The Bobby Bones Show - DJ and podcaster Mistress Carrie: A passion for music and storytelling on the Takin A Walk podcast Tuesday.

Episode Date: March 28, 2023

On this Takin A Walk episode, Mistress Carrie joins us to talk about her career at WAAF radio and about how she has recreated her personality brand.We love stories of resilience and creativity and Mistress Carrie shares the path she continues to create.She is the host of the Mistress Carrie Podcast.Learn more about your ad choices. Visit megaphone.fm/adchoicesSee omnystudio.com/listener for privacy information.

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on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. Saturday, May 2nd, country's biggest stars will be in Austin, Texas. At our 26, I-Hard Country Festival presented by Capital One, C. Cain Brown, Parker McCollum, Riley Green, Shaboozy, Dylan Scott, Russell Dickerson, Gretchen Wilson, Chase Matthew, Lauren Elena. Tickets are on sale now. Get yours before they sell out at Ticketmaster.com. Well, I'm Buzz Night, the host of the Taking a Walk podcast, Music History on foot. Follow us at Apple Podcasts, Spotify, or wherever you get your podcast. And today, we have a member of Boston Radio royalty as our guest.

And it's so much fun, too, that we're actually taking a walk. It's still winter, but it's almost spring in the beautiful, Town of Lemonster. Our guest is a proud military wife, entrepreneur, and she also has recreated her career in a really big way. Mistress Carrie, welcome to the Take-on-a-Walk podcast. What's up, Buzz? You really do walk on this thing. This is awesome. We prefer that. We sort of defer to the weather elements from time to time, and sometimes it's a saunter, but that's okay, too. This is nice. It's beautiful out today. Your hair looks beautiful purple.

Very purply in the sun, yeah. Yeah, yeah. It doesn't blend well, that's for sure. It's awesome. So it's so nice to meet you. I feel like I've known you without meeting you, but now in person, this is even better. Yeah, right back at you. So how did you get hooked on music? When did you know you were hooked on music?

I tell people it's the greatest gift my mom ever gave me. My mom is one of those. music lovers with no musical talent, but loved music, and it was such a huge part of her life that like she would determine parts and eras of her life based on the music that she was listening to. And she was always that person that could name that tune on the radio and, you know, five seconds. And so she really gifted me with this passion of music. And my parents, one of their first dates was to go see Chicago. And I think it was the Beach Boys, like way back in the day.

And my mom's greatest love, her favorite band, is The Beatles. And so for me, that's the soundtrack. I call it the soundtrack to your childhood. The music that's around you as you grow up. And the Beatles, for me, that was it. So when did you, like, have this really? radio dream? I never dreamed about the radio. I always grew up listening to WAAF because I grew up in the suburbs. So for me, you know, BCN was the city station and AAAF was the station that made it okay to be

from the burbs. And I always dreamed growing up, you know, those formative high school years in the 80s that I was going to work in a recording studio, that I looked at the big control board with all the buttons and how it's like, I want to be the person that knows what all of that does and to be kind of in the middle of the music because my musical ability came and went with the marching band and my clarinet in high school. And so after my freshman year of college, I did an internship at a recording studio. And rather than it being Motley crew, it was a mariachi band in there. And I spent the summer adjusting microphones from Maracas. And I was like, this is not what I kind of thought it was going to be.

And right around the corner was WAAF. And I had to deliver some commercials that the studio had produced. And I met the production director back then, Mitch Todd. And he asked me how I liked my internship. And I was kind of candid with him and said, not so much. And he was like, what are you doing for the rest of the summer? You should intern for me. And so my first day in radio, and I've got the T-shirt to remember it by, was July 1st, 1991, when Extreme played the WAAF DJs in a game of celebrity softball.

And I still have the shirt. Serendipity, though, right? What would have happened if Mitch didn't reach out and, you know, have his moment of goodwill? I don't know. I mean, it changed my whole life. and there have been those instances where opportunities have kind of come flippantly. And I look back and I'm like, man, that moment really changed a lot of things. And that moment with Mitch really did because once I saw the inside of a radio station,

you know, saw Bill Whiteman putting out his Newport lights on the old board of the AAF studio. And like, I bumped into Joan Jett in the hallway. She's the first rock star I ever met. And I was like, oh, my God, this is where I've been. belong. This is what I should be doing. It felt like home. Yeah, but I never, I always thought I was going to be a producer. Like, I never imagined I'd be the one on the air.

That happened, you know, another chance offer that, thankfully I said yes to. But I think if you hadn't had the Mitch encounter, there would have been some other electricity moment that would have forced you into the business. I would hope so. I mean, I think that people are kind of, you know, doing what they're supposed to be doing or at least end up doing what they were supposed to do. And so I would like to think that I'm doing what I'm supposed to be doing. But, you know, there were those moments that it was like, okay, wow, that literally changed the direction of my whole life. So who that you had listened to influenced you as you sort of shaped your own, you know, voiced yourself?

I've had this really weird radio career where obviously up until recently, all of my radio exposure was WAAF. Literally everything. It's the station I grew up listening to, the station whose bumper stickers were on all my stuff in high school because I used to grab them coming out of the old Worcester Centrum

after I went and saw Bon Jovi or whatever. And so the only DJs that I ever really listened to were on AAF, the only DJs I ever met, worked for, was able to observe. They were all of the DJs at WAAF. So everyone from Mark Raz and Greg Hill and Lill and Lill and Liz Wild and John Austerland and Opie and Anthony and Rocco.

Like these were the people that I was around all the time. And so, I mean, that was all I kind of knew. I was born here, raised here, and worked at the station for 29 years that I listened to while I was in high school. Like, it doesn't get any more sheltered than that. It's a pretty killer story, really, when you come down to it. And a great bunch of people that you mentioned, obviously, at a time where, you know, radio was certainly different than it is now. Yeah, and I got really lucky working for some of the greatest program directors in rock.

I mean, real visionaries, guys like Ron Valeri and Dave Douglas and Keith Hastings and Ron Valeri again. And most recently, before AF went off the air, Joe Calgaro, they were all people that lived the format, loved the music. music really believed in the station and gave you just enough room on the leash to either hang yourself or make magic. And you never really knew which one it was going to be, but it was fun. It really is a delicate balance, isn't it? It really is, especially in this format, I think, more so than anything else, is that you really can't go in those rooms and fake it. In Rock, the audience knows if you're one of them or not. And if you're, you're not, as soon as you step foot out of the studio, you might sound like one of them in the studio.

And if you're able to fake it enough, you can't leave. And especially now with the internet and everything, it's really hard to hide if you're not a real true rock fan. And so to be able to live that lifestyle and to be one with the audience and to be in the middle of that F5 tornado, you are on a razor's edge all the time. You have to be. So what made AASAF so special? A-A-F Excuse me, W-A-A-A-F. The way I explain A-A-F to people that don't know the Boston media market is that it's like the Boston New York rivalry.

There's the big city, the international city that everybody thinks of, New York, with all of its teams and superstars and celebrities. And then there's the scrappy little brother. that's like one day I'm going to be bigger than you and kick your ass, bro. And that's Boston. And the same thing happened with rock radio in Boston

between WBCN and WAAF is that AAAF was painted the Worcester Station, the Suburb Station, the black T-shirt station that played the medal. So we were always kind of a little on the outside. And like Tom Brady getting

drafted at 199, that kind of comes with a chip. And that chip can either crush you or inspire you. And for everybody that worked at WAF, regardless of what part of the 50-year history of the station you had, you wore that chip with pride and it pushed you to be creative because we didn't have the budget that the big stations did. And we didn't have the signal that the big station in Boston did. And so we had to claw our way from Worcester to Westboro to downtown Boston and figure out a way to be MacGyver and to be creative and to get scrappy and get our hands dirty and dive in with the audience and that works it just works well and I think also the fact that when you are in that position

and your budgets lower you just think wilder and bigger. You have to, and you have to have to have a staff that believes in the mission. It's got to go straight from the top down, from ownership to the GM, to the PD, to the sales department, the engineers, the people in accounting and payroll, everyone has to be focused on the same thing. And no matter what your job was at a part-time, full-time, nights, weekends, after, it didn't matter.

Everyone had this focus that we are going there, and someday we are going to be the biggest rock station in Boston, and we're going to do it in a way that puts everybody else out of business. And fuck the world, pardon my French. But that was just it. It was reckless abandoned, blueface, braveheart, swords, all of it. And we were all in, all of us. But there was also the white glove aspect of things that worked pretty well. Greg Hill and I talked about this on his episode of the podcast. So you could be badass, but you could also do great things to help the community and to really be there when the community needed you. I think that was important. It's always been important, and I think that badass people do that. I think, you know, I'm a motorcycle rider and the motorcycle community, you know, while people might, you know, raise their nose at it, or some of the most generous and charitable people, and that community is loyal and driven and they take care of their own.

And so that was always something that we were encouraged to do, that everyone at WAA had a passion for a project that benefited part of our community. And we were all encouraged to pursue that and to be able to help and to use the airwaves for more than just, you know, the goofy stuff. But the goofy stuff made the rest of it possible. Right. So what one thing could have saved the station? You know. If possible, one thing, maybe two things I'll give you. I have been raked over the coals for my less than subtle opinions over the last few years.

over the last few years. And it's not a blame thing, and it's not an anger thing. I'll preface this by saying that I am forever grateful that Entercom or Now Odyssey allowed us the honor and huge thanks to Mark Hannan for allowing us to send the station off with grace the way, because that's not normal. So I don't have any ill will towards anyone. But I think Rock, more than any other format, requires a little bit more commitment and passion. And I think, like I said before, it has to be in every department.

So you've got to have a sales department that understands the lifestyle of the station and lives that brand along with the jocks and everyone that are the face of the format. You've got to have ownership that understands that, okay, maybe dollar for dollar the rock station in the building isn't going to outperform the sports station in dollars or ratings, but that it's an important piece of the overall puzzle of a radio cluster to have that audience. And I think we see with rock bands, with classic rock as a format, rock fans are loyal almost to a fault. Once they love you, they love you. And so for a station like AAAF, buying and selling based on just people meter doesn't really do the station justice. because we were always able to put money on the books based on the passion of the audience. And one of the things that we were really ahead of the curve on is viral content.

I mean, we had a television show on Univision at midnight on Saturday nights generating what would now be considered viral YouTube content in the mid-90s. And so I think if anything, looking at the rock format nationally, is that I think you've got to have a singular vision and you've got to have a clear definition of success for revenue and ratings and you've got to have a complete staff of people that just get it.

And if you have all of those things, I think you can still be successful in Rock. And if you don't have all of those things, I think, you know, it just doesn't work. and, you know, the post-mortem on this thing is three years in counting, and I still, you know, wonder, you know, if we had done this, maybe, or... And post-mortems are, you know, sometimes useful and sometimes useless, so... Yeah, I mean, there's nothing that can change it.

That's right. I have gone from sad, it's gone to happy that I had it for so long. I'm so fortunate that I was able to start my career. there and be the last one, you know, to say anything on those airwaves. Mike Schu and I, along with our PD, Joe Calgary, were the three people in the room when the station signed off at midnight. And, you know, I was just so lucky to be part of something so special for so long. So as part of your brand, and we'll get to what you're doing, which I think is so fantastic,

but as part of your brand for so long, interviews have been a part of what has. has been part of who you are and great interviews. So who are some of your favorite folks you've interviewed over the years? And I know there's a long list probably. There is a long list in it. I think starting at night on a rock station, that's usually where they started all the new music. So I was able to befriend a lot of bands when they were still new

and become friends with them. And because AIAF was such an influential station, And we were able to make careers for bands. And if you got on the air at AAF, it just started the ball rolling for you. And so, you know, just over the years, I mean, oh my God, the list of bands that I haven't interviewed is way shorter than the list of bands that I have. I mean, sitting down with guys like Ozzy Osbourne, like you grow up listening to this guy and you're like, wait, what? Wait, what? Like, I mean, just, I don't know.

I can't even, I haven't interviewed a Beatle. That would probably be the career cap for me is to sit down. There's only two of them left, so Paul Ringo, if you're listening. I don't know, it just, there have been so many over the years, like crazy interviews and crazy places. And I'm still trying to digitize my archives because there's just, I've got stuff. on cassettes. Stuff I forgot that I did. A lot of the stuff that I think I remember are the people that we lost too soon. I think those are some of the most memorable just because they're not here anymore. So you look at people like Scott Weiland or Chris Cornell or Dimebag Daryl or

Chester Bennington. I just found an old Lincoln Park interview that I did when Chester and Mike Shinoda were like 18 years old and hybrid theory had just come out. And all three of us sound like Alvin and the chipmunks. Like we sound so. young and to go back now and listen to the naivete of all of us and to see where all of those bands ended up, legendary band. I mean, Soundgarden might get inducted into the Rock and Roll Hall of Fame this year. Like, it's, those are the moments that I think. And it's sad because those are the artists that we miss, because they're not here anymore. Yeah, those are touch points. Yeah. I mean, everybody else, it's like, okay, they're still around, so there's still hope. I'm

going to get another interview out of them with another crazy story. But I think the ones that mean so much now are the ones that are this moment in time that are captured that can't be duplicated again. Besides Beatles, remaining Beatles, who else is on your list to your hit list to get? Robert Plant and Jimmy Page. I've only talked to Jimmy Page on the phone once, but I've never talked to Robert Plant. Believe it or not, John Bon Jovi, who, was literally my high school idol, my first rock concert. I've never been able to get a picture

with him or do an interview with him. And it was supposed to happen and the pandemic screwed it up. So he is on my very short list just because I spent so many years of my life like praying in the church of Bon Jovi that it's like, I just want to meet the God just once. But the list, like I said, the list of artists that I haven't talked to is pretty short. I've had a really fortunate 32-year career in the business so far that, I mean, you know, when the first person you meet is Joan Jett and the first ever live radio interview you ever do in your career is Joe Perry and Stephen Tyler. It's been a pretty magical career so far.

Did you ever upset somebody with an interview question that you may be surprised you that they'd get upset? The only person that I ever upset in an interview was Scott Weiland. And I think it was more of, it was a bad day for him. But we ended up, I had just recently, he was out on tour with Velvet Revolver, and I had just recently come home from one of my trips embedded with the military overseas. and we started getting into a debate about our troops and the war in Iraq. And because I had just come home, and I'm Sicilian and Portuguese, that I was looking for a fight.

And I don't think he was in a mindset where he should have been fighting anybody either. So that was really the only time that I had. And I had had interactions with him previously that were fantastic. So I think it was just a bad day. But otherwise, no. I've never, you know, I try. really hard to respect the artists and to find ways to talk about serious things in a tasteful way because I'm not coming for the gotcha thing.

My whole mindset going into interviews is I'm fortunate enough to be the one backstage. The people listening wonder what that's like and they wonder what their favorite rock stars are like when they're not on the stage and I'm in a position to be. to be able to show them what that is. And so I want to, it's personal for me. I want to get to know the artists I love as people. Yeah, and you do make them comfortable just by them, like, realizing how authentic you are. Yeah, and it's coming from a real genuine place.

I love music. I love what I do. The hardest thing for me is interviewing people that I'm really good friends with because I know stuff that I shouldn't know. doing what I do for a living. And so sometimes you, you know, there's personal things that it's like, oh, I wish I could ask them about that. But you don't because it's like, no, that's their, that's their personal life. And I wouldn't even know to ask the question if I wasn't friends with them. So I just kind of leave that stuff off to the side. But it's wanting to really get to know the people and the emotions and the experiences that get filtered through them and into the music

that's literally the soundtrack for our lives. So I am so amazed at how you've recreated life after WAAAF and so happy for you. So let's talk about this. The AAS ends and you're looking around going, what am I going? Yeah. What am I going to do with my life? Well, first I went to Vegas because I was set to go to Vegas for a radio convention anyway. and because the company had already paid for the trip,

they were like, just go. So I had to scramble and get business cards made because every business card I had had the AAF phone numbers, the AAF email, and the AAF call letters on it. So I was at Staples like the night before trying to get business cards made and registering an email address for myself.

And I went to Vegas and met a lot of people. And this was the last week of February of 2020. And then I came home to Boston and had some job interviews that I thought went really, really well. And I thought, okay, like, I'm going to be okay. You know, I was scared to death. Like I said, I was fortunate enough to 29 years in the same building.

And then you wake up one day, and the station's gone. And I was like, okay, it's going to be different, but it's going to be okay. And then COVID hit. And all the stations had hiring freezes, and they started sending people home and laying people off. And I was like, oh, my God, I don't know. what to do now. And so I thought about it and I just said, you know, if I don't have a place to work, I can't work. This job, this business, this industry requires a place. And so I thought, you know what, I'm going to build my own studio. You know, I have the room in the house. I'm going to build my own

studio. And then I was like, well, if I'm going to build a studio, I got to start a company because I want the tax write-offs. So then I started my company. And one of the guys that I worked with at AFR imaging guy, Kaiser, gave me, again, some really life-altering advice. And I didn't realize it was that life-altering when he gave it to me. And he was like, you should go live on Instagram or Facebook or something and just let, like, people know how you're doing. Because I had been posting up on social media and stuff, but I hadn't gone live or anything. And I was like, all right. And there's a room in my house where the bar is that we call the war room. It's where all my military stuff from my family is and the stuff I've brought back from Iraq and Afghanistan. And so I just tweeted out and put up on Facebook,

hey, get a cocktail ready, join me for a cocktail in the war room. The room's been called the war room since I bought the house. And I went live and like 11,000 people went live with me on Facebook. And I was like, what the hell? And that was March 14th of 2020. And people were like, It's so nice to see you. It's nice to hear you. You know, we're going to get through this. I mean, it was, you know, they had just canceled the St. Patrick's Day Parade. You know, Todd Brady was getting traded in the Buccaneers.

Like the world was literally falling apart. And AEF was gone. And so after about 17 minutes, I was like, all right, guys, I'm going to let you go. And everybody was like, will you come back tomorrow? Let's do this again. So I did that for 80 nights in a row to ride out the height of the pandemic. and it became a show. Cocktails in the war room. And it was 80 nights in a row. I had logos made. We made T-shirts that we sold for charity off my dining room table. And then I was able to keep that

connection with the audience long enough to get the podcast lined up, to get the studio built, to get my website built, to get logos made. And I used cocktails in the war room and they call themselves the War Room family. I use the War Room family as the launch pad for the podcast. And so the podcast went live on June 10th of 2020. And that's when cocktails in the War Room became the weekly show that it is now, 224 episodes later. So every Tuesday night at 8.30 Eastern, I go live on Facebook to talk about whatever's going on, music, you know, the crazy world we live in, whatever. And to talk about the podcast guest and talk about the show, concerts that are coming around, tours that got announced, and it's interactive. So the fans can leave comments and let me know what they're doing.

And then we started taking the show out on the road. So we call it on deployment. I got another one coming up May 6th where we're going to take the show out so people can come and hang out and do it live. And when the podcast took off, everything changed. So talk about the podcast? So I had always done my radio career was always at AAF, so I was always, I was known for active rock as a format, and I wanted to be able to stretch my wings a little bit and have it be more of a rock lifestyle. Because like I said earlier, rock is a lifestyle. It's a community that is close-knit, but welcoming, and if you love the music, you love all the other things that come along with it, the horror movies, the tattoos, the motorcycles, the sports, all of those things.

And so when I was coming up, I think when you're launching a podcast, you have to kind of find a lane or a reason that yours is different. And so I wanted mine to be more of a rock lifestyle podcast. Because there's no rock station in Boston that plays new music anymore. I wanted to have a place for new bands to be able to come to find an audience. But I also wanted to keep in touch with all the bands that I knew over the decades from my career. but I also, you know, I was a roadie before I started on the air at AAF in those years of interning and working on the street team at AAF. So I was building stages and rigging lights and I know the roadies and the texts are the ones with all the stories.

So I wanted there to be a place for those guys to come in and talk about the crazy behind the scene stuff. And then I wanted to talk to the people that make the instruments to understand what it's like to design a guitar for a specific guitar player or drumsticks for a specific drummer. And then it was like, okay, well, I know a bunch of music producers too. And I want to be able to talk to them about being that outside voice working with a band in the studio. And so all of those things with the added work that I do with the veterans community and the military, which is rock lifestyle as well, that's kind of all the umbrella of what I consider to be a rock lifestyle podcast. So that's what the Mistress Carey podcast is.

And you can find it everywhere you get your podcast. Literally everywhere. There are websites that are only available in India, and you can get the podcast. And there's people listening. What you've done is really, I think, in my mind, a textbook way that someone who has come out of a radio career that's had success and then has had a new challenge put forth. You've done this in a textbook way. I don't know if you intended it to be textbook, but you've added to your brand.

Nothing has detracted. You've only added to an already great brand. I got really lucky to be in radio, and rock radio specifically, active rock radio at a time where it was at its height. You know, my first day on the air was April, or my first full-time day on the air was April 17th, 1998. And AIAF was firing on all silver.

You know, breaking bands like corn and godsmack and, you know, bands that were all over rock radio and, you know, are still touring and playing amphitheaters and arenas now. And I was able, because of the time at the early stages of the internet, to be able to ride the wave to build a name for myself, which I think people that get into the industry now, it's a lot hard. harder to build a brand. And I'm so fortunate that I was able to take that brand with me and that audience with me and have that to launch from. Because I can't imagine just trying to launch a podcast out of nothing now. I can. Yeah, but you have this whole radio career that you're launching it from too.

And all the people you know, I'm talking about. about somebody that just during the pandemic was like, I'm going to buy a microphone and launch a podcast just for fun. And like, I was really lucky that I got out of AAS having made a name from myself that meant something. What it means, I still don't know, but it meant something to somebody. And so for me, being able for the first time to make decisions based on just what I wanted, that was really scary because if you make good decisions, you get all the credit. But if you make bad decisions, all the blame is on your shoulders. There's nobody to point a finger at but you.

So I've tried to be really careful to grow at a pace that I could maintain a level of quality because I think anybody that starts a company if it grows too fast, things fall off that you don't want to fall off. So I've really tried hard to grow at a manageable rate. and to bring everybody that wants to be with me, with me. But it's not easy. Well, but it's, you know, no one was going to hand it to you, so you had to take it upon yourself, as they say, right? Yeah, I mean, it's uncharted territory for me.

The industry is changing. Technology is changing things. The world is different because of COVID. Like, everything happened all at once. And so I think that people are still kind of trying to figure out where things are going, you know, with streaming and podcasting and the way people consume content now. And it's just so different. And, you know, I know the radio part and I'm still not an expert. It's still learning stuff every day.

So I'm just trying to figure it out. So we talk about music on this podcast all the time, why music is so important, what it means. So in your point of view, why is music such an important, even saving grace at times for us in our lives? I think it's literally tribal. I mean, I think music is an evolutionary art form that has been part of the human experience. for as long as they can trace, as long as archaeologists can trace back, there was music.

And I think that it's a way of telling stories. I think it's a way of people communing together, especially in rock. We talk about it a lot on the podcast that when we couldn't go to concerts, the rock community felt like they didn't have a home anymore because that's where we go to get together. And so it's something we experience together.

It makes you feel not alone in a world that's more connected, connected than ever and more isolating than ever, that music kind of reminds you that, oh, wait, I'm not the only one that feels that way. And music, there's a song for literally everything. Your best day, your worst day, the birth of your child, the death of a parent. Literally, there is a song for everything. And so for me, being someone that can't create it, but someone that loves it so much, that it literally dictates everything in my life. And I know people that aren't like that.

And I don't get that. Because it's everything it's on all the time. I'm constantly looking for new bands and going to see shows and you know, I love music. Country music, not so much, but most music I love. And

I just think that it's something that we all have in common. Mistress Carrie, it's so great to have you on taking a walk. Thanks for having me. This is really cool. I wish I had come up with this idea. It would have gotten me out of the studio. The fresh air is nice.

Thanks for having me. Taking a walk with Buzz Night is available on Spotify, Apple Podcasts, or wherever you get your podcasts. Hi, I'm Bob Pittman, Chairman and CEO of IHeart Media, and I'm kicking off a brand new season of my podcast, Math and Magic, stories from the Frontiers of Marketing. Math and Magic takes you behind the scenes of the biggest businesses and industries while sharing insights from the smartest minds in marketing. Coming up this seasonal math and magic, CEO of Liquid Death, Mike Sessario. People think that creative ideas are like these light bulb moments that happen when you're in the shower. It's really like a stone sculpture. You're constantly just chipping away and refining.

Take to Interactive CEO, Strauss Selnick, and our own chief business officer, Lisa Coffey. Listen to Math and Magic on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. Hey, I'm Dr. Maya Shunker, a cognitive scientist and host of the podcast, a slight, change of plans, a show about who we are and who we become when life makes other plans. I wish that I hadn't resisted for so long the need to change. We have to be willing to live with a kind of uncertainty that none of us likes. You can have opinions, you can have like a strong stance, and then there's your body having its own program. Listen to a slight change of plans on the IHeart Radio app, Apple Podcast.

or wherever you get your podcasts. Saturday, May 2nd, country's biggest stars will be in Austin, Texas at our 26 IHeart Country Festival presented by Capital One. C. Cain Brown.

Parker McCollum. Riley Green. Shaboozy. Dylan Scott. Russell Dickerson. Gretchen Wilson. Chase Matthew. Lauren Elena.

Tickets are on sale now. Get yours before they sell out at Ticketmaster.com. It's Financial Literacy Month, and the podcast, Eating While Broke, is bringing real conversations about money, growth, and building your future. This month, hear from top streamer, Zoe Spencer and venture capitalist

Lakeisha Landrum-Pierre, as they share their journeys from starting out to leveling up. There's an economic component to communities thriving. If there's not enough money and entrepreneurship happening in communities, they fail. Listen to eat.

Meeting While Broke from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.