Visual Noise: Walls Talk - Crkshnk

In Episode 10 of Visual Noise: Walls Talk, TRP613 and Urban Ninja head to the streets of New York City to sit down with the thought-provoking and unapologetically political street artist Crkshnk.

Known for his striking wheatpastes and layered collage-style compositions, Crkshnk creates artwork that demands attention and challenges viewers to look deeper. His pieces combine overlapping photographs, textures, and imagery into powerful visual narratives that blur the line between street art and political commentary. The result is a style unlike anything else on the street—raw, complex, and impossible to ignore.

Throughout the conversation, Crkshnk discusses the messages behind his work and why he believes public spaces are the perfect place to spark conversations about power, greed, and social inequality. His artwork often portrays corrupt politicians, powerful elites, and unchecked capitalism through the imagery of pigs and other animals, drawing on symbolism that has been used for generations to expose hypocrisy, excess, and exploitation.

TRP613 and Urban Ninja dive into the creative process behind these intricate wheatpastes, exploring how Crkshnk builds his layered compositions and develops the ideas that fuel his work. The discussion touches on art as activism, the role of political expression in street culture, and the challenges that come with creating provocative public art in today's world.

More than just an artist, Crkshnk uses walls as a platform for dialogue. His work asks difficult questions, challenges authority, and encourages people to examine the systems that shape their everyday lives. Whether you agree with his message or not, his art refuses to be ignored.

Join TRP613 and Urban Ninja for an engaging conversation about creativity, resistance, and the power of street art to challenge the status quo. Episode 10 offers a fascinating look into the mind of an artist who turns city walls into a canvas for social and political reflection.

Music credit:

“Funk Groove Music” by Alex Gus via Pixabay

Transcript

SPEAKER_01 0:08

What's up everyone? Welcome to our podcast Visual Noise Wall Talk Ninja Trip here. What's up, Ninja? Yo, what's up? How you doing? I'm good, man. I'm good. How you doing? I'm great. I'm great. Doing anything fun today? This. This, yes. Okay. This is the fun stuff. This is it. This is the good stuff. So in our podcast, we interview street artists, we talk about art. Welcome to the show. Today we have Crookshank. What's up, Crookshank?

SPEAKER_02 0:34

Hey. Just, you know, I sort of finished a really large piece. I'm sort of in an interim trying to figure out what to do next. So I kind of like that mystery, you know. Sometimes I usually work in a series and I think I sort of hit a wall to a certain degree. So I kind of like to work through whatever the next project's going to be.

SPEAKER_01 0:58

Cool. Can you tell the listeners who you are, where you're from, a little bit about you in case they don't know? Sure.

SPEAKER_02 1:05

I was born in New York, moved to Philly when I was young, went to art school there. As soon as I graduated, left Philly, moved back to New York. I was, I lived in Manhattan for pretty much most of my life. And then about 15 years ago, I moved out to Brooklyn to Red Hook. I don't know if you know it. It's sort of like a scrappy beach town, but it's getting more and more turning into a mini Williamsburg, sadly. But it's cool. I like it because it's sort of semi-industrial. And that's actually how I started wheat pasting because of this neighborhood. And how long have you been doing it for? I started like in the fall of 2019. And it was because I had a loft in um Tribeca and had to move. And it was like the ultimate workspace where I could sort of stand back, view my work really large, and I just didn't have the space that our new mini loft. So I kind of remembered seeing an overscaled like print that a friend had done, like on a blueprint printer. And I thought, oh, that's cool. I kind of remembered that. And if you would have like told me, hey, you're going to be wheat pasting, you know, starting in another month or two, I go, what the fuck is a wheat paste? You know, what's that? But I wanted to see what my work would look like. And I was actually printing up mural-sized pieces. And I would find like a semi-abandoned area in my neighborhood, put it up, and I could view it. So this was in chunks? You would put it up in chunks? Yeah, but they were really big chunks. They were like 36 by 50 inches.

SPEAKER_00 2:52

Wow. Okay.

SPEAKER_02 2:53

So I would like paste three of those together.

SPEAKER_00 2:56

And they were why that big? I'm just curious.

SPEAKER_02 3:00

Well, it's weird because I actually have another uh Instagram page, which is more of that work that I then printed up. And it's a really crazy story. A lot of my source imagery for the paste ups, I stumbled upon, I forget which museum. Online, they had scans of paintings in their collection, but they were the actual size. So if there was an altar piece that was a hundred inches wide, it was like 300 dpi. It was huge. I mean, it took forever to download. Oh, yeah. So I like just let I started to like trip out on these pieces, and I would like isolate little areas, zoom in, zoom out, and then grab. I mean, as you if you know my work, it's like layer upon layer, you know, little parts of something that then make something else. It's very collage style kind of.

SPEAKER_00 3:59

Yes.

SPEAKER_02 3:59

Yeah, but clean, clean collage. Well, I mean, that's a good point. Actually, it's photomontage because collage, you know, technically, is multi-layered, you know, multi-cut out pieces of whatever. And photomontage, it's like, you know, the great German anti-fascist artist, uh, John Hartfield, who did these pieces in the 30s, and they were photomontage, very influential to me. Like I remember like as a kid seeing a show at The Modern. So what he would do, and that's this is back then, obviously, you know, way before Photoshop, it's taking almost collaging and then re-photographing it. So it then becomes one surface to work on. And he would like airbrush and do other stuff. So it's that's a photo montage. And that's kind of like how I started my career. Like even how I made money when I first moved to New York, I was doing illustrations that then turned into something called photo illustration. But that's it's all before Photoshop. So I just gave you a really super long answer to the to a question that I completely forgot what it was.

SPEAKER_00 5:08

So well, you kind of give a little background of, like you said, you're an illustrator using this style, and then now you decided to do these big, almost mural-like paste-ups.

SPEAKER_02 5:22

Well, I occasionally do something really large. Like I did one a few months ago that was like six by six feet of this sort of you know, spring godlike creature that's just made from flowers and birds and pollen and stuff like that. If you if you look at my page, I mean that was something like I don't know, like 500 layers. But realizing, you know, to grab attention, you know, something almost simple and graphic was the way to go for wheat pasting. So some of my early images were just like a guy peering out of a porthole. Um, and what I wanted was like a guy peering out of the wall that it was pasted on because I really got into just the whole tactile feeling of like the surface, the really crusty layer-upon-layer surface of the brick walls that other people were spraying or pasting on. And this, and actually, my pasting really started right before COVID.

SPEAKER_00 6:28

Yeah.

SPEAKER_02 6:29

And like, really, the hype, you know, for me going out and pasting was during COVID, which was like really crazy.

SPEAKER_01 6:37

I loved uh I love COVID for it. Sounds like a weird thing to say, but I love COVID for masks, you know, like everyone was in a mask. So you could go out and rock a mask, and people are like, oh, yeah, whatever, that's cool.

SPEAKER_02 6:50

You know, it was really weird. I was thinking about it today because I mean, fortunately, I have a car. I mean, I live just a few miles from lower Manhattan, like Freeman's and you know, the downtown area. But I would go out like at three and four in the morning during COVID and paste, you know, and at that time, early on in the pandemic, you didn't know if you were going to get cooties from touching the wall or what. And it was almost like shein out there because there really wasn't a soul out, except, you know, pretty strange characters. And then you'd of course hear like coughing in the background, which was really scary. But yeah, I was like doing it like at dawn, you know, and it was like really great for alleviating your anxiety. You'd work during the day, make a piece, find somebody to print it up, and then go out, you know? So that's kind of how I started. Awesome.

SPEAKER_00 7:49

So for your pieces, you rely on going to a print shop, or do you have your own printer?

SPEAKER_02 7:55

No, I mean, I have a very small printer, and the I have a large format, really um great printer, but it's the inks would just run as soon as face would hit it. So I rely on FedEx. FedEx is my printer. And I know a couple of the managers, and they just let me, you know, play with it and do what I want. And then you figure out, you know, what the print's going to look like. You realize how to interpret from your monitor to the printer to get the effect that you want. So I kind of, you know, it took me time to figure that out, but it was kind of a nice Eureka moment. The paper that they use at FedEx is the best, especially for black and white. It's just light enough. The inks don't run. So it's like from the studio to FedEx. For the color stuff, though, I had a printer in Portland, Oregon who is super reasonable, but they don't print anymore. So I'm trying to find like someone good for the color stuff.

SPEAKER_01 8:56

People don't understand how important paper, quality, thickness, thinness, whatever for wheat pasting is. Like it's a really specific thing. You know, you can't just use any paper. It's got to be really perfect.

SPEAKER_02 9:08

I agree with you 100%. Because, you know, if you use too good of a paper, it's too thick, it doesn't stay. You know, I by trial and error, I kind of figured it out. Um, when I first started pasting, I YouTube, like, oh, there's this thing called weed paste. That's what people use. And then Stephen Fraley had a little YouTube clip, like where he used powdered, powderized Romans wallpaper glue. Yes. So I started that out. And then I got really lazy because you can buy it in the the gallon container of Romans. So that's what I use now. It's so it's like so viscous, slap it on. It just melds with the um the paper, another layer uh paste, and it's you know, it's like a good dance step when you're pasting, you know, like certainly when it's large, scattering it quickly, getting your paper nice and even, another layer of paste. And I'm gonna give a little um one of my secrets, a squeegee. Squeegee flattens it all out.

SPEAKER_00 10:13

So yes, I do remember that. I remember when you came to Toronto, you you showed me that, and then you pulled up the squeegee after you pasted it up, and you go, This is what you have to use after. I was like, Oh my god.

SPEAKER_02 10:24

Yeah, yeah, it's really good. Yes, I don't know how I must have seen someone, or someone must have told me, but um, yeah, I tried to get the the largest squeegee I can find.

SPEAKER_01 10:35

What's your favorite type of surface to work on? Trains, electrical boxes, dumpsters, bathroom windows, windows.

SPEAKER_02 10:44

Actually, plywood. Oh, yeah. Really flat, really even surface. I mean, I'll do it on anything. You know, brick works fine if it's not too irregular and too pitted. You need that thin kind of brick. Yeah, but I mean, I mean, this goes back to COVID too, because in Manhattan, I don't know what they were doing in Toronto. All the stores were plywooding their windows for fear of you know being vandalized. So it was like the ultimate surface. It was really great.

SPEAKER_01 11:15

Yeah, yeah. I like a little stucco, you know, like something that's like a little bumpy, but not super bumpy. You know, then it gives it a little texture.

SPEAKER_02 11:24

That's kind of interesting.

SPEAKER_00 11:25

That would be something cool if you could sort of integrate that into your piece, especially your pieces, you know what I mean, to have texture, definitely.

SPEAKER_02 11:34

Oh, yeah, yeah. Like really textured skin would be very neat. I like that. Yeah, for sure. Thanks, guys.

SPEAKER_00 11:41

The new ideas.

SPEAKER_02 11:43

Yeah, yeah.

SPEAKER_00 11:43

So when you're putting your stuff up, once it's up, like do you have problems if someone covers your stuff up?

SPEAKER_02 11:50

You know, it's really weird because the landscape has kind of changed, I think, at least here in New York. You know, everyone pretty much all flocked to Freeman's. And at one time it was all paste-up artists. Now it's all paint, paint people. And if you paste in Freeman's, it's pretty much painted over, like within 48 hours, if you're lucky. I mean, there is, if you know Freeman's, there's a hotel at the end of the alley. Correct. And that sort of sanctuary, I think, for the paste apart is this little sort of courtyard. So we go there. I try not to go there. I try not to go to the Basquiat building. I still occasionally go there. There's some blocks right around there that I like where it stays up a little longer. I mean, it's like you can't get too pissed off. I mean, I did just put up a six-footer a little while ago, and the building management painted over it. So I was like, uh, but I did go back the following week and I did a 48-inch square, which for some reason they left up. I don't know why.

SPEAKER_00 13:04

Dave, man, they're they're uh picky with their art, you know.

SPEAKER_02 13:07

They're like a certain size, man. You know, I don't know because I'm actually, and it was, you know, it's a nice sort of uh loft condo building in Noho. And um a tenant came out and she was really nice. I think I was pasting maybe with Crash and someone else, and she complimented us and saying, Oh, she really looks forward to seeing our work when we go there and paste. So that was kind of cool. But I guess you know, the maintenance person or whatever wasn't too fond of it. Oh, fuck them.

SPEAKER_01 13:40

Yeah. Um if uh if your art had a soundtrack, what song would be blasting while you were pasting?

SPEAKER_02 13:47

Oh, dude, that's that's a really good question because I really like to pick the music that I accompanies my posts. Oh, it varies. It really varies. I mean Okay, let me rephrase it. Let me rephrase it.

SPEAKER_01 14:01

If you had to listen to one song only for the rest of your life, what are you listening to? Oh my god. Oh my god. I know, I know. Oh my god. One song, man.

SPEAKER_02 14:12

That the only one is that's like I could pick my favorite meal or you know, something with the music. I you know, that's that's really good. I mean, I go from everything, you know, it could be, I don't know. I love Miles Davis. I mean, that could be kind of cool. Yeah, like some early Miles, but you know, I also like I really got, you know, I'll I'll listen to one song and it's in my head for a week. Like for that big six-foot piece, I had Luscious Jackson's fly, which is a really super moody piece. You just drift into it, and you know, that was my favorite song for that week, you know, kind of thing. Got it, got it. So, what are you guys doing? Have you been pacing and busy and yeah, uh yeah, yeah.

SPEAKER_00 15:02

Good. Always, always putting up stickers.

SPEAKER_01 15:05

I I'm more stickers when I'm in Ottawa, um, just because I don't have anyone. Tear, tear falling down, you can't see it, but uh you know, it's more fun to go out with people.

SPEAKER_00 15:16

Yeah, it is. I I always go out with Sketch Rat. I'm pretty sure you remember Sketchrat.

SPEAKER_02 15:20

Oh my god, yeah. I mean, I really, you know, that was the wonderful thing when we did the show in Toronto last June, seeing your work. I mean, of course, meeting you, and that was the first time I kind of really uh saw Sketch Rat's pieces and drawings, which I really loved, like in the second room of that gallery. That's right. I remember those, those were very cool. And everybody, you know, that was such a nice vibe, that show. It was. I agree. I actually owe a lot to Jeremy because do you remember he did that show in Hamilton where he selected a number of artists and he put up their work? I I was part of that. Oh, yeah, yeah. It was invasive animal. Oh, yeah, you did those great murals, man. Those were incredible.

SPEAKER_01 16:09

Yeah.

SPEAKER_02 16:10

Um, and Danielle did a beautiful job documenting it. Oh, yeah, that's right. But when Jeremy did that, what was it, the paste up anti outside gallery or something? That was really good. It really put a lot of wind in my sails after seeing it. You know, he took on the task of taking our files and blowing them up life size and pasting them. And I really loved Hamilton. I thought it was a great location.

SPEAKER_00 16:40

He's he lives there, right? Jumbleface, Jeremy. He uh he kind of keeps track of what's going on there. So if there's like a spot that to put something up, you know, he'll put it up.

SPEAKER_02 16:52

So yeah, but no, it was very it was very cool. I mean, the great thing is I hope it's okay to say Jeremy or Jumbleface. He comes to New York now a couple times a year, and we all go out pasting together, which is really fun, and it's really nice seeing his work pasted here.

SPEAKER_01 17:09

Did you did you recently hang out with Skull's MTL?

SPEAKER_02 17:13

Yes, she was in. She was in a few weeks ago, yeah, and it's great because um I have a friend who has a small place in the West Village, and so I turned um Jeremy onto him and Skulls too. So she they stay really close by. Yeah, the the hookups, but I mean I can't Skulls is incredible. I mean, she's like an Olympic athlete when it comes to the pole. I mean, that thing is going up 12, 15 feet, yeah, perfectly.

SPEAKER_00 17:49

Yeah, yeah, yeah. Yeah. Still. Yeah, I'll be seeing her uh next week. She's coming to Toronto. Oh, nice, nice. Yeah, I was literally just talking to her today, and then we were just chatting, like meeting up and everything.

SPEAKER_02 18:02

You know, she's been really instrumental in um organizing a trip for the London Pay Stuff Festival. Yeah. And I don't know if I'm going to make it. I'm trying to figure out of like just popping in for a few days and tying it into another trip. But um, it looks so cool because on my like last trip to London, I remember um Brick Lane, and it's nice. It reminds me a little, what is it called in Toronto, Graffiti Alley or something? Graffiti Alley. It's got that feel to it.

SPEAKER_00 18:33

Okay, I've only seen photos of it, but yeah, I see what you're saying. It was well, it's kind of like how Freeman's Alley used to be.

SPEAKER_02 18:41

Exactly.

SPEAKER_01 18:42

How long is Free uh Freeman's? Like, is it like two blocks, a block? It's not long, right?

SPEAKER_02 18:48

It's really short. Yeah, it's like it looks short, it's not even a block. Yeah, okay, okay. That's true. And it's kind of, you know, I don't know how it changed over where people really took a lot of liberty in painting over everyone's work. And it's like, you know, I understand if it's like a really cool thing that you're gonna paint up there, but if it's just essentially your tag, you know, duplicated 20 times over a piece, you know, a statement. A little aggressive for my take.

SPEAKER_01 19:21

I remember seeing a swoon piece there, and it was just like if you know swoon, it's just like I didn't even understand how she does it. It's like putting up this lace almost, you know, and thinking it was so incredible. Not I didn't actually see it in person, but saw pictures of it. And then of course it got painted over.

SPEAKER_02 19:38

And no, that's really it's really it's sad. I mean, it was an interesting camaraderie a few years ago. Like, I don't do you remember the artist pure genius? He was doing a lot of political stuff. I they're not on IG anymore, but they were doing great stuff. And it would be the kind of thing where I go out at like literally three, four in the morning, I taste, and they would text me like at 4:30 and say, Oh, I just saw your piece. It's really great, really smooth, or whatever. It was like, you must have been watching me, you know, kind of thing. Yeah.

SPEAKER_00 20:19

Uh how do you uh define success for a street artist?

SPEAKER_02 20:24

Oh god, good question. I want to say, show me the money, but that's not gonna work. I know. Um have to have a new handle for that one. You know, I guess it's respect. It's uh it's always, you know, with when you're doing your artwork, the artists that you respect, if they respond to your work, not ignore it, but somehow get in touch with you. Yeah, comment kind of thing, you know, that always feels good. You want to be respected by the people you respect.

SPEAKER_01 21:00

Amazing. Yep, that's so true. Yeah, I agree, I agree. And it it's just nice when people see your stuff and maybe you're you're back a bit and they're like, oh, that's really cool. And you know, you can feel good about what you're doing because you never really know as a street artist. Are people seeing it? Are they appreciating it? You know, you just never know. So it's nice to have that.

SPEAKER_02 21:21

I agree, and it's really weird because I will go back to an area that I had pasted like a few days later, and especially if it's a large piece, and just to like really watch people to see if they notice it. Everyone's glued to their phone, first of all. We all know that. But occasionally you'll see someone stop and take time and ponder it. And of course, that feels really good. And then there's also, you know, the community knows kind of the you know, the haunts that we go to, and they take a trip there to look at what's what's up.

SPEAKER_01 21:58

If you could collaborate with any Any artist alive or dead? Who's getting the call? Oh God.

SPEAKER_02 22:05

I don't know how my work would blend with theirs, but Francis Bacon? I mean, I mean, that's why I really want to go to London just to go back to see his first triptych that he did in the late 40s. You know the one I'm talking about. The figures at the base of the crucifixion. Oh, yeah. Incredible. I mean, I was surprised how small it was, actually, when I first saw it. But it's like it, you know, it was pretty groundbreaking, but who else would I like to? I mean, I really like when I do collaborations with other street people. I like the one I did with Crash. I sort of riffed on a drawing of his that he would do, actually paint on trains that I loved at this crazy face figure. There was something really wild about it that I loved. Yeah. So guys, I'm up for collaborations, you know?

SPEAKER_01 23:06

Yeah, definitely. You're the king of collaborating. That's right. I think I think I could see uh Warhol and your style meshing well together, you know, like his kind of pop art bright, and then you have this, you know. I love your your Trump stuff, obviously. Oh, you know, with the pig face, and like it's just I don't know. I could see that kind of coming together. Okay. New York, you know. Yeah. Well, I mean, I know he's from Pittsburgh, but you know, he's kind of a semi-New Yorker.

SPEAKER_02 23:40

Man, I gotta tell you, when I first moved to New York, I met him. Well, yeah. I really kind of hide my identity. So, and it's like only a few people kind of know my name because I figure like if I travel with them and if I go under Crookshank and if I drop dead, you know, you know, who who's gonna get contacted? Nobody when I first moved to New York, I was a photographer and I brought my portfolio to interview. And back then, it was easy to meet people, it was incredible. They gave me a couple of jobs. I photographed some people for them, and I met him, and I was like, So I I I don't even remember what I said, but I was so tongue-tied.

SPEAKER_00 24:28

I bet.

SPEAKER_02 24:30

It was like the managing editor said, Oh, just wait here for a second. I want you to meet someone. And you know, it's like, you know, oh uh uh oh, you know, it's like a god just came down from Olympus to see hello.

SPEAKER_00 24:45

Yeah, no, I'm sorry. That I I just had to tell that story. I'm sorry. Yeah, thank you. That is great. What advice would you give a new artist out there?

SPEAKER_02 24:55

If interested in doing street art?

SPEAKER_00 24:57

Yeah, that that's about to do street art. What advice would you give them?

SPEAKER_02 25:01

Just get out there. Just, you know, don't hesitate, don't hold yourself back. Try not to do too much self-editing. You know, get the first pieces out there, put them up. It'll grow. You're gonna grow, you know, and that was like one of the biggest things for me, also, because I I definitely worked in a whole different vein than the street art kind of stuff that I was doing. But I just said to myself, I'm going to do work, not hold myself back and just let it go, see where that trajectory is going to take me. So I would just say make that first step out. Just do it. Do it. It's always it's always about just doing it.

SPEAKER_01 25:45

Yeah, you know, and you're never too old or too young, or I teach, you know, these graffiti workshops to grade ones and to grade 12s and you know, six-year-olds and 18-year-olds, and you can start anytime. Guys, I don't even want to tell you how old I was when I started.

SPEAKER_02 26:02

You know, I mean, but it was like really liberating, you know, it really, I mean, I kind of feel it changed my DNA.

SPEAKER_01 26:13

I think it's the freest form of art. You know, I really think it takes out the elitism of art, you know, it takes away all the galleries and all that stuff, and it's just you and the street, and you can do whatever the hell you want to do.

SPEAKER_02 26:28

Exactly, exactly. Um, and that was you know, Jeremy's goal when he when he was doing the paste up, the outside paste-up gallery. He really didn't want, you know, this whole walk into a gallery and there's the C V on the table of your gender, your age, your whole history. And I mean, that's part of why I like the anonymity of you know, going under Crookshank, because I have done some things that I guess are or were in the public eye, image-wise. And I didn't want to be associated with that. I didn't want people to say, gee, he was doing that, he's doing this now, you know, kind of thing, or where's this coming from? You know? So I really wanted to eliminate that.

SPEAKER_01 27:16

Yeah, you're like a superhero, you know. You can you can put on your glasses and no one knows you're superman, then you take them off and you can fly around the streets and and pay things.

SPEAKER_02 27:26

Yeah, I shave, I shave my beard off and you know, and then I grow it back really quickly. Yeah.

SPEAKER_01 27:33

Um, any any last words to leave the listeners with? Any advice, wisdom?

SPEAKER_02 27:40

You know, just work on your art. Don't listen to all the negative things, just figure out what you want to do. If it's paste up, if you're doing paint, whatever, get out there. Also, find a community of fellow artists, people that you can sort of get the support from and feed off of that. Because I really only recently started hanging out with people. I was doing this all by myself. And none of my actually, none of my friends, family knew what I was doing. My partner is an art director, and I didn't even tell her the first few times I was going out there. Oh my god. No, she would come, she would come into my little studio area and see my monitor and like, what's that? What are you working on? And it was like, oh, nothing, something I'm thinking about. You know, yeah, you're like covering the screen, and it would be like, where did you go at four in the morning? You know, kind of thing. Amazing. Well, no one um finally, you know, yeah, but it's great because she's my best critic and my biggest critic. So I'm really happy, I'm really fortunate.

SPEAKER_01 28:59

For sure. I love the I love the community thing because it's it's if you don't do street art, it's very hard to understand it, I think, especially weed pasting and stickers and stuff like that. People just cannot get why you would go out there and do that. Um, and having that community of people is nice, and you can bounce ideas off each other and it's it's support each other.

SPEAKER_02 29:22

Yeah, I mean, it's it's really great. I mean, I share, you know, it's like definitely I have a few people that I share sensibilities with. And even before we'll paste up stuff, we'll send it to each other. You know, it's like, hey, this is what I'm doing, kind of thing. And it's nice. It's you know, it's our way of having a studio visit, I guess.

SPEAKER_01 29:42

Definitely for sure. Any last words, Ninja? Anything else you want to say? Just do it.

SPEAKER_02 29:47

Just do it. I love it. Oh man, we we we've got to come up with a a different line than that's already taken. You know, it's funny. I ran into Jesse. You remember Jesse? Jesse Warner. Yeah, yeah, yeah. He's back on Instagram.

SPEAKER_00 30:01

He's back on Instagram.

SPEAKER_02 30:02

Yes, that was the weirdest thing. He really went paywall. It was very mysterious. But um one, he'd like to do a pay stupid in New York City, which is really smart, but he also said we should make another trip to Hamilton, which I know you know, Crash is really into it. Where my eyes land is really into it. So hopefully that's in the future before it gets cold.

SPEAKER_01 30:27

Yes. Well, it's gonna get cold here soon. Summer just started, so it's almost a well. Uh thanks so much for joining us today on Visual Noise Walls Talk. We'll see you next time. Peace. Hey, thanks a lot. It was fun, guys.

SPEAKER_00 30:44

Yes, peace.

SPEAKER_01 30:45

Be well.