#520 - Bobby Answers the Most Asked Questions on a Live Stream

On this episode of the BobbyCast, Bobby goes on a live stream to answer listeners most asked questions! Bobby answered questions like, the moment in his career he still can't believe happened, if country music has lost its identity, the most overrated artist of all-time, whether or not Epstein killed himself, and much more! 

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Episode Transcript

Speaker 1 (00:06):
Welcome to episode five twenty of the Bobby Cast, and
we are streaming this live on our YouTube channel, and
if you guys want to be a part of the
live stream, just go to Bobby Bones channel on YouTube
and you can watch. We'll start with Karen Reed trial
which just happened. And I watched the documentary on HBO
Max is great. I think it was like four or

(00:29):
five parts, and I had only heard about the trial,
and so I went and I watched the thing, and
I just watched the verdict from the second trial, and
I guess it's not a spoiler because it's news, but
the first trial she was not hung, as I have
not been, but it was a hung jury. So second trial,

(00:49):
which just happened, it's weird at how they were announcing
her verdicts. So three one was like second degree murder,
one was another one one was a duy basically, But
at some point they should just do it like on television,
because it was kind of confusing. They get everybody in

(01:09):
the courtroom and they're like, okay, for Hearth, who is
it in thal? Does the court acknowledge guilty not? I'm
completely confused about what's happening and somebody says not guilty.
But I mean, at this point in our lives, shouldn't
they just go, we find you of charge A, not guilty.

(01:33):
We find you on charge B not guilty. It turns
out she was not guilty of secondary murderer. She was
not guilty of I think leaving the scene. I'm gonna
mess some of this up. And the third one was guilty,
and it was basically driving under the influence, and that
was based on an estimate from way after the fact
when they tested her and I followed the trial a

(01:55):
little bit. I'm not gonna do twenty minutes of material
here on the Karen retrial. But so she's not guilty
of second degree murder. That was the big one, So
now what are they gonna do? It seemed to me
like there was very much some sort of cover up
within the system. The system meaning the police force that town,

(02:15):
right outside of Boston's police force. But they were so
hell bent on making her guilty. So what do they
do now? Do they just stop looking for John o'keef's killer.
It's bizarre. And if they don't, because again they don't
have a second suspect. She's been on trial for two
or three years at this point. If it's really justice

(02:35):
for John, which is what they're saying, then they should
actually go and continue to try to find who killed
them because they're only I don't know seven or eight
people that were around that night. But I didn't think
that they would find her guilty, especially if you watched
any of the trial this time, you could almost say
last time. But those jurors are supposedly not affected by

(02:57):
the first trial at all. But I don't know how
you lived in that area and completely consumed by the trial.
But watch the series. I'm sure they're gonna have a
new documentary up on the second one as well. But
she was not not guilty, So I just watched that.
It was just really confusing at how they announced it,
because I think it should just be announced like on television.
I'm taking your questions as we go as well. We

(03:17):
can start with this one. What is a moment in
your career you still can't believe actually happened. I have
a few of these. Number one is way back in
the day when I worked in Hot Springs, Arkansas. My
very first job was at a radio station called one
oh five point nine k e Z. That was a
pop radio station. And when I very first started, I

(03:41):
worked on the weekends, and I only got a job
on the air because they fired a guy that was
working on the air, but we also had to do
these things called sound and light shows, and he was
fired because I think they caught him stealing station equipment.
So last minute they had to throw me on the air.
My name was name of Bobby Bones. At the time,
it was just Bobby. I didn't have a name. I'd

(04:02):
never been on the air. But they had hired me
to clean the front office where the secretary or any
of the office people sat. People come and get their prizes.
That was the area that I was hired to clean
and switch out these weekly top forty count of down
and so I'm hired at KLAZY to do that. Before

(04:26):
my first day of cleaning, I'm put on weekends. I
have no experience whatsoever. I moved from weekends to weeknights
after just a couple of months because the guy who
I still know named Kramer, who is still in radio,
was doing nights and he left to go to another station.
So it was a small town, so it wasn't like

(04:46):
they were doing a national search for the job, so
they just give me the job. Like I showed up,
I was on time. I wasn't particularly good, but I
was young, available in cheap, so they just give me
the job. And I'm going to get to my point
here of you know, one of these things that I
can't believe happened, because all this I can believe. If
you just show up on time all the time and

(05:07):
they trust that you're going to be there when you say,
there are a lot of opportunities that are going to
open up for you just because now, as somebody who
hires people, if the people that I hire just show
up consistently on time, emotionally, physically, like, that's ninety five
percent of it. And I was that guy. But when
I was working at Kla Z and I was going
to college because I wanted to graduate college. Nobody in

(05:29):
my family had graduated college. I thought, as soon as
I finish here, I'm going to try to go and
get a bigger job. And I had had some offers
when I was at Kayla Z. I mean I remember
flying out to the Tri Cities, which is in East Tennessee.
It's like Bristol, Virginia, a couple other in that. Try

(05:51):
forgive me to the other two that aren't being mentioned
in the try, but so I go out. I didn't
take that job a couple other ones. I just wanted
to graduate college. And there was a station in Little
Rock called Q one hundred. They had just flipped two
top forty from whatever format they were, and I really
wanted that job because to me, Little Rock was a
massive city. That was where they had a couple big buildings,

(06:14):
that's where the news was shot. Like Ned Perme, my
favorite weather man, lived in Little Rock. I thought that
was the coolest thing ever, and so I always wanted
My dream was to work in Little Rock. They had
a minor league baseball team. And when you're coming from
Mountain Pine, which is where I'm from, population seven hundred,
or Hot Springs, which was town which is where my
radio station was, which was twenty thousand, like Little Rock's

(06:35):
massive because it was a half million people. So Q
one hundred flips on and I remember getting a call
on the request line and I said, Hey, do you
think you might want to come in do nights at
Q one hundred, And I thought it was a prank call,
but the guy high identified hisself as a guy named
Ted Striker, and I was like, Yeah, this is really you.

(07:00):
I think that would be super cool. He said, cool,
call me tomorrow in the daytime because my shift was
at like eight pm. And so I called him the
next day and he's like, I would love to try
you out. Well, the problem was I was on in
hot Spring because that it was about hour drive, but
you could hear both stations, and I would say a
little more than faint, but not all the way, but

(07:21):
you could hear both stations. And he was like, I'd
love to get you on the air at night and
give you a tryout. And I'm thinking, I can't really
go and try out for your station because I'm on
a station right down the road. And if I go
and try out, if I quit my job to try out,
I don't get the job. That sucks for me. And
I told him that, I said, I don't think I
can do it, Like, can you not just listen to
me here and make your mind out because it's basically

(07:44):
the same thing. We're just you know, playing Britney Spears
and inn Sinc. CDs. Hey, everybody number twenty two Britney Spears.
We're just doing that all night. And he was like, now,
I really need you on the station, So I said, okay,
So what I do. I'd drive at two o'clock in
the morning and I get on Q one hundred under
the name and I thought, I was so funny Robbie

(08:05):
Johnson because it sounds like Bobby Bones and it was
Bobby Jones and his Robbie Jones. So I went Robbie
Johnson on Q one hundred from like two to five AM.
That was my tryout on a Sunday night, knowing that
if I got caught, I was going to get fired,
but thinking that there is no chance anybody is going
to hear me on this station in Little Rock two

(08:25):
to five AM from my station in Hot Springs, because
who's even awake. I remember opening the phone lines and
radio names are so dumb. My name is dumb. It's
Bobby Bones. It's not even my real name, so when
I say these names, it's funny. But my program director's
name was Jack and his radio name was Jack Frost.

(08:47):
And I remember Jack Frost calling the request line at
three o'clock in the morning, going, Bobby, is that you
on the air now? Again? I'm Robbie Johnson at this time,
and I know it's Jack of my program director, and
so I just hang up. It was almost like when
they say, if you're being questioned by the cops, I

(09:07):
don't say anything. You know, if you say nothing, you'll
at least remain in the same amount of trouble. If
you say anything, it could get worse. So I just
hung up, and then I blocked the phone lines. You
could push one button, he goes and it blocks all
the lines. And I went into work the next Monday
and just denied it. I was like what, I was like,
are you crazy? And he was like, I could have

(09:29):
swore it was you. I was like, on a Sunday night,
three am, anyway, it was me. Never really admitted that
till right now. I for one night was Robbie Johnson.
I got the job, and I left Klazy and went
to Q one hundred, probably three weeks later, and it
was great. I was there for like six months or

(09:51):
so before I moved to Austin. But I cannot believe
that happened. When I think back, I'm not even thought
of that story and so long. I can't believe that
I took that risk. That's not a chance, that risk
of getting fired. And then I can't believe that Jack
Frost was freaking listening and he called in and got
through and then I answered, and then I just hung up.

(10:13):
Oh that was totally weird. What I really think happened
was I think Jack Frost knew it was me, understood
what I was doing, and I think he just got
it and never brought it up again. So I appreciate
that Jack Frost is not alive anymore. But I appreciate that.
And think of all the dumb radio names. Bobby Bones.
I didn't pick my name, by the way, like I

(10:33):
picked it out of a choice of like three, but
Bobby Bones, Ted Striker, who I mentioned Jack Frost, I
don't think I was Kevin Cruz who hired me at
kay lazy Man. Podcasters have un lucky then I have
to come up with stupid names like we had to.
That was one and my second one is probably winning

(10:53):
Dancing with the Stars, not even just going on Dancing
with the Stars, because that was more of a strategy
for ABC. And that story is a bit bizarre because
I had started on American Idol and I did a season,
and I was going back for the second season, which

(11:14):
was going to be at my first full season because
I did like three quarters of a season that year
that I went on the first time, and things were
going pretty good at that time because I had an
offer to judge The Mass Singer, which I didn't know
what the show was. I think it was only on
in Japan or whatever country it started in. So they
called said, hey, do you want to be one of

(11:35):
the judges on The Mass Singer And it was that
versus there was a show on USA Network and the
show had Travis Trutt, Jacoen, Shania Twain as like the judges,
and it was some kind of singing show here in Nashville,
and they offered me the host of that job, or
it was option see, which was stay on American Idol,

(11:55):
and I was going to sign a two year deal
with American Idol and go do Dancing with the Stars
as promotion for American Idol. That was kind of part
of my deal, meaning I had I didn't have to,
but they encouraged me to accept that if I were
to take the Idol deal because they needed someone to
go on that show to promote American Idol. So I
never had the ambition to go on to American Idol

(12:17):
and excuse me, dancing with the Stars, Like I never
had the dream to go on Dancing with the Stars
and just dance. I never really watched the show, at
least not all the way through. I had seen clips
and stuff because it was a you know, definitely a
piece of pop culture in American television history, especially when
it started. But I took the ABC Disney offer, which

(12:42):
was American Idol Dancing with the Stars, and then I
want to Dancing with the Stars, and they told me
that this show will be four or five weeks and
we'll have you back over to American Idol on time.
And I remember telling one of the producers, if you
think I'm only gonna last four weeks, I have a

(13:03):
feeling that's not going to be the case. So we
should start to figure out what happens if I'm still
on this show and American Idol is taping. And it's
not that they laughed. It wasn't like, you know, I'm
so I got a text, Dang, I'm so important right now.
You would never believe what that text was. The text was,
can you take the dog out? So you guys think

(13:24):
that I'm some kind of podcast superstar and I just
got a text going, can you take the dog out.
I think he's got a poop. So what happens is
I go on that show and they're like usually people
that can't dance and have never danced. They last four
weeks and I wasn't in the bottom three. I wasn't
in the bottom three, and it came to that point
where I had to make a decision do I leave

(13:45):
the show to go to American Idol or keep dancing
on Dancing with the Stars. And it wasn't even that
I loved dancing, because I didn't know how to dance,
but I respected all the work that my partner put
in Sharna. I didn't want her to be off the
show just because I decided I needed to go back
to Idle and they were paying me a lot of money.
But I stayed on Dancing with the Stars and we
won the freaking thing. And when it comes to one

(14:06):
of the craziest things ever, it's standing there and there
were three I think maybe there were four of us
that were still remaining, and Tom Bergeron and Aaron Andrews.
They go to that card and he's like, and the
winner of Dancing with the Stars Season twenty seven. I
remember it so vividly, and I remember in that time

(14:27):
because there's music playing, it sounds like a heartbeat. My
heart wasn't going bam bam, bam bam bam. Oh, I wonder,
I wonder. It was mostly like I was about to
die and I was like reliving my life. It was
flashing before my eyes. But it was just all my
Dancing with the Stars' history, like all those ten weeks
of just grinding it out, and I was kind of

(14:50):
seeing all that flashed by. And I remember when he
said boo, because that's what he said, Bobby and Sharna
that boo, And I was like, this is the craziest
thing ever. It wasn't like I won like the World
Series or the super Bowl, because those guys worked their
whole lives to do that, Like they honed those skills
since they were six years old and went up through

(15:13):
all the levels. Like I got thrown on a show
because I took another job, But it was cool because
I had the lowest odds because Vegas put out the
odds I worked. I don't think there's a question I
worked way harder than everybody else because I had a
normal job as well, and I was touring and I
was living in a city I didn't live in, and

(15:34):
I was just doing that show and training extra. So
I do think that I work harder than anybody else,
but it's because I had to. I was coming from
such a detriment when it came to my dance experience.
But I remember one of that show and just being
like this is wild and they lifted me up like
Rudy and I remember that and they lifted me up
and they were like yeah. So that was a crazy

(15:56):
time because like the show was out there, Amy was
out there, Eddie had come out stay with me for
some of that show, and Mike Dean and I lived together.
But that was a bizarre time, And not that I
went on the show. It wasn't the craziest thing to happen,
but the fact that I won that freaking show, like
I won a reality show, a reality competition, Like that's
weird because I don't feel like I really went on

(16:17):
a reality show. But they do record you all the time.
There's a microphone on your body all the time when
you do that show, when you're training, they're always trying
to catch something, catch you doing something, saying something. They
want something romantic, something dramatic, and Sharna and I made
a deal. Wearily they weren't getting any of that from us,
And mostly it is because I was so focused on
just trying to get to even so she could then

(16:39):
teach me that there was no room for me to
really have any sort of human emotion. It was just grind, grind, grind, grind.
But that was bizarre. And then they had the party afterward.
And I've told this story before, but after the show
has finished, they have like a quick winning party for
like the champion and everybody. That season, I didn't get
to go to it because I had to get my

(17:00):
car immediately and drive to work and then spend the
next hour and a half doing that next morning's radio show.
And as soon as that's over, I drove to the
airport we hold on a plane that flew across the
country to go do Good Morning America. And I remember
getting on the plane and everybody being irritated that I
made them late, and I was like, guys, I have
a job. But that was bizarre and cool. And I

(17:20):
still have the mirror ball. It's down here and I
don't think about it as much as I used to,
meaning it's not like a part of my identity anymore.
But when I think of like bi wildly absurd, bizarre things,
that whole experience makes that list.

Speaker 2 (17:35):
Let's take a quick pause for a message from our sponsor, Wow,
and we're back on the Bobby Cast.

Speaker 1 (17:49):
Here's another question, what is the most impactful song of
your life? I think I probably have three of these.
I think number one it's John Mayer Stopped This Train.
That's my favorite song of all time. I think because
I feel like that was the first song that I
ever heard sang by anybody that I felt like, whoever
wrote that song wrote it in my voice, and I
think that's what a great songwriter is. It's not just

(18:11):
somebody who can rhyme words and have a reallyquol melody.
At least it's not just that. And when he was
singing stop this Train, because the whole song's about you know,
time just goes by and if you don't like stop
the train occasionally and like appreciate it, like you're not
going to appreciate it ever. And there's a line in

(18:33):
the song that says, I don't I may butcher this
because I haven't thought about this in a long time.
I'm so scared of getting older. I'm only good at
being young, And like, I resonated with that because forever
I was like the young guy in this medium radio especially,
I was like the youngest by ten fifteen years doing
it at the level that I was doing it. And

(18:54):
so yeah, that line hit me pretty hard. I would
still say probably my favorite song ever. So that was
one where I started to appreciate songwriting. Another one of
the songs I think I have three is Thomas Rhett
Beer with Jesus. I love Thomas Rhett, but I thought
that song was so stupid, and it was when I

(19:15):
was considering coming to country music. Stupid is not the
word corny, because Eddie and I were playing golf in
Austin and that was trying to get Eddie to move
to Nashville with me. And this whole thing is not
a shot at that song, but just our feeling about
that song when we turned it on, because what happened
was Eddie and I are playing golf in Austin and

(19:37):
I am like, dude, you gotta come and move to
Nashville with me. Because he had turned down offers to
be on the morning show in Texas. He was like,
I don't want to wake up that early. He had
a job of the news, like he was doing pretty good.
And I said, do come to Nashville, move your family.
I will pay you really well, and you'll run cameras
and you'll edit and you'll be on the air. And

(19:57):
I don't really know what your role is going to be,
but you're my best friends. Oh, come on, And my
whole thing, my whole career has been find my friends.
Find my friends that show up on time every time
that I can depend on, and let's go and build
something cool. And he wouldn't say yes. He wouldn't say yes,
and I said, well, let's I said, let's just turn
on a song. And we turned on the Big ninety

(20:18):
eight in Nashville, which is, I guess our flagship station here.
We're not really working from that studio, but it's in
our building and we're in Nashville, so we'll call it flagship.
And I turned it on and the song that was on,
and it may have been Thomas Strutt's first single is
if I could have a beer with Jesus. I'd tell
him and I was like, this is the worst song ever.

(20:39):
To try to get Eddie to move to Nashville, and
I don't know Tiar's relationship with that song right now.
He may love it and still think and it's not
even about Jesus, So don't hit me up and be like,
I can't believe. Well, I'm I don't drink beer, so
I definitely wouldn't have a beer with Jesus. And if
Jesus like tried to give me a drink beer for
the first time, is that even Jesus? Or is it
the devil in disguise about that? Probably haven't thought about that,

(21:03):
But that song was very impactful because I think that
song probably kept Eddie from almost moving to Nashville. I'm
gonna call him real quick, and he doesn't know I'm
talking about this obviously because it was a question from
you guys live. Let's see if he answers on FaceTime.
He may even answer. I guarantee you he knows the song,
and if he doesn't, I'll be shocked. Hey, dude, can

(21:31):
you hear me? Yeah? What up? Okay, I'm recording right now,
so you're on and I'm telling a story and I'm
not gonna tell you what it is. I just want
you to tell me if you remember. Okay, okay. Whenever
we were playing golf in Austin, Texas and I'm trying
to convince you to move to Nashville to do this
show with me, and I'm like, dude, just come on,
just bring your family, move across. And we decided to

(21:51):
turn the radio on to kind of get the temperature
and be like, is this cool or not? What song
was playing?

Speaker 3 (21:57):
Thomas Frrett, if I can have a beer, I'll never
forget it. I'll never forget it.

Speaker 1 (22:06):
What would you say our feeling was when we heard
that song?

Speaker 3 (22:09):
Huh. I don't think we talked about it, just looked
at each other. We looked at each other and when huh.

Speaker 1 (22:18):
Okay, I just wanted to see if you remember that's
the same way I did. Yeah, all right, buddy, see later.
Impactful but Thomas, right, I love you body. I want
you to be offended by this. But that's the truth.
And the third one is probably when it comes to
impactful songs, probably Chris Stapleton and I'm gonna say Tennessee Whiskey,

(22:39):
and not because of the song, but in the history
of the Bobby Bone Show, there have only been a
few people that I've called and like said, hey, you
gotta come on the show. I'm a big fan way
before they popped, and then when they popped it worked
out to be super beneficial to me. One of those
was Chris Stapleton, and I remember calling him at his house.

(23:01):
He was in the shower and at this point he
was a songwriter and he had some hits of a songwriter,
but he wasn't a known artist, and he said, let
me call you right back in the shower, all live
on the air, and I'm like, dude, come up, You're awesome.
He's like, okay, he comes up, he plays boom, it's great.
He does. Josh Turner maybe turned him lots down because

(23:23):
he wrote that song and it has like eight million
views now on YouTube. But that was before Tennessee Whiskey.
So it was very beneficial to me that I heard
his amazing voice before he blew up. Because I didn't
make him good, I didn't find him, I didn't make
him famous, I didn't put him add justin turberlate together.
But as soon as he popped like he did, he

(23:45):
had this really cool loyalty to me, which still to
this day, for some reason, he holds anytime I ask
him to do anything It is a very quick yes.
I love Chris. Chris doesn't do a whole lot like
publicly as far as interviews, but he's always on the
show when I call him. He did the Million Dollar
Show with Eddie Knight at the Rhyme and he came
and played it. But I would say that song because

(24:08):
that created that relationship with Chris Stapleton and I. I
got very fortunate there those three songs, but mostly beer
with jeez, it's crazy that Eddie remembers that. Here's another question.
What's the most misunderstood part of your job? One? How
difficult it is to wake up every morning. It's not

(24:28):
difficult like my stepdad who worked at the Middle difficult.
It's different kind of difficult. I would much rather do
what I'm doing because I chose to do what I do,
and I built all the avenues that I get to
drive down every day to do what I do, meaning
this podcast, meaning the radio show, meaning any of the
television projects that I do. So I did it all once.
I remember I was doing Breaking Bobby Bones on nat
GEO and I was injured a lot because that show

(24:51):
had me catching myself on fire as a stuntman falling
off houses, climbing in the middle of winter in Iowa,
a like wind turbine, like all this stuff, and I
was always hurt and I would complain about it. My
wife would go, I get it that you're hurting, but

(25:13):
you created all this stuff that's hurting you, so you
can only be so upset. And that's how I feel
about the morning show, right It sucks to wake up
early in the morning. That being said, how difficult that is.
I would say, the constant pressure to be on all
the time. Now again, I did this because I'm the

(25:34):
one that decided to do the radio show, the NFL podcast,
twenty five Whistles, the Bobby Cast, I did the Yellowstone Podcast.
I'm trying, So I did all this. So when I
say this, it's all my fault. But there really is
so much energy you have, and that's it. You hit

(25:55):
a point. And I think, as I record this, like
I've kind of hit that pointly have a few days
off coming out vacation in the next few weeks. But
I think that's a misunderstood part that And I'm not whining,
but you can actually like fry your brain. I think
my brain's fried right now. I think in like the

(26:15):
radio part of it. It used to be be relatable. Relatability
is key, and I think Nember something to that, but
it's not even that anymore. I think being entertaining is
number one. Being authentic or telling the truth is number two,

(26:37):
because if you're being entertaining, you can't stay in character
or remember your lies. That's why I don't lie more.
I can't remember them, and I'm on like seven places
doing seven different things. I don't think I lie at all.
If I do, you're gonna hear me contradict myself not
knowing it because I'm saying things in all these different places.

(26:57):
So I think number one is entertaining, Number two is
being honest and authentic, and then number three is being relatable.
Like I think relatability's fine and it's good, but like
your neighbors relatable, Do you want to listen to them
talk for an hour on a podcast? Probably not? I
mean maybe, but relatability was such a two thousands thing

(27:20):
where it was number one, and we still get this
research sometimes it's like you're not being relatable enough. I'm like, good,
does that mean I'm being way more entertaining because I
don't want to be fake relatable. If I were to
come on now and say the things that I said
fifteen years ago, you guys would know it was a lie.
If I came on and said things like, man, i

(27:40):
went to the vet and that bill was so high,
I'm thinking about not even like paying it and just
seeing what happens. That's a real thing that happens with people.
But you guys know I have money now because I've
been doing this for so long. Or if I'm like
I had to go buy a new set of tires
that's really really got me strapped this month, you guys
would know I was full of crap now. I had
to live a big part of my life like that.
But that's the relatability part that I understand because I

(28:03):
had it. But I don't have it anymore, so I
don't lie about that part anymore. So those are probably
and by the way, those aren't even that big of
a deal. Like, my job is pretty cool. I put
a lot of time and effort into it and a
lot of strategy, but my job's pretty cool, So I
don't complain about it much. Mostly if I do complain
about it, it's only if I'm complaining about beer with

(28:23):
Jesus and that song that almost kept me from coming here.

Speaker 4 (28:26):
The Bobby Cast will be right back. This is the
Bobby Cast.

Speaker 1 (28:40):
What do people assume about your success that isn't true?
I think you probably assume everything that's correct about this.
It is a lot of being on but who cares.
Like again, my stepdad worked at the mill, like I've

(29:01):
seen real work before, and I think this is real work,
but it's definitely not the same. So not to not
spend time on that question. But that was a little
bit like the last one. I didn't even why I
picked it, but thank you for sending it. Which moment
felt more like you made it your first big check
or your first big opportunity. That's interesting, my first big

(29:23):
check or my first big opportunity. Well, the first thing
I bought with what I felt was my first big
check was a pair of Jordans, white Jordans. I didn't
have nice shoes growing up, and if I did, I
got them at a yard sale. So I thought, the
first time I make money and I have money that
is more than just week to week, I'm gonna buy
me the coolest Jordans. And I bought a pair of

(29:44):
white Jordans. Sixes, like that's cool, that's special because I
still remember that. I still remember going to the mall.
I'm buying those. I bought my mom a trailer and
two acres of land before she died like that. From
another big check, like I signed a contract in Austin
I think for like four hundred thousand dollars a year.

(30:07):
Just walking back through my checks and what I made
per year. When I started in radio full time, I
made like sixteen thousand a year, and that was all hourly,
so it was sixteen thousand, but it was based on
nine dollars an hour or something like that. When I
went to Austin to do nights full time because I

(30:31):
went from Little Rock to Austin, I went for thirty
two thousand dollars a year and that was two thousand
and three. Late two thousand and two. When I got
the morning job in Austin and they paid me fifty
thousand dollars a year, I was rich. I really felt
like I was rich. It was the I think of
any of the Hey, we're going to sign a new contract.

(30:54):
There was more joy in that one than any other
deal that I had ever signed because it was the
first time that there was this entirely new feeling of
I don't feel fundamentally like I am just swimming as
hard as I can to stay above water. And that

(31:16):
fifty thousand dollars a year was crazy. I could not
believe it. So that job, and you know, by the
time I left Austin, it was four or five hundred
thousand dollars a year, and that's pretty good. But that
was also like bonuses, like we were number one for

(31:36):
like five years in a row. And when I say that,
I mean every quarter. They would have a ratings book,
and if I hit for four quarters in a row,
I got a bonus of like seventy five thousand dollars,
and four years in a row, I hit that freaking
bonus like we would crush in Austin. And so when
you ask the question, first big check or first big opportunity, like,

(31:59):
those are the checks that I think of. The other
check that I think of. I had gone and I
had done some episodes on American Idol that first season,
and they had me come in for one episode and
it was really to talk to kids, kids, young adults,
but mostly kids on this show about what it was

(32:21):
like to be interviewed by multiple people and walk them
through the process of like how to start over at
the next interview and how to have your your microphone
close to your mouth. But really that's what it was.
It was like how to be interviewed. So I go
when I do that. But what I found, and what
they found too, was that I understood what a lot

(32:42):
of those young adults and kids were going through because
until I had been sent to New York or Los
Angeles for work, I'd never been to New York or
Los Angeles. And then when I got there, I was like, Wow,
this is like television. I was overwhelmed a bit, as
were they, and so they kept me on. I did
multiple episodes, and I've told the story and I talked
about it, I think in my seal, which is not
even available because once CMT air did, I put it

(33:04):
on YouTube and then never pushed load. I guess I
loaded it. I just never made it public. I talked
about that and how I lost money for like three
episodes because American Idol didn't even know that I didn't
live in Los Angeles. They thought I lived there. Because
I didn't want them to use that as a reason
not to hire me for another episode. So they were

(33:24):
paying me union minimum, and by the time I was
paying for my flights at my hotel, I was losing
hundreds of dollars, just hundreds of dollars, but still money
an episode. So for like three episodes, I lost money,
and so they asked me to come back and do
more episodes, and I was like, Okay, I have to
make a confession to you. Guess I don't live here.
And so my manager at the time was like, we'll

(33:45):
get you a higher rate, and so they paid me
for like the last couple episodes fifty thousand dollars an
episode on American Idol that first season. So first season ends,
and this is pre we're doing a prequel here to
that story. I told earlier that first season ends, and
I had heard they were going to offer me a
deal for another season, maybe two, And I'm thinking, if
they just pay me like that fifty thousand dollars an episode,

(34:06):
that's going to be awesome. And so they made an
offer to me, and it was like three hundred thousand dollars.
I would have said yes immediately, my manager, whose name
is Corn Capshaw, who's the owner of Red Light Management,
he said, don't take it, I love. What are you
talking about? He goes, if you just say no, they're
going to offer you more. And I said, are you sure?

(34:31):
And he said, well, you really can't be sure of anything.
And I thought, if I say no to this, they're
offered me a full time job on this show. They're
offering me three hundred thousand dollars or something like that
all in, and if I say no, they may go, well,
there's eleven of you here in La more than that
that we can hire to put on the show. And

(34:51):
he said, if I were you as your manager, I
can't say no. But I'm going to say you should
say no to this. And so I trusted them and
I said, guys, I don't feel like you're paying me enough.
I'm gonna say no. Their next offer was one point
two million dollars and I said, yes, immediately, that's a
big check. That's a big that's a big check. That's

(35:12):
pretty cool. And then I don't know what the weird
part about that question is your first big opportunity. I
don't feel like I ever just had this massive opportunity
that came to me out of nowhere, or this opportunity
that just showed up because they're like, we think you're
so great, here's a big opportunity. Everything that I've been
doing has been one small ladder rung and then one

(35:33):
small ladder rung, and then I fall down a couple
of lodder rungs, and then I climb up three small
ladder rungs. Like, I don't really feel like I've ever
had a massive jump that either didn't have a lot
of risk involved or really wasn't that massive because I'd
been working on it for so long behind the scenes.
So I'm gonna say you made it was the big

(35:54):
checks because there was never just a massive opportunity that
presented itself that I wasn't either killing myself to get. Yeah,
it's the money, And I've never really done anything just
for money. I've probably taken a couple speaking engagements, but
that's one day, and those pay really well. If it's

(36:15):
a private speaking engagement or a private like just me
going up to do some jokes, that's significant. So I've
done that for money, but I've never like taken on
a whole project for money. I did the Yellowstone podcast,
and I thought that was a good relationship builder. I
kind of regret doing that. It wasn't that Yellowstone was
bad to work with. It wasn't the Paramo I was
bad to work with. That production company was terrible, and the
producer of that was just really awful. And when he

(36:38):
sent the email that was like, you're not famous enough
to get big guests, because I said, hey, why don't
we get Kevin Costner? Why don't we get and he
was like, yeah, if you were famous, we could get them,
but you're not famous enough. And I was like, okay, cool.
I had Costner on my show like four weeks prior.
I felt pretty good about sending that email off. But
I'm gonna go checks. Is AI going to run creativity

(37:02):
or is AI going to enhance it? That's the question.
My answer is going to be the AI is going
to enhance it. I think everything has always been enhanced
by things that were going to ruin creativity. And I
can walk you through this. I've thought about it this
a bit because I love AI. I make AI teasers

(37:24):
for upcoming guests on the Bobbycast. So if we go
back the printing press in the fourteen hundreds, people said
that the printing press would kill memory, it would kill
oral tradition, like just telling stories into your buddy's ear,
and Papa would tell grandkids' stories, and it would kill

(37:47):
the sacred art of hand copying texts. So the printing
press was going to ruin creativity in the fourteen hundreds.
In the eighteen hundreds, photography was going to run create activity.
Painters were pissed at photography, and so people were like,
that's it, it's over. These machines are taking pictures. It's

(38:11):
not the human hand anymore. Why paint when you can
just click? Then, recorded music in the nineteen hundreds, live
musicians panicked. Sheet music aficionados I don't even know what
you call that, like publishers, they went ballistic. The whole

(38:33):
thought was if music is put on a vinyl or
on a way that people will not go to live
shows anymore, that was ruining creativity. You can go to
the nineteen seventies or the nineteen eighties synthesizers and drum machines.
Traditional musicians said it was fake, it was robotic, it

(38:54):
was soulless. That's not real music. Now, that's so much
a part of real music. Pop, hip hop, dm even
country sampling in the eighties and the nineties, like old
school purists said that borrowing other clips of other songs
was just theft, not art, that it was just noise

(39:16):
not music. Are you seeing the patterns here? Auto tune
in the nineties, I think Share Believe was the first
auto tune song that was a hit. T Paining gets
all the credit because that he made it his thing,
which is weird because Tea paink could really really sing,
so it was a stylistic choice for Tea pain more
than anything else. YouTube and social media in the two thousands,

(39:39):
people said it was just kids making dumb videos, and
then when it started to catch on, it was it's
not really television. But then when it got so big,
it was like television's done. Everything's gonna be done on
YouTube for a nickel streaming services. So my only point
here about that question is every generation thinks that the

(40:00):
the next part of technology is killing creativity. But the
thing about creativity is it doesn't die, it adapts. It
always has AI isn't the end of originality. It is
just a really cool tool in the box, and I
think all of those have been tools in the box
so far. It can't replace human emotion or experience or taste.

(40:25):
It can only reflect it based on what it's built on.
So I can understand people getting upset about AI at times,
but remember people got upset the printing press. And that's
what I want you to say. The next time someone's
like AI is ruining music, Say ah, you sound like
someone in fourteen eighteen complaining about the printing press. But

(40:46):
I think AI is great and if you don't use it,
you're going to get crushed by someone else. That is,
because again it's a tool. Next question, what's one story
from behind the scenes Bobby Bone show you've never told?
I guess I'm feeling a bit nostalgic. So there was

(41:06):
a point during the show when I knew we were
moving to Nashville, but I could not tell anybody else
on the show we were moving to Nashville because I
hadn't even decided who I was gonna take because it
was so new to me. But they said, you can't
tell anybody because legally there are people that can't know.
And I'm not sure if it was because they needed
to be moved, because a lot of the shows that

(41:27):
were on in the mornings when we came on around
the country either got moved to like middays or afternoons
or some of them were like go before we even
came on, Like I didn't have any control over any
of that. But because of that, I couldn't talk about it,
couldn't tell anybody about it. And so there were a
couple of stories specifically that come to mind. Amy was
trying to buy a house in Austin and she had

(41:49):
moved to North Carolina. She worked remotely from North Carolina
for a couple of years because her husband at the
time now our ex husband, was in the military, and
she worked on the show with us in Austin. I'd
built that whole syndication company myself in Austin, and so
because I did that, I had the leverage to say
we're keep an Amy. And it was kind of unheard
of to have a co host that wasn't in the
same room with you. And so Amy was working in

(42:12):
North Carolina moving back to Austin. Everybody was pumped because
she was gonna be back in the room with us.
But if she was moving back and looking for a house,
that's when it's okay, I'm taking the Nashville job. I said,
I gotta tell Amy she's gonna buy a house, and
like a week. They wouldn't let me do it. And
I said to them, she may not take the job
if she buys a house. They would not let me

(42:32):
do it. She put an offer in on a house,
they accepted the offer, and for some reason, part of
the contingency fell through and the house was never able
to be bought. It was just like taking off the
market or something. And thank god that happened, because I
don't know that Amy would have come to Nashville with this,

(42:53):
not because of me, but because her and her husband
had just bought a house. So that one. And then
Ray Mundo where Ray Mundo had come to me, and
Ray was an intern for me. And the way that
I met Ray was he was doing internships for different
radio stations in the building and he was an intern
for the sports station called thirteen hundred Zone in Austin,

(43:19):
and they asked me if I would fill in on
like a holiday or two, and I was like, that's cool.
I love sports, why not? And I needed a producer
and he was producing and I said, hey, man, do
you want to produce this sports show? I didn't know him,
and he was like, yeah, I would love to. That's
how we knew each other. Then he came as an
intern on the show. He was never a paid employee
in Austin before I moved to Nashville, but I knew

(43:39):
he wanted to be, and I was trying to help
him find a job in some other city anywhere, because
Ray just wanted to go and work and make a
living out of doing radio. And I called him in
the office and I knew I was going to Nashville,
and I said, hey, man, I think I got you
an offer in a different city. Do you care where
it is? But I can't tell you right now? And
he's like, I don't care. I'm going. Said, okay, I

(43:59):
can tell you that city where the offer is, but
I can't tell you really the show because of some legals.
He's like, it's fine. I said, I really trust this
show and I think you're gonna do great there, and
they want you as like the head audio producer and
he's cloud nine, like is the most exciting thing ever
to him, and I get it because I know what
that felt like. And I said, the show's in Nashville,
but I can't say much else, and he's like, this

(44:20):
is awesome. I'm moving to Nashville. And it was a
while before I coul tell him the show was actually
me and that he was going to move with us,
and his first paid job was with me in Nashville
and now paid. Ray has been thirteen years man looking
back at all the guys on the show, like Amy

(44:40):
and Lunchbox, about just about twenty years, Ray thirteen years,
Eddie thirteen fourteen years. Like our crew has been together
a long time. But I would say that's a behind
the scenes story that really doesn't get shared a whole lot.
I haven't really thought about it. I'll do a couple more.
We're just doing fifty minutes. Oh, this is full fifty

(45:01):
minutes club here. What's the most overrated artist of all time?
We talked about this on the radio show recently. I
can go into a little more depth on mine. I
think the most overrated artist of all time is a band,
and I think it's Youtwoe. Now that doesn't mean I
don't think they're good or even great, because I do
really like you too, but I think it's okay to

(45:22):
say you two is really good, but also feel they're
a bit overrated, and I can give you some reasons
they get classic airplay consideration, like on classic rock stations
for songs that weren't even hits, like Vertigo wasn't even
a hit. It plays on classic rock, like just because
they're you two, they just play their songs and I

(45:46):
can get it more to that just because they're you two.
But even like Elevation, that's not sweet Child of Mind
and that's not smells like teen Spirit, So it gets
played on like classic rock and even alternative stations they
won't even hit back in the day. Okay, that's a
dumb one, but I'll put it there. Bono at times
is so annoying that his persona, the character he plays,
gonna overshadow the music and make you not like the band. Now.

(46:07):
I think it's great to be an activist, but I
feel like he's activist first, and maybe his glasses just
pissed me off. Like those glasses aren't even real sunglasses.
I'm wearing sunglasses right now because I got lights right
in my eyeballs, but like he wears the clear ones,
they're not even sunglasses. But I feel like Bono's like

(46:27):
Messiah complex even at times, and I don't know them,
but that can dominate the narrative of youtwo. So even
if the music's good. People that really love Bono are like, no, no,
it's different. It's different. The iTunes thing still hits people
because back in the day twenty fourteen ish, it was

(46:48):
before the Couple in the World Series, but not way
before the Couple in the World Series, that album Songs
of Innocence was put on everybody's freaking iPod or iPhone.
I guess I had to be iphoned. And so there
was this You two album that wasn't even that good
on everybody's iPhone. That did not help their legacy. And

(47:09):
I remember they gave You away to delete it like
a week later. That was significant. They haven't had a
really good album in like twenty years. I looked when
we were doing the segment for the show. They really
haven't had anything in twenty twenty five years. And then
it's almost like they've been treated as untouchable gods, like

(47:31):
rock and roll gods. They do deserve to be in
the Rock and Roll Hall of Fame. I do like
you too, but they have been basically the moral compass
of rock, and that can wear thin when every album
that comes out is also like attached to a global cause,
and I love global causes. I do sign me up
for more global causes. But it's like every album that

(47:52):
comes out, it's like a different rainforest or something. It's like, bro,
sometimes we just want a song to sing. It's like
a Ted Talk. I don't need a Ted Talk for
every song that you put out, Bono, but I do
like you too, that's the weird thing. But I would
say I think you two has absolutely earned their place
in rock and roll Hall of Fame. I just don't
think they need a throne inside the rock and Roll

(48:14):
Hall of Fame to sit on and look down upon others.

Speaker 2 (48:17):
Let's take a quick pause for a message from our sponsor,
and we're back on the Bobby Cast.

Speaker 1 (48:31):
Another question, has country music lost its identity or has
country music evolved? Country music has always been losing quote,
its identity since it was even invented. There has never
been a time, there has never been a half decade
where people weren't saying that ain't real country music. And

(48:54):
we can walk through this too if you want. I
feel like I've done this Ted Talk one hundred times
because sin it's day one. People have said that country
music is just not what it used to be. But
country music has always been evolving and those changes are
what keeps country music alive. And you can kind of
walk through a decade by decade and look at every

(49:17):
time that someone said this ain't real country, which makes
you look at the people that say it now and
you look at them almost with sympathy, like you're kind
of dumb because it's been said over and over and
over again to things that were told that weren't country
that actually are again fundamentally what we think are country
music now, like the nineteen thirties, nineteen forties, and that's

(49:38):
back when the Grand Ole Opry started broadcasting, which I'm
going to tonight, by the way, still thriving. Critics claim
that the Opry was turning country music into a vaudeville
act because of the stage, because of the talking, because
of the fun back in the thirties and forties, And
I really credit that country music documentary on PBS. It
was fantastic. Bob Will introduced Western swing and fiddles mixed

(50:03):
with jazz, and the whole world, the country music world
turned over. And it's they're supposed to be dead grave
because they used an electric amp on a still guitar,
like that was not country. Isn't that crazy to think
like a still guitar. At one point, Amped Up was
not country music. But again, the people now that are

(50:23):
going they're in a country. That was them telling Bob Wills,
you ain't country, telling the Grand Ole Opry you ain't country.
In the nineteen fifties, it was too much rock and roll, Elvis,
Carl Perkins, Johnny Cash. They definitely blurred the lines with rockabilly.
And if you ever heard of the Nashville sound, it
was a much smoother type of country music. And the

(50:44):
Nashville sound comes to mind now because Brian Wilson just
died and Brian Wilson used the Wrecking Crew, and the
Wrecking Crew had, you know, these artists that were like
session players now, but the best. But that's what the
Nashville sound kind of turned into. Very slick. It was
like strings. It was an attempt to popularize pop up

(51:10):
country music. But old school fans called that sellout music.
But I mean, that's Patsy Klein, that's Jim Reeves, that's
things we look at now, that's country music. In the
seventies it was the outlaws are killing country music. What's
weird now is like the outlaws are man. That's my
favorite Outlaw era. But the Outlaws were told they weren't

(51:32):
country music by the same people. Now they're going, that's
not country music too. Insert whichever artists now they're mad at.
But in the seventies it was all about the outlaws
and how the outlaws are killing country music. Willie and
Whalen and Chris Christofferson. They rejected all of that, the
Nashville sound that was so smooth and polished. Critics called

(51:54):
the outlaw music disrespectful, not traditional. So the music we
look at now as what created country was looked at
then as what's ruining country. There's definitely a pattern with
annoying people going that ain't country. In the eighties it

(52:17):
got to pop Alabama, Kenny Rodgers, Dolly Parton, Like everybody's
like your pop artists, your pop artists, your pop artist.
I mean, heck, Kenny Rogers was actually a pop artist.
You know that song? Eh, what condition my condition was in?
That was Kenny Rogers. And I'm not gonna say he
was a failed pop artist, but he was a failed
pop artist who then came to country. Dolly bounced back

(52:40):
and forth because she could. Traditionalists were all pissed off
at all these pop artists that were making country. How
familiar does that sound right now? Probably very But they
expanded the country music audience. They made people listen that
normally wouldn't want to listen, while still dominated the country
charts and the Garth Garth's Gonna Run Country and a

(53:03):
lot of times because of his pyro stage shows, huge
crossover success. Circus. Garth does the circus, it's not even
a real tour. He became the biggest solo artist of
all time. And now we look at Garth. There's no
question Garth was country, but Garth was getting pushed back
on being country. Two thousands. That's what we kind of

(53:26):
got here broke country and that was beer and trucks
and girls, and country music lost its soul. But bro
country again did what some of those other generations were
they It brought new fans. The first time I heard
Nelly and Florida Georgian Line do Cruise, I was like,
that's it, And yeah, looking back, was it kind of lame? No? No,

(53:47):
it wasn't. It was awesome for the time. And I
think it sucks to say the word bro country to
like Luke Brian who's a friend of mine. But they
weren't doing bro country. To do bro country. That was
just a vibe at the time, And you're gonna tell
me that didn't bring tons of fans in. And it's
easy and it feels good to hate on bro country now,
but it was really good. Like it got corny because

(54:10):
everybody started doing it, and then it got very corny.
Today there's too much hip hop, there's too much pop,
Post Malone, Diplo, Beyonce. That ain't country, But what even
is country? And the one thing that has stayed consistent
with country music as it's always evolving, And the one
thing that stays consistent is people are going, well, that
ain't country. So the next time you see somebody go well,

(54:32):
that ain't country, just know they're a freaking idiot because
it's impossible to say what's not country. There are some
things now that could be happening that in ten years
won't still be country because the actual gatekeepers are the people,
the consumer. But when you see somebody or an article
written by whomever going this ain't country music, just know
they've called the Grand Ole Op revidable. And that same

(54:53):
rider was probably doing that in the thirties and forties
on a different timeline. They don't know anything about music
that you don't know. So had country music never changed
and also boxes for an hour, I'm not going to
it would have died in a barn in the thirties.
The only constant country music is that somebody always sucks

(55:14):
and it's changing it. So that's what's up. It's not
losing its identity. It's always trying to find its new identity,
is what I would say there. I want to do
two more questions. If you had one hour of uninterrupted

(55:34):
airtime that every American had to listen to, what would
you say? It's good? I think I would say that
we're all way, way way more alike than we are different,
and that politicians need to divide you to exist, like
they need to divide you like we need water and air.

(55:56):
So the politicians that you're a huge fan of, if
you are a huge fan of, they need you to
not like the other party because that's what's going to
motivate you. I watched this thing once and it was
one of those shows like twenty twenty your Nightline. They
had all these people that were trying to lose weight,
and they said, okay, we have this first group and

(56:17):
we're gonna give them the offer of if you lose
twenty pounds and eight weeks, we're gonna give you one
thousand dollars. We have this other group the same amount
of people, different people, but same amount. And if you
don't lose that weight, we've taken nude pictures of you.
We're gonna post them on the internet. So it was
positive versus negative reward. You know. The one that worked
that actually motivated people was the negative reward, like crazy,

(56:40):
because people are like, well, yeah, this sucks. I guess
I don't need the thousand. Well, people don't want their
wieners on the internet if they don't put it on there.
And so negativity always moves people. We've seen some really
bad things in history with negativity and division. So politicians
they yearn to divide generally, they need it. They need

(57:06):
you divided, and they need you fighting. And in that fight,
you need to fight for them. So you're more like
the person that you can't stand than you ever thought
you were. And the politicians that you know as mostly
being anti something, they're being pro something. Dirt balls. Dirt balls.

(57:27):
If you can think of like ten politicians and if
the first thing you think of is what they're against
instead of what they're for, dirt balls, broken system. That's
probably what I would say. One final question, what's one
conspiracy theory that you don't have to say you believe,

(57:49):
but you also can't let go of Epstein didn't kill himself.
There's no way Epstein kill himself. I mean there's a way,
I guess because I wasn't there, But just let me
lay out some stuff for you here. But Epstein and
supposedly now they're like, no, we saw it. I thought

(58:10):
the camera's broken. How can you see it now? Number One,
he was on suicide watch and then he was mysteriously
taken off suicide watch. They had him under supervision twenty
four to seven because he had already quote attempted suicide.
So he's on suicide watch, they're watching him, and all
of a sudden they take him off suicide of watch,
and that's when he kills himself because they basically gave
him the opportunity to do it. Fishy. Next up, both

(58:32):
security cameras malfunctioned at the same moment. The surveillance cameras
outside of a cell conveniently failed at the same time.
You're gonna tell me that they both died at the
exact same time, and that one exact time, not just
a random time where they just flipped him back on,
was the one time he killed himself. That's like your
ring doorbell cam dying right before the burglar breaks in,

(58:56):
like five seconds before the burglar breaks in. And that's
only one camera, not even two of them. Both guards
fell asleep at the same time as the cameras went down,
at the same time. Both guards went to sleep at
the same time. Two trained federal officers fell asleep during
the same shift, during the most high profile suicide risk

(59:18):
in custody. That's not just bad luck in random. That
is extremely suspicious. The other one is he was about
to name names supposedly court documents, and there was testimony
that implicated powerful people, billionaires, politicians, royalty. He wasn't just
a threat to them. He was a freaking loaded gun

(59:40):
pointed right out him. You know another one, his cellmate
was pulled out right before he died. So you got
two cameras to go down, you got two guards that
go to sleep, you got him taken off suicide watch,
and you got a cellmate pulled out right before he died.
That sealmate was in there for quote safety, and they
removed the one person that would have been a witness.

(01:00:02):
His injuries didn't match a hanging. The government closed the
book super fast. They're like, yeh done. Epstein killed himself,
all right. Next up, and then the really weird one
was Giselaine Maxwell. You know, you see it in all
the pictures with him. It was like his girlfriend or
like his trafficking partner or both. Like she was convicted

(01:00:23):
of trafficking kids, but to no one. She was found
guilty of trafficking underage girls to clients. But there is
no list, there's no follow up, no no names. We're
what's happening here. So that's the one. I don't know
anybody who thinks that he actually killed himself. Yeah, that's crazy,

(01:00:45):
that's crazy. Okay, that's it. We did fifty minutes fifty
minute club. We're done. We'll do it again sometime soon.
Thank you. If you enjoyed these one on ones, please
let me know. We'll do another one next week week after.
I don't know, we'll see how it goes. All right,
that's it for this episode of the Bobby Cast. We
do coming up, we have Mark Cuban coming up. We

(01:01:06):
have Brooks and Dunn coming up, interviews with them that
are super cool. I'm super excited to have. So I
appreciate you guys listening and we will see you guys soon.

Speaker 2 (01:01:13):
All right, bye, Everyboddy, thanks for listening to a Bobby
Cast production