A recent town hall meeting with McLennan County Sheriff Parnell McNamara was billed as a chance for him to explain his department’s new agreement to work with US Immigration and Customs Enforcement. This episode looks closely at what was said, what went undefined—and why the reassurances offered that night didn’t land for everyone in the room.

What emerges isn’t a prediction for what comes next, but a question about trust and what it means when something presented as “nothing to worry about” demands to be treated as something significant.

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Waco’s Balcones Distilling paused production last summer, but after a recent Saturday afternoon trip to the still-open tasting room, this episode examines what happens when a place continues to operate even after the work that created it has stopped. Rather than focusing on finances or future plans, the visit becomes a way to observe how purpose quietly shifts without being announced.

What emerges isn’t a business postmortem, but a question about form, function, and the uneasy space between what a place claims to be and what it actually does.

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From an early visit to Skellington Curiosities to the premiere of The Dark Overlords of Waco documentary, this story traces the slow construction of a community outside Waco’s norms. For people who don’t neatly fit inside a city’s approved categories, choosing to live without apology widens the gap between visible output and the invisible labor required to keep a scene alive.

What emerges isn’t a clean success story or a cautionary tale, but a pattern of repetition—how momentum takes form, thin outs, and returns in altered form—as people try to create a place that feels like home.

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This episode begins with two stories that seem unrelated—new regulations for food trucks in Waco and a proposed 520-acre data center north of town—but collide once you pay attention to how information spreads locally. What looks like confusion or overreaction is often something else: people trying to orient themselves before anything feels settled.

Local reporting doesn’t just produce facts; it produces a shared reality—and this is about what happens when that reality forms unevenly, late, or not at all.

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At the Performing Arts Community Center (PACC), Russell Campbell’s paintings aren’t shown under spotlights or separated from daily use. They hang on a wall where people go to and from classes, work on laptops, and leave half-finished projects behind them. There’s no signal telling you how to look or what kind of attention the work expects.

This episode considers what happens when art isn’t framed as an event but exists inside a creative space in motion.

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Washington Gallery in downtown Waco has serious art waiting for you. On the surface, it’s simple enough: you see paintings. In practice, the encounter is shaped by pressure about how to look, how to feel, how to say something that proves you were paying attention. Then, art shows up again without ceremony on a utility box at a Waco Drive intersection. Seen once, it’s odd. Seen repeatedly, it becomes familiar, then personal.

This episode explores the difference between art you face once and art you live alongside—and what it means not to stand still long enough to interpret it, but to pass by often enough for meaning to take root.

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Most people only see Waco at 75 miles an hour.

From Interstate 35, it’s a place you pass through on the way to somewhere else—Baylor’s campus, a few landmarks in the distance, gas stations and frontage roads blurring together before you move on.

This episode takes a different route.

Instead of the highway, we follow the 18th Street corridor—moving laterally across Waco, block by block. Neighborhoods shift without warning. Lanes narrow and widen. Signs pile up. Meanings drift. Nothing quite lines up the way it does at highway speed.

This isn’t a tour.

It’s just a different way across town.

And it turns out how you move through Waco changes what it looks like.

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The latest Analog event begins as a night of storytelling in an old grocery store now used by University Baptist Church. On the surface, it’s a handful of speakers taking turns at a mic. In reality, it’s a study of ordinary people trying to make sense of themselves in front of a room willing to listen.

This episode looks at what happens when a community builds a stage out of whatever it has—folding chairs, mismatched lamps, a back room with exposed ducts—and how Waco’s most honest moments often take shape far from places designed to impress.

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