Dallas Taylor of “Twenty Thousand Hertz”

good sounds. Right now, you're listening to twenty Hurts The Stories behind the World's most recognizable and interesting Sounds, hosted by Dallas Taylor. This is the story behind the emergency alert system. So that wasn't a real emergency, but that distinctive dissonant tone and got your attention, didn't it? And for good reason, that sound has accompanied weather alerts and other important warnings here in the US. So, Dallas, welcome to the show. I want to just say how you

came about being on the show? Is such a podcasting way of coming about being on the show. Um, I'm want to go over this real quick. Are you aware exactly of how how all that has happened for me to get in touch with you? Not at all? So that I'm looking forward to hearing this. So I went to West Virginia University. A guy named Scott Simons went to West Virginia University with me. Now Scott is the he does uh. He's one of the guys in the band for America's Got Talent. He's the musical director for

the new Steve Harvey's show. Um. But he also is the singer songwriter of the Paw Patrol theme song. That's right. So yeah, this, we did this. We went back and forth on Twitter on this and I was blown away because I have a five year old and a two year old and so we know that very well. I've even been to pot Patrol live so and I can sing every word and the entire pot Patrol uh theme song, which I will not do. I know nothing about it.

All I know is that we were we were at the n C Double A Games in San Diego, and you know, he knows that I'm the podcasting guy, and he's like, listen, I just was listening to a podcast about the E A S. S System and being a radio nerd, I was like, I gotta hear that, and he so we texted me your show this weekend. I listened to it and then went nuts Ford with nuts

Ford love it. Love it to death and like binged a whole bunch of them, and then immediately got a hold of uh, Chris Peterson and I heard and said, we gotta can you help me track him down. Let's let's get him on the show. So I'm really excited to have you on because I just I absolutely I'm a I'm a huge fan of twenty hurts. It's such a good podcast. Well thank you. This is this is quite the like shot to the ego, so I really

appreciate it. I can just have you follow me around, um, if I can afford that, and just tell me how great I am. And I'll tell you I get you know, I'm the I that everybody and their mother text me you gotta hear this podcast or you gotta listen to this. I'm like, I know, I'm busy. I got too many podcasts to listen to. But first of all, it was it was the topic. Uh. And then also when Scott said, you know, Scott's musician, and he said, listen, this thing

is about sound design, but but it's not. You just gotta check it out. And I was intrigued because I love good sound and I love podcast. It sound great and I think that that is it's vital to the future podcasting that more podcasts sound as good as yours. I mean, if they could, because yours is one of the I will say it maybe the best sounding podcast I've ever listened to. So thank you. I want to backtrack and talk about your relationship with sound. When did

you fall in love with having things come into your ears? Well, uh, we're gonna go way back. So, UM, I grew up in the Delta of Arkansas, very poor area, and I wasn't particularly great in school or anything. Um, but I eventure really found band and I went in and started playing the trumpet, and it really became the only thing

I was really good at in my life. Um. I mean I was okay like math and science and all that stuff, but really like what got me out, not got me out of trouble and kept me going to school and all that stuff was was really like playing the trumpet, and um, my band teachers and my friends there and so that really like took me from this very very poor area to getting like a full scholarship

and all the stuff. So it was just one thing that just came really naturally to me, thankfully, and um, and so it all started being like a trumpet player and then going to school and really like thinking about classical trumpet and jazz trumpet and all that stuff. And then, uh, in college, I started to struggle with some really bad performance anxiety. It was a thing where like I loved playing, but I didn't like the idea that my best performance

was going to be in a practice room. I really wanted some to do something in this field where like, once it it was may aid, it stayed made and it just went out to the world identically every time. So, um, kind of struggled for a little while late in college figuring out how I was going to transition from this thing that I had done for most of my life

up until that point. And uh, and pretty quickly, like there was a there was a very very short phase of like recording music, but I didn't particularly love the atmosphere of that. Um, there's a lot of just like kind of coolest person in the room room type of politics that go on in that. Not everybody, but I don't think a lot of us understand what that is

to to go into a studio and record music. Yeah, Um, so I kind I consider myself like always kind of like a science nerd and like a space nerd, and like I mean, nerd isn't the right word. So I guess what I mean is like whenever going into the recording studio, like music is such a personal expression of

of like a motion that that's like deep and important. Um. But it also on the r hand, just um can really explode into just like really um non uh pragmatic type of like thinking and and it's more so just like living. I think that's a really weird way of saying. Just like the culture of the recording studio can sometimes feel like it's a popularity contest and like who's the coolest, and it's not like a like a logical, pragmatic type

of process. And that's why like whenever I found post audio and sound design for like advertising and TV and things like that, um, it felt like I found like my science and and like my creative science nerds over there. And so I felt like I really belonged in that very analytical thinking and and kind of thinking about physics in a way, but in a creative way. And so UM fell in love with that. Uh. Started working in television news. That was my first job into this whole field,

and UM, what did you do for television news? So I were My very first job was like an intern ship running a camera at an a at a Texas news station. UM. But that quickly led me out to working at Telemundo out in l A, which I don't speak Spanish, but running their board for their news stuff, and then UM that kind of led to working at Fox and UH and then eventually led to finally getting into post audio at G four, which is an old TV UM or an old television network for video games,

which was before it's time. UM, and then UH landed, then after that landed a senior sound designer position at the Discovery Channel and UM all of their networks they have like fifteen networks, and then after that started my own company where we work with all kinds of different networks, so like HBO and Netflix and UM, Discovery and National Geographic and lots of like advertising brands like Nike and different cars and shoot, does that mean when you do

sound design for these companies? Like, you know, I don't think a lot of us understand what goes into what we hear because with video it's so it's so you know, for most people, they you know, they don't even realize that a lot of the video experience is coming from what they hear as much as what they're seeing. Well, you'd be surprised. There's actually a lot of people in

the industry to UM. I send out a lot of connection emails just kind of getting us on there on people's radar, And just today got I got a couple of emails of just like, well, I'll ford for this onto our music department. UM So a lot of people naturally think, well, what other sound is there in all of these things other than music? And um and I guess I usually will say, like, well, what other sounds are there in life? Like if you walk outside, do

you have a soundtrack? Or like, you know, if you drive somewhere or if you walk somewhere, All of those things in a picture form gets recreated because it doesn't sound very good, just to kind of like put a singular mike out there and just you know, it's like if you have a think of an old video camera or something, or even an iPhone camera or something, like your your point it at someone and how's that audio sound?

It's distant. It's kind of like it's not very like crisp and clean it's like that sound versus what like a movie sound is. And on the movie side, every

element from the ground up is rebuilt. So you have like, you know, the winds are like tracks of very specific winds and environments, and then you have things like um fully, which is all the things you touch with your hands and feet typically, so like if you're walking, Um, we're going to record all that stuff separately, and we're gonna put a microphone like two inches away from when we record it to make sure that it's just crystal clear, and we have we can we can feel out those

levels and stuff when we're mixing it. You also have something called heart effects, So these are things like door slams and explosions and things like that that we can kind of build. And then um, then we have kind of abstract emotional effects, and these are things like wooshes and trailer hits and scrapes and things that make you feel something. UM. So that's what I do most of the time for my day jobs. So for the past twenty years, it's been rebuilding all of the environments and uh,

and really everything sound related to picture except for music. Yeah, I teach it at university and a lot of You know, my students are multimedia students, and I always tell them, I said, a good video is not good if the audio is bad, because that is the number one mistake of video young videographers and filmmakers is they forget about

the sound. And I want to talk about your podcast and how you got into that, but I want to share with you how I've used your podcast, um, because your podcast, UM, you know, it is all about the sound. And we you know, my students this week this is this is how nerdy I got for your podcast. I came into class, they played their assignments. I changed the assignment in the middle of the class of what we were gonna do the next week, and said, listen, you

guys all need to be inspired. So I played them a couple of things from your show about voice acting, and I played them the e A s Uh piece and and then and then their assignment this week is to find a good sounding podcast, something that sounds good, and then use that as inspiration to do their podcast this week. Because I don't think that there is I think that that's what makes these great podcasts downed out

right now is the sound. So when were you listening to a podcast and going, boy, that sounds good, or or were you thinking that doesn't sound good, maybe I should do something? Um. It all definitely for me, it definitely goes back to Radio Lab. Um. That that was um for podcasting and for even sound design in general. That was a real like watershed moment um across the board. I mean we did have big shows like This American Life and other things, but Radio Lab really challenged what

you could do with sound only UM. And then that really kind of like spawned some other offshoots. And so I consider myself probably you know, uh great great grandchild aild of something like the Radio Lab um experience and something that you know, the from Radio Lab. It kind of like that's that's kind of how you birthed things that sounded great like invisible and even boosted a lot

of production value on some of the big shows already. UM. And so that that really is like the starting point of in Radio Lab also started around the time whenever I was really in my like starting to get into my prime of being a sound designer, and so jed Abomad like really like doing these crazy sounds along with this thing like really inspired even what I was doing on the TV and film and advertising side of what

I was doing. Um we would. I would reference that a lot in the way that like being able to have invoked sort of like feelings in the way that you craft sounds and everything. Um. So that's really where it started. And since then, just because I'm in sound, I'd never really consume anything that doesn't sound great. I just think that that's kind of like a starting point

for um. So you've not into my podcast at all. Well, I just it's one of those things that's like, um, I think you hit the nail on the head with like the video versus the audio thing, and um we I would encourage people, especially who are in film school and things like that, to be able to tell a story with audio only. I think that should be a prerequisite. Um because the point being is we only have even though it is you know, there is a visual element

to this, you know, multi sensory thing. Uh, sound is the other element. There's only two human senses that we can put together with most of the visual content out there. And whenever you have forty people on a set and you have one or two sound people and then you move that into post production and you have you know, eighty people working on it and a handful of sound people.

It just shows like just the the stress. And I'm not saying that like that, and I know that visuals do take a lot more of just like you know, equipment and things like that, but that also translates a lot into like the way that people produce things and they really think of sound as an afterthought, and that that goes for pretty much like advertising and um film and TV and all that stuff. And really this podcast for me was like a like a silent protest against

that without necessarily saying it. I think there's a lot of undercurrents to what like I'm trying to say that will reveal itself at fifty or a hundred episodes rather than kind of at the five or ten mark. And I think once once like it's all revealed, it'll be like, oh my goodness, Like this richness of this sense is just cannot be denied and cannot be ignored anymore. So you know, I'm I'm working branded content as well, and you know your podcast in a sense is a branded

content podcast for what you do. Did you mean it to be that? Because I don't. I can't think of any other branded content podcast that I've ever listened to that now has advertising on it, so that people were like, I know, you know, it's like, you know, getting paid to do your own advertisement. Almost is how did this all happen? Well, Um, so I own a sound design studio called De Facto Sound and I and if you

listen to earlier episodes, you'll hear it. Right at the very beginning, it will say from de Facto Sound, you were listening to twenty hurts, um about fifteen episodes ago or so we dropped that completely. Um. And at the end, if you listen to some of the earlier shows, it would say, um, you know this is produced by the team at De Facto Sound. And then now it says this is produced out of the offices of De Facto Sound.

So um. With all that said, uh, it was a thing that I did want to highlight what we do at this company because podcasts, notoriously don't make very much money. And so my hail Mary was at least if we kind of put our name on it, maybe the point zero one percent of people out there in this audience who might work at an agency or something might start might sendto something that could help pay for this podcast, UM,

and that worked. Actually, UM, we don't get any sort of like windfall work from the podcast, but but it does. We have actually gotten some serious jobs just because people were fans of the podcast. But over time it really

took on a life of its own. Like we UM, I don't really think of it as a branded podcast anymore so, UM, even though we still keep that first credit, that's more so for the fact of sound that is, that's more so for just our team because we worked so hard on it, thinking about it and talking about it all the time. But it's its own now, like the podcasts its own business and its own its own it has its own like aspirations for what it is that don't involve like what de Facto Sound is doing.

So it is. It began as a't like it was. It was began from that group of people thinking about those things. But really I feel like now it's just its own thing. So it's kind of it was like definitely a little bit of a branded podcast at first, and then now I feel like it's just kind of like a its own thing really, but it has it has worked for us a little bit. There is so much to be learned from your podcast. It is a it is a learning experience. And you know you mentioned

Jad Apple rom And and I quote Jad probably daily. Uh. He has a little thing on YouTube about sound and how it creates empathy and a good podcast, a good radio show creates empathy. And you know you do such a good job with the subjects that you talk about, you know, to make me, you know, on maybe on the exterior, I'm like, I don't know if that's interesting, And then five minutes in, I want to know everything about it. What have you found to be? You know,

the most surprising things you've learned just just hosting this show? Um? Interesting? Um. The most surprising thing that I've learned through this is how I suddenly whenever we put hit published on an episode that I can't remember what we've ever done before I published. So every time I think about like pot prior shows, I'm like, I can't think of a single show we did, because there's there's you know, ten ahead

of us that I'm always thinking of. Um. I think that what I've learned overall, because I can come out of like the TV film advertising world, is that TV film advertising versus other fields. Uh again, really really underappreciate sound like pretty extreme. Whenever you look at other fields, whether it be science or math or space or you know, anything that that we talk about that's not TV film related, Like, we find that those people all take it very seriously

and it's an equal partner to that. Even whenever you're talking about video games, UM, sound is an equal partner all the time. And so UM. What I've learned at least that kind of gives me a little bit of like hope, is that there's a lot I think there's gonna be a renaissance of the way people use sound in visual uh situations. And the film people have got it. Like there film sound, especially on the big blockbuster stuff is is excellent and they take it really seriously, but

everything else doesn't typically UM so UM. So yeah, I guess that that's like a big overarching thing is that there's just a lot of work to be done in in in the media that we create. UM and and of course, like you know, three fourths of the of the shows that we do have nothing to do with with the industry at all that I work in. UM. But that's just something that kind of sticks with me, is that a lot of people care about sound and they think about it a lot. Um, it just happened.

I just happened to work in an industry where they don't particularly do that very often. I UM, my personal philosophy on on the future of podcasting and sound is is growth. Because I've always looked at podcast as an escape. You know. I tell folks that, UM, as somebody who has had a lot of crazyness in my life, my my escape would always be books. You know, I could read a book and get into it and forget about

whatever else I was was obsessing about. And and podcasts fill that same gap in the brain, you know that that they create this this safe place, this place where you can escape. And and in a world where we're being inundated on Facebook and social media, which just so many different things, and they're also it's it's seems more aggressive and negative than the last. Uh. That's where I

think podcasts can really benefit society. And I think, and I say all this to say, you know, kudos, because I do feel you're one of those shows that that fill that gap. I mean it really, I was excited to do this interview because I was excited to listen to your podcast because it is such a good, good a good thing therapeutically for people. Well, yeah, I'll tune tune you into a little bit of things that I've learned. That's actually brings up another uh point that I'd like

to make. Um. One we started this this podcast was published, um six days six or seven days before the presidential election. So if you can think about the climate that we were in whenever this podcast launched, um, everyone associated with

it cannot couldn't ignore that stuff. However, when we launched the podcast, you'll notice that like nothing is political at all, and it's very much an escape and um, and I think that you're definitely like tuning in on some of the things that I hope that people will eventually you start to notice is that I really wanted it to

be a complete escape from just stress in general. Um, there are some things that we talk about that are stress inducing, but the show is really like a lot about mindfulness is something that I've kind of found we we've touched on that in a few episodes, but even for me personally, the show has become something that has become a little bit more grounding in my own reality.

I tend to at least I've heard in the past that like you know, anxiety is living your mind living too far in the future, and depression is your mind living too far in the past. And the real balance is is trying to like land right there in the present, you know, be with my kids, like be uh with my friends, with my colleagues, like be in my work,

and really devote my whole self to it. And I think that sound and revealing the sonic things around us really grounds you to your reality because that's not a past or future thing, it's a right now and you're

experiencing it constantly. Um. So that's been really important to me, even in the tone of the show, is like a real grounding and giving people the opportunity to maybe tune in on a sound and maybe they don't know what it is to know it or not, but they've kind of grounded themselves by by now starting to think about like this next layer of what they're hearing. And so that's something that's become really important to me, at least therapeutically.

That's something that I personally needed in my life and I'm hoping that podcast people um need that too. Yeah. Man, I'm just I'm just nod in my head the whole time that you're talking, You've made me think about a few different things. Of one was the episode about voices sounding like instruments. I've been like, I've been for days, going God, what is my voice? I think it's it's got to be something terrible. It's like a harmonica or

something awful. Um, But it's fun to think about. And then when you were talking about the stress inducement, and I did see stress inducement from one of your podcasts, I played the E A S. One from my class and I had one student in particular, and you I mean, she got visible visibly and physically upset by it because of this the sound and the that you know that that sound really like really, I mean, I couldn't believe this,

this real effect that it had on her. But it was great for the class to see and show them how powerful what they're doing can be. You know that they want to be these you know, these these podcast producers. This is this is what you can do with with

just five minutes of sounds. So and even with that E a S episode, the whole reason that I wanted to do it, it was something that I was kicking around on the back burner for a while, but I was in a in like a like an auditorium and they were probably a couple of thousand people in the auditorium, and um, everyone's phone started going off with that, with that alarm, um in the middle of the auditorium when it was pretty it was relatively quiet and what and

like everyone was kind of looking at their phone and my phone hadn't gone off or anything, but I had to like leave to walk out to make sure that, you know, everything was okay. I mean, I'm on the I'm on the outskirts of Washington, d C. So you

can see what I mean by that. Um, but it, uh, that is a terror inducing sound, especially if you find yourself in certain locations that could be you know, consider I mean, think about what happened with the people in Hawaii with a straight up missile incoming fine shelter with that sound. I mean, that's that's horrible and that sounds you know, it's it's designed to get your attention, and

it did just that. And um, you know, I could imagine people actually suffering some from some long term stress just because of that. Oh. Absolutely. And you know, as a radio nerd, it's one of those things that you know, growing up, I've worked in radio since I was sixteen, and having to do those tests every day and or every week, it's you don't even think about where it

all comes from. And one of the conversations that it sparked in our class as well was, you know, I'm forty four, so I still remember when it was I was a kid. We we were pretty sure we were going to be nuked by the Soviets at some point, um, And and these guys don't have that, and it's so I mean, it's just it's just it's just an example of like the all the conversation that can jump out from talking about this very annoying sound that people take

for granted exactly. Yeah, it could go so far um with that conversation and just bring so many memories up if if it was used in a really serious way. But yeah, that's that's one of the many things that kind of triggered different emotions in your mind. And something that I think a lot about is just like how sounds and experiences can kind of like put yourself in a good or a bad place depending on how you've

heard that or experienced it in the past. Um. For example, one of our earliest episodes was about eight bits sounds and it was just like deconstructing like even like Mario Brothers sounds and stuff. And I remember just even feeling like I was five again because that's whenever the Nintendo came out. And um, those those very very unique feelings that that that sound can bring out is really special.

Before we get into my my last segment, which is our three Killer Questions, I've got to ask about Roman Mars. I know you have to be a huge fan and and and you know, I think you know you got to do or you were you were in an episode if I'm not mistaken. How thrilling is that? Um? What was cool? Because Roman and I have a have a pretty long history together just as friends. Um, I was a sound designer. He was he had started a podcast

seven or eight years ago. I started listening to his podcast, like right at the very beginning before he really blew up, And um, was was out in San Francisco and said, Hey, let's let's grab dinner sometime. I'd love to just you know, meet, And I'm a sound designer and I do this stuff.

And I think he was naturally interested. And then, um, I was naturally his interested in his thing, and we just hung out and then after that became Facebook friends and just randomly commented on things back and forth for five six seven years, like nothing more than that. And I was just such a fan of what he was doing, and every time he would do a sound show, I

would just immediately gobble it up. And um. But over the years, um, he he very much really started to focus in on that architecture design and and really zone in on that, even though they still do some sound episodes here and there, and um, because of that, I felt like there was enough of an opening and enough of like a respectful opening that I could just kind of command all of the sound stories that I'd love

to hear them do. And um. And and with Romans Blessing a little bit, because I know that he's flattered that he's kind of inspired a lot of shows like mine. So with with his Blessing a little bit, I was just like, I'm gonna take this and just kind of

see where it goes and put together some episodes. The first couple of episodes took us probably eight months to make because we didn't know what we were doing, and um, and then I just happened to bump into him at a at a podcasting conference, and he was just talked to talk about how how great it was, and it was amazing. He's such an encouraging person and um, in a shoot a few days later he said, hey, can I play it on my show? And it was just really organic and kind of eight years in the making

in a way. But he's just such a kind person who really has a heart for growing things, especially things that are highly produced, and especially in that very like educational infotainment type of space. And so I felt felt right and it was very thrilling, and even when it re told me, I think my heart stopped. And then whenever I actually looked at the stats and saw it on his feed, it was it was overwhelming. All right. Listen, Hey, I always saw wrapped things up with three three questions.

I'm a radio guy, so we have our you know, little cheesy radio things that we do three killer questions. Um, the first question I have for you, Dallas Taylor, if you could listen to a podcast featuring any person living or dead, who would you want to listen to? Oh? I mean, if I overthought this, I could come up with a lot. But the very first person that came to my mind was Abraham Lincoln because one, we don't know what he sounds like he was right before that time.

And and two is just like the crux of the history that that influences everything, like so much of what he did in that moment. Uh is we're living in this timeline. And uh, I would love to just I could just eat up that timeline from his perspective forever. Yeah. And he's and being such a such a you know, wonderful arts or you know, just to hear his voice, you hear his delivery in his cadence, that would be fascinating.

And we forget how how young our country is. A lot we we take a lot of things for granted. And uh, and I think he lived in a in a moment that really defined if this was going to keep going or not. Yeah, all right, So what's the one piece of technology in your life that you remember thinking this is changing my life? Oh? Um, Again, I could overthink this, but if I was to stick with something, it's probably that very first iPhone that really kind of connected me with the world on a on a second

by second basis basis. And it harmed a lot too. Whenever I'm talking about mindfulness and things like that. Um, but we are living in the very first generation of just ultra hyper connectivity and um. Out of all the time that humans have been roaming the earth, UM, now we're living a very unique time in our and our bodies and minds are trying to adapt very very quickly.

But so I think that even for me, that was definitely like a big shift between like I'm living in my own little bubble to living in a global like global society all the time. And what's the last podcast

that you binged, uh? S Town? I think it was. Um. I would say that there's the worst thing you could do for your podcast consumption is start a podcast, because even when on on all the times that I typically listened to the podcast, whether it be in transit, if I'm in New York and I'm kind of walking around, I listened to podcast. Um My, my trip to and from the office is about five minutes. Now that has all been filled up with just approving my own podcast.

So I've gotten so far behind. And I think S Town was like right when we started or shortly after, So that was like the last one that I just listened to every single episode of it's tough. I mean, with my job I listen to I can't tell you how many podcasts that I have to, you know, check out for folks during week And it's so nice to have a show that you find and that you want to just be excited that you have so many episodes to go back and listen to. And that's how I

feel about your show. I'm I've just been I've been looking on the site. I'm like, oh gosh, I can't wait to listen to that one. I got that one planned for when I'm at the park this weekend. UM. So that's awesome. Thank you so much for doing your show and and and and and just bringing you know, bringing that awareness to sound and to quality, because I think that that that's strong, that the quality that you strive to do UM is important and I hope other

people are inspired by it. I've been inspired by it. So thanks alas well. Thank you. I really appreciate it. And now we are joined by my producer, zz He. How are you that I know you edited this interview. Did you enjoy the really geeky conversation that we had after the interview? I did you know why? Because it's really cool to hear two people, so you and Dallas who love sounds so much. It's just like being so passionate and getting to talk to each other about how

much you love sound, you know. I mean that's what you love about podcast is that you want it to be as a high quality as it can be. And you guys both know that. I think that we might maybe release that as a little separate segment, but in general, we had a conversation about, um, you know, my belief that the ability to create empathy is something that podcasts do well and that it's it's something that could be good for society. And then and then I do feel that way. I do feel that what we do in

podcasting in general can be very beneficial for for people. Yeah, and it totally came through in the whole episode. That's good listen. Um, there's a lot of great sounding podcasts out there, and I know there's a few that we're going to talk about today. So let's get started on that. What you got for us? All right? My first one is was actually our first episode ever from Mission to Zix.

Oh yes, Mission to zis tell people about that. So, um, they are a improv comedy storytelling podcast, and it's crazy when you listen to it, and then when you get when you get to talk to them like we did, just how much work goes into putting all of that together, with the sound effects, with the voices each they invite comedians to do, like play a special character each week, and it's so well thought out and it's just really cool to hear once you hear the whole episode together.

It's here a little bit. Hi, I'm Jennifer's squirrel. It's nice to me. I'm the holographer at the school here, and it's hollow dayDay. Hello, you say day Hello Hello. Yeah. So they came on our very first show. We had set land On and Mushon Zolfagari who plays Bargie Uh. And their new season is in production right now and they've been teasing it on the admission to zix on Twitter.

So follow them to find out when the new season comes out, and go back and listen to our very first episode and hear how how it sounded and how the show's evolved a bit. I think we've come a long way, come a long way, see, but it was a good first episode. Also at the same point, well, they were a great guests. This show is all about the guests. Nobody, nobody ever says I'm listening to that show just because of Maddie. Nobody. I don't think there's

anybody out there. There might be a couple, thanks, if you're a couple of people. All right, what do you got from? Number? Two? Four? One is Radio Lab Radio Lab. So I've been listening to their I love JAT, I mean I have an unhealthy love for Jat Apple Apple rom really I said apple Apple mum. Actually I've been listening to their latest two episodes. It's part of a trilogy called Border Trilogy, and the first episode is um, this guy who's an antipop anthro anthropologist, anthropologist, I have

an accent. Okay, you guys, we should say you're you're from Sri Lanka, so some words are hard. This is not your first language? Is not? Sorry? What's your first language? Yeah? It looks like spaghetti. Really, people have told me can you talk about our podcast in singles for a second? I need someone to talk to me for me to talk to them back. Z no in just in English?

All right, there you go anyway? Okay, soologist, yeah, okay, so he this episode the first episode out of the three is his name is Jason da Leon and he is going across the Sonoran Desert Wow English is hard Um, and he finds artifacts left by migrants who tried to cross the border, and he tries to piece them all together, and he found a human arm one time. So he was like that kind of set him off on this journey. So I just love how they incorporate the narration with

the interview. You know, it's incredible. Check it out. We'll see little tasted that one. So for the next several years, Jason just keeps going back to this stretch of this snorin desert, ripped clothes, fragments of clothes and bushes, gathering whatever he could find, dirty socks, and you know, like an archaeologist, he would collect this stuff, bandages, item mindset, categorize it, hocktail dresses, high heel shoes, try and figure out who it came from, why it was there, baby bottles,

hair curlers, toys, rappers. He did this year, sneakers photograph. After years picking up this shoes, dresses, backpacks, bibles, bottles, and then one day human arm. He finds an arm. We're all big fans of Radio Lab. What else you got? What's the last one? Last? Yes, I'm new to this one. I can't believe I'm new to this. This is one of those that when people talk to me about podcasts, like all of songs quote, and I'm like, oh, yeah, I'll check it out. Sometimes a lot of our guests

have said that's the last one they binged. Also it's it's excellent. Yeah, So the one I chose was the Jack Johnson won because I love Jack Johnson, and um, it's just a really cool um. Sorry, it's just a really cool podcast because they have the actual artists on to break down the songs and give the backstory and the stories of how the instruments and the whatever came together to make that song possible. And at the end they played the song for you. So it's a really

cool way. And the host talks at the front and at the back that's it. The rest is the artist. It's great and I'm so excited I finally got into it. Now I have something else to bene check it out. We're just goofing around and I think it was time for dinner, and we're like, don't forget the idea as it put it down. Yeah, he sent it to me like a month later. He's like, I remember this jam,

and I was thinking us nice. So when I started making the record, I played it for my friend Robbie that was helping me produce, Robbie Lachritz, and he dug the groove. But the first thing that Robbie said when I played it to him was like, us cool, but we gotta get rid of those nineties drums. Sounds like every nineties hit right there. And I was like, no way, it's like James Brown, funky drummer beat like na not

at all. He was like, it's more of the Wonder Wall beat it back and so anyways, I was like, all right, whatever. I was a little offended, but not that much. Well, see, those are some very good suggestions this week. And I learned something. I learned that in Sri Lanka they speak single single singles, and you can only tamil and tam You can only speak it if it's spoken to you. Yeah, just because after I moved here, I just English was so predominant. You know for me,

were you speaking at home still single? Yeah, your mom's mad at me, like she'll yell at me and single. You know, that's usually what would she yell at You give me, give me, give me something, give me one little taste of it, like not cleaning off my room. Well, let's hear it. I want to hear it. And no, I gotta have her, really, k really, it takes me such a long time to terrible teas for the listeners. Sorry, just go YouTube. Oh my gosh, next week, I promise, Yeah,

I get you. Guys, we'll have some singleings actually in two weeks. If you're new to the show or old to the show. We've set our production schedule now for every two weeks so that we can bring you better programs and better guests, including Mr Greg Broups, who I'll be talking to you on next week. So I'm excited about that. He's a He's a somebody I used to know well and haven't talked to him a few years, so I'm excited to reconnect with him Ben for my night. Well,

quick story. When I first moved to America, Whose Line Is It Anyway? Was one of the only shows my brother and I watched, and so having him on is really cool for me. Oh good, maybe I'll let's ask him a question. I'm nervous, he's too smart the show. Thanks to everybody who was involved, Casey, I want to thank you. I'm wantin Dalton. I want to thank David who was our engineer, and Katie and Don here at

I Heart Radio San Francisco. Chris Peterson, the godfather of podcasting at I Heeart, we appreciate all that you do for the show and especially Z producer Z executive producer Z. Thanks for all you do here. She goes a lot of stuff, all right, everybody, thanks for tuning in. Remember go find a podcast, listen to it and go tell your friends about it. And if you can't listen to it on I Heart, thanks for listening. By