
my mind told me it might go, because the people
in the room weren't there to watch jokes. And it
was following an auction which went on for forever. I
didn't know that, but the auction was like, all right,
three hundred dollars, three hundred dollars two and with forever
people were just ready for that to be over. So
next thing you know, you got a guy they're talking
telling jokes, and it was roundtables and the three back

(50:57):
doors were open, and there was a bar people going
to and fro the bar. That woe didn't throw me
off so much, but it was not a receptive audience
at first. Now where my lack of preparing and being
a professional roaster slash hoster comes into play is that
I put all my jokes that I wrote in the prompter.

(51:20):
Why that's bad is you can't get to the next
thing to talk about if you don't roll through that thing.
It's not like a Ted talk or a PowerPoint where
you can use your thumb and just go to the
next joke. There's somebody running the prompter. Because there was
also some business that I needed to say, and there
were some things about the ACMs and Ronnie Kick cause
they wanted me to say, which is great. But I

(51:40):
had like eight or nine jokes written and if I
thought to myself, well this is not going well, I
need to abort mission, I couldn't because I couldn't roll
past the jokes to see the rest of the stuff
that I had to do. So when I went out
and told these first jokes at first, people were like, dude,
shut up a couple in I got some good chuckles

(52:00):
because I committed. I think had I had the opportunity,
I would have bailed, or if I had to memorize
the jokes, I would have bailed. And maybe i'd done
a little later. I don't know, but I didn't because
I was committed, because they were in the prompter, because
I'm an idiot, so I can just read you some
of the jokes from the roast, say, everybody on Bobby Bones,
you might know me from my radio show winning Dancing

(52:22):
with the Stars, or how most of America owes me
the gas station version of Ryan Seacrest, and that got
a little laugh. But tonight, I'm here as a host,
and I'm here as a fan, which is why I
wore clone ironed my pants and text their manager Clarence
fourteen times to make sure I was still on the
list to get in. Now, Clarence was sitting right there
in the front of the stage, and Clarence is their manager,

(52:46):
kind of famous in the manager world. So I told
Clarence that I was going to roast the guys a
little tonight. He gave me in the green light, but
also mentioned that if I go too far, I may
not be invited back. So I guess tonight we'll call
this my farewell set. Oh that didn't go so great,
probably because it wasn't that funny. I'm not even blaming
that on the crowd. Too many Clarence jokes, too inside

(53:08):
and not that funny. But the difficulty in doing jokes
that are for one event is that you can't practice
someone anybody like I didn't get to go and before
I recorded my special, I toured like fifteen theaters and
I could tell what was good, what wasn't, and I
knew it would get laughs and what it I need
to work on because I got to do it over
and over again. The difficult, but also the thing that's

(53:29):
the most exhilarating is telling a joke that no one's
ever heard. But I'm doing like eight or nine or
ten jokes in a row that no one's ever heard.
All right, back to the jokes, now, listen, these guys
are country music legends. Brooks and Done were gods to
be growing up, But now that I've gotten to know them,
I've seen things like Ronnie trying to open a PDF.
Turns out there's still country music gods, but with tech anxiety.

(53:53):
This Okay, fine, I was wearing Ronnie's jacket. This is
me talking to you, not the joke. I was wearing
his jacket from Brooks and Done in like the nineties.
So when I say that I have on this, yeah,
there's some kind of patterns all over. It wasn't only flames,
like vines or something. I don't know. Ronnie also loaned
me a jacket to wear tonight. That's when I knew

(54:14):
I'd made it when an actual country legend turned me
into his fashion charity case. Got a couple laughs. So
at this point I'm going, I think I can win
this crowd, and then I go in because the jokes
go a little harder. I say, speaking of fashion Brooks
and Done, they do have a style. Some call that

(54:36):
classic country style, and I agree. If by classic country
you mean bedazzled youth pastor cowboy, Okay, I got some laughs,
and I also got a oh like a couple of groans,
which mean like ooh, like too mean or mean god,
that's pretty funny. If I classic country you mean bedazzled

(54:58):
youth pastor cowboy. I liked that joke. I thought it
was pretty funny. Slightly blow the belt didn't hit him
in the balls, hit him like on the very that
I don't know what you call that bone there the
cosicks right there on that bone above the wiener. So
they've earned it. Though twenty number one hits. They released
Reboot and Reboot two. By the way, those were the

(55:21):
albums that they did with the other artists, and the
other artists came and sang their songs. Got it because
nothing says creative like re recording your old hits with
younger artists. If you can't beat them, do it with them.
Got a good laugh. The guys even laughed that little bit.
And then I say, if we get a reboot three,
we're officially the Fast and Furious franchise of country music.

(55:42):
That I got a pretty good laugh because there's like,
I don't know, ten Fast and Furious movies. And then
I said, I do not want to see Vin Diesel
on the remix of Red Dirt Road. Got a good laugh.
So I got like four left in this set, and
the crowd now understands there's content on the stage, because
at first I don't think they understood that it was

(56:03):
more talking. Let's just get to the music. Next joke.
Four left. The guys say though it's not about money.
But if you re record your greatest hits twice, it
definitely ain't about the art. Got a good laugh there.
Now they know we're in roast mode. Even outside the duo.

(56:24):
They've been Busy Kicks hosted an award winning countdown show
on the weekend for years. It was a great show
for people who couldn't find mine. Boom, big laugh, so
a little bit had to warm them up a little bit.
A couple of those jokes a week up front, two
jokes left, and all seriousness. Brooks and dunshaped an entire

(56:46):
generation of country music fans. Oh, this wasn't a joke,
by the way, This was some of the business I
had to do. Here they're receiving the inaugural ACM Diamond
Chairman's Award, a well earned honor for a duo who
made country louder, cooler, and a little more boot cut.
And then we get to the music. So that may
have been all the jokes for the first I did
some other jokes later where I'm it didn't make fun
of but I did a little pokes at some of

(57:08):
the people, like when Eric Church writes a love song, Mmm,
why shoul I remember that joke, and then I introduced him,
So Eric Church's okay, Keith Urban plays guitar like it
just stole something from him or something like that. Did
one of those easy jokes, which was got a pretty
good laugh when introduced Keith Urban. Eric Church can sing

(57:30):
a love can make you feel a love song, can
make you feel a love song and also make you
feel like you've been in a bar fight at the
same time, something like that about when Church came out.
I remember, But those were all the jokes that I told.
I had another like eight or nine that I made
about each of the artists, which were Landy Wilson, Eric Church,
Keith Urban, Zach Topp, Cody Johnson, Pretty Start starts out

(57:57):
at night, Megan Maroney, who's awesome. The way I'll say
this about Meghan Maroney, I like Meghan a lot. She's
super funny, and I guess I did. I knew she
was funny because there's Bobby Casters there. You should look
it up. It was really one of the first interviews
she'd ever done, and I could tell then she's a
little funny, but she definitely didn't have the confidence that

(58:17):
she has now. And we sat for like twenty twenty
five minutes before that, just in the green room, Uh,
Meghan and myself and then Cody Johnson came in for
a little bit and we all sat around and you
have heard me mention this. I guess there's like a
code or something where like all managers leave, Like my

(58:37):
team walked off to another corner. It was just us
three talking. I guess they were like giving respect to
the people who are about to go on and perform.
I know, I thought it was cool, but we just
all just kind of talk. Megan and Maroney's freaking hilarious.
I don't really know because I see her on social media,
but I don't follow her close enough to know how
funny she is online. But yeah, when it comes to
fun she was telling some really funny stories that I
I will not tell because I was in that pride,
but funny, they like really funny. ACMs were the next night,

(59:04):
And what was kind of weird about the ACMs for
me was my third year doing the show on Amazon
and you're one in year twopics backstage and when someone
to win, they'd come backstage, I do a little minute
hit with them, talk to them. They'd leave, But I
kind of knew who was coming and it kind of
knew what the producers wanted me to ask. Now, this year,
Riba was hosting, and they were like, Heyribe doesn't want

(59:25):
to leave the stage and think about Riba. She's always
known for tons of outfit changes. So those times were
used for Riba to get ready for whatever she was
doing next. Because she performed as well she hosted, she
dead did outfit changes, all the stuff that Reban normally
does wonderfully. So they have me in the audience with

(59:47):
no direction, and I mean that in the most complimentary
way as to They were like, hey, just do what
you do. And I'm like, what does that mean to you?
Like do what I do? And they're like, you know,
we'll give you a couple of things to say that
you know how to get out. But talking to the camera,
talk about the show, talk to people in the crowd.

(01:00:08):
It's a big boost of confidence because I don't only
know them as far as country music know them. I
only know them from TV know them, and they're like,
you do what you do. And I had like five
segments through the two hours, and so that's pretty good.
And each of the segments was like a minute minute ten,
which is a long time on television, and there was
no script even during rehearsal. We didn't do it up

(01:00:32):
to time because all the artists would rehearse their song
up to time. We even ran the full show. But
for me, when I was rehearsing, there was nobody in
the seats, so I could really couldn't rehearse anything because
I didn't know what I was gonna do. So the
show starts and all like, all right, here we go.
We go out, and I thought it'd be funny to
get Jelly Roll to sign a can of jelly, so

(01:00:53):
I'm gonna keep that in my back pocket. Luckily it fit,
and so I go out. In the first segment, Jelly
Roll is actually sitting right there, and I was like, oh,
we're gonna do this now. Then up segment number one,
I took a sharpie and I blacked out the smuckers.
They didn't tell me too, There was no brand deal.
They didn't even know what I was gonna do. That's
the thing, that little bit, little corny bit. I didn't
run it by anybody. I don't know what they would
have said, but I just put the jelly in my

(01:01:15):
pocket and walked out and said Jelly roll, will you
sign it? And he laughed, crowd went crazy. He signed it,
and then I went to look for Keith Urban because
the teas that I had to do, like the one
piece of business in that minute and thirty second hit
was to say, Keith Urban's being honored with a Triple
Crown Award and he's coming up. And so I can't
find Keith because everybody's moved and it's easier to find

(01:01:35):
where they're sitting when there's nobody in the seats because
there are these big head cards with their name on
it and all the other seats are empty. But I
couldn't find Keith. So I walked way past him and
you can see this. It's on my Instagram too, and
I'm like, where's Kaith and they're like, he's back behind you.
And so I go to Keith and give him a hug,
and then I have the jelly in my hand and
I seen a Cole Kidman and the Cole Kitman has
always been so nice to me. I've probably met her

(01:01:57):
twelve or thirteen times and super kind, and there have
been sometimes where it hasn't just been like a super
quick meeting, like I've had conversations with her lovely, so
I felt safe that I could bring her unto the bit,
and so I did, and I said, oh, who cares
about Keith, here's Nicole, and gave her a hug and
gave her the jelly. So the bit ends. Listen, I'm

(01:02:18):
not gonna win amy for it. Wasn't really planning it
right then, but it happened, and the bit ends, and
I say, hey, you don't have to keep that, Nicole.
I'll take the jelly back. You have to hold it
all night. So I took jelly back, and some guy
who I thought was a TV producer comes up and goes, hey,
we need that jelly for a photo. And I don't know why,
so I hand it to him. It was a photographer
that stole my jelly. Somebody stole my jelly with jelly

(01:02:39):
roll his name on it. So nothing was rehearsed, and
that maybe at times Wyatt looked a little wild because
as I'm talking to the camera, things are happening behind me.
Or there was one part where they were like, hey,
go out to where Blake is because Blake's gonna do.
I think maybe he was honoring somebody. I'll be there

(01:03:00):
and Blake's but Blake wasn't there, and so I gotta pivot.
But for those asking, nothing was rehearsed and they put
no restrictions on me at all. But they actually didn't
tell me what to do at all, so that can
also be nerve wracking. At one point, there was a
sound issue and it's going bam, and I'm sitting backstage.

(01:03:22):
I have one of my shoes off and or new shoes.
My feet were hurting, so I took one of my
shoes off and then I Bobby, you have thirty seconds.
We need you out there, and I'm thinking, no problem,
throw my shoe on. I go out to look for
my camera guy. Because it's mobile, there's celebrities everywhere, it's
easy I can go talk to celebrities. They put me
on what they call their camera on the jib, which
is a piece of machinery in the corner of the room,
so I could go talk to nobody. So I was

(01:03:44):
just gonna have to talk only to a camera and
fil which wouldn't have been a big deal if it
was like, you have thirty seconds, we need you to
fill for forty five seconds a minute, But it was
we need you to fill until we get it fixed.
So look, I've been training my whole life for that.
That doesn't mean that it's not a little nerve wracking. Luckily,
it happened so quick I didn't have time to get

(01:04:04):
nervous about it. So I walk out and I had
another bit planned later in the evening, had it presented itself,
where I had a sticker that said hello, I'm and
that sticker that said hello, I'm the people wear it
says hello, I'm on, and you write your name in
that white block under it. I wrote Lionel because Lionel
Richie was there and he has the song Hello, and
I was gonna do a bit with that, right, It's

(01:04:25):
like I always wanted to do this. I'm gonna put
it on his jacket, and so I had it in
my coat pocket in case it were to happen. So
they throw me on the jib camera and they go,
everything's broken, we need you to go, and I just
start going. It's just saying crap. I know, I started
teasing stuff. Matthew Ramsey from Old Dominion walk by and
said something about his chest hair. I don't even remember
because none of it was planned, and not only that

(01:04:47):
it was so out of my control how long I
was going to talk on what I was talking about,
But we got through it. I didn't have an earpiece in,
so the producer gave me hands on the shoulders, which
means ten seconds. We got out of it, went back
to the room. Felt pretty good about it. But I
the Lionel thing. Why I bring that up and I
had it prepared was as they told me, Hey, we
need you out there in twenty seconds, and I'm putting
a shoe on Tom, who is my manager, him and

(01:05:12):
Morgan number one. I said, hey, can you grab Lionel
because I think it'd be a funny time to do
this bit, and he goes got it, and he knows
Lionel Lionel is the same management I am. So he
goes up the line and goes, hey, Bobby is having
a cover because there's a sound emergency. It's live on
Amazon right now over in the corner. Can you come over?
And Lionel's like, yeah, sure, absolutely, So Lionel gets up

(01:05:34):
to come over, and as soon as he does, Jerry Jones,
the Cowboys owner, sees Lione goes Lionel, hey, I want
you to meet my family. No, Lionel Richie because Jerry
Jones grabbed him, and Lionel's like, and I get it.
You can't leave Jerry Jones. He owns the building we're
doing so as it was ending, then Lionel comes up
and it was lovely to see him. Love Lionel, one
of the nicest guys ever. But I had that bit planned.
I actually never got to do the bit because Lionel left,

(01:05:56):
but I was going to do it then, but I
couldn't get Lionel there in time. So but I was
that if anything bad happens, you're covering, and something bad
did happen, and I covered and it went well because
it may have just looked like a sloppy segment like
me just talking randomly. It did not look like something
was badly broken, which temporarily it was. There was only

(01:06:18):
one picture I wanted, and whenever I go to these events,
I never actually want to bother people and be like,
can I get a picture? Now? I'll take pictures with
my friends sometimes, and maybe my friends are artists, But
the only picture I really wanted to get was from
Jesse Murph because my wife listens to her music a lot.

(01:06:40):
I like her music too, but this Gucci main song
I Love. I'll play a little bit to this, so
I ain't gonna play much of it because I'll cut
it off the podcast. But big fan and I said,
if I see her, I want to get a picture,
And so I saw her, but she was holding a pig.
She had a baby pet pig, and I was like

(01:07:00):
it was easy because I was like, oh, gott I
get a picture with you in the pig. So if
she didn't have the pick, I was gonna still gonna
get a picture. But that was the only picture I wanted.
I got the picture. I thought that was pretty cool.
There was one time where I'm in the crowd and
they wanted me to go up and tease that Brooks
and Dunn were there, and I'm on the mic and
I'm like, hey, anybody here a legend, raise your hand,
and nobody raised their hand except for some people in

(01:07:21):
the back that weren't artists. I did make a slightly
funny joke because some guy raised his hand and said,
you are a legend because you're like fifty two and
you're still frosting your tips and his hair. Though that's
pretty funny. When I watched it back, I don't remember
saying it, but when I saw it, I was like,
slightly ruthless, kind of funny. But I go to Ronnie
and I'm like, hey, because they had one for Duo
of the Year, I said, you take you win, and
he goes, what It's kind of loud in the room,

(01:07:43):
but I forgot, like, I think one of Ronnie's ears
isn't as good as the other. I think I talked
into the wrong year, basically, and then we laugh and
I'm like, oh, I don't know why you're yelling at me,
but that's why it seemed like he either wasn't paying attention,
didn't know who I was, or didn't want to talk
to he couldn't hear me. But I'm an idiot because

(01:08:04):
I know that, and I don't know why this set
it down, and was like, hey, I'll talk to you.
Normally I should have went to the Goodyear. Also, Kurt
Warner was in the audience. Kurt Warner played for the
Rams Wonner Super Bowl Fastest Show on turf, beats Titans
back in the day, played for the Cardinals Hall of

(01:08:24):
Fame quarterback. The first time that I met Kurt Warner
was virtually on Skype. Who even says Skype. Why did
I just say Skype? I think I just read a
story about them going bankrupt? Skype? What the heck on Zoom?
And Matt Castle and myself interviewed him for our podcast

(01:08:47):
Lots to say. Then, when I did NFL Honors, because
that's the award show for the NFL players they give
out like Rookie of the Year. It was in New
Orleans and the super Bowl. Fox and NFL had me
present an award to George Kittle, who's a tied endo
the forty nine. But that show they have you sit
up in the first few rows if you're going on camera,
because since you have to walk backstage pretty quickly, they

(01:09:07):
want you to be close. So I'm seated right next
to Kurt Warner and his wife, and we were there
for an hour and twenty minutes and they were awesome.
We talked the whole time, and so we got to
know each other that night. And then I'm there and
we were going to commercial after I'd finished a segment
and this guy comes up and hugs me. He's like,
what's happening. It's freaking Kurt Warner and he was like,

(01:09:29):
I saw all you wanted to say hi, and I
was like, do what up, went back and talked to
them again later in the night. Lovely people love them.
They came in. Apparently Kurt Warner and Blake Shelton are
good friends. He came in for Blake Shelton's event that
Blake did the same night that Brooks and Dunn did
their event. But that's my other note about the ACMs
that Kurt Warner is awesome in general, and it was
really cool that he was there because he's such a

(01:09:50):
kind got him and his wife are so kind, So
ACMs were great. I have been attached to the idea
I want to host one of these award shows, one
of the big ones ACMs, CMAS. I've positioned myself for
many years, and there was one time, and right now

(01:10:10):
I cannot tell the story. One day I will be
able to. There was a year that they said, hey,
we think we want you to host the show, and
then we'll say a couple weeks before the announced there
was a reason they had to pull me from hosting
the show. And it was not a reason that I
did not want to say too much. I didn't do

(01:10:32):
anything to make them pull me off the show. But
it really sucked because that's been one of the goals
forever and I've made it known that I want to
host ACMs, But when it's the sixtieth and they want
to bring Rieba back to do the eighteenth, and that
number eighteen wasn't as important as it was. She's hosted

(01:10:54):
that show more than anybody else. And since it was
the sixtieth, there was that the first year they did it,
you know, they had Garth and they had and.

Speaker 2 (01:11:02):
Dolly.

Speaker 1 (01:11:02):
You can't really argue with it. It was Guard's first
ever time to host, and so I'd always be like,
all right, I'm gona wait time, wait more time, wait
my time. I don't want to be second Banana. Those
last two years, I tried to actually not be a
part of the show, even though I love them, I
lose money by going to do it, and it takes
me away from the morning show, which I don't always
mind because I can do it remotely, but I just
don't a higher country and I'm like, I'm going to
be exhausted. And if you know anything about me chat

(01:11:23):
GBT told me earlier that I get too tired sometimes
that I can't be functioning at the same level that
i'd like to be functioning, or that I normally function
because I'm too exhausted. So I said, you know, I
don't think I'm going to do it this year. But
our special just got picked up for the ACMs, which
they never asked us to do. We just went and
shot it and presented to them, said hey, would you

(01:11:44):
want to option our special? And they said yes, we do.
We were like, what really? So I said, Okay, I'm
gonna do it one more year. And so I did
it this year. And by the way, my plans is
of an hour to not do it next year. They
have not asked me to do it next year. It
has not even been a converse. But my plans right
now are probably to not do it next year. But

(01:12:05):
I've always wanted to host it, and I was always
I wondered if I would ever be able to show
them how good I would be at hosting it, And
I had opportunities this year, and I think I actually
succeeded in those opportunities by doing a bunch of live
stuff on the show, by things breaking down and me

(01:12:26):
covering it, by all those people that make those decisions
being at the Brooks and done thing when I'm telling jokes,
so I'm not as married to the idea of that
I'm a failure if I never get to do it,
because I think I got to prove that I can
do it. Now I'm just not famous enough. So I
think that's really what it is at this point, because
the skill set I got it. I can go live,

(01:12:48):
I can tell jokes, I can write jokes, I know
all the people. I have a good TV resume, I
have a comedy special, I have everything you need to
have to do it. I'm just not famous enough and
they really want somebody famous that they can show in
the promo of it. So unless I get to be
a bit more famous, which that's not even really my

(01:13:10):
goal anymore, probably won't host it. And I think, knowing
I would have said that six months ago, i'd have
been like, you're only saying that because you're a quitter
and you're scared you're never going to get it. Therefore
you're just gonna say I'm going to give up and
not get it. But that is absolutely not the case.
I was able to show every freaking skill that I
have this year. The right people saw it, and if

(01:13:33):
I never get chosen I'm actually okay with it because
I only ever want the opportunity to prove myself. It's
not that I need to get it, it's that I
need to show I can do it to the people
that make the decisions that will be able to give it.
And if I can do that, because sometimes I may
actually may not be good enough. But if I can

(01:13:53):
do that and I get it or I don't get
it to me, that's the win, the WI win. So
I won. I won this year by performing at a
high level, showing my skill set during the live show,
and also showing that I can stand on stage, own

(01:14:16):
the stage, rite and tell jokes that are relevant to
the weekend the people that are their country music. So yeah,
if I don't get it anymore, I'm okay with it.
I'm not married to the idea that I'm a failure.
If I don't three weeks ago, six months ago, that
would not have been coming out of my mouth because
I would have thought, yeah, you know what, at this point,

(01:14:37):
I'm probably not gonna get it. But I feel like
a total and complete failure because that was a goal
of mine. I don't feel like a failure anymore. And
if I never get it that kind of sucks, But
it's not because I suck a little bit of therapy
coming through right there too, but also because this year,
more than any other year, I got to spread my
wings and show that these skills that I've been developing

(01:14:58):
over the past ten years, they're hearing ready for you.
If eighty people say no, I'm ready to go. All right,
that's the episode. Thank you guys, all you fifty minute clubbers.
I appreciate it. We went way over fifty minutes this time,
but I appreciate you guys being here and you can't
me in the DMS. Be like, listen all fifty minutes
and if give me your thoughts. Did you hear something

(01:15:18):
you liked, something you didn't like? Like I love to
know whenever I'm just talking about myself because I'm not
reading from a script. The only notes that I had
were from the Eddie and I segment. Whenever I put
together all that stuff. Otherwise, I have an idea of
what I want to talk about it, I come in
and talk about it. Sometimes I get and tangent off
of it. But let me know. Thanks to all you guys,
and we will see you next week. We have Brandon

(01:15:41):
Lancaster from Lanco, lead singer of Lanco coming up in
the next episode. What I really like about his story,
but I think you'll like about a story is they
were a band and they have the song That's Gonna
Be Your Forever you were Gonna Be My Wife Number
one song that another song that did really well covid hit,
lost a record, lost their management. Now they're kind of

(01:16:02):
back at it and back on and doing well. And
that's really hard in the creative world to be the
shiny toy, completely lose your shine and then get it back.
It's very difficult because you're looked at as a has
been because there's one hundred new people coming up that
they can go to instead. But history's really good and

(01:16:24):
I hope you listen to the next episode. I hope
you liked that Jessica Andrews episode, and yeah, that's what's up.
Thank you guys, and we'll see you next time. I
love this episode of The Bobby Cast.

Speaker 4 (01:16:33):
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#512 - HOW HISTORY MISLED US! + Bobby has AI tell him his Strengths and Weaknesses

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Bobby Bones

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}#512 - HOW HISTORY MISLED US! + Bobby has AI tell him his Strengths and Weaknesses