Country Stars and Pop Heroes: The Real Truth Behind Today’s Music Business

 You're listening to the ride cast, a top 25 worldwide business podcast.
 If it's radical, we cover it.
 Here's your host, Ryan Alford.
 Hey guys, what's up, Ryan Alford here, host of the Radcast.
 We're going behind the music today folks backstage with some of the best and brightest
 in country music, songwriting, pop, all of the gamut.
 We got Kofi Henderson who did the Netflix special a few years ago, all around great dude,
 Jaren Johnson from the Cadillac three, Jenna Andrews, BTS butter.
 You heard that song?
 Yeah, you have.
 It's all over pop stations.
 So you know what I'm talking about.
 You get to learn from them.
 The ins and outs of the music business and all about tactics and social media, things
 that really cover the gamut for any business.
 But we go deep with some great guests really enjoyed this episode so much knowledge, so
 much insight, especially for us, you know, you kind of listen.
 You always wonder what site behind the scenes with the music business these days was streaming
 and all the other stuff really insightful, really enjoyed this episode.
 We've aggregated all the best of some of the biggest and brightest in music.
 Hope you enjoyed.
 We'll see you next time.
 That is the first song on the Radcast.
 I love it.
 Hey guys, what's up?
 Welcome to the latest edition of the Radcast.
 I'm Ryan Alperid, your host.
 I'm joined by the Radist, baddest, country music singer.
 I know.
 Kofi Henderson, what's up brother?
 If you've been checking my playlist, if you've been, if anyone that knows me, they know
 I'm a country music guy, so I'm going to get as many country music stars as I can.
 And I got my favorite guy right now, Tyler Rich.
 What's up brother?
 What's up?
 Thanks for having me, man.
 Yeah, man.
 Radically country today, folks, Radically Southern, I'd even say my friend, Jared Johnson,
 what's up brother?
 Hey, man.
 Thanks for having me on here, dude.
 I'm excited to be joined by Elena Smith, hit producer, songwriter, podcast host, and
 all around bad ass.
 What's up Elena?
 What's up Brian?
 How are you?
 I'm good.
 I've got a super talented singer, Grammy nominated songwriter, producer, vocal producer.
 So many titles I can't even keep my head on straight, Jenna Andrews.
 What's up?
 Hi.
 How are you?
 I'm great.
 I'm awesome.
 I'm feeling like dynamite and butter all in one.
 Oh, my God.
 I love that.
 I love for them to know just kind of like your journey, you know, I don't know how you
 start from wherever it makes sense for, you know, I guess your your love of music and
 everything else.
 Literally when I was five, my parents bought me like it's little piano and I just taught
 myself how to play and that was kind of a thing where they were like, oh, I guess
 it's your musical.
 Do you want to, you know, pursue this?
 I think for them, like they were never pressuring it on me, it was something that I wanted
 to do.
 So I mean, from a young kid, I just always was in every lesson possible.
 Like I would, I was just always sort of a hustler, trying to get on, you know, in
 any way I could.
 So I, and I was from Calgary, Canada, which doesn't have a lot going on.
 So a lot of the artists that would come in, I would just, you know, ask the promoter
 if I could sell tickets to open the show and basically one of the promoters introduced
 me to a producer that I then moved to Vancouver to work with.
 And that was when I first got my, you know, first production deal.
 And then a couple of years later, funny enough, I put a song on my space that then got
 me a record deal at Def Jam.
 And then, you know, the story continues.
 Haha.
 Yes.
 I heard my space in there.
 It's like, I know.
 I love it.
 Yes.
 The date, I feel like I'm dating myself, you know, like the original music social media
 platform.
 Yeah.
 Before Tik Tok or Facebook or anything else back in like 2005, when I was like 18, 19,
 whatever.
 Yeah.
 Social media.
 OG.
 My space.
 Yeah.
 OG.
 I had a my space.
 It was popping up.
 Yeah.
 I definitely had like a bit of a good run with my space, you know, it was very easy back then
 to kind of get your music in front of a lot of people using that tool.
 So that's what I was doing.
 The only thing I would say is at that time, my music wasn't that good and you have to
 have good stuff to like really make this work.
 I've kind of had, you know, a long journey, a very long journey.
 I'm 34 now.
 I started when I was 17, like full time.
 So pretty much half my life at this point.
 And definitely for the first 10 years of that, I had pretty much like no success at all.
 And I definitely, I always feel kind of weird saying that because I know a lot of aspiring
 people that listen, that's not like a very fun thing to hear and maybe a bit discouraging.
 But I always say like, I had a lot of detriment that were kind of holding me back, like one
 is definitely kind of like not even just a language barrier because I learned English fluently
 to speak English fluently really quickly.
 It's more like a cultural barrier, I think is a lot tougher.
 I think it's a lot harder to absorb the culture of another country to then be able to
 regurgitate that culture in an artistic way and serve it to the people.
 I think that's a really tough call.
 So it took me quite a long time to kind of like really understand what was going on here.
 Culturally business-wise, like in the music industry, you know, and I would say kind
 of like the 2010s earlier, 2000s, it was not like as, I don't know, as honest of a time
 as good of a time as it is now.
 I think things have gotten a lot better.
 And so I had all these like really cool influences growing up and dove into guitar and bands
 and all that stuff when I was in high school and then early 20s and then all of a sudden,
 you know, guys like Keith Urban and Tim McGraw and Kenny Chesney and all that stuff.
 When I was departing from the band I was in and it was just going to be me and my guitar
 and I was going to be a singer-songwriter.
 I was like, what do I really want to do?
 And country was just like just that obvious.
 I want to write songs about where I grew up, what I grew up around, who I grew up with,
 and the ex-girlfriends I can't stand, you know, and like all these like realistic stories
 about where I grew up and what not.
 Your favorite beer and the lawn you were used to mow.
 Exactly.
 And country sets you up so nice to be as honest, painfully honest as you want to be.
 My dad was always a drummer, the grand old opera.
 He was a drummer for a bunch of older country artists in the 80s and early 90s.
 And then he started pitching in songs, which means, you know, like, finding songs from
 writers and taking them to John Markle Montgomery or whoever and trying to get them recorded.
 And so I saw that at a very early age and remember seeing how excited dad would get
 when he got a quote unquote a hold, which means the artist or the manager liked it for
 whoever.
 And I was just like kind of mesmerized by that whole thing, like the equation of sitting
 down writing a song by yourself or with friends.
 And then two weeks later, it's, you know, a recording by Garth Brooks or whoever you
 know what I mean.
 I just always thought that was so cool.
 So I kind of started touring when I was 18 playing drums for a bunch of bands.
 And then I started writing songs, man, and got serious, real serious about it about 2005.
 And, you know, got my first publish and deal and from then on, it's just kind of been
 the crazy, you know, country western ride.
 I got a male big guitar, but $4.95.
 And I started practicing GCD and Emon, four chords.
 And out of that, I started doing kind of campfire praise and worship songs singing in church
 because that's what I knew.
 When you're under 21, church is a place you can sing on Sunday and Wednesday nights to
 get a whole lot of practice.
 And if I still go to the cheer for you, could you do it in a pull out?
 So at that point, I realized that I had a gift and I'm a, I'm a capitalist.
 I'm like, let me figure out how to get paid from this job.
 And I moved to LA and I started meeting different people.
 And I realized that the music industry was smoking mirrors.
 I realized that there were a lot of people that were famous and broke.
 And I never wanted to be that.
 The business of country music, you know, you've been in it for a while.
 I mean, 05, like you said, maybe getting your feet really into it with the songwriting.
 I mean, you've seen a lot of change, right?
 It seems pretty cut through it from the outside.
 It can be pretty brutal.
 It wasn't until 2010, late 2010, where I had my first number one.
 That's five years, you know, like there would be a couple songs that got recorded in between there.
 But you're not really seeing money from that unless it's on the radio.
 So you're living off that publishing, you know, the 30 grand a year.
 And you're trying to keep that deal every year too.
 Look, Nashville, so damn hot, you know, in country music, so hot, like in, you know, popularity and everything.
 It just seems like you could get caught up with that rat race.
 And I don't know, get swallowed whole, maybe trying to like, you know, do your own thing, be your own artist,
 but also having the realities of that, I don't know, the business and I don't, it's not even just a competition.
 I would just think there's, I don't know, there's got to be some backstab.
 And I don't know, I'm not trying to pull drama out of something that's not drama,
 but I just would think with all that it's going on, it just would be cut through it.
 And every time I turn a radio on, I hear something, whether it's a guitar lit or a lyric that's in one of my songs,
 it happens a lot with like, you know, you'll hear something, I'm not going to do the names,
 but you know, the day I heard something and it's one of the biggest songs, you know,
 it's going to be one of the biggest songs I'm going to create, but this year probably.
 And it's a direct rip off of an old Cadillac 3 song.
 Wow, because a lot of these guys that are big now, when they, when, when we started in 2011,
 they were going to whiskey jams in Nashville.
 They were going to writers rounds in Nashville.
 They were coming to Cadillac shows, they were doing, so you're, you're hearing a lot of that.
 And that's also a way to see like how you've affected or influenced a market or genre,
 which is kind of fun, but at the same time, you're like, okay, all right.
 Okay, a little too close.
 Yeah, I thought that's who you were talking about.
 Yeah.
 Oh, yeah, there's a lot of, there's probably a fine line of flattery and, uh, and, uh,
 what's the word paid?
 Uh, suing.
 Yes.
 Low, low your ring.
 It seems like hit artist or whatever.
 But it's definitely a different path.
 It seems like every other one I've heard is like, move the Nashville with the dream in mind or something like that.
 But I know, I know California pretty well in knowing how, you know, some of the rural country,
 it's a huge state like, you know, and how, how popular and how it kind of did originate some of,
 um, some major artists and things like that in country and things like that.
 So not, not that shocking.
 But, uh, what do you think the, uh, the biggest challenge for you like, you know, through that journey?
 Is it just like, is it just, I don't know, you don't seem to lack confidence.
 But like, it just seems like the journey for artists especially is like when you're trying to get that fan base
 or trying to kind of get the machine rolling or something.
 In this growing age of, uh, streaming services and constant, just content at your fingertips,
 no matter what it is that you want immediately, that is changing.
 And there are a lot of artists I'm seeing that are absolutely just crushing independently because of stuff like Apple and Amazon playlist and Spotify playlist.
 And, um, there's just a discovery aspect there never was before.
 And if you make it on hot country on Spotify and you are unsigned,
 and you're getting, you know, a million streams a week or something like that from that.
 That is massive awareness on your product, right? Your son.
 And so it's, it's interesting to watch change now in my timeline, my situation.
 It's not even an option in my mind or even in reality.
 You know, like, I was very set on my, I need to get this record deal and then we're going to take.
 So country radio is still the biggest radio format of any genre.
 Whereas in people that listen to other genres, don't necessarily listen to the radio as much anymore as country consumers do.
 Country radio is everything to the country audience still.
 So in order to get on country radio, actual charting country radio stations.
 You have to have a record deal.
 And so if you don't have a record deal, you don't have a promo team pushing your stuff to country radio.
 And so it's, uh, it's just become like.
 Other genres, man, you can do it is the law.
 You can do it without a label for long time country.
 I would still my number one form of advice is go get yourself a record deal, but get the right one.
 Even if it's an independent one, even if it's small, you need a radio promo team because country radio.
 Is the spark to every career still currently.
 And I ended up meeting Paul Wall, uh, a rapper named Mike Jones.
 Who?
 And they were at a, uh, urban network convention.
 And I asked their manager how he monetized how he made his money.
 And I bugged him so bad that he really took 10 minutes.
 And I really wrote down all these notes and gave me this blueprint on how to be successful in the music industry.
 At that time, it did change from CDs to downloads downloads and streaming.
 But some things never change when it comes to business, no matter what business you're in.
 Number one is scaling, number one is excellence.
 And number number one is getting leads.
 If you do all those number one, you end up pretty successful.
 And also you want to work hard and take care of the people that believe in you.
 I think that every customer that calls everyone that wants me to do a live show or someone that buys my music.
 They believe in me and I want to give them the best product possible.
 I actually live in Nashville for quite a while for about four years.
 And had an interesting experience there in country music.
 So I definitely am a fan of country music.
 I did leave the town and move to LA because I think at least at that time,
 and I don't know how it is now because I've been kind of out of that game for like five years now.
 But at that time, it wasn't a very friendly environment to females, like female writers and female producers.
 There weren't a lot of female country artists that we could even write for, right?
 And it's, I think it's definitely a little bit of a stretch for, you know,
 somebody like me to write for Lou Bryan, for example, to like write about trucks and like beer and girls.
 Like I can, but there's probably male songwriters that can like nail a lot better than somebody like me.
 You know what I mean?
 So definitely at that time, again, can't speak for how it is now.
 But at that time, it just felt like it wasn't a very friendly environment to women.
 And there weren't a lot of opportunities.
 So when I moved to LA is when I kind of started having a lot of my success.
 But I still definitely am a big fan of country music.
 I even, you know, really some music as a country artist back in the day.
 You know, kind of played around with that.
 But I think it was one of those things that as an artist,
 as that really wasn't very authentic to me.
 I like a lot of things about country music like harmonies.
 I love live instruments like guitars.
 I love a lot of kind of like bendiness and vocals too.
 I still have retained some of that in my style now.
 But I, you know, I think it was one of those things where I felt like I was really trying to stuff myself in a box.
 Like trying to fit this thing everybody was doing at that time and make my voice fitted and make my style fitted.
 And what I look like fitted and you know, it kind of wasn't working.
 And I learned a really important lesson then basically be yourself.
 Yeah, when I went to sing for record labels, they were like,
 yeah, you got a permanent tan and do country music.
 I don't get it.
 And then, you know, I sang, but the R&B labels and they were like, yeah, you got to have it all.
 We don't get that one even.
 So I created mom label from the house.
 And we had a beautiful roll up door when you hit the button.
 It's called a garage was our office.
 And out of that, we started doing videos every week on YouTube that got up to over 200,000 subscribers.
 And then Facebook went crazy and we're at 700,000 on there.
 But the difference is most people think of numbers.
 I don't have 200,000 followers.
 I got 200,000 customers.
 People that follow me have bought from me.
 Most people go, well, how many followers you got?
 I don't care because you can buy followers.
 You can't buy revenue.
 Money shows up or it don't.
 Out of that.
 I got on Facebook one day.
 I made a video playing a joke on my life when I said, honey, what is YES bill?
 She said, yes.
 I said, what is E?
 YES bill.
 She said, yes.
 It spells eyes, public schoolers.
 And in the middle of that video, I said, Bravo.
 E USA.
 We need our own show.
 Call me.
 Alex Baskin, the genius that created Orange County Housewives.
 Housewives of Atlanta.
 Call.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 We created.
 And we created.
 And we created.
 And we created.
 We created.
 And we created.
 And we created.
 We created.
 and we created.
 But obviously you found a niche with vocal production and writing.
 What's that transition?
 Or balance of those things if being your own artist versus writing for others?
 What's that been like?
 Well, for me,
 you know, started in terms of like Spotify and mostly Spotify in terms of like that, you know,
 kind of like you said, changing what the industry is now. I mean, it's so much different than even
 when it first started, obviously. But anyway, I think for me, you know, as weird being signed for
 seven years and only putting it, I put out one song in as EP in like, and one mixtape in like seven
 years, which is people put out in a month now, you know? So, um, so I think coming off the label,
 I just, all I was just so hungry to just put out music and have all the songs on my hard drive
 release. So I think, you know, writing with other artists was sort of something that I never
 thought about, but, but amazing for me. Because I was like, oh my god, these songs get to come out
 in the world. I love this. And then I just, you know, it was one of those things that you don't plan
 for that became your life. And I was like, oh, I'm just going to roll with the punches, you know,
 that thing. Yeah. But there weren't as many kind of these self-sufficient opportunities. And there
 are now. So I think we're going to see a lot of artists that are, you know, maybe a little bit older
 than we're used to seeing because we're used to seeing basically kids like teenagers, early 20s,
 people that just got signed to a label really young have been building since they're like 11,
 you know, and they got this opportunity. But I think we're going to see a lot more people in their
 late 20s and their 30s and the 40s that have been building their own brand and building their own
 platform and fan base, doing really well on this independent level. And I will say there are
 a lot of opportunities, especially if you are somebody that can write and produce their own stuff
 as well, because, you know, you end up keeping 100% of your master, which is, you know, your recording,
 not to get into like all of these kinds of technical things. But yeah, you get to keep a lot of your
 money where a record label would pretty much take all of it or most of it, or they would make
 you recoup all your promotional costs as well. So I think it's definitely like a very
 tough thing and I wouldn't encourage people to like jump into any sort of deals if they're new
 and they don't have like professional help. I think like building on your own, learning in like a
 more paced way is a much better thing in the beginning, you know, and as you get more experienced,
 you'll be a lot more, you'll be just in a better place to be able to call these decisions
 because it is, it's definitely one of the most confusing businesses, I think, because I have
 people that do, you know, friends that do other things and I hear about how much more straightforward
 their careers are. And I'm always like, wow, okay, not, not here. So, but I am excited about
 all of these opportunities that are in front of us now. I mean, a lot of these guys and girls
 coming out now that let's say they have a number one hit, can't sell 500 tickets in their hometown.
 You know what I mean? And that's, that's not, that's not doing anything for anybody. So,
 I think that ours is more content, less directing one thing at one thing like a single to radio,
 which let's be honest, everything we kind of do is, you know, it's left, man, and we're doing it
 on purpose. There's that mentality, I think, that if we build it so big, at one point, radio won't
 be able to not play it because it's, you know, the fans want it, the country fans want it.
 Our idea for marketing is as many irons on the fire, we put out, putting out more records and
 songs and videos and all that stuff and touring as much as you can, it's more irons on the fire.
 Every one of them is going to do something for you. So, I believe in that one for our particular
 situation, you know, like for some of these kids out doing it now, it wouldn't, that wouldn't work.
 You know what I mean? Because they don't sound any different from Thomas Redt or
 whoever to make a dent without that radio single. But, you know, that thing about 500 tickets in
 your hometown, if you can't do that, that's your, your somebody in your team is doing it wrong.
 It's crazy how stuff can pick up fuel, like especially, which is where social media is gone.
 You know, things get picked up, you don't ever know. And damn, viral later, right?
 Do you think about all these songs now? Look at the, um, what's that?
 With the Mexican guy that was drinking them. Oh, yeah, yeah.
 Very. Oh, yeah. Oh, yeah. You know, it's money. He made
 you never know. Like you're, you only got to be right once. If you don't give yourself the
 opportunity to win, you're messing up. We've never lived in a world like this.
 Oh, you ain't got to tell me, brother. I tell people that every day. Like, that's what we do for a
 living. We, uh, we give people opportunities here at Rackle. It's like, you know,
 what planet are you on? I have someone tell me, I mean, you're a person. You don't even know it.
 You lying. You lying. I live in a capitalistic country.
 What do you think the, uh, the biggest challenge for you, like, you know, through that journey?
 Is it just like, is it just, I don't know. You don't seem to lack confidence. But like,
 it just seems like the journey for artists especially is like when you're trying to get that
 fan base and trying to kind of get the machine rolling or something. The biggest struggle always
 is, well, what you said about confidence is important because that's the number one thing you
 have to get no matter what. Because if you don't believe in your brand or believe in yourself
 and what you're selling because, I mean, I'm an artist and musician, but I mean, it's business
 more than anything in the world. You know, um, you have to believe in it and what you're selling.
 And it's so crazy important because when you're trying to tell somebody to listen to your music
 and they've since any sort of hesitation, they're like any sort of like, they get like, I mean,
 somebody tells me, Hey, man, will you check up my music? And I have like even a five percent
 inkling of like this weird vibe from this person. I'm like, about one, two.
 So that is super important, obviously. But as far as going back to that gorilla marketing thing,
 man, it was, it was so important in those early days of getting those, that core early on because
 you want somebody, you want people that are passionate about your, um, your progress and your
 journey. What I'm saying is, if you can't put out enough content for consumers, the new music
 industry is quality, consistent content. If you can drop a good song every week, mixed master
 and build a fan base, what happens with the algorithm of spot? Can we, can we get a reel?
 Oh, yeah. Get real. Get real. The algorithm of Spotify is this. If I drop a song and you follow me,
 you listen to more than five seconds of that song, the next week I drop one, you get a ping that says
 how they drop the new song. Why? Because they want to fight against serious XM highway. They want
 to beat all those radio stations that are digital to say, we want you to stay here and give us your
 money. So we're going to give you, we're going to make success stories of the artists. I love it.
 I don't have to have a whole album anymore. When I get done with a song, get a cover, put it up.
 Guess what? You're going to get a ping that says copy drop the new song. Then you're able to go
 from six thousand followers to thousand and nine weeks. You go from 60,000 to 500,000 four months.
 That's real money. Every one million streams you get is $7,000.
 You know, if you stream anything less than that, like that's really not covering the expenses
 of your team, right? So that's why new producers, I mean new artists have to kind of
 either work themselves into situations where they're working with somebody new who's also developing
 as a producer and writer, or you just have to kind of gather a budget. The energy of each track
 had to do with stories from beginning to end, but unfortunately fans just don't listen to music
 that way anymore. Super fans will, I mean, like the real diehards always will. So that is why I believe
 the album obviously will never die because super fans like the filler songs, they like the deep
 thoughts too. The sad, bastard ones in the middle, you know, like they love all that stuff,
 but it's a singles chasing game because at the same time you've got other fans, everybody just
 content is so readily available. And if some artists are putting out a new song every month,
 and then I'm only putting a new song every four months, fans are listening to the other artists
 and they're forgetting about me. And so they want music as fast as they want Instagram posts.
 And it's just this weird world we live in now that we're all getting used to.
 So Jenna, talk to me about like the songwriting process and like, you know, the marriage between
 artists and songwriting. Like, you know, imagine certain artists come to you, you know, for songwriting
 help, but are you, you know, constantly like toiling with ideas and then, you know, maybe you
 are your team's shopping songs to different artists? Talk, what's that process like?
 No, it's definitely like that. However, I think in today's world, you know, like it's so much about
 the visual aspect and the narrative of what an artist is trying to say in their story. So a lot of
 times, you know, it's becoming more songs that, you know, you're writing with the artists are
 developing with the artists in terms of, you know, creating their story along with just like the
 song, you know, obviously that does exist to be able to pitch a song. You know, for example,
 Butter, you know, was that, but I mean, I'd already worked on Dynamite and sort of really gotten
 to know the guys and really understand their voices and stuff. So in writing Butter, I, you know,
 that was something that was super conscious when writing all the lyrics and, you know, certain
 melodies and just like the way that they would phrase things like that was something that I feel like
 was in my, you know, all of our heads. Yeah, for me, I'm really excited just to be able to put
 things like that out there because as a producer writer, you know, I'm always catering to others
 and what they want to say, which is great, which is what I think every producer writer should do.
 You shouldn't like impose your kind of artistry on other people, but it is good for me to have
 this outlet for myself for sure. I think I would classify my styles just left of centers as far
 left as I can get without, you know, just I like it still to be accessible because I grew up in a
 time where, you know, Garth Brooks was the biggest thing in the world at its commercial music,
 but it was country, you know, Hank Williams Jr., stuff like that that was like hangs on the side of
 like left as hell, but man, when he wants to deliver a strike, he delivers a strike. So I think
 that's the fun part about the way that I try to write and, and like I said, it's also like who
 you surround yourself with, the people that you're writing with and the people that work your
 songs that are working for your publishers and stuff. But yeah, I just try to go into every room
 with something a little different and try to do things the way that that aren't expected, you know.
 Yeah, I like that. And it's much the creative process. I own an ad agency and it's kind of the same
 thing when we're developing ads. It's like, how far can I push it? You don't want to alienate
 mainstream, but if it's different, it sells, you know, and it's kind of the same thing with music.
 I don't know. It's like a disease. You've got a positivity disease. You're just catching on,
 you know, the only person, the only prescription is more coffee.
 You get a little bit of a night you don't say. I want you to feel excited,
 energized, and again, anybody out there, you want to start your business, you want to
 take yourself to the next level, you can do it, you can do it. Follow winners. Don't listen to
 anybody. I had a guy tell me, hey man, I'll tell you how to make a million. He was asking
 me for money to stop something. Get around one. Yeah, you are the circle you keep.
 You don't want to find us the radcast.com. You can search for all this content,
 search for Jenna Andrews, search for the green room, search for Jaren, search for Tyler Rich,
 search for Alina Smith, search for grown fucking woman, search for Kalfa Anderson,
 you find all the episode information from today. And you know where to find me at Ryan
 Alfred on all the platforms. We'll see you next time with the radcast.
 To listen or watch full episodes, visit us on the web at the radcast.com or follow us on social media
 at our Instagram account v.rad.cast or at Ryan Alfred. Stay radical.