PipemanRadio Interviews Parris Mayhew About SK8BORED FIGHT & RISE OF THE AGGROS

0:00 Hi, you have THENTO censure. Wow, crazy young, Wake up America. It's time for the Adventures of pipe Man on W four c Y dot com vis Pompass number one internet radio station. Here's your host, the HiPE Man. This is pipe Man here on the Adventures of pipe Man W four c Y Radio. And I'm very excited about our next guest who. I think it's one of the cool with dudes in music because it's just all about the music, okay, and it's rare nowadays, and there's some badass music that you're gonna have to check out that's new. So let's welcome to a show parents from Agros. How are you? I'm great, Dean. How are you doing? I'm doing phenomenal. You like my background there? I love it. I don't have to hold up the album every five minutes, II know, right there you go. And I'm actually impressed. I positioned myself so perfectly that it's like I'm part of the graphic. You know.

1:34 It's amazing. So tell us about this new song, Skateboard Fight. First of all, I just want to say right off the bat too, besides it being a badass song, I love the ode to old school where you're having like a duel with guitars, okay, because it's always cool and I I also loved that there were a couple of secret little, you know, guest appearances in the video, not as people, but guest appearances that people. I'm thinking, I don't even want to tell the listeners what it is, because I want them to watch the video and find it for themselves, kind of like where's Waldough. It is kind of a nice surprise, I mean, And it kind of happened that way for myself because you know, this is the third video from the album, and I kind of wanted the all the videos to feel like they were the same night, like some fictional night in my memory, and so each one is kind of a continuation, but I didn't want them to be in the same places in one of the One of the things that was great about growing up as a kid in New York City was you explored the city on your skateboard or your bike, ride around for hours, an hour and hours, and you could go in a different direction every night for years, and you know, discover the city.

3:05 That's how I did. That's how I discovered hardcore music was riding my bike or riding my skateboard down to the Lower east Side and and I found this little bar on Avenue A, which was an abandoned neighborhood at time, like they literally there were there were big banners on all the buildings that said rent strike, and all the all the storefronts, every storefront on Avenue was boarded up except for one Raised Egg Egg Cream and the Selka, a little restaurant, and one deli, but all the rest of it was boarded up. And there was this one bar called the Park in Tavern, and I would just go in there and uh and uh and I and the guy served me, which was insane, you know, because I was fourteen. And but there was this plunk rock club across the street, and I just saw these kids accumulating over there. So eventually I just wandered over there, and that's how I discovered it. But I wanted that kind of feeling in the video, is this idea of being out at night, because I don't think I saw the sun, you know, except for in the morning during my entire teens and twenties, right because we would, you know, we would I would sleep until five, you know, I would go out and at like nine and then I would get home at like seven in the morning every day for years and years and years. But so, you know, so I definitely wanted it to be a night vision. In the first two videos, I feel like I managed to capture completely different feeling. But when I was

4:35 putting together this third video, you know, the very first thing I shot was the guitar duel Nice Chuck, because Chuck was in town. You know, he lives he lives in Maine, and he's in a couple of bands, so he's torn quite a bit busy guy and yet just have to take advantage of when he's around. And he was like, I'm going to be in town for a day and I'm playing with you know, I'm playing with Carnivore ad somewhere and our gig will be over at about midnight, so I could probably meet you at one thirty or two in the morning. And so I said, okay, meet me at the base the Williamsburg Bridge at two, you know, and then and I would be there waiting with the camera and maybe, you know, if anybody who I could get to help on that night, he was my wife, So it was just me and my wife. And then I set up the cameras and Chuck showed up, and I just had him take out his guitar and we'd like face off, and I said, listen, this is this is a duel. This is like a fight to the death guitar battle, you know. And then we you know, and so I set up the camera like over my shoulder, like you'd see a gunfight scene in a Clint Eastwood movie or something, and then Chuck just starts playing his guitar, doing his thing and smiling and looking at the camera or whatever, and like I stopped the cameras. I was like, no, Chuck, this is a battle. Don't look at the camera, look at me. You know, this is a duel. And so he finally he got the point of how what I wanted, you know, I didn't get a lot of prep time. It explained it to him.

6:02 So we shot like the close ups of the gun battle, and then he came back to town like two months later, and that's when we shot the really high angle shots of the gun battle. And then on a completely the other night, we shot the close ups of the hands. You know, I just did it. I always do it in little increments. So I had, you know, this basically empty palette but with the guitar duo in there. And I was just driving around. I was shooting on this TV show called Evil, because I'm a camera operator, and and we we were out shooting out on Staten Island and I and I had heard about this Wu Tang Clan sign street sign and I'd never seen it, and I thought, you know, that would be kind of a cool thing to shoot for the video. You know, it's a taste in New York. You know, New Yorkers loved their music, and you know they they paid tribute to uh other, you know, to New York musicians with these streets sign It's an odd thing. I mean, I guess you know in La they do the stars and yeah, here we like street you know. And I didn't realize how many there were. I knew about the Joey ramone one, and I had heard about a couple other ones. I'd seen the Duke Ellington one up in Harlem. But so, you know, one night we wrapped on Evil at like two o'clock in the morning, and I ran up to the grips and I was like, hey, man, can I borrow this? Can I borrow a two K rolling stand and a century stand and a bunch of mayfor clamps and a sentry you know, all this rip equipment. They're looking at me like what do you need that for? I said, I'm going

7:33 to go shoot something. They were like, we just been shooting for fourteen hours. It's you know, it's two point thirty in the morning. You're going to go out and shoot something. I was like, gotta go out when I came. So I went out and I found the Wu Tang sign and it was like way higher than any street sign because it was kind of on a highway. It wasn't on the street corner. Huh. So that's why I needed these two I needed these extra stands. So I had this one stand that went like twenty ft in the air, but I had to attach another stand to the end of that so I can go like another fifteen feet higher or something crazy like that. And then I clamped the camera to it and taped it up and hoisted the whole thing up, and cops kept rolling by and they would stop and look at me, like what's this guy doing. They never bothered me, and I shot that shot. And once I had that Wu Tang shot, I felt like I had to go and collect all the other ones. So, you know, even though I blew the surprise, it definitely you get this feeling like I'm traveling through the city and I'm stopping. You know, my friend Terry Stacey, who's a famous cinematographer, he saw the video and he's like, he's like, you know, Paris, your video is kind of like a love letter to New York.

8:41 I love it, and you didn't blow the whole surprise because there's also two other things there that are my two favorites of a certain band and me too. People have to people have to watch for that. Well, without telling what it is, I'll tell you why I did it the way I did it because I didn't show this. I didn't show street signs because, oddly enough, there are no street signs dedicated to these to this, these two members of probably the most popular New York band. You know, right, how is that even possible? Because you know, these these street signs are lobbied for by fans, and I guess you know people nobody feels the need to lobby for a band that's sold one hundred million records. They lobby for the little guys or the people that they view as the little guys.

9:37 So you know, Charlie Parker and run Dy and seeing people like that all have signs or people that are proud in their neighborhood. I imagine the sign was lobbied for by the people in the neighborhood. But yeah, I felt like, you know, all that, all that, all those, even though I'm not directly influenced by a lot of the artists that I showcase in there, you it's just it's just, you know, when you're in New Yorker and you're influenced by all these big artists who are basically your neighbors in a way, so it makes them feel reachable. It just felt like something I wanted to include in the video. It's definitely a different vibe in LA. Who as somebody who experienced both in the eighties, both New York and LA, it's like such a different vibe because well, New Yorkers anyway, like you're saying, it's more of a community, and it's more of you're all for each other. Where in LA they're all in competition with each other, and it's like totally like that too. And the snobbery sometimes back in the eighties of some of the bands. Ironically, there's a couple that I knew back then that I couldn't stand back then because they thought they were all that in the Bull of Cherries, and nowadays they're actually really nice guys because they got, you know, humbled a few runs down the ladder exactly.

11:05 You know, it's odd. It's like, after I started shooting some of the signs, I began to realize that I was actually you know how I say that, you know, I feel a kin to them because they're kind of like neighbors. I feel. I realized that there was like a six degree of Kevin Bacon situation because you know, the first sign I shot was the Wu Tang sign, and I actually worked with method Man a couple of times on Blue Bloods. He's a recurring character on the TV show Blue Bloods that I was shooting. So I shot, I've shot method Man. And the second one I shot was Charlie Parker Street Avenue B and Uh. I'm a music publisher and I published quite a bit of Charlie Parker's music, which I inherited from my father who met and and UH did that business with Parker and UH and then of course the BC boys, you know, as teenagers.

12:01 We were all friends and and Uh Adam Yaok was possibly going to be the bass player of the Chromags at one point, but he was going away to college up and barred, and he said he could. He was like, yeah, I'll definitely come down on the weekends and we'll play. But the guys, guys in my band didn't like the idea of somebody being a weekend warrior, right, which is silly. And we also asked Mike Diamond to play drums with us early on, you know, or it wasn't like we asked him. He was just talk, you know, because you know, you're a bunch of kids standing on a street corner and you're trying to figure things out, and we were like, yeah, maybe Mike can play drums. Oh, let's get at him. But we actually asked Adam how to sit down meeting with him in Roger Murretz van uh the front. It was me, Roger and and Adam and he was and Adam was, you know, on board one hundred percent. You know, Adam was a big fan of like heavy hardcore music, even though he went off and became a hip hop icon. So what does it feel like one more thing. I'm sorry, run DMC run the sign I directed her on DMC video. That's cool. Yeah, So anyway, that's that. What does it feel like, by the way, like being at this stage and looking back and thinking back of when you're a kid on the street to New York, like just thinking about doing this stuff. It's very strange, you know. The last video I did is in two sections. It's called City Kids, which also relates to what we're talking about. But the second half of the videos of

13:31 the song is called Ghosts of New York. And to a large extent, I feel like there's not a street corner in New York I can't stand on without feeling, you know, like a little haunted. Right. I can't tell you how many times I get off the crowded subway train and like, out of the corner of my eye, I see, you know, like Jimmy Gestapo from Murphy's Law. And I don't mean like the guy I see all the time on the street, but I mean like the sixteen year old you can stopo like and first split second I'm like, oh, there's Jimmy, and of course it's not him, or I'll see Eric Hasenova the original singer of the Chromanks, or I'll see the Beastie Boys, you know at fifteen sixteen, or any number of the extraordinary people that I was privileged to be friends with at that age, you know. So I definitely feel like there's a little haunting going on all the time because I have so many memories connected to so many places. Every subway stop I get off, every every street I walk down, every restaurant I go to, every bar I sit down at. I can think of like when Joe Jackson was sitting in Blanches and the jukebox hadn't changed in years, and he sat down one afternoon.

14:45 I was in There was just me and joe Jackson in there, and I was shooting pool and Joey Jackson was sitting at the bar having drink, which was nothing unusual, but the songs on the jukebox hadn't changed in years. They were actually singles, you know. And then he's sitting there at the bar and all of a sudden, the record changes and the song Stepping Out, his song Stepping Out, a huge hit at the time, came on the jukebox and he just went the jukebox and he looked for it. And he took his drink and he just like finished it, put it down, He pushed himself his barstool back away from the bar. He got up and left and I never saw him again. Wow. But the Blanches without thinking about that or thinking about David Johansson sitting there, are the guys and the BC boys who hung out there all the time, or Dante Ross who produced the ever last Great album, and you know, so many people that hung out there. And Earl from the Bad Range used to shoot pool there every day. So all these people were just you know, the background of my life when I was a teenager, and I feel like all that's still there, you know, I'm still connected with some of them, like Jimmy I see often. Yeah, you know, it's interesting when you're talking about being fourteen earlier. I have that same experience, Like I've been in the Rainbow recently and like go in there. I'm like, how the fuck at fifteen years old was I in the Rainbow? And then I think about it, I'm like, oh, yeah, you'd go to a gig and then you'd walk with the band over and like it was just like that, you know,

16:18 and you're sitting there hanging out with Lemmy at the Rainbow, you know, type of thing, you know, at fifteen years old. And it kind of it's weird looking back on it, because at the time it was just really cool, but you didn't realize how cool it was, right, I mean, I couldn't have, you know, it was just a part of life. I mean I remember discovering The Bad Brains when I was, you know, a very middle and teenager, and and they were just a local band. You know, I couldn't have even understood the value that they had. I just knew that I loved them, and I couldn't understand why, I why I liked them as much as I liked Rush. Yeah.

17:00 But and you know, and I saw this, you know, the Stray Cats back then when they were called the Tomcats. They used to rehearse at this at a studio on Avenue Bay and be called Tucasa. And I remember when I first heard about them, and somebody was telling me, oh, yeah, there's this band that rehearses over Tucsa's just three of them and one of them stands up while he plays the drums, and they look like cowboys or something. And and I went and saw them in Maxis Kansas City, and it was you know, just you know, you couldn't throw a rock with hot hitting an extraordinarily talented musician. Back then, there was just so many, you know, you look at you'd look down the bar and you'd see Rick Rubin sitting there, or you know, you know, Pete Steele used to come and watch me dj at uh at King Tutswawa Hut and you'd see hr walking through Tompkins Square Park reading the Bible and yeah, and did you watch that Beatles thing speaking? I think it was Rick Rubin and Paul McCartney did this thing recently and they're playing I saw the ads for it, but I haven't seen it. Yeah, So they're playing music and listening to like different Beatles songs and Paul McCartney at one point, there's one song that comes on and he's like, you know, back then, I was just playing with my bloke John and he goes and now I'm like, oh my god, I was playing with John Lennon. Like it was like he and he's saying, like I'm fanboy in right now, like he was fanboying out that he was playing with John Lennon, but like he didn't really think about it. Back then, it was just his friend. I mean, I

18:30 mean, I can totally identify that. I mean, I remember at one point after the Cromaggs had broken up and I had started this other band and we'd written a bunch of songs and we couldn't find a singer. You know, we were brainstorming on what to do, and you know, Pete Steele was just a friend of ours, and so I called up Pete and I was like, listen, we have an entire album written and you just want to record it, you know, would you consider coming down and listening to it? And he Pete, I don't know how he got that. I guess he drove his crazy the car over there, but to Elmerhurst, Queens, to where my friend who was playing guitar in that band lived with his mom and his grandma. And he had this little teeny bedroom that was like so small that we had the drums we had set up in his little bedroom.

19:15 It was just a snare drum or ride symbol of the high hat and the bass drum and the school and that was between like you can barely fit that between the bed and the wall. And Pete came in and he climbed up on his like little single bed and stood in the corner with his head up by the ceiling, and you know, we were all like I was sitting on this guy's desk. You know, we were like literally all on top of each other. And Pete just took out his little notebook and and we played basically an hour's worth of music instrumentally while he took notes. And sometimes when we finished songs, Pete would say, what were you thinking when you wrote that? Like, you know, so he can get a vibe of what to write down, because he because it was his job to write the lyrics and stuff. And then you know, we we we spent the afternoon playing songs for him and asking his crazy questions and then and then he went off and ultimately we never made that record. But uh, you know, looking back now, if I tell this story, I'm telling this story about how crazy it was that Pete Steele was in my friend's basement, in my friend's mom's house, right most to just this guy that was just a pile of arms, and there were so many people like, oh, you know, like you know, just even like you know, different kinds of success, like one of the guys that we hung out with every night.

20:32 Was come all from the Jerky Boys, and the Jerky Boys was you know, a cultural a worldwide cultural phenomenon. Yeah, but he was just one of the guys that hung out on the street with us, and he would come in sometimes and he would say, oh, you should come over and listen to these tapes I've been making, and we just you know, they were always funny, but we thought, you know, what are you going to do with this? And then like two years later he was world famous and making a movie with Disney. Right. It was just there was just something magnetic about that neighborhood, you know, where so many people came out of it, you know, white zombie beastie boys like the Jerky Boys, producers, actors. It's just such a strange thing. You know. I often say, like, if I could go back to that street corner, I would, you know, to see all these extraordinary people that were that were famous, but they weren't famous then. Yeah, you know, I think it's so strange that so many of those people went off to make their mark and we all gravitated to each other with no inkling of what the future might bring, and the cool thing is is nobody back then did it on before that reason, you know, like you did it because of the love of the art. You know, I think sometimes, well a lot of times nowadays, you have these artists that they're doing it to get famous instead of because they just love the art. And and that's why they get famous, is because they just love the art and don't care. I mean, yeah, that's I mean, that's today's culture, is the culture of fame

22:04 without accomplishment. You know. I was having a conversation with somebody earlier about you know, they were saying, you know, do you you know, you put so much work into your record and into your videos, like you know, because the discussion was like about how you don't world class production isn't isn't isn't not only required anymore, but it's just something that shouldn't be bothered with because you won't because you know, you know, making a Seal album or making a Michael Jackson album, that kind of thing is just not necessary because it will never sell those kinds of records or something like that. And then they said, you know, they use this phrase, you know, you've got to get more ears on your music, and I was like, Oh, that's such a modern uh streaming service and doctrination technique, you know, right, you getting more ears listening to your music. Like so basically, you know, get get your music on every streaming service there is possible, so you can get as many ears on your music. That's success.

23:03 That's how people there the music business is trying to indoctrinate you into believing success is achieved now. But I would certainly rather have much less ears on my music and not give it away for free, yeah, you know, and not make streaming services billions of dollars while the artist makes nothing because they're convinced they have to get more ears on their music. Yeah, even like competitors of mine, you know, doing streaming radio and stuff like that. I run into people all the time that they just think that they shouldn't have to pay, like I pay for licensing royalties and everything, because I see what artists go through. I always did, and like, you're working, you deserve to get paid. And like these other people sometimes are like, well, they should just let me play their music, and I'm like, no, they shouldn't. Maybe you should pay your royalties and get license to play our music, you know, like I mean they're using it to benefit so I think everybody should benefit. Like you know, if I'm going to benefit, you as the artist should benefit too. And I hate to say it, Laws was right in the bottom line to our conversation was I, you know, I feel like I have a world class production on my on that Agros record behind you. Certainly the music videos are world class, you know, I because I feel like that's my job as a musician to take my

24:34 music to its final stages where it will live forever as best it possibly can. And I do that for myself. Yeah, you know, I don't do it for all the ears that might be on it on the streaming service. I don't care about a million streams that are going to make you know, Spotify a billion dollars. I care about the people who actually like my music, the fetishists who listen and you know, seek out and and want to listen to it. So I make it the best I can for myself first and then for them. And I'm not interested in the casual listener. I'm only listening. I'm only concerned with the fetishes, the fanatic and one of us. And that's again that's og because like that's how it was.

25:18 And looking at this video skateboard fight, like, it's the type of video that you can't just put the video on and go about what you're doing. I think you really got to sit there and just watch it because the creativity that you put into it. Plus I want that skateboard by the way, because that was badass with the wheels lighting up and then and then the kicktail lighting up and stuff and sparking. I need that, you know. I had to. I had to make skateboarding more cinematic than just you know, I had to make it kind of like that dream thing I said, you know, of my memories, right, the same thing with the guitar duel. You know, it's amazing how so much of this developed as I was going because I had recorded the song completely without thought of there being a guitar solo. I was almost ready to release the album when I just started Chuck Lenihan from The Crumbsuckers, and how you know, he's another one of those people that I knew, one of these extraordinary people that I knew from my youth, and I realized, you know, I could just call him up and see what he could what he could do, And it was the very It was the first song I sent him. And I sent him the song and I hadn't spoken to him in like over a decade. Wow, And I just I sent him the song and I wrote, try playing a solo at you know, two minutes, you know, or one minute thirty seconds and play through that whole section. And he sent me back some tracks the

26:48 next day, and it was one of those things where like he started playing, he was playing something very strong and then laid back a little bit, and then he played some really strongly, he laid back a little bit, and so I was listening to it and I am, I just don't really like this section. I don't like this section. I don't like this section. I don't like this section. Uh. And I sent it back to Chuck. I was like filling these blanks and uh. And he was like, Oh, I'm going to be on tour for like two weeks, so give me it. Give me two weeks to do it. I was like, all right. But I was in the studio the next day and my engineer was like, he goes, well, you know these gaps that are in here are they're very symmetrical, like he plays, and there's a blank spot. Then he plays, there's a blank spots. He plays there's a blank spot. He goes, why don't you just fill in those blanks?

27:41 And I was like, oh, that would be cool, you know, like an old style Judas Priest, Joe Perry, Steve, Steven Tyler, I mean, Joe Perry Brad Whitford duel. And so I just laid in the tracks and then I sent them to Chuck and I was like, okay, don't don't do anything. And and I love the fact that we had that. And then of course immediately I thought and I'd already started to shoot the video, you know, you know, because that's the way I do. I just shoot little things. But I abandoned everything that I shot, like I almost shot on entire video. I shot it on Halloween night one night. I thought it'd be crazy to go out on Halloween night. I abandoned the nice started from scratch. I was like, Okay, I'm gonna go out and shoot this guitar duel with check In and see it go from there. But I love the fact that the song developed that way. And then of course I when that solo was so much fun and so cool, I buy a check to come and play on most of the rest of the album. See that's so cool because that's the creative process right there. Just like when you're really into the creative process, it takes a life of its own. Instead of what I like to call nowadays, some bands use like an algebraic equation to make their music, like there's no thought whatsoever. It's like they plug in a formula. And you know, unfortunately to so many bands are still shackled by the record record deal business of you know, getting it together, having them set up the parameters how you record by giving you

29:11 the exact just enough to be able to make the record, you know, in a short amount of time. So you have to go in there and just like bust it out, and there's little or no time for whimsy or improvisation or creativity in the studio. You have to be ready when you get in there, which I guess you know, people are accustomed to, but it's not the way I do it at all. You know, I took my time so much making this record. I changed it. I took tire songs, cut of in half, put sections from other songs together. I just weaved it all together with whimsy and just a lot of thought and it really is more of an art piece than a record because it came together very much the way I would make a music video or drawing or anything. And that's the way it should be. I think, to me, music is all of the art, not like you got an album back in the day and it was a complete experience. It wasn't just the music. It was the album cover, it was the artwork, it was the lyrics, it was everything involved. And see that's what's cool about And I think, how do people first of all connect to you guys on social and socials, but more importantly too, how do they, as they can see me right there, get the album? Now? How do they do that? Well,

30:41 if you're in the United States, let me just quickly get this, which is, by the way, it's funny you should say that because right now I'm in Costa Rica and there was there's just skateboard park a block away from me. That's nice. Yeah. But if the record that you have behind you, which is red transparent vinyl and that awesome album covered by Andrew Montserrat, you can get that on www. Dot Agros dot NYC. That's our store. We have CDs there and you can also get a digital album on band camp. Band Camp is very cool. But if you're in Europe, you can also get vinyl on our band campage and there are three different vinyl variants in Europe. There's Ultra Clear, Orange Crush and Blood Red, and or you can go to Cortex. There's quite a few places in Europe to get it Reality Records and but you know, if you're in the United States, please get it from me by direct from the artists Agros dot n y C. And those those socials that you mentioned, I actually have them up on my screen. So Facebook, uh slash Paris Mayhew or Paris dot Mayhew and at Facebook Agros Army a G G R O S Army. Instagram is

32:13 Paris Mayhew. Instagram is also the underscore Agros. Yeah, nice and feel free to be friendly on there. I'm always happy to ask answer questions about the Agros and my high school band if if I'm in the mood speaking speaking of high school bands. Okay, so going back to you know, weird things that happened. I was a freshman in high school and this band played in the high school jammaseum like like during the school day called Oingo boingo. Wow. How about that? Like, who would have ever thought Danny Elfman would become, oh my god, the monster of all movie composers. Like that's right. All was doing is sitting there jamming out to only a lad in my in my gym class. So cool stuff. Great. You know you're talking about the album experience that you know I keep I'm looking at the album behind you, you know, and it's you know, I did everything I could to make that vinyl experience the same way it was with me.

33:28 Like I spoke to the many vinyl manufacturers and I said, I want this record to be as nice and his quality as any rush or prints or any big record that I ever had, a shad day record. I want people to hold this in their hand, and I want them to feel like it's the best quality they can possibly get. The inner sleeve is almost the same, you know, card stock is the cover, and it's full color, and I got all colored vinyl, and I got two great artists to do the front and the back cover, and you know, full liner notes and the whole deal. And of course I made the best album I could possibly make. I have a lot of great musicians playing on it. And got a lot of great drummers, Roy Mayorga from Stone Sour. It plays on one track, fear View Mirror. That was a great day recording that song.

34:17 And yeah, man, I worked on that record harder than I have on anything in my life except maybe the videos. When you watch the videos, they are a complete experience and they are fun to watch, and you got to take into consideration I shot ninety percent of these videos by myself. Wow, they're basically selfies. You know, I work in television, and you know, I just know exactly what I'm gonna get and what I'm gonna see, so I could set up a camera and use my imagination of what's going to be in the frame. So when you're seeing all this stuff on me skateboarding around and jumping around with the guitar, you know a lot of time times there's nobody behind the camera. Wow, that's impressive because it looks like a high production video. For anybody goes and sees it, you'll see it looks like a high production video and that says a lot. But you're a badassed artist, so that's that's what it is. Well, thank you, Dean, thank you very much. You got it. And thank you for giving us such great music, and thanks for being on the Adventures of Pipe Man. I appreciate it. Dean, I appreciate you inviting me back.

35:34 I appreciate you sharing your audience with me, and I hope you all listen to the Agros and watch the videos and enjoy it. What's up? This is Paris made you from the Agros and you're listening to Pipemin and W four CY Radio. Thank you for listening to the Adventures of Place on W four c u I Radio. MHM