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Graffiti Park Radio! 🎨🎧 Where creativity knows no bounds.
Listen to Graffiti Park Radio were we’ll tap in with artists, our proud partners, and community stakeholders who believe in empowering the next generation of art visionaries and the valuable teaching moments that come from living, breathing art.
Wesley Knight 0:00
This is a KU NB studios original program. The content of this program does not reflect the views or opinions of 91.5 jazz and more the University of Nevada, Las Vegas, or the Board of Regents of the Nevada System of Higher Education.
Anika Jones 0:16
Let's get scratching, ladies and gentlemen, welcome to the vibrant world of graffiti Park radio, where creativity knows no bound, we'll tap in with artists, educators, our proud partners and community stakeholders who believe in empowering the next generation of visionaries beyond the hidden alleyways abandoned warehouses and local city transits, where artists are known to leave their mark, graffiti Park Foundation has redefined and re imagined the persona street Museum.
Dan Moloney 0:44
Hello, everybody. I am Dan Maloney. I joined with my co host, Mr. Dan bogats and Anika Jones, hello. Well, hello, and today we are joined on, joined by none other than Las Vegas native Tony Castillo, known as tone castle. He is a multi disciplinary artist specializing in large scale murals and live event painting. His work trusted by major organizations across multiple states, blends the precision of realism with bold, flat colors and patterns, creating pieces that blur the line between the real and the fantastical with meticulous approach to wall space, environment and color harmony. Tony designs each work to integrate seamlessly into its surroundings. His ultimate aim to spark a sense of wonder that lingers long after the first glance. Pow. Mr. Tony, hello. How are you doing? Dave Good. Ai wrote that
Dan Bulgatz 1:38
I was like, how I
Dan Moloney 1:43
was gonna be like now, how many prompts? But it's pretty nice. I mean, first and foremost, happy birthday, sir. Thank you. Yes. This is coming out, not on your birthday, but that's not today, so
Tony Castillo 1:56
don't worry about
Dan Moloney 1:59
it. Well, cool deal, man. Well, thank you for joining us today. It's a pleasure to sit down with you. Dan and I are super stoked. We've done a handful of projects. They're always fantastic. They always come out killer. You're on the sides of buildings, the sides of parking garages, you're up high, you're down low. So we're excited to learn some more down low, physically, not hopefully, men. So we're like, you're kind of an enigma, maybe purposefully so, so, yeah,
Tony Castillo 2:31
you think so? You know,
Dan Bulgatz 2:34
I think so you definitely have a persona. But I'm curious is like, how, how do you view yourself as an artist? I would feel like it's a good question to start out with.
Tony Castillo 2:43
Oh, I don't know. I guess I don't really. I think I have the imposter syndrome just as much as anyone else, really. No. I mean, I think it's one of those things where art has been in my life, and creating things is, you know, always been there. So it's kind of hard to separate the two. You know, it's growing up. I was always drawing and all that. In third grade, I was, you know, I I did a picture of a car, and the teacher submitted it to the, like, the regional school thing, and I won, and, like, it never really hit me. Even after I won, I got like, a $20 gift certificate. You know,
Dan Bulgatz 3:38
what was the gift certificate to? It's a blockbuster, and my
Tony Castillo 3:46
mom ended up giving that card away. And it like, I don't know, it just I, I feel like I was kind of raised an environment where art wasn't like a realistic future. You know, that was something that you did for fun. That's something you did past time, or whatever. But, you know, as you get older, it's like, if that's what you're meant to do, this, that's what you're gonna do. There's no way to get away from it. And it got to a point where I couldn't do anything else. You know, I have to do something creative. I just get so bored. I have, how do I say this uncontrollable ADHD, and I just have to be doing something and like art was just one of those things where I would draw, get bored a pencil, move to marker, get bored of that, spray paint, watercolors, anything, and I'd rotate. I do music. I did music for like, 10 years. I didn't even touch any visual art, except for making T shirts or we would make our own posters and stickers and stuff like that to promote. I just always have to create something. I always have to like, I'm fidgety. I do. Got to do something. So I don't know, I just, I even look back at like the giant wall in Reno I did, and it's just, it's almost like I feel like it wasn't me that did it. You know, it's hard to describe, it's like, it's just, it feels like it just is in me. I don't know if I could do any
Dan Bulgatz 5:18
other job. Yeah, right. So I think you're what you're speaking to resonates with a lot of artists out there. And so can I ask us, what was the very first medium you got yourself into? Like, what was the first one that really grasped that? Was it the drawing of like, a car in eighth grade, or was it before then? Think that was
Dan Moloney 5:37
third grade, third grade car, little dude? Yeah.
Tony Castillo 5:44
Well, you know, I, I grew up in a low income family. Drawing utensils are cheap, so that's what we did. We didn't TV. We have cable. We don't have video games. We drew. We played outside, but it's Las Vegas, where it's so hot. So I did a lot of drawing. I spent a lot of time by myself, just because of the environment I grew up in. And let's say, let's just say, I was, I grew up in a cult, yeah, and we were very isolated from other people, a lot of other influences. Like, we didn't watch Disney movies. We didn't listen to certain types of music. They had their own music. Just things are very like, very suppressive and controlling. And then once I broke free of that, I went the opposite direction. I was just like punk music, metal music, anything rebellion, right? I was raised like, anti government, anti authority, so that kind of lingered. Sure, it's just very different. When you're like, raised an environment that's not the normal, and then when you're thrown into it's like, I feel like I don't belong,
Dan Moloney 6:54
right? It's like, those guard rails are taken off, yeah? So then you can, it's like a prism. You can go in any direction, right? And then you're gonna ride, that is, until you get bored and go a different direction, yeah? Because you're exposed
Tony Castillo 7:05
to so much like,
Dan Moloney 7:08
Yeah, that's awesome, man, you mentioned music. What? What did you play? Was multiple bands. You said for 10 years, that's all you did.
Tony Castillo 7:17
So I was a stagehand here in town. That's one of the things I did. I played in bands. I played bass guitar. I even Gibson. We the project we did at Gibson was on the orchestra building. That's where I started. Was okay with violin, and that was, like, one of the few creative things my parents supported, because it was in school, yeah, okay, it's like it was, if it's in school, then it must be real. Gotcha, you know, sense of that, but, but violin wasn't cool, right? So then, when I by the time I hit, you know, high school, I was playing guitar, and I don't know, I just, I just had an outlet. I had to have some kind of outlet of some sort. And I'm not, I mean, I don't know how you guys perceive but I'm not very talkative guy. I'm not very loud. I hate being on camera. I'm working on it, but this is perfect. Yeah,
Dan Moloney 8:07
you're right at home, but I
Tony Castillo 8:08
am. I'm working through it because I know I need to get past it. Yeah, sure, it's, it's not, it's not something that I think is a good thing. I think it's something that people need to go over, and it's something I need to get over. And especially as an artist, as like a business owner, you have to put yourself out there. You have to, you know, own, own your stuff,
Dan Moloney 8:25
dude. I think you and I have talked about it like when we were doing that fantastic project last fall with the little Chinese dragon that we got to do several times. I won't name names, but anyways, when we were doing that, you and I was taking some videos, and I was like, Dude, we got to get better. I got to get better at this camera thing. You're like, me too, man. I hate and like, we were resonate, like, as a business owner, Dan knows, like, I hate the Repost to the story thing, like, it's like, I want that. I don't want to be that guy, you know. But then at the end of the day, like you're saying, it's like, whether you're uncomfortable for whatever reason, you're uncomfortable with it when you own business, if you're trying to be a, you know, self employed artist like those are just some things, some band aids you have to rip off, unfortunately. Now, nowadays, fortunately, unfortunately,
Tony Castillo 9:10
it's the year we're in.
Anika Jones 9:13
Well, it's funny, too. I grew up in that same kind of household. I, too was an orchestra. I played bass for a really long time, and that was a thing that when it came to art, that my family got behind, because it was something that you could do in school and something that you might eventually get paid for. I get that concept so now that you've done all these amazing things, you have all these different mediums that you've like really mastered and shown that how are you going to or want to project to your family or to your little one like this is what you can do in the same way and not feel like this is a hobby based career,
Tony Castillo 9:47
right? You know, I used okay. I used to have this feeling for a long time that I was kind of resentful, I guess, that I didn't have more supportive parents and all that. But, you know, you. Get into it. And I, you know, part of me was like, in your face, but then you become a dad, and you see, like, I do understand that part of them where they wanted me to have a safe option. And I totally get that. But there is a balance. And with my daughter, you know, we like I'll put on ballet videos so she can dance because she likes to. That's the pattern I'm starting to learn, is that she likes to ballet dance. I try to get her into drawing, but she's not so much into that. But, you know, I want to lean into what the things she likes. If next year she wants to draw, then that's what we're going to do like. But whatever it is, I don't ever want to get to a point where I'm telling her, you can't do this. You could. I'm especially in the world we live in now, you can make money on YouTube for the silliest thing, anything you can imagine. Oh yeah, I'm never gonna tell my kids you can't do anything. Yeah, you know. And I think I wish, I mean, I wish that was the mentality I was raised with, right? Because I wouldn't feel so like I was fighting upstream,
Dan Moloney 11:01
or have that chip on your shoulder, like you're saying, right? Yeah.
Dan Bulgatz 11:04
Can I ask is, are there any ways that kind of having that chip on your shoulder has made you a better artist or pushed you further to take it to that extreme? Oh, for sure, yeah,
Tony Castillo 11:15
absolutely. You know, I would say even a lot of the mediums I learned was out of spite, you know, like playing the violin, you know, it's whatever. But like my dad, when it comes like, you know, it's violin. It's not because band was taken. Like, by the time I got to Gibson, everything in the band was taken. So I had to take orchestra. Violin was, like, the only thing, I was open, and I was first chair, second violin. So it's like, I was, you know, not bad, but it still wasn't good enough, and it wasn't cool enough. So now I had to do something different kind of so I learned guitar just to be like, well, I can do it. You've always wanted to learn guitar, but you were so much of a never did, and I just did it. And it's like, that's such an awful way to live. And I'm not trying to say, but despite is a drive, yeah, of course, there's, it's just, I'm a passionate person, and I find ways to make it work in my favor, to get to where I want to go, right? Just something you have to kind of learn do or I did.
Dan Moloney 12:12
So yeah, I think that's like a recurring theme we see, not only on this podcast, but in all the artists that we work with is they have to find a way, whatever the motivation is, whether it's they had support or they didn't have support, whatever it is, they have to find a way to like, channel that creative process. And I would say one thing I want to note is, like most of the folks have more than one medium that we talk to, and I so like to your point, you mentioned a little bit about, like, do you find yourself, if you get bored with one, you kind of go to the other, and it helps you find come back. Like, talk a little bit about like, that creative
Tony Castillo 12:49
process. This is a perfect example. Okay, so the last few months, I have just been slammed. We were doing like, area 15, and I was doing this Airbnb. It's just like all these to the point where I can feel it in my bones where I'm starting to not, you know, you kind of getting burned out, right? Yeah, right, especially if it's on projects where you don't have all the creative control that you want to have, sure, and it's very physical. People don't realize that, like, murals are physical.
Dan Moloney 13:15
Dude, that one at El Dorado, you're like, going up 18 feet, right, coming back, carrying five gallons. Yeah,
Tony Castillo 13:20
it's a workout. Oh, dude, you can't go. I mean, some of these jobs, like, I'm skipping the gym for the next few days. Yeah? I'm sorry I lost the point. Yeah, yeah, the brand. So I will go and play guitar. I'll go and watch Pink Floyd videos and play bass along with it. Or just, you know, something different, you know,
Tony Castillo 13:48
I think it's just something that some people are born with, where they just,
Tony Castillo 13:56
it's like I have to keep moving, but I feel like I have to be moving in something that's progress. Or productive. And to me, there's nothing unproductive about art, because at the worst case is you're being practicing. You're learning better. So by the time that moment comes around, but someone comes up to you and say, Hey, can you paint this big building up like, Yes, I can, yeah, and I will be shaken the first week I'm doing it, but I'm going to do it regardless, because this is what I wanted to do, and this is what I've been practicing for. So let your time shine.
Dan Bulgatz 14:28
No, that's a I love the way that you put that, because a lot of people don't look at it that way, right, like the mundane of painting certain things that they don't want to paint, or coming up with logos, or you're a very special case, because in some of the instances, like, I think back to our project of Boys and Girls Club, where you had every single NBA logo that you had to paint within 36 hours or three, you know, it was just a ridiculous task. And then the way that you figured out, you're like, Okay, I think I got that. And then you averaged it out for amount of time spent per logo, and you still. Got it done in that amount of time. And so many people would look at that and think, like, Okay, well, this is a challenge or a parameter or something that's going to prevent me from putting out the best work. And instead, I think you look at those and you're like, okay, like, how is this an opportunity to strut not only the practice that's gone in behind it, but now the skills and how it looks as a finished product on the front end. And I think that's something that a lot of artists can, well, I hope resonate with, but to emulate and try and look up to is like a role model, because a lot of people don't orchestrate that way. And I think it's, it's worth noting that you're, you're a very special talent like that. Oh,
Tony Castillo 15:32
thank you. Yeah, yeah. I mean, I always try to, like, do the best job I can.
Tony Castillo 15:39
You know, it's putting my name on it, even if it's something like creative, creative control, I don't have any. It's like, I still want it to be good, you know? I don't want anyone talking bad about my stuff. Yeah, you know? I mean, I can talk bad about myself, and I can look back at all my stuff and see all the flaws and not like, any of it. But I don't want anyone to say, Oh, he was lazy, or he didn't show up, or he didn't paint what I wanted, or he left halfway, like all these things I hear all the time about artists in Vegas, and it doesn't bother me any because that's more work for me. But you know, I think artists need to realize if that's really what you want to do, and that is a business like everything else, and you have to have customer service, and you have to do what you say you're going to do and have a product that's worth buying your business at the end of the day. I mean, it's great that you get to do art and do what you like to do, have fun stuff, but at the end of the day, you have to sell a product to clients. So, you know, I don't know, just business advice for me, that's all. I'm just like, just be like, just be serious. If you want to be serious, be serious. Yeah,
Dan Moloney 16:43
so I think that's like a Go ahead. No, I'm just gonna
Anika Jones 16:47
say this is, like, literally saying that literally roses to that, because it's a part of the programming that we were trying to push out to younger artists, to aspiring artists, to really harness everything that you've said today, not just the business side of it, the customer service side of it, but being able to use this as an outlet for expression, turn this into something that you've been told isn't, you know, this is not going to be a career. Turn it exactly into that. Let this be the motivation for you. That's not anything that I experienced hearing, you know, growing up, even being in the arts, it's not anything that we heard. So that is so a part of what we're trying to teach younger people. You're already showing that you're more than capable of that with all the local spaces that you're doing that you're at, some of the my favorite places downtown. You know what I mean, these places that we frequent on a regular basis, like, I'm straight opposing in front of all, like, all of your artwork downtown. This is something that our our kids need to see, because it's it's just been too niche for too long in a city with so much talent, you know, right? So we appreciate you for that, for
Dan Moloney 17:46
sure, yeah. And I think you made an earlier point that it's like, you know, the separating like, at the at the end of the day, it is a business, and so you have to put your best foot forward. And so, like, art that you create for yourself, you know, like you said earlier, at the end, like that might not be what the client wants, but at least I'm practicing, at least I'm doing something else, and eventually I'll get to do the art that I want to do, right? And I know that. I guess through our different projects we've worked, there have been some you've designed. There's also been stuff that, like, You're a really good, like, team player in terms of, you're like, Okay, that's the kind of design they want to go out. I'll coordinate that and that sort of thing. I'm curious to ask you, of the projects you've worked with with us, do you have a favorite or one that stands out?
Tony Castillo 18:31
I mean, that night, Oh,
Anika Jones 18:34
dude, it's very cool. That's, that's very
Tony Castillo 18:36
cool. I feel. I mean, for one, it was, like, full creative control, I believe, other than, like, the pretty much it, yeah, and then the size of it, and then everything, like I could, they were more accommodating than other schools. And then, I mean, you know, and I just, I just, like the final image, and then, you know, I don't know, the wolf thing that I
Tony Castillo 18:55
did with Trent. Oh yeah, that's cool. One.
Tony Castillo 18:59
I don't know. I think really comes down to the whatever gives me the most freedom. And then, you know, no matter what the job is, I try to make it look cool. And as you guys probably know, like, I'll even send you things that I think look cool, and I'll be like, Is this too much? You know, it's an elementary school, you know,
Dan Bulgatz 19:19
but it's so cool. It's like, the way that you're able to add, say, like, that PG 13 or that rated R flare without being explicit in that and, like, taking your own flair and that it's so cool, like you brought up, you know, very briefly, El Dorado, in that way, where it's like, that's a high school that's unfortunately in a little bit of an economically challenged area of town, and they're really trying to rebuild their entire sports program because they have new zoning requirements in XYZ. And that's one that, like, it's such a simple design on that left side that rise in the east, which is a new brand done on the right side. It's the coolest version of a fire Hawk, I think that any of them will ever see. And so it's like, you take that opportunity, and it's like, then you they see the artist coming in, and it's like, That makes so much, yeah. Think so, okay, and so it's, it's just, it's cool how, like, each one of your art pieces has your own personal flair on it, and you can tell that it's a Tony Castillo because it's, it's, it's definitive. I don't know how to explain it, but it's definitive.
Tony Castillo 20:13
Well, that's, that's, we're gonna have to talk later, because I don't know if that's just me or if this is, like, an artist thing, but it's like, it's hard for me to see my own style. Okay, I've hear people say things like that, but I'm like, I don't know. I feel like everything looks so different to me, you know,
Dan Moloney 20:29
yeah. And it's also like, like, I was like, depending on what a client wants, you know? It's like, how am I putting that's a perfect example, the fire, like the fire, hawks, Phoenix, but say that. But, you know, that's perfect example of, like, you can kind of take that in your own direction, but other logos and things like that, it's like, how is that really, you know, and even at night, you're like, how Tony, can I make this night? But even at that, it's like, Dude, that's so I think that's, that's in the middle of our little portfolio brochures. We say is, go from this to this.
Dan Bulgatz 21:01
People just listening. It's a 40 foot tall knight riding on top of a back of a horse with one of the the Lancer sticks sticking out. Yeah. I mean, it's not afraid of the
Dan Moloney 21:13
scissor lift at all. That was like our first project together too. That was, I think that was the very first
Tony Castillo 21:19
one. First project we did together was
Dan Bulgatz 21:21
CC rano, oh, okay, if you remember, it was like an Apache style, Chichen Itza pyramid in the background with like an Apache warrior or something on the front with like a really creative face.
Tony Castillo 21:35
That was like an event where you had a bunch of artists come and we all got like a 10 foot wall or something like, yeah, yep, something like that. But the first, let me think the YMCA was the first, and that was when we did the hummingbird that comes
Dan Moloney 21:54
the AR, oh, okay, you've been around from the game, yeah, yeah,
Tony Castillo 22:00
but yeah, no. I mean, it's been great working together since it's like, I remember that I met a lot of artists that I followed on the internet at that event, yeah, in person. You know, that was cool,
Dan Bulgatz 22:13
because that was 2020, yeah, so Tony's talking about is our old c cap. So it was kind of in our beginning stages of graffiti park our first couple of years, when we would have schools reached out to us and they would say, hey, we have this amount of money, which is not a substantial amount of money, and we can pay for supplies. And so then we would essentially curate based on the principal's desire for themes and the paint budget that we had and allocate for certain murals. And so that was our very first attempts at creating, cultivating this community that is graffiti Park. And so we get some flack to for some of those projects and and the way that some you know, felt that everybody should be paid for all of them. And we wish that that were always the case and that we were able to but that was the best that we could do in those moments. And so ultimately, right? Those were kind of how we gained our traction, steps of our footing in this, in this arena, to go on and create these commissioned murals now, where we're at now, and so I think that's a really important part of our story. It's awesome that you've been there literally since the very beginning of it, and seen, yeah, I mean, at every stop he painted the hummingbird mural. That was a hummingbird from Steve from Mozart. That was one of the ones that came alive in reality. And, yeah, yeah, still again, works in progress, I guess. But yeah,
Tony Castillo 23:34
I mean, it's just like, it was a cool opportunity to work with AR, something I've never done. No, I met a lot of artists, and it's like, you know, at the time, there was a lot of artists working with you guys that were, like, brand new. This is their first wall, yeah, this is their first spray paint. Or, well, you know, it, this wasn't like, you know, you guys are hiring a bunch of artists and then saying, well, we're not gonna pay it was, you know, have you want to try, and you've got artists next to you, and we've got supplies. And, you know, at the time, it was like something brand new, and it was helping the community. And, you know, I remember we went to eat at some point, and it's like we were just talking about how this, you know, you kind of foretold how graffiti Park was going to be and how it affects community. And it does in such a positive way. It's like you could see it coming. Because, like, we talked about this before I grew up here, there was no art scene, really, no, you know, there was no art district. The, you know what it is now is just what I dreamed it would have been when I was younger, for the next generation, or, you know, even for someone to be like, Hey, I have this wall at a school. It's going to be up for a year or whatever, if anyone wants to come spray paint something like, Dude, I wish I had that opportunity, you know. And like, you guys might not know it now, but there might have been one artist that was like, Okay, I'll go do that. And you might have just changed their life, because now that's something they see as a viable future. And 100% you know, or even now at the schools you're doing now, it's like, you guys are making careers for other
Dan Moloney 25:05
artists. Yeah, it's always fun when there's, like, kids of all ages, kind of just walking around, and they're like, Oh, what's that? What's gonna go there? You know, you're just taping a wall, and they're like, What are you doing? You know, like, I'm painting a mural. They're like, what's that? And you're like, talking to them, so they have no idea what's what's happening. So even in those little moments, you're kind of like, that's cool that like, that's cool. That kid's gonna come back on Monday and see a giant panda, yeah, on the wall.
Tony Castillo 25:27
It's like, that's the thing. It's just good art makes like someone walking to room and go, whoa. Like, sure, that's just, there's no other feeling than than watching someone walk like a bunch of kids walk up to into a classroom that I did this, like Fox and some skies, I don't know, some other stuff, and these kids walk we got a video of it. I never shared it because I don't want to, like, approach or, yeah, privacy stuff. But it was, like, an emotional moment, because there's like, 100 kids, and some of them are screaming, and it's just like, I'm like, oh, like, I know they're kids, besides some of them, it's,
Dan Moloney 26:01
that's that spark. That's what they needed, right there, yeah, this
Tony Castillo 26:04
gray hallway, and now it's like, colorful, and got animals, and it's just like, they can't take their eyes off of it. It's just, you know, it's a feeling well,
Dan Bulgatz 26:12
and not only that, but if I'm, if I'm not mistaken, that was the one where, like, the principal had, like, the whole school come out, and it was like an unveiling moment, yeah, I think that's such a cool moment, because some of those kids, like, they see themselves in you you know what I mean? Like, they're the ones drawing on the desk, being told that art isn't a career, being told, like, all these things. And then they look over and they see a handsome, tatted up, you know, like, guy driving a challenge or doing all this stuff, you know, like you're an inspiration to those kids. And to them, they're like, Oh, this is a feasible opportunity for me to go out and be an artist full time, like they have no idea what you're doing out on the other side of things, but that's, like, a really cool moment for them too, because you're an artist that just got showed the entire school, you know, where you're not one of the people selling cookie dough or some of these other, you know, speakers, where you really resonate with the kids that way. You know,
Tony Castillo 26:58
yeah, and I'm, I'm glad to hear that, honestly, because it's like, like I said, I just some kids need that reinforcement their life to be like, this is a viable future for you. You know, sure, your parents may not be supportive at home, or might not have much of a home life, but there's a future. You know, there's there's a way out and art you you're building it yourself. There's no excuses, no shortcuts. You have to learn yourself. You can take all the time you want, and it shows in your work. You can't cheat. I mean, right? You can try to cheat, but there's, you know, you can tell Yeah. And no great artists and no one, I think, took a shortcut. Yeah, they have to live out this life, and that's just what it is, lifestyle, you know exactly.
Dan Moloney 27:44
So I we are, we are coming close to our end here on on air. But if you're liking this episode and you're interested in continuing to listen, we have the full episode on our YouTube, graffiti Park Las Vegas, if you are so inclined, if you're interested in finding Tony's work or checking out what he's got going on, where can they find you?
Tony Castillo 28:06
So Instagram is just tone castle. One word My website is tone dash castle.com because there's a band named tone castle that broke up like 10 years ago and will not give me the website, right? Oh,
Dan Moloney 28:20
so there's a dash listening. You heard it here first. Tone castle, he said, Give me $10,000 I was like, That's anyway people be doing that, actually, yeah,
Tony Castillo 28:34
and that's it, yeah.
Dan Moloney 28:36
Tone Castle, all one word on Instagram. Tone dash castle.com, that's where you can find Mr. Tony's work and reach out, inquire some more. You can find us at graffiti Park, underscore LV on Instagram, and if, like I said, if you're interested in hearing the graffiti park after hours, you can tune in wherever you find your podcasts and on YouTube. So thank you, co hosts and Tony, but we're going to keep on keeping on you.
Transcribed by https://otter.ai