What’s left of you if all you have is your purpose in a job? Is there enough to even have a personality? Experience what happens when ten people only have their duties in their workplace and nothing else, not even memory, on The Deca Tapes.
Like what you hear? Us too. You can support The Deca Tapes on Patreon.
Learn more about how to support Radio Drama Revival on our website.
This episode of Radio Drama Revival was recorded in the unceded territory of the Kalapuya people, the Clatskanie Indian Tribe, the Cowlitz Indian Tribe, and the Atfalati tribe. Colonizers named this place Beaverton, Oregon.
If you are looking for ways to support or donate to Native communities, Nicholas Galanin and First Light Alaska are running a fundraiser to benefit the LandBack movement. All funds raised go to Acquisition and Land Management Funds of the Native American Land Conservancy (NALC), to repatriate land back to Indigenous communities. This is not about removing people from the land; this is about recognition and respect for Indiegnous sovereignty and knowledge about ecosystems, climate, and caretaking of the land. You can donate to this initiative at https://www.gofundme.com/f/landback.
TRANSCRIPT
INTRO
ELENA: What’s left of you if all you have is your purpose in a job? Is there enough to even have a personality?
Experience what happens when ten people only have their duties in their workplace and nothing else, not even memory, on The Deca Tapes, right here on Radio Drama Revival
[theme music – smooth, jazzy horns playing a mellow, sultry tune that fades out gradually as Elena speaks]
ELENA: Hello, and welcome to Radio Drama Revival, the podcast that showcases the diversity and vitality of modern audio fiction. I’m your host, Elena Fernandez Collins. Today, experience the first episodes of a fiction podcast in our showcase; next week, return to join us for the creator interview.
We’re jumping timelines like adventurous kids jumping over train tracks as we explore the terrifying containment of The Deca Tapes. Ten people are locked into a living space together and have received an anonymous set of instructions on how to live their lives. They have no names and no memories beyond what they build together. They’re only referred to as their job titles: the cleaner, the teacher, the cook, and so on. The Deca Tapes plays their recorded diary entries as they describe what’s happening around them, their perspectives on their teammates — if this even is a team — and their innermost thoughts about their work.
The Deca Tapes first released in 2019, eventually reaching popular acclaim. The monologue-style work, interspliced with news reports and recordings from times past, are key to the atmosphere of dread, horror, and conspiracy. Unreliable narrators fuel the questions the audience must ask themselves: what’s real and what isn’t? Who’s right in their analysis? Who made the ethical choice, and what even is the ethical choice in this place?
Please be aware this episode contains descriptions of a breakdown, descriptions of gore and violence, and mentions of memory loss.
[ad break]
ELENA: Radio Drama Revival has been showcasing fiction podcasts and elevating the voices of their creators for thirteen years. If you’ve enjoyed this show, if it’s helped you or healed you, or done the unforgivable and increased your episode queue, there are a couple of ways to support our continued existence.
First, you can join our Patreon, at patreon.com/radiodramarevival. We have a special Discord server for all our Patrons, where we organize monthly meet-ups with listening parties, silly and informative powerpoint presentations on podcasting, and more.
Second, we’d like to remind you of the existence of the Tickertapes, where for a small fee, you can share a message with the rest of Radio Drama Revival’s audience. I’ll read the messages, and they can be a birthday card, a quick podcast advert, a casting announcement — whatever you have that needs an audience like this one. You can learn more at radiodramarevival.com/tickertape.
[begin episode]
INTRO: Truth Crusader.
Journalist: Ok, so. This just in, ladies and gentleman. We have some truly breaking news.
Truth Crusader dot org has published all of the leaked tapes we’ve been reading about these last couple of days. After carefully examining the audio, our editors can confirm that most of the rumors appear to be true. There are segments on behavioral conditioning, neuro prepping, and even murder.
Deca group stock is plummeting right now as they’re preparing an official statement on the recordings, but whatever their explanation for these outrages findings, one thing is clear.
We were never meant to hear The Deca Tapes.
[synthy, smooth music]
PART 1: ORDER
The Cleaner: [Clears throat] Hello? Okay, uhm, It says here, I’m supposed to state my name and the number of the recording. It says . . . if you can’t remember your previous entry, simply state that this first one.
So . . . I am The Cleaner and this is my first entry.
It also says here that I’m supposed to tell you about my day. Well . . . this wasn’t a good day, to be honest. There’s a . . . certain someone . . . who’s preventing me from doing my job. I am supposed to clean. That’s what I do. I mean, the title page of my instructions say: ‘You are the cleaner’. But it’s kind of difficult to do my job if our Cook keeps throwing the food up against the walls.
When you read the first page of the instructions, it says: These are your instructions. Read them carefully. You are not to share them with anyone, for they are yours. If you follow these instructions, and allow others to follow their own, everyone can deliver what is expected of them. When everyone can deliver, all will be simple. If not, all will fall apart.
That’s pretty fucking clear. Right?
The Cook is called The Cook, because she’s supposed to prepare our food. She is not
supposed to throw it around the kitchen because she believes there’s something moving
behind our walls. The rest of us are perfectly capable of doing what our instructions ask of us. Why is it so hard for her? Why is she so weird?
[gentle, pulsing tone]
Take this morning…. everybody woke up when the cone in the dorm started glowing. Do
you know how bright that thing gets? Well…. It didn’t wake her! She just kept sleeping! I was in bed with her so I’m sure. I wake up and look next to me and there she is. First I don’t notice she’s still sleeping. I’m looking at all those scars she has on her face. I had never seen them up close. How did she get those? They look weird. They have a weird color. It’s like they glow. It looks like she needs help with that.
Anyway, then I realize she’s not moving. So I’m thinking: did she die? And I give her a shove, but still she doesn’t wake up. Everybody else starts getting out of bed and the cone shines even brighter. So I give her some more shoves, until she finally opens her eyes. She jumps out and asks me what I’m doing in her bed. She starts asking me who I am. What kind of question is that?
I tell her to calm down and that it’s time to start getting breakfast ready. I point at her instructions next to her bed. She picks up her instructions and starts reading. I walk over to the bathrooms. I wash up, grab a jumpsuit out of my locker and take the elevator upstairs to the dining room.
After getting ready, we are supposed to sit at the dinner table and wait for breakfast. So that’s what I’m planning on doing.
I ride the elevator down and sit at the big table in the kitchen. I notice the black glass on the kitchen walls. Was the glass there before? I can’t remember seeing it. I don’t like it. It reminds me of being interrogated . . . for some reason.
[a beat]
Do you know how much work it is to keep glass nice and shiny? There shouldn’t be glass walls near a kitchen. I try to ignore it and focus on the white cone in the middle of the kitchen table for a while. The others take so long to get ready. It annoys me. We have a lot of work to do and I want to get on with it.
—–
After taking forever all of them finally come down together. I don’t know how much I’m meant to explain in these entries, but there’s ten of us: five guys and five girls. There’s the leader, the communicator, the doctor, the teacher, the farmer, the entertainer, the fixer and the cook — that’s the crazy one.
And me, of course.
And there’s this mystery function. He’s also weird; nobody knows what he does and he
doesn’t say anything. Ever.
They all sit down around the white cone for breakfast, and The Entertainer tells us he had
sex with The Teacher this morning. The Communicator wants to hear all about it and ends up
giving them both a sex badge as a reward for them to pin on their jumpsuits. Good on them. She wants to know if anyone else had sex that night, but no one did.
We should work on that.
That’s when the Farmer asks if anyone has seen The Cook. I hadn’t even noticed, but she
isn’t there. No one is making breakfast. We are just sitting there. The kitchen is empty!
So The Leader starts dividing the group into little search parties and I sit there and I
know . . . I just know: That weird, scarred girl is going to make things very difficult for all of us.
————
PART 2: THE JANITOR
D.E.C.A. Group Voice: Welcome to the Deca Group prisoner archive.
You have selected the main background file for Convict 344 dash 21.
This convict’s sentence was: multiple life sentences.
This Convict was extradited to the Deca Group on: June third, 2195.
You have selected an case file named: Testimony 3A
Now playing audio file:
—
High School student: We weren’t the only ones who gave the Janitor a hard time. Everybody did. Our Janitor was the weirdest guy ever. He never said anything to anyone; he just walked around the school looking at the floor. Trying to avoid people. So . . . people pranked him all the time. And Andrew had this idea that he wanted to sneak into the janitor’s office, to see if he could steal something. Andrew is always up to something. But he’s cool, I like him.
It’s just, sometimes he doesn’t think stuff through. He got a tattoo when he was like thirteen or something.
—
So he sneaks into the Janitor’s little office and he comes looking for me and Brad and he
shows us what he just stole: car keys. He says: ‘Who wants to go for a ride?’ And holds up the keys. In the middle of our school. I try to get him to put the keys back in the office.
But he says he just wants to drive the car to another parking spot, and then he’ll put the keys back. I don’t feel good about it, but he’s like: ‘it’ll be fun, the janitor will look for his car forever after work. He’ll think it’s stolen.’
I say it’s a bad idea. But Andrew dares Brad to come with him. I know Brad doesn’t want to
go, because Brad is afraid of everything. But he always wants to act tough when Andrew’s
around. So, he says he’ll go. And that means I have to go now, you know. I don’t have a choice anymore.
—
So we walk into the parking lot and I’m really nervous and Andrew goes looking for the car.
It’s this old black Mercedes. It’s really old and rusty and stuff. So we get in and Andrew gets behind the wheel and starts the car. I get in the back and Brad sits next to Andrew. Brad’s like: ‘you’ll just drive to the other parking spot right?’
But of course Andrew wants to take it for a ride. So he’s like: yes, after we get some beers.
Brad doesn’t say anything, but he’s scared. I know he doesn’t want to skip classes, and he doesn’t want to drink beers either. So I’m supposed to be the one that says Andrew should
stop, but I don’t want to be the one to say stop all the time, you know? So I don’t say anything and Andrew drives The Janitor’s car out onto the public street. Andrew is a really good driver. I don’t know where he learned that stuff. We don’t have a driver’s license or anything. But he’s just cruising like it’s nothing.
—
He turns onto the Seven-Eleven parking lot and says we should get some beers and some
cigarettes. And I’m like ‘whatever’, and Brad doesn’t say anything, so we go.
We go into the seven eleven and the lady behind the counter is looking at me like she knew
we just stole a car.
So Brad and I try to get the cigarettes but she asks for our ID’s. Of course.
So I don’t know what to do, and Brad just stands there like an idiot. Looking at the lady and
then looking at me.
But then, Andrew comes walking back up to us. And then he moves real quick all of a
sudden. He throws himself all the way over the counter to grab the cigarettes and then just
runs out before the lady can do anything about it.
So Brad and me stand there for a second, you know, staring at the lady, who’s staring at us.
And then we just run. I don’t know . . . I just didn’t know what to do. But I wasn’t holding
anything so technically I wasn’t stealing anything.
. . . Right?
—
We drive away in the car and Brad’s like: we should take it back. And Andrew calls him a
pussy and I say I want to go back to school but Andrew just doesn’t listen to us. He’s like:
‘we’ll just drink a beer and smoke a cigarette and then we’ll return the car.’
He says it like it’s nothing, like that’s a normal plan for the day.
PART 3: THE COOK
The Cleaner: The Leader tells The Entertainer to go downstairs, to check the bathrooms and the dorms and the hospital room. And he tells the Communicator to go all the way up to the
communication room. He’ll go to the Entertainment room himself.
That leaves me and the Farmer…. with The Garden Room.
I don’t like The Garden Room. I don’t go there unless I absolutely have to. It’s all overgrown
and you can’t see a thing. You have to follow these narrow paths to get through the bushes.
It’s not my expertise, of course, but in my book, you’re not much of a farmer if your Garden Room is one big green chaotic labyrinth.
It’s the perfect place to hide though, if you ever wanted to.
—
We ride the elevator and then the Farmer says we should split up and circle the room in
opposite directions. Fine by me. So I just walk through the bushes. I have no idea where I’m going, I just follow the white pathway. It feels like I’m walking in circles.
At some point I accidentally walk into the black cone at the center of the garden. The really big one. Of course, I know it’s there, but seeing it today, kind of felt like seeing it for the first time. It’s beautiful. It’s entirely made of black glass – real shiny.
I wonder if it’s supposed to glow, like the tiny cone in the middle of the dorm and the bigger
one on the kitchen table. It must be blinding.
—
I’m standing there, staring at the black cone in the middle of the Garden Room, when the
Farmer suddenly steps right through the bushes. He scares the shit of out of me. He says he found her, The Cook. She’s on the other side. So I follow him back through. The Farmer tells me what kind of bush I’m stepping into. What does he expect me to do with that information? I don’t clean bushes. I don’t care.
Anyway, we step out on the other side and we’re at the edge of the Garden Room. And there’s The Cook. Pressed up against the wall. As if she’s trying to find a door or something. The way she looks at me, ready to attack but also scared. I kind of like it. Her scars are all pressed together on her tense face. She’s holding her instructions close to her chest.
[a beat]
I like it.
The Farmer asks her if she’s okay, and you know what she responds with? She asks him who he is. Just like she asked me this morning. So The Farmer tells her: I am The Farmer and this is The Cleaner. Now she’s just standing there, staring at us. So I ask her if she’s ready to come back to the kitchen.
And then she asks me who she is.
What kind of question is that?
What she asks is: ‘Who am I to you?’
I’m ready to start dragging her to the elevator, but The Farmer is a patient man. He explains to her that she’s The Cook, and that we are all hungry because she’s supposed to make us breakfast. I point to the cover of her instructions, which says: ‘You Are The Cook.’ And I tell her again: we have to go back upstairs now. I look at The Farmer but he says I should give her a second.
She’s standing there, staring at the big red letters. And then she asks the weirdest thing I have ever heard in my life: She holds up her instructions, points at the cover page and asks us who wrote those words.
I’m done with whatever game she’s playing. Who asks something like that? So I tell her: nobody knows that. That’s not the point of all this. Then she asks me: what is the point of all this? So I tell her those kind of questions don’t matter! I tell her to stop asking that kind of stuff and come back to the kitchen with us.
I don’t understand what goes through that girl’s mind. What does she think this world is?
I tell the Farmer he should grab her. This isn’t the kind of person you should try and explain anything to. It won’t help anyone. This is the kind of person you should force back into line.
So I tell The Farmer we are out of time and that we should grab her.
And finally, he does.
———
PART 4: HARD TRUTH
The Cleaner: The Farmer has to drag The Cook into the elevator. She tries to fight him, saying something about a secret door. I don’t know. It doesn’t matter. The important thing is, we get her back into the kitchen – where she belongs.
When we walk in with her, The Leader keeps telling us that he will ‘remember this.’ I suppose that’s good, but I just want to get to work. I want to get cleaning.
The Farmer puts the Cook in a chair and The Communicator asks her if she would like a cup
of water. The Cook looks up to answer, but she sees the wall behind us, the kitchen wall, and she completely freezes again.
Her eyes go real big. She stands up and points to the black glass. The Communicator asks her what’s wrong.
She says: ‘we are moving.’
Whatever that means.
She starts walking to one of the walls and puts her hand on the glass.
And she keeps saying the same thing to herself: ‘we . . . are moving.’
The Communicator and The Leader go stand next to her and ask her what the hell she’s
talking about.
She asks them: ‘don’t you see? ” And she points to the glass. ‘Where are we going?’ She asks. And she keeps repeating it: ‘Where are we going?’
The Communicator tries to take her back to her chair but she starts screaming like a crazy person: ‘Where are we going?’
The Farmer finally tries to grab her again but she slaps him and starts kicking anyone who
tries to come close.
And she just keeps screaming: ‘Don’t you see? Don’t you see what I see? We are moving!’
The Entertainer runs out. He couldn’t handle it. I can’t blame him. It’s one big mess in here.
Finally The Farmer gets a hold of the girl and The Communicator tells her to calm down.
She does. And everything goes quiet for a second.
The Leader tells us there won’t be breakfast. It’s too late for that. It’s time for everyone to get
to work. Finally someone was talking some sense.
He says The Communicator and him will talk to The Cook and make sure she’ll prepare us
dinner.
They take her into The Entertainment Room and close the door.
Everybody just stands there, kind of confused. But I have no time for being confused. I can finally get to work. So I told everyone to get out. I have cleaning to do!
There’s a cleaning cabinet in each room. My sign is on it, that’s how I know. We each have our own sign. Mine is the circle with the three lines in it. In the cabinet with my sign on it, I can find all I need to clean that specific room.
I clean a room per day, and there’s two resting days. So that makes eight days of cleaning.
Once every ten days I clean the jumpsuits at night.
Today is kitchen-day. I clean the whole kitchen and also the elevator: the elevator is part of
kitchen day.
In the kitchen cleaners cabinet there are four taps: blue, red, yellow and white. The blue one
is water. The other three are cleaning chemicals. I am not to drink from the taps.
First I’m supposed to mix 1 part red with 4 parts blue in the white bucket and soap up the
kitchen. Then I’m supposed to mix 1 part yellow with 4 parts blue in the blue bucket, to
clean the floor and the table.
After the whole room is soaped up, I wash everything with only water and give it time to dry.
The white tap and the spray are used to clean the glass, I fill the spraying thing with the
white chemical, up to the black marking. Then I spray the artworks and rinse.
At bottom of the page it says: If you have finished your work. Relax and wait for dinner.
I have finished my work alright. The kitchen looks great. The black glass on the walls is all shiny. I’m real happy with how it all turned out. Good as new.
I walk over to The Entertainment Room to relax and wait for dinner. The Leader and The
Communicator are still in there talking to the lunatic, but I ignore them.
I sit down and try to read a book, but I fall asleep from all the craziness. I’m tired.
——-
I wake up because of people arguing in the kitchen. They are yelling to each other. So I get up and I walk in and first I can’t believe my fucking eyes. It’s like my eyes don’t want me to understand what I’m seeing. Everyone looks at me, feeling sorry for me.
The Cook had made dinner, so that was great. But then she decided to smear dinner all over the black glass.
She’s standing on a chair – her hands covered in food – and she’s drawing little circles and
lines and all kinds of fucking shapes and arrows on the glass. With our dinner.
It was everywhere, it had dripped onto the floor, it was all over the table. Most chairs were moved around, cooking gear fucking everywhere. I mean, it was one big mess.
The Entertainer and The Leader are arguing with each other, The Communicator is trying to
get The Cook to come down.
It’s absolute chaos.
I ask what the hell is going on, and The Cook tells me to look at what she has done.
‘Look at it’ she says
It’s unbelievable. This girl can just do whatever she wants in here. The mystery function pretended everything was fine. He leaned against the wall, silent as ever, head down, staring at the floor like a dumb mute. That guy doesn’t do anything, ever. Why is he even here? What is his role?
Nobody does anything. Nobody knew how to restore order. They we’re all just arguing, doing nothing.
And you know what The Teacher says?
That’s the best part!
She asks The Cook if she’s trying to show us something, if it’s some kind of language, all the
circles and the shapes she wrote on the glass. She’s encouraging the lunatic. She seems
like she’s real interested.
The Cook is thankful of course and starts babbling to her how she’s proving to us that we
are moving.
I can’t believe it. It’s madness. All order is gone.
‘Look at the circles’, The Cook says, ‘and you will see what I see.’
(sighs)
I am going to murder her in her sleep. I’m going to do it tonight.
————
PART 5: THE ICEBOX
High School Girl: So, he parks the car in an empty parking lot. Real close to school.
He lights a cigarette and gives me a beer.. And we just sit there and Brad and Andrew start
talking about bullshit for a while, and I just zone out in the back.
But then suddenly, someone taps on the window.
It’s a cop. He’s staring at me all disappointed and tells everyone to get out of the car.
So all three of us freak out.
The cop takes us to his cop car and makes us sit in the back. And I can already see on the
computer in his car that he already knows this car is stolen. The Janitor’s name is right there
on the screen. So I know we’re in trouble. And I start explaining how it was just a prank, and
how everyone at school pranks the janitor, and how he’s a bit of weirdo.
Andrew and Brad don’t say anything. They’re the real pussies of this story.
I think the cop understands.
But then I see the other cop pulling up. The second one.
He starts searching the janitor’s car.
—
I think Brad was having a panic attack. But I wasn’t paying attention to them. I was just
looking at the other cop. Like I already knew something was about to happen.
The other cop opens up the Janitor’s trunk. And he pulls out a bunch of black … bags. Like
really big bags.
He puts them on the floor, and then finally he takes out the blue icebox. The one you
showed me in the pictures. He picks up the icebox …. he opens it and when he sees what’s
inside, he drops it on the floor. And he calls out to his partner. He’s yelling. He’s scared.
I sit up straight to see and there it is, on the street: The head.
—
First I think to myself, this must be fake. But it’s real. There’s someone’s head, right there on
the street. A human head. It looks really weird, laying there.
Nobody says anything, and only after a few minutes . . . my brain puts it together. That was
the janitor’s car. So that’s the janitor’s ice box. Our janitor.
The other cop comes walking back and calls in his colleagues. He tells them to go to the
high school and arrest the janitor. He says they should be careful because he’s a dangerous
man. But he won’t be able to flee because he won’t be able to find his car.
I guess that kind of makes us heros. Right?
PART 6: WE ARE MOVING
The Cleaner: I am the cleaner, and this is my second entry. I barely slept last night. First I spend the entire evening trying to clean The Cook’s mess. Cleaning the whole kitchen for the second time.
The Cook kept trying to stop me. She told me to leave it, to look at it. The Farmer had to drag her out of the kitchen so I could do my job. She kept screaming to leave it all on there.
We should just…
There wasn’t enough time to get it all cleaned up, though. The lights went dark when I was about half-way done. And when the lights go dark, we’re meant to be in bed.
So I had to stop.
But as you can imagine, I couldn’t sleep, not even for a second.
The Cook was in bed with The Leader and all I could think of was walking over there, and
choking her. Just pushing down hard. Pushing until all this . . . fucking . . . chaos has been pushed out for good.
But then, I’m thinking to myself, who would replace her?
Say I kill her… who would make the food after that? Who would be allowed to read her
instructions?
Or does one person dying, mean we…we all die?
I don’t know. I don’t know what would happen.
Before I can make a decision about killing her or not, I feel The Teacher getting out of bed.
I’m laying next to her.
We didn’t have sex, though. Nobody did.
Everybody was hungry.
The Teacher calls the elevator and never comes back.
I stay a little longer and try to fall asleep.
I know I’m supposed to sleep. But I’m just not able to. I can’t help it. I’m sorry. I won’t be able to sleep until the kitchen is clean.
The Leader told me not to worry about it. He told me it was okay.
But it’s not okay. Tomorrow is Entertainment Room day and I don’t want to fall behind.
So I decide to break the rules and go down to clean the kitchen, in spite of the rules about
resting when it’s dark.
I have to do my job, I have to make sure the eight rooms are clean.
That’s what I do.
I am The Cleaner.
So I get up, my hands in front of me, finding my way in the dark. I call the elevator… and I go
up to the kitchen.
—-
The elevator doors open and there’s The Teacher. She’s sitting in the dark and she’s staring at the glass walls. She’s sitting there like the whole place isn’t a disgusting smelly mess.
There’s a little light coming from the glass, I had never noticed that before.
It makes her glow a little bit. She looks kind of beautiful, in her night jumpsuit. It makes me forget I’m angry with her for a second.
I ask her what she’s doing and she asks me if I would come and sit with her.
So I do.
I ask her again and she says she couldn’t sleep because I kept moving and talking to myself.
I don’t apologize for that, that’s not my fault.
Then we just sit there for a while and look at the writings on the glass.
The mess The Cook made.
After a while, I tell her I’m going to clean the rest of it. But she doesn’t want me to. She wants me to keep looking at it.
So I’m thinking: here goes another one. And I tell her to keep any crazy thoughts to herself.
But she won’t shut up, she tells me to look at the glass carefully. And she asks me if I can
see the tiny white dots. She says there’s these white dots behind the glass.
I look and I see what she means. There’s a lot of them.
So I tell her she’s right and I get up because I want to get started.
But she tells me to sit down for just a bit longer.
She asks me to look at The Cook’s circles, she says all of them mark a white dot.
The Cook circled all of them. She marked them.
So I’m thinking: congratulations, can I get to work now?
But The Teacher can’t let it go. She says she can see what The Cook did. And why she did it.
She circled all the white dots to show us how they are moving. Very slowly, all the dots are
drifting in the same direction.
She says she sat there and watched the dots move away further and further from the cook’s
circles.
By that time I’m thinking to myself: now I have find a way to murder two people.
I get up again and I tell her that I’m going to clean. I’m done.
She also gets up and she puts her hands on my shoulders. She says: what if the Cook is showing us something important?
I ask her: what could she possibly show us by smearing food on the glass walls? I push her hand away as politely as possible and The Teacher lets me go.
I start walking over to the cleaning cabinet to get my stuff.
The teacher is still standing there, looking at the dirty walls.
What if this black glass is a window? She asks me And what if this place, you clean every day . . . is a ship?
[end episode]
OUTRO
ELENA: If you liked what you heard, you can support The Deca Tapes at their Patreon, at patreon.com/thedecatapes. Come back next week for our interview with creator Lex Noteboom.
Radio Drama Revival runs on the dopamine from petting a soft cat and the coins we shake out of the jukebox. If you’d like to help keep us afloat and featuring new, diverse, unique fiction podcasts and their creators, you can support us on Patreon, at patreon.com/radiodramarevival.
And now we bring you our Moment of Anne.
ANNE: I’ve been stuck inside a lot this week at work, and one of my favorite things to do is take five minutes, and just go stand outside in the sunshine. And I think everybody could benefit from that! So if you get the opportunity to, just go outside today. For five minutes. Just enjoy it. Just enjoy being outside! I think it’ll help.
ELENA: That means it’s time for the credits.
This episode was recorded in the unceded territory of the Kalapuya people, the Clatskanie Indian Tribe, the Cowlitz Indian Tribe, and the Atfalati tribe. Colonizers named this place Beaverton, Oregon.
If you are looking for ways to support or donate to Native communities, Nicholas Galanin and First Light Alaska are running a fundraiser to benefit the LandBack movement. All funds raised go to Acquisition and Land Management Funds of the Native American Land Conservancy (NALC), to repatriate land back to Indigenous communities. This is not about removing people from the land; this is about recognition and respect for Indiegnous sovereignty and knowledge about ecosystems, climate, and caretaking of the land. You can donate to this initiative at https://www.gofundme.com/f/landback.
Our theme music is Reunion of the Spaceducks by the band KieLoKaz. You can find their music on Free Music Archive.
Our audio producer is Wil Williams.
Our marketing manager and line producer is Anne Baird.
Our researcher is Heather Cohen.
Our submissions editor is Rashika Rao.
Our associate marketing manager is Jillian Schraeger.
Our transcriptionist is Katie Youmans.
Our audio consultant is Eli Hamada McIlveen
Our associate producer is Sean Howard.
Our executive producers are Fred Greenhalgh and David Rheinstrom.
Our mascot is Tickertape, the goat.
I’m your host, Elena Fernandez Collins. This has been Radio Drama Revival: all storytellers welcome.