Well I mean, same as any other. Well, not same as any other necessarily, but I mean. I hesitate to say run of the mill, because I hesitate to imply I have the runs, but I mean you spray the PooPouri in the bowl, you sit down, you get it down, you wipe thoroughly, you get up and you're good. Well, you flush but you get up and you're good.

No yeah. (laughs) Incredible. It's good to have options though. (laughs)

Yeah.

It's been long enough. If anything this is sort of an obituary. (laughs) Because the talks we've had of plans before, the amount of time I'd have to commit to that, as opposed to time that I could commit to maybe something for WiiLink, I might as well find something new at this point. (laughs)

Greatest opening to a story like this ever, I was recovering from wisdom tooth surgery. (laughs) And thus had a lot of time on my hands. This was, I think, I wanna put this around 2024-ish.

Yeah. So this would put this after the purgatory after I'd finished the music for my album moss !, and was working on the visuals, which is why I had all of the footage for the pilot I sent, that eventually turned into the self discovery ! episode. That was all stuff that was initially gonna be for this album visual that was gonna be this full presentation of everything. But it was getting sort of choppy with the collaborators in terms of them sending me things for footage, and I couldn't find time to pick back up shooting again. So I was in a chair, in my parents' house, I was practicing doing art things, and I was like "I want to commit to something". And I had just, not even a couple weeks before wisdom tooth surgery, installed WiiLink stuff on my actual Wii, because I saw the Wii Room public release, I was like "that is sick and I wanna try this". And so at the very least I opened it up, I got it mostly functional. I might have my dates wrong, that might've been before Wii Room 1.0 was officially up. But I at least tried to use the Food Channel. To no avail, I think because of something on my part, almost positive. But at the very least I had everything else working.

Yeah, that's true. But yeah, I was fresh out of that and I saw a ping in the Discord that you guys were looking for Originals. And I genuinely was talking to my friends as I was installing it, looking at shows and things, explaining that this used to on the Wii, sort of? I said this would be cool if it had like boiler room sets, or how old TV used to have music videos, or like MTV, that kind of era of television where they would play music videos on TV. MTV, all of it's lifespan, asterisk, up until whenever it didn't, and old Disney Channel, whenever they would have music videos sort of as time-filler for the rest of their TV shows, almost between the bumpers, sort of in place of commercials, because Disney Channel was mostly putting their own things on front. So I was like that's cool. I have friends that do music, I do music, I'm working on a film degree, this is good practice for all of it at once. And so I filled out whatever Google form you guys had. I think within the next 24 hours, Kolton DMed me and was like "this is sick, we like this a lot, where do we go". And that's just sort of the flow of where that spawned from.

I sort of initially cobbled together, because it asked me to send in a 10 minute-ish episode as a pilot, and I wanted to actually send a pilot episode so you guys knew I wasn't talking out of my ass. So I edited together some of the moss footage I was working on, as quickly as I could before the adrenaline left my body. This was before I had adderall, so this was very much fully a "let me get this out before the spark leaves my brain", so I threw together a 10 minute thing and then shipped it off with the idea. I said varying degrees of production quality because I can't fly to everyone and record their things, we all live in different places. I wish I could, else the show probably would've been better. (laughs)

It is how it goes.

Right.

Mhm.

Y- y- yeah.

Trying to make this in the midst of doing a full on film degree. Once the semester started, hell. Because I was trying to do all of Sound Chamber, and write a short film, and film a short film by the end of the spring semester. I had to have all of that in and that was sort of a constant droning on top of other classes that was going on. It really was school all up in my face and doing everything it can to prevent me from doing anything else as it often does. That's sort of the consistent "oh my god, oh my god" feeling and this sort of added pressure of, again, before I was medicated for anxiety, this sort of "I'm ruining everything by being a day late", even though I've already communicated I'm probably going to be a day late because of this.

It's like, "oh god, oh god oh god oh god". That on top of the way that the production of the show was, it was sort of on the artist, save for my and Aphonic's episode. So it was literally down to "do your thing, figure it out and send it to me", versus whenever I had all the footage for the self discovery one, and I edited it myself, I did all the visuals for Apho's, and I had the sight of where that was progress wise. you have no clue where something's at unless you ask or until you get it with somebody else. And with this as a project on top of all of that, for more than just that reason, maybe one of the worst choices I could've made? Unfortunately a necessity, but it was not fun as a process.

Yeah.

Right. Like I can internally schedule things to be done, and I should and I did. That's one thing. But for it to be a scheduled show in execution and release, arguably rubs up against what the format of the show is. This isn't necessarily a seasonal thing, and it was kind of pitched as such, where it'd have like Season 1, because I just had this initial pool of artists. But if you think of it as boiler room sets. There's not seasons of those, there's not seasons of club studio time. Well there might be seasons of club studio time. But it doesn't contribute anything other than maybe just a production value bump, genuinely. So it's sort of broken up more by that, if anything? Do not fact check me on that because I'm definitely wrong. (laughs) But shows like that on YouTube at least, and you think of music videos as they were on TV. They weren't a seasonal episodic thing, it was just sort of, you saw it when it came out.

And it was just sort of thrown to you whenever a thing exists. I think that probably would've been a better way to handle it. Hindsight for both of us is 20/20, but I mean. I think the way we handled it, for what the prompt was effectively, it happened. And it definitely exists, and it's not all bad.

Yes.

Right.

Mhm.

I think, yeah. It's always felt like a statement piece, having me on. (laughs)

To a point, genuinely. At least according to the ratings that I've seen in meetings. I wasn't the worst. Wasn't great either. And I think it's very much a blessing and a curse how niche this specific pocket of what this show does and is, is. We niche'd too close to the sun.

True.

No yeah. And that's true. I appreciate the fact that you guys were so willing to give me a shot with it at all, and the fact that I'm even in this position where I have full opportunity to just throw myself at another idea for yall, and the fact that there's this trust and there was this trust about me making a thing. And it was just like "you're putting this together, and we're doing it. and we're committing to it, and it's not just gonna get cut." The talk with "how do we get this show received better", wasn't are we cancelling Sound Chamber, it was what do we do differently for Season 2. And when I was burnt out on trying to figure out what to do with it, and I had ideas that I think are cool and would make Sound Chamber better, I don't think I can execute them even in the next year, just because of what the demand would be, where organizationally and how I would have to organize production for that. Post production would be the same as it always was. Pre and in production would be a completely different ball game. And as much as I'm up for it some day, it'd be cool to have a show like that, I don't think I could stomach the actual process, not in school at least.

Yeah.

Yeah.

Yeah. You've seen the gaggle of idiots I'm around consistently.

No they're not.

There was a couple of those that was just fresh connections I made at the time, like the Glitch Gum episode. Glitch Gum got me into making the music that I make. The Spotify hyperpop playlist, they had a cover of Phoebe Bridgers' Kyoto in their style. And that sold me on "I want to make that kind of music". And then I sort of walked back into less autotune, but it very much was like this over the top sound and everything. I just got done doing Camp Boneyard* that year, which worked as a proof of concept for the moss thing. It was a weird domino effect there. And then they'd reached out on Instagram and they're like "oh my god this is so cool, we have to work on something some time soon". And that was pitched in terms of working on a song together, which I would still love to do and we're still talking about doing sometime. But it was one of those things that's like, I had the idea for Sound Chamber in the midst of all that, and I was like "I'll just ask, to see if he's down". Just to see, why not, y'know? And it turned out that he was like "yup, I'll do a little 10 minute DJ set thing". And it just sort of worked out that way, where I really did just sort of reached out. Not necessarily to all my immediate circle, but a couple in my immediate circle and then a couple people that were sort of further out, connections I was making more in pop spheres. Because largely, as is the content of the show, you can tell I'm close friends with a lot of bass musicians and people that make much more, how do I put itー electronic, is the word I'll reach forー music, than what I, or even arguably what Glitch Gum makes, you can tell the jump between the self discovery and kuatari episode immediately. Like there were very different areas, and I wanted to get as broad of a genre spectrum as I could with what people I knew at the time. And I just did my best and I reached out to people, and some of themー a lot of themー said we weren't available, like "I can't do this in this timeframe", or "if you don't have a more solid timeframe I can't", and then whenever I did they said that they couldn't still. Like there's stuff that was just, I couldn't get certain people I wanted. And such is, y'know. I just sort of threw myself in the DMs of people who I had interactions with before. And if they were up for it, that was the lineup.

Mhm.

What, the weird musical niche we're all in?

I mean for some of us you could label it as, broadly you'd call it the underground scenes. And there's specific underground genre scenes, like everybody have their own scenes, a lot of them kind of mesh together because we're all on the Internet, we're all interconnected, some of us are closer geographically than others, it works like an underground scene locally back in the day. But it's bigger, and it feels like the stakes are higher all of the time. (laughs) So it's sort of just, I would call it underground. The term can be misused sometimes, like "I'm listening to underground stuff" and it's like, (makes a face) I mean, technically. There's some people that are like "underground" because it's an Instagram artist but they're played on the radio.

And like, they're not assigned to a label. So like, yesn't.

Yes. Maybe two or three steps below that level. You really gotta look for us. We know people, and we're involved in these scenes that we're in for the best of our abilities for sure. I wouldn't say we're staples, but we're not nobodys. So like, we're here. In some form of underground. It's really hard to pinpoint because it feels like the scale changes every day. (laughs)

deskGen is more adjacent to what we do yeah.

Yeah. Yeah. (laughs)

It worried me. It was one of those things where just because of how the show was formatted there was only so much I could do, even if I really wanted to pander. But I could tell the better received episodes were, as far as I could tell, felt less foreign musically. Like if it's closer to a genre that people actively listen to, if it's more of a pop sphere, if it's electronic sort of more in the areas of, the immediate idea of a house song or you think of a dubstep song, the classics truly. That'll sit better in most people's stomachs whereas we're so far into a weird experimentation with what we do, that sometimes, it's not something that translates immediately. It's an acquired taste, some of what we do. Which isn't to say bad, but you kinda gotta be into it to be into, y'know?

It is a certain taste that we have, that I just think the WiiLink community at large, as far as I could tell from my very limited viewpoint, it didn't line up exactly. It happens, y'know? I wanted maybe to shave more into a pop direction, but truly I didn't have the people nor resource to do it the way I wanted to. I gave this, if nothing else, this is gonna be an fun opportunity for me and my friends to make something. And for my friends, if I can put on a community to what my friends do. That would be huge.

And I don't care if there's any notoriety in me for this, I don't care if we actually get anything out of this, but just the opportunity of, I can put together cool visuals, and I can put the visuals of my friends and the music of my friends in front of people who would not have heard us otherwise, probably by any means unless it was something like this? I at the very least felt like I had to make the most of the position I was in, even if I kinda wished it would be different.

And you do it for that 1% truly. You don't play to the crowd so the crowd will like you. You play to the crowd to find the people that would.

That is all just Blender, yeah. All of my 3D modeling and animation and 3D spaces is all done in Blender. Even recently, this was never shown in the show because I never figured out the workflow for it before, but I've even moved 2D animation into Blender because the workflow for it is really fun. It's all this like, abstract 3D modeling things and Metalheart. Big fan of that. There's a whole book on that. I'm making a direct callout, if there's any nerd willing to read further into the kind of art and visuals that I do, there's a book, I will link you the archive.org page genuinely after this, there's a book called Metalheart by Andreas Lindholm and Andres F Rönnblom. There's a book by these designers from the 90s, sort of at the turn of the century where like, really pushing the envelope with computer graphics because it was still very new at the time, and so there were just these people that was really pushing how over the top can we make these elements, how abstract they were treating graphic design and computer generated graphics at the time like fine art. And they really wanted to push this idea of making this just, expressive art movement in the very new technology advancements that were happening at the time. It's kind of insane, I don't know if their heads would explode necessarily, because I figure these were some smart guys, but I think it's cool to think about how powerful of a computer you had to do it back then, and to think about how you can kinda do it on your, well Blender can shit sometimes but arguably can do some of this stuff on your mom's laptop in Blender. The accessibility in that is so insanely through the roof now, that if the question is was this made in Blender, you're more likely to have a yes than a no these days. It's actually insane.

So it's a lot of Blender. I'm more than happy to show where the weird shit that I make as just a badge of honor because it is so fun to make, it really is.

I think once the turn of the year came around. I think by the time Sound Chamber was rolling out for a good bit.

I think that's accurate. Starting January 2025, I challenged myself mostly for practice's sake, and it really was mostly for practice's sake. I wanted to make a piece a week, every week, till the end of the year. I think got up to November, and then got stupid burnt out, and even opening Blender here and there these days is a little rough because I really went hard on that.

But the practice that it did give me is genuinely some of the best work that I've ever done because I was committed to it, and it was a thing I chipped away at. Some of my favourite pieces I've ever made are because I had the week time constraint, I had to come up with an idea, I had to do it, and I had to make it good. Sometimes it was the night-of, and I threw something very hastily and it wasn't great, but sometimes it was a piece, like still one of my favourites to this day, give & take, is a piece that I adore because I wanted to make something based on a song I really liked, which is also called Give and Take by Direct. I just wanted to make something where there's no big spacey background, it's just this good render and there's some good design, and I'm going to give myself the full week to go through it. And it is still one of my favourites, because in that I delivered. And it sort of became this whole study throughout the whole year, I started downloading and analyzing friends of mine's art pieces, some of the original things in the Metalheart book, I literally opened Goodnotes on my iPad, and was importing PDF pages to mark up and scribble all over, like this does this and this is why this is here, and this is the purpose this serves, and this is the most analytical I've been about art, because it's always been such a feeling thing for me, and it still is, but it's things like art and music and film and any artistic medium that has technical elements which, at this point is yes. Literally all of them. There's an element of you can really chip away at the technical aspects that'll get you closer to making the feeling you're feeling. And that's what I really wanted to hone in on. And I'd say I got there by the end of the year. I make stuff nowhere near as often these days, and I should get back further into it, but like, knowing how to just throw myself at a piece and have an idea, but still let it get out of the way, the weird sort of, random, anything can happen about stuff like that. And the modeling part that really makes you figure it out after the fact. It's fun, you sort of getting to express yourself and do a little puzzle at the same time.

You did.

My answer then, is probably not too dissimilar from my answer now, which is I have a genuine problem with workaholism. Just actually, and I always have. It's just the way I am, if I have a project to sink into I will overstack myself so I'm always doing something. And it's not good for me. But I've done it, and that's how I'm sort of used to the constant push to do a thing.

I'm overcome with the feeling of, I have to do something. Because if I'm not doing something I'm doing nothing, and I now know these days that that's not really inherently a bad thing. It's okay, especially if you're taking a break. But I've always wanted to just make stuff, and not making stuff makes me feel useless, so I've always made stuff. It's a little bit of a fear driven thing sometimes, which is less than stellar. But it's led me, for better and for worse into a lot of opportunities to do really cool stuff. As much as I'm not always proud of my process I'm always gonna be proud of my work, and the fact that I'm putting it in. And I'm working on finding a healthier balance with that, which is why there hasn't been a Sound Chamber season 2. (laughs)

It's one of those things where I've just sort of always been like this.

I'm working on it, but I just make a lot of shit.

No I hear you and I feel you in that, seriously. Yeah, yeah. The act of- (laughs) Making that constant, I have to be tinkering feeling into a finished product, it's a miracle I have music on any platform, genuinely. It's bad and I don't know if it's supposed to get easier which is scary. (laughs)

There's a lot of projects I have that are like, 80, 90% done. But getting to 100 is the worst part. Because I've spent so much time on it, and there's a little bit of that one scene from Toy Story like- "I don't wanna play with you anymore".

The fixation on this specific idea is gone, and now I can't top it off and have it done and out and so I haven't finished the thing, which like, the work is still there and it's still done, and you've still put in effort towards a thing, but it feels bad not having anything to show for it man.

Probably. I need to see a therapist really bad. (laughs)

Yeah. The initial idea was letting the artists do their whole thing, and express their whole creative aspects of their project and a lot of that for some of them was visual, I think with the role I picked I kinda realised, well what am I doing then? (laughs) It was partially that I felt like I wasn't really doing anything aside from re-encoding it and shipping it off to you guys, for you guys to then re-encode it again effectively, so it really wasn't much on my part, I was just getting a file size down.

I- Genuinely, that's on me. Because I have terrible export settings and I'm so bent on having everything at the highest quality, I have almost filled up two 4TB hard drives on my computer with these kind of files, and I'm very bad about it. Another thing I'm learning to be better at, that one is just taught by school because y'know, in film school you learn how to do the editing part better sometimes, which is good. The delivery half of that is also important because you can't just send someone- There's a video file on my computer right now that's probably genuinely around 50GB and it should not be. (laughs)

It can be trimmed down and lose no quality, it's just a different export settings, and keep the bitrate but you can pull it down because you do not need that high of a bitrate*, and it won't crunch it. You just gotta like, I dunno. I'm just bad at that. I'm like, "what if the bitrate's bad?" and then I didn't think about the fact that technically it's always outputting at 480p because it's a Wii.

And it's just sort of the way that that goes.

Yeah.

Yeah. Yeahhh. Cause that is, genuinely insane. The jump from the large filesize I sent yall initially, to what they probably had to be crunched down for Wii Room Anywhere, I would vomit.

Oh god, and that's fine for just audio files, but the fact that you had to have a visual with it is a little like, dear god.

Oh yeah. Yeah I dunno, I kind of hit a point where I was just like, all I'm doing is I'm asking my friends to make a short for me. And like as cool as the opportunity to give this to my friend's is, I want to make a show. And I don't wanna outsource my work just to my friends because I'm not making the show, my friends are making the show. I'd love to make a show with my friends, that was not what was happening. So for Apho's set, just because of the nature of what is was, I said just do the audio, let me worry about the visuals. And that was the first of those sets that I'd done front to back everything of. Honestly to this day, I'm very proud of a lot of the ideas I'd had in that, and it's still cool. Big fan of the spinning cap still. Big fan of that. Because I was like, what do you for a Soulja Boy clip man.

I think, genuinely yeah. I had something like, steal the hat, it was like nooo my hat. It was something stupid like that. I was just having fun animating stupid things in Davinci*. That was all just messing with the sizes and keyframes of PNGs in Davinci. Like half of that set was, it's incredible.

Yes, that is. Because that was the most like indepth that I'd gone and I was like, yeah. Yeah. That's what the showcase of, if the base music sets was like anything, that's what I want them to be like. The self discovery episode was, I mean it was the pilot episode that I'd re-edited, so I already shot it and I already put it all together, and it was very much still me, and that was at the weird impasse of that being the last self discovery thing I did, before changing over to rebound girl. So it was the last little- I had my hands on the thing, after that I felt like I couldn't outsource it anymore, so further episodes just didn't really happen. Because on top of me not having time, that feeling was there, so I just didn't.

I think it's honestly a little poetic. The last two things that I did with self discovery I think were- No because the episode of self discovery had to have- wasn't that the last episode?

It was episode 4?

Oh my god, yeah. And then it was, I don't remember who the hell was on my own show dude. (laughs) Oh my god. So kuatari was the first one.

And then Glitch Gum was the second one as far as I'm sure. I'm pretty sure.

Who went third?

Third was Apho and fourth was me. Oh my god, then fifth was vai5000, yeah. So here's the thing. I was fine because I'd already asked them to do this, and I trust both of their visual skills a lot. Especially what TRIAKIS did for FX400. The way he does graphics and visuals and stuff, he gets paid to do this. He does this commission basis like I do, and I trust him with that. And vai's visual direction has always been really cool. And so I just let them do their thing with that. They were running like how a set would happen on YouTube, and I really liked their sets. And those were the last ones where I was like, yep. And if I do any more after this, I either have to find someone that I trust the visual direction of them, or I have to do it myself. And at the time, either people aren't available, or I'm certainly not. So nope.

Oh my god, yes yes yes. I loved this visual era of theirs. Truly. I don't know, I don't know. Such a cool- I think the fact that we technically have had a vocaloid in that sense on Sound Chamber, because vai5000 is a vocaloid* artist. That's how the vocals are made.

That would've done better if we were forward about that, I just didn't consider that as an angle to advertise it from.

We should've put genres up! We should've been upfront about that, that was a huge oversight on our part, genuinely.

Because we could've been like, this is bass music, this is weird like, industrial, this is an IDM thing, this is the pop episode, here's your vocaloid stuff. Here's all of your cool like techno and house things at the end. We could've, I feel like that would've done so much less weird stuff for how people receiving the show.

Yeah, a little bit. Oh my god. Well. What's done is done.

It's very much the black sheep of the family. (laughs)

Families can be small. (laughs)

(laughs) Yeah.

Yeah. I think a year and some change is about accurate.

Kind of mixed opinions, I think. For what is was and what I did, it's the best I had, probably. There's still worth in its existence. I think if I were to continue making it it would be a lot different. I would want to make sure I have enough over the full progression of things, and I would probably want to capture somebody's performance of a song. I would want it to be a live performance of singular songs. One, for the length of it, and two, so that's a smaller window and thus arguably more time to care about the visuals because that's less to think about. That's more time and attention and detail we can put in post, that we can plan for in pre-production, that we can do wherever in the actual production of it. I'd want it to be live recorded somewhere, like in an in-person space, and build on it from there probably. I would want this to be, effectively producing concert recordings.

It'd be like MTV. It would be. It would maybe be MTV with interstitials if I wanted to keep multiple in one episode. If I wanted three 3 and a half-ish minute tunes to an episode, I could do that production cycle twice over, with bumpers in between, and that'd be cute. That'd be great! That'd be very engaging because if you don't like this song, wait a couple minutes. And you're not stuck, if you don't like this genre of music it's only one song. It's an easier way to singularly put somebody on to an artist's thing. And they have to communicate that in a smaller thing so it means that they put a lot into a small space, and that's a fun challenge for me as someone who'd be producing the visual side of it, that's a fun challenge for I'm sure the artists that'd be putting on the thing together, this would be a fun way of going about this. The means of doing that are something that's something to do on a volunteer basis.

Yeah.

Even if it was like the world's tiniest cut of I would get a dollar a month of the donation pool, it would feel a little better trying to put all of this together- well honestly no. I'd feel scummy out of that arguably.

Yeah, it's one of those things- just have donation pots per show at this point. (laughs) And that's only if you have a show going for enough time that's like, up and up y'know. That's its own can of worms really.

Yeah, honestly. He'd rake it in. I believe it.

He would! He would. I would toss him dollars his way. Honestly, I would. I like the Homebrew Tea bits. I'd toss him dollars based on the intros alone. (laughs) I dunno. Having the concept requires a production value that just isn't realistic where I'm at for something like this. Whenever I'm swimming in it, which is a lofty goal for someone in this economy, it'll be an easier thing for me to float towards people. This is one of those ideas where I'd be willing to pay people out of pocket for. I would be willing to fund this show myself because this is a fun idea and it'd be fun to work on this. And if people want to work on this and they want to be paid, y'know, a reasonable ask, I would want them to do that. And because WiiLink isn't paying, I would pay. I would be up for that. I don't have money, so I can't. And I'm not in a position where I can produce this, I can't get artists out geographically to do this kind of thing either, there's a set of conditions that have to exist, and either I'd take the time to logic around them, or I just wait till things fall into place to make more. but it feels so far from where I'm at right now.

Right.

Mhm.

Yeah.

Real. Yeah. I would love to make more for this. I'm still so in love with the idea of what WiiLink does and what Wii Room is, it's so like- I'm sold on this as a concept. Fundamentally I am. I just really wish I had more ideas for things to make for it. I hardly have the ideas to make visual things for myself. I am only recently getting the itch to make a video series of homebrewing my Switch. I bought the modchip two days ago, and I'm going to turn my Switch into a Steam Deck. Because you can install Linux.

And I've watched way too much Bringus Studios videos lately. And I've seen that man turn anything into a Steam Deck. If there's Linux to be installed, you can.

Is it iffy doing that in a different environment, maybe. But like, you can. And I'm at the very least gonna try and get iiSU* on because that just runs on Android, that'll be an easier process in theory. I wanna at the very least experiment with doing things on a Switch that reasonably you should not be doing on a Switch. I want to make an art piece on Switch. I wanna edit a video on my Switch! I want to make a video of me editing a video on my Switch. I want to write music on my Switch, if I can even get FL Studio*, I doubt I'm gonna make Ableton* that functional. But if I just back down to my copy of FL Studio, make a song on my Switch, and do all of this stupid stuff and document all of it. It would be hilarious to find a way to use the RetroAchievements coding toolset to use RALibretro* on a Switch. And make an achievement set on a Switch. That's stupid, to be able to make an achievement set and test it by backing out, scooting over to Android or even in the other area, boot Retroarch*, and test it. That's stupid, but in theory that's a thing you could do!

I only sometimes get these stupid ideas and I'm like, well. I wish I had more. I would love to commit to stupid things. I had the idea in my head to do a travel show for WiiLink. But it would just be going to completely uninteresting places. (laughs) I would have to find a way to make that not boring is the trouble.

It does! I would have to make it not boring. But I've been toying with that since before Sound Chamber ended. (laughs)

(laughs) You can find such delicacies as: Mounds Bar. (laughs) Trying to find the local food at a gas station? (laughs)

It's gotta be stupid stuff like that.

I feel like if there's any idea that I hit yall with after this, it is absolutely that. It is absolutely that. I want to find the world's uninteresting places. Thankfully I live in Mississippi, so you just have to look for two steps out of the most racist town you can find really. (laughs)

I genuinely could commit to that, that sounds really funny. (laughs)