Curious Sounds: A Radiolab Concert

Summary

Radiolab: "Curious Sounds: A Radiolab Concert"

Date: June 28, 2011
Hosts: Jad Abumrad, Robert Krulwich
Guests/Performers: Buke and Gase, Glenn Kotche, Reggie Watts
Venue: NYU Skirball Center, Live Audience

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Episode Overview

This special episode of Radiolab pivots from its usual deep-dive journalism to celebrate the musicality at the show's core. Broadcast from a live concert at NYU’s Skirball Center before an audience of more than 860, Jad Abumrad introduces three innovative acts—Buke and Gase, Glenn Kotche, and Reggie Watts—each of whom blends musical genres in unique and wildly curious ways. The episode unfolds as both a concert and a playful investigation into curiosity and sonic experimentation.

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Key Discussion Points & Insights

The Musical Heart of Radiolab

• Radiolab’s Secret Ingredient: Jad shares that at its root, Radiolab is "a deeply musical situation." The show’s approach—merging information and music—is literalized in this episode, as the boundaries between story, science, and sound dissolve on stage.
  • Quote:
    • "If I were to get highfalutin about it for just one second, I would say...that experience of putting [unrelated things] together...that, to me, is what makes life worth living, honestly." (Jad Abumrad, 03:00)

Setting the Stage: The Line-up Explained (02:54–03:35)

• Jad describes the night's three acts as "really hard to describe," each thriving on blending unexpected elements—just as Radiolab does with ideas.

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Performance Breakdown, Notable Moments & Quotes

1. Buke and Gase (06:11–09:01)

• Who: A duo, both named Aaron, known for constructing their own instruments (the "buke" and the "gase").
• Performance Excerpt: One song is played, described as one of their more recent offerings.
• Lyrics highlight:
  • “You choose your battles. All that's surely worth their form. Build strong character. That's what you want, that's what you're after.” (Buke and Gase, 07:00)
• Audience & Host Reactions:
  • Jad introduces them as “pillaging my iPod for about six months.”
  • The performance is warmly received, with both Jad and Robert expressing their thanks.
• Transition: Their set is cut for brevity since they’ve been featured previously.

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2. Glenn Kotche (Wilco Drummer) (09:01–32:38)

Introduction & Instrumentation (09:01–12:10)

• Glenn, normally of Wilco, is presented in his avant-garde classical mode, surrounded by an odd assortment of objects:
  • Crotales (high bell tones)
  • Tuned cowbells (“Am Glacken”)
  • Prepared snare (“the drum acts as a resonator for these little sounds”)
  • Fruit Bowl Gong (“a wedding present... When you hang it from a rubber band over a contact mic, it sounds really cool, kind of like a big gong.” – Glenn Kotche, 11:20)

Main Pieces

• Monkey Chant (12:33–28:16):
  • Loosely based on the Hindu epic Ramayana; each drum or object represents a different character from the tale.
  • “He could kind of make the whole story unfold before you in music.” (Jad, 12:12)
• Notable Reaction:
  • “That blew my mind.” (Jad, 28:16)

Insights on Music Composition (28:34–29:43)

• Jad asks Glenn about composing for string quartet as a percussionist.

  • Glenn describes mapping his four drum limbs onto the four string players, using rhythmic thinking to drive melodic composition.
    • Quote:
      • “For the Kronos piece...I sat behind the drums and started playing and thought, there’s four guys on stage and I have four limbs. So why don’t I just treat them like a drum set?” (Glenn Kotche, 29:02)

• Second Piece: “Projections of what Might” (29:43–32:38):

  • Another excerpt showcasing Kotche's blending of rhythm, melody, and experimental sound.

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3. Reggie Watts (32:42–45:33)

Introduction

• Jad introduces Reggie as indescribable—a hip-hop artist, R&B singer, comedian—all rolled into "the most talented performer I've ever seen." (Jad, 32:42)
• Reggie launches into freeform, often humorous, improvisations and loops, “pretty sure he has zero planned the moment he opens his mouth.” (Jad, 33:40)

Notable Segments & Banter

• Beatboxing and Looping (35:05–36:20):

  • Reggie layers beatboxing with loops, then sings over the structure he creates live on stage.

• On Creative Origins (36:33–38:47):

  • Jad interviews Reggie about his improvisational style:
    • Quote:
      • “I think it started because I was an only child, and you just need to...come up with stuff to, you know, make sure that you're entertained.” (Reggie Watts, 36:52)
    • Reggie entertaining himself led to elaborate model airplane/firework experiments as a kid—a metaphor for his playful, elaborate music-making.
      • “Then I would collect all the pieces and I'd re-glue them together again...” (Reggie, 38:09)

• Classic Reggie Improvisation (40:14–44:40):

  • Mixes soulful singing, comic lyrics, and audience interaction.
    • “Cause babe built a Trojan horse into my heart. Cause babe built biggest goddamn Trojan horse to get it into my...” (Reggie Watts, 43:11)
    • "Let's play some skirt ball, let's do this...I've got some glasses. I can say that proudly." (Reggie, 44:40)

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4. Grand Finale: The Epic Jam (45:34–46:31)

• All three acts join for an improvised jam. Initially “a little bit shaky,” it settles into an energetic collaboration.
  • “But eventually they locked in and it started to sound really good. Not bad, right?” (Jad, 46:01)

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Notable Quotes & Memorable Moments

• On Metaphor and Curiosity

  • “Finding an affinity between two things that are on opposite sides of the universe, that, to me, is what makes life worth living, honestly.” (Jad Abumrad, 03:00)

• On Drumming-as-Orchestra

  • “The drum acts as a resonator for these little sounds.” (Glenn Kotche, 11:00)

• On Improvisation

  • “Pretty sure he has zero planned the moment he opens his mouth.” (Jad Abumrad describing Reggie Watts, 33:40)
  • “It started because I was an only child, and you just need to, like, you need to come up with stuff to...make sure that you’re entertained.” (Reggie Watts, 36:52)

• On Blurring Genre

  • “He’s kind of everything all at once...And he just happens to be maybe the most talented performer I’ve ever seen.” (Jad Abumrad introducing Reggie Watts, 32:42)

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Important Timestamps

• [03:00] – Jad explains the concert’s guiding metaphor about the thrill of connecting disparate things.
• [06:11–09:01] – Buke and Gase perform.
• [09:01–12:33] – Glenn Kotche’s instrument demo and intro.
• [12:33–28:16] – Glenn Kotche: "Monkey Chant" performance.
• [28:34–29:43] – Glenn on composing for string quartet as a percussionist.
• [29:43–32:38] – Glenn’s second piece, "Projections of what Might".
• [32:42–35:05] – Introduction and start of Reggie Watts’s set.
• [36:33–38:47] – Reggie on his childhood creative habits.
• [40:14–44:40] – Reggie’s soulful/comedic improvisation.
• [45:34–46:31] – All acts jam together to close the event.

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Episode Tone & Atmosphere

• Playful: The hosts’ banter sets a mischievous and humorous tone.
• Experimental: Music is approached as experimental art, not just performance.
• Celebratory: There’s a palpable sense of celebration—of curiosity, of collaboration, and of music’s power to stitch together genres, ideas, and people.

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Summary

"Curious Sounds: A Radiolab Concert" captures the podcast's soul—curious, inventive, and always blending genres and ideas. By swapping narrative segments for live performance, Radiolab highlights the artistry behind their sound design and the pleasure of unscripted, collaborative creativity. The trio of performances—from homespun indie ingenuity, to orchestral percussion repurposed, to kaleidoscopic vocal loop comedy—embody the joy of bringing together disparate worlds. For listeners, it’s a chance to hear curiosity, in multiple forms, made musical.

Transcript

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[Jad Abumrad]

Wait, you're listening.

[Audience Member]

Okay. All right. Okay. All right.

[Jad Abumrad]

You're listening to Radiolab.

[Glenn Kotche]

Radio Lab shorts from wny C. C. Yes.

[Michaels Advertiser]

And npr.

[Jad Abumrad]

Hey, I'm Jad Abumrad.

[Robert Krulwich]

I'm Robert Grillowicz.

[Jad Abumrad]

This is Radiolab.

[Robert Krulwich]

That's my line.

[Reggie Watts]

Who are all those people?

[Robert Krulwich]

Hello?

[Jad Abumrad]

Well, yeah, okay, so here's the thing. Here's the story. Robert, I've been meaning to talk to you about this, but last Saturday I did an event, and it was.

[Robert Krulwich]

I remember you were gonna go brush your teeth and put the kid to bed.

[Jad Abumrad]

No, I, I. After that, I hosted this Radio Lab show without you. I'm sorry. I should have told you. I'm sorry. I should have told.

[Robert Krulwich]

That's okay. That's okay. That's okay. That's fine.

[Jad Abumrad]

You're upset. I've made you up. This is a terrible way to start a podcast. How.

[Robert Krulwich]

How many people were you with exactly? Because I heard a lot of people yelling.

[Jad Abumrad]

800.

[Robert Krulwich]

800?

[Jad Abumrad]

Yeah, just a few people.

[Robert Krulwich]

Okay.

[Jad Abumrad]

Not that many. Are you sure you're not upset?

[Robert Krulwich]

No, because I had, as it happened, 800 creatures of my own. Flies mostly in my home, where I often talk with them. Yeah, all right.

[Jad Abumrad]

I feel terrible.

[Robert Krulwich]

800 people. Were they Paying?

[Jad Abumrad]

Yes.

[Robert Krulwich]

Oh, really? Yeah, it's interesting, my flies, they didn't pay very much.

[Jad Abumrad]

Maybe we shouldn't do this.

[Reggie Watts]

No, no, of course you shouldn't.

[Jad Abumrad]

No, no, no, no. Maybe we shouldn't do it.

[Robert Krulwich]

Probably, you know, like me wondering what you did on Saturday night. All right, okay. So just go ahead and wind up and let us know.

[Jad Abumrad]

You sure?

[Robert Krulwich]

Yes.

[Jad Abumrad]

Okay. So Radiolab is a show that's about science and philosophy and big questions and mystery and wonder and curiosity and all this stuff. The not so secret secret about what we do is that it's a deeply musical situation that we have here. So I thought I'd get up on stage. We're gonna do something a little different on the podcast. Well, first of all, we are live at the NYU Skirble center with 862 some odd people. And I was like, let's just do music.

[Robert Krulwich]

All music, all music, all the time.

[Jad Abumrad]

All the time, for about two hours. It was a little bit of an experiment, but honestly, no bs. It was an amazing concert. It was really, really good. We had three people, three acts. First, we got Buke and Gase coming up. Remember them?

[Robert Krulwich]

Yeah, sure, I do.

[Jad Abumrad]

We had the drummer, Glenn Kochi from the band Wilco is gonna perform for you, doing a very non Wilco situation. And then we had the amazing Reggie Watts. Reggie Watts. So what follows is an allmusic podcast, just to let you know. Here's how I set it up for the audience. These are three acts that are really hard to describe. And if I were to get highfalutin about it for just one second, I would say, all right, like a metaphor. Like, if I were to say to you in the striped shirt, hi. Your eyes are like a star. Okay, it's a metaphor, right? Something people say or simile. Okay, fine. My point is that your eyes really aren't like a star at all. A star is a giant thing of gas. Your eyes are really tiny things in your head. They're very different. But that experience of putting them together, finding an affinity between two things that are on opposite sides of the universe, that, to me, is what makes life worth living, honestly. And I think each of these three acts do that in their own musical way, on the level of sound and genre and blah, blah, blah. So I'm going to shut up now and actually get them out here. So our first group. What should I say about our first group? I mean, there are two people. They're both named Aaron. They have been, and this is the honest truth, they've been raping and pillaging My ipod for about six months. One of them plays the Buke, one of them plays the Gase. Together they are Beuke and Gase. Since we featured Buke and Gase on the podcast before, we're not gonna play the full set. Here's one song, it's one of their more recent. Offer.

[Buke and Gase Member]

Him up. One day I'll like the truth until then I know you. He tell you the other big to his number. Wait till my spend everything to gain. Too bad it's not my turn. You got witches to girl they SW something bigger than you, bigger than me. You choose your battles. All that's surely worth their form. Build strong character. That's what you want, that's what you're after.

[Jad Abumrad]

Your face is leaving you. Your face is leaving you before you can turn your head.

[Buke and Gase Member]

Sam.

[Jad Abumrad]

Thanks a lot.

[Robert Krulwich]

Thank you.

[Jad Abumrad]

Ladies and gentlemen, give it up for Bukin Gase. So our next performer to take the stage was a fantastic drummer by the name of Glenn Kochi, who normally plays with the band Wilco. Do you know Wilco?

[Robert Krulwich]

That's sort of insulting. Why? Who doesn't know Wilco?

[Jad Abumrad]

All right, I'm not, I wasn't trying to insult you.

[Robert Krulwich]

I even know Jeff Twimbley. Tweety Tweety. There you go.

[Jad Abumrad]

Any case, Wilco is this huge band, you know, they've sold tons of records, won bunches of Grammys, and they play kind of this straight ahead southern rock type style. Glenn, when he's not, you know, rocking out with them, has this whole other side to his musical life, which is he is a classical composer. He's written music for so percussion, Kronos Quartet, among others. And when he's in that classical mode, his approach to the drums is completely different. It's like the drums become a kind of orchestra for him. Alright, so Glenn, before you really get rolling here, since we are recording this for people who are out there beyond the room as well as people in the room.

[Buke and Gase Member]

Can you.

[Jad Abumrad]

I mean, you're sitting in a drum set right now, but it's not an ordinary drum set. Can you introduce us to the cast of characters that you've attached to your drum set? He had all this stuff hanging off his drums. Sure. I'm gonna walk over here so I can actually see what you're talking about.

[Glenn Kotche]

These guys over here, which are called Crotales, which are.

[Jad Abumrad]

Do you want to bang on them so we can hear while you're talking?

[Glenn Kotche]

So those are like high bell tones and those, you know, originally were from Turkey, like antique symbols, but they kind of are used more in classical music. And then there's these tuned cowbells called Am Glacken, which are, like, Swiss or German. And then this is a prepared snare. So it's the same idea as, like, prepared piano, but with a snare.

[Jad Abumrad]

You see a bunch of screws and springs sticking out the top of your snare.

[Glenn Kotche]

Yeah, yeah. So the drum acts as a resonator for these little sounds. I'll play a bunch of those sounds.

[Jad Abumrad]

And what is this right here?

[Reggie Watts]

This last.

[Glenn Kotche]

That is. That was a wedding present.

[Jad Abumrad]

This is a wedding present. Can everybody see what this is? Can you guys see it?

[Glenn Kotche]

A fruit basket. A fruit bowl. A fruit bowl. It's like a metal coil.

[Reggie Watts]

Yeah.

[Glenn Kotche]

And my wife of 13 years now, Mitty, is very forgiving of me banging on kind of everything all over the house and anything we might pass in a store on the street that looks like it might make a cool sound. And this is one of them. And it didn't actually sound that great kind of whatever, but when you hang it from a rubber band over a contact mic, it sounds really cool, kind of like a big gong.

[Jad Abumrad]

So what are we gonna hear first?

[Glenn Kotche]

First, I'm gonna.

[Jad Abumrad]

The first piece he played is called Monkey Chant, and it's based loosely on. On a story from the Ramayana.

[Robert Krulwich]

The what?

[Glenn Kotche]

Ramayana.

[Jad Abumrad]

Ramayana. I guess how you say it. Well, it's the great Hindu epic with Rama and Sit. Crazy, complicated tale with tons of characters. So what he did was he assigned all the different characters to different pieces of his drum set.

[Robert Krulwich]

Different pieces of the drum?

[Jad Abumrad]

Yeah. Each character would have their own sound. Like, I don't remember exactly how it went, but, like, say this would be Rama, and maybe this would be Sita, and then his would be another character, so he could kind of make the whole story unfold before you in music. Now, you don't really need to know any of that to appreciate this. All I'll say is it's a little bit longer than the last one, but it's so worth it.

[Glenn Kotche]

Okay.

[Jad Abumrad]

Okay. Well, ladies and gentlemen, Glenn Kochi.

[Audience Member]

Sa. It. It's. Sa.

[Jad Abumrad]

That blew my mind.

[Audience Member]

Thanks.

[Glenn Kotche]

I have to say, that's the first time, well, for me, maybe ever, that the thumb piano, the klimba's gotten applause mid tune. I thank you for that.

[Jad Abumrad]

Wow. I mentioned in the introduction that you write music. You've written music for string quartet, you know, for Kronos.

[Robert Krulwich]

Right.

[Jad Abumrad]

How did. I mean, when you've got to write music for strings, do you then step away from the drums or do you how do you, as a percussionist, write.

[Glenn Kotche]

That on the drums?

[Jad Abumrad]

On the drums? Yeah.

[Glenn Kotche]

For me. For me, every day. Anything I do outside, like. Like composing for other groups is an extension of drumming.

[Jad Abumrad]

Or get a drum to make a string sound. Well, you don't.

[Glenn Kotche]

But the idea is, the concepts come from it. Like for the Kronos piece, for example, I sat behind the drums and started playing and thought, there's four guys on stage and I have four limbs. So why don't I just treat them like a drum set and have them play what I would play on the drums? And then, you know, instead of it being tom, tom rack, tom, floor, tom, snare drum, have it be violin, viola, cello, But. And then assign pitches to decide.

[Jad Abumrad]

So did. How do you assign. Do you assign pitches based on the pitches of your instruments? No, that's okay.

[Robert Krulwich]

Yeah.

[Jad Abumrad]

Huh. So you write for strings on the drums. I did. You did. Okay. Can you play us something else?

[Glenn Kotche]

Yeah, I'll play one more. This is another tune from my record mobile. And this is called Projections of what Might.

[Jad Abumrad]

Everyone. Glenn Kochi.

[Audience Member]

It.

[Jad Abumrad]

Give it up for glenn kochi.

[Buke and Gase Member]

Thank you.

[Glenn Kotche]

Thanks, jeff.

[Jad Abumrad]

Thank you. Our final performer of the evening was a guy that's just. Just difficult to describe. His name's Reggie Watts. You could call him a hip hop musician or R and B singer. Now, that wouldn't be right. Call him a comedian, but that doesn't quite capture it. He's kind of everything all at once. And he just happens to be maybe the most talented performer I've ever seen. So here's Reggie.

[Reggie Watts]

Song. I write a lot of song on my spare time. Anyway, there's a song here, Moondo How Old Dog.

[Jad Abumrad]

All right. Just to stick a picture in your head, Reggie has got this giant afro, extends in like two feet in all directions.

[Robert Krulwich]

Like he has his finger in an electric socket.

[Jad Abumrad]

Yeah. And everything he does is completely improvised. Like, I'm pretty sure he has zero planned the moment he opens his mouth.

[Robert Krulwich]

Really?

[Audience Member]

And I do other days that I know I move and I'm trying. Time like a lovely way But I won't be the time you.

[Reggie Watts]

Just kidding. Okay, here we go.

[Robert Krulwich]

Here we go.

[Reggie Watts]

This is it.

[Jad Abumrad]

So he does beatboxing, right? He'll do this into the mic and he'll loop it. It's got effects pedals and various things. And then he'll add a part. Pretty soon we'll have this full sound that he'll then start singing to. There you go.

[Audience Member]

Single.

[Reggie Watts]

Thank you.

[Jad Abumrad]

Wait, no, no, no. Don't go any.

[Audience Member]

Come back, come back.

[Jad Abumrad]

Okay. Let me ask you this. Let me ask you this.

[Reggie Watts]

Yeah.

[Jad Abumrad]

Whatever that was.

[Reggie Watts]

Yeah.

[Jad Abumrad]

When did that begin for you? Was it, like, if you wind it all the way back to the beginning, Was the beginning, like, I'll make this up. You standing in your. In your bathroom, looking in the mirror, doing impressions. Was it your first Dougie Fresh record? Was it. Was it comedy? Like, where. Where did that start for you?

[Reggie Watts]

I mean, I think it's. I think it started because I was an only child, and you just need to, like, you need to come up with stuff to, you know, make sure that you're entertained. But, I mean, it was something I was always interested in everything, for the most part. I really like science and music and art and period pieces.

[Jad Abumrad]

Paint me a portrait of Reggie Watts as an only child. What would you do? Would you be in your room just doing that in mason form?

[Reggie Watts]

Sometimes I used to take models and I would build like a. You know, like an airplane model and like a jet fighter. And I'd put firecrackers inside of it. Like, I'd build it fairly sturdily. I put firecrackers in them. And then I would go into the garage and I would take a huge paint bucket and I'd put it over the model and light the fireworks. And then I put the bucket over it, and I'd sit on the bucket, I'd blow up the plane. And then I would collect all the pieces and I'd re. Glue them together again. And then the pieces that were missing, I would cover with tinfoil. And then I would paint over it. And then I would suspend the airplane on two bits of fishing line from my garage down to the gutter from a sidewalk. And then I would take two straws and glue them underneath the airplane wing. And then I put a smoke bomb, some lighter fluid, saturated Kleenex tissue with some fireworks. And then I would light the smoke bomb and I'd let the aircraft kind of slide down, and it would end up kind of crashing into a mud thing. And then my friends, we'd do it for each other, but my friends would be in the grass laying down with binoculars, pretending like it's a movie. So I used to.

[Jad Abumrad]

That explains everything. Reggie Watts. Yeah.

[Reggie Watts]

Hey, guys. Thank you. This is the song off my last album. I hope that you dig it.

[Audience Member]

And I tried. Put my hand on the ground game and I tried But I now gave myself a chance Chance to rectify the situation Whoa. What did they say to make you fall down? What? I don't know. Maybe we could just think about it baby, baby like a little baby. You really squishy and you see smell weird.

[Reggie Watts]

Yeah.

[Audience Member]

Baby love what you true. Baby what you watch it true. It's like you don't even notice. It's like you don't even care. Cuz my baby like to take whatever she has. Put it somewhere. Maybe she'll use it for later. Maybe I don't know. I don't know. But girls, don't let your mind forget about the time that we had. You and I. You and I handing hand down my.

[Robert Krulwich]

L.

[Audience Member]

Don't you forget. Do we say out some things? Yeah, we say out some things together.

[Reggie Watts]

Cause that's what people do.

[Audience Member]

As long as they have the ability to hear and talk.

[Reggie Watts]

Whoa.

[Audience Member]

Yeah, Babe, I love the way you wore that dress. Cause you had it on your body. Ooh, yes, I did. Whoa, day. So come on, get off on your highest horse. Your horse 30ft high. Don't know how a horse can get that high. But baby, get all that damn horse. Call the fire brigade. Get that ladder truck up there.

[Buke and Gase Member]

Yeah.

[Audience Member]

Cause Babe built a Trojan horse into my heart. Cause Babe built biggest goddamn Trojan horse to get it into my.

[Reggie Watts]

62 days ago, I was feeling good. 61 days ago, all that changed. 57 days later, I felt all right. But then 59 days after that, it's right back where I started. But that's love, you know what I'm saying? Yo, yo. Yeah.

[Jad Abumrad]

Yeah.

[Reggie Watts]

Come on. Come on. Yeah. Yo, Skirball skirt ball. Yo. Play some skirt ball. Gonna play some skirt ball with y'.

[Audience Member]

All.

[Reggie Watts]

Gonna play some skirt ball, yo. Who's gonna be the catcher? Who's gonna be the squidger? You know what I'm saying? Let's play some skirt ball. Let's do this.

[Buke and Gase Member]

Yeah.

[Reggie Watts]

You got that rectangular ball. We're gonna play this. We're gonna do this. Skirt ball. Get your team together. You know what I'm saying? Life be changing. What you be doing? I don't know, but I have this haze over my head like an Isaac Ness that I can't get under my skin. Know what I'm saying? Yo, I got some glasses. I bought some. I have some. I'm an owner of glasses. I've got some glasses. I can say that proudly. Other people can't necessarily, because they might call them something else. And that's too bad. That's their choice. It's perception. You know what I'm saying? You're in control. Listen, I've got this. But someone took it from me. But then I got it back. But then I called Marcy, and Marcy was like, I don't know. I was thinking about it, and I was like, yeah, that's a good idea, Marcy. And I had every intention to tell her, but I just couldn't. You know what I'm saying? So her dress looked really good. No, I'm saying feeling good. Yeah, got it. You're feeling good. Okay. This is a. This is the last song I'm gonna do here. Sorry, real quick.

[Jad Abumrad]

So that's Reggie Watts.

[Robert Krulwich]

How did you end an evening like this because it's so eclectic?

[Jad Abumrad]

Well, my fantasy was to get all three groups playing together in one big, epic jam. So I had. I asked them to do that. They came out and they started to play together, and it was initially. It was. A little bit shaky because no one really knew who was leading or what key they were in or what was tempo.

[Reggie Watts]

Like Seattle, 1991.

[Jad Abumrad]

But eventually they locked in and it started to sound really good. Not bad, right?

[Robert Krulwich]

Yeah.

[Jad Abumrad]

Anyhow, thanks to Buen Gase, Glenn Kochi, Reggie Watts. More information about them on our website, Radiolab.org I'm Jad Abumrad.

[Robert Krulwich]

I'm Robert Krulwich.

[Jad Abumrad]

Thanks for listening.

[Robert Krulwich]

John Bliss, a Radiolab listener from Houston. Radiolab is supported in part by the.

[Glenn Kotche]

Alfred P. Sloan foundation, enhancing public understanding.

[Robert Krulwich]

Of science and technology in the modern world.

[Reggie Watts]

More information about [e-mail].