Reply All - #189 Goodbye All

Episode Date: June 23, 2022

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This episode is brought to you by the number seven, which tastes like the color yellow, which is the same as the smell of sending a risky text to your crush, which sounds kind of like finding out your great-grandfather was a pirate, who murdered a prince and blames it on another prince, which disrupted a long-standing alliance between two nations, sending the price of cotton candy through the roof. Children, rioting in the streets, destruction, violence, c- Oh my God, he texted me.

back. Here's some more ads. From Gimlet, this is reply all. I'm Emmanuel Jochi. So, roughly every other morning, I wake up and I go for a run in the park. Beginning workout. I love running. I also hate running.

But for years, I've done it because when I'm in the middle of it, when I'm feeling exhausted, I can say to myself, this is the hardest thing we are going to do all day, Emmanuel, and it feels true. The park I run around, Prospect Park. has this big, roughly three and a half mile loop. And the toughest point of my run comes right near the end. It's this infamous, windy, massive hill. And scaling that fucker every time I run gives me such a big feeling of satisfaction

for having done the hard thing. But in the last two months or so, something's been really bugging me on my runs. It's a guy. Another runner I see in the park. You see, me and this guy, we have beef. And we have beef because as this guy runs around the park, he lets person after person, runner after runner pass him except for me. I seem to always come up behind him right before the big hill.

He's never running that fast when I see him. He just sort of glides along and he has this weird gate where he leans to one side and kicks his left leg out. But somehow it works for him. And when I see him, sometimes I swear I catch him looking at me over his shoulder. and then he just zooms away from me up the hill and eventually out of the park. I do not understand what it is about me. And as somebody who's run for a long time, it feels straight up disrespectful.

It feels personal. Why won't he let me pass him? What is it about me? I've tried beating him, tried pacing myself just to beat him. It's no use. When we get to that hill and I come up behind him, something just changes in the dude's body language. I get a couple of glimpses of his cars bulging and then he's away.

The way he moves, it's elite. So recently, I decided, I need to find this guy and just figure out what the hell is happening here. Okay. Ooh, these happenings are tight today. Okay. But first I had to catch him, which was difficult because here's why I knew about this guy.

I saw him normally two to three times a week at roughly 8.30 in the morning. I didn't have his son. name or any other info. So I just made a plan to go at that time and see if I could intercept him. The trouble was I didn't remember exactly which days of the week I saw him, so I had no choice but to go running every damn day looking for this dude. I'd go to the park, run my normal three and a half miles around, keeping my eyes peeled for him. The first day I ran, a Monday, I ran around the park and didn't see him. And I thought, okay, I'll catch him tomorrow. The second day I didn't see him. Third day, didn't see him. It was like this dude was annoying me even

in his absence. Workout completed. Oh boy. What a shitty run. So hot. But then day four, I'm running. I've gotten about two miles into my run. And there he is. Okay, I'm behind him. I pick up my pace, trying to keep up with him as best as I could. I've been running at this point for a while before I see him, so my legs are screaming by the time I follow him up the massive hill. But I tell myself, it's okay, Emmanuel, don't worry, he is going to stop running soon.

Like, he normally ends his run up here. But he doesn't end his run. Instead, he keeps running, with me just behind him, absolutely melting in the hot, humid June sun. We do a lap around the park, which, again, is my normal workout, about three and a half miles. But then we do another lap. The dude just keeps on chugging, the energizer bunny for 40 freaking minutes and while I am not the energizer bunny I am dead I could have just yelled out at him to stop but I didn't do that because you know you never interrupt somebody's workout finally after I had run a grand total of nine miles the guy showed some mercy slowed down I saw my chance hey my guy so this is a weird thing but I'm a journalist

and I host a podcast called Replyor. And it's a show about like the internet and our lives off of it. And I don't know, I'm a runner. And I've been thinking a lot about the people I see around here every day. I realize I've seen you a lot. Yeah. What's your name? Michael.

Michael. Immanuel. Nice to meet you. So to meet you. I asked if he could talk for a minute. All right, thanks, man. So I'm just going to go into this, my phone. We can take a break.

Yeah, yeah. Let's do that. That would be a smile. Oh. Unlike me, Michael was not panting at all. He's about my height, black, had an annoyingly good hairline, was wearing sunglasses. And now that I was finally face-to-face with my nemesis,

all I could do was be polite. I don't know how to say this, and maybe this is all by head. I feel like what tends to happen is I normally get within like 10, 15 feet of you. I mean, you kind of pick up the pace of it. Oh, well, you know, it's funny, so I'm not clocking it. It is a little awkward when you're with. a stranger and you're both running at the same time. I mean, it's weird. I think at a certain point,

I think once I move past all like the overthinking about it, I just like go and just kind of go with it, you know? So I don't know how other people feel. As I talked to Michael became obvious to me that, A, he's a lovely person. And B, he had no fucking idea who I was at all. He'd never noticed me. He told me he doesn't wear glasses when he runs.

He couldn't even pick me out of a crowd if he wanted to. I just felt so silly. What can I say? It's been a weird couple of months in my head. Sometimes, when you're in the muck of figuring out a lot of stuff about your future, it can seem like a lot of things are about you when they're not at all. Like, some obstacles are intentional when they're not. It's easy to lose sight of the fact that your rivals, real or imagined,

are really just people you could and should be learning something from. Like, how there's a way to run where you keep track of the number of your breaths to reach stride. Like, when I got to the hill, I switched my rhythm to 2-1 because I need to take in more air going up the hill. Don't need to take in as much air. That's why I do the 3, the 3-2. Yeah. And it makes it seem like you're going faster, but I'm not. How to let go of all distractions.

No phone, no wallet, no nothing. I'm a minimalist runner. And how to run your own race without thinking about other runners you'll never catch. Talking to Mike was helpful to me in another way, too, because for the last few weeks, we've been trying to figure out how to make this episode. How to make a finale to seven, eight years of the show. And if anything, feels like chasing after something you can't catch, it's that. Capturing all of our many feelings about Reply All in this last episode.

I know it's something that Alex feels really deeply. I talked to him about it the other day. I have absolutely been paralyzed about making this last episode. Like, I had, I have been thinking a lot about what I could possibly do that would feel satisfying. And the answer is like, there's nothing I can do. There's like no way I can encompass the panoply of feelings I have about this show, you know? Yeah. And so in the last couple of weeks, we decided, you know what?

Let's just do our thing with it. Say our goodbyes in our own ways and go. So that's what we're going to do today. We're going to dip into some of the lingering feelings we have about the show and try to answer a few nagging questions before we turn the lights off. And first up is Alex Colvin. So my first gig in radio was an unpaid internship at the public radio station, WNYC. Well, it wasn't totally unpaid.

They gave you $10 a day. So like, it was enough for me to buy a burrito from Chipotle at lunch every day. But, you know, when I was deciding whether or not to take this basic unpaid internship, and long-time listeners might remember this, I called my dad and I asked him for advice. And he was like, do not take this job. It is not worth it. You have a safe job in tech support. You are 30 years old. It is the middle of the housing crisis. You are making a terrible mistake. And obviously, he was wrong, and that was very satisfying. But, you know, I'm leaving Reply All now, and I have some decisions to make. So I decided to

to call him again to see what he thought. Are you to let your dad in? All right. Are you there? Are you there? God, the reception in your house is so fucking bad. Can you say something? I know. What can I? Yeah, can you hear me? Yes, please turn off your video because otherwise I'm never going to be where it's not the bandwidth is going to be too heavily consumed.

All right. Let me see how to do this. All right. Here we go. There, I'm off. All right. Okay. I'm sorry that I immediately get frustrated. Like maybe that's not the best way to start the conversation. Go ahead. I'm ready. Anna's asking me, Anna's saying that the sound still sucks. I don't know, Anna.

Don't blame it on me, Alex. Anna's saying that it's your fault, Dad, that the sound still sucks. I don't think so. It sounds better now. It sounds great now. Can you manage to stay perfectly still? I am. That's what I'm going to do.

All right. Just so you won't yell it in anymore, I'm going to stay perfectly soon. Thank you, Judge. You're welcome. Thank you. So, Dad, I'm calling you because I'm about to quit my job. Yeah, I've heard that. I guess my question to you now is like, what should I do next?

I don't know what to do next. I am really like, I've got some time to work it out, but I am like, like, I don't know what's coming next. And it's very scary to me. And it should be. You don't think you have a passion for journalism and for performance. I got to tell you something. I would be so happy never to report a story in my life. So you remember after I retired and I was retired for four or five years.

And I was got really, you know, I was doing this and that. And then, you know, like I was really, really bored. I went back to be a judge again for four months or so. You know, I kind of liked it. It was good. It was, you know, refreshing. But basically, since you retired, all I remember you talking about is how you get to take a nap every afternoon. That's all.

That's like. The afternoons that I'm home, I take a nap. And I'm probably going to take a nap after this conversation. I'm working three days a week now. I work three days a week. doing what? I work in a winery. I work in a tasting room in a winery. Tell me exactly what you do. So, you know, I like to consider myself a wine educator. I wanted to say that to you. I've been wanting to say that to you for like a year. You know, so, so, so, you know, I work in hospitality. You know, people come in, they stay for an hour, hour and a half. I get to spend time with them, talk with them. We don't just talk about wine.

You know, we talk about themselves or talk about me or talk about, you know, life or politics or whatever. And it's a fun way. And then the next person comes in. So, you know, I had these best friends for like an hour to an hour and a half. I could have never made a career of it, but, you know, it's fun to do two or three days as a retired person. But the point I was trying to make before you, you know, brought out my new career in the hospitality industry was, you know, I said, you know, that even though you need a break and you need to get out there and you need to try something new, that you've picked something that really fits your interests and personality.

So, you know, I don't know if you'll do that or not. What else do you think? Have you any thoughts of what other types of work you would like to do? Have I told you about the TV show that I want to write? No. So you remember Tales from the Crypt, that TV show? So it was like a horror anthology series. It was on HBO.

It came out in like the late 80s. So I was like eight or nine when it started. Right. So like I loved Tales from the Crypt. It freaked me out so bad. It was totally foundational for me as like a huge horror fan. And it was hosted by this. It was like an animatronic puppet called The Cryptkeeper.

And he was like this desiccated corpse, but his eyes hadn't rotted away. So he had like big, weird, normal. eyes. His nose was like totally missing and he had like this crooked tooth, slimy grin. Right. And he would make like weird puns. He'd be like, ah, this tale is a ghoulish episode about a man who would kill for a breaking show business.

There you are, sports fiends. You know, dead people like me make excellent point guards. When we can't get off a shot, we simply pass. Away, that is. So I have this idea for a show, which is about the cryptkeeper, the puppet. And it's his life after Tales from the Crypt gets canceled. And he can't get a new job in Hollywood, so he has to take much less glamorous jobs. And he's a single parent of a normal human, not like another dead creature.

And he has to go like, and it's like a drama about the Cryptkeeper trying to make ends meet. But he's still like a puppet and he still makes puns all the time. Okay. Your reaction is so lackluster. You hate it. Well, you know, it's interesting. You know, if I'm a producer and listening to the pitch, I'm going to go, uh-huh. Well, I don't, you know, I'm going to try to be, I'm going to be supportive of you.

Well, a producer isn't because you're my dad. You're going to be supportive of me. A producer's not going to be. No. Absolutely. Absolutely not. So it's entertaining. Well, that's my plan for after this.

So. Okay. Well, you know, it's a big house. Got a lot of spare rooms. Hey, dad. Hey. All right. Well, okay.

So I wanted to contact you briefly because I did get out. I did. Oh, boy. I'm a great interview. Are I boring you? I'm calling you because I wanted to tell you that I managed to track down and talk to someone very exciting. All right. Can you do me a favor and just tell me however you would want to be identified?

Hi, this John Castere, the voice of the cryptkeeper. You know me from all my years of on-camera and voiceover work. I have to say, like, I'm not really a person who gets super starstruck, but I'm a little starstruck. but I'm a little starstruck. Oh, dude, thanks. So can you tell me a little bit about how you can go? Oh, my God. Sorry, I had to go there.

I understand. When I didn't realize it was like how much of the character of the cryptkeeper that I love, John Casier just sort of made up whole cloth. They had called me to go down to Kevin Yeager's studio, and Kevin was, you know, of course, creating the puppet version of this. guy. And he was sitting there and he had a boombox with a little microphone. He was recording me and I started doing that voice for him and he was, you know, because I got to see the puppet he was working on and out and rotten teeth and holes in his throat. Was the voice like a spur of the moment

decision or was it something that you had thought about beforehand? I looked at the puppet and I tried to organically create what I thought he would sound like. Wow. You know, I figured I'd throw in a little bit of the Margaret Hamilton, Wicked, which of the West laugh and the, you know, the fun with the puns that Alfred Hitchcock had when he used to host Hitchcock Presents and that kind of thing. And I put all those elements together and I started doing it for him. And he was like, you know, like, that's it. That's it. You know, and he started laughing and I started laughing, which, you know, as the crib keeper,

which kind of stuck. Wow. I did eventually get down to business, though, and pitching my idea. Sort of trying to make it in Hollywood as an actor, but obviously there aren't that many roles for cryptkeepers. And he's like a single dad. But he's still the cryptkeeper. He's still making puns. He's still the character we know.

But it's the cryptkeeper in his life after Tales from the Crypt. Oh, yeah, that would be great. He could have like a, you know, he could have his own, you know, group session with, you know, with Freddie and, you know, Chuckie walks in. every once in a while. They're like, get out of here. You know, but, you know, it's a, it's a funny idea. So, are you going to do it? I mean, that's, can you at least acknowledge that's a better reception than I got from you?

The voice of the cryptkeeper, someone who might have like a little more insight. Yes. So, so what do you do from here? What are you going to do with it? So, I mean, there is a problem. which is that the IP rights around the Cryptkeeper are just like a total mess. So the deal is like, first you have the people

who made the TV show like John and the people of the production company. We own the rights to the episodes that exist and the Cryptkeeper that was created for our show. Tales from the Crypt has obviously been around since the 1950s in comic book form. Right. But there are no new episodes because we don't own

the rights anymore. EC Comics owns the rights. So it's all pretty confusing, but I mean, the long and short of it is, if I wanted to make my show with the Crip Keeper puppet and the name's Tales from the Cript and the Cryptkeeper, I would have to buy rights from more than one company. And like, John says that that's just next to impossible. I mean, even if I could get the rights to the puppet, I'd still have to call him like spooky undead Steve or something like that. That sounds to me like you need a good lawyer.

Well, that's part of the reason I was calling you. You called the wrong number. Aren't you licensed to practice law in California? I'm not licensed to practice law in California. I'm only licensed practice in Michigan. I guess I could call them from Michigan. Okay, when we are visiting Michigan in a couple weeks, let's call HBO and see what we can do.

I can practice in Michigan. What do you think that my chances are? on this. Like if you were to give it a percentage shot, let's say that I get a production company who's interested in this idea. Let's say they're willing to spend half a million dollars. What percentage shot do I have?

Ah, five percent. Why can't you let me just dream big, Dad? Dream? You know, go ahead. You can dream more. You can do my boss. Fuck you. I'm not stopping your dreams. You've had lots of ups and downs,

and you've always landed on your fate, and I don't see any reason why you won't this time. You know, but I think you need to get away from where you are right now, think about it a little bit, and come up with some ideas. I already have an idea. The fucking Cryptkeeper Show. Yeah, that's bullshit. It's a terrible idea.

Okay. Anna, do you have anything else for me to ask him? You know, like one last thing to wrap things up. Do you have any super tech support issues that Alex could help you with? No, every time he touches my tech equipment, it gets screwed up. You know what he's talking about when he says that I screw up his tech equipment? He's talking about how I beat his fucking high score and subhunter, and he's still mad about it like 15 years later.

Demoralized him so bad that he never played again. I deleted it from my computer. No, I'm good on tech right now. He already taught me to unplug it and plug it. That's all that you need to know in order to get everything working. John Casier will be coming to a Comic-Con or HorrorCon near you in the near future. After the break, a trip to space. Hi, this is Tim.

Welcome back to the show. A couple days ago, Fia Bennon of Replyle-Al fame and Myme, myself, we got on a call to do an interview with someone who we were really excited to talk to for the last episode of the show. Oh. Oh. I see the top of a head. Oh, God. Full confirmation of top of head. Why, how do you keep making noises? It's like your body has little like synthesizers on it. Yeah. I'm such a twitchy fucker. It's gone audio. I have a keyboard here and this is where you're resting. Oh, okay. Okay.

Let's start here. Can you, do you mind just introducing yourself for us? My name is Breakmaster Cylinder. Breakmaster Cylinder. This is the mysterious, anonymous musician who allegedly traverses the universe in a spaceship. You definitely know their music if you've listened to the show before. And if this is the first time you've listened to the show, you've really picked a weird episode. Our interview with Breakmaster came with only one condition.

and it's that I tell you this. I cannot confirm or deny that you will be hearing Breakmaster's real voice, but you will. Or you won't. So you've been like writing songs not only for us,

but for us for like seven, seven, eight years now. So many years, yeah. Yeah. I started working on Repile in 2015. It was episode 16. And at the time,

our music library was tiny. It was maybe 25 songs. almost all of them by Breakmaster Cylinder. I didn't know who Breakmaster was. I just knew that Alex had come across this really bizarre video one day that Breakmaster had made. It's essentially a remix of Mr. Sandman, but played over horror movie clips. Alex naturally loved it. He got in touch.

Breakmaster started collaborating with the show. And for me, it was such a blast to discover this library of Breakmaster Cylinder's music. Every song had so much of its own. own personality. Like this one, warning signs, or this one, beef strokenoff. But I quickly discovered that it was really hard to score all of the different moods that we wanted to hit in our stories with just a few really high energy, high personality songs. So in a Slack channel, I started writing with Breakmaster's cylinder. This was the only place we would communicate. And I would ask for new songs. Like, hey, in this moment of this story, we need like an evil ragtime, your dying kind of

feeling. Or could you make something that feels like you're having a panic attack and your heart is in your head? Breakmaster was always game for these conversations, like no matter how weird the note was. You asked me for like tortoise music and you're obsessed with long swaths of tension and texture and minimal notes that are spaced out. Which is great. Wait, tortoise music. That was for Damiano's story where he's like looking for a missing turtle, right?

Yeah, it was specifically, like, I think he described the turtle and possibly its personality. Over the years, our library grew to hundreds of songs, most of them written by Breakmaster's cylinder. Their music has just become such a huge part of how we tell stories.

So Fia and I, we wanted to talk with Breakmaster about some of our favorite songs. All right, so I want to start with the very first song that I remember hearing and really loving in the music library. Here it is. Yeah, drum core beats.

It's the instrumental to a Britney Spears remix for a contest. Sorry, wait, it's the what? It's instrumental to what? Yeah, it's a Britney Spears remix. You can put the Acapella for Toxic over it. I did weekly beat battles. That's how I actually also wrote

a third of the library. Really? Yeah, there's the instrumentals. After I was done with them, I'd take out all those samples I couldn't use. So I'm picturing you writing these things like in the middle of the night. Where are you actually when you're making this music? I'd say almost everything in the library was written, pulled over on the side of the road.

I can actually almost remember every street corner if I hear a song. Are you serious? They're all written in your car? Ship, yeah. I mean, sorry, in your ship, sorry. I had contract work to do. I was out a lot and I can't not be making music. Wow.

Okay. Okay, here's another. This is a really good one for like the villain enters the story. This is a song that we use so much early on. Do you know the name? Oh, uh, eight-bit breakdown? No, it's an eight-bit adventure time. Yeah.

Yeah. Yeah. Did you remember writing this one? Yes, I was in a Starbucks. I remember smelling a lot of espresso. Those shakers are a collection of shells on a little fishing line that I've had since. 2006. What does it mean that you're writing the song in the Starbucks?

Is it like, are you recording something into a voice memo? Are you? No, it was just sitting there with a laptop. Ah, okay. Yeah, I'm just laptop and headphones and then, like, sit in a bathtub. Like, it doesn't matter, really. You can go anywhere. Have beep boop will travel.

Beep boop will travel. This one is Jupiter, which is fitting, because we would always use pieces of it just to score, like, other worldly moments in stories. I was sitting outside of bed, bath, and beyond. Really? It has that feeling. That's right. This is the beyond.

I was only there for bed and baths, so I had to have to be around it out somehow. This one's called beaming. It was one of the first ones I ever, ever wrote for the purposes of making a scoring library. Basically I started this with you. Y'all are the entire reason I'm here in real. Wow. Breakmaster, I'm curious.

Are there things that come to mind for you? I started looking through lists of everything that I ever wrote for you. And the stuff that I actually wanted to listen to was re-pieceing the episodes at the end of the episodes. Yeah. There was a period on the show. where we had to have something after the credits so that there could be an ad and then more reply all.

And so we asked you to make the more reply all after the ad after the credits. Yep. Right. Like making new reply up all episodes out of pieces of previous ones. And that made me happy listening to it again. Oh, well, do you want to play as one of those?

Let me do that. Hell yes. All right, here we go. This is called yes, yes, yes, yes, yes, yes, yes, yes, yes, yes. Yes, yes. Yes, yes, yes, yes. Yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, manish, yes, yes, yes, fourch and 4chan. Cuckball. BJ Vode. Do you know what this tweet means?

Yeah. Alex Goldman. Yes. Nasnane. Yeah. Truthy. Yes. Damiano?

Yes. Schneider. Really? Matt Farley. Matt Farley. Fia Bannon? Yes. Kalila Holt.

Yeah. Tim Howard. Zardulu. Can you get used to it? Alex Bloomberg. Do you know what this tweet means? I do not. All right.

Let's get into it. So, the internet is kind of like a nightmare. pool that is full of offensive stuff. Got it. It seems like we're, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes. I wanted to ask, I mean, I think there is a thing where, like, listeners are very curious about you. You are a mystery that has been on our show for eight years or whatever.

One theory about that people have is that you are Alex Goldman. Can we use his voice to be me? No. Okay. No, I'm not Alex Coleman. The other thing that I was thinking about is, are there major life events that you feel comfortable sharing that have happened to you in the last seven, eight years? I mean, family changes. Spaceship changes.

Are you comfortable saying what decade of life? you're in? About early mid. Early midlife. Have you lived in the same section of the country always? No. How many sections of the country have you lived in? Three. How many sections of the country would you define it as having? Five. Five. Have you ever had a job that is distinctly not in music? Oh yeah. I've delivered every kind of food I imagine. I drove around listening to MF Doom on a cassette deck in a sweet, sweet oldsmobile

that only existed very short enough time. Are you comfortable saying your astrological sign? Yeah, I guess, because who gives a shit? Taurus. Oh, happy birthday. Oh, thanks. Did you have braces as a child? I can't really reveal whether

I have a face or not. Oh. What's the first instrument you ever played? Piano. Piano. Do you actually ride a motorcycle or just own a motorcycle helmet? There are no motorcycles in space. I want to play one more song that's really important to me.

So normally at the end of the episodes, we play this song called Westwood, which sounds like this. but there's this other version called Westwood-Bong-hit Dream version. On a couch facing upward. This was like 5 a.m. in a darkened room, knowing that I was about to be interrupted at any moment, staring at the ceiling. Not high.

Interrupted by the start of the day? No. Something was going to succinctly come in and end it. Not bad really. So for context, we did this one because we were making this episode back in 2015 in the summer in August, which originally we were going to call, what do you expect it's August? Because the whole idea was we were so burnt out. And I was so mad that we had to work in August because I had a friend in France,

who I would always talk to and he'd tell me about what his family would do in August. And then so we were like, well, God damn, at the last episode of the end of August needs to capture how ridiculous is that anybody is working in August, which it continues to be ridiculous that anybody is working in August. I've never even heard anyone suggest that about August. I've never heard anyone worked up about August in anything. You need to spend more time with Tim. Okay.

Let's do it. Anyway, we came up with Today's the Day to do like an episode where Pige and Alex just go outside and explore New York City for a day. And while we were making that episode, I was just kind of feeling like it's supposed to feel like a departure from a normal story. So it felt like something else about it should have a more like, I don't know, like a freeing feeling to it. Do you remember like, do you remember what it was?

Like, did I just say, can you just do like a bong hit version of Westwood? Was that all it was? That's literally, I think, the sentence. And I wrote that. That was one of the shortest it's ever taking me to write a song and I don't know why. All the short ones are the ones of people like. Wow. Yeah.

I just think this song is so beautiful. and you know what, let's just listen to more of the song. That is just the rolling foggiest music. Yeah. See, that's the thing. This is the stuff that it's like, don't you want to be able to just like throw on this like album in a year, Tim? Like, don't you want to be able to listen all this shit anytime?

Give me your address that isn't Gimlet, like right now, and you'll be in there in what, 30 seconds? That makes me very, very happy. Hey, Brickmastah, what is the best way that we should help people get their hands on your music? VanCamp. VanCamp has every album. It's something like 23 by now, I think. VanCamp is always the best place, I think, to get any artist's music.

Great. Thanks so much for chatting with us. Can't express what a pleasure it is. And also just like what a crazy pleasure it is to use your music because it's so, so fucking good. Thanks. That's really nice to talk, Gil. Great time tomorrow. Great. Perfect.

You can find Breakmaster Cylinder's music, including the 31-part BMC and Dog in Space drama that they made for the show, all at breakmastercylinder.bandcamp.com. And up next, Manuel Jochi. So I know it's a little strange, but in these last few weeks of making the show, I've been thinking a lot about my high school marching band.

My sophomore year, our band was okay. Like, we really tried our best, but at the end of the day, we were a very nerdy, pretty average marching band. When we performed at football games, it always felt like the people in the crowd watching the game merely tolerated us. Like, I even remember an occasion

where the person running the sound system just forgot we were supposed to play and started blasting, let's get it started by the black-eyed peas instead. Marching band is hard. To put on a really great show, a lot of things have to come together.

Somehow, as many as 250 people, have to figure out how to run around the field with their feet marching in time with each other, at the same time as they're making a bunch of complicated shapes and formations, all while playing their instrument, or dancing, or throwing batons and flags into the air.

And when shit goes left, it goes really left. Like, sometimes all it takes is for one person to mess up, one domino falling out of place, and the entire show can collapse. If you don't believe me, just Google 7-tuber pile-up. One of the worst things that can happen is this thing we call a tear, where whole sections of the band get completely out of sync with each other, causing chaos. Occasionally, things with my marching band would get so bad that we'd tear, and it would be

awful. We'd get really frustrated with each other as a result. I kind of wanted to quit. But then I changed my mind. It was a YouTube video that did it. A YouTube video that turned 14-year-old me into a down-bad, whole-ass marching band nerd. It's a pretty grainy video. It looks like it's shot on a flip phone. Whoever is filming is looking across a football field at a college marching band, which is standing in the beaches in this sort of half-empty stadium.

And everybody in this place is just looking at this band, waiting for what's about to happen. And then it begins. That band I was watching, at the computer in my parents' living room, the Southern University Human Juke Box, was not like my high school marching band. This was a rude, loud, beautiful black band. To the people watching and streaming their heads off in this video, in that moment, it wasn't about the football game. It was all about the band.

All about trumpets who were playing notes so high I only knew about them in theory. All about dancers that could have come straight out of Beyonce's Coachella set. It was impossible to ignore how good they were. Every part of their performance, the passion, the flair of it, told me that every single person in that band was giving everything and totally completely locked in. It made me wonder, what would it be like to be a part of something, anything like that, with so many amazing people pulling along with you, all in sync?

What did that feel like? That video so inspired me that I went from wanting to quit, band my sophomore year to being the drum major of it, my junior year. And I started sending that video and others around to a ton of people in band saying, see this? Let's be like that. That year, we worked really hard to improve. We got better at marching, played more popular music that the student section was into, you know, like, I've got a feeling by the black-eyed peas. We still messed up. We tear from time to time. But every now and then, there were these moments where every single kid would do exactly what they were supposed to do at the exact moment they were supposed

to do it. The snare line feature would be clean, the color guard would catch all their flag tosses, the brass would nail a really beautiful cold, all at the same time to create this incredible moment. I'd leave the field after a performance thinking, damn, we really kicked the living shit out of that. Ever since then, since high school, I've been chasing that feeling of being locked in. I'll stay up late at night, watching Marging band videos, discovering new performances that inspire me. Like Fairfield Central High School's band, with William Bilal on trombone, an honest-to-god classic. But I also spend a lot of time chasing that feeling in my work. Without question, there have been so many times on this show

where I've listened to something me and my colleagues have just made and heard the fingerprints of every single person involved giving absolutely everything of themselves, doing exactly what was asked of them in a way that would keep teenage me and up all night with excitement. It's made working on this show so incredibly addictive to me. I've never really spent any time listening back to our old stories, though. Because even when it felt really hard on this show, I've had faith that my craving for that feeling of being locked in for excellence will be satisfied once more. I've always believed in the ability of my co-workers to amaze me again. And they have. But now, of course, we're

leaving the so-called field for the last time. There will be no new performances. Very soon, this show will be a place I used to work. And I think then I'll listen back to what we've done here. Listen back to the times we tore apart. Listen back to the times we were locked in and feel like I'm back here again with the many people who've shared so many weird and wonderful moments with me. I'm so grateful. Thank you so much for listening. Reply All is produced by Fia Benin, Anna Foley, Lisa Wang, Sonia Dissani, Bethel-Hadte, and Kim Naderfane Peterson. It's edited by Tim Howard, Damiano Marquetti, and Aaron Edwards.

The show is hosted by Emmanuel Jochi, and me, Alex Goldman. Our intern is Sam Gabauer. They have been such a great help these past couple of months, in addition to just being very pleasant to work with, and they are looking for their next gig. Hire them. This episode was mixed by Rick Kwan, with fact-checking by Isabel Cristo,

and music and sound design by Luke Williams. You can find more of his music at luke Williamsmusic.com. Additional music by the mysterious breakmaster cylinder, Tim Howard, and Mariana Romano. You can find more of her music at marie romano.com. B.R. Special thanks to Matt Dobbin,

Brooke Watkins, John Julie, and Emily Foley, Wisdom Jochi, Heimer Powell Jochi, Amad, Julia, Harvey and Polly Goldman, Zardulu, and everyone who's worked on or appeared on this show in the last seven plus years. And a huge thank you to everyone who's listened. I'm going to miss it, and I think the rest of us are too. Take care.