WEBVTT - Introducing: Reaching Out

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<v Speaker 1>Hey everyone, it's Brian. I'm excited to share something special

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<v Speaker 1>with you today. It's a moving, one-of-a-kind podcast that stems

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<v Speaker 1>from a simple question. If you'd never met your biological father,

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<v Speaker 1>how far would you go to find him? That's the

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<v Speaker 1>heart of Reaching Out, a new podcast from Futuro and KCRW.

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<v Speaker 1>It follows Sarah Cavado's search for his father, along with

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<v Speaker 1>his twin brother, a father neither of them has ever known,

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<v Speaker 1>and everything that search starts to reveal about their family.

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<v Speaker 1>The first two episodes are out right now. Be sure

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<v Speaker 1>to find Reaching Out in your podcast feed and follow

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<v Speaker 1>it to get the rest of the episodes weekly. And

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<v Speaker 1>keep listening right now for episode one. Here's Reaching Out.

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<v Speaker 2>Join Futuro Plus for early access to the whole season,

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<v Speaker 2>ad-free listening, and exclusive bonus content for Reaching Out. Go

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<v Speaker 2>to futuromediagroup.org backslash join plus to get access today. Futuro.

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<v Speaker 2>On February 15th, 2020, Connor calls you to ask if

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<v Speaker 2>you want to look for your birth father. You do

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<v Speaker 2>not record this conversation. This is notable, if only because

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<v Speaker 2>so much of your life has been recorded. Moments far

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<v Speaker 2>less consequential than this. You're on Connor's fourth birthday. A

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<v Speaker 2>school performance. You play a scared rabbit, your only line.

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<v Speaker 3>I think we're lost.

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<v Speaker 4>Don't worry, we'll just go back to where we came.

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<v Speaker 2>Which way did we come? A house party when you

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<v Speaker 2>were 16, when you first began to record yourself.

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<v Speaker 5>These records were made because you or someone else thought

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<v Speaker 5>the moment was worth keeping.

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<v Speaker 6>A sort of prescient.

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<v Speaker 2>Act, one that assumes that you might want to return,

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<v Speaker 2>that what is captured here may hold some significance, that

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<v Speaker 2>what is remembered may cohere somehow with the story of

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<v Speaker 2>your life as you are meant to understand it. There

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<v Speaker 2>is a price for what we choose to remember and

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<v Speaker 2>what we choose to forget, for the story we make

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<v Speaker 2>of it. If you had known how this would all

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<v Speaker 2>turn out, maybe you would have recorded everything. Or if

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<v Speaker 2>you had known the cost, maybe you would not have

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<v Speaker 2>recorded anything at all. but you did not know, could

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<v Speaker 2>not have known. On February 15th, 2020, your brother calls

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<v Speaker 2>you to ask if you want to look for your

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<v Speaker 2>birth father, but there is no record of that call.

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<v Speaker 2>There is, however, a recording of the call you make

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<v Speaker 2>a few days later.

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<v Speaker 4>Hello?

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<v Speaker 6>Hey, brother.

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<v Speaker 7>Hey, what's up?

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<v Speaker 2>Nothing.

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<v Speaker 8>My phone is at 10%, by the way.

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<v Speaker 6>That's cool.

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<v Speaker 8>I don't feel like talking on the phone very long.

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<v Speaker 7>I'm tired.

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<v Speaker 3>I'm recording.

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<v Speaker 8>I hope that is okay.

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<v Speaker 2>Oh, really?

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<v Speaker 7>Okay.

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<v Speaker 5>Yeah.

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<v Speaker 3>All right.

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<v Speaker 4>That's cool.

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<v Speaker 8>Are you recording because you want to talk about dad stuff?

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<v Speaker 6>Yeah.

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<v Speaker 8>Well, not just because of that.

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<v Speaker 7>But yeah.

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<v Speaker 2>These days, you rarely know where Connor is until he's

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<v Speaker 2>already there. You call and he's in Washington with his girlfriend.

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<v Speaker 2>You call again and he's barely got service. He's trimming

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<v Speaker 2>weed in Arcata. Or he's hopped the train to the Midwest.

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<v Speaker 2>Or he's crashing on a friend's couch in Oakland.

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<v Speaker 8>Just fucking... So I'm in New Orleans right now, right?

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<v Speaker 8>You know that? You're where?

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<v Speaker 2>Right now, Connor is partying in New Orleans with his girlfriend.

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<v Speaker 2>Right now, you are pacing around your room in Harlem,

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<v Speaker 2>staring at a whiteboard where you have scribbled a list

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<v Speaker 2>of vague to-dos. Dentist, student loans, respond to email, and clean.

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<v Speaker 2>You do not bother to erase these tasks each week.

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<v Speaker 2>The tasks will remain undone, or they will be rewritten.

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<v Speaker 8>Today, me and Claire were walking to go get my bike,

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<v Speaker 8>and we walked by this guy who apparently used to

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<v Speaker 8>live here. We keep walking, and all of a sudden,

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<v Speaker 8>I hear beer steps, and.

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<v Speaker 1>I look behind.

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<v Speaker 8>He's walking really quickly to catch up with us. He's walking,

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<v Speaker 8>and he's like, you faggot. You can't bring females here.

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<v Speaker 8>What the fuck do you think you're doing? I was like,

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<v Speaker 8>it's my girlfriend. And then he kind of just Mean

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<v Speaker 8>mugged and blank stared, and then he started walking back

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<v Speaker 8>to his chair, right?

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<v Speaker 2>Connor does not like it when you point out your differences,

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<v Speaker 2>but contrast is the rightful and unavoidable dominion of twins.

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<v Speaker 2>There are superficial distinctions, the kind of differences strangers point

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<v Speaker 2>out when you inevitably pull up a photo of Connor

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<v Speaker 2>after they learn you're a twin. Your tightly coiled curls,

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<v Speaker 2>Connor's loose, wavy hair. Connor's growth spurt at 16. Your 5'7,

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<v Speaker 2>which you say is 5'8. But nothing makes you feel

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<v Speaker 2>more different from your brother than when he tells you

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<v Speaker 2>these kinds of stories. Because it is in these stories

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<v Speaker 2>that your critical difference becomes most obvious.

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<v Speaker 8>And then we keep walking. It's about like a mile

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<v Speaker 8>and a half or so back to the house. And

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<v Speaker 8>I like turn around and the fucking guy is like

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<v Speaker 8>a block away from us.

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<v Speaker 4>Whoa.

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<v Speaker 8>I just had fucking like these knives in his hand.

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<v Speaker 8>And like polishing his knives on his shirt and like

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<v Speaker 8>looking at us.

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<v Speaker 2>The critical difference between you and Connor is this. Long ago,

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<v Speaker 2>without realizing it, you chose a kind of freedom. The

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<v Speaker 2>kind that imparts stability and safety, and that you pay

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<v Speaker 2>for in unsubsidized loans, quarterly job reviews, happy hours with co-workers,

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<v Speaker 2>boring party conversation, conferences with field practitioners, mid-century modern furniture,

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<v Speaker 2>boxing classes, and dental checkups. And Connor chose a kind

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<v Speaker 2>of freedom that comes with land projects, one-off jobs at

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<v Speaker 2>biker festivals, wide-open mountain ranges from the Union Pacific Line,

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<v Speaker 2>and that he pays for in a persistent smoker's cough,

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<v Speaker 2>weeks on remote weed farms with fish fans, and being

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<v Speaker 2>pursued in New Orleans by a guy with a knife.

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<v Speaker 8>It was just like a psycho-ass move. So yeah, that

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<v Speaker 8>was crazy. That's why I was talking to you.

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<v Speaker 2>You do not return to the subject of your birth

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<v Speaker 2>father tonight. You talk about your mother. who left her

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<v Speaker 2>apartment in Oakland after they raised the rent a few

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<v Speaker 2>months ago. She's dog-sitting for strangers now to save money.

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<v Speaker 8>She's, like, talking to me about how she's, like, bouncing

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<v Speaker 8>around a bunch right now.

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<v Speaker 2>Yep.

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<v Speaker 8>Living that nomadic lifestyle, am I right?

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<v Speaker 7>Uh-huh.

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<v Speaker 2>You wrestle about timing for your next call.

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<v Speaker 8>Yeah, probably can't talk tomorrow, but I can talk sometime

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<v Speaker 8>in the next few days.

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<v Speaker 7>Tell me what time.

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<v Speaker 8>And Dave, dude, I don't have a schedule.

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<v Speaker 2>Your brother thinks you are a judgmental normie, and you

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<v Speaker 2>think he is a judgmental hobo. This is the shared

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<v Speaker 2>cost of your divergent freedoms. You both pay for your

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<v Speaker 2>choices with the degree of distance it puts between you.

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<v Speaker 2>But you do love each other, and you are trying

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<v Speaker 2>to be better, to be nicer, to be closer. This

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<v Speaker 2>routine of phone calls, which began a few months ago,

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<v Speaker 2>is your attempt.

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<v Speaker 8>I want to drink water and eat meals.

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<v Speaker 9>It's unlikely you speak about your father again, but it's

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<v Speaker 9>hard to say for sure.

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<v Speaker 2>There are no records of phone calls with Connor that

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<v Speaker 2>week or the next. You assume his impulse to look

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<v Speaker 2>for your father is a passing one. You doubt you

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<v Speaker 2>follow up. You went through your phase, of course, the

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<v Speaker 2>one that you imagine most fatherless teenagers go through. in

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<v Speaker 2>which your father's absence took on an outsized significance, in

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<v Speaker 2>which your adolescent brain dissected and disassembled its meaning in

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<v Speaker 2>relation to your sense of self? Was your fatherlessness, while

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<v Speaker 2>you felt so apart from others, was his abandonment a

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<v Speaker 2>sort of permanent wound on your psyche? Only one way

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<v Speaker 2>to find out. Write a lot of shitty poetry. None

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<v Speaker 2>of those poems are recorded, thank God. But one vestige remains.

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<v Speaker 2>a play about two boys waiting to meet their father

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<v Speaker 2>at a cafe. You wrote it when you were 17.

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<v Speaker 2>It was called, perhaps a little over-precisely, Waiting to Meet

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<v Speaker 2>Your Father, and was haltingly, painfully acted out by two

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<v Speaker 2>fellow art students.

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<v Speaker 6>What if he doesn't show?

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<v Speaker 5>He will.

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<v Speaker 6>And if he doesn't? I'll be okay.

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<v Speaker 3>I'll be okay.

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<v Speaker 2>The central tension of the play is that the two

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<v Speaker 2>boys are waiting at a cafe to meet their father

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<v Speaker 2>who they've never known. But he is running late, or

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<v Speaker 2>maybe he is standing them up. The brothers argue about

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<v Speaker 2>whether or not they should wait to find out which

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<v Speaker 2>one it is. One boy is sure it won't be

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<v Speaker 2>worth it. The other is adamant they stay.

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<v Speaker 4>Do you think about him a lot? No.

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<v Speaker 8>Do you?

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<v Speaker 1>Well, sometimes.

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<v Speaker 4>Like, we're about to fall asleep. It's usually while I'm

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<v Speaker 4>not thinking that I think about him the most. You know,

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<v Speaker 4>it's one of those things where when my mind is

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<v Speaker 4>just drifting, I'll suddenly start wondering about him. And then

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<v Speaker 4>I'll have to make myself do something to take my

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<v Speaker 4>mind off him. The more I think about trying to

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<v Speaker 4>think about him, the more I end up thinking about him.

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<v Speaker 2>In the end.

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<v Speaker 1>Let's go.

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<v Speaker 9>Are you sure?

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<v Speaker 8>Yeah.

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<v Speaker 2>Their father arrives a few moments after they walk out

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<v Speaker 2>the door. The poetry and playwriting phase was short-lived. When

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<v Speaker 2>you were 20, you wrote a radio commentary, also over-precisely titled,

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<v Speaker 2>Searching for Dad.

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<v Speaker 5>Over the last couple of years, I've found myself at

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<v Speaker 5>the computer googling my biological father's name. I'd sort through

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<v Speaker 5>the different characters that came up. There was the pastor,

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<v Speaker 5>the photographer, the game designer. I'd look at images and

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<v Speaker 5>try to recognize parts of their faces and mine, see

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<v Speaker 5>if anything about them struck me. I even had some

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<v Speaker 5>numbers I found in online directories saved under his name

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<v Speaker 5>in my phone, just in case I ever got the

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<v Speaker 5>guts to call.

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<v Speaker 2>You turned 20 the month before this commentary aired. On

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<v Speaker 2>the eve of this new decade of life, you decided

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<v Speaker 2>it was not worth it to actively think about your

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<v Speaker 2>birth father anymore. It was not cool to still feel

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<v Speaker 2>hurt about it, and so you could choose to feel nothing.

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<v Speaker 2>Whether or not you truly believed that was beside the point,

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<v Speaker 2>writing it down, recording it would remind you, and remembering

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<v Speaker 2>it would make it true. Biology may connect us, but

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<v Speaker 2>I'm a product of so much more than that. The

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<v Speaker 2>decisions I make, the family and friends I choose to

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<v Speaker 2>keep around me, those are the things that make me

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<v Speaker 2>who I am. So for me, the new year means

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<v Speaker 2>deleting those old numbers from my phone and spending more

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<v Speaker 2>time searching not for my dad, but for myself. Again,

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<v Speaker 2>a little over-precise, maybe even a little cliche. The reality is,

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<v Speaker 2>most people spend their lives searching for their parents. You

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<v Speaker 2>know people with dead parents who search for them through

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<v Speaker 2>baby photos and old letters. You know people with living

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<v Speaker 2>parents who search for them in tense dinner conversations. You

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<v Speaker 2>belong to the special sect of seeking offspring. Boys without fathers.

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<v Speaker 2>Connor wants to initiate you into the cult of boys

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<v Speaker 2>who search for those fathers. This cult, historically, mythologically, tend

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<v Speaker 2>towards self-destruction. Chariots shattered by thunderbolts, blinding themselves with golden pins.

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<v Speaker 2>wandering into Arctic tundras to self-immolate. In choosing to give

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<v Speaker 2>up your father at 20 to write the ending of

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<v Speaker 2>your story, you are avoiding this fate, and you plan

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<v Speaker 2>to continue to do so now. You will not sabotage

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<v Speaker 2>your brother's efforts, but you will not help them either.

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<v Speaker 2>So you do not follow up with Connor about looking

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<v Speaker 2>for your father, and Connor does not call. But there

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<v Speaker 2>are also no records of other calls either. If you

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<v Speaker 2>had recorded everything, You would hear three sessions here with

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<v Speaker 2>your new work-subsidized teletherapist. The first, an intake session. A concise,

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<v Speaker 2>summarized biography of your life as it relates to your

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<v Speaker 2>inner problems. You make radio documentaries. You won some awards

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<v Speaker 2>for this last year. Wow, hold on, one second. There

0:13:03.910 --> 0:13:05.710
<v Speaker 2>are two parts to this speech and I was going

0:13:05.730 --> 0:13:07.710
<v Speaker 2>to keep it short, but what the hell, I got gold, so.

0:13:10.750 --> 0:13:14.380
<v Speaker 2>You crave the attention and acknowledgement, and it also repulses you.

0:13:15.530 --> 0:13:17.859
<v Speaker 2>You work at the biggest newspaper in the world, at

0:13:17.920 --> 0:13:21.060
<v Speaker 2>one of the biggest shows in the country. Lately, you've

0:13:21.080 --> 0:13:24.340
<v Speaker 2>been leaving early to see if anyone notices. They don't.

0:13:28.460 --> 0:13:30.599
<v Speaker 2>You were raised by a loving single mother in the

0:13:30.640 --> 0:13:41.020
<v Speaker 2>Bay Area. You would hear yourself tell your teletherapist that

0:13:41.040 --> 0:13:43.350
<v Speaker 2>your birth father left before you were born and you've

0:13:43.370 --> 0:13:46.089
<v Speaker 2>never met him. That you suspect, based on nothing more

0:13:46.130 --> 0:13:49.130
<v Speaker 2>than an elementary understanding of Freud and a few Instagram

0:13:49.150 --> 0:13:51.780
<v Speaker 2>therapy videos, that this is the root of some of

0:13:51.820 --> 0:13:58.220
<v Speaker 2>your problems. Daddy issues. You have a twin brother. But

0:13:58.240 --> 0:14:00.939
<v Speaker 2>you're not identical. You probably make the same joke you

0:14:00.960 --> 0:14:04.700
<v Speaker 2>always do. That you're sorry to disappoint your therapist. People

0:14:04.740 --> 0:14:06.620
<v Speaker 2>are always more excited when they think there's some other

0:14:06.640 --> 0:14:10.600
<v Speaker 2>version of you out there. Most relevant to your teletherapist,

0:14:11.300 --> 0:14:13.890
<v Speaker 2>what you would like to fix about yourself. It is

0:14:13.929 --> 0:14:17.670
<v Speaker 2>mostly one thing, which you are almost embarrassed to admit.

0:14:18.730 --> 0:14:21.700
<v Speaker 2>You have the sneaking suspicion that you will never fall

0:14:21.750 --> 0:14:25.780
<v Speaker 2>in love. Then you would hear the second session. In

0:14:25.820 --> 0:14:28.620
<v Speaker 2>this recording, you would hear your teletherapist say that she

0:14:28.660 --> 0:14:31.580
<v Speaker 2>gets clients like you all the time, who have succeeded

0:14:31.640 --> 0:14:35.260
<v Speaker 2>by every other metric in their lives except love. You

0:14:35.280 --> 0:14:39.190
<v Speaker 2>would hear your equivocal, unsure if that assessment makes you

0:14:39.230 --> 0:14:42.200
<v Speaker 2>feel better or worse. That your failure is not unique,

0:14:42.520 --> 0:14:45.020
<v Speaker 2>but a species of pain felt by other people who

0:14:45.040 --> 0:14:49.140
<v Speaker 2>pay for therapy offered on discount in podcast commercials. You

0:14:49.160 --> 0:14:51.480
<v Speaker 2>can hear her fumbling plates beneath a running faucet in

0:14:51.500 --> 0:14:55.370
<v Speaker 2>the background as you describe your last relationship. She tells you,

0:14:56.010 --> 0:14:58.730
<v Speaker 2>you think, perhaps a little quick to the draw, that

0:14:58.850 --> 0:15:03.550
<v Speaker 2>it sounds emotionally abusive. Then you would hear the third session,

0:15:03.970 --> 0:15:07.000
<v Speaker 2>in which her voice sounds diffuse and distant. You will

0:15:07.040 --> 0:15:09.160
<v Speaker 2>eventually figure out it is because she is speaking to

0:15:09.200 --> 0:15:12.140
<v Speaker 2>you from her car and you are on speakerphone. You

0:15:12.180 --> 0:15:15.360
<v Speaker 2>imagine her kids sitting silently in the backseat, listening in

0:15:15.420 --> 0:15:17.890
<v Speaker 2>as you talk about this mysterious illness all over the news.

0:15:18.890 --> 0:15:21.210
<v Speaker 2>Your job sent you home a few days ago. There

0:15:21.230 --> 0:15:23.550
<v Speaker 2>are rumors there's going to be a state of emergency soon.

0:15:24.490 --> 0:15:26.110
<v Speaker 2>She ends the call by telling you that she has

0:15:26.150 --> 0:15:28.950
<v Speaker 2>decided to step away from her practice, to focus on

0:15:28.990 --> 0:15:53.200
<v Speaker 2>her family in this uncertain moment. The memories of the

0:15:53.260 --> 0:15:55.859
<v Speaker 2>first months of the pandemic are stored data points in

0:15:55.900 --> 0:15:58.640
<v Speaker 2>your phone. Nike says you run 51.8 miles in the

0:15:58.700 --> 0:16:02.810
<v Speaker 2>first three months. Quit smoking says you managed to stop

0:16:02.870 --> 0:16:06.710
<v Speaker 2>for that same period of time. Otherwise, the only reliable

0:16:06.770 --> 0:16:09.290
<v Speaker 2>testament of this time are the recordings you make of

0:16:09.340 --> 0:16:10.030
<v Speaker 2>your phone calls.

0:16:10.720 --> 0:16:12.740
<v Speaker 8>By the way, do you mind if I record our conversation?

0:16:12.820 --> 0:16:16.560
<v Speaker 7>I'm recording all of my quarantine combos.

0:16:16.780 --> 0:16:17.860
<v Speaker 8>By the way, I'm recording.

0:16:17.940 --> 0:16:20.739
<v Speaker 3>I've decided I'm going to start recording all my conversations

0:16:20.800 --> 0:16:21.760
<v Speaker 3>because this seems like a moment.

0:16:22.260 --> 0:16:24.380
<v Speaker 2>You tell yourself that it is for a project you

0:16:24.420 --> 0:16:26.220
<v Speaker 2>hope to make about this historic moment.

0:16:26.810 --> 0:16:29.230
<v Speaker 7>Didn't touch my grandparents, obviously.

0:16:29.250 --> 0:16:30.610
<v Speaker 8>Although I did.

0:16:30.510 --> 0:16:33.490
<v Speaker 7>Find out that my grandpa went to 7-Eleven to get

0:16:33.530 --> 0:16:36.240
<v Speaker 7>a Pepsi. I had kind of a panic attack and

0:16:36.270 --> 0:16:39.030
<v Speaker 7>I realized that I had like a very small window

0:16:39.050 --> 0:16:41.150
<v Speaker 7>of time to decide whether or not I was going

0:16:41.170 --> 0:16:44.320
<v Speaker 7>to stay here or try to get home. Whatever, if

0:16:44.340 --> 0:16:45.980
<v Speaker 7>you want to get sick, but homie, if you get

0:16:46.020 --> 0:16:47.740
<v Speaker 7>my grandma sick, I'll kill you.

0:16:48.000 --> 0:16:53.140
<v Speaker 3>Yeah, that's, uh, it's... You and.

0:16:53.100 --> 0:16:55.700
<v Speaker 2>Connor call with the same tepid frequency as before the

0:16:55.740 --> 0:16:59.590
<v Speaker 2>state of emergency Connor's back in Washington now with his girlfriend.

0:16:59.610 --> 0:17:06.810
<v Speaker 2>He doesn't speak about looking for your birth father again,

0:17:07.250 --> 0:17:10.490
<v Speaker 2>and you don't bring it up. Flights are almost completely grounded.

0:17:10.970 --> 0:17:13.720
<v Speaker 2>You can't leave your house, much less the state. And

0:17:13.740 --> 0:17:16.400
<v Speaker 2>in this moment, you are both more focused on making

0:17:16.440 --> 0:17:20.080
<v Speaker 2>life bearable, building fortresses of routine to keep the mania

0:17:20.180 --> 0:17:30.250
<v Speaker 2>of your confinement from creeping in. Also in the recordings,

0:17:30.770 --> 0:17:33.150
<v Speaker 2>phone calls with your mom and her best friend, Michelle,

0:17:33.609 --> 0:17:36.850
<v Speaker 2>who you call Auntie and Cat Head. Your mom has

0:17:36.869 --> 0:17:39.760
<v Speaker 2>been living with Michelle in Portland since quarantine began.

0:17:39.780 --> 0:17:41.020
<v Speaker 7>Hi, Mommy.

0:17:41.100 --> 0:17:41.830
<v Speaker 6>How are you?

0:17:42.520 --> 0:17:45.840
<v Speaker 7>Hello. I'm back. Your mommy's back. She's here.

0:17:45.880 --> 0:17:46.180
<v Speaker 6>You're back.

0:17:46.200 --> 0:17:46.640
<v Speaker 7>She's here.

0:17:47.060 --> 0:17:49.940
<v Speaker 2>You think maybe you'll transcribe these recordings and complete a

0:17:49.960 --> 0:17:53.330
<v Speaker 2>screenplay about Mom and Michelle's adventures as strippers in the

0:17:53.670 --> 0:17:55.590
<v Speaker 2>80s at the Century Club in San Francisco.

0:17:56.170 --> 0:18:00.410
<v Speaker 7>So does it go from bear to otter and then

0:18:00.450 --> 0:18:01.350
<v Speaker 7>to something else?

0:18:02.390 --> 0:18:04.830
<v Speaker 8>It's not like an evolution.

0:18:04.890 --> 0:18:05.890
<v Speaker 7>It's just different groups.

0:18:07.890 --> 0:18:08.230
<v Speaker 3>Okay.

0:18:08.250 --> 0:18:10.560
<v Speaker 7>Twinks are a totally different category, right?

0:18:11.520 --> 0:18:14.480
<v Speaker 2>This is your favorite kind of call. You get stoned

0:18:14.520 --> 0:18:16.399
<v Speaker 2>and curl up in bed with the phone balanced on

0:18:16.440 --> 0:18:20.600
<v Speaker 2>your cheek. You are still at 27, like most children.

0:18:21.320 --> 0:18:23.379
<v Speaker 2>You like to hear stories of the world before you

0:18:23.400 --> 0:18:26.410
<v Speaker 2>were in it. of your mother before she was your mother.

0:18:27.330 --> 0:18:30.170
<v Speaker 3>Tell me about what my mom was like when you

0:18:30.270 --> 0:18:31.110
<v Speaker 3>first met her.

0:18:34.490 --> 0:18:36.360
<v Speaker 7>We were just talking about this the other night, actually.

0:18:36.380 --> 0:18:39.940
<v Speaker 7>I was working at The Century before she came there.

0:18:39.960 --> 0:18:44.179
<v Speaker 7>And so she was new, so I was curious. And

0:18:44.200 --> 0:18:49.889
<v Speaker 7>she seemed a bit reserved and a little standoffish. And so,

0:18:50.090 --> 0:18:52.149
<v Speaker 7>so one day I finally got my ketchup and I

0:18:52.170 --> 0:18:56.030
<v Speaker 7>was like, where are you from? And she goes, El Salvador.

0:18:56.430 --> 0:18:59.730
<v Speaker 7>But then I said, oh, well, like you're so pretty

0:18:59.750 --> 0:19:02.410
<v Speaker 7>or something. And then she goes, oh, well, you're really

0:19:02.450 --> 0:19:02.990
<v Speaker 7>pretty too.

0:19:04.150 --> 0:19:06.750
<v Speaker 2>You've learned your mother's story in pieces over years of

0:19:06.790 --> 0:19:09.230
<v Speaker 2>your adulthood. And then all at once when you made

0:19:09.280 --> 0:19:12.920
<v Speaker 2>a documentary about her a few years ago. Her schizophrenic mother,

0:19:13.359 --> 0:19:18.100
<v Speaker 2>her alcoholic father, her molester grandfather. She ran away. And

0:19:18.119 --> 0:19:21.440
<v Speaker 2>so she has no records. No photo albums, no videos,

0:19:21.980 --> 0:19:24.500
<v Speaker 2>no trace of her childhood, and no family to ask.

0:19:25.500 --> 0:19:28.500
<v Speaker 2>Michelle is the closest witness that you have to her life.

0:19:29.140 --> 0:19:31.300
<v Speaker 7>The thing I remember also is that she was kind

0:19:31.359 --> 0:19:34.050
<v Speaker 7>of the grown-up out of all of, like, the girls

0:19:34.119 --> 0:19:36.230
<v Speaker 7>that I knew and hung out with. She'd been on

0:19:36.270 --> 0:19:38.750
<v Speaker 7>her own longer, too, because, like, I left home at 17,

0:19:38.750 --> 0:19:41.290
<v Speaker 7>but she was, like, on her own at 15.

0:19:41.290 --> 0:19:44.609
<v Speaker 2>Your mother's life is a constellation. Points of interest float

0:19:44.650 --> 0:19:48.050
<v Speaker 2>out there in the vast darkness. She or Michelle, at will,

0:19:48.630 --> 0:19:51.720
<v Speaker 2>pluck these details from the void. And they become images,

0:19:52.100 --> 0:19:55.040
<v Speaker 2>and then stories. Like the expensive condo she lived in

0:19:55.080 --> 0:19:59.010
<v Speaker 2>before you were born. Her twin Siamese cats, Hades and Persephone.

0:19:59.030 --> 0:20:02.530
<v Speaker 7>Or the aquarium full of exotic fish, shattered by the

0:20:02.590 --> 0:20:05.410
<v Speaker 7>earthquake in 89.

0:20:09.470 --> 0:20:12.510
<v Speaker 2>Or the other dancers, the girlfriend of a famous rock star,

0:20:13.050 --> 0:20:17.429
<v Speaker 2>a girl cruelly nicknamed Pincushion for her favorite vice. Or

0:20:17.490 --> 0:20:20.450
<v Speaker 2>Lady T, who wore a steward's uniform for her set,

0:20:21.150 --> 0:20:23.530
<v Speaker 2>plane crashes projecting behind her as she danced.

0:20:24.290 --> 0:20:25.750
<v Speaker 8>And what did you dance to?

0:20:25.890 --> 0:20:27.210
<v Speaker 2>And what did my mom dance to?

0:20:28.230 --> 0:20:31.149
<v Speaker 7>I would dance to Bob Dylan a lot, actually. So

0:20:31.190 --> 0:20:32.070
<v Speaker 7>did your mom.

0:20:32.570 --> 0:20:36.910
<v Speaker 6>Well, yeah, but his Christian album. I'm going to scandalize

0:20:36.950 --> 0:20:42.910
<v Speaker 6>your nephew now. Your auntie did, like, the schoolgirl thing.

0:20:42.990 --> 0:20:43.770
<v Speaker 6>Let's just be honest.

0:20:43.830 --> 0:20:44.629
<v Speaker 7>Let's just be honest.

0:20:44.670 --> 0:20:44.990
<v Speaker 4>Yeah.

0:20:45.930 --> 0:20:50.740
<v Speaker 8>Yeah. Creepy, but I won't think about that.

0:20:50.880 --> 0:20:51.140
<v Speaker 3>I know.

0:20:51.160 --> 0:20:54.460
<v Speaker 7>When you think about it, it's super creepy. I want

0:20:54.500 --> 0:20:55.899
<v Speaker 7>to warn you that my phone is.

0:20:56.320 --> 0:20:56.679
<v Speaker 8>You know what?

0:20:56.700 --> 0:20:58.859
<v Speaker 7>I'm going to go upstairs and get the cord.

0:20:59.060 --> 0:21:01.359
<v Speaker 6>But I have to look at this message from your brother.

0:21:02.180 --> 0:21:04.200
<v Speaker 7>Okay, now's your chance, Sarah. Your mom's going upstairs.

0:21:06.200 --> 0:21:06.700
<v Speaker 2>No, Chris.

0:21:10.320 --> 0:21:17.270
<v Speaker 8>What is her, what are her, oh, did you ever

0:21:17.310 --> 0:21:18.210
<v Speaker 8>meet my birth father?

0:21:18.230 --> 0:21:19.670
<v Speaker 7>Yeah.

0:21:20.950 --> 0:21:22.490
<v Speaker 3>And what was your general impression?

0:21:24.270 --> 0:21:27.379
<v Speaker 7>He was okay. I only met your birth father a

0:21:27.440 --> 0:21:30.240
<v Speaker 7>couple of times. I remember I met him once at

0:21:30.280 --> 0:21:36.680
<v Speaker 7>the Zeitgeist, and he was really hella tall, for one thing.

0:21:37.890 --> 0:21:40.250
<v Speaker 7>He was cute. He was, like, handsome.

0:21:40.930 --> 0:21:44.050
<v Speaker 2>Your mother is not exactly withholding about your father. She

0:21:44.270 --> 0:21:46.929
<v Speaker 2>answers the questions if you ask them, which you did

0:21:46.970 --> 0:21:50.379
<v Speaker 2>a lot when you were a teenager. Your origin story

0:21:50.460 --> 0:21:55.139
<v Speaker 2>has remained consistent, but unsatisfyingly brief. Your father was a

0:21:55.180 --> 0:21:58.320
<v Speaker 2>line cook. He played in a rockabilly band. They met

0:21:58.400 --> 0:22:00.940
<v Speaker 2>at a bar called the Zeitgeist, dated for a while.

0:22:01.460 --> 0:22:04.119
<v Speaker 2>She got pregnant. He wasn't ready to be a father.

0:22:04.780 --> 0:22:07.890
<v Speaker 2>She decided to keep you. For a while, she exchanged

0:22:07.930 --> 0:22:10.669
<v Speaker 2>letters with his mother, but she was always justifying his

0:22:10.710 --> 0:22:13.169
<v Speaker 2>choice to not be involved in your lives, so they

0:22:13.190 --> 0:22:17.290
<v Speaker 2>stopped communicating. Your mother tells you his name, but can't

0:22:17.310 --> 0:22:18.370
<v Speaker 2>remember how it's spelled.

0:22:19.210 --> 0:22:21.189
<v Speaker 7>Yeah, so I met him a couple of times. I thought,

0:22:21.230 --> 0:22:22.870
<v Speaker 7>I mean, he seemed nice. He was nice to me.

0:22:22.890 --> 0:22:24.070
<v Speaker 6>He was polite.

0:22:24.090 --> 0:22:25.949
<v Speaker 7>He was, like, clearly trying to, like, make a good

0:22:25.970 --> 0:22:29.030
<v Speaker 7>impression on me because I was, like, your mom's friend. Yeah,

0:22:29.390 --> 0:22:30.669
<v Speaker 7>and he was just, he was very tall.

0:22:31.450 --> 0:22:33.690
<v Speaker 2>What you've learned by this point, having just turned 27

0:22:33.690 --> 0:22:36.889
<v Speaker 2>a few months ago, is that the stories most adults

0:22:36.930 --> 0:22:40.790
<v Speaker 2>make of their lives are brief and unsatisfying. Because most

0:22:40.830 --> 0:22:44.409
<v Speaker 2>adult lives are full of false starts, abrupt endings, and

0:22:44.470 --> 0:22:48.580
<v Speaker 2>omissions both purposeful and accidental. And so that your aunt's

0:22:48.630 --> 0:22:52.760
<v Speaker 2>recollection comes down to, tall and nice, is not exactly surprising,

0:22:53.320 --> 0:22:56.500
<v Speaker 2>as much as fairly consistent with the blunted, uneven shapes

0:22:56.720 --> 0:22:57.740
<v Speaker 2>of most people's lives.

0:22:58.760 --> 0:23:00.419
<v Speaker 8>You're not feeling depressed there?

0:23:01.660 --> 0:23:01.920
<v Speaker 3>Mm-mm.

0:23:04.760 --> 0:23:05.080
<v Speaker 6>Okay.

0:23:08.060 --> 0:23:11.359
<v Speaker 2>Weeks and months pass like this, signals bouncing back and

0:23:11.400 --> 0:23:14.720
<v Speaker 2>forth across phone lines and cell towers and fiber optic cables.

0:23:15.260 --> 0:23:19.700
<v Speaker 2>July now, and you've stopped running, started smoking again. Most

0:23:19.720 --> 0:23:24.040
<v Speaker 2>of this time is spent getting high, masturbating, and scrolling

0:23:24.100 --> 0:23:24.740
<v Speaker 2>on Instagram.

0:23:25.680 --> 0:23:27.960
<v Speaker 5>How did we drink all of that aguardiente and I

0:23:28.000 --> 0:23:31.300
<v Speaker 5>felt like completely sober and hugely hungover the next day?

0:23:32.420 --> 0:23:35.340
<v Speaker 2>If you're not alone, you're drinking on your roof with friends.

0:23:36.740 --> 0:23:39.859
<v Speaker 9>I haven't showered in days.

0:23:39.880 --> 0:23:40.919
<v Speaker 1>I was that way this morning, and.

0:23:40.880 --> 0:23:43.280
<v Speaker 2>Then I finally took a shower. The new world permeates

0:23:43.320 --> 0:23:47.420
<v Speaker 2>daily life, but more as a passing gesture. It makes

0:23:47.440 --> 0:23:47.900
<v Speaker 2>me feel better.

0:23:47.980 --> 0:23:49.850
<v Speaker 1>I have no sense of smell, so I can't smell you.

0:23:49.869 --> 0:23:51.750
<v Speaker 2>You got the Rona? No, I didn't have a sense

0:23:51.770 --> 0:23:52.330
<v Speaker 2>of smell.

0:23:52.369 --> 0:23:54.510
<v Speaker 8>You got the Rona, you fucker.

0:23:54.609 --> 0:23:59.690
<v Speaker 9>I ain't gonna let you go that easy.

0:23:59.850 --> 0:24:02.430
<v Speaker 1>You can't say you love me too.

0:24:02.510 --> 0:24:06.219
<v Speaker 2>But to get that love. Your life is reduced to

0:24:06.260 --> 0:24:11.640
<v Speaker 2>a crude hierarchy of habits, routines, and immediate pleasures. Strangely,

0:24:12.160 --> 0:24:16.530
<v Speaker 2>it feels no different from your life before. Only smaller. Yeah,

0:24:16.670 --> 0:24:19.570
<v Speaker 2>fuck it with your head.

0:24:19.650 --> 0:24:22.530
<v Speaker 9>Don't you miss your ex now?

0:24:24.010 --> 0:24:26.030
<v Speaker 2>The last time you saw your ex was on your

0:24:26.270 --> 0:24:28.929
<v Speaker 2>27th birthday. You were shouting at one another beneath the

0:24:28.970 --> 0:24:32.919
<v Speaker 2>rattling viaduct of the M-Line. The high of the evening's drugs,

0:24:33.200 --> 0:24:37.510
<v Speaker 2>long worn into a bleary, agitated kind of attention. Your

0:24:37.550 --> 0:24:40.489
<v Speaker 2>ex shouting, it's been two years. You need to get

0:24:40.550 --> 0:24:43.310
<v Speaker 2>over me. I got over you in a week. I

0:24:43.330 --> 0:24:46.090
<v Speaker 2>know you said, I know, even though you didn't know.

0:24:46.109 --> 0:24:49.810
<v Speaker 2>He texted you recently to ask how you're holding up

0:24:49.890 --> 0:24:54.190
<v Speaker 2>in lockdown. You told him you need space, but not

0:24:54.270 --> 0:24:57.350
<v Speaker 2>that you have decided to move to Los Angeles. By

0:24:57.369 --> 0:25:00.090
<v Speaker 2>the end of July, you found an apartment there. You

0:25:00.109 --> 0:25:03.699
<v Speaker 2>quit your job, You pack your belongings into seven 24x18

0:25:04.220 --> 0:25:07.959
<v Speaker 2>cardboard boxes and load them onto a Greyhound bus. You

0:25:08.020 --> 0:25:10.340
<v Speaker 2>leave what won't fit or isn't worth the charge for

0:25:10.420 --> 0:25:13.420
<v Speaker 2>extra weight. On the curb in front of your apartment,

0:25:14.040 --> 0:25:17.670
<v Speaker 2>talismans of regret. The skateboard you bought with your ex.

0:25:18.290 --> 0:25:20.750
<v Speaker 2>A wilting palm tree you forgot to water. A stack

0:25:20.770 --> 0:25:24.050
<v Speaker 2>of books you never got around to reading. A friend

0:25:24.150 --> 0:25:26.370
<v Speaker 2>once told you that in a good story, the ending

0:25:26.410 --> 0:25:29.500
<v Speaker 2>feels inevitable. that by the time you arrive there, you

0:25:29.520 --> 0:25:31.850
<v Speaker 2>have this feeling that the events preceding it and where

0:25:31.869 --> 0:25:35.730
<v Speaker 2>they lead could not have happened any other way. This

0:25:35.790 --> 0:25:37.570
<v Speaker 2>is how you feel the night before you leave New

0:25:37.609 --> 0:25:41.390
<v Speaker 2>York City. You have reached your inevitable end here, which

0:25:41.430 --> 0:25:43.770
<v Speaker 2>means you might actually have a chance to start again.

0:26:07.650 --> 0:26:10.160
<v Speaker 2>In the first two months of your arrival to Los Angeles,

0:26:10.700 --> 0:26:15.480
<v Speaker 2>katabatic winds, dry lightning, a gender-reveal pyrotechnic, and an arsonist

0:26:15.840 --> 0:26:18.320
<v Speaker 2>ignite a series of fires that turn the sky's slate

0:26:18.380 --> 0:26:21.980
<v Speaker 2>with ash. Every surface is slick with a fine film,

0:26:22.460 --> 0:26:24.990
<v Speaker 2>including the sun, which is now a matte red hole

0:26:25.050 --> 0:26:28.370
<v Speaker 2>in the sky. You learn that here in Los Angeles,

0:26:28.770 --> 0:26:31.770
<v Speaker 2>seasons are divided between dry or wet. which makes it

0:26:31.830 --> 0:26:35.369
<v Speaker 2>harder to distinguish the passing of time. The shorthand of

0:26:35.410 --> 0:26:38.270
<v Speaker 2>the world stutters in place, but you trace the nearly

0:26:38.310 --> 0:26:41.830
<v Speaker 2>imperceptible movement of the long hand by observing the pomegranate

0:26:41.869 --> 0:26:45.740
<v Speaker 2>tree outside your living room window. When you arrive in July,

0:26:46.180 --> 0:26:49.859
<v Speaker 2>the bulbs are pink, dwarfed by pale crowns. By the

0:26:49.920 --> 0:26:53.540
<v Speaker 2>end of September, they are ruby red and fat, branches

0:26:53.600 --> 0:26:54.540
<v Speaker 2>sagging under their weight.

0:27:06.130 --> 0:27:06.370
<v Speaker 3>Hey.

0:27:08.050 --> 0:27:08.230
<v Speaker 4>Hi.

0:27:08.250 --> 0:27:10.310
<v Speaker 2>Hey, can you hear me?

0:27:11.410 --> 0:27:11.820
<v Speaker 7>I can.

0:27:11.840 --> 0:27:13.580
<v Speaker 2>Okay, cool.

0:27:14.300 --> 0:27:17.580
<v Speaker 3>I'm sorry I didn't call you earlier. I totally set

0:27:17.600 --> 0:27:18.080
<v Speaker 3>my mind.

0:27:19.400 --> 0:27:21.820
<v Speaker 2>Connor is driving his truck up and down the Pacific

0:27:21.859 --> 0:27:24.830
<v Speaker 2>Coast Highway. He's waiting to be called into the fires.

0:27:25.490 --> 0:27:27.730
<v Speaker 2>You ask him to start recording himself while he's waiting.

0:27:28.270 --> 0:27:31.070
<v Speaker 2>You think maybe he'll make a project about seasonal firefighters.

0:27:31.550 --> 0:27:33.609
<v Speaker 3>Do you want to record me right now instead of

0:27:33.670 --> 0:27:34.669
<v Speaker 3>me doing everything?

0:27:35.950 --> 0:27:37.080
<v Speaker 2>I'm recording you right now.

0:27:38.400 --> 0:27:38.820
<v Speaker 4>Oh, you are?

0:27:38.840 --> 0:27:39.879
<v Speaker 6>Yeah.

0:27:39.900 --> 0:27:41.360
<v Speaker 4>Oh, good.

0:27:41.400 --> 0:27:43.119
<v Speaker 8>Because I didn't want to do it.

0:27:45.260 --> 0:27:46.399
<v Speaker 6>Well, you should still record.

0:27:46.420 --> 0:27:47.680
<v Speaker 7>I still want you to record yourself.

0:27:48.119 --> 0:27:49.680
<v Speaker 1>It can be very therapeutic, you know.

0:27:50.820 --> 0:27:51.320
<v Speaker 8>Yeah, I know.

0:27:52.280 --> 0:27:54.920
<v Speaker 2>If Connor is lucky, he'll get a call and spend

0:27:54.960 --> 0:27:58.179
<v Speaker 2>a few weeks or months digging long ditches, lines to

0:27:58.200 --> 0:28:01.969
<v Speaker 2>contain fires. But so far, nobody has called, and he's

0:28:02.010 --> 0:28:03.410
<v Speaker 2>spent the summer sleeping in his truck.

0:28:04.930 --> 0:28:05.950
<v Speaker 7>Well, I guess I'll let you go.

0:28:08.170 --> 0:28:08.730
<v Speaker 1>Are you sure?

0:28:08.750 --> 0:28:09.850
<v Speaker 8>Are you feeling okay?

0:28:11.010 --> 0:28:17.660
<v Speaker 7>Yeah, I'm fine. I fixed my radio yesterday.

0:28:17.680 --> 0:28:24.380
<v Speaker 3>Well, are things going okay? They're okay.

0:28:26.359 --> 0:28:26.959
<v Speaker 8>It's fine.

0:28:26.980 --> 0:28:28.720
<v Speaker 7>It's okay.

0:28:30.140 --> 0:28:30.480
<v Speaker 3>Okay.

0:28:30.580 --> 0:28:31.040
<v Speaker 2>Love you, brother.

0:28:31.060 --> 0:28:32.510
<v Speaker 3>Love you, too.

0:28:32.770 --> 0:28:32.940
<v Speaker 4>Bye.

0:28:39.270 --> 0:28:42.630
<v Speaker 2>By October, the birds have hollowed out the pomegranates. The

0:28:42.670 --> 0:28:45.660
<v Speaker 2>empty shells sway lazily on the branches like paper ornaments.

0:28:46.540 --> 0:28:49.120
<v Speaker 2>You are surprised to find that your next-door neighbors, a

0:28:49.160 --> 0:28:52.720
<v Speaker 2>young white couple, rarely return your greetings. You live in

0:28:52.760 --> 0:28:56.370
<v Speaker 2>the heart of a gentrifying Central American neighborhood. When you

0:28:56.380 --> 0:28:58.510
<v Speaker 2>speak to the cashier at the corner store in Spanish,

0:28:58.990 --> 0:29:01.890
<v Speaker 2>she responds in English. You want to tell her that

0:29:01.910 --> 0:29:04.290
<v Speaker 2>you're not like the rest of them. Your grandmother is

0:29:04.350 --> 0:29:06.800
<v Speaker 2>from Santa Ana, You couldn't have afforded to live here

0:29:06.840 --> 0:29:09.580
<v Speaker 2>a few years ago. You moved here to be closer

0:29:09.620 --> 0:29:12.440
<v Speaker 2>to something. You're just not sure what or how.

0:29:14.720 --> 0:29:16.140
<v Speaker 9>I just thought about.

0:29:15.790 --> 0:29:23.030
<v Speaker 2>The fact that I'm hungover and in a pandemic. Friends

0:29:23.070 --> 0:29:26.390
<v Speaker 2>visit on occasion, but mostly you are alone.

0:29:29.520 --> 0:29:29.940
<v Speaker 4>Anyways.

0:29:31.680 --> 0:29:34.780
<v Speaker 2>Your ex is dating someone new. You see on Instagram

0:29:34.800 --> 0:29:37.320
<v Speaker 2>that they've adopted a dog. There's no one to share

0:29:37.340 --> 0:29:40.440
<v Speaker 2>this news with. Your friends think you're over it. which

0:29:40.480 --> 0:29:43.360
<v Speaker 2>you are. But he's your only ex, which gives the

0:29:43.400 --> 0:29:47.540
<v Speaker 2>possibility of his happiness without you a cold clarity. Maybe

0:29:47.580 --> 0:29:49.870
<v Speaker 2>the reason you will never fall in love is that

0:29:49.880 --> 0:29:52.830
<v Speaker 2>your ex saw something in you which made love impossible.

0:29:54.010 --> 0:29:55.650
<v Speaker 2>That you needed it more than other people.

0:29:57.490 --> 0:29:59.790
<v Speaker 8>Happy birthday.

0:30:02.350 --> 0:30:10.170
<v Speaker 2>You turn 28. The pomegranate tree dormant in your window.

0:30:15.350 --> 0:30:18.410
<v Speaker 2>The long hand of the world lurches forward, and the

0:30:18.450 --> 0:30:52.530
<v Speaker 2>short one trembles. On April 18th, 2021, a little over

0:30:52.570 --> 0:30:54.470
<v Speaker 2>a year after he first calls you to ask to

0:30:54.490 --> 0:30:57.910
<v Speaker 2>look for your father, Connor texts you a series of screenshots.

0:30:58.450 --> 0:31:00.730
<v Speaker 2>They're of an exchange between him and someone from a

0:31:00.770 --> 0:31:04.750
<v Speaker 2>DNA testing website, a distant relative. You bought a kit

0:31:04.790 --> 0:31:06.840
<v Speaker 2>for your family a few years ago and forgot about it.

0:31:07.850 --> 0:31:10.170
<v Speaker 2>In the exchange, Connor asks if there's someone in this

0:31:10.210 --> 0:31:14.410
<v Speaker 2>distant relative's family with your birth father's name. Yes, in fact,

0:31:14.470 --> 0:31:18.110
<v Speaker 2>says the stranger. A few days later, Connor receives your

0:31:18.130 --> 0:31:22.370
<v Speaker 2>birth father's first, middle, and last name. For the first time,

0:31:22.990 --> 0:31:26.550
<v Speaker 2>spelled correctly. When you search your birth father's name in

0:31:26.570 --> 0:31:30.380
<v Speaker 2>public records, it returns a result in Los Angeles, in

0:31:30.390 --> 0:31:32.130
<v Speaker 2>a suburb 40 minutes away from you.

0:31:33.100 --> 0:31:34.040
<v Speaker 3>I mean, how do you feel about it?

0:31:35.660 --> 0:31:36.480
<v Speaker 9>I feel good about it.

0:31:36.760 --> 0:31:39.140
<v Speaker 3>Yeah, I feel good about it.

0:31:39.240 --> 0:31:42.440
<v Speaker 8>For me, I feel like the first day that we

0:31:42.460 --> 0:31:45.820
<v Speaker 8>kind of got the info, I was like, I'm kind

0:31:45.860 --> 0:31:46.440
<v Speaker 8>of excited.

0:31:47.320 --> 0:31:49.300
<v Speaker 2>It has been a long time since you've heard Connor

0:31:49.420 --> 0:31:54.070
<v Speaker 2>excited about anything. It's sweet and unnerving. To say no

0:31:54.110 --> 0:31:56.870
<v Speaker 2>would be disappointing for him, a betrayal of your attempts

0:31:56.910 --> 0:32:00.410
<v Speaker 2>towards closeness. But the thought of meeting your birth father

0:32:00.510 --> 0:32:03.710
<v Speaker 2>inspires very little feeling in you, besides a nascent hope

0:32:04.050 --> 0:32:07.050
<v Speaker 2>that you might finally finish a project, something you failed

0:32:07.090 --> 0:32:09.850
<v Speaker 2>to do with your pandemic phone calls or your stripper

0:32:09.870 --> 0:32:12.500
<v Speaker 2>screenplay or seasonal firefighter project.

0:32:13.320 --> 0:32:15.160
<v Speaker 3>I mean, do you feel like that, like if you

0:32:15.180 --> 0:32:18.540
<v Speaker 3>met him, that you feel like you won't get anything

0:32:18.600 --> 0:32:18.970
<v Speaker 3>out of it?

0:32:18.980 --> 0:32:22.860
<v Speaker 8>I guess I'm just trying to figure out like what,

0:32:24.830 --> 0:32:26.290
<v Speaker 8>you know, like I feel like we're both.

0:32:26.150 --> 0:32:29.500
<v Speaker 7>Almost 30, you know? You know, like, what is this

0:32:29.540 --> 0:32:31.460
<v Speaker 7>guy going to tell us about ourselves that we.

0:32:31.400 --> 0:32:32.180
<v Speaker 4>Don't already know?

0:32:32.200 --> 0:32:35.370
<v Speaker 3>I hear you, because it's, like, I'm not interested. It's, like,

0:32:35.390 --> 0:32:38.810
<v Speaker 3>I don't really give a shit about... I mean, I

0:32:39.010 --> 0:32:39.630
<v Speaker 3>do give a shit.

0:32:39.710 --> 0:32:40.910
<v Speaker 5>I do give a shit about meeting him.

0:32:40.930 --> 0:32:41.670
<v Speaker 3>I don't, like.

0:32:43.290 --> 0:32:46.110
<v Speaker 3>I feel like I'm so much more ready to, like,

0:32:46.150 --> 0:32:50.550
<v Speaker 3>confront this kind of thing because we're almost 30. It's, like,

0:32:50.630 --> 0:32:53.750
<v Speaker 3>meeting him is not going to, like, necessarily affect me,

0:32:53.770 --> 0:32:58.140
<v Speaker 3>I don't think, in some, like, crazy way. I think

0:32:58.200 --> 0:33:01.500
<v Speaker 3>it's just going to, like, really, for me, I feel

0:33:01.520 --> 0:33:07.100
<v Speaker 3>like I'm going to have some closure of, like, knowing what, like,

0:33:08.700 --> 0:33:09.990
<v Speaker 3>I don't know. Do you ever, like, look in the

0:33:10.030 --> 0:33:14.710
<v Speaker 3>mirror and, like, say, like, like, think about dad or, like, dad,

0:33:14.730 --> 0:33:16.370
<v Speaker 3>our biological dad?

0:33:18.670 --> 0:33:18.970
<v Speaker 8>Yeah.

0:33:19.290 --> 0:33:20.070
<v Speaker 4>Yeah, definitely.

0:33:20.650 --> 0:33:23.709
<v Speaker 3>You ever, like, I think I find myself always looking

0:33:23.730 --> 0:33:25.840
<v Speaker 3>and being, like, I don't even know what our family

0:33:25.880 --> 0:33:28.969
<v Speaker 3>looks like. I have mom to compare that to. I

0:33:29.590 --> 0:33:34.010
<v Speaker 3>have mom's face in a lot of ways, but I

0:33:34.030 --> 0:33:39.410
<v Speaker 3>also wonder what a biological dad looks like.

0:33:40.910 --> 0:33:43.990
<v Speaker 2>You have tabs open to several potential fathers on Facebook.

0:33:44.550 --> 0:33:47.360
<v Speaker 2>A series of white men in rimless or squared sunglasses

0:33:47.630 --> 0:33:52.100
<v Speaker 2>with varied hairlines and gradient, pallid shades. Your top contender

0:33:52.140 --> 0:33:54.980
<v Speaker 2>sports a buzz cut and a pair of gas station sunglasses.

0:33:55.850 --> 0:33:58.690
<v Speaker 2>He's an amateur photographer who takes pictures of animals at

0:33:58.710 --> 0:33:59.090
<v Speaker 2>the zoo.

0:33:59.650 --> 0:34:01.770
<v Speaker 3>I found one picture of a person who kind of

0:34:01.790 --> 0:34:03.940
<v Speaker 3>looks like he could be related to us, maybe.

0:34:05.120 --> 0:34:06.820
<v Speaker 8>Yeah, I saw one that maybe did.

0:34:06.840 --> 0:34:08.140
<v Speaker 6>I was like, damn, he's pretty ugly.

0:34:08.200 --> 0:34:08.580
<v Speaker 2>I don't know.

0:34:09.880 --> 0:34:11.399
<v Speaker 7>Is it the guy with the black hair and the

0:34:11.500 --> 0:34:12.239
<v Speaker 7>sunglasses on?

0:34:13.260 --> 0:34:14.000
<v Speaker 8>Yeah, that guy.

0:34:14.020 --> 0:34:17.430
<v Speaker 3>I was like, is that really mom's type before she

0:34:17.450 --> 0:34:18.950
<v Speaker 3>started dating really boring dudes?

0:34:19.790 --> 0:34:21.489
<v Speaker 2>You have not told your mother about any of this,

0:34:22.050 --> 0:34:24.590
<v Speaker 2>and you're not sure you will. It is very different,

0:34:24.630 --> 0:34:28.109
<v Speaker 2>you think. to ask questions about your birth father than

0:34:28.150 --> 0:34:28.609
<v Speaker 2>to meet him.

0:34:29.270 --> 0:34:31.880
<v Speaker 3>And I'm curious about what his life is at.

0:34:33.700 --> 0:34:33.899
<v Speaker 5>Yeah.

0:34:35.120 --> 0:34:39.900
<v Speaker 3>I also hope he's falling. No, I'm just kidding.

0:34:41.060 --> 0:34:42.960
<v Speaker 2>A thought occurs to you now as you listen to

0:34:43.000 --> 0:34:47.189
<v Speaker 2>this recording. A series of questions, really, unavailable to you then.

0:34:47.830 --> 0:34:50.969
<v Speaker 2>Without experience, we are blind to the nature and intention

0:34:51.010 --> 0:34:54.069
<v Speaker 2>of our own impulses and actions. To know why we

0:34:54.110 --> 0:34:56.360
<v Speaker 2>do the things we do, We have to know ourselves,

0:34:56.980 --> 0:34:59.779
<v Speaker 2>which at this time, you do not. But a hint

0:35:00.320 --> 0:35:04.310
<v Speaker 2>lies in the contradiction between thought and action. Here's yours.

0:35:05.130 --> 0:35:08.070
<v Speaker 2>You don't care about your father, so then why record?

0:35:08.670 --> 0:35:10.610
<v Speaker 2>What do you think you will find when you return

0:35:10.650 --> 0:35:13.410
<v Speaker 2>to this moment? If you record moments to keep them,

0:35:13.830 --> 0:35:16.130
<v Speaker 2>to collect them, to cohere them in the story of

0:35:16.170 --> 0:35:18.529
<v Speaker 2>your life, but you also believe that you have already

0:35:18.550 --> 0:35:20.890
<v Speaker 2>written the end of this one, then what is it

0:35:20.930 --> 0:35:22.180
<v Speaker 2>that you think you will find here?

0:35:22.200 --> 0:35:24.620
<v Speaker 8>I am just really curious.

0:35:25.700 --> 0:35:26.200
<v Speaker 7>Who he is.

0:35:27.960 --> 0:35:31.120
<v Speaker 2>Not knowing what you know now, you only think, it's

0:35:31.140 --> 0:35:35.220
<v Speaker 2>a good story. I'm recording a good story. Two boys

0:35:35.260 --> 0:35:38.299
<v Speaker 2>search for their father. They receive the answers they need

0:35:38.360 --> 0:35:41.150
<v Speaker 2>to relieve them of whatever weight his absence still carries

0:35:41.190 --> 0:35:50.190
<v Speaker 2>for them. Yes, that's good. That will do. Suddenly, it's

0:35:50.250 --> 0:35:53.569
<v Speaker 2>June again. Almost exactly one year since he arrived to

0:35:53.610 --> 0:35:58.370
<v Speaker 2>Los Angeles. the pomegranate tree is blooming again. This time,

0:35:58.710 --> 0:36:01.190
<v Speaker 2>you will manage to pluck one for yourself and eat

0:36:01.230 --> 0:36:06.469
<v Speaker 2>it before the birds come to harvest the seeds. One night,

0:36:06.969 --> 0:36:10.340
<v Speaker 2>you will absentmindedly Google your father's name and Los Angeles.

0:36:11.100 --> 0:36:13.620
<v Speaker 2>The screen will populate with the same buzzcut guy with

0:36:13.660 --> 0:36:17.120
<v Speaker 2>gas station sunglasses. But now there are two new images.

0:36:17.920 --> 0:36:20.359
<v Speaker 2>The first is a man standing beside a barber chair.

0:36:21.070 --> 0:36:22.990
<v Speaker 2>He looks like he was ripped from a Time magazine

0:36:23.010 --> 0:36:27.410
<v Speaker 2>article from the 50s. Tall, a pencil mustache, slicked back hair.

0:36:28.190 --> 0:36:30.770
<v Speaker 2>There's an interview with him. He owns the barber shop.

0:36:31.450 --> 0:36:33.989
<v Speaker 2>He grew up in California, moved to Los Angeles in

0:36:34.010 --> 0:36:37.880
<v Speaker 2>the mid-90s. Before he was a barber, he says. He

0:36:37.920 --> 0:36:41.779
<v Speaker 2>was a line cook. The second image is of him

0:36:41.860 --> 0:36:46.799
<v Speaker 2>standing in front of the shop. It looks familiar. You

0:36:46.840 --> 0:36:50.180
<v Speaker 2>will type the address into Google Maps. You ate dinner

0:36:50.219 --> 0:36:53.150
<v Speaker 2>across the street from the shop last night. You will

0:36:53.170 --> 0:36:55.800
<v Speaker 2>type in your address to measure the distance between you

0:36:55.890 --> 0:37:00.380
<v Speaker 2>and this barbershop. A short, nearly straight line will appear

0:37:01.540 --> 0:37:07.390
<v Speaker 2>and an estimated arrival time from your apartment. Five minutes.

0:37:11.310 --> 0:37:12.210
<v Speaker 4>Five minutes.

0:37:25.030 --> 0:37:28.180
<v Speaker 2>Reaching Out is an original podcast from Futuro Studios in

0:37:28.219 --> 0:37:30.700
<v Speaker 2>partnership with KCRW. It is written, produced, and narrated by me,

0:37:30.739 --> 0:37:55.960
<v Speaker 2>Sergio Quevedo. Editing by Maria Garcia. with additional editing help

0:37:56.280 --> 0:38:01.230
<v Speaker 2>by Marlon Bishop, Fernanda Chavity, and Sam Leeds. Special thanks

0:38:01.270 --> 0:38:05.550
<v Speaker 2>to Sarah Rattay Maloney for editorial feedback. Our production managers

0:38:05.770 --> 0:38:10.050
<v Speaker 2>were Jessica Ellis and Victoria Estrada. Mixed by Stephanie LeBeau.

0:38:10.930 --> 0:38:16.140
<v Speaker 2>Scoring by Lucy Little. Show art by Simran Chawla. Executive

0:38:16.160 --> 0:38:19.620
<v Speaker 2>produced for Futuro Studios by Marlon Bishop and Maria Garcia.

0:38:20.580 --> 0:38:24.980
<v Speaker 2>Our marketing team included Anelo Reyes and Luis Luna. Futuro

0:38:25.020 --> 0:38:29.600
<v Speaker 2>Media was founded by Maria Hinojosa. Special thanks to Elen

0:38:29.640 --> 0:38:32.230
<v Speaker 2>Cohen for feedback on the opening of this episode.