1 00:00:01,440 --> 00:00:05,800 Speaker 1: Following a production by r pointing of this episode contains 2 00:00:05,840 --> 00:00:37,280 Speaker 1: depictions of drug use. A second Oil Atlas station, take 3 00:00:37,280 --> 00:00:41,760 Speaker 1: a lifetime of tension between landsfolk and recombined, and seal 4 00:00:41,800 --> 00:00:45,040 Speaker 1: it all up in the depths, crush it beneath three 5 00:00:45,320 --> 00:00:51,360 Speaker 1: D atmospheres worth of pressure, see what happens close quarters 6 00:00:51,440 --> 00:00:56,120 Speaker 1: and an extreme environment. Those factors alone were probably enough 7 00:00:56,160 --> 00:01:00,880 Speaker 1: to generate a certain amount of enhanced cohesion US, no 8 00:01:00,960 --> 00:01:04,720 Speaker 1: matter how long the download lines, no matter their thirst 9 00:01:05,000 --> 00:01:09,920 Speaker 1: for surface media, Atlas was cut off, perhaps not so 10 00:01:10,040 --> 00:01:12,839 Speaker 1: much the bottom of the world as the very edge 11 00:01:12,880 --> 00:01:16,640 Speaker 1: of it. I began to see what Veil was after, 12 00:01:17,360 --> 00:01:20,960 Speaker 1: and despite all the crap, maybe it really was there 13 00:01:21,000 --> 00:01:26,160 Speaker 1: for the finding. I left Hoffman to his atrium. I 14 00:01:26,240 --> 00:01:29,440 Speaker 1: expected to run right back into Jack's, but it appeared 15 00:01:29,480 --> 00:01:33,160 Speaker 1: I was chaperone free, not that they needed a physical 16 00:01:33,240 --> 00:01:37,840 Speaker 1: guard to keep tabs on me. There were cameras everywhere, 17 00:01:38,400 --> 00:01:41,240 Speaker 1: which of course made the situation with Bouklyn all the 18 00:01:41,280 --> 00:01:46,960 Speaker 1: more grating. Footage existed, or had existed, to tell us 19 00:01:47,040 --> 00:01:51,800 Speaker 1: just where Golden Boy had gone. Command suspected the Triton's. 20 00:01:52,560 --> 00:01:57,040 Speaker 1: They'd been pretty explicit. I wasn't sure what Hoffman had 21 00:01:57,080 --> 00:01:59,240 Speaker 1: to do with it all, but he knew more than 22 00:01:59,280 --> 00:02:03,760 Speaker 1: he led on. I ignored his advice on the virtues 23 00:02:03,800 --> 00:02:07,760 Speaker 1: of cleanliness and a good night's sleep. The basilisk drug 24 00:02:07,800 --> 00:02:11,399 Speaker 1: wouldn't let me settle just yet. Anyway, I headed back 25 00:02:11,440 --> 00:02:14,799 Speaker 1: to the bazaar and squeezed my way into the barrel eye. 26 00:02:16,320 --> 00:02:18,960 Speaker 1: It was as much bar as you could possibly cram 27 00:02:19,000 --> 00:02:22,440 Speaker 1: into a space so narrow, just bar and stools and 28 00:02:22,480 --> 00:02:26,040 Speaker 1: a wall of glittering bottles, all beneath the neon glow. 29 00:02:27,360 --> 00:02:32,440 Speaker 1: I poured myself through the crowd. They eyed me with suspicion. 30 00:02:33,560 --> 00:02:36,800 Speaker 1: Even with my tattoos covered, I stood out in such 31 00:02:36,800 --> 00:02:42,320 Speaker 1: a tight knit community, and word had likely spread. Perhaps 32 00:02:42,480 --> 00:02:45,000 Speaker 1: that's why a spot opened up at the bar so 33 00:02:45,080 --> 00:02:50,080 Speaker 1: quickly I took it and caught the bartender's double lidded eyes. 34 00:02:51,400 --> 00:02:55,040 Speaker 1: What are you having whiskey? You want the good stuff 35 00:02:55,040 --> 00:02:59,000 Speaker 1: with the cheap stuff? You have good stuff down here? Well, hey, 36 00:02:59,040 --> 00:03:00,639 Speaker 1: you never know when a fresh face is going to 37 00:03:00,720 --> 00:03:05,959 Speaker 1: show up, probably with a company spending account. Sure top shelf. 38 00:03:06,240 --> 00:03:14,840 Speaker 1: Let's say it's more middle a double then, gotcha. Before 39 00:03:14,880 --> 00:03:17,640 Speaker 1: I could ask him anything more useful, he moved over 40 00:03:17,680 --> 00:03:23,920 Speaker 1: to another patron, so I drank. It didn't matter how 41 00:03:24,000 --> 00:03:27,440 Speaker 1: confident the black drug made me feel. I still needed 42 00:03:27,520 --> 00:03:31,920 Speaker 1: something to do with my hands, a prop, a reason 43 00:03:32,000 --> 00:03:36,280 Speaker 1: for squirming into a place like this and asking inconvenient questions. 44 00:03:37,640 --> 00:03:41,200 Speaker 1: I had another. I showed off one of my blades 45 00:03:41,240 --> 00:03:44,360 Speaker 1: to a plastered a u V Tech, but refused to 46 00:03:44,400 --> 00:03:48,119 Speaker 1: do a knife trick. That's more of a drink six thing. 47 00:03:49,360 --> 00:03:53,760 Speaker 1: The crowd swelled, hot with mingled sweat and the saccarin 48 00:03:53,880 --> 00:03:58,600 Speaker 1: breath of the Inebriated, I brushed off a bramble bearded 49 00:03:58,640 --> 00:04:02,080 Speaker 1: worker's offer for an other drink and rose to follow 50 00:04:02,120 --> 00:04:06,240 Speaker 1: the bartender out through the bead curtained rear exit. The 51 00:04:06,320 --> 00:04:09,280 Speaker 1: room was tight. I worked my way out into the 52 00:04:09,320 --> 00:04:12,520 Speaker 1: bazaar's back alley, just in time to watch him slip 53 00:04:12,520 --> 00:04:16,640 Speaker 1: into a toilet pod. I stalled and pretended to check 54 00:04:16,680 --> 00:04:19,960 Speaker 1: out a handful of ragged flyers plastered to the rear 55 00:04:20,000 --> 00:04:25,000 Speaker 1: of the bar addiction services, a prayer group of some kind. 56 00:04:26,640 --> 00:04:29,280 Speaker 1: I glanced back down the row of pods and saw 57 00:04:29,320 --> 00:04:33,440 Speaker 1: a familiar face. It stared back at me from the crowd, 58 00:04:33,720 --> 00:04:37,239 Speaker 1: behind a trio of cavorting drunks by a tobacco machine. 59 00:04:38,640 --> 00:04:43,159 Speaker 1: It was vail. I kept a poker face, but began 60 00:04:43,279 --> 00:04:46,880 Speaker 1: moving my way toward her through the crowd. After all, 61 00:04:47,200 --> 00:04:50,440 Speaker 1: why wouldn't a nosy newcomer like me chat up a 62 00:04:50,560 --> 00:04:54,320 Speaker 1: random blonde with a staring problem. I was just glad 63 00:04:54,400 --> 00:04:58,680 Speaker 1: she'd made it out of the crate. I'd scarcely closed 64 00:04:58,720 --> 00:05:03,200 Speaker 1: half the distance before she ducked away. I followed, pushing 65 00:05:03,240 --> 00:05:06,280 Speaker 1: my way through the drunks, but I lost her almost immediately. 66 00:05:07,080 --> 00:05:10,000 Speaker 1: I stood there a moment, scanning the crowd as it 67 00:05:10,080 --> 00:05:13,640 Speaker 1: moved around me, until the jostle of bodies became too much, 68 00:05:13,720 --> 00:05:17,600 Speaker 1: and I just moved with them. I didn't blame her. 69 00:05:18,560 --> 00:05:22,360 Speaker 1: Chatting with me was trouble. Chatting with her was trouble. 70 00:05:23,080 --> 00:05:28,200 Speaker 1: I was just a little too intoxicated to think about it. Honestly, 71 00:05:28,640 --> 00:05:32,400 Speaker 1: I was a little too intoxicated in general. I gave 72 00:05:32,520 --> 00:05:35,680 Speaker 1: up on the bartender and whatever dead end tips might 73 00:05:35,720 --> 00:05:38,479 Speaker 1: have come of it, and I had no interest in 74 00:05:38,520 --> 00:05:55,560 Speaker 1: anything else he might be peddling. I kept walking. Mm Hmmtoric, 75 00:05:55,839 --> 00:05:59,760 Speaker 1: ye heaven, and ye that dwell in them, whoa to 76 00:05:59,839 --> 00:06:02,800 Speaker 1: the inhabitors of the earth and of the sea, for 77 00:06:02,920 --> 00:06:06,400 Speaker 1: the devil is calmed down? Unto you, Having great wrath, 78 00:06:06,720 --> 00:06:09,760 Speaker 1: because he knoweth that he has but a short time. 79 00:06:10,720 --> 00:06:14,120 Speaker 1: And I stood upon the sands of the sea, and 80 00:06:14,240 --> 00:06:18,240 Speaker 1: Saul beast rise up out of the sea, having seven 81 00:06:18,279 --> 00:06:23,120 Speaker 1: heads and ten horns, and upon his horns ten crowns, 82 00:06:23,520 --> 00:06:28,320 Speaker 1: and upon his heads the name of blasphemy. See, my children, 83 00:06:28,360 --> 00:06:31,960 Speaker 1: it is all foretold the inhabitors of the earth, the 84 00:06:32,080 --> 00:06:35,960 Speaker 1: inhabitors of the sea. The Book of Revelation spoke to 85 00:06:36,040 --> 00:06:38,640 Speaker 1: this very day and age, as we gather as a 86 00:06:38,720 --> 00:06:44,080 Speaker 1: people on the very threshold of armor, getting for it 87 00:06:44,200 --> 00:06:47,640 Speaker 1: is written. And the second Angel poured out his vial 88 00:06:47,760 --> 00:06:50,520 Speaker 1: upon the sea, and it became as the blood of 89 00:06:50,520 --> 00:06:54,360 Speaker 1: a dead man, and every living soul died in the sea. 90 00:06:55,080 --> 00:06:58,039 Speaker 1: And the fifth Angel poured out his vial upon the 91 00:06:58,080 --> 00:07:02,000 Speaker 1: seat of the beast, and his kingdom was full of darkness. 92 00:07:02,480 --> 00:07:06,279 Speaker 1: And they gnawled their tongues in pain. For in one hour, 93 00:07:06,640 --> 00:07:11,640 Speaker 1: so great riches has come to night the Word of God. 94 00:07:12,240 --> 00:07:16,520 Speaker 1: Praise Jesus and blessed him who rocked above the water, 95 00:07:16,600 --> 00:07:21,360 Speaker 1: and not blow these the Holy book. God is still 96 00:07:21,640 --> 00:07:26,560 Speaker 1: speaking to us. Can I get an amen? Can I 97 00:07:26,720 --> 00:07:32,000 Speaker 1: see those calm units in the air? God, He's still speaking. God, 98 00:07:32,600 --> 00:07:38,400 Speaker 1: he still seeing God. He speaks, He speaking God's silos 99 00:07:38,720 --> 00:08:05,320 Speaker 1: speaking sickle speed, still sickness, God sick is sleeping. Jana 100 00:08:05,360 --> 00:08:08,280 Speaker 1: Bari first made her splash in Atlanta's art world five 101 00:08:08,360 --> 00:08:13,000 Speaker 1: years ago. Her latest work explores the recombined experience in America. 102 00:08:13,240 --> 00:08:18,800 Speaker 1: Tabitha Vale has more. Jana Bari Studio in South Atlanta 103 00:08:18,880 --> 00:08:22,600 Speaker 1: occupies the gymnasium of a former elementary school. Look closely 104 00:08:22,680 --> 00:08:24,360 Speaker 1: and you can still see the lines of a basketball 105 00:08:24,400 --> 00:08:27,640 Speaker 1: court on the wooden planks. It also once provided shelter 106 00:08:27,720 --> 00:08:30,680 Speaker 1: for climate refugees. Now it's home to a series of 107 00:08:30,720 --> 00:08:33,680 Speaker 1: six concrete wall fragments from around the country, each once 108 00:08:33,720 --> 00:08:37,359 Speaker 1: part of the nation's coastal fortifications against a growing recombined population. 109 00:08:38,160 --> 00:08:41,840 Speaker 1: This one's from Louisiana. So I'm trying to incorporate the 110 00:08:41,920 --> 00:08:45,880 Speaker 1: right mixture of immigrant cultures and the murals. So it's 111 00:08:45,920 --> 00:08:48,840 Speaker 1: a lot trickier than you might think. You've got centuries 112 00:08:48,880 --> 00:08:52,720 Speaker 1: of cross cultural and multi lingual heritage there, all before 113 00:08:52,760 --> 00:08:56,559 Speaker 1: the oil crisis. Of course. A Bori made her name 114 00:08:56,600 --> 00:08:58,640 Speaker 1: in the art world with the use of decay primed 115 00:08:58,679 --> 00:09:02,080 Speaker 1: meta pigments, creating murals that aged and eroded mere minutes 116 00:09:02,120 --> 00:09:05,760 Speaker 1: after exposure. For her walls project, however, she's depending on 117 00:09:05,800 --> 00:09:10,840 Speaker 1: traditional paints and practical materials. This wall segment is my favorite. 118 00:09:11,160 --> 00:09:16,440 Speaker 1: See this smugglers doors board right through the concrete and 119 00:09:16,640 --> 00:09:20,400 Speaker 1: that's why they discarded it. The boy grew up in Atlanta, 120 00:09:20,640 --> 00:09:23,920 Speaker 1: one of some ten thousand transgend children legally adopted by 121 00:09:23,920 --> 00:09:27,240 Speaker 1: sister and parents before the outlaw of the practice. Through 122 00:09:27,280 --> 00:09:30,200 Speaker 1: her art, she attempts to communicate the transgend experience to 123 00:09:30,240 --> 00:09:33,920 Speaker 1: a wider audience, and in doing so, explore her own roots. 124 00:09:35,120 --> 00:09:38,800 Speaker 1: I never fit in anywhere growing up, and when people 125 00:09:38,800 --> 00:09:42,719 Speaker 1: found out, they treated me like I was exotic, or 126 00:09:43,160 --> 00:09:46,679 Speaker 1: told me that I belonged on a trawler at least 127 00:09:46,720 --> 00:09:50,319 Speaker 1: on the other side of these walls. I mean, even 128 00:09:50,480 --> 00:09:53,080 Speaker 1: friends tried to convince me that I should just be 129 00:09:53,160 --> 00:09:58,400 Speaker 1: content and be grateful. But I'm not. I mean, are you, 130 00:10:00,040 --> 00:10:12,240 Speaker 1: I'm not content. I wandered through the crowded avenues of 131 00:10:12,280 --> 00:10:15,840 Speaker 1: the bazaar, A complex I came to realize wasn't a 132 00:10:15,920 --> 00:10:19,840 Speaker 1: single large module, but three of them lined up beside 133 00:10:19,880 --> 00:10:24,920 Speaker 1: each other, all within the vast sprawl of Atlas. The 134 00:10:25,000 --> 00:10:29,240 Speaker 1: second elongated chamber was much like the first, composed of 135 00:10:29,360 --> 00:10:34,840 Speaker 1: overlapping spheres and stuffed with cheap, prefabricated structures to create 136 00:10:34,880 --> 00:10:38,800 Speaker 1: the semblance of a crowded cityscape. It was mostly more 137 00:10:38,840 --> 00:10:43,120 Speaker 1: of the same food stands and vending machines. A stall 138 00:10:43,200 --> 00:10:47,320 Speaker 1: where a recombined tattoo artist inscribed someone's back with a 139 00:10:47,360 --> 00:10:52,640 Speaker 1: graph inc scanner a noisome arcade. But it wasn't all 140 00:10:52,840 --> 00:10:58,000 Speaker 1: commerce and consumption. In the Atlas Bazaar, I passed by 141 00:10:58,080 --> 00:11:02,960 Speaker 1: divination machines as gaudy as any pachinko or slot. Their 142 00:11:03,000 --> 00:11:06,040 Speaker 1: palm raiding panels and ore a lens is smudged with 143 00:11:06,080 --> 00:11:10,719 Speaker 1: the oil of countless fingerprints. The mechanical hands of an 144 00:11:10,720 --> 00:11:14,720 Speaker 1: e ching machine moved beneath a plexiglass bubble to flip 145 00:11:14,760 --> 00:11:19,880 Speaker 1: coins and position yarrow stalks. A mere app couldn't cut it, 146 00:11:20,920 --> 00:11:26,720 Speaker 1: we like our ancient fortune telling physical the machines gave 147 00:11:26,800 --> 00:11:30,880 Speaker 1: way to slender alcoves devoted to deities and spirits from 148 00:11:30,880 --> 00:11:36,439 Speaker 1: a dozen cultures. Recombined Jesus as well as his predecessor, 149 00:11:37,200 --> 00:11:42,600 Speaker 1: the Schwissien lords of Water, Mary, Ganesha, Ma Trea, and 150 00:11:42,640 --> 00:11:46,360 Speaker 1: the Buddha. Their gold leaf glistered in the light of 151 00:11:46,400 --> 00:11:51,440 Speaker 1: glow sticks and artificial candles littered round their bases. I 152 00:11:51,559 --> 00:11:55,440 Speaker 1: even spied an altar to the mother and father. Abstract 153 00:11:55,520 --> 00:11:59,000 Speaker 1: coral figures not worshiped till the advent of the Second 154 00:11:59,120 --> 00:12:04,960 Speaker 1: oil Age. The faithful clustered about. They were all races, 155 00:12:05,200 --> 00:12:10,199 Speaker 1: all creeds, all genders, both branches of human genetic lineage. 156 00:12:11,040 --> 00:12:15,199 Speaker 1: Bald heads bowed into gild necks, just stalls away from 157 00:12:15,240 --> 00:12:20,280 Speaker 1: their landsfolk, compatriots, all reaching out for something to hold 158 00:12:20,320 --> 00:12:26,280 Speaker 1: their hand through the chaos. I admired their devotion, their 159 00:12:26,320 --> 00:12:30,200 Speaker 1: ability to find solace in a demon haunted world and 160 00:12:30,320 --> 00:12:35,320 Speaker 1: distill hope from silent stone. And at the same time 161 00:12:35,840 --> 00:12:39,680 Speaker 1: I despised them for their certainty, the very strain of 162 00:12:39,800 --> 00:12:43,280 Speaker 1: madness that my mother absconded with to the Christ of 163 00:12:43,320 --> 00:12:47,800 Speaker 1: the wilderness society and their landlocked compound to await some 164 00:12:48,080 --> 00:12:54,160 Speaker 1: fabled rapture or return. I stopped and caught my breath 165 00:12:54,240 --> 00:12:58,640 Speaker 1: beside an empty vestibule. It's God removed for repairs, no doubt, 166 00:12:59,640 --> 00:13:03,680 Speaker 1: I meaned against the wall. The basilisk was wearing thin. 167 00:13:04,800 --> 00:13:07,920 Speaker 1: I felt for the applicator in my jacket, and since 168 00:13:08,040 --> 00:13:12,360 Speaker 1: the subdermal doses inside me each just a mental exercise 169 00:13:12,400 --> 00:13:17,920 Speaker 1: away from deployment. But no, I needed actual sleep. If 170 00:13:17,960 --> 00:13:21,160 Speaker 1: I was going to face marsh and keep her naiads 171 00:13:21,200 --> 00:13:26,040 Speaker 1: out of my head apatheis conditioned or not, I needed rest. 172 00:13:28,600 --> 00:13:32,240 Speaker 1: I looked up into the darkness of the alcove. For 173 00:13:32,320 --> 00:13:37,840 Speaker 1: a fleeting second, I sensed someone lurking watching me from within. 174 00:13:39,160 --> 00:13:42,640 Speaker 1: I strained my eyes and saw that the stall was occupied. 175 00:13:42,679 --> 00:13:47,720 Speaker 1: After all, A shadowy saint stood in the murk. The 176 00:13:47,800 --> 00:13:55,520 Speaker 1: substance of the statue somehow geologic eroded, like something warped 177 00:13:55,559 --> 00:14:00,560 Speaker 1: in the deepest thermal vents. I pushed myself up off 178 00:14:00,559 --> 00:14:07,240 Speaker 1: the wall and left her. I let the communit guide 179 00:14:07,280 --> 00:14:11,000 Speaker 1: me out of the bazaar through twisting corridors and past 180 00:14:11,160 --> 00:14:15,680 Speaker 1: recombined workers, still glistening with seawater, just returned from their 181 00:14:15,720 --> 00:14:20,440 Speaker 1: toils in open ocean. I reached the habitat module and 182 00:14:20,560 --> 00:14:28,920 Speaker 1: scanned my way into a spherical room. In doing this, 183 00:14:30,440 --> 00:14:34,960 Speaker 1: from the perils of the design, weapons and were imperfections. 184 00:14:35,440 --> 00:14:38,360 Speaker 1: You didn't think of it as a control the se 185 00:14:39,120 --> 00:14:44,680 Speaker 1: an ideal of tentative to No, not now, I'm not 186 00:14:44,760 --> 00:14:50,040 Speaker 1: doing this now. I stripped out of my gear and 187 00:14:50,120 --> 00:14:57,200 Speaker 1: stumbled into the rooms shower pod. I let it wash 188 00:14:57,280 --> 00:15:01,160 Speaker 1: over me, burning the grind him and sweat from my 189 00:15:01,280 --> 00:15:10,240 Speaker 1: body in a cloud of billowing steam. They are relentless. 190 00:15:10,800 --> 00:15:15,640 Speaker 1: They open is very fun, but you too have been 191 00:15:15,720 --> 00:15:22,320 Speaker 1: pretty men. Stop stop a rash, exceed, come off just 192 00:15:22,480 --> 00:15:26,200 Speaker 1: a bit more. No, I'm not ready. Three, No kud 193 00:15:26,600 --> 00:16:05,120 Speaker 1: I need now. The second oil Age was produced by 194 00:16:05,200 --> 00:16:09,640 Speaker 1: Robert Lamb, Alex Williams, Lauren Vogelbaum, and Josh Thain. This 195 00:16:09,680 --> 00:16:14,000 Speaker 1: episode featured on Joel Masters as snow Pond, Lauren Vogelbaum 196 00:16:14,120 --> 00:16:18,680 Speaker 1: as Tabitha Vale, Julie Douglas as Janny Bory, Jed Drummond 197 00:16:18,720 --> 00:16:23,040 Speaker 1: as Pastor Obelisk, and Chuck Bryant as the Bartender. Supporting 198 00:16:23,120 --> 00:16:27,720 Speaker 1: voice work by Gina Rakiki and Alexander Williams intro Altro, 199 00:16:27,920 --> 00:16:32,320 Speaker 1: and supporting music created by the weirding Mondule. Learn more 200 00:16:32,360 --> 00:17:00,360 Speaker 1: at Module dot band camp dot com, pass Shire Radio, 201 00:17:00,520 --> 00:17:04,080 Speaker 1: visit the Heart radio app, Papple Podcasts, or wherever you 202 00:17:04,240 --> 00:17:05,639 Speaker 1: listen to your favorite shows.