O 6 STATIC N. 139 On Memories Are Now, Jesca Hoop navigates the spaces between the notes; Foxygen is back with a grandiose love letter to America; no-wave sax legend James Chance returns with his first U.S.- released album in decades; the ’90s indie-rock legends in Chavez return with the amazing Cockfighters; with This Is Steve, Delicate Steve proves this is where he belongs; Sinkane’s Ahmed Gallab is making universal music; MAGNET Feedback with Mark Eitzel COVER STORY p.40 20 ON THE RECORD Steve Jones By the time you’re done reading this month’s 24 MAGNIFIED Homeshake, Aquilo, Dead Man cover story, Ty Segall has Winter, Mind Over Mirrors probably made another solo album or one with the 30 MAGNET CLASSICS The making of the many bands in which he New Pornographers’ plays. Segall’s new, second Mass Romantic self-titled LP shows the 51 REVIEWS multi-instrumentalist is at xx, Ryan Adams, Bash & the top of his very prolifc Pop, Japandroids, Joan Of Arc, Tobin Sprout, Austra, game. MAGNET asked Brigitte DeMeyer And Will actor, comedian, musician Kimbrough, Dig, Brian Eno, Godfathers, Human and fellow studio rat Fred League, Andrew Joslyn, Eric Armisen to interview Matthews, Chuck Prophet, Sadies, Matthew Shipp Segall. Trio, Strand Of Oaks, Surfer Blood, Thievery Corporation, Uniform and more

64 THE BACK PAGE Don’t Stop Now

ON THE COVER Ty Segall photographed December 28 in Los Angeles for MAGNET by James Elliot Bailey MAGNET 3 ON THE ROAD AGAIN By the time you’re done reading this interview, TY SEGALL has probably made another solo album or one with the many interview by bands in which he plays. Segall’s new, second self-titled LP FRED ARMISEN shows the multi-instrumentalist is at the top of his very prolific photography by game. MAGNET asked actor, comedian, musician and fellow JAMES ELLIOT BAILEY studio rat Fred Armisen to go under the hood with Segall.

MAGNET 41 I was asked by MAGNET to interview Ty Segall. I said yes right away, as I’ve always loved his records (and him!). He’s built up such a solid discography. I’m really impressed by that. I felt like I knew him, just from bumping into him at different events. I saw him most recently at a video shoot for a new song. I’m always in a good mood after a conversation with Ty. He’s funny and always seems to be wanting to make more things. More art and music. A few days later, we did this interview. —Fred Armisen

Fred Armisen: What phone situation are you to do that. on? On a speaker phone? Are you at home? MAGNET: You guys are already being recorded. Ty Segall: I have you plugged into my stereo Armisen: Oh! Who is this other voice? really loud but no one is around, just so I can MAGNET: It’s Megan from MAGNET. hear you better. Armisen: Oh, how are you? Armisen: Awwww. That’s so cool. MAGNET: I’m good. How are you? Segall: But you’re not on speaker phone. Just Armisen: Good. We both really like MAG- so you can hear me better. NET. I’m representing both of us with this Armisen: Yeah, I hear you great. I can hear you one compliment. really clear; I’m glad I’m not in a car, and I’m Segall: I agree with that compliment. glad I’m not wearing a little headset. I’m on a Armisen: Well, frst of all, hello, Ty, it’s good phone phone, and I’m defnitely glad about it. to talk to you. We’ve known each other a little Segall: You’re defnitely phone phone-ing. while. So it’s not like we’re complete strangers Armisen: I’m phone phone-ing. Wait, should to each other, and in fact, we saw each other we be recording this? Is this already recording? the other day because I did a little something Segall: I don’t know. I don’t really know how in your video that they’re shooting in L.A.

42 MAGNET MAGNET 43 Segall: Yes, you did very well, by the way. That giving things away instead of breaking them. all or is it just you? Instead of was amazing. Armisen: That seems fne! Because someone Segall: Not playing live. Honestly, the brain Armisen: Oh, thanks. could always use it; that I really like. To some- tends to turn of, and it’s more like an ethereal breaking a guitar, Segall: The close-up shots—I don’t know if one, it has value. kind of situation. Especially with the loud for instance, just you got to see those—were very good. Segall: Yeah, instead of breaking a guitar, for stuf. It’s more feeling the physicality of the give it to someone Armisen: Oh, good. And what was the concept instance, just give it to someone and pass it on. music. Obviously, the brain is on and there’s of the whole video? Armisen: Because I would have loved it when intention and a thought process going on. But and pass it on. Segall: The song is just one big pun. It’s called I was a teenager like, “Oh wow, I got this guitar recording and writing, there’s lots of refer- I’ve done that a “Break A Guitar,” so I thought I’d go extremely because they didn’t need it anymore.” ences and recording moves that I’ve either literal and just explode and destroy a bunch of Segall: Yeah. I’ve done that a couple times at learned from listening to records or, like, “Oh, couple times at guitars. To tie it all together, though, it’s sup- shows. Just like, “I don’t feel good about this I love this mix that this person did of this song. shows. Just like, posed to take place in my brain. So it’s a little guitar, maybe you would like it.” And it seemed I’m gonna try that.” “I don’t feel good bit of a Lynchian zoom into my ear, through like the kid liked it, so … Armisen: Sometimes when I’m—and by the the ear canal into the brain, and that’s where Armisen: Well, I’m very happy to be talking to way, I’m not trying to make this about me, just about this guitar, you are, along with others. And that’s where you, and I love your new record. as an example—there are times where we’re maybe you would the destroying takes place. Segall: Thank you. writing a sketch or performing a sketch, and I’ll Armisen: You obviously play a lot, you tour a Armisen: And last time I talked to you, one think, like, “Well, what would Molly Shannon like it.” And it lot and everything—what is the state of people of the things we discussed was your body of do? She would do it like this.” I’ll just do an im- seemed like the smashing instruments? Like is that happening work. It seems to me like you’re in a very solid pression of a comedian I like. And I suppose it’s kid liked it, so … a lot or not at all? Do you see it once in a while? place in the music world, like I have the sense kind of like just picking from them, but it helps Is it real? What is your perception of people that you’ve accomplished a lot. There’s a real me get to someplace quicker. But there might TY SEGALL smashing drums and guitars? library of work. When was it that you felt you be a diferent goal for music, I’m guessing. Segall: I don’t think it’s that real anymore. I had accomplished that—where you could look Segall: I totally understand that. I think for think it was a lot more prevalent in the ’90s at your discography and think, “Oh, I really me it’s like recording or writing where you can when there was a lot more money in the music have a full body of work”? take an infuence. I think it’s totally fne to take industry to replace your gear. I’ve never done Segall: You know, I don’t know. I don’t really a rif from a song and invert it and create a dif- it with any good piece of equipment that I look at myself like that. I like to just constantly ferent vocal melody. It legitimately does turn actually like. I’ve seen it happen maybe twice be thinking about what I’m working on. I don’t it into a diferent song. It’s taking a cue or an in seriousness. I don’t think it’s a very serious look at the past records I’ve done. I think that infuence, even just to get moving with an idea. thing happening nowadays. would kind of drive me insane a little bit. I’m I defnitely do that stuf, for sure. Armisen: I don’t think so, either. I don’t think more about continuously trying to work on Armisen: How much do you tour? I think I I’ve really seen it. more stuf. But that’s cool! I’m a huge fan of don’t know how much you tour. I’m only imag- Segall: I think I’ve only really seen an acciden- bands that are just constantly doing diferent ining that you do it a lot, but maybe you don’t? tal destroying of gear. Or like a person loses records all the time, so I would like to do that. Segall: I used to tour a very large amount. their shit and yells at the crowd and slams I don’t know what that really means, but I just Now, I’m probably one of the more laid-back their thing down. Whatever the thing is that look at it like, “Is this thing gonna be a difer- touring people in my age group or whatever. It they’re playing. ent kind of record than before?” feels like that at least. I do maybe three tours Armisen: Right. It never feels right to me to Armisen: When you’re singing or playing, a year now. I don’t think that’s too crazy any- smash something, because I always feel that especially when you’re recording, do you ever more. I used to be gone like six months out of something could be useful. Like, “Oh, you never picture somebody else in your mind? Do you the year. But now it’s cool. We kind of make it know, you could use this guitar or whatever.” play the part of somebody else—do you think, count. Not that it didn’t count before. But for Segall: I think that’s a very normal and healthy like, “This is what so and so would do if they each record, we’ll do a cycle. way to be. I feel the same way. I’m more about were playing this part”? Does that happen at Armisen: When you tour, what kind of a ve- hicle are you in? Segall: It’s funny, in the U.S. we get a van that my bandmate Charles and I own together, and it’s a great vehicle. And in Europe, we actually just started touring in a bus, which is kind of FRED crazy. I’m a big fan because you can actually do things. You can travel through the night. ARMISEN It’s strange because the bus is cheaper. You Like most of MAGNET’s readers, know, we have so much gear, and our touring Fred Armisen is a music geek. But manager and our booking agent and our sound unlike most of you, he’s also an man come with us in Europe. In the U.S., it’s acclaimed actor, comedian and just us. In Europe, we have a few more people, musician, known for his work on TV so it would be more expensive to get two vans shows such as Portlandia, Saturday than it would be to get a tour bus. Night Live and Documentary Now!, That’s a nice place to be, for sure. as well as movies like The Smurfs Armisen: and The Promotion. He’s currently Have you ever traveled to a city and been talk- the musical director and drummer ing to someone and they go, “You’ve met me of the 8G Band on Late Night With already, why are you reintroducing yourself?” Seth Meyers. He was also on the Or have you forgotten someone’s name and

cover of issue #109 of MAGNET. you’re going, “Do I know this person?” And GENE SMIRNOV BY FRED ARMISEN PHOTO

44 MAGNET MAGNET 45 they’re, like, “Yeah, you stayed with us.” Are do anyway. I don’t think I would ever do that to to play? Meaning like you arrive at it and you’re like, “I pick up a violin, people just laugh, because I can- I guess you slap a bass, but you kind of do that you at that point in your career yet, or is it anyone else. If they ever forgot me, I wouldn’t Segall: Well, like you, I’m a drummer. I started do not know how to work this thing.” not control that instrument. in a diferent way. more controlled? give them a hard time about it. I’d be, like, “I on the drums. Did you start on the drums? Segall: Yeah, most instruments, I’d say! Segall: It’s really insane to watch someone Segall: I want slap guitar. Segall: No, I’ve defnitely forgotten people understand, it’s OK,” I mean we’re meeting each Armisen: I started on the drums. Armisen: Noooooooo. who knows how to play, to watch them go Armisen: I want there to be on the guitar a and totally made an ass out of myself many, other again anyway. I don’t think it’s ever fruitful Segall: That’s your main thing, right? Segall: Yeah! I can’t play any horns. Piano from being fat to on key, bending with the sensor that your hand can kind of land on that many times. It’s always a really shitty feeling. to give someone a hard time about something. Armisen: That’s my main thing. How do is difcult for me. Harmonica. Any strings. slightest movements. gets a sound. Armisen: You almost want to yell at yourself Segall: Defnitely not. you feel about other drummers playing your Reeds and brass instruments—there’s no Armisen: And bowing, when they use a bow, Segall: Like you can manipulate the sound? in your brain, like, “Yeah, of course that’s who Armisen: Let’s do a quick magazine break. music, meaning you have a drummer in your fucking way. I unfortunately would have to that’s another whole crazy thing. Armisen: Almost a little bongo head, on the that is!” Hey, you’re reading MAGNET. And I’m here band? What does that feel like? say that if it’s not a guitar, bass or drums, Segall: Yeah, it’s crazy. The non-fretted in- body of the guitar. Segall: But you’ve gotta give yourself credit, with Ty Segall, and we’re having a conversa- Segall: It’s great. Charles—you see him play if I’m just pretty helpless. struments are totally insane where you have to Segall: Then you can press the drum head though, that some of those people are in- tion. Stay tuned for the rest of the magazine! you come see us—he’s a psychopath. He’s like Armisen: Yeah, violins are also like—when just blindly put your fnger down and get the down and it changes the pitch or something? sane—the other side of it where some people Plenty of pages coming up; we’ve got reviews. Mitch Mitchell meets Keith Moon or some- someone hands you a violin, you make the slight- right note. Armisen: Yes, yes, yes. Picture like a mesh that are psychopaths who will guilt trip you for not And I hope you’re enjoying it! thing. Yeah, it’s a joy. There’s no ego at all. est little movement—it’s so sensitive! There’s no Armisen: It’s weird that they haven’t sort of you would have on an electronic pad—that remembering meeting them for 30 seconds. Segall: [Laughs] Armisen: That’s cool. Is there an instrument frets and it’s so tiny, like, “How do you ever fnd a made an easy version of it. I understand that kind of thing. Armisen: Because that’s also a rude thing to Armisen: So what’s your favorite instrument that you defnitely do not have an afnity for? note on that thing? I have no idea!” Every time I they have the tradition of it. But you don’t have Segall: Yeah, it’s kind of got like a trigger, to have frets, you can have markers, but they and it can change pitch. Have you seen those really have stood with, “We’re never gonna have Chaos pads from the early 2000s? markers for these things, we’re never gonna do Armisen: No. I like to just it. If you can’t play this instrument, too bad.” Segall: Sort of like that, you just put your Segall: I mean, I do kind of appreciate it. They fnger on it and move it around and it makes constantly be do have electric violins now. That’s pretty weird sounds. thinking about interesting. I’m sure you can make some weird Armisen: Awwww. shit with those. Segall: [Laughs] You just put it on the guitar. what I’m working Armisen: I saw one of those electric stand-up Armisen: I have that reaction of “Awwww” for on. I don’t look at basses, you know those ones that don’t have instruments of the ’80s because I really feel the past records the full body, they just have that sort of neck. like they were trying their best. They’re just And I secretly liked it. And I didn’t want to trying to, like, get to the future. They’re trying I’ve done. I think admit to it too much. If you lived in a city, and to make things really square and rectangular that would kind of you’ve gotta play all these shows, that’s prob- and simple. It was such a good try. ably pretty nice to not have to lug the whole Segall: Defnitely a good try. Do you have any drive me insane thing around. electronic drums at home? a little bit. I’m Segall: Yeah. And also you can plug it in. It Armisen: I do. I have one pad. And then I also a huge fan of doesn’t keep that hollow-body interface. bought a Simmons kit—those are those ’80s Armisen: I privately support them. I don’t hexagonal electronic pads. And I got it on eBay. bands that are just make a big thing of it. When you look at them in a photo, they look so constantly doing Segall: You should defnitely purchase one of light and easy and sensitive. But they’re none those and see what it’s all about. I’m interested of those things. Because they’re so old, they’re different records to see what you think after playing one. kind of heavy and not compact. They’re kind of all the time. Armisen: Or I should do a commercial for it, big. And they’re not that sensitive. TY SEGALL but in general. Like, not for a particular brand, Segall: [Laughs] just, like, “Hi, this is Fred Armisen for electric Armisen: It’s like that weird plastic rubber. stand-up basses. You don’t have to lug around And you’ve really got to kind of hit hard to get a big bass anymore.” a response. Maybe I’m doing it wrong. It’s not Segall: Yeah, a PSA. I’m all about the PSA. sensitive. And there’s enough of a delay where Armisen: Yeah, same here. You know what’s a it doesn’t feel like you’re really playing in time crazy instrument is when people play the pia- with the music. no but like super well and with their left hand, Segall: So does it have that kinda Def Leppard they play chords for bass notes. Like they sort drum sound? of go bum bum bum with these two fngers and Armisen: Yeah, that’s a good way to think of it. they have a chord on both hands. It’s very limited. There’s not much you can do Segall: Yeah, the whole splitting your arms. with it as far as longer or shorter sounds. It sort of makes sense, though—technically, Segall: Can you lay on the snare, though? Can a piano is a percussion instrument. Techni- you add reverb? cally. I mean, I’m sure people say that about Armisen: I think so. I think I may not be good drums. The disconnection of the arms is really at getting a diferent sound. I keep playing strange. You’re not doing that when you’re with all the knobs, and I’m just not hearing playing a guitar; you’re not slapping a guitar…. much of a diference. Maybe I’m just sort of or maybe you are. I don’t know. That should doing it wrong. It’s funny that you mention probably happen more. Def Leppard, because it is that sound. I have Armisen: It’s so rare that there’s no one who’s it set up in my house, and it looks great. It just known for it, slapping a guitar. looks so cool. Segall: I think I need to slap a guitar. Segall: You just need a giant PA to play Armisen: Yeah, I guess it just doesn’t happen. through now.

46 MAGNET MAGNET 47 Armisen: I’ve got a little keyboard amp for it. an easy relationship. can’t have a couple beers while you’re working. I keep it in my dining room because I’m trying Segall: Are you from Chicago? Armisen: No. to make my house a little confusing. Instru- Armisen: I spent a lot of time there. I spent, Segall: That’s another weird thing. We just ments everywhere, everything everywhere so like, 10 years there in the ’90s. work at bars every night. it’s not all so separate. Segall: Where are you from, originally? Armisen: Ours is the opposite. If you have any Segall: Instead of a couch, you just put a drum Armisen: New York. Long Island. Then I alcohol, it’s the talk of the town. It’s like, “I just set there so you have to sit behind the kit to moved to Chicago for a while, and then I did a scene with so and so, and I think they’re watch TV or something. moved to L.A. How about you—you’re from drinking.” You need all the attention and focus Armisen: That’s exactly what I mean. Like, California, right? so you can memorize your lines and stuf. “Oh, it’s not so easy being here.” Segall: Yeah, I’m from Orange County. And Segall: This is one thing I want to know. Mem- Segall: I just got an electronic sound kit, too, then I moved to San Francisco and then moved orizing lines. How often do you have tons of and I think it might be the exact same thing to L.A. Basically grew up in L.A. In the Orange preparation to memorize your lines, and how you’re talking about, except mine has like a County suburbs. frequently do you just get your lines a couple cage-looking device holding up all the drums, Armisen: I love L.A. so much. hours before you shoot your scene? so it’s like really way too big for a compact home Segall: Yeah, it’s great. I realized I’m a total Armisen: Both happen. It’s all kinds of situ- situation. It’s kind of insane. I got it for free. desert man. As soon as I get anywhere that’s ations. There have been times when I’ve had Armisen: Oh, that’s good. seasonal, I mean I love it, but I really love the tons of time to prepare, and there have been Segall: I’m very happy with that deal. But try- desert, I think. times where right before the scene they go, ing to incorporate it into recording has been Armisen: Oh, you love the desert? “Hey, the writers just came up with this other very problematic. Segall: Yeah! The L.A.-style weather. Mediter- scene. Memorize this.” Armisen: Yeah, I can imagine. What did you ranean style, isn’t that what it is? Segall: I guess it’s kind of cool to keep you on try to do? Armisen: I guess. I don’t know what to call it. I your toes. For me, it’s like. “Oh, this part of the Segall: My new life goal was to have a song just love it there. I like driving around there, I song is just a jam.” But the actual memorizing with this drum kit on it. like the lights. It’s just always invigorating, all of the lines very quickly, I feel like I would have Armisen: Why was it difcult? the time. difculty with. Segall: It’s weird, it’s not quite like a Run- Segall: And the key, I think, to living in L.A., is if Armisen: Well, you’d surprise yourself be- DMC or Beastie Boys hip-hop drum sound, you have to work a nine-to-fve, or do any com- cause it is kind of like a guitar line, where if and it’s not quite Def Leppard. It’s a little in mute to work at all, it’s pretty difcult. How you just learn it, it’s like, “That is insane. How between. It’s a little weird. often, for shoots and stuf, do you have to be am I supposed to remember that?” But with Armisen: Maybe if you didn’t do it directly. somewhere for regular hours? Or is it more like shooting stuf, you have to do it, like, 10 times; You just recorded a track, one track out of an you meet somewhere and then you shoot later? you have to do the close-up and you have to amp, into a mic, record it. Don’t even incorpo- Armisen: No, it’s really regimented. Oh my do the other angle and this other angle. So rate it into a song yet, only the drum track. Play god, yeah. It’s always really early, like seven or you’re doing all these diferent takes, and this three minutes of whatever you want. Take that six o’clock in the morning. It’s no joke. It’s just is, like, the 10th time I’m doing it, and all of a recording and then use that as a sort of launch- because of economics. It’s unions who can’t sudden you’re just saying it. So the frst time ing pad for the rest of the song. Use the record- work overtime, otherwise the budget goes is weird, like, “Oh, Jesus, I can’t believe I just ing as the instrument, that’s it. over, and it’s light, you know. You have to get got through that. Did I say everything right?” I paint a lot of dogs. Segall: Yeah, yeah! the frst light and shoot all day. It’s intense. It’s “Well, you got one word wrong.” Then, it’s And hot dogs. And Armisen: I think that you’ll drive yourself pretty crazy. done so many times that you just have it. I have a character crazy otherwise. Segall: Yeah, I don’t know if I could adhere to Segall: Yeah. Segall: It’s either own it 100 percent, how that schedule. Armisen: Also, remember that your brain called “Ass Man.” And weird it sounds, or record it through an amp to Armisen: It’s a really weird thing. Like, you is also working. Remember we were talking he’s basically just me; make it less strange sounding. have your dreams—I wish to be in TV and about electronic drums. Your brain would just he’s a perverse man. Armisen: The drum cages, they’re just a movies—OK, you got it. And then when it go there anyway. Talking about cages and pads terrible invention. I think that they thought happens, you’re always grateful, always ap- and stuf, and suddenly it’s like, “Oh, that sen- TY SEGALL it’d be easier, and I think they made things preciative. But the one little thing in fne print tence just makes sense.” more difcult. is, ‘Well, here’s the deal: fve a.m., you’ve gotta Segall: [Laughs] Segall: Oh, yeah. I saw a drummer once with wake up, every day.” I’m not complaining. It’s Armisen: What’s next for you? What does a cage, and the cage was so high and the cym- just, like, you can’t skimp on that. No matter your immediate future look like? Your next bals were hanging down, not even on cymbal how powerful you think you are, you cannot two months? the studio. It’s almost like it doesn’t stimulate my brain Segall: They’re super sketchy and really stands, they were just hanging from the cage. say to them, “Well, I’m coming in at 10.” The Segall: Two months is just playing some Armisen: That sounds very great. anymore. I walk away from it thinking, “I feel like strange. I paint a lot of dogs. And hot dogs. And And so he would have to lift his arm all the deal is, you have to be there. shows. I’m always kind of writing stuf, you Segall: It’s fun. I think you’ve gotta do other I just meditated for three hours.” It’s amazing. I have a character called “Ass Man.” And he’s way over his head to hit the cymbal. By the Segall: Yeah, it’s wild. That’s rough. [Laughs] know? I’m working on a theme song for a show kinds of work in your feld in order to make Armisen: Do you have completed paintings, basically just me; he’s a perverse man. way, that reminds me of your drum-technique Armisen: It’s rough, but then all of a sudden it’s on Comedy Central, which is cool. the stuf you usually do extra fun. You’ve gotta paintings that are done? Armisen: Serious wow, I would love to see video. I’m a big fan. six p.m. and you’re done with your day, and it’s Armisen: That’s exciting and new. take a little break every once in a while, too. Segall: Yeah! I sit down, and I don’t stop until these. I’m glad we did this. I hope MAGNET was Armisen: Oh, thanks! It’s for drummers; it’s a actually not that bad. You get to do cool stuf. Segall: Yeah, it’s the frst time I’ve gotten to Armisen: I couldn’t agree more, absolutely. the painting’s done. happy with this. We’ll do the closing piece for joke for us. That’s very nice of you. I appreciate You were saying you have the opposite thing. do that. I’ve done other, smaller original songs Especially something you’re not familiar Armisen: Can I see them sometime? this. Um, hey, you’ve been reading MAGNET, you saying that. We both are fortunate enough Segall: Yeah, mine’s the opposite thing, which for shows but never a theme song. That’s one with. Just to get that part of your brain going, Segall: Yeah, I can email you or text you. my interview with Ty Segall, and we had a re- to get to do work with Drag City Records. I guess some people would think is just as of my main goals is to do stuf for shows. I’m you know? Armisen: I want to see them in person. ally good conversation; hope you enjoyed it. If Segall: Yes, how did you meet them? weird. My work day is like when I’m playing really excited for that. I get to record some Segall: Yeah, I’ve been painting a lot, which Segall: Next time you’re in town, you should you want to leaf back through the pages, it’s all Armisen: Just when I was in Chicago. I just a show—get there at fve and you’re pretty bands in the next couple months at my house. I’ve never tried before. stop by. I think I’ve got maybe like 15 or 18 now. still there, in print. If you want to jump ahead, know Dan and Rian, and they were just much working until two in the morning. When I’ve been building this studio at my house for Armisen: Wow, I’ve never tried that. Armisen: I, for real, would really, really love to you’ve got some great ads and some reviews around and were just such a great label. It was you’re flming a show or a movie, I’m sure you a couple years, so I get to be the other guy in Segall: It’s like a diferent kind of brain exercise. see them. That sounds great. coming your way. We appreciate you reading.

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