Podcasts about redwood forest

Eureka, CA is home to the famous Redwood Forest and renown for its environmental stewardship, which the Sequoia Park Zoo supports with an annual grant competition.

You have hiked deep into the Redwood forest to enjoy a nice getaway in nature, escaping the stressors of every day life. Just as you set up your tent, you hear what sounds like drops of rain coming down, dripping through the dense leaves way above your head. You have just enough time to duck into your tent before the rain starts falling heavier. You might as well enjoy the sights and sounds of the forest as you wait out the storm in comfort! Gazing out through the screen of your tent, you take in all of the scenery around you. The heavy rain creates a soothing sound all around you, filling the air with a blissful noise of pure relaxation. You feel a sense of calm rush over you as you curl up in your sleeping bag. Being surrounded by the scenery with this soothing rain noise, you know you will get a good night's rest. Your eyes fall heavy, almost as if this storm in the forest creates the perfect rain sound for sleeping. As you fall deeper and deeper into relaxation, you are overcome with sleep. What a perfect spot to set up camp for the weekend. Sleep well! Here are some great products to help you sleep! Relaxing White Noise receives a small commission (at no additional cost to you) on purchases made through affiliate links. Thanks for supporting the podcast! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Baloo Living Weighted Blankets⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Use code 'relaxingwhitenoise10' for 10% off) At Relaxing White Noise, our goal is to help you sleep well. This episode is eight hours long with no advertisements in the middle, so you can use it as a sleeping sound throughout the night. Listening to our white noise sounds via the podcast gives you the freedom to lock your phone at night, keeping your bedroom dark as you fall asleep. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out the 10-Hour version on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Contact Us for Partnership Inquiries⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ With rain and thunder in the forecast, it's a great chance to enjoy some rain sounds for sleeping, studying or relaxation. Listening to thunderstorm sounds can bring about a feeling of calm, while also blocking out distracting noise. Play a storm sounds podcast to enjoy a good night's sleep or to focus on that homework assignment that needs doing. Relaxing White Noise is the number one online destination for white noise and nature sounds to help you sleep, study or soothe a baby. With more than a billion views across YouTube and other platforms, we are excited to now share our popular ambient tracks on the Relaxing White Noise podcast. People use white noise for sleeping, focus, sound masking or relaxation. We couldn't be happier to help folks live better lives. This podcast has the sound for you whether you use white noise for studying, to soothe a colicky baby, to fall asleep or for simply enjoying a peaceful moment. No need to buy a white noise machine when you can listen to these sounds for free. Cheers to living your best life! DISCLAIMER: Remember that loud sounds can potentially damage your hearing. When playing one of our ambiences, if you cannot have a conversation over the sound without raising your voice, the sound may be too loud for your ears. Please do not place speakers right next to a baby's ears. If you have difficulty hearing or hear ringing in your ears, please immediately discontinue listening to the white noise sounds and consult an audiologist or your physician. The sounds provided by Relaxing White Noise are for entertainment purposes only and are not a treatment for sleep disorders or tinnitus. If you have significant difficulty sleeping on a regular basis, experience fitful/restless sleep, or feel tired during the day, please consult your physician. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Relaxing White Noise Privacy Policy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ © Relaxing White Noise LLC, 2024. All rights reserved. Any reproduction or republication of all or part of this text/visual/audio is prohibited.

This Thursday at 5:30 PM EST! Tune in with the Bigfoot Outlaw Channel! Brown Dwarf is an investigator and researcher who is part of the Northern California - Southern Oregon Bigfoot Project. His life has been a journey of experiences which has taken him down the many rabbit holes of the Sasquatch/Bigfoot phenomenon as well as UFO's/ aliens, cryptids, paranormal, history, spirituality and more. He is based out of the Redwood Forest of Humboldt County, California, famous for the 1967 Patterson Gimlin Bigfoot footage and currently holding the most amount of documented Sasquatch reports in California. Living and working in many rural parts of Northern California and Southern Oregon has given him first hand experiences with these beings and access to areas of known activities. https://grizzlyllc.myshopify.com https://paranormalhub.com/grizzly-hunt Govshades.com has the largest selection an variety of brand name sunglasses at up to 50% off retail prices. https://shareasale.com/r.cfm?b=2577121&u=3878666&m=155985&urllink=&afftrack= Rocky Mountain Roastery Coffee! Get Your Coffee Today! https://shareasale.com/r.cfm?b=1943427&u=3878666&m=120637&urllink=&afftrack= Free Conceal Carry Laws of The USA From USCCA! Know The Laws Of Each State For Free! https://uscca.co/GRIZZLY-7015b000005mKPLAA2 For Trail Cams and More Click the Link Below! Blaze Video Inc. ⁠https://shareasale.com/r.cfm?b=1879540&u=3878666&m=117504&urllink=&afftrack=⁠ For Tac Lights and Camping and More, Click the Link Below. EcoGear FX, Inc. ⁠https://shareasale.com/u.cfm?d=481056&m=70349&u=3878666&afftrack=⁠ For Blinds, Waders, Outdoor Gear, Range Finders and More! Click Below! Tidewe ⁠https://shareasale.com/r.cfm?b=1447058&u=3878666&m=92895&urllink=&afftrack=⁠ For Survival Gear, Camping and More Click here click below! Survival Frog LLC... https://shareasale.com/r.cfm?b=564389&u=3878666&m=51591&urllink=&afftrack= For Bags and Backpacks and More Click The Link Below! https://shareasale.com/r.cfm?b=1243597&u=3878666&m=82802&urllink=&afftrack= For Dash Cams, Monitors and Much More Click The Link Below! https://shareasale.com/r.cfm?b=1579252&u=3878666&m=87684&urllink=&afftrack= For Digital Picture Frames, Microphones, Ring Lights and Much More Click The Link Below! https://shareasale.com/r.cfm?b=1968845&u=3878666&m=87684&urllink=&afftrack https://grizzlyllc.myshopify.com https://paranormalhub.com/grizzly-hunt Govshades.com has the largest selection an variety of brand name sunglasses at up to 50% off retail prices. https://shareasale.com/r.cfm?b=2577121&u=3878666&m=155985&urllink=&afftrack= Rocky Mountain Roastery Coffee! Get Your Coffee Today! https://shareasale.com/r.cfm?b=1943427&u=3878666&m=120637&urllink=&afftrack= Free Conceal Carry Laws of The USA From USCCA! Know The Laws Of Each State For Free! https://uscca.co/GRIZZLY-7015b000005mKPLAA2 #bigfootwitness #bigfoot #paranormal --- Support this podcast: https://podcasters.spotify.com/pod/show/grizzly-onthehunt/support

Whether we're an introvert or extrovert , whether we're young or old, we all need one another in the body of Christ. What's our place in a local church? In this message, Pastor Lutzer uses the metaphor of a Redwood Forest to describe the church. As Pastor Lutzer says, “A rootless Christian is a fruitless Christian.”  This month's special offer is available for a donation of any amount. Get yours at offerrtw.com or call us at 1-800-215-5001. 

Whether we're an introvert or extrovert , whether we're young or old, we all need one another in the body of Christ. What's our place in a local church? In this message, Pastor Lutzer uses the metaphor of a Redwood Forest to describe the church. As Pastor Lutzer says, “A rootless Christian is a fruitless Christian.”  To support this ministry financially, visit: https://www.oneplace.com/donate/1407/29

Shea & Jody are off enjoying the last hurrah of summer, so we present a spooky episode from one of our Pod-friends: PNW Haunts & Homicides! This week, we're heading to California - where they know how to party… with ghosts!   Join us as we explore eerie and fascinating sites in the vast expanse of the Redwood Forests. But some of the “ghosts” here might not be what you expect. Not to mention this is a hot spot for Bigfoot sightings! Don't miss us at True Crime Fest Northwest 8/30 - 9/1! Use Promo Code HAUNTS10 for 10% off your ticket!   This week we introduced you to our friends from Twisted & Uncorked, A TRULY TWISTED PODCAST!Visit our website! Find us on Facebook, Instagram, TikTok, Patreon, & more! If you have any true crime, paranormal, or witchy stories you'd like to share with us & possibly have them read (out loud) on an episode, email us at pnwhauntsandhomicides@gmail.com or use this link. There are so many ways that you can support the show: BuyMeACoffee, Spreaker, or by leaving a rating & review on Apple Podcasts. Sources. Shea & Jody will be back next week with another fascinating tale from Pacific Northwest History! If you would like to support us as independent creator, please join our Patreon! There you can get ad-free episodes, bonus content, shout outs, and more! patreon.com/RainyDayRabbitHolesPodcast --

From the Bay Area to the Central Valley to the Redwood Forest, this punk rock was made for you and me. Since the late '70s, Northern California has been a hotbed of punk rock activity. San Francisco sat at the epicentre of the first wave, with bands like Crime, Dead Kennedys, Avengers, Chrome, The Mutants, and The Nuns bringing the house down at the legendary Mabuhay Gardens. East Bay bands like Green Day, Operation Ivy, Rancid, and The Mr. T Experience ruled the punk revival of the late '80s and beyond. But, all over the northern part of California, great bands sprouted up in cities like Stockton, Santa Cruz, Davis, and Fulton. This week, we'll cover some of the great punk singles from the area, from familiar favorites to obscure treasures. What better Third Lad for this assignment than Northern California alternative music legend Jeffrey Clark?!? Jeffrey got his start as the singer/songwriter in early '80s Stockton garage/psych/synth combo The Torn Boys, whose recordings were recently released by Independent Project Records as 1983. Following the demise of the band, Jeffrey departed for LA with Torn Boys bandmade Grant-Lee Phillips (later of Grant Lee Buffalo fame) and formed the moody, mystical, marvelous Shiva Burlesque, who released two LPs - their eponymous debut in 1987 and Mercury Blues in 1990. Jeffrey subsequently released two cinematic, gorgeous solo records - Sheer Golden Hooks in 1996 and If Is in 2009. But wait, there's more: This renaissance man also founded one of the most acclaimed film festivals in North America, the Nevada City Film Festival; he revitalized the legendary Independent Project Records with label founder/Savage Republic guitarist Bruce Licher; and, he co-produced the documentary Louder Than You Think: A Lo-Fi History of Gary Young & Pavement. Oh, and did we mention that he's practically a member of the Wu-Tang Clan?? Speaking of Louder Than You Think, you may recall our recent episode where we chatted with director Jed I. Rosenberg and co-producer Brian Thalken. We made sure to chat with Jeffrey about the film as well, so stay tuned for a separate mini-episode on Thursday for more of our discussion! Special thanks to Paul Richison for the amazing guest suggestion, and to Josh Mills from It's Alive! Media for the incredible coordination. Learn more about your ad choices. Visit megaphone.fm/adchoices

Venture through the majestic Redwood National Park in Northern California, where towering trees relax your mind and body with their ancient wisdom. Wander along the Miner's Ridge Trail, enveloped by the quiet grandeur of the forest. Stroll along the Pacific Ocean and hike the James Irvine Trail, as colossal redwoods inspire awe and humility. Unwind with the calming practice of Lion's Breath, guiding you to sleep amidst nature's splendor. For more from OpenMind, follow us on Instagram @openmindstudios Learn more about your ad choices. Visit megaphone.fm/adchoices

#118 - What would compel someone to leave the security of home for the uncertainty of the road? Adventurer Nicolai Dotter joins us to share the origin story of his daring spirit and the motivations behind Operation Brazil, his bold motorcycle expedition from California to Brazil. Influenced by his father's enthralling travel tales and an unconventional education in the Redwood Forest, Nicolai's passion for exploration has taken him across continents, from Europe and Asia to survivalist camping in Hawaii. In this episode, Nicolai opens up about how his adventures have shaped his resilience and provided tools to tackle life's challenges head-on.Imagine the rush of navigating Mexico's wild terrains or the joy of cultural immersion as you pick up a new language. Nicolai's transformative trip to Vietnam ignited his love for motorcycling, setting the stage for this epic year-long journey through Latin America. As he nears 30, Nicolai shares the thrill of stepping out of his comfort zone, embracing the hostel lifestyle, and redefining what it means to truly experience a place. His stories from the road challenge preconceived notions and highlight the power of adventure to enrich our lives in surprising ways.From the sun-drenched landscapes of Baja California to the vibrant cultures of Guatemala, Nicolai's travels are filled with eye-opening moments and unexpected challenges. Hear about the nail-biting incident in Oaxaca, the warm hospitality in Sinaloa, and the financial wisdom of living as a digital nomad. Whether it's motorcycle mishaps or learning to navigate without a phone, Nicolai's journey is a masterclass in adaptability and the joys of slow travel. With plans to continue through Central and South America, Nicolai's tale is a riveting testament to living life on your own terms.Be sure and follow Nicolai on his operation to Brazil on Instagram @neeekolaiii.  Be sure and follow the show @journeywithjakepodcast and reach out and say hi.Visit geneticinsights.co and use the code "DISCOVER25" to enjoy a sweet 25% off your first purchase. Visit LandPirate.com to get your gear that has you, the adventurer, in mind. Use the code "Journey with Jake" to get an additional 15% off at check out.

From the Bay Area to the Central Valley to the Redwood Forest, this punk rock was made for you and me. Since the late '70s, Northern California has been a hotbed of punk rock activity. San Francisco sat at the epicentre of the first wave, with bands like Crime, Dead Kennedys, Avengers, Chrome, The Mutants, and The Nuns bringing the house down at the legendary Mabuhay Gardens. East Bay bands like Green Day, Operation Ivy, Rancid, and The Mr. T Experience ruled the punk revival of the late '80s and beyond. But, all over the northern part of California, great bands sprouted up in cities like Stockton, Santa Cruz, Davis, and Fulton. This week, we'll cover some of the great punk singles from the area, from familiar favorites to obscure treasures. What better Third Lad for this assignment than Northern California alternative music legend Jeffrey Clark?!? Jeffrey got his start as the singer/songwriter in early '80s Stockton garage/psych/synth combo The Torn Boys, whose recordings were recently released by Independent Project Records as 1983. Following the demise of the band, Jeffrey departed for LA with Torn Boys bandmade Grant-Lee Phillips (later of Grant Lee Buffalo fame) and formed the moody, mystical, marvelous Shiva Burlesque, who released two LPs - their eponymous debut in 1987 and Mercury Blues in 1990. Jeffrey subsequently released two cinematic, gorgeous solo records - Sheer Golden Hooks in 1996 and If Is in 2009. But wait, there's more: This renaissance man also founded one of the most acclaimed film festivals in North America, the Nevada City Film Festival; he revitalized the legendary Independent Project Records with label founder/Savage Republic guitarist Bruce Licher; and, he co-produced the documentary Louder Than You Think: A Lo-Fi History of Gary Young & Pavement. Oh, and did we mention that he's practically a member of the Wu-Tang Clan?? Speaking of Louder Than You Think, you may recall our recent episode where we chatted with director Jed I. Rosenberg and co-producer Brian Thalken. We made sure to chat with Jeffrey about the film as well, so stay tuned for a separate mini-episode on Thursday for more of our discussion! Special thanks to Paul Richison for the amazing guest suggestion, and to Josh Mills from It's Alive! Media for the incredible coordination. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, we're heading to California—where they know how to party… with ghosts!

A Day In The Redwood Forest by Kevin by 826 Valencia

If we try to get through a storm on our own, we can get blown over. That's why believers worship together, pray for each other, and support each other. In this message from 1 Peter 2, Pastor Lutzer illustrates our place in the church as if we are trees in the Redwood Forest. When we belong to Christ's church, we are deeply rooted. To support this ministry financially, visit: https://www.oneplace.com/donate/172/29

If we try to get through a storm on our own, we can get blown over. That's why believers worship together, pray for each other, and support each other. In this message from 1 Peter 2, Pastor Lutzer illustrates our place in the church as if we are trees in the Redwood Forest. When we belong to Christ's church, we are deeply rooted. This month's special offer is available for a donation of any amount. Get yours at rtwoffer.com or call us at 1-888-218-9337. 

Pornography is a modern man's pacifier, it provides a temporary escape from life's pressures but can worsen issues like hypersexuality disorder. Amid the Redwood Forest's tranquility, Jessica discovered solace and healing from PTSD and brain damage, emphasizing the importance of addressing hypersexuality's roots in our society.Picture this: within the majestic Redwood Forest, a mesmerizing phenomenon occurs. The leaves of the towering redwood trees possess a unique ability to capture moisture from the air, creating a microclimate beneath the canopy. Even when it's not raining above, foggy drizzles forms below, nourishing the forest floor. This intricate dance between the trees and their environment showcases nature's profound interconnectedness, where every element plays a vital role in sustaining life.Jessica Jordan's journey goes beyond the beauty of the forest. She shares her personal story of resilience and healing, overcoming significant challenges including PTSD, brain damage, and hypersexuality disorder. Nature played a pivotal role in her recovery, providing a sanctuary where she found solace and restoration.You're invited to come to a Sovereign Circle meeting to experience it for yourself. To learn more, go to https://www.sovereignman.ca/. While you're there, check out the Battle Ready program and check out the store for Sovereign Man t-shirts, hats, and books.

GUEST:   https://farwestfungi.com/   https://www.instagram.com/farwestfungi/   https://scmmfest.com/   MENTIONS:   https://www.mssf.org/   https://ffsc.us/   https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202320240AB1833   https://www.fieldforest.net/   MUSHROOM HOUR:   https://welcometomushroomhour.com   https://instagram.com/welcome_to_mushroom_hour   https://tiktok.com/@welcome_to_mushroom_hour   Show Music courtesy of the one and only Chris Peck: https://peckthetowncrier.bandcamp.com/   TOPICS COVERED:    Growing up on a Mushroom Farm   Learning from Mycophilic Cultures   Farwest Fungi Mushrooms & More   Art & Science of Mushroom Substrates   Heat & Energy Consumption in Mushroom Cultivation   Virtues of Sawdust Spawn   Analytical Testing for Gourmet & Medicinal Mushrooms   Nature & Nurture = Species & Growth Substrate   Scaling Domestic Mushroom Production   “California Grown” Label Initiative   Resiliency & Food Security   Agriculture Industry Support   Santa Cruz Mountain Mushroom Festival   Steam Trains in the Redwood Forest   

Send us a Text Message.Do you find that movement can rock your soul, open your heart and heal your mind? Megan Bloom founder of Eternal Dancers (www.eternaldancers.com, @eternal.dancers) believes we are carry the signature of dance within us....a power that can heal our hearts, help us connect with nature and shake up our chemistry. In this episode of THE SOULFAM PODCAST with Diana and Lexi. In her role as a Dance Reconnection Specialist, Megan Bloom transcends the traditional boundaries of teaching dance. She embarks on a journey with individuals, leading them through a process of self-discovery via the medium of dance through one-on-one sessions, online courses and soon MeetUp groups. She assists in establishing daily dance rituals, promotes the holistic benefits of dance, and facilitates the experience of dance as a healing and empowering practice. Megan established her online courses and daily dance rituals during Covid when dance was briefly taken from her. Sad, Megan realized she wasn't the only one and began dancing for herself and sharing her love of dance and its magic with thousands. Megan now travels the Western US in her tiny house on wheels, often visiting sacred and high vibration locations such as the Redwood Forest of California,  the sacred sites of Sedona, AZ; the red rock canyons of Utah and the gorgeous forests and mountains of Washington State.  There she sometimes encounters the Fae realm where spirits suddenly appear as Megan dances - often alone - in Earth's magnificent nature. Dance takes on a profound and deep meaning, Megan shares. The soul lights up, confidence emerges and often long-held emotions are released. Listen now on THE SOULFAM PODCAST with Diana and Lexi to be inspired and uplifted by Megan's belief that movement heals and you are an eternal dancer!!! WITH LOVE, Diana and Lexi  Oweli Supplements (www.Oweli.com) and www.CBDpure.com, sponsors of the podcast, have graciously offered a coupon for free shipping and 15 percent off with the coupon code SOULFAM. Lexi and Diana both takes these supplements whose products support everything from your eye health to immune system to your protein intake to your brain's neurological health. CBD Pure is one of the very best CBD's on the market with high grade ingredients. Order now with SOULFAM in the coupon code. Support the Show.@dianamarcketta@lexisaldin@thesoulfampodcast

In this episode, Bree Mills interviews Hailey Rose, a porn performer with a background in biology and a passion for Northern California's Redwood Forest. Raised by two sex-positive & open-minded parents, Hailey shares how authentic curiosity has guided her journey in the adult world. They discuss Hailey's journey from swinging to sex work, doing everything hand-in-hand with her husband Max Fills! Tune in to hear Bree and Hailey talk their shared love of disconnecting from the digital world, Tumblr as an introduction to porn, and how growing your confidence is the best thing in for the bedroom! Listen to all things aspirational Hentai, kissing as a lost art, The Cereal Incident, and SO MUCH MORE! Hailey Rose Instagram: https://www.instagram.com/haileyrose.real/Bree Mills Instagram: https://www.instagram.com/thebreemills/Podcast Website: https://linktr.ee/getupclose

Kevin Fedarko's book, the Emerald Mile, takes readers on the journey of the fastest ride through the Grand Canyon in a dory named the Emerald Mile. Fedarko's book dives into the backstory of the dam, the characters, and even the record-breaking journey, and yet leaves one question remaining: what is the backstory of the dory's namesake? In this 1st of 2 Emerald Mile episodes, the stories of Fedarko and Dave Van De Mark demonstrate the impact that words and imagery make when applied to places like the Emerald Mile in California's Redwood National and State Parks. SPONSORSDown River Raftopia April 6Down River EquipmentInstagramFacebook Rocky Talkie5 Watt Radio, WaterproofDiscount Code 10% off:  RIVERRADIUS10InstagramFacebookYoutube GUESTSKevin FedarkoInstagramFacebookDave Van De MarkVicki OzakiLeonel Arguello RESOURCESThe Emerald MileOutside Magazine Kevin Fedarko ArchivesWhen & How The Emerald Mile Came To Be A Critical Part of the Original Redwood National ParkLocal Photography Legend Who Helped Establish Redwood National and State Parks Sets Out to Complete His Life's WorkActivist and photographer DaveVandeMark treks to the upper reaches of Redwood Creek to  document how its conservation has impacted its ecological condition THE RIVER RADIUSWebsiteInstagramFacebookApple PodcastSpotifyLink Tree

Robert Johnson is the founder and CEO of the functional mushroom brand Mycroboost. After a decade in the cannabis industry, he transitioned to supplement manufacturing and has been leading his company in Los Angeles for over four years. With experience in the West Coast cannabis market, he brings a unique perspective to the emerging world of functional mushrooms and supplements.The episode explores the intersection of health, wellness, and the emerging market for natural plant and fungi-based ingredients. Johnson shares his experiences and insights from over a decade in the cannabis industry and his current venture with Mycroboost, a functional mushroom brand. They talk about the need for standardized measurement and regulations in the mushroom market, shedding light on the potential benefits and challenges of functional mushrooms in promoting overall well-being.TakeawaysConsider the potential of natural substances.Stay informed about emerging industries like CBD.Prioritize quality and appropriate dosage.Connect with Robert JohnsonInstagram: https://www.instagram.com/mycroboost/Website: https://mycroboost.comConnectDr. Trip Goolsby & LeNae Goolsby are the co-founders of the Infinite Health Integrative Medicine Center, and are also the co-authors of the book “Think and Live Longer”.

Join host Emiliano Lemus and guest Violet Moon for a new Herbal Highway series in which we explore the natural medicines present in California ecosystems. This month, we visit the redwood forests, exploring what a healthy woodland ecosystem looks like, and which medicinal plants we may encounter there. Violet Moon is a clinical herbalist and native plant specialist based in Oakland, CA (unceded Lisjan Ohlone land). Follow The Herbal Highway on Facebook and Instagram @theherbalhighway. The post Medicinal Ecologies: Redwood Forest – February 13, 2024 appeared first on KPFA.

Chatting With Sherri welcomes multi-award winning make-up and hair designer; Deborah Lanser! Deborah Lanser learned make up at a local collage, studied period wig dressing and special effects make up procedures. Started in a Sydney  theme park painting children's faces. Deborah has worked on the' re make' of the Mission: Impossible television series with Peter Graves and Thaao Penghlis which was filmed here in Australia the 80's.  Deborah has worked with Sir Kenneth Branagh on 2 films and flown around the world with him on a press tour in a private jet. Has worked with Denzel Washington and Emma Thompson in Italy. Deborah has worked in east Africa in Namibia and then in the jungles of  northern Thailand on an Angelina Jolie film, head of make up department for a Glen Close produced 're do' of the musical South Pacific. Deborah has worked with Dennis Hopper and Melanie Griffith, daughter of Tippy Hedren. Deborah had to turn Dennis Hopper into Frank Sinatra for the film The Night We Called It A Day. Deborah has been nominated for an Emmy Award for make up on actress Deborah Messing in the tv mini series Starter Wife. Deborah was one of many make up artists on Pirates of the Caribbean: Dead Men Tell No Tales filmed in Australia. Deborah worked recently with Melissa McCarthy and husband Ben Falcone on comedy Netflix series Gods Favourite Idiot. Deborah has travelled to the USA for many times and loves Palm Springs and the Californian coast and the Redwood Forest and the madness of Las Vegas.           

In questo audio il prezioso incontro con Daniele Puppi artista Valentina Sumini architetto. L'intervista è in Contemporaneamente di Mariantonietta Firmani, il podcast divulgato da Artribune.com e Parallelo42.it In Contemporaneamente podcast trovate incontri tematici con autorevoli interpreti del contemporaneo tra arte e scienza, letteratura, storia, filosofia, architettura, cinema e molto altro. Per approfondire questioni auliche ma anche cogenti e futuribili. Dialoghi straniati per accedere a nuove letture e possibili consapevolezze dei meccanismi correnti: tra locale e globale, tra individuo e società, tra pensiero maschile e pensiero femminile, per costruire una visione ampia, profonda ed oggettiva della realtà. Daniele Puppi e Valentina Sumini ci raccontano di spazi della mente, luoghi della tecnologia, percezioni e progettazioni, ricerche nell'inconscio umano e indagini sulle possibilità ingegneristiche. Dell'arte che trasforma psicologicamente lo spazio sollecitando nuove percezioni, e ingegneri che progettano villaggi lunari cercando di replicare le condizioni di vita sulla terra. Ed ancora, lo spazio dell'arte deve essere condiviso con il resto dell'umanità, mentre nello spazio le esperienze sensoriali sono artificiali addirittura in teletrasporto. Da un lato l'artista sottopone a stress la tecnologia per innovare il pensiero. Dall'altro, l'ingegneria spaziale, dovendo evitare le radiazioni cosmiche, imita la natura per ricreare la luce che è prima fonte di vita umana, animale e vegetale. Ed ancora, la genialità dei bambini non deve essere atrofizzata dall'istruzione mirante alla produzione di pensieri omologati piuttosto che individui liberi e creativi, e molto altro. ASCOLTA L'INTERVISTA INTEGRALE!! GUARDA IL VIDEO!! https://youtu.be/dfC_hW8alX4 BREVI NOTE BIOGRAFICHE DEGLI AUTORI Daniele Puppi, artista, dopo il diploma all'Accademia di Belle Arti di Roma, realizza residenze in eccellenti luoghi dell'arte in diverse parti del mondo: Adelaide, Parigi, Seoul, San Francisco e Saratoga, ed altri.Tra le Molte mostre personali: Infrasub, Fondazione Ado Furlan, Pordenone; Ventiventuno, Magazzino Gallery, Roma; Respira Galleria Borghese, Roma; Gotham Prize, Istituto italiano di cultura, New York. La serie Fatica: FATICA n.23, Galleria Nazionale, Roma; FATICA n.16, HangarBicocca, Milano; FATICA n. 27, Melbourne International Arts Festival. Altre mostre personali:. Ed anche: 432 Hertz, Australian Experimental Art Foundation, Adelaide; HAPPY MOMS, MAXXI, Roma. Tra le principali mostre collettive: Videoarte in Italia, il video rende felice, Palazzo delle esposizioni - Roma; 18° Festival Internacional de la Imagen, Manizales, Colombia. 17 New Artists Integration, Jan Fabre Troubleyn/ Laboratorium, Antwerp; El Topo, Nuit Blanche, Paris; Spheres 4, Galeria Continua/ La Moulin, France. Taking Time, M.A.R.C.O. Museum, Vigo, Spain; Tupper Und Video, Marta Herford Museum, Germany, e molto altro. Valentina Sumini architetto dello spazio, Laurea Magistrale in Architettura e Ingegneria Edile Politecnico di Torino, Master dell'Alta Scuola Politecnica Milano e Torino. Segue dottorato in Conservazione dei Beni Architettonici, Politecnico di Milano, e l'Illinois Institute of Technology di Chicago. Ricercatrice affiliata al MIT Media Lab, è titolare del primo corso in Italia di “Architecture for Human Space Exploration” al Politecnico di Milano.Nel 2009, con l'Alta Scuola Politecnica, è nella progettazione di, MOOREA; lavora al Moon Village con lo studio Skidmore, Owings & Merrill, l'European Space Agency. Inoltre partecipa alla progettazione di SpaceHuman un esoscheletro soft robotic testato durante un volo a Zero-G organizzato nel 2019 dal MIT Media Lab. Riceve numerosi premi in competizioni organizzate da agenzie spaziali internazionali: MARINA, Space Hotel orbitante attorno alla Terra (NASA RASC-AL Competition 2017. Ed anche Redwood Forest, città su Marte e Mars Habitat; W.A.T.E.R. (Mars City Design Competition 2017, IASS 2018). BEAVER, serra su Marte (NASA Big Idea Challenge 2019); H.Y.D.R.A. sistema di estrazione di ghiaccio e acqua dal permafrost marziano (NASA RASC-AL Competition 2018. Infine, è responsabile dell'Innovation Hub per COESIA.

Award-winning producer, activist and artist Eleanor Goldfield has a new documentary out, To The Trees, about forest defense in the Redwood Forests of Northern California. Beautifully filmed and composed, Goldfield shows the decimation of our old-growth forests and efforts to stop this crime while placing the struggle in the broader context of colonialism and capitalism. Clearing the FOG speaks with Goldfield about how she connected with forest defenders, the experience of making the film and what we can all do to protect our last remaining Redwoods, the giants of carbon sequestration. Aptly named, To The Trees will inspire you to embrace and protect our forests. For more information, visit PopularResistance.org.

The Redwood Forest by Alexander by 826 Valencia

Embark on a journey of tranquility and inner harmony as we guide you through a soothing meditation experience set amidst the majestic redwood forests of California and the serene sounds of Erskine Falls in Lorne, Australia. In this episode, we'll help you cultivate mindfulness, loving-kindness, and a deep connection to the natural world through guided visualizations, a grounding body scan, and energy exchange practices. Allow the ancient wisdom of the redwoods and the cascading waters of the waterfall to wash away stress, rejuvenate your spirit, and leave you feeling refreshed and balanced. Join us in embracing serenity and finding peace within.Music by RelaxingTime from PixabaySupport the show

Welcome back friends! Besides our big adventure to LA, we had exciting news of our own. I was pretty sure that I was pregnant, so Thomas and I, were exceptionally happy. Since I hadn't gone to a doctor when I was pregnant with Naomi, I wasn't even considering a doctor visit to get a confirmation. Many of the women at the ranch also came from the “back to nature” lifestyle, where it was common to rely on a midwife's advice. My attitude towards pregnancy was pretty normal in our circles. I was fine, with waiting one more month, to be sure. Quite a few months before that, Thomas and I, had prayed together, asking the Lord to bless us with more children, so we felt confident that everything was okay. I had been feeling good, with not much morning sickness, which made it easy for me to continue with my job in the kitchen. Thomas and David, were making plans coordinating the cars needed, to drive up to Eureka on the coming Sunday. It was always a special outing for the day, and we were excited about the church gathering that we would be a part of. Once again, we were out on the road with our friends. It was a beautiful fall day, and the drive through the majestic Redwood Forest, was always impressive. Arriving in Eureka, we found a place to park near the Veterans Hall. We could see all the happy people filing up the steps and greeting each other. The mothers had their long dresses on, and many carried diaper bags, full of snacks and toys for the day. A lot of the men had their large Bibles in carry bags, hanging over their shoulders . Thomas and I, headed straight in, with hopes of finding seats near the front, where he could see the musicians. There was a great sense of enthusiasm amongst us,, because of our recent experiences at the outreach in Los Angeles. When the music began, Thomas and I, always felt lifted up in our spirits. We imagined ourselves entering the throne room of God, with our brothers and sisters, singing with our whole hearts. https://youtu.be/7tOrDC5ICV4 "Clap your Hands" https://youtu.be/vdjV6Tt7oyM "Thy Loving Kindness is better than life" Above are the links to the songs I referred to! They were both written in the early 70s! Maybe you would like to sing along!   

Downtown Cary is the last place you’d expect to find a miniature redwood forest – but tucked away behind town hall is a secret world of dawn redwoods with fluted trunks, and rippling roots, a striking red sight against a hillside curtained with green ivy. It looks like something out of a fairytale. In this episode, WRAL’s Hidden History reporter, Heather Leah, takes us on an adventure to spot redwoods around the Triangle.  

A monster lurks in the Redwood Forest, and it already knows you're there. Enjoy these new 11 TRUE Horror Stories! Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Join EERIECAST PLUS to unlock ad-free episodes and support this show! (Will still contain some host-read sponsorships) https://www.eeriecast.com/plus LINKS:  Join my DISCORD: https://discord.gg/5Wj9RqTR3w SCARY STORY TIMESTAMPS (Ads may throw off the time) 0:00 INTRO 1:08 Coyotes, Gunfire, and What Was That? from RomiaChick 10:12 The Cat Lady from Anonymous 19:46 Skinwalker Ranch from Bdogg 25:38 What Was That Thing? from Zach 29:12 Something Came To Me from Lotus tears 33:02 Were They Dogs? from Wendigo lover 38:15 Werewolf in Canada from DARK RAVEN NFFC 41:34 It Grew from Slytherinserpent287 44:11 The Creature in the Cabin from PNW Samwise 49:57 Animas River Monster from R&CO 53:46 My Haunted Road Story from Responsible_Ad7305 CREDIT: Story Background Music by LXZURAY!  Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491   Submit Your Story Here: https://www.darkstories.org/ Get Darkness Prevails Podcast Merchandise! https://teespring.com/stores/darknessprevails Subscribe on YouTube for More Stories! https://www.youtube.com/channel/UCh_VbMnoL4nuxX_3HYanJbA?sub_confirmation=1 Learn more about your ad choices. Visit podcastchoices.com/adchoices

A group of tourists have been rescued from a construction site in the Redwood Forest in Warburton.See omnystudio.com/listener for privacy information.

Hey Wicked Hunters, This week I'm excited to chat with Kristin Piljay, Kristin Piljay has been an internationally-published photographer for over two decades and has travelled to many places in search of knowledge, beauty, and adventure. She tends to wander off into the wilderness of the mountains, desert and forest, but she can also be found occasionally in cities. Starting as a portrait photographer in the 1990s, she eventually became a travel photographer for Lonely Planet Images stock agency and some of her images have been published by Lonely Planet, Mountain Sobek Travel, Pearson Education, Microsoft, Condé Nast, Cengage Learning, Oprah Winfrey Network, Hearst Corporation, Aerial Dance Festival, Redbull and BBC Travel. For those who want to get to know Kristin better you can go to: https://linktr.ee/KristinPiljay  https://www.wanderlustphotos.com/ Other ways to listen and subscribe to the podcast: Spotify - http://bit.ly/twhspotify  Apple Podcast - https://bit.ly/Theartofphotography  Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr  Website: podcast.thewickedhunt.com   Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr    For those of you who want to see connect with Stanley Aryanto, you can go to the following: Instagram: https://www.instagram.com/thewickedhunt/    Facebook: https://www.facebook.com/thewickedhunt/ https://www.TheWickedHunt.com/    Don't forget to let us know your favourite part of the Podcast in the comment below and subscribe --------- Transcription: 0:00   All these tweets about artists saying they can finally make a living at art and artists actually making money because like the kind of the whole thing with the stock photography, where you people are paid like one centre for centre, whatever for their art or their photo or video, it was just so insulting 0:25   Hey wiki hunters Welcome back to The Art of Photography podcast, where we share artists journey and share how photography given us all purpose and happiness. And today we have somebody who I've met through Twitter, and it's pretty cool. Actually, I haven't chatted with her too much, but just going to some of her photograph coming in trade. And I want to have her here in the podcast and talk about her journey. Good morning, Kristen. Welcome to the Art of Photography podcast, or actually, it's even in your place, isn't it? 1:00   Well, yeah, I can say good morning, because it's good morning. There's always good morning in the NFT. World. That is true. 1:06   It is always good morning. That is so funny. I remember. I asked this question while back it's like, is it GM or GM? Like how do you you know, which one do you say is like, it's always a GM. By the way, listeners, you know, in the NFT world or in web three world, GM means Good morning, I, it took me I think about four months trying to figure that out. That was so funny. Very excited to have you here. So before we get started, just tell us a little bit about who you are and what got you into photography. 1:41   Well, um, I am mostly like a travel and nature photographer. But I've actually done a lot of different types of photography. But it all kind of started when I was a child. And I just I had, I'm 57. So I, you know, I remember what a pocket camera was some people in who are older will know what that is. But it was like kind of like this, like oblong kind of rectangular like little thing. And I and I had one of those. And I was an exchange student in Germany, when I was in high school. And I had an aunt that gave me he's like, Oh, you seem to take good photos. He's like, you can borrow my SLR camera. And so she lent me this camera. And the funny thing is that it was a it was totally manual, but the light metre was broken. And so if you can believe it, I just guessed to what to set. To set it, I actually looked at the film that I bought, and it said, you know, like, if it's sunny than the US like 125, and then F 11. And so that's what I would do. And I kind of just guessed, and the thing is, is like, I don't know, I was shooting negative film. So there's some leeway, but like, it seems like that my photos like when I would get them developed, they were like, you know, they were exposed properly. So but that, so I travel, I was in school in Germany, and I travelled around. And then when I came back and showed people my photos, they were like, Oh, you have a good eye for photography. And so when I graduated from high school, I asked my parents to, I said, I would like to have like my own camera, because I had given that one back to my aunt. So then they got me a canon. And that's when I started, you know, I don't know, just kind of experimenting. And when I would travel, I kind of mostly would shoot whenever I would travel. And then eventually, I couple years after that, like in my early 20s, I started taking photography classes. So I learned how to develop film, like black and white photography, and then developing it in the dark room and everything. And that was like a lot of fun. And just doing the assignments that I was given. But early on, I actually started photographing when I was doing black and white, I photographed food. And I did all these kinds of interesting, like kind of still lifes with food. And my parents don't have some of those, like on their walls. Some of them were like milk and cookies, that kind of an or like milk and eggs and that sort of thing. And and I guess I started when I moved to San Francisco in the early 90s, I started shooting more portraits and I still was taking photography classes and I was working in an office and somebody asked me if they if I could take photos of them and their boyfriend and so I started doing portraits and then like kind of word spreads. And so then I started photographing people's kids and then like even somebody's wedding, a wedding or two and that sort of thing. So I and after headshots and I kind of started that's how I started doing, like more professional photography. And so I did kind of start out more with portraiture, but then when I would travel then I would just photograph and I would travel. And I guess I started doing travelling Like more travel, travel photography, like, around the year 2000 2001. And I started shooting slides, and I actually was accepted by a stock agency. And that started, like my experience with stock agencies, which I'm sure is most people know, are really like, it's really kind of horrible right now. But like back then, it was a little bit different. And it was all like slides, and even the agency, I went in person in San Francisco, and would like to deliver my slides. And, and I had some sales. I mean, it wasn't anything huge. But then I swear it was super quick. Even just like a few years after that, like the sales decreased and the prices decreased. I don't know, it seemed like when it started with digital photography, because like I was excited about digital photography, and I switched to digital in 2004. But once it became, it seemed like it became easier and more accessible. And people started shooting more photos. Because like when I used to shoot slides, I used to like, look through my slides like on it, I would look through my slide with a loop, and also look at the exposures because you had a bracket your exposures, and I would sit at a table and I have a light box. And then I would just toss the ones on the floor that were bad like that I was gonna throw away, which seems like such a horrible waste. So I'm kind of glad that I'm not doing that sort of thing anymore. That threw away like all this film all that like chemicals and developing and just throwing like all these slides away. So that's kind of how I got into that sort of photography. And then later on, I actually worked as a photo researcher in textbook publishing. And that actually was supposed to be a part time job. And then I wanted to basically be a full time photographer. But I was never very good at marketing myself. And so I kind of stuck with the stock photography thing. But through my work in working for a publisher, as a photo researcher, sometimes they needed photos to be photographed specifically for some of the science textbooks I was working on. And so they started hiring me as a photographer, so I started shooting for the textbook publisher. But like professional photography was always like a part time job for me. So I always had like another main job. And unfortunately, like I kind of wanted like that just to be a part time job, the photo research and, and to be mainly be a photographer, but I ended up it ended up being reversed. And I got more and more work as a photo researcher, and, and not as much work as a photographer. And then just because of the way the business changed with textbook publishing, and also stock photography, I started doing less and less photography, and I didn't shoot for the publisher anymore. And even the photo research was going to overseas. So I, I kind of, I'm at the point now where I work as a project manager and textbook publishing, and, and then I work for slike doing social media marketing on mostly on Twitter. And then there's still the photography, which started I started making more money finally, again, on photography because of NF T's. Because I mean, like the stock photography, you can actually if you look at my sales, and the stock agencies that I'm in, the price is just getting lower and lower and lower. And recently, I actually had some sales. And they gave me one cent like the agency, two cents, and they gave me one cent. And I'm like, Are you kidding me? 8:48   No, 100% You know, like seeing the market kind of move that way? I mean, you know, I think I, it took me a while to understand that, you know, that's not how you make money to stock photography. And it I only know this when I was talking to Paul, this guy, actually the one on the first person that I interviewed in, in this podcast, and I asked him about, you know, stock photography, is it worth it? And you know, the way he approached it is the way you approach it back then it's not it's not going to the stock size sites, but actually going direct to the consumer, the people that are looking for it, you know, whether it's an agency or the actual company, and that's how it's being valued a lot more compared to stock photos. But you're right, you know, and nowadays it's so hard because iPhone, take a great photo, right? Yeah. So then it's not necessarily I mean, we all know that in order to be a good photographer. It's not just the camera but you know, from that the mindset kind of shift, you know the value kinetic Freeze. So from someone who been shooting all the way back from the film era, you know, to the digital era, and now I could say to the mobile phone era, how do you see the value shifted along this years? And what do you think about that? 10:19   Well, it's really actually disappointing that the value shifted. And I mean, it depends on the type of photography to so like travel photography, I mean, I mean, just kind of, if you do photography, where you're using models, and you're doing setups, that's actually a totally different thing. But if you're actually shooting things like, lens, you know, kind of landscapes of travel, not kind of really complicated landscape, but the kind of there's also just the really, like, Oh, this is a nice landscape to show a place you might want to travel to, or, I mean, that was the kind of photography that I did. I mean, I did other things on my own. That was kind of separate, like, kind of more artistic and stuff, but like, the main thing, I mean, like when I first started doing travel photography, sorry, photography, that wasn't also travel. I mean, anatomy, I, some of my most popular images were like a bowl of potato chips, you know, so I actually kind of was like, sort of a little bit upset about that, and like, like my beautiful landscapes and sell, but like this bowl of potato chips keeps like being sold. Although recently my most common on Alamy, that is, has been sold in the past, like two years is this photo of a tree growing in a rock what's called root root wedging. So I've worked on I was working on science textbooks and finding political science textbooks. And I needed to find a photo of root wedging, it was so difficult to find it. And then I went on a hike and I saw the perfect root wedge in photo. And so I took a photo of that. And then now people are using my photo probably in geology textbooks or other things to deal with that to illustrate it. So I mean, there's lots of photography that's like that, where you're illustrating something for like a textbook, or they just need a photo on an apple or something like that. But I mean, like, I mean, I just can't imagine if I could take like a better Apple than, like a lot of other people have already photographed in apple. But, you know, at some point, like, it was kind of new, and there wasn't as many, but there's more and more people in that. And as for equipment, I mean, I can take actually really nice photos on my iPhone. And so, and people can actually have the same phone and take like crappy photos too. So I mean, like, there it is, has, to me, it's more, I mean, there is like a certain quality, if you want to enlarge something. Yeah. Or if you want to make a lot of the do a lot of editing to it, and that sort of thing. I mean, there is like that quality that is not quite the same, but I mean, like they're getting better and better. I mean, like, when I was doing a shoot of some light themes in the Redwood Forest recently, I would actually test the scene with my phone. And then I would shoot with my camera, and my camera had looked really awful like in the viewfinder, because like the phone was like processing it. And then also when I would get the raw photos they was I'm like, oh my god, I have to make this look like my phone. 13:15   That is funny. And you're right, like, you know, the phone are incredible nowadays, right. And it's with the AI and the processing, you know, it helps a lot, even though it has a small camera. And I feel like that's what and the other thing that you said was also 100% Right? You know, just because you have a good camera doesn't make you a better photographer. Just because you have a an iPhone camera doesn't make you a bad photographer, it's a lot to do with who you are as a photographer and the way you interpret the scene. But I think people kind of mindset with that, that with people with everyone being able to take a photo nowadays instead of you know, doing all the settings that kind of take away a lot of the value, the precede value, I suppose. So that was really interesting. You know, I love hearing your story that you know, you started all the way from the film trying to figure it out and we'll do it your digital digital. So you can share you know how you got started in photography and you know, some of the things that you have photography of photograph over the this years. But what I want to hear about your excitement, why what type of photography make you really excited or what, what makes you got into photography in the first place that you know make you stay there on to a point that you want to go to school in photography and learn more about it. 14:51   You know, it's kind of this odd thing, but it's almost like a compulsion. Like some people say it's a passion for them, but for me like I feel like I really want to, like if I see something, I want to capture it, like, I can't just be like, Oh, that's cool. Like I have, I feel like this, this urge to like to preserve it. And I don't even know if it's like to show other people or just like to have it for myself, maybe it's both. But like, for instance, I also another thing that I did in the past was I, I did, I used to be an aerial dancer. So I did like kind of trapeze and circus stuff, and like, aerial silks. And I have some friends in Seattle that have an aerial dance company, and I used to photograph their shows. And and the thing is, is like, when I photographed the show, I felt like I can't, couldn't really watch it, because I was so focused on the photography. So then when I started on doing started doing was I would go and visit them, and then I would shoot, I would, I would just watch once a watch a show. And then I would do a second watch a second show where I would do the photography. And I thought, Well, that's good, because I'll prepare for it. But then the show that I was watching and not shooting, I just felt like oh my god, I'm missing all these like shots. Like all these moments, even though I knew that, like I was gonna like watch it like the second day, like I just like, if I if I actually just watched the show and wasn't shooting it for some reason. I would just be like, I like missing out somehow, you know, like that. Anything. And just recently I was in Portland, I took a it was like an aerial tram there. And there was like, it was beautiful, clear day. And you could see Mount Hood. And I took a photo with my phone, because that's my phone. This was a camera that I have with me all the time because I don't carry like my equipment around all the time. So I was there for another reason. And so I was like, Oh, that looks great. And I took a photo of it in the background, but with like the foreground of a tree with like autumn leaves on it. So then whenever I was going back, it was sunset. And I was like in the tram, and I'm looking at the sunset and the lighting on Mount Hood. And like, oh my god, I was just like, I couldn't like wait, I was like Fran was gonna miss it, you know. But I mean, the thing is, is like I could have just enjoyed it and looked at it, I couldn't really photograph it from the tram. Because there, there were things in the way. And also the windows were dirty. So I was just like, chomping at the bit to like, get up to the top so that I could run out and like go and take a photo, which I did get it. But it was just on the verge of almost being too late, you know, a little bit too dark, it would have been better if I was there just a few minutes early, but it's just like, I don't know, I just I guess I always feel it's just like a compulsion of wanting to capture a visual moment, I guess. 17:43   Yeah, that's, that's interesting. I also felt like that at times, and the, you know, what you just mentioned about, you know, take having the phone with you. And taking a phone with taking a photo with a phone is a good example how, you know, the best camera that you could own is the one that was the one yourself, yeah, that you have. And that is such a good example of that saying, and going back to what you say about the compulsion about experience, and it's really cool to hear how you approach that photography with the aerial dance and you know, performances where you want to experience it, but you also want to take a little bit and you combine the two by doing different things. And it's, I find that it's interesting. I want to ask you, how do you balance between, uh, trying to just enjoy the moment right to just being there and let your eyes and your your body enjoy the experience, whatever it is that you have, versus taking your camera out and actually enjoying it to your camera, because at the end of the day, they're two different experience but what you said earlier was 100% True. It's it's, it's not easy to be able to have a connection with nature, for example, or the Milky Way for my case, and you know, continuously taking photo there has to be a balance so how do you do that when you go out there for example, for your travel photography or from some of your other photography 19:28   Yeah, that's it's kind of Yeah, I agree with you and sometimes I think to myself, maybe I should just like take photos less and not do that. I just can't I just can't just do it without like I you know, I'll just be carrying a bunch of like equipment because especially like in landscape photography, you know, like I end up like climbing like a mountain or something because I like to do that sort of thing. And it would be easier to like not bring like photo equipment with and admittedly when I go backpacking, I don't bring a tripod like I'm kind of focused I'm just like the trip. But I do bring my camera I try to bring something as live as possible. It's one of the reasons I switched to mirrorless because I was tired of lugging my Canon gear around. And I actually didn't go for full frame. I have a Fuji fuji film, I went for the crop sensor because it had smaller lenses. So I was like, I don't want to have a tiny camera with a giant lens, just like my old lenses. I have my Canon, you know? So. But I mean, yeah, I mean, I torture myself for photography, like dragging tripods around. I even went into this, like tiny this, like the slot canyon that you can barely walk through with a tripod monopod would have been better, honestly. But like, so yeah, but I just wanted, I wanted the shots. And so I wanted to it's I guess it's not it's the compulsion to capture a moment, but to create something out of the moment. You know, what, like, it is I don't know, if it's a compulsion for others. Have you heard other people say that, that it feels like that, like, you just have to do it. 21:06   I mean, I felt the same, you know, ie, I used to do that. And when I first probably the first two years of my photography, I was I was like that, you know, every single moment, I want to capture it. I literally have my camera, which I have a five d mark for so it's really heavy, right? Massive camera, and I would take it everywhere, even just for for a dinner or for lunch. But I decided that I want to, you know, it separate myself from the people and the actual experience. So I started to step back a little bit. And yeah, it's interesting that you mentioned that, because I haven't heard people mentioning that. But I know that, you know, it is in us, you know, we love photography. And photography is about moment, right? So when there is good moment for power, it's only natural that we want to capture it. It's in our blood. 22:08   What if there's people in that moment, actually taking photos actually changes the moment to I feel like that it does. And although I kind of I used to take the photos, more people, and then I kind of It wasn't intentional that I kind of veered away from that. And then until I was hardly photographing people anymore, like when I was doing travel photography, I always had a lot of people photos in there. And then I kind of shifted and then it became like more of nature and animals and and I kind of actually kind of missed that. And I kind of feel like maybe I shouldn't like, and I forget to do snapshots. Like like when I was travelling in Iceland, I travelled a bit with two friends that live in Europe. And and both of them if it wasn't for them, it I probably would never I wouldn't have any pictures of us or them. I mean, maybe I might take a picture of them. Like if they were kind of like a person in the landscape. Like my one friend had a red jacket. It was awesome. And so she was like my red jacket person and all these like landscapes. But like I wouldn't think of like doing like a selfie or asking someone, hey, take a picture of us together. Like, it's not that I don't want that I actually nice to have it like when it's over. But like, I don't even think about it. Like I'm always like thinking about like creating like a scene rather than just like taking a picture of us. 23:29   You know, I know exactly how that feel. I think about a couple years back, you know, someone asked me it's like, Hey, can you send me your your portrait or a photo of you and I was like trying to think I don't have one. Like literally, I went through all of my photo, I don't have a good photo of me looking at the camera. Every one of them is from my back. So I know exactly how you feel. And yeah, it's interesting to be you know, a landscape, or you know, a travel photographer, because most of the time you're in the back of the camera. So it's really cool hearing your story, really hearing how you transition across, you know, from the film to digital, you actually learn everything, you know, the settings, you actually get thrown into the settings because the Otomo Diem work on your favourite first camera or your camera at that time. And I find that really cool. Now, when it comes to doing photography as a way to make a living, is that something you always wanted to do? Or do you always try? You always you only want to do that part time to preserve the experience of being a photographer itself? 24:49   Well, that's interesting question because yes, I my dream job was as many people have the same dream job of like being like a National Geographic photographer, like Travelling the world and having like assignments and like doing something really super interesting. And that was kind of always in my mind and like, I know that I could create kind of, even just for myself have like an idea and do a shoot like that. But it's, I just kind of, I don't know, I just kind of never have done it, I guess I kind of was afraid. I know, that was one thing that I didn't take a lot of risks, and always had like a backup job, and never tried just to be a photographer. And I did work in photography, because I was like, as a photo researcher, and then I was doing a lot of photography within that job also. But to just be a freelance photographer and try to make money and I actually never I tried to be a commercial photographer. I never had the guts to see like, say, like, I want to be a fine art photographer. I just felt like that was just like, so unattainable. I mean, but I know there are people that do that, but I just didn't have it in me to try for that. So and I have gone through periods of time where I was shooting, I was trying to shoot for stock, or I was just shooting for like the textbook, you know, I shot food. One thing that I really one of the best jobs that I've ever had. The super interesting was I was for the textbook publisher, I photographed the dissection of two cadavers for an anatomy textbook. And that was really interesting. And I often will say that that was one of the best jobs I ever had, because it was just so fascinating. And it was very lucrative too. And I, I even thought to myself, maybe I should be a Cadabra photographer. But I don't know if I always want to do that. And be around all the familiar formaldehyde. And I don't think there's that many calls. I mean, only for like, kind of like textbooks and that sort of thing, like medical books or something. But, but it was a super cool experience. And so I did have some interesting things. But if you only start to it, and somebody that I met recently, actually is a photographer in that, and I said, What kind of photography do you do? And he says, I do photography that people will pay me if somebody pays him and he photographs and he doesn't photograph in any other way. And I'm like, I mean, that's fine. Like, if you have a technical skill, you can do that. And like and I actually had gotten to a certain point, probably about like, maybe nine years ago, where I just felt burned out because I was just I would photograph and people pay me like the textbook publisher, or sometimes I did. I actually photographed marijuana for like a dispensary like America where that was interesting too. Or like products I did like products and stuff like that. But I kind of got burned out a little bit because I just was shooting just to make just because someone was paying me or I would think that I might make money like just doing the stock photography. And so then I started doing some long exposure photography. Just like for myself, I did some self portraits with long exposure where I was a ghost accom is that my ghost photos. And I really love my ghost photos are some of my favourite photos I've ever taken. Although I feel like other people don't like them as much as me. I mean, like some people, my friends seem to really like them. Like people that know me. But other people are seemed kind of lukewarm about, like ghost photos, but so, but those kind of were photos for me and I kind of like sparked like, kind of some creativity. Like I was just shooting photography. I was just shooting just to create something to be creative. Not like because I someone was paying me. 29:00   Yeah, that's incredible. So is that how you got out of your burnout? That's how I got off my burger. Oh, that's fantastic. And that's, that's really interesting, right? Um, we I haven't heard anyone who got into photography because they want to make a lot of money. Right? Even the people who decide to do photography as a profession, they started it because they enjoy photography, you know, they and they just want to do more of it. But over time, the money aspect cannot hit you and you know, you become burnout because you you stop creating for yourself and so forth. So when you had this burnout, and then you find a way to get out of it. What did you learn? Like how did you stop? Stop it from happening again so that you don't get the same burnout you know, in a year two years or five years and so forth. 29:56   Well actually, that kind of stopped because I stopped I stopped getting paying jobs like doing photography for the textbook publisher, and I kind of just didn't, I just didn't do that anymore. And then I just basically then just was, that's when I kind of veered more into landscape photography, because that's what I just felt I just did what I felt like doing. And then I put those in stock agencies and if they sold and that was fine. So I kind of stopped pursuing kind of more of a commercial photography, and just shot what I felt like shooting. And yeah, I also didn't make that much money from it either. So and then, of course, the stock was just putting in the stock agency. So 30:38   yeah, that's fantastic. Yeah. So you basically just, you know, do photography more for yourself. And stop, start, you know, doing it for everyone else. And 30:48   I mean, it goes through phases, it's like, if something like for instance, I'm going to Florida next week to visit my parents, but I love to photograph the birds when I go to Florida. So I feel I'll feel excited. Like, I haven't been shooting since I got back from Iceland. Well, I have like 1700 photos, I need to like, you know, go through and process. So like, that's time consuming. But I'm kind of like in a resting phase right now. And I'm not, I haven't been with only been like, a little over a month since I was back. But I think that like, you know, when I go to Florida, I'll I'll do some photography of birds, because I always like, like to photograph the birds there. Oh, that's fantastic. 31:27   Yeah, it's really interesting. You know, it's, it's funny how it kind of worked that way with photography and careers. And sometimes you can hit the wall because you stop creating and being genuine about what you want from your photography. So thanks a lot for sharing that. So one thing that I'm curious, he told us that you are part of the soyka team, you know, doing their marketing. But in the beginning, you told us that you weren't very good at marketing. And now you gotta jump into marketing, right. And I know that as an artist, like I was, I was struggling with marketing law, I think I am still struggling, but I am much better, you know, at least I kind of know what I'm doing. But it's just like, you know, the struggle with myself, doing marketing is just very difficult, because I'm more a creative person, you know, a sailing sort of person. Now, how do you transition across, because we know that if you do want to make if you don't want to sell your photography, if you do want to make money from your photography, you need to be able to market your photography, your art out there. And we have seen this over and over again, where people who have incredible images, but not a good marketing skills, aren't able to sell their photograph versus people who have, you know, a decent photograph. They're like, nothing crazy, but it's, it's, it's good. It's not superb or excellent or, you know, crazy beautiful, but they are able to sell. So what have you learned from this experience, so that the listeners can take, you know, pieces away from that and apply it to their own journey? 33:19   Well, I think for one thing, it's easier to market somebody else's art than your own. And that's like kind of known. And so that's why the NFT space on Twitter is so nice, because people are always like, are helping each other. And when I first entered the NFT space, I only had like 68 followers on Twitter. And if I would tweet something like nobody would see it or comment or anything. And, and I was able to, like early November, to basically like January 1 To go from 68 to 800 followers. I basically build up my followers and kind of just jumped right into the NFT space. And I kind of I don't know, I became good at Twitter, basically. But all I did was I just interact, I was really excited. And I was excited by like, everyone's photos that I was seeing on there. And so I was kind of very hyper tweeting. I tweeted like crazy. I like retweeted everybody's work and was excited and like said all that I just kind of interacted with so many people that it's just and then I started doing those like art threads where I remember the first one I did was on New Year's Eve and I thought oh, probably because I saw other people do them. And I thought well, maybe I'll get more followers and more like, you know, interaction by by doing that, and I did it. I put a photo of a lone tree that was my own and I said share your loan trees with me. And I thought oh, it's New Year's Eve. There's no one's no one's didn't even respond. It was huge. I mean, there was like, I mean, I think that there was like, I don't know how many retweets but like eight 100 likes and like, it just exploded. And I was like, whoa. And so then I kept doing that. But the thing is, is like, whenever I was doing those, I was kind of trying to save something and retweet on almost every photo that somebody put there. And there was a lot of there was like hundreds and hundreds of them. And it was very time consuming. So basically, I got to that point from, by being on Twitter, almost like 16 hours a day or something. I was basic on Twitter, like almost an entire day, because my work is slow in the winter with my textbook publishing. And so it was kind of like, you know, like, November, December, and I was just kind of on Twitter, like a lot, and interacting with a lot of people. And I was kind of successful at building my own Twitter following. And so with sloka, I took silica from 2500 I, whenever they were hiring somebody, I applied for the job. And then they decided to give me a chance. And then I think at the end of January, I think there's like 2500 followers. And then by maturity, we hit 17,000. But we hit 17,000 In September, but I think it was in the first few months that it got to like 10,000 pretty fast, probably within like two or three months. So I kind of just did the same thing for Flickr that I did. So my job for them, the marketing is kind of just like operates mostly just operating the Twitter. And yeah, 36:24   so yeah, that's cool. That's really cool. And I 36:27   think the key is to interact, it's just said, it's very time consuming. I mean, for me in the NFT space, it was being in being, it was very helpful to be in a collective, because I was involved in being a collective in like May. And I got to know like a lot of photographers in that collective like really like more so than just kind of in the space. And also in like chat groups. And it being in spaces is important too. But like that's like, so time consuming. And I often will try to do that and then work at the same time. And it kind of doesn't really work because I don't pay attention to the space. And I don't pay attention to my work. But I have done that I tried to be doing that like many times, but so it was kind of a little bit frustrating. But it was basically just another thing. That was important. When I first started entering the space, like when I was a beginner, I felt like lost. And I kind of like dug around and found information even just what like Good morning means and friends. And like all this kind of like lingo that people used. I kind of had to figure out on my own and I could ask people but nobody offered, no one came up and say, Oh, you're new here, like, let me help you. And the thing is, like once I was kind of got used to it and learned it myself, I actually when new people would come in the space, I would actually help them. And I discovered I really liked doing that. And, and I kept doing it. And that's how it was like kind of I mean, I don't know when you entered the NFT world on Twitter, but like, it was kind of so many people and just kind of wild in like November, December, January, February. Yeah. Last year, beginning of this year, so, but yeah, 100 So that wasn't necessarily I learned that I learned that I really I enjoyed helping people, it made me feel like I had a purpose because I'm kind of some sometimes I'm struggling with that, like feeling like kind of having a strong purpose in life. 38:37   Cool, thanks a lot for sharing that. Yeah. I mean, you know, it's, that's, that's really cool, you know, just trying to figure it out. And I know, NFT is really difficult space to get into a lot of people, it's a difficult concept to learn and to understand as well. So, you know, you figuring it out and to helping the people who can jump in there and onboarding, I think that's a really cool thing to do. Yeah, you know, thanks a lot for doing that because that's really helps open up the world. NFT now, we starting to get into the NFT world here and you know, the listeners out there might have heard of it might not have heard of it. But there are a lot of scepticism behind the NFT right. Is it real? Is it a scam? Like what is this? So I'm quite interesting interested to hear what who you are into the NFT world and what do you think about NFT? 39:39   Well, I'm glad you asked me that question because what pulled me into it like when I entered this went on I found this little community I found the community on Twitter what pulled me in was in like to hear these like success stories. That is what pulled me in. And I was like I want to be part of this because I want to be part of some One thing that is going to change this because I really felt like I wanted it to change, it just seemed unfair. And, and so just, it was basically people's stories that and I was just excited, like I, I saw a lot of, there's a lot of astrophotography that I saw in the very beginning, like the Milky Way photography, and I was just like, so wild by that. And I was like, ah, you know, and I kind of was just seeing everyone's beautiful work, it's just kind of was exciting. And there was like this kind of, I mean, I as since we're in a bear market, as you know, like, it's not the same anymore, but, but there's people still excited about it. And, and still excited about photography, because I mean, you can't just put photography only in NF T's I mean, I actually made some some money, like a hell of a lot more than I did whatever I was, you know, from stock photography. So I mean, that's like, kind of, and it also inspired me to try new things like I got a drone this summer, and I flew my drone in Iceland, and I actually really love love that. And I really want to explore that. And I also, I photographed the Milky Way for the first time, this like summer also. And I still haven't processed it. I mean, I kind of started but I kind of felt like a little bit lost. So I, but I'll see, you know how it goes and then figure out how to do it properly. But it was a crater lake. 41:33   Beautiful. Alright, to lations on your first meal QA will go on. I mean, I'm an astro photographer, and I teach Astro photography as well. So when whenever people say I just take my first Astro photography, I got really excited. But how is that experience? I know he kind of I'll bring it back to NFT. But I just don't know, how is that experience being able to capture the Milky Way for the very first time? 42:00   Well, what was interesting is like when I we, I've seen, of course, I've seen the Milky Way, but not actually not I've not been in situations where I've seen it that often. And so I have this memory of it, but I didn't photograph it. And it looks. It was a beautiful night, very clear at Crater Lake. But it's not as distinct as it is in the photos. It's kind of like the roar Borealis, it's the same like you can see it with your eye, but it's not. And I did see that in Iceland on two different trips and photographed that. And it looks it's more dramatic whenever you actually photograph it than it is when you actually just look at it. And so that's how I feel like it is with like the Milky Way photos. And I actually met somebody that I met off Twitter. And we actually photographed together because she was travelling to Crater Lake. And she mentioned it and she's actually experienced with it's r1 I don't know if you know r1 But like, yeah, so she, I kind of learned like a bit from her kind of watching what what she did also, so but I do want to try it again. But it is feel like that it's it's it's rather complicated. Just I think the postprocessing even more than the shooting part. But if it wasn't for her like so it was kind of amazing. But it was also like really uncomfortable, because it was a wind picked up. And it was like really freezing. There was still snow. It was June but there was still snow, where we were and it wasn't cold actually like temperature wise where we were at the parking lot. But when we went to the area where we needed to shoot it from, it was just the wind picked up and it was just like freezing. So it was kind of my first experience was like kind of uncomfortable physically, because then you have to keep waiting and like doing these really long exposures. So and she did really super long, she did some that were like five minutes disabused, like these ones that were super long. And then, you know, shooting like, several photos to later piece together as a panorama. 44:21   Panorama. Yeah, that's really cool. It's actually not complicated at all. And I could you know, once you know, the ins and outs, it's not complicated at all. And, you know, that's, that's why I teach the astrophotography because a lot of people are thinking it's complicated, but it's actually pretty simple once you know the step by step process. So yeah, we can, you know, if you have time, I'm happy or you know, we can do it some other time. I'm happy to help you with the post processing or whatever question you have. Sorry, I just got excited. That 44:58   is exciting. I wanted to I didn't, I was interested in that and wanted to, like, try to do it myself. So I guess that kind of like makes me feel like, okay, I should make go back and try to process those photos that I that I took, I can't 45:12   wait to see it, I can't wait to see, it will be great. So when you get into the coming back to the NFT, right? You got there because you felt like there are more value to your photography, instead of people paying three cents for your photograph, you actually get something that worthwhile, right, something of value. And we know that money is important. But as an artist, I think there's something more important behind that the fact that our art is being valued for what it is, it doesn't matter what genre it is. And that was, you know, how I felt. Now, when you when you come into the NFT world, and you know, what we have right now? Do you have? How does your expectation, you know, or you know, what you imagine it to be versus the reality, what was some of the goods and Bad's within the space that we need to improve upon, you know, because we want to bring more people in this space, but there's so many, I suppose, scepticism negative talk around it. So, I'd like to hear a little bit from your perspective, especially working from one of the platform, right, you will get a lot of exposure to this, in terms of, you know, people saying this or that and, you know, different people opinion, what are some of the things that you see are a good point, and they are some of the things that we could improve upon in this space? 46:43   Well, I mean, What initially attracted me to it was also that like, there's a problem with a caste Samar addressed this in one of her early NF T's where she liked the Hawaii photo where she released that because people kept stealing it, you know, because, as a photo researcher, a lot of times authors of textbooks think, and I think just people in general, they think that because something on the internet, like you can just use it like, oh, yeah, it's like everywhere, like, you know, but I mean, that's not true. I mean, there's like, you know, you have to get permission to use it, unless the person specifically says that anybody can use it. And, and so people will just steal things off the internet, and just use them as they wish. And so, I mean, she sold that NFT for like, I don't know, like 100 Aetherium. I don't know what that would have been at the time, like a huge amount of money. Like, I don't know, like $300,000 or something like that. But she released it to the world that anybody could use it, although she wanted to be credited. And I kind of was really, like, inspired by that. I was actually very inspired by her because I heard her story, I watched a video of how she came into the NFT world, and, and how she had no work because of COVID because of like, she wasn't able to do like the photography workshops. So I think just kind of like solidifying ownership, like saying, okay, like it's kind of like this mark like this is I am the creator of this piece of digital art, like, you know, I think that is good about NF Ts. And also, I think in the future too, like, if you purchase when I first started in selling NF Ts, I was selling photos, my first things I sold photos of were went redwood forest, and if someone bought an NF t then I would donate money to save the redwoods organisation. And that is I see someone recently that has, like there's other and other other people that have fundraisers where if you purchase an NF t like 100% of it will go to like as a donation. I mean, you can just ask for donations but I mean it's actually common if you do donation sometimes if you do some donations to something you can times get like a physical product or some kind of product in return for that like as a thank you and NF Ts can be also used for something like that. And I think that there in the future there can be a lot of various uses for it not just for art and I am not very involved in the kind of like the profile picture you know, like the apes and punks and all that like I I'm not really involved in that so I don't really have much knowledge about about that aspect of it. And I think that's what most people who aren't involved in it that's what they think about because that's what's like in the in the media because those are the ones that are have gotten, you know, for so much money and people hear about so that's what they think NF T's are that they're only that. Yeah, that's a really good 49:59   point. You know, I saw, I know what you're talking about with Cassie Mart, early campaign, and it was I think it was one of her. I think one of the biggest one that she had I know she, you know, she had a crazy sales even before that. I mean, she said she's phenomenal photographer, and just so inspiring. But yeah, for the listener who kind of don't know, the context, basically, that Hawaii photo has been stolen over and over again, where it's been reposted, and been used as a licence item without her getting paid. And she would show this crazy list of, you know, disputes against them. And, you know, at the end of the day, she say, put that as an NFT. And she got, probably, you know, all her all the worth of that whole photo over the lifetime of it and even more, right, and I think that's, that's so empowering, that is just so empowering to the artists, you know, the fact that we need to share our photograph out there, but most of the time, when we share our photographs in the internet, it would get stolen. And nothing is solved some of that problem. I know, it's not 100% there yet, but we're still early. And like you say, you know, with the donations and charities, you know, I see going forward where we, you know, it all just happens seamlessly through the smart contract without people being there. And that kind of cow cut a lot of corruption. And, you know, basically people stealing away from it, because it goes directly to the people. Of course, at the end of the day, you know, people aren't one behind it. So there's always a chance, but it cut a lot of that down. So that's, that's what's really cool about it. And I love that you brought that up. Well, thank you very much for being here in person. And it's, it's great to have the conversation with you, you know, hearing your photography journey, also, how you got into the NFT. And a little bit about the NF t as well. Now, one thing that I always ask my guests on every single podcast is that if there is an advice, one advice, whether it's a life advice, photography, advice, whatever advice, it could be, that you could tell either your younger self or someone else in the space in the social media in your community, what would that advice be? 52:30   Well, I would say to myself and others also is, well, I wish I would have taken more risk in trying to pursue photography. Now not just as like, say, like an artist, but as kind of like my dream, kind of National Geographic photographer. I mean, not specifically just for National Geographic, but that style of story, like kind of a photo story, but just just doing basically not settling for just any job. And just because it was more secure. You know, I mean, I guess I was actually lucky that I had a job that was related to photography. And and now with silica that's still my textbook job is not really is related to photography anymore. It's project management. But it used to be more photography and photography was involved in it. So, but I feel like I wish I and it's not like I'm still around. So I mean, I can still change. And I have been inspired recently by all of the, you know, like the Twitter photography community, I feel inspired to try new things. I'm actually interested in trying like more like I always have done very realistic photography, and I actually want to try kind of changing things. I mean, it's just art then I mean, I mean, it's art, it's photography and art, like digital art combined, or even even learning even learning like 3d. If I can, I don't know, just to kind of experiment with things. Because I always was like shooting something as it was real, very real. That's how I've always like, done it. But yeah, I think like, at least try try more. I mean, try. Take, I mean, not unreasonable risks, but I feel like I wish I would have taken more risks in trying to pursue like my dream career. 54:24   Fantastic. That's such a great advice. I know how that feel. And you know, I've been there I used to be an engineer and you know, literally drop everything to become a photographer. So I know exactly how that feel and seems like you're in that journey. And I know a lot of other people who are in the journey as well, to get there. And like you say, right, it's it's important to, to get out of to get out of your comfort zone and to change to do something that makes you happy. Whatever it is. I think that is our big purpose in life so thank you very much for sharing that advice. That is so beautiful. Now for the listeners out there who I know that you have an NFT project on Slaker as well like a collection there and you know you have beautiful photograph as well. So for the people who and listeners who want to see more of your work who want to get in touch with you and connect with you, what would be the best way to connect with you? 55:30   Um, I would say probably like on Twitter or like my website like I have a website, wander wander less photos.com And so I can be contacted through my website or on Twitter or Instagram like any of those or Facebook even, like all the usual places 55:51   fantastic. Yeah, we'll include that in in the description below. So if you want to check out more of her work, you know, she what, what she's doing in any of these spaces as well as in a photography space, and all this beautiful photograph or from her travel, you know, I encourage you to give her a visit and say hi in social media. But thank you very much for being here. It's been such a pleasure talking to you. I enjoyed you know, having that conversation and listening to your to your journey. I really do appreciate having you in the podcast.  

From the ashes of the giants of Big Basin Redwoods State Park arise a history of fire suppression and real questions about what happens to the forests in a drought-stricken West Coast going forward.

From the ashes of the giants of Big Basin Redwoods State Park arise a history of fire suppression and real questions about what happens to the forests in a drought-stricken West Coast going forward.

Ask The Avalon Podcast is your go-to a wisdom-keepers podcast discussing the hidden and less spoken for aspects of a mystic's life. Esoteric and spiritual wisdom brought to you by the voices of occultists worldwide, with International Mystic and High Priestess Dea Isidora. @iamdeaisidora In this episode, Myself and Jake Kobrin will discuss the power of art on our subconscious, hyper sigils, symbolism, creating new realities... and more... my Guest:  Jake Kobrin is a multidisciplinary artist, primarily known for his psychedelic and esoteric paintings of complex and precise detail. His work explores the interplay of shadow and light, both in the delicate modelling of the forms of his pictures but also in the character of the subjects he portrays, his work showing a willingness to embrace all aspects of emotion from revelation and peace, to fear and disharmony. Also a practising “magician,” his work explores influences from the Occult, Mystery School, and Mystical traditions of Western Esotericism as well as the Eastern spiritual traditions of Buddhism, Hinduism, Animism, and Tantra. He is one of the few psychedelic artists with formal classical art education, having studied classical realist drawing and painting in Florence, Italy at the Angel Academy of Art. In addition to painting, Jake is also a teacher, podcaster, writer, tattoo artist, musician, DJ, and designer. He currently lives in Ubud, Bali and grew up in the Redwood Forests near San Francisco, California. Ask your Questions: There are no bad questions, and we are open to reading them all. Let us know what you wish to explore in more depth.. !! Occult Topics, controversial subjects, or that one thing you are curious to ask !! Our intro sound is the creative work of @ashleybrownsound ashleybrownsound@gmail.com or check out her social media pages. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theavalonpodcast/message

Usal Lost Coast Hopper Oct. 1 takes place in remote Mendocino County in partnership with Redwood Forest Foundation.  Join us as we discuss with founding member Richard Gienger, interim president and CEO Kathy Moxon and head forester Linwood Gill what it means to be both a non-profit and a timber company who's founding principles are "Ecology, Economy and Equity".  They will share stories of the history of logging in the Redwood Empire and RFFI's current efforts and their vision for the future.  RFFI's "Vision" is to establish community based forests that provide critical habitat for increased biodiversity and improved economic vitality." With a "Mission" to acquire, protect, restore and manage RFFI forestlands and other related resources in the Redwood Region for the long term benefit of the communities located here".  Their efforts to involve indigenous communities, incorporate traditional management practices and to reach out to the scientific community to improve their knowledge on restoring the forest to a more productive, fire resilient forest for timber resources, water quality and wildlife habitat is inspiring.   Redwood Forest Foundation Inc. https://www.rffi.org/ USAL Redwood Forest Company https://www.usalredwoodforestcompany.com/ Forest & River News https://treesfoundation.org/forest-river-news/

Host Verla FortierVerla's website https://treesmendus.comVerla's new book Optimize Your Heart Rate: BalanceYour Mind and Body With Green Space. Verla's previous book Take Back Your Outside Mindset: Live Longer, Stress Less, and Control Your Chronic IllnessGuest Ernesto Rodriguez, Executive Director Nature In  The Classroom (tree mural ceilings) and in hospitals Sereneview (nature  mural hospital curtains).Shownote  Timeline3:45 Ernesto grew up in Cuba, grandfather a renown muralist6:30  Visited  his friend in hospital (got the creeps). Then went to assignment in the Redwood Forest. As  he  was waiting for the light to come through the trees (about  an hour) was thinking of his friend  in the hospital.  Ernesto felt so good  there and  wondered why hospitals can't feel  like this? Research  on scientist Roger Ulrich in the 80s.10:11 Brain reacts so quickly to nature. 11:36 Story  of Asia: emotional soothing with nature  curtain.14:27 Professor Richard Taylor's definition of fractals17:17 Hôspital curtains for veterans, National Parks18:26 10 days in National Parks22:11 Attention Restoration Theory (ART): nature helps to calm, focus, and learn. Nature gives brain a break. 24:00 Pilot Project to put tree mural ceilings in school.25:18 One of the drawbacks of introducing something new: only 2% off the population is going  to get it. It takes 18% before it goes mainstream. 31:07 Images of nature has to be life-like. Canopy has blue sky, see branches, see leaves, camera on a  tripod combined with software. 12 by 12 foot  squares  or 16 foot squares. 37:07 Tip: go outside -there is no substitute for that.38:11 Tip: We don't recognize your own anxiety until we see nature or get outside40:03 Follow Ernesto's work Nature in the Classroom on Facebook and Instagramand Sereneview.com

From marijuana aficionados to the canna-curious, post-pandemic travelers are flocking to states where they can legally get high. With so many curated infused experiences to try, where should you start with cannabis tourism? In this episode, host Brit Smith gets the top tips on where to try the trendiest new cannabis vacation experiences in and around the US. First, Bobby and April Black from Higher Way Travel Agency discuss some of their favorite cannabis travel experiences like high yoga retreats in Jamaica and Hawaii, road tripping around Oregon's cannabis farms, and stoned "tree-bathing" in the Redwood Forest. Then, founder of Cannabis Travel Association International Brian Applegarth discusses the coolest spots in California to try infused dining, spas, smoking lounges, 420 shows, cannabis cups and festivals, and much more.Follow us on social media @DifferentLeaf or @Different_Leaf, and get the summer issue of Different Leaf the magazine all about Travel and Cannabis at DifferentLeaf.com or at select Whole Foods, Barnes and Noble Bookstores, and Walmart stores. Find your local in-person retailer selling Different Leaf the magazine at Differentleaf.com/on-the-newsstand.

August 16, 2022--Chad Swimmer and Paul Schulman interview equestrian Lari Shea, mushroom entrepreneur Eric Schramm, and others, about trails and their unintended consequences, "secondary forest products" such as mushrooms, about the challenge of horse, bike, and pedestrian coexistence, and other subjects essential to modern forest management.

Bryan Bashin was born fully sighted, but over time he lost his eyesight. Like many such people, he tried to hide his blindness. Bryan was, in some senses, different than many. Because as he began to discover that other blind people were leading full and successful lives, he decided that he could do the same. He received training and then began to seek employment and attained a most successful career.   Bryan would tell you that he loves learning and advocating. He is an extremely inclusive individual although he clearly does do a powerful job of advocating for blind and low-vision persons. Oh yes, not vision impaired, but low vision. You will hear about this during our conversation.   For the past 13 years, Bryan Bashin has been the CEO of the San Francisco Lighthouse for the Blind. He has proven to be quite an innovator due to his philosophical orientation concerning blindness. You will hear of his accomplishments.   Bryan announced his retirement from the Lighthouse earlier this year. His future plans are typical of Bryan. Come along with us and hear Bryan's story and then please give us a 5-star rating wherever you listen to this podcast episode.     About the Guest: Bryan Bashin, CEO, reports to the Board of Directors and supervises the directors of Communications, Development, Operations, Programs and Enchanted Hills Camp and Retreat. Mr. Bashin has served in this position since 2010. Mr. Bashin's extensive professional experience includes Executive Editor for the Center for Science and Reporting, Assistant Regional Commissioner for the United States Department of Education: Rehabilitation Services, and Executive Director of Society for the Blind in Sacramento. Mr. Bashin has been blind since college and from that time has dedicated a substantial part of his career to advocating for equality, access, training and mentorship for individuals who are blind or low vision. He serves or has served on numerous committees and organizations, including California Blind Advisory Committee, VisionServe Alliance, San Francisco State University's Paul K. Longmore Institute on Disability, World Blind Union, National Industries for the Blind, and California Agencies for the Blind and Visually Impaired.         About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes UM Intro/Outro  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson  01:21 Welcome to unstoppable mindset. And I am really excited today to have an opportunity to talk with Bryan Bashin, the CEO of the San Francisco Lighthouse for the Blind. And you will see why as we go forward. Bryan is a very interesting and engaging guy. I've known him for quite a while. And I think we've both known each other we like each other, don't we, Bryan?   Bryan Bashin  01:44 Yeah, we have traveled in the same paths. And we have been on the same side of the barricades.   Michael Hingson  01:51 And that's always a good thing. So you're doing well.   Bryan Bashin  01:57 I'm doing great. This is a this is a good time for me and Lighthouse after 13 years, thinking about sort of a joyous conclusion to a number of projects before I move on.   Michael Hingson  02:10 Wow. Well, that's always a good thing. Well, tell me a little bit about you before the lighthouse growing up and stuff like that, so people get to know about you a bit.   Bryan Bashin  02:20 Sure. The short version I grew up as a sighted boy started becoming blind when I was 12 became legally blind when I was a sophomore at UC Berkeley. And like all newly blind, low vision people tried to hide it for as long as possible, and really failed. I didn't have role models, then, like my Kingson. I didn't really know what was possible in blindness. That pivot came later in my life. And so I just did what a lot of low vision people do. Hide, try to pass all of that. So I did that in my early 20s. I started my career in journalism. I my first job out of Berkeley was at the CBS television affiliate in San Francisco KPI X, API X. Yes, Gen five and the news department there. And I worked there for a couple of years that I wanted to move up in the world. And I joined the channel 10, the CBS Benli a CBS affiliate in Sacramento, and I was higher up on that journalism,   Michael Hingson  03:32 and wrong and you move and you moved from five to 10.   Bryan Bashin  03:35 I did. I doubled. See. After after a few years in local broadcast news, television news, I thought I'm a little more serious person that and I wanted to go deeper. And so I quit my job and I started writing for newspapers, and then magazines, and specialized in science and public policy. So I did lots of work and environment, Space Science, energy usage, epidemiology. You know, for kind of curious guy like me, journalism was a really good fit because it fed all the things I want to learn about him. And I was in my 20s. Somewhere along the way, as I had less than less vision, I knew that I needed to get solutions. And I didn't know where those would come from, but I knew it involves people. But short version is almost 30 years ago. In a quiet time in my life. I just picked up some copies of the Braille monitor and started reading them. And in it, I found all kinds of stories about blind people doing amazing things. Things that I didn't think I could do as a person like travel where I wanted when I want it or efficiently use Computers, all that. So I went into a boot camp. It was then the fourth NFB Training Center. Actually it was in Sacramento. Just that the year that I needed it. It only lasted one year. The Marcelino center run by the California affiliate of the NFB, anyway, long story short, I threw myself into training, got training, and then had the most successful period in journalism I've ever had. And that's the first half of my working career.   Michael Hingson  05:33 Did you ever know mozzie? Marcelino?   Bryan Bashin  05:35 No, I didn't. He passed before the Senator that was named after him. That's right. Yeah.   Michael Hingson  05:41 He was one of the very active early members of the National Federation of the Blind of California and managed a lot of the legislative activities of the Federation. In Sacramento, if you went with him into the Capitol, everyone knew Mazie. Which, which is important.   Bryan Bashin  06:02 Yeah. Yeah, I certainly was living in Sacramento in the 90s. And his memory was an active presence, then. Well, I finished up my immersion training at the Marcelino center. Four years later, I was running the Society for the blind there in Sacramento. Having gotten the confidence, and aspiration, that I could do stuff there, Executive Director, retired after 33 years, and I interviewed and got the job. That's when I got my first taste of real service in the blindness community. Chance to like, think of a project, think of a problem, get funds for it, hire cool staff for it and do it. And for me, you know, I might have written an article in a magazine and a million people would read it, but I wouldn't meet any of them. And I wouldn't have that thing that we all love that community. So when I started working at society for the blind, that community was right there. And it was deeply gratifying. And so I started working on many, many projects. And I did that in Sacramento for six years, had a wild time with it. And then I was asked to apply in the US Department of Education, to be one of the regional commissioners in region nine for the Rehab Services Administration. So that was, that was really bittersweet to leave the Society for the blind, but I wanted to learn more. And suddenly, I found myself responsible for half a billion dollars in federal spending across all disabilities, and learning like a fire hose about the public rehabilitation system. And I did that until all the regional offices were closed by the administration. And I found myself for the first time in my working life, not knowing what I was going to do for a living. So I, I did some expert witnessing in court, I worked with a startup, I did some other things regarding direction, mentoring of blind people looking for employment. And then after 20 years, the director of the Lighthouse for the Blind, took a new job. And it was the first job I was hired for that I actually knew what I was doing when I came in, because I'd run another org like that. And that was 13 years ago.   Michael Hingson  08:36 There you are. What who was the commissioner when the offices closed?   Bryan Bashin  08:42 Yeah, well, it was Joanne Wilson until it was Joanne Yeah, yeah, it was Joanne Wilson, then   Michael Hingson  08:48 no, no, she necessarily had a lot of choices. But   Bryan Bashin  08:51 well, that's a long story. She used everything in her power to oppose this. But it was it was at a higher level that was made. Yeah.   Michael Hingson  09:04 So you've been at the lighthouse 13 years. And tell me a little bit about what it was like when you started and why did you decide to go to the lighthouse?   Bryan Bashin  09:19 You know, one thing that I can say is that my predecessor, had been prudent with funds. And so this was an agency that had good amount of money in the bank, like $40 million. I came from society for the blind. When I got there. We had six weeks of revenue. And we grew that and made it more stable. But I was attracted to the lighthouse because it was a storied organization. It had been around for, you know, 100 years. It owned this amazing camp in Napa that I'll talk about. It had the bones of a really great Oregon As a nation, and I thought I could do something with it. And I came there and I first saw the headquarters building then across from the symphony. And I thought, there's not enough places here to teach. There's not enough public spaces down. I have things happen. It was just the lighthouse had outgrown its its place. And I thought, oh, here we go. Again, I done a capital campaign in Sacramento to get its new building. Now, I'm going to have to do this again in San Francisco. But we looked at that and we thought, it's got to be close to transit. It's got to be in San Francisco, got to have cool places for people to work to ennoble the workforce not to be a dark hole windowless, undistinguished former garage, which was the old, old building, we found a place in the end, after many different things, we found a place right on top on top of the civic center BART station. And through a partnership and some other things we were able, I was able to convince the board to take this leap. And they did. And five years ago, six years ago, now, we occupied our new headquarters, which really has made us a place where people want to come and work and convene and hold events. It really now has the feel of a center.   Michael Hingson  11:32 Chris, the other thing that happened for the for the lighthouse was you got a pretty significant capital infusion along the way.   Bryan Bashin  11:40 Yeah, a little bit. I would do want people to know that this idea for a new building, the search for the Board's agreeing to do it and agreeing to buy it happened all before the big request, right? So we did, we made all that happen. In December and January, January 2014. Five months later, out of the blue, we got the first letter, understanding that we were going to be receiving receiving a request, that turned out to be the largest request in the history of American blindness to an individual $130 million. It turned out. And that allowed so much of what happened after to be possible.   Michael Hingson  12:31 Right. And that was what I was thinking it wasn't so much the building, but then you could really put into practice the vision that you were creating. That's right. That's right. So how, how has the lighthouse changed in over, let's say the last eight years since 2014?   Bryan Bashin  12:52 Yeah, I think I think I could say, ambition and reach and kind of audaciousness some things are pretty well known. We launched the Holman prize for blind ambition, it's a world prize, we've had, it's getting close to 1000 applicants over the seven years we've had the homerun prize. Those applicants come from every continent, maybe I haven't aggregated all of them. But it wouldn't surprise me to say 40 countries or so have applied. And if you go on YouTube and go to home and price.org. And look, you're going to see what blind people are saying they their dreams are from all over the world. And you cannot think about blindness the same way when you see people in rural Nepal or Africa or an urban Europe, talk about what's important to them. There is no real public way to aggregate all these things other than what we've done thus far. And so that's the kind of audaciousness that has come up in the last eight years. But it's been across everything.   Michael Hingson  14:07 What is the homerun prize? Exactly.   Bryan Bashin  14:10 Prom homerun prize is an annual prize awarded to three people each year by independent jury of blind people that the lighthouse convenes none of those juries are Lighthouse employees. The purpose of the prize is to show great growth and ambition in anything. It's not necessarily a project to do good in the world for blind people or though it can be it could be personal growth, like rowing a boat across the Bosphorus or climbing a mountain or organizing something that was never organized before that kind of thing. We award 320 $5,000 awards, and the price has been amazingly popular with hundreds of 1000s of views about blind people on our website and on YouTube. I'm happy to say that our partner Waymo, is now sponsoring one of the prizes at $25,000.   Michael Hingson  15:11 That is pretty exciting. Yeah. And I've I've watched it through the years and it's it is absolutely amazing and wonderful to see the the different attitudes and philosophies and as you said, dreams that blind people have, because most of the time, we're not encouraged.   Bryan Bashin  15:31 Yeah, most of the time people settle. This is, this is really, beyond mere skills that any blind organization teaches. And I don't mean to derogate them, the skills are essential. We can't do anything without skills. But they're not enough. Somehow my you got the confidence to be a captain of your own ship, metaphorically speaking. That's what got you out of the World Trade Center. That's what got you into business in science and everything else. We want to we this is the this is the mission that any Blind Agency really needs to focus on. Beyond skills. How do you teach confidence? How do you teach what Jacobus tenBroek said that we have a right to live in the world to be at that table, that we are not an embarr and a barren sea in the human condition. We're part of the human condition. And so getting that deep knowledge, something that the late James avec said, not just knowing it in your head, but in your heart, that It's respectable to be blind. And all of that that's, that's the best agencies get at that as well.   Michael Hingson  16:49 We as as a class, need to be more in the conversation and it isn't going to happen unless we demand it. You know, it's it's interesting. We celebrated Global Accessibility Awareness Day last, what Thursday, and later in the year, we'll be celebrating some other events regarding disabilities. What amazes me is even with the visibility that's happened so far, it never seems to hit any of the mainstream television news. Casts or talk shows, the I don't see anyone celebrating Disability Employment Awareness Month, or anything relating to disability awareness, like we see African American history or LGBTQ pride, awareness and so on. Why is it that we're just not still included? Even though even though according to the CDC, up to 25%, of all Americans have some sort of a disability. And we'll of course leave out like dependents, which takes in everyone else, but nevertheless.   Bryan Bashin  18:06 Well, you know, we live in a different as a longtime journalist, we live in a different journalistic culture now. And so what triumphs is narrative, not policy. What triumphs is something that gets is clickbait. Something that gets you emotionally. And I won't say that there, there haven't been good stories. The lighthouses then, Board Chair Chris Downey, who you know, is, as one of only a handful of practicing blind architects got 15 minutes on 60 minutes, one of their most popular episodes been rebroadcast four or five times now. That is a powerful narrative. So we need more of them. I really do think that in any state, any blind organization has stories, just like Chris is just as powerful. You know, our job is to actually be out there relationally with journalists so that they can understand what the stories are. But it's not going to be from a press release, or some some kind of awareness month. It's going to have to be the personal connections that we have with journalists so that we can wind up pitching stories.   Michael Hingson  19:27 Well, it's the usual thing. What it really means is we need to tell the story.   Bryan Bashin  19:35 That's right. As soon as it becomes a story about them. We lose, huh? Yeah.   Michael Hingson  19:41 Yeah, we need we need to be out there and tell the story. And you're right. We need to tell it in a way that will click with people and interest people. But I think that that certainly is something that can be done and we We also collectively need to understand that we need to tell the story and not be shy about it.   Bryan Bashin  20:08 That's right. Yeah, that's right.   Michael Hingson  20:11 And I think all too often, we tend to be shy and we don't want to, to be out there talking about I remember early on after September 11, we got pretty visible in the news. And it was because really of me contacting Guide Dogs for the Blind, just to say, we got out because people from Guide Dogs had seen us in the world transip Trade Center, they've visited us. And I joined guide dogs in about a year afterward. And there was a lot of visibility interviews in the media. By that time, we had been on Larry King Live three times. And on one of the guide dog lists, somebody said, Well, he's just a meteor media whore. And a number of people fortunately reacted, I did not, but a number of people said, What are you talking about? He's out there telling the story. And that is, in reality, the case is that somebody needs to and we all should be out there telling the story saying we're better than people think.   Bryan Bashin  21:12 That's right. That is really true. You know, there's an inherent tension between this knee that you just said about, we need to tell the story because otherwise Hollywood is going to tell the story about us. And the need, you know what the most radical thing is, it's the average blind person doing their average job, unremarkably, and without fanfare and attention, that is the revolution. And so, you know, why should Why should every blind person feel obligated to write a book or do a story. And yet, we have a responsibility as a you have taken to say, This is my life experience, people will learn from it. And so I'll do the hard work to get it out there.   Michael Hingson  21:59 But the very fact that other people are just going to work, and trying to go to work, doing the job, and trying to even get better at doing the job is as much if not more of the story as anything else.   Bryan Bashin  22:14 That's the real revolution. And that's the world we want to help bring about.   Michael Hingson  22:20 So I am curious about something. I believe it's been attributed to you. Scary already. But but I've I've adopted it. People say that we're blind or visually impaired, and I object to the concept of visually impaired because I've always thought I looked the same. I don't like vision impaired because I think I got lots of vision, although as I love to say, but I don't see so good. But I can accept vision impaired. What do you think about that, that concept of the, the terminology like that? And where do words matter in what we do?   Bryan Bashin  23:00 words do matter. And every every generation needs to own and invent words that are relevant to them. And so although I work in a building that says Lighthouse for the Blind and Visually Impaired, I've come to see that word visually impaired is actually ablest. It means that we are being defined by what we cannot do, we have impairment of vision, we are not a normal part of society. You know, I think the more neutral and non ablest way to construct it is just to talk about people who are blind, or have low vision. Yeah, so that's, that's a positive way. It's neutral way. All these other things over the years, skirting around the word blind, as if that was something we shouldn't be proud of, are talking about the proud people with low vision, instead of looking at them as just simply a characteristic they have, they have low vision. We look at them as impairment or other other ways in which they're, quote, not normal. So that's why words matter. And we in our publications at Lighthouse tried to use a modern language to talk about blindness.   Michael Hingson  24:19 And I do like the concept of low vision. If you talk to a person who is deaf, and you say hearing impaired, you're apt to be shot because that is absolutely unacceptable, deaf or hard of hearing, which is the same concept.   Bryan Bashin  24:34 Yeah. And of course, you always want to talk to the people ourselves, about how we want to be caught. Yeah.   Michael Hingson  24:43 Unfortunately, I think there's still all too many of us that have not really thought it through. But I think as people learn and recognize that we do have the same right to live in the world and are demanding it more, more and more people will wreck denies the value of something like blind or a person who happens to be low vision.   Bryan Bashin  25:05 There are agencies around the country who have steadily taken the word blind out of their name. I think it's a profound mistake, as if who we are needs to be euphemized or just lately swept under the rug. I am a proud blind person because I've been around other blind people who haven't want to euphemized who we are. But yet we have agencies around the country with hundreds of millions of dollars who think that they don't want the word blind in their name. I think the first step in proper rehabilitation is to say who you are.   Michael Hingson  25:46 And do it with pride. Yep. So well, and just to carry that on a little bit more, Dr. Ken Jernigan passed down the late Dr. Ken Jernigan, past president of the National Federation of the Blind, I think came up with the best definition of blindness of all, which is basically if you are eyesight is decreased to the point where you have to use alternatives to full eyesight to accomplish things, then you should consider yourself blind and there's nothing wrong with that.   Bryan Bashin  26:17 Yeah, we're all in this together. Just like, I can't speak for that community. But it's been 150 years since African Americans blacks would talk about various grades and gradations of, of their, their heritage. Just part of the movement now as it should be,   Michael Hingson  26:40 as it should be. And it's unfortunate that it takes some of the kinds of things that it has done to raise awareness for black lives, if you will. But hopefully we're making some progress, although the politicians tend to be the biggest obstructionist to a lot of that big surprise   Bryan Bashin  27:01 there, Mike.   Michael Hingson  27:05 Yeah, it is amazing. As I love to tell people I I try not to be political on this podcast. So I'm an equal opportunity abuser, you know, I'm, I'm with Mark Twain. Congress is that grand old benevolent asylum for the helpless and that's all there is to it. So we can we can abuse them all. It's it's a whole lot more fun. Well, so you have really made some evolutionary changes in the lighthouse. You mentioned enchanted Hills, which I first learned about when I was here in Southern California as a teenager, did not go to Enchanted hills. But I went to what that time, what was the foundation for the junior blinds camp camp Bloomfield, and but I've heard and kept up with enchanted Hills throughout the years and the camp had some challenges a few years ago with the fires and so on. That that took place up in Northern California, and you've been really working to address a lot of that. Tell us a little if you would about enchanted hills. Yeah. Where it was, where it came from, and and where it's going? Well,   Bryan Bashin  28:17 a blind woman rose Resnick founded it in 1950, because she wanted blind people, blind youth and adults to be active participants in nature. At the time, most blind folks went to schools for the blind, urban and restrictive. And Rose had a great experience growing up back east, with camps for the blind, it was a liberation for her. There were no camps when in outwest, for the blind, he founded the first one that we've had at Lighthouse for 72 years now. Why is it important? That mentorship to see cool blind people who are just a few years ahead of you who are owning their lives, you can't learn this in a classroom. You've got to hang out with people, it takes time. It's like that, that same mentorship, you'll see in a convention, a blank convention. The power of that is you got to week, well, you've got a summer at camp, and you've got a summer with people where you can actually have time to finish your conversations and to get lost and try to grow in different ways and fail and try again. And this is a huge and powerful part. What any camp for the blind is there are only a handful left in the United States. So in 2017, those Napa fires we watched as the fires got closer and closer to camp we evacuated and then watch for week as the fires crept closer, we didn't know if camp would survive. And when we finally were able to get back in camp, we found that half of the buildings had burned the old camp deep in the Redwood Forest. We have 311 acres there. It's an enormous P and valuable and beautiful piece of property. And soon after, first we were relieved that nobody was hurt. But after our team realized like this was the opportunity that had waited for three generations, how could we reimagine camp? What are the things now in 2022 that bind people wish they had that we didn't have before. So yes, of course, we have the same all all American camp.   Bryan Bashin  30:44 But we're rebuilding camp to be environmentally friendly, universally accessible, every building at camp every every building at El is will be wheelchair accessible. Every watt of power and use will not be through trucked in propane or hydro or fossil fuels, but be solar generated with our solar canopy over our park parking lot. Every building will be heated and insulated. So is changing from summer camp to a year round place where up to 220 people can stay and learn and form community, both informal things like classes, retreats, and all of that. But informally now, when we reopen, you'll be able to grow, go up to camp with a group of your friends and 20 people, family reunion, whatever you can cook for yourself, or you can take advantage of our full time kitchen staff and all of that. Imagine a blind Asilomar a conference center that is accessible, networked with everything from braille embossers, to the latest tech stuff. That's what camp is and every last part of it, please touch, please use our woodworking stuff, learn how to do ceramics, get to learn how to own and care for a horse. Get in that boat and Sue ads and, and row, go swim, go do arts, go do music and our wonderful new Redwood Grove theater, all of that stuff. So this was the inspiration when when the camp burned five years ago, we were able to get all these buildings on the master plan with a county, we found a contractor we're halfway through the rebuilding all of lower camp now you can see those buildings, the foundations are poured, the roofs are up we're putting in Windows this week. And when we were done, we'll have this amazing, beautiful village in the Redwoods where people can stroll and accessible paths, no guide ropes anymore, by the way, accessible paths. And as you go around camp, you'll be able to be just within hailing distance of other people, people you may not know but should know. So half of the program at camp and why it produces 40 50,000 hours each summer of people contacting people half that program is just that, not what we're talking at you about but people that you meet and form lifelong bonds.   Michael Hingson  33:31 And that's a whole different idea for a camp in general, but it is really creating community and people will leave with I would think lots of memories they never thought they would get.   Bryan Bashin  33:46 You know one of the key features that has been the hallmark of the last 13 years is that we usually have 20 counselors and another half dozen counselors in training. Three quarters or up to 90% of those counselors are now blind, or have low vision. No camp hardly in the country does that there are a lot of camps in which everybody in power. Every director and every assistant director and every counselor, they're all sighted. They're all very well meaning and giving. But where's the mentorship there? Where's the role modeling? So in Jannah Hills is different. The overwhelming majority of our counselors and counselors and training are blind. Our staff and area leaders are overwhelmingly blind as well. Because this is part of the purpose of camp to be able to meet people who are in charge of their own lives and a part of a community   Michael Hingson  34:45 and that's as good as it can possibly get. How does the the camp then it's it's a separate entity but it's part of the lighthouse. How did the the two connect what kind of value does Is the lighthouse itself bringing to the camp and vice versa?   Bryan Bashin  35:03 Yeah, we're all one organization. But increasingly, because of the new construction, we use camp as a retreat for people who want to go deep into their blindness. So for people who are newly blind, or for people who have been blind a while, and now have decided it's time to do something about it, we have an initial immersion called Changing vision changing lives, people go to camp. And there, they take their first steps, sometimes, first time they ever put a white cane in their hands, or their first introduction to what a computer could do. All these kinds of things. It's a deep dive and initial dive, immersion to whet people's appetites for the real hard work that comes after camp where they're going to put in time to learn skills of blindness. But before you start doing skills, you have to have the why, why are we doing that, and you have to have met a dozen or two dozen blind people who are just using those skills. So you're not learning that as an abstraction. Camp is wonderful that way. So the teachers who teach edtech and oh nm, and braille, and, you know, independent living and home repair, and all, these are the same people, whether they're at our headquarters in San Francisco, or they're in a special retreat in Napa. That's what we're going to be doing more and more of around the around the year. Same thing is true with our new program for little for blind infants and toddlers, lighthouse, little learners is an early intervention program. From across northern California, we have built camp in part to be a wonderful place for families of blind infants and toddlers to come together. Almost every family that has a newborn who's blind is utterly unprepared, and is so hungry for information. And of course, as you know, if you get it right, your child grows up and does anything that she or he wants. But those are key years. And so our family cabins now are built so that infants and toddlers, and then later on young kids will have time with their families before it's time for them to go off to camp individually, when they get into the middle years at a teens.   Michael Hingson  37:33 You mentioned the blindness conventions like the National Federation of the Blind convention, and it brought to mind something that I think about every time I go to a convention or know that a convention is coming up, especially with the NFB because of the the way that the organization has handled conventions, there is nothing like watching a five year old who suddenly has a cane put in their hand. And they're given a little bit of cane travel lessons over a very short period of time at the convention. And then they're dragging their parents all around the convention hotel, that the parents usually can't keep up and the kids are just going a mile a second.   Bryan Bashin  38:13 Yeah, that is, that's what we all want. We want that aha moment, like that. And parents are. So when they're new in the game, it's not just talking about the best ophthalmologist, although that's important and the best stimulation and the best this and that. They're also looking at those counselors and counselors in training and seeing their kids in 15 years. And they're just seeing competent blind people. Give them the sense about what's possible and why. And that that is another unspoken role of conventions, or in retreats like camp where you have the time to put into what is like the big change in life. Your blindness is not just something you do superficially, you got to dive in camp helps with that.   Michael Hingson  39:07 It's a characteristic blindness is simply a characteristic. It is something that we all have as part of our beings. And I think it's an enhancement because it allows us should we take advantage of it to have a significantly different perspective on part of life than most people have? And it gives us a broader and more open perspective, which is as good as it gets.   Bryan Bashin  39:38 Absolutely. You know, we're in an age which is supposedly celebrating diversity and all of that, well the diversity that we bring to the to the human experience is profound. And you know, we we will celebrate our intersectionalities with all the other human diversities. Are we are, we are good to live in an age, which doesn't sort of characterize and other, but works or at least seeks efficiently to include.   Michael Hingson  40:13 Sometimes it's a little more superficial than we probably would like. And there are things happening in our modern technological era that are a challenge. For example, one of the examples that I often give is nowadays, there are so many television commercials that are totally graphic pictorial, they may have music, but absolutely no verbiage to the commercial. So a number of us are left out of understanding them. And of course, graphics are so easy to produce. But what the people who produce those commercials, it seems to me don't realize is that by not having verbiage, and having meaningful and full content, verbally presented in the commercials, they're not just leaving out us, but they're leaving out anyone who gets up from their couch or chair, when the commercial comes on to go get a drink. They'll never know what the commercials were about, they're missing a true dimension of access to all it seems to me.   Bryan Bashin  41:19 Well, you put your finger on a key aspect of our culture, which is we live in an age of screens, great. Screens are ubiquitous and cheap. And so we're, we're in a in an age now where it's sort of post linguistic almost, that the ability to manipulate and to show successions of images, capture, you owe 90 some percent of people most of the time, but it does a great disservice to the abilities of human beings of all sorts to appreciate. And it kind of cheapens the subtlety and discourse, I think, you know, we this this ability, words are able to convey a universe of experiences in just a few syllables. Pictures, not so much, and not so standard.   Michael Hingson  42:19 Someone said, I don't recall who but I read it somewhere. Maybe a picture is worth 1000 words. But it takes up a whole lot more memory. I love that. It's an it's so true. Yeah. And we, we really need to recognize collectively the value of challenging and using all of our senses, it's so important to do that, and no scent should be left out. Now, we haven't figured out a way yet to transmit, smell and taste through the television system. And that may be a long ways away. But we certainly have other senses that we should be using. And that isn't, and shouldn't just be screens. But hopefully we can get that discourse to occur and get, get people to change, maybe a little bit about what they're thinking and see the value in that change again.   Bryan Bashin  43:21 Well, you've been a pioneer in this. And as things emerge, I know Mike Kingston is going to be part of it.   Michael Hingson  43:29 Well, it's been fun to to be involved with some of the technologies. You know, for me, it started with Ray Kurzweil. And then last decade was IRA, which has certainly been a product that has made a significant difference for a lot of people but other butter products along the way being involved in some of the refreshable braille displays and, and a lot of people don't realize how easy it is in some senses to produce Braille today because refreshable braille displays means I can take any file, any like ASCII file or a Word file, and put it in a medium that I can import into a Braille display and suddenly read that document. That's, that's pretty new.   Bryan Bashin  44:15 I think we are just now on the cusp of, of having critical mass in a refreshable Braille display that's got enough pixels to be useful as an image producer, and then ways to quickly and sort of economically produce those images. Yeah, Lighthouse has a unit MATLAB they have a group called touching the news. And here every week or two, there's a news graphic, the map of Ukraine during the war, the what is that helicopter on perseverance look like? Those kinds of things, the ephemera and the news of our society, the ability to get those quickly out. If you have a Braille display or a Braille embosser is going to really we're almost at the time when culture will pivot, and 61,000 Blind K through 12 errs in American schools will be able to get new and fresh material all the time, and compare it or look at the output of an oscilloscope in real time, and change and vary and act in a lab accordingly. So the efforts now to make real time expressible refreshable. screen displays are amazing and so important.   Michael Hingson  45:39 The other thing that I would hope as we get into more of a virtual real world virtual reality world, is that we would do more with sound binaural sound which is easy to produce, which truly with a set of headphones allows you to hear sound coming from any direction. And actually can help immerse all gamers in games rather than it just being from the screen. But if they do it right, it certainly would make a lot of games more accessible to us than are available today.   Bryan Bashin  46:12 If you've heard a good binaural recording of something, it can be terrifying. The lighthouse work with this group called The World According to sound to produce several dozen binaural shows about the rich experience that blind people have every day. And you can find those online. We worked with Chris and Sam, who just did splendid work for us about how we live how we how we go around what we notice the subtleties and richness in our lives. So there's there's importance for that. And then later, if you look ahead a few years, the metaverse and the idea of group connections, because what we're doing now Mike, on Zoom is not going to be just like a pandemic, Blip. This is the way people are going to interact. And we want this to be richer. I want to be in a room where I can hear who's on the left of the conference table and who's on the right. Right, I want to be able to face them in the three dimensional view on that screen. It's coming. It's coming quickly. And we need to be part of what MATA is doing as they may be the standard or other people may develop other standards. But this is around the corner.   Michael Hingson  47:33 And the technology is really here to do it. It's it is a matter of making it a priority and deciding to do it in such a way that will keep the costs down. And that isn't all that hard to do. Yeah. So for you, you are I think you have been appointed to the Ability One commission.   Bryan Bashin  47:58 That's right, President Biden appointed me last July. And it's been a wild ride ever since   Michael Hingson  48:04 tell us about the commission and what you're doing with it and so on.   Bryan Bashin  48:09 Well, this commission was set up during the FDR time in 1938. And it was designed originally to provide some way that blind people, and then later on, people with other significant disabilities could find work and an age where there was almost no work. The employment rate of blind people in 1938 was I don't know two or 3%, or something like that. So it was a groundbreaking bit of legislation in the 30s. But over the years, it became a place where blind people worked in non integrated settings. And some people call them sheltered workshops. There were many blind people who are earning less than minimum wage because of a loophole in the law there and all of that. This has been a fight for the last decades to eliminate the sub minimum wage, and also now to seek blind people not working in silos without the benefit of the wider world only working in a place with people with disabilities. But to integrate and find opportunities for that same federal contracting federal contracts federal government buys, what six or $700 billion worth of stuff every year. This ability one program uses about 4 billion of the 600 billion to provide employment, people will make things the lighthouse itself. We have a social enterprise we make environmentally sound cleaning compounds and disinfecting compounds using sort of state of the art Technology, we got an EPA Safer Choice Award for how benign our stuff is, instead of the other harsh ammonia and caustic chemicals. Anyway. So on this commission, the job is how much wiggle room do we have to provide integrated employment now, you know, if you're working in making airplane parts, only with blind people in a separate building, and meanwhile, Boeing has people doing the exact same job. along with everything else, and the glitz and glamour of working for international big company. Why shouldn't blind people be part of that, instead of the sort of set aside, it was a great idea in the 1930s and 40s, and 50s. Now it's time to change. So the first step of the change is our strategic plan. And we've rolled out the draft strategic plan, we have had eight or maybe more now community meetings about it. The public engagement with this change is 500%, more than we had in the past with the AbilityOne. Commission. We we have launched this strategic plan, I sure it'll be codified in upcoming weeks, when it is over five years, we're going to both look at ways that we can get competitive integrated employment experiences as much as we can. And that may require that we open up the Javits, Wagner eau de Act, the legislation in order to maybe change some possibilities to increase competitive integrated employment. Because in the 30s, it just said employment, that's our charge. The idea of competitive integrated employment for blind people, or people with significant that was science fiction, and FDR, Stein. Now it's something you and I have both lived. And why shouldn't the 45,000 people in the program right now have that opportunity? So that's my work in the AbilityOne. Commission, to bring the fruits of federal contracting to the hundreds of federal contractors, and let them benefit from a workforce that includes diversity of all kinds, including people who are blind,   Michael Hingson  52:28 is the tide turning so that we can see the day that the Javits Wagner, eau de Act, Section 14, see will actually go by the wayside, and we'll be able to truly address the issue of competitive employment.   Bryan Bashin  52:44 Yes, we have taken many steps along that line, the main step is that organizations that hold such certificates may not be allowed, in the very short term it very shortly to compete for new contracts. So the cost of paying subminimum h is going to be very expensive for people who wish to get more contracts. This is in process now. We are not going to, you know, pull the emergency cord and throw people out of work, who are now working under these programs, but new contracts, and new opportunities are going to be you know, bias towards competitive integrated employment. And, you know, on the blind side, there are no organizations in the blindness side of Ability One paying sub minimum wages Now, none. That's that's already ended on the significant disability sides. I think the number is around 3000. People still are working on legacy contracts like that. We expect that if I talk to you in a couple of years, Mike, that will be gone.   Michael Hingson  54:02 Well, and historically, I think when the act was originally established, it was done with good intentions. And maybe it wasn't as five sided as it could be. But as I understood the original Act, the non competitive employment centers were supposed to be training centers to get people prepared to and then out into the more competitive world of employment. But it morphed and evolved over the years to something different than that.   Bryan Bashin  54:33 It is and if legally, if you look, there's nothing in the ACT about training. It's just about employment. That's that was the mindset in 1938. Yeah. Now, of course, that's what we want. That's what we want to celebrate. We want to give the nonprofit agencies credit for training people and bringing them out into competitive employment. We think if we open up the act, we want to strike threat. So those agencies who are successful at getting people trained up and out, should be rewarded for that.   Michael Hingson  55:08 That makes perfect sense. What is the pandemic done to the whole rehabilitation system? And what do you see happening as we come out of it?   Bryan Bashin  55:19 This is not a happy topic.   Michael Hingson  55:22 Yeah, it is a challenge.   Bryan Bashin  55:25 The the number of people who are just enrolled in VR across the country has been slashed a third to a half those those people part of that is because VR with its three and a half billion dollars worth of funding, doesn't find, you know, the homemaker outcome, which is basically blind, independent living training, that's now no longer legal. So those people who went to VR thinking they could learn how to do certain things. But without a vocational goal, that is not not any, any more part of the public rehab system. So some people went away for that. But I think the larger question and it's kind of profound is that we've been through two years of a pandemic, after, after a century of saying to blind people get out there, learn to travel, be at everybody's table, take risks. And now we've had two years and more of stay in your place. It's a dangerous world. And our you know, my observation is all of our skills are rusty, are on him skills are rusty, our social skills are rusty. And everybody in the world will say, Oh, you're blind is easy to stay at home, look from look for work at home and all of this, but we lose if we're not in the room. And so the bottom line is that the pandemic has caused, I think a lot of us to take a giant step back in our social integration and just our horizons. Through the pandemic, I watched as my sighted friends could just get in the car and go where they wanted safely. Every time you and I want to go somewhere, Mike, we have to get into a conveyance with a person of unknown infectivity status. This is the nature code, we can't just Uber ourselves to a park without the sense like, okay, we're taking a controlled risk. This is why a future of autonomous vehicles is so great, no guide dog denials, no coughing driver, who may or may not be wearing a mask these days, technology can be our friend, if the technologists start considering our needs.   Michael Hingson  57:53 Well, and autonomous vehicles are, are definitely in our future and the whole concept of opposing them. Anyone who does we're, we're seeing someone who just doesn't have a lot of vision, because the reality is that they're, as you would say, right around the corner. I think some of the things that have happened with Tesla vehicles is unfortunate, especially when, in reality, they were probably not using the technology correctly. And that causes many accidents is anything. I have a friend who owns a Tesla, I actually drove it down the I 15 toward San Bernardino a few years ago. But I called him one day and he told me he had an accident with his Tesla. Now he had driven some race cars in the past and he said that there was a situation where a car was coming at him. He had the Tesla in copilot mode and was monitoring. But when this vehicle was coming at him as a racecar driver, he said my inclination is to speed up and get away from it. The car wanted to slow down and he said I overrode the copilot and we had an accident. I should have let the car do   Bryan Bashin  59:14 it. Your way there. I can't let that pass. Mike. You were in the driver's seat of a Tesla on Interstate 15.   Michael Hingson  59:24 Absolutely, why not? No, he was he was there of course. And but I had my hands on the wheel and we had it in copilot mode and I could feel it moving. It was a pretty straight run. But we did it for about 15 minutes. And then I said no, I don't think that the Highway Patrol would be happy with us if we kept that going.   Bryan Bashin  59:44 I don't think the statute of limitations quite expired on that one bike so   Michael Hingson  59:50 well, they gotta prove it now. I don't know it's been more than two years and nothing and nothing happened. I will wasn't in the car with the accident, we had a completely uneventful time, I just want to point out   Bryan Bashin  1:00:06 now, but these, these technologies, we must be pressing the companies for Level Five accessibility. That means from the time you walk down your friend steps to the car waiting there for the time you get to your destinations, front steps, you're in control the whole time. Yeah, it would be heartbreaking to have legislation that allows less than that. So that yeah, you have to like drive until you're on the freeway, and then you can do autonomous driving, that would lock us all out. That would mean this whole technology is useless for us.   Michael Hingson  1:00:44 And that would be useless legislation, it wouldn't solve the big problem that the autonomous vehicle can bring us. I'm a firm believer, and we got to get the concept of driving out of the hands of drivers. Because, as far as I'm concerned, using a Tesla or not the way most people drive on the road, I would certainly be able to do as well as they do.   Bryan Bashin  1:01:07 Absolutely. I wrote in, I wrote an autonomous vehicle in San Francisco last summer. And I felt it in control, confident, cautious, but it had a different sort of feel in that car and felt like I noticed like in San Francisco, if you want to make a left turn, a sighted driver would sort of drive into the intersection, start making the turn. And then once you're made the 90 degree turn, then accelerate the autonomous driver drives into the intersection and starts accelerating in the intersection intersection, knowing full well that it knows and has decided where it wants to go. So if it was more confidently powering into the term than a human one would do. I found that interesting.   Michael Hingson  1:02:05 It is, and I just am firmly convinced that we will make the road so much more safer if we take not the decision making but the whole concept of driving away from so many people who haven't learned to do it. Well, it does mean that we need to program the technology appropriately. And well. We're still on the cusp, but it's coming and it's going to be here sooner than we probably think.   Bryan Bashin  1:02:36 Yeah, well, the main thing is that all there may be 50 Different groups five, zero, looking at autonomous driving, it's turning out to be a much harder technical problem than people were saying just a few years back. But we need to be in those early design phases. You know, my car right now has a radio that I can't use. Yeah, because it needs a touchscreen. I mean, if they can't get that, right, what about the ability to change directions, at a stop on a whim, respond to a safety emergency, we need to let the folks know, all the ways that we need to be involved and not like was one set of the Mercury astronauts, we're not just spamming again.   Michael Hingson  1:03:25 Right? Well, and the the Tesla, for example, is so disappointing, because everything is really touchscreen driven. So I could deal with the wheel and deal with the car once someone else completely shut it up. And there is some ability to do voice activation, if you do the right things with the touchscreen first. And the bottom line is I couldn't work the radio, I couldn't do anything that a passenger should normally be able to do. Because it's all touchscreen driven. And it really takes away, it seems to me from the driving experience, even because I have to focus on the touchscreen. I can't be watching the road as well as a sighted driver.   Bryan Bashin  1:04:10 Yeah, this is not inherent to blindness. It's just smart design that's inclusive. And those are fun projects. And that's when you get blind people, engineers, by engineers, sighted engineers together on a problem that is a beautiful Association and it produces really great results.   Michael Hingson  1:04:31 I'm remember I remember some of the early discussions that we had when we were working on the pedestrian enhancement Safety Act and we worked with the National Association of Automobile Manufacturers and eventually got a law passed that said that quiet cars and so on needed to make a noise although we're still really waiting for a standard so that there is a sound that hybrid cars and totally quiet cars produce and it's taking way To long, unfortunately, but still working together, we were able to educate and get some people to really imagine a lot more than they thought that they would. And we're making progress, but it sometimes it just seems like it's very slow. Well, let me ask you one last thing, what are you going to do when you leave the lighthouse, you announced that you're, you're wanting to move on. And I know that there is now a search to find a, a person who will step into your shoes, which I think is going to be an impossibility. But what are you going to do?   Bryan Bashin  1:05:37 Well, I love I love the search, I love that lighthouse is going to have a long, open, transparent process to find that right person. So that will be wonderful to cheer them on when they show up. But for me, I am a guy who likes learning. And I've had 13 years of heavy responsibility running a large agency, I want to be in places where I have more of a beginner mind. That could be journalism, that could be advocacy, it will be advocacy. That will be in design, like we were just talking about autonomous vehicles or other interesting projects. I would like to be in those places, whether it be corporate boards, or design Charettes, or architecture, any of these things were blind people haven't been before, to sort of bring people together to make really exquisite designs, and beautiful human centered outcomes. So whether it's working with the Ability One Commission, or working on contract with companies that have a problem to design, whether it's it's talking truth to power, and making sure that our extended community has is protected and safe and supported in Congress in the state house. You'll find me in all those places.   Michael Hingson  1:07:04 Well, I hope that as you move on and do things that you will come back and talk with us and keep us posted and give us a chance to learn from you and and maybe give you things that you can use as well. So I hope that this won't be the only time we hear from you on this podcast.   Bryan Bashin  1:07:22 It's always a pleasure, Mike, it's in conversation with you. I learned so much. And I feel we are part of that same community.   Michael Hingson  1:07:30 How can people learn about you, the lighthouse, and so on?   Bryan Bashin  1:07:35 Well, our websites always a good place to start WWW dot Lighthouse dash s f.org.   Michael Hingson  1:07:44 And everything is there, there are so many different programs that the lighthouse offers. And there's so much that all of us can learn from the various adventures and programs that the Lighthouse has. So I hope that you'll all go visit WWW dot Lighthouse dash s s.org and peruse the pages. And if you're able to do so maybe consider volunteering or being involved in some way. And I hope that you'll make that happen. If people want to reach out to me, we are always available. As I tell people every week you can reach me via email at Michael H I at accessabe.com or through the podcast page which is www dot Michael hingson M I C H A E L H I N G S O N.com/podcast. And once you finish listening to this, please give us a five star rating. We love those five star ratings and, and Brian, hopefully you'll listen and give us a five star rating when this comes up.   Bryan Bashin  1:08:46 Oh, I'm already pre sold on this one. You're also welcome to leave my email address. I'll go folks on on the website or here. It's simply b Bastion b ba Shi n at Lighthouse stash fsf.org.   Michael Hingson  1:09:03 So reach out to Brian and I'm sure that discussions will be interesting. And as I said we want to hear of your adventures as you go forward. Thank you, Michael. Thanks very much for being here. And to all of you. We'll see you next week on unstoppable mindset.   UM Intro/Outro  1:09:23 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com. accessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for listening. Please come back and visit us again next week.

This is another edition of our Rosary Video Series where we pray the full rosary with visuals in the background. Today, it is a walk through the Redwood Forests off the coast of California.Click HERE FOR THE VIDEO

This episode of Big Blend Radio's Nature Connection Show features Sam Hodder, President & CEO of Save the Redwoods League, a nonprofit organization whose mission is to protect and restore California redwoods and connect people to the peace and beauty of redwood forests. Hear about how The League protects redwoods by purchasing redwood forests and the surrounding land needed to nurture them. They also work to restore redwood forests by innovating science and technology that can improve stewardship and accelerate forest regeneration. More at https://www.savetheredwoods.org/ This episode is part of our special Fourth Friday Nature Connection series with guest cohost Margot Carrera who is a fine art nature photographer who is passionate about the environment. More: https://www.carrerafineartgallery.com/ Photo of Sam Hodder by Paul Robert Wolf Wilson, courtesy Save the Redwoods League.

North of San Francisco stands a glorious redwood forest. Listen to this episode to hear about this adventure.   www.MbBizwell.com IG: Melissa.Botello

Imagine sitting down with the owner of a successful hair salon, a mother of three teenage boys, who loves to crank up the volume and get down with her favorite tunes. Do you want to meet Danielle Arthur? She's a wildly creative soul, who has a thing for Cindy Lauper, and a knack for telling hilarious hair stories from her 25-year career. Join us as we tap our feet to the rhythm of Danielle's life. We share laughs over hair mishaps, chat about high school sneaking-out stories, and appreciate the true colors of Danielle's music taste. Get ready for an honest conversation about tough topics like consent and masturbation, all while reminiscing about a fantastic family trip to a Sounders game and the Redwood Forest. Let's dive into the nuances of Danielle's creativity – painting, running, and her family's shared love for rap music – and how music plays a powerful role in her life. She opens up about the importance of doing what pleases you and not fretting over others' opinions. A great mix of laughter, nostalgia, and head-bobbing music, this episode is just what you need to brighten up your day. So, let's tune in and turn up the volume.Listen to the playlist on SpotifyWatch the episode on YouTubeFollow Music Junkies everywhere  Make sure to HIT that LIKE BUTTON and SUBSCRIBE to our Channel to be notified of new episodes! If you love Music Junkies share it !!New EP is out every MONDAY at 12 pm Rock on! Music JunkiesSupport the show

A group of activists known as Redwood Forest Defense has been occupying treetops in northern California as a form of non-violent protest to block the logging of redwood forests. Their struggle pits them against the Green Resource Diamond Company, which has been logging in the region since 2020. Portland-based filmmakers Lawrence Lerew and Derek Knowles directed the short film, "Sentinels," that is now streaming on the L.A. Times. They join us to talk about the making of their new film.

This is the final episode of season 3... leading into the final season of Tales. In this episode I share a story about a golfer I call Paul Bunyan who shoots par as easy for him as chopping down the Redwood Forest.  I also share some secrets on how to live in the present, particularly when you're about to hit a daunting shot.

In tonight's Sleep Meditation, guided by Karissa, we're going to go on a walk together in our minds, as we stroll through the Redwood Forest to find a sweet inner stillness and clarity as we meander into a soothing rest. First, we'll start with a calm catch up with Karissa (0:00-4:10)Before tonight's Sleep Meditation (4:10-34:04) Trees have a special resonance with humanity. When we are in a forest, something deep and ancient within us vibrates and we feel a connection to the earth, which is often overlooked in cities and built environments. There is a sense of coming home to ourselves when we are in the forest. Forests are wild and unfettered; a delicate ecosystem of mutual interdependence. They have the ability to make us see our own interconnectedness. Tonight we will call upon this connection we have to trees and harmonize with their nourishing and cleansing energy in order to relax the mind and reconnect to the world soul. Love the Sleep Wave Podcast? Please subscribe & leave a review ⭐️How are we doing with Sleep Wave? Click here to let us know

Today on Sojourner Truth Radio we discuss the latest update on the U.S. Child Tax Credit with Federal Campaign Director of Economic Security Project Action, Ana Aurelio, what do parents need to know to receive this credit now and through their tax returns and what we can do to ensure its continued existence. We will also discuss the latest update on Supreme Court Justice announcing his retirement with our guest Dr. Gerald Horne. Who is on the short list of possible candidates to replace his seat in the midst of forthcoming Supreme Court decisions on abortion rights and affirmative action impacting the future of education in the U.S. We end with our Earth Watch guest of the week, Naomi Wagner, a trainer with the Redwood Nation Earth First campaign, and her involvement with the campaign to save Jackson State Forest, a 50,000 acre redwood forest track in Mendocino County, California.

Jeffrey just returned from his trip to California. This week of Second Impressions features the highlights from his trip including the monumental Redwood Forest and San Francisco's famous Sourdough bread. Try to keep up! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Jeff and Dave embark on a wide-ranging discussion on the murder of Kitty Genovese, and the power that the Bystander Effect and the Diffusion of Responsibility has on how people act (or don't act) to help strangers...along with where to hide in a lightning storm, the risks of racing a UTV up a tidal wave of sand, what counts as a big tree in California's Redwood Forest, and how to engage with the owner of a dog loose in the park.

Today on Sojourner Truth: We continue our COVID-19 coverage on both the environmental and poverty fronts. In Northern California's Humboldt County, Redwood Forest Defense is participating in a tree-sit to oppose logging in the area. Our guest is Lupine, an active Redwood Forest Defender. On the homeless front, we speak with Anthony Prince of the Homeless Union and the Poor People's Campaign. Also, from Detroit, Michigan, another COVID-19 hotspot, we speak with anti-poverty warrior and campaigner Maureen Taylor with Michigan Welfare Rights and the National Welfare Rights Union.