Achickwitbeatz presents ⁠the Instrumental Intel podcast⁠, bringing you information instrumental to your artistic career including music industry news & tips, insights & interviews, and beats for your inspiration. Listen on Saturdays at 7 pm EST on ⁠⁠⁠Grander Radio⁠⁠⁠ and ⁠⁠⁠Achickwitbeatz.com⁠⁠⁠.
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Instrumental Intel Podcast

Achickwitbeatz brings you information instrumental to your artistic career including music industry news, insights, interviews, and beats for your inspiration. Listen on Saturdays at 7 pm ET on ⁠⁠⁠Grander Radio,⁠⁠⁠ Achickwitbeatz.com⁠⁠⁠, and your favorite podcast platform.

Transcript Generated by Riverside

00:01
Hey, thank you for tuning in to Instrumental Intel. I'm your host, music producer, a Achickwitbeatz. And I've got another episode lined up with a little bit of music industry news. Beats produced by me for your inspiration. And later, my special guest, Doug D. Sims, AKA DJ Metro, the owner of Grander Radio, my home station, will be joining me later. We're gonna talk a little bit about amplifying voices in music and black literature. So it's going to be a great time. And with that, let's go.

[BEAT BREAK]

13:30
All right, I'm back with the music biz brief. First up, the US digital PRO Alltrack is expanding its services with the launch of a mechanical rights division, making it the only pro in the US to offer both performance and mechanical rights collection. This move follows the company's recent accreditation by Cisac, the global body for collecting societies, and the release of performing rights APIs for partner services like Tidal.

13:58
All track is positioning itself as a one-stop shop for both types of rights, aiming to simplify royalty collection for independent musicians and publishers. Next, Live Nation, despite a record-breaking concert season, faces a turbulent future. Legal challenges include a RICO lawsuit from Taylor Swift fans alleging ticket price inflation and a UK claim over unpaid VIP ticket royalties.

14:21
In the US, a class action against high ticket prices was clear to proceed. Investors are also pulling back. Saudi Arabia's wealth fund sold its entire stake, and Liberty Media is spinning off its shares. With short sellers circling, the concert giant faces growing uncertainty. Also, music copyright revenues hit $45.5 billion in 2023, up 11% from last year, and nearly doubled 2014's total, making music 38% larger than the global movie industry.

14:49
Emerging markets like Latin music and K-pop are reshaping the industry, with artists earning significantly more from streams in higher-income countries. However, experts highlight the need for better global data to fully track the value of music in the underrepresented regions. And finally, executives from Spotify have sold over $1 billion in stock this year.

15:15
In 2024, Ek has sold 875,000 shares for $28.3 million. Co-founder and ex-chairman Martin Lawrenson has sold 1,488,364 shares for $556.77 million. So just something to be aware of, keep an eye on. They've been unloading a lot lately. So obviously they think this is a good time to cash in, but yeah, it's always a good idea to keep an eye on Spotify.

15:44
Alright, I'm gonna take a quick pause for the cause and then I'll be back with my special guest Doug D Sims aka DJ Metro owner of Grander Radio out of Grand Rapids, Michigan. So make sure you keep it locked

[BEAT BREAK]

27:29
Hey, I'm Achickwitbeatz, multi-genre music producer and strategist to indie artists and labels. Visit achickwitbeatz.com for resources for artists and instrumentals in various genres available for songs, blogs, blogs, podcasts, themes, TV, film, commercials, and more. Once again, that's achickwitbeatz.com. That's A-C-H-I-C-K-W-I-T-B-E-A-T-Z.com Let's make something happen.

27:59
Thank you so much for tuning in to Instrumental Intel. I'm your host, music producer, Achickwitbeatz, and I'm excited, thrilled, and delighted to say that I have in the virtual building with me today, Doug Sims, AKA DJ Metro. I mean, anybody that's been listening knows that, you know, anytime I shout out, I say, Grander Radio out of Grand Rapids, Michigan. Well, this is the man behind it. So yeah, I'd like to, first of all, thank you for taking time out of your busy schedule to come chat with me.

28:29
Uh, yes, yeah. Yeah. Give people a little taste of who Doug Sims AKA DJ Metro is and how you got into music and some of the other things that you're doing. Yeah. So, uh, I consider myself a, uh, worldwide kind of guy. You know, I try to pick up on this, pick up on that. I do a little bit of this as they say, and a little bit of that, right? You know, so.

28:55
Musically, music has been in my blood, you know, since I was a kid. I mean, I started making mixtapes with the cassettes years ago. You know, I was 12 years old selling mixtapes of whatever the case is. Everything from breaking down radios, putting radios back together. Every album that came through the house, I read all the liner notes while I'm listening to the music. I listened to the full album.

29:25
and definitely reading the liner notes, getting to know who all the producers were, arrangers, and of course the artists themselves. But yeah, going back to selling the tapes and then ultimately doing basement parties and high school parties and things of that nature. So I've just been listening to music all my days and

29:46
You know, even DJ it overseas. I was overseas for three years and always played music over there and DJ'd at different clubs or what have you. So music has just been, it's been a comfort zone. Let me say it like that. So I've always been attached to music no matter what. Love it. So, okay. You mentioned you were DJing overseas for like three years while you were over there. What would you say would be one of the most, um,

30:14
I guess distinctive differences that's kind of stuck with you when you recall that timeframe. Uh, you know, I would say overseas, the crowd, they really love heavy beats. You know, at that time it was, it was beat-driven and, um, you know, of course, you had like, just think about the sounds of Soul to Soul and Lisa Stansfield and people like that. The beats were the driving force of the music.

30:43
You know, so Run DMC, you know, that was, I had such a great time over there in Germany, Run DMC album came out with that Raising Hell album. And when I tell you I had so much fun and that Raising Hell album just turned up the club every time. See now I've always kind of had this feeling that it was a good thing that I was born when I was born because.

31:08
During that era, like I know I probably would have been a hot mess at the club all the time. Like, man, the music was just top-tier. Yeah. You know, back, back there, I mean, music is, music is great now, but it's just something around that late eighties, early nineties kind of music that just, I mean, it's, it's separated itself from all the other years.

31:36
You know what I mean? Yeah, and everything had energy. Like, even the quote-unquote slow songs still had something for you to groove to. Like, I mean, it was just, yeah, what a time to be alive. Exactly. And people still reminisce over, you know, the nineties, as far as Hip Hop is concerned. You know, that's the golden era right there. You, I don't think there's ever going to be another era to surpass that era right there.

32:01
No, not at all. And I'll tell people all the time, especially when people complain about mainstream these days. I'm like, I couldn't even tell you, it’s still the 90s in my car. Like when I'm riding half the time, I'm playing 90s Hip Hop. Right. Yeah. So, you know, that brings me back to something else that you said about, like, listening to the music, looking at the liner notes, because that was one of the things I used to love to do. You know, we didn't have the internet to scroll while we were doing all this stuff. So that was a source of entertainment.

32:31
Yeah, I feel like that's kind of a lost art. I mean, you can find the information online, but it's not really the same as holding it in your hands. Right. And, you know, reading the liner notes, it acclimated me, I guess, a word to say to this project has this particular producer and musician. And then two albums later, you see them on somebody else's album.

32:58
And doing the arrangements and so forth and so on. I mean you can think about producers Of course you have the great Quincy Jones, you know, he did everything but you have Bernard Wright Who's another one then you go to the jazz arena you have I'm sorry Bernard, right? Did his thing, but he's also a accomplished jazz musician And he's on everybody's jazz stuff. Then you have Patrice Russian. That's another one You know, she did so much work on everybody else's you know stuff

33:28
So it's just, when you read the liner notes and you get to know all these different musicians, Paul Jackson Jr. Now he's a jazz guy, but there is not a jazz album that came out that he wasn't on, that he wasn't a part of, you know? Yeah, that's incredible. Like, you know, cause there were a lot of names that I had kind of gotten introduced to that same way. Um, one of them, I

33:54
I prefer not to mention that this time since he's going through so many legal issues. But I remember, you know, like Jodeci, Mary J. Blige, names, all the way throughout there. And yeah, so then it's like, okay, well, this person has this sound. That's when I started to kind of pick that out. I had no idea that production would be a path that I would take one day. Right. But, you know, just kind of studying who was doing what and how they were making the sounds was just so interesting. So

34:21
I think with your connection to music like that, how do you think it shapes when you DJ or how you select the songs that you choose depending on the audience? I know it kind of varies, but. Yeah, it depends on the audience. Um, you know, it depends on the timeframe of the season as well. You know, I think that summertime calls for a different sound, you know, than, than a winter time.

34:50
And, you know, summertime is heavy beats flowing, you know, smoothed out. And you can, I like to blend R&B with the Hip Hop, you know, so some Hip Hop is just a little bit too Hip Hop for me, you know what I mean? So one, this, this is the type of Hip Hop that I like today. If you think about Rick Ross, his music is so crazy. It's great.

35:20
His, but it's so smooth. You know what I mean? I love Rick Ross's music when it comes to Hip Hop. Um, even, even future future has some great music, you know? Um, so I just liked, and I, I just love blending the two together. Yeah. I feel like, especially in that area, uh, era that we were talking about earlier, there was a lot of blending. I mean, I guess it still happens today.

35:48
But not so much. I feel like a lot of the singers kind of sound like they're rapping and a lot of the rappers kind of sound, but like in that era back in the day, you know, it's still kind of distinct, but it worked together so well. Right. I remember the first time and I can't remember who was the first artist to do it, but when rap was first introduced to Hip Hop.

36:11
You know, you would sing the R&B song and then all of a sudden somebody would start rapping over it. I was like, whoa, now you can't get away from it. Right. You know? Yeah. So that was, whoever thought about that transition was a genius. Yep. Cause it definitely stuck. You know, like, yeah, that was another thing I really liked about that era. So.

36:37
You know, like every R&B song that was at least a single typically had a rap verse on it. Right. Exactly. Or, you know, a lot of rap songs had singers on the hooks. So yeah, it was always like a nice blend. And you know, that's actually one of my favorite things to do when I do actually create is to kind of do both and don't consider myself a singer by any means. Right. But that's not going to stop me from doing it, especially if I hear a melody in my head. Exactly.

37:07
So yeah, especially as a DJ, I have so much respect for DJs because personally, as much as I love music, I know that I couldn't DJ because I wouldn't care about reading the crowd and all the little nuances that y'all gotta do. So yeah, can you talk a little bit of like what that's like for you? You know, how you're able to read what's going on and adjust and adapt and keep the people vibing.

37:37
moves them. You know what I mean? So let's say you're, there's a transition period. You may start off slow, meaning not slow music, but more mid-tempo kind of things. And you see how the crowd reacts to that. And then you may pick up the pace a little bit or what have you. And then you kind of go back and forth between R&B and Hip Hop, old school Hip Hop, old school R&B.

38:02
And just try to feel in the beginning what the crowd is picking up on. And if they're picking up on that old school and some of that new school Hip Hop, oh, that's, that's the way you run it then. Because you can play, you can play a new cut today and you can rock it and rock it and rock it. But if you come back with a banger of an old school joint, oh, they're going to just jump up, it just puts me in the mind of, of, of that song, jump around, jump, jump, jump around. You know? Yeah.

38:29
And so when you throw an old school joint in there that was a banger, the crowd is going to definitely get hype. You know, and you just kind of, you just kind of read it that way. That's the way I read it anyway. Okay. That makes sense. Um, you know, I've been to, I guess, occasions or events to where sometimes you could tell that, you know, they weren't necessarily reading the room, but they probably had a playlist in mind.

38:53
So, you know, you see everybody out there kind of hustling, stepping, and then all of a sudden the slow song comes on. The crowd just clears out. So yeah. Yeah. And that's one thing that a good DJ will do. He will forget that playlist. You know what I mean? Just forget it. A lot of times you have to, I mean, you can have your playlist, but a lot of times what I like to do, I just come off the top of my head because I can hear a song and then I can hear a song.

39:21
that'd go really great with it that'll move the crowd. And then I'll just bring it in and so forth and so on and just keep it going that way. But it's okay to have a playlist. I just don't like having it right there in front of me trying to use it. You know what I mean? Yeah, that makes sense. It's just a reference to get to a certain point because if I'm trying to go from 106 beats per minute and I need to get up to 120 something, then I can see.

39:50
what all music fits in. You know, I like to work within a 10-point range, you know? So if I can go from 110 to 120, I can blend those in with no issue, which saying that the song transition and the pitch won't be so far off. Mm. You know? Yes.

40:14
That is one of my biggest pet peeves. Yeah. Because you know, sometimes you might be scrolling social media and people like have all these fire emojis on there like, y'all can't hear that's the wrong pitch. Like, yeah. I was like, maybe it's just me. So it's funny that you say that. Thank you for confirming that. Yeah. I'm not just in my head about it. I hate that so much. Yes. So, OK. You know, you've.

40:42
at all this experience with DJing, exactly what led you to begin Grander Radio and doing your own thing. Yeah. So, the radio thing, I was actually in radio for several years. And while I was working at a radio station, I told the owner, I said, hey, I'm going to go ahead and start my own online radio station. And he was okay with it. He didn't give me any grief or anything. He was like, okay, cool. That's fine.

41:12
And, um, so I let them know and I went ahead and I started doing it. And, you know, my genre that I listen to more so these days is. R&B, Neo soul and things of that nature. So my biggest show at the time was called Liquid Lounge Radio. And I mean, anybody that fit in the genre of neo soul, of course, the R&B. That's what I played. And I still play that. That show still goes on today.

41:40
But I started it because I wanted to introduce, I got this, I really got tired of hearing people say, or seeing all this song was Jill Scott, Erykah Badu. I'm like, there are so many artists out here that fit into a neo-soul or smooth groove kind of sound. So I wanted to introduce them to a lot.

42:08
of different artists that are out there that are doing really great and putting out great music and great sounds. Awesome. Yeah. Shout out to the show that you're doing on the other station. Cause yeah, you gave me my first on-air radio interview. Oh yeah. Cool. Yeah. I had done like some, some internet radio before, but yeah, that was my first time being on air. So it's kind of fun to be able to flip the script this time.

42:34
Right. Question you about what you got going on. Yeah. So that's pretty much how I got into it. I just, you know, at the station, you know, they have a format that you kind of have to play at radio stations. But I wanted to introduce other music because, like I say, being overseas for three years and all this music that's underground and untapped and not mainstream.

43:02
but there's some awesome music out there. I mean, it's a lot of people there just now getting hip to like Eric Roberson. Eric Roberson is the number one independent artists out there and people are just now getting used to him, but he's been out there for years. Yeah. You know, so, I mean, you can, you can look at Raphael Saadiq. That's another guy that is a super producer that doesn't get enough credit, but he's a super producer, but he puts out crazy, awesome albums.

43:30
and songs and collaborates with everybody and writes for everybody. You know, and regular radio plays its top radio cuts, if you will, whatever they're pushing on radio. But going back to my album days when I was younger, there are so many songs that didn't make radio that were bangers, you know what I mean? Yeah. Straight banger. So, so listening to a whole album or trying to push a different

43:59
song is more so what I like to do introduce the audience to, Hey, this is an awesome song. It's like Wayne Brady. People have never heard a few cuts by Wayne Brady. Wayne Brady can jam. You hear me? Yeah. Cause what, um, I know I used to watch Who's Line… like way back. And he was always singing on there. So yeah, like.

44:26
Right. It makes sense. Like when's the album dropping? Because, yeah, they never let him get through an episode without singing. Without singing. Now, and, okay, remember Tommy Davidson from In Living Color? Mm-hmm. And he was always doing that, stuff like that. The man is a jazz artist. Wow. He has two jazz albums out right now. Wow. A lot of people wouldn't know that though. Because he's not in the mainstream, but...

44:54
Those are the people that I go for because they put out awesome music. Yeah. I think what you're doing with that is so important, uh, primarily because I'd say I'm an old millennial and Gen X. There was an era where we didn't have to dig that hard to find stuff. Right. If it wasn't on the radio or whatever the case may be, when your cousin came to visit, they brought you tapes like.

45:23
We were used to good stuff just coming at us. And I think that that's why a lot of times we're the group that complains about mainstream because now we gotta go find it. We gotta work harder than we had to like in the nineties and whatnot. So, yeah. I think what you're doing is really important because that mindset is still there. Even though they know they gotta search for it, they don't want to. So they need someone like you to show like, hey, this is what's going on. There's still some good stuff out here. It's great to shine a light on it. Like how you doing?

45:51
Thank you. Thank you. Yeah. Music is my happy place and I love finding different artists or even artists that have the music that's not being played or oversaturated on radio. Oversaturated. Yeah. Because you can listen to a Drake five times in one hour. The radio will play a Drake five times in one hour. But to find... So like right now, Ray Khalil, is it worth it?

46:20
It's like my jam. Now a lot of people may not know this, but Rae Khalil, you know, she's in California She's a young lady, but she was all she was on that show rhythm and flow with TI Cardi B and Chance the Rapper And then two years later she came out with her album And a lot of people know Anderson Paak. So she's actually signed to Anderson Paak's label But she can flow she's nice

46:49
Yeah, see, like, yeah, what you're doing is important work. And I hope, yeah, the listeners know to make sure that they check in to all the other stuff that you're doing, you know, outside of instrumental Intel. But, uh, yeah, you've got, uh, an important task that, yeah, I hope most people understand exactly how important what you're doing is, because especially even from the artist's perspective, it's kind of hard when.

47:19
You know, you've got good stuff, but nobody's shining the light on it. So you might have like a handful of people, but you know, you probably deserve to be a little more well-known. Right. So yeah, on both sides from the listener and the artists, it's important work. And I think you're doing a good job. Thank you. So, all right. Um, we talked about the DJing, the station, you have another endeavor that you just launched recently.

47:47
Um, you know, especially, you know, talking about reading liner notes and whatnot, education is important. Reading is fundamental. So do you want to talk a little bit about Dillon and co and what you've got going with that? Yeah. So, uh, Dillon and company is, um, right now it's an online bookstore and I'm working on the physical space. Uh, I'm actually in my office in the physical space right now. Um, so it was an online bookstore, primarily concentrating on African American.

48:15
authors. Of course I have other authors but primarily African American authors and reading has been a part of my life.

48:24
Of course, since I was a kid, of course, and but I really started honing in after high school. I just started reading, reading, reading everything, you know, anything from Malcolm X, of course, Marcus Garvey and Elijah Muhammad. It didn't matter long as I read, got some information, some education out the deal, and it just grew and grew and grew. And I've always and I still to this day always have a book with me, whether it's in the car or in my backpack.

48:53
I always have something to read because when I was, you know, years ago, I find myself, you know, at the doctor's office or whatever I was doing, I just had time, you know, internet wasn't around. So I pull out that book and it just started reading. I can finish a book in, I don't know, if I put my mind to it, I'd be done with it in a week, you know? And so I just always had information with me. And I...

49:19
You know, it doesn't matter what the information is. I just read it. So I remember one day I read this book. It was regarding black entrepreneurs, women entrepreneurs. And I was in Texas. So when I moved back to Michigan, I hooked up with one of my buddies and we were having a discussion about, you know, people in Detroit come to find out. We started talking about radio and I had just read a book while I was in Texas regarding, um, the owner of radio one. And.

49:48
And the reason I like reading because I can draw from information that I've read. So we just happened to be talking about radio and I could elaborate more because I had some information on the lady that ran radio one, which was crazy. But yeah, you just had that information kind of stockpiled in there and ready to go. I mean, yeah, you know, I, I, I use it even, even on my radio show, you know, I'll still pull information from books. And like,

50:18
I'm in the office right now, I'll be like telling my co-host, hey, grab me that book right there and I'll find something in the book and read it right there. So yeah, I can almost, I can't say I can get to everything I want to get to, but I can at least draw from it, from what I've read. Yeah, that's what's up. Yeah. So I'm trying to target with the bookstore, I want to target the, you know, get more people

50:42
into reading, especially the youth, you know, because everything starts with reading and communication. So if I can get you at a young age to pick up a book and enjoy a book, and now there's a lot of people that don't read. So I was like, what are you interested in? So if you're an athlete, basketball player, what have you, read about Kobe, read about LeBron, if you will, read about some basketball player. And that way,

51:09
you're reading something that you're interested in. You don't have to start off reading, you know, rocket science or, or what have you read something that you're interested in. And that can be a great introduction, you know, if you don't like reading a lot. That's a great gym. Yeah. I mean, cause it, I feel like it's so, yeah. Kind of said the cliche earlier about it being fundamental, but it really is important, like I noticed.

51:39
Um, when I was younger, I started off with fiction novels and stuff like that. And I remember, gosh, I can't remember who the author was, but 18 Pine Street books, so it was about, you know, black teens, so they, you know, weren't that far from my age. It was one of those things that I had kind of just got sucked into. But the fact that I could read something with somebody that looked like me as the main character was really important.

52:07
Right. And yeah, I had kind of gotten addicted after that. Right. Right. And that's important, especially being able to pick up something with the character that looks like you, because if you back in, let's say 20 years ago or what have you, it wasn't a lot. We were out there, but we weren't.

52:26
putting herself in the forefront. You know, and we didn't have the avenues to put ourself in the forefront. You go to your mainstream stores, Barnes and Nobles, Schulers, or what have you. They're just now trying to capitalize. And the only reason they're doing this because of the black dollar. And they're trying to stockpile a lot of African American authors these days. But years ago, you could barely find, you know, 50 books. Yeah. In their stores, you know what I mean? Yeah.

52:53
And it's oversaturated now in their stores because they know how powerful the black dollar is. And so they're getting it in, you know, it's crazy how I can just go from one thing to another. But I think this is off-topic, but it's like Cadillac, the Cadillac cars. So they would not sell Cadillacs to black people back in the day.

53:19
But then the company was about to go bankrupt. They was about to go under. So one of their executives said, sell the cars to black people. Now they wouldn't sell it to us, but we actually saved the Cadillac company. Because they started selling us Cadillacs. And you know, to this day, Cadillac is in our family somewhere. Yeah, yep. Somebody got one. If not multiple, yeah. You're right about that.

53:48
Yeah. And so they have a way of, of, of using us to save them. You know what I mean? Which, which, which is, you know, I, I don't, yeah, that's another topic, but go here. No, it's actually on topic because I mean, even if you want to take that and talk about music and what we're seeing happening there. Um, yeah.

54:12
No, it's, it's a very valid topic and it's still, yeah, we're right on time with that. Yeah. Oh yeah. Cause yeah, cause definitely with, like you said, with the music, you know, they've always used us to get their riches, if you will. So it just puts me in the mind frame of, um, Cadillac records and they had the movie Cadillac records and, um, Chuck Berry was it yet Chuck Berry.

54:38
You know, he was doing a contract or whatever and the guy that owned the record label said, we're going to make you famous and make him rich, make his manager rich. You know, but the black folk would get the fame, but we don't get the money. Right. It's going to the record label, which I'm not sure how to run a record label or what have you, but I always wonder why we as black folk don't start our own record label.

55:05
And why we don't start our own production companies because we have the talent, we have the money to do it. We just don't do it. We, we're, we're so used to, uh, uh, using someone else's platform or what have you, you know? And, and I said that just another incident with Nick Cannon, Nick Cannon said whatever he said, and they took him off air. Oh yeah.

55:31
You know, and I'm like, I'm like, can it, you have so much money. Why don't you start your own platform? Right. Instead of dealing with, with, with, with the big companies start your own. You have enough to do it. Yeah. While and out, same difference. You know, they shut you down on while and out. Okay. But that's your intellectual property. Why don't you start your own?

55:53
But that's just the way I think, you know? Right. And it does make you kind of wonder, like, what was that contract like? Did you keep the intellectual property or did you give it up for those dollars? Right. Like, that's another thing. I mean, and even when you think about the Black-owned labels that were doing well for a short period of time, soon as the major labels came knocking, they were eager to give it up and go ahead, you know, and I'm not saying, you know, they can't get you money, but...

56:22
It would be nice to have something that would be maintained and kept within the community just to, right. Yeah. Because, you know, the, even with the bookstore, you know, it's going to be a challenge doing the bookstore because there is the big box companies, you know, you have your, your Barnes and Nobles, your Schuller's and, and so forth and so on, and even your Walmarts, Walmart carries black authors now, you know.

56:49
But the community is so used to going to big box offices, big box stores rather, to get their goods, it's kind of hard for the independent person to stay afloat. But I'm willing to try because this is what I love. I love books, I love to read. So I figure that the community needs a community bookstore.

57:15
So that is my mission to hit the young folk, kids, you know, get introduced to reading. My son, I read to him from the day he was born. I read to the guy, you know, and he ended up in the sixth grade. He could read at a 12th-grade level. That's awesome. Yeah. So reading, like you said, it's fundamental and you have to read in life no matter what. Yeah.

57:43
You have to read. Yeah, it's so important. So, yeah, I'm so upset that this time went by so quickly. I hope this is just part one. It's over. I know, right? Yeah, that was quick. OK, it was. Yeah, so that means we got to do a part two sometime soon, if you're down. Oh, yeah, definitely. Definitely. OK, so before I let you go, I want to make sure that everybody knows where they can check you out.

58:08
Um, for everything that you do on all your websites, your socials, all that stuff. Oh my goodness. Uh, I have so many, uh, so, uh, grander radio is that the number one grander media.com and there you can find the magazine there. You can also listen to the radio station and you can also find us on tune in.

58:35
Just go to tune in download the app and look under Grander Radio Bookstore is Dillon and Co dot com, so www.dillon,d-i-l-l-i-o-n-a-n-d-c-o dot com That's going to be the bookstore. And of course, I'm on Instagram as Dillon and company

59:04
grander dot media and of course face well Facebook is Dillon and company also for the bookstore. Yeah Thank you so much once again for coming on the chat with me and I'm looking forward to next time already Yeah, I'm ready for it. I can go for got to go for some more Yeah, we got to get that on the book soon. Okay. Sounds good. All right, you have a good one

59:34
Alright, you as well. Thank you. Alright, and that's a wrap for this episode of Instrumental Intel. I've been your host, music producer, or Achickwitbeatz. And once again, I'd like to thank you for joining me. I'd like to thank my guest, Doug D. Sims, aka DJ Metro, for coming through and sharing his wisdom and his story with us. And so make sure that you come back next week. I've got another good time lined up for you. So until next time, you know where to find me. Tune in, tell a friend, I'll see you then. Peace.