Unsigned518 - Episode 109 - ROUGE!

[00:00:27] Speaker B: All right, so welcome to unsigned five one eight. I am here with Rouge. We have Harvey VD. [00:00:33] Speaker C: Hey, guys. [00:00:34] Speaker B: And Johnny come lately. [00:00:35] Speaker D: Greetings. [00:00:36] Speaker B: So I came across you guys. I was an honest dude. Like, I'll admit I wasn't familiar with the band, but I had seen a post that you were feeling some negative shit was happening, and you were kind of like, I don't know if defeated is the right word, but I got the impression that you guys were bummed out about something, and I was like, hey, don't let a couple of shitheads get you down. Come on the show. And that's literally how we came to right here as far as our relationship goes. [00:01:11] Speaker C: Yeah. And so I'm the one who runs the band account on Instagram, which that's a completely different topic for another time. But the thing was, when we posted that, it was near the end of the year, and I personally kind of tend to get very retrospective about what has happened in the year. And not for nothing, it was kind of a rough year, for lack of a better term, with us. Like, yes, a lot of good things did happen. We did our annual punk prom that we do at the Avalon lounge. We started working on a movie. We played some good shows with a lot of good friends, but also, for every good thing that happened, it felt like there were five other bad things that were happening that just sort of pushed us back a little bit further. I don't really talk about this much, but the big thing was John had been going through a divorce earlier that year, and so that was like a rough transition period for him. For us, trying to get the album out was a little bit of a struggle just because of the fact, know, we're all busy adults, we have a lot of things going on. And our now lead guitarist, James was letting us record the album in his garage, and then he went through a breakup, and then he had to move all his shit out. And then I was also in a relationship earlier that year, and then she broke up with me because she came to one of our shows, and she said, I kid you not. I just can't be with someone whose art I don't really respect. [00:02:30] Speaker B: Are you fucking kidding me? [00:02:32] Speaker C: No. [00:02:33] Speaker B: That's like a Seinfeld episode. Like legit. You're a cashier. Yeah, that's legit. Wow. [00:02:40] Speaker C: And here's the thing. If you go and listen to that album go off, I guess, which is available on awfulhouse bandcamp.com. For the most part, those songs are jokes. We started doing this because I was listening to a lot of bloodhound gang at the time, and it was just sort of like, okay, so clearly, Jimmy Pop is really skilled as a musician, as a producer. He's covering a lot of genres of music, but no one's thinking about that. Like, the bad touch is just a bunch of sexual and all that. But when we started doing that, we thought it was pretty clear that we were writing joke songs. We've got a song we really like called shake that ass. And a lot of people like that song. We're not going for high poetry on that, right? But that was, again, this person that I was with, she was just like, oh, I think you're being super serious about this, and I don't get why you'd choose to write this stuff that's so beneath you. I'm like, again, it's a fucking joke. And so that also translated into certain venue promoters were refusing to book us because of the fact that they were, like, listening to this stuff and they thought we were being serious. They were like, I just don't get your vibe. You guys are so much better than this. Why are you writing songs like this? You're scaring people away. And it's like, do I have to make it clear that these are jokes, right? [00:04:00] Speaker B: And I think people should. Again, I've listened to some of the stuff that's on Bandcamp. I listened as I was because this room was a hot mess earlier and I had to clean. It's still a mess, but it was even worse a little. [00:04:12] Speaker C: It used to be a mess, but it is, too. [00:04:13] Speaker B: But it is now. But you can sit on the couch now. But. So I was listening to it while I was, like, cleaning this room up. And I've always thought that if somebody wants to, people that do what they want to do and don't necessarily, not even necessarily that, do not adhere to what the standard of what is or what is not. Not necessarily music, but acceptable content or whatever, I've always appreciated that they're like Avantgarde, above the. I don't know. I think I appreciate that you're doing what you want to do, even though people are being like, you can't do that. [00:04:54] Speaker C: But that's also one of the problems in so many words. And to go back to that post, especially in Albany in general, there really isn't as much as there could be. It sucks because I think Albany is a really fascinating city that has the potential to do something very interesting outside of just being the capital city. But it feels like every time that we've gone to a show, for example, we're kind of just getting ignored by other people, or people just won't book us because your guys are playing the doofy joke songs. And that's fine if it's just like a venue here or there. But also, a lot of things in Albany are closing down. [00:05:34] Speaker D: Well, yeah, the situation with Polly's was interesting because the first time we played there, I noticed it was kind of. It's a distance away from the student housing around the college of St. Rose, so it's not convenient to walk to. It's away from Lark street and it's closer to a neighborhood that certainly a lot of suburban types would feel a little nervous in. I never felt nervous around there. I felt perfectly fine. [00:06:03] Speaker B: Yeah. [00:06:04] Speaker D: And so it's not the best location, unfortunately, for that neighborhood. [00:06:12] Speaker C: But then you're also looking at places like Caesar's palace. May that place rest in peace. I thought that was like a really cool thing because not for nothing, before John and I started rouge, I was playing in different bands where that was our whole thing was that we were playing in these little dingy ass. [00:06:29] Speaker B: I mean, and I've heard of Caesar palace and that's like an underground. [00:06:33] Speaker C: It used to be a diy venue that was like, in that section of Albany. But again, they closed down in part because of the fact that cops kept coming to shut the shows down. And this is another thing. So I live in the Hudson Valley in the main part of it, like Socrates and Kingston and all that. And you get all these upstate touristy types who come up from the city and they. We love. We love the arts here. And then they pretty much do anything to shut down anything that know, commercial. [00:07:07] Speaker B: Like, if you're going to like the arts, you have to like shit that doesn't fit into a normal thing because otherwise it's just. I don't know. It's boring, I guess. I don't know if you do. You know turf and turf. [00:07:21] Speaker D: No. [00:07:21] Speaker B: So his name is Snail and the thing is, he's built a noise machine. So he's got like this. I mean, it's fucking big. It's like probably 8ft across, six, 7ft tall. And it's got like symbols and saw blades and the whole floor is a big old fucking stomp box and it's like a noise. And he plays almost like southern, bluesy, experimental noise shit. And like the symbols, he punches them. And the first time I saw him, there was definitely people that were turned off by it that were like, what is going on? And I had the biggest smile on my face because I'm like, this is somebody that's like, this is what I'm doing. And I don't fucking care if you don't get it, but if you do get it, it's just such a. And you can't say you like arts without having that feeling. [00:08:20] Speaker C: One of the more local bands that John and I both really like is a band called Black Mesa, and they're kind of doing heavier punk rock and roll. What would you call John? [00:08:31] Speaker D: It's almost like noise metal, and it's deliberately abrasive and very confrontational. Vocalist Nay Servoni, he doesn't sing the lyrics through a microphone so much as he literally screams them through a megaphone. [00:08:44] Speaker C: Wow. [00:08:45] Speaker D: And that's a big part of. Yeah, that's a big part of what they do. That's part of their aesthetic. It's confrontational. It's in your face, and he's screaming these trans aggressive lyrics at you. They have song titles like, let me see your kidneys. I will end your life if I ever see you again. [00:09:06] Speaker B: And it's the same thing to me because shit like that, people always equate someone's not like, again, separate the art and the artist. But whatever. But like, horror movies, I love horror movies. I love splattery. Gross horror movies. It doesn't mean, like, I'm a violent human being, but that's an art form that I appreciate. I appreciate the makeup of it. And the same with like a horror metal or a dark. [00:09:33] Speaker C: They just put out an album last month, and I'm taking a look at now it's eight songs and give or take 15 minutes long. That's their first album. That kind of just gives you an idea of what kind of music they're making. They're not making these four minute radio friendly things, but I know those guys in real life, and they're all like. [00:09:50] Speaker B: Really the coolest dudes, right? [00:09:51] Speaker C: Yeah, exactly. [00:09:52] Speaker D: The guy screaming megaphone, he's actually a really nice guy. He's very mild mannered and everything like that. It's also a matter of an outlet. And one of the reasons I'm cool with what we do in rouge is I'm just enjoying myself, right? I'm up there. It's like, you know what? I've never done this before in my life, I want to be able, when the time comes and I'm gone, you look back, all the things you did, it's like, man, I played some live music in these different venues. I recorded a DIY album. And you just keep listing all the different things you did and you can look back and like, you know what? [00:10:29] Speaker B: I lived, right? [00:10:31] Speaker D: I did something with my time that's. [00:10:32] Speaker B: Like how I feel, man. [00:10:33] Speaker D: And if people didn't like it, oh, well, right. [00:10:37] Speaker B: And that's for you. And again, to be able to look back in ten or 20 years from now to be able to be like, hey, you want to see something? Check out this stuff that I can just pull up that I did back in the day. The band that I'm in and I'm 50 and everybody in my band are in their forty s and none of us have ever been in a band. And it's kind of the same thing where we're just like, oh, well, we're doing, we're like a, I don't know, garage band, poppy, punk, whatever. But all I want to do is be able to have know. Because I understand there are limitations to how long you can do this, I guess. [00:11:19] Speaker C: Yeah. And another thing that I think is important to say is John's in his 50s. [00:11:26] Speaker B: So am I. [00:11:27] Speaker C: You're in your fifty s and I'm 28. And I feel like when I'm playing shows and I'm hanging out with all these people, I'm feeling pretty old myself because of the fact it is a lot of college students. It is a lot of guys in their early 20s, everything. But then they're looking at guys like John and I where I'm 28, he's in his fifty s. And I don't know how to put this in a way that doesn't make it sound like I'm the most insufferable, whiny man on. [00:11:49] Speaker A: The face of the earth. [00:11:50] Speaker C: So I'm just going to say back when I was first starting doing things with bands and making music and everything and playing shows, it wasn't just about, oh, my band is going to get big, we're going to play and see, we're going to get a record deal. It was like we were doing this because we were trying to make connections and make friends and actually do stuff together. And to an extent, now we have that. Like, for example, we know each other through a mutual connection in the sugar hold. First of all, love those guys. Mikey, Matt, everybody else, Dan, John. If you guys are listening, how y'all doing. Yeah, but it feels like now especially. And it's not something that I've just noticed by myself. But you talk to other people and they've noticed that a lot of bands are no longer trying to do that community thing. It's strictly focusing on number one, which it sucks that that's happened because I think that if the Hudson Valley really wants to be as cool as they're advertising it, tourists, then get some unconventional bands. Get guys in Prague metal bands where they might not be accepted. Know, get the noise bands together. It's just a shame that it feels like it's coming back to this thing where if you're not playing danceable music for three or 4 hours a night, then you're not getting much luck anywhere. [00:13:07] Speaker B: And I like multi genre bills. And I think so many more of those would just be amazing. Because if people are coming out to see one band and then there's at least like two other bands that are completely different style and they get to hang out with it. Because, like you were saying, community. That's the whole reason I like doing this, is I get to meet people and it's awesome. [00:13:32] Speaker C: I mean, every year we put together this event called punk prom. And I started doing this in 2020. And at the time, it's a long story, we can get into it later. But at the time I was just trying to get a bunch of my friends together. And then as it's gone on, it's like, okay, yeah, we have a lot of punk bands, but let's get some noise, let's get some acoustic stuff. Let's get something that might not be considered punk in a conventional sense. [00:13:54] Speaker B: But I mean, that's the best thing about punk, is that punk can be whatever the fuck you want it to be. [00:13:59] Speaker C: Punk is a mindset. [00:14:00] Speaker D: Yeah. [00:14:01] Speaker C: And it's unfortunate to an extent though, because of the fact that I feel like I have to stick with conventional punk in order to get people coming through the doors. Meanwhile, the bands that got most reaction last year, at least from what I observed, was a fucking sca band O'Rama. [00:14:18] Speaker D: Yeah, we've had been with other shows where we had a band that was just a trio doing instrumental music and they were doing a little bit of instrumental funk. And it did a really good reaction. [00:14:29] Speaker B: And usually people like the scene people or whatever are the accepting ones that are cool with seeing a band that's outside of their normal scope. You know what I mean? Because I know even as a 50 year old dude, there's a lot of the times when I'm going to see shit that I may not fully understand because it's being made by younger people. But I'm like, I appreciate the shit at it. [00:14:58] Speaker C: Not to sound too negative, I guess, but you can always tell who's in it for the music and for the love in the community. And you can always tell who's doing it just because they think it's going to make a good Instagram photo later. No offense towards Instagram. We love our content. [00:15:13] Speaker D: We do love content. [00:15:15] Speaker C: In fact, here's some content of nothing. [00:15:18] Speaker B: Perfect. [00:15:19] Speaker C: Thank you for your time. [00:15:21] Speaker B: So do we want to put on a tune now? [00:15:24] Speaker C: Yeah. So this first song is a song called somebody's problem. And this is, like, one of my favorite songs because of the fact that it came together organically in John's, like, the little man cave that we were practicing in before he got divorced. [00:15:39] Speaker D: Yeah, that was one of the things when I got divorced about a year ago, is we lost our rehearsal space. It was above a detached garage. The only problem is this time of year, even with space heaters going, it was still maybe 25 degrees in there. [00:15:53] Speaker C: Yeah. We would watch hockey games on the tv and felt like we were at the rink, like, hey, how's it going? I've said this before, and I think we've both talked about this before, so we never really put out any proper singles from the album because we were constantly putting out live bootlegs. We had just put out live 2023 a couple of months prior. So we said we aren't going to be putting out a single for this album, but if we were to put out a single, this would have been the first one. This is somebody's problem, and it's one. [00:16:21] Speaker D: Of my favorites and one of mine, too. It's a great one to play, and. [00:16:24] Speaker C: We hope you guys like this. [00:16:25] Speaker B: All right, cool. So let's listen to somebody's problem by rouge, and then we'll be right back. [00:17:29] Speaker A: The safety and the printed laugh. You go into the body, don't fall up because it's so damn crowded at my bottom. Well, you could have my baby like I know you wanna. You can say forever like I know y'all. You can take me down to get on my bottom. No, I don't give a shit. I know you're so much problem you can have my baby like I know you wanna say forever like I know you're gonna take me down until the end of a bottle. No, I don't give a shit. I know you're so much problem or well, I was thinking about the time I spent banging all around me apart. And I'm thinking about the average. What could ever happen if you came back again, holy, take my hand. And I know I keep playing for the terror. You could have my baby like I know you wanna. You can say forever like I know you're gonna take me down into the end of a bottle. No, I don't give a shit. I know you're somebody's problem. You can have my baby like I know you wanna say forever like I know y'all gonna take me down into the end of a bottle. No, I don't give a shit. I know you're somebody. Love me honey like I know you wanna meet me, baby like I know y'all gonna take me down until the end of a bottle. No, I don't give a shit. I know you saw my problem and I can't take my. [00:20:46] Speaker B: So that was somebody's problem rouge. And, you know, you were saying before we heard the song, like, how the song came together, is there, like, a story behind that? [00:20:55] Speaker C: I would say that it's definitely an interesting story, at least for us, because for a long time, I was so used to being in bands where I was the one just strictly writing the songs and doing all the presentation. I was the one quarterbacking, but that was not the first song. But it was kind of in that little group of songs where I realized, we can do this collaboratively, and it takes a little bit of pressure off of me. You want to tell a little bit more? [00:21:21] Speaker A: Yeah. [00:21:21] Speaker D: Well, what happened was we were up in our old rehearsal space, and we were trying to mess around with. We're an american band by Grand Funk Railroad, which we actually covered once. And then all of a sudden, he's banging on the drums and he starts doing their cover of the locomotion. So really quick, I get on the phone to look up the chords for the locomotion, and I started playing those chords, and all of a sudden, then he's getting into a different drum beat and he starts singing some words. And this was like, the second time that something like this had happened. And then we just gradually worked it out because the basic chord structure comes from the locomotion. Grand Funk's cover of it with a little bit of a breakdown lifted from. Come on, feel the noise. [00:22:08] Speaker C: Oasis's cover. Not to cut you off there, but I do think one of the interesting things about that song in particular is that unless you're strictly listening for those parts, you probably wouldn't even recognize that in the first place. [00:22:21] Speaker D: Then it came together that way, and then I came up with the single note riff that opens the song, and I just did the simplest thing possible. What are the root notes of the chords? So that's all it is. And it segued in nicely. And we played that at Caesar's Palace, I think. What, after rehearsing it two or three times? [00:22:40] Speaker C: Yeah. And that song is kind of interesting because before then, we were pretty much just playing straightforward punk songs, with the exception of shake that ass, which kind of leans a little bit more on the stoner metal side of what we're into. And the thing is, I don't really talk about much, but all due respect to all the punk bands and the metal bands and everything we've played with, but deep down, I'm a sucker for a good hook. And when I was writing the lyrics and trying to come up with a melody for that, I was thinking of hit wonder Jimmy Ray, who, unless you're really digging around, you probably don't know who the hell that. [00:23:16] Speaker B: I don't even know who that is. [00:23:17] Speaker C: But he's kind of one of my favorite one hit wonder artists. And we ended up recording that song. And then, because I know him on Facebook, I sent him a recording of the demo we did at the time. And he actually said, oh, I wish you guys were around in the. Used some guys like you as our songwriters. And that gave me some motivation to keep going forward with what we were doing. [00:23:36] Speaker B: Nice. [00:23:37] Speaker C: And again, it's unlike anything else on the album because of the fact that it's got some melody, it's got some hook. It's not just trying to be noise. [00:23:46] Speaker D: And it's also a true collaboration. I mean, the lyrics are his melody, the musical melodies is from me, which is really satisfying. [00:23:57] Speaker C: And again, it is a true collaboration. And especially considering we have that part where it does the Oi. And that's also, like an audience participation bit as well. See who gets into that? The people who have been to our shows before know about that song. They always get into it. And then after a few times, people are like, oh, okay. [00:24:17] Speaker D: Then you throw a curveball at them and say, what? [00:24:20] Speaker C: Hey. [00:24:22] Speaker D: It'S cool. Because then you can just keep it fresh every time. And that's one of the great things, is we're not sticklers for perfection. We do have some room to where, if I want to just throw in a little something, I can try it. And it's nothing. I'm not saying I'm a jazz guy. I am nowhere near close to being a jazz guitarist, but just to keep it fresh and spontaneous every time. And if it doesn't work, well, forget it and have that squirrel brain. I think it is, as Ted Lasso would say, just get it out of there and move on. [00:24:55] Speaker C: Yeah. And not for nothing, one of the bands that we both really connected on, that we both really like and has influenced a lot of our writing these days is the know, like that sort of sloppy mentality. After a while, it's like, okay, would Paul Westerberg and Tommy Stinson have done this? Yeah, okay. We're fine. [00:25:12] Speaker B: I mean, I base my entire live performance not necessarily on replacements, but I'm sloppy as fuck when I play live. And it's entertaining. You know what I mean? And that's why I'm like, right. [00:25:25] Speaker D: Actually going back, though, to what you were saying before, I do think that there's this expectation, and I certainly had it. The insecurity of, like, if you're not perfect. Right. Or if the music. [00:25:38] Speaker B: I don't have time to be perfect is my. [00:25:40] Speaker D: They're not perfectly proficient. People are going to look down on you. [00:25:44] Speaker B: I'm just putting on a good show, man. And I come from the early 90s when if you were really good at your instrument and doing tight melodies, people would be like, hey, go be like in pop radio, you want something that's real. Yeah, exactly. [00:25:58] Speaker C: And come to think of it, speaking of imperfections, one of our first ever shows, we played in front of an actual crowd that wasn't just an open mic. We're playing a song, and the drumstick goes flying out of my hand on a fill. And I realize what's happened, and I only have a split second to make that decision. So I just start smashing the symbol with my hand and trying to keep it going. And the time I'm thinking like, oh, shit, what did I just do? But then I hear people in the. [00:26:19] Speaker B: Back and they're like, I love it. [00:26:21] Speaker C: Okay. [00:26:22] Speaker B: Yeah. [00:26:23] Speaker D: And I was right there next to him. I saw him do it. And you just keep going. [00:26:27] Speaker B: Adapt and overcome. [00:26:29] Speaker D: And that was one of the actually best things that could have happened, odly enough, on that night. Because that accident and that quick adaptation makes it memorable. [00:26:37] Speaker B: Absolutely. [00:26:38] Speaker C: Let's also not forget the very early shows. And if you know, you know. But back in the day, we actually used to have this joke where this is going to be a not safe for work bet. So I apologize in advance, but I used to have this fucking massive dildo, and I'd throw it into the audience and I'd yell at people, get your dicks out for Rouge. And so we only ever did that for a couple of shows. But you can always tell who was at those early shows because afterwards they'll come up to us lately and go, I was expecting the dildo, but it never came. [00:27:06] Speaker A: What happened? [00:27:07] Speaker B: I was very disappointed in the lack of dildo. [00:27:10] Speaker C: And then at one point, we started printing out photos of Richard Nixon, and we're like, here, get your dicks out for Rouge. And for a while, we really leaned heavily into the Richard Nixon thing, which is funny because politically we don't really agree with anything that guy said, but it just seemed funny to just bring him up. [00:27:26] Speaker D: It's also because there was an opposition, obviously, to Nixon, especially in 72. They actually literally had buttons that said, lick dick in 72. [00:27:36] Speaker B: I've seen those on Reddit. [00:27:38] Speaker C: Nixon would probably look at us and think we're a bunch of fucking hippies. [00:27:41] Speaker D: But we'd be on the enemy's list. [00:27:45] Speaker B: So we should hear another song. What do you have in the chamber for us? [00:27:50] Speaker C: Okay, so this next song, for a long time, I didn't talk about this one at least, like, the reason behind it. But this song is another song off of our first album, which I'd like to actually point out is going to be coming out on cassette at some point, sooner rather than later. It's going to have the album on the a side, and it's going to have all the demos that we recorded on the b side. But when we recorded this song, when I wrote this song, john was still going through his divorce, and it wasn't official yet, but I could feel the vibes. So I just wrote a lot of lyrics about how he was probably feeling going through it. And I didn't tell him about until after we'd started playing that song a couple times. And he's like, oh, suddenly it all makes a lot more sense. But this song is called Foxtrot, India, tango, or effort. [00:28:37] Speaker B: All right, well, let's listen to effort, and then we'll be right back to wrap it up with Rouge. [00:28:43] Speaker C: Thank you for your time. [00:28:44] Speaker A: It goddamn, I fucking die you're gonna make my like you were telling me fucking you win in the cloud fuck it. I fucking do not. Fuck it. Fuck it. I fuck you with you're not around fuck it. I don't want to promise that I want to feel like I want anyone. That won't matter now I'm gonna in the ground fuck it, fuck it, fuck it I'll fuck you out of. [00:31:52] Speaker B: All right, so that was Foxtrot India tango from Rouge. So, Harvey, BD, Johnny, come lately. I want to thank you both so much for making the trek out to what is dubbed the dazzled Den. [00:32:05] Speaker C: Thank you for having us. [00:32:06] Speaker B: And before we go, like I do with all my guests, I just want to give you a chance to say what I call your gratitude. So, Harvey. [00:32:13] Speaker C: All right, well, first of all, before I can get too deep into anything, I'd like to thank my friend Wyatt, who produced the album with us. It's going to be coming out later this summer on our startup little indie label called punk over profit music, or pop music for short. I'd like to thank the guys in the sugar hold who have really been good friends of mine and are constantly trying to push us in the right direction to do shit. Shout out my homies in the three skins. The guys in leave it behind love the guys in Orama. And there's probably more I'm thinking of or that I'm not thinking of, rather. So if I missed your name, I'm sorry. I really fucked it up right there. [00:32:48] Speaker D: Here, I'll fill in some of the gaps. We'd like to also thank the guys in interference. We've actually had them playing with us on several occasions. [00:32:57] Speaker C: Shout out James, Bob and Braden and Alan. Yes. Shout out to you guys. [00:33:02] Speaker D: Wonderful group of guys. Same thing with leave it behind. Do love them. Also. Dark hippie. [00:33:10] Speaker C: Dark hippie. [00:33:10] Speaker D: Yeah. We love dark hippie. Dan, you're an awesome guy. I also would like to thank my new girlfriend, Leslie. I love you. You're absolutely amazing. She actually came out to our shows and wasn't. [00:33:27] Speaker C: It? Well, we can't all have that advantage in life, Mr. Man. [00:33:30] Speaker D: I'm fortunate and like to know just my kids, Tessa and Sebastian. I do love you guys. And thank you, Tessa, for coming and letting us play for you and your friends that one time up in that room. [00:33:46] Speaker C: I'd also like to give a quick shout out to the Hamilton Tiger Cats, Forge FC, the Albany Firewolves, the Tri City Valley Cats, Hartford Athletic, when they can finally win a couple games. Really just a lot of teams, sports teams, really help push us to do this thing. Funny enough, actually. [00:34:03] Speaker D: One last one, though, for my regular workplace, Columbia Green community college down in Hudson. For letting me teach history of rock music class. Because literally everything and why we're here today can actually stem back to that opportunity to teach that class. [00:34:20] Speaker C: Oh, yes. [00:34:21] Speaker B: Nice. All right. So, Harvey, BD, Johnny come lately. Collectively known as Rouge. I am Andy Scullen Sunstein. Five one eight. And I'll see you on the road. [00:34:32] Speaker C: Kick out the rouge, motherfuckers. [00:34:34] Speaker B: Sunsigned five one eight is produced and hosted by me, Andy Scullen. New episodes are available every week wherever you stream podcasts. If you'd like to help support the show, please like and subscribe wherever you are listening. Or you could buy me a [email protected]. Unsigned 508 if you would like to advertise on the show, send me an email at unsigned 508 [email protected] and to be a guest on the show, reach out to me through Instagram at unsigned five one eight. Take care of one another and I'll see you next week.