Reid My Mind

Audio: Oprah Winfrey’s 2020 Vision…
Oprah: “OMG! It’s about to happen (Crowd cheers) So of the nine visionaries joining us on the WW presents ah 2020 Vision Tour: Your Life in Focus, there’s only one man,

TR: Yeh, yeh!

Oprah: but when it’s one of the most recognizable,

TR: Mm!

Oprah: big hearted,

TR: that’s real

Oprah: delightful, fun,

TR: Ha, ha!

Oprah: strong

TR: Hey!
people on the planet, he’s all you need. Please welcome Dwayne the Rock Johnson!
Audio: Record Scratch

TR: What the… Fine, who needs them, when I got the Reid My Mind Radio Family!

Audio: Reid My Mind Theme Music

TR:

2020 is Ableist AF!

— Music begins with a bass boom into a bouncing Hip Hop beat —

I’m talking about this idea of perfect vision, used as a metaphor for a flawless; plan or strategy, objective or goal and yes even sight.

Audio Samples…

So much of this is perception, which is subjective. Assigning the label of perfect to something automatically creates a ranking system or hierarchy.

It’s not surprising that so many people in 2019 and earlier, decided that 2020, the number associated with perfect vision, was an indication of a better time to come in their lives. The time to create or invoke that plan. Maybe get into shape, return to school, start that new career. Whatever it was, 2020 began with real optimism.

In my early days of adjusting to becoming Blind, I can recall declaring random days, months and year as my time. The right time to start fresh. To look at the future with real hope seeing only opportunity.

I too kicked off 2020 with this energy for very specific reasons. That includes personal opportunities that were presenting themselves. Nothing grandiose but some that I could eventually see as the early steps in building a solid foundation.

One of the themes of 2020 has to be adjusting. Reid My Mind Radio has been focusing on this for years.
Victoria Clare, an artist in the UK, helped me kick-off the year with her story of adjusting to Blindness or as they like to say, sight loss.

Audio: Bumper
— Audio clip from: “Adjusting to Vision Loss – A Creative Approach with Victoria Clare” begins —
VC:

I went out in my Dad’s shed, I got a big old’ block of wood, stole some of his chisels, used his mallet and started creating. It was amazing. I turned my world around because it made me realize alright, I’ve been diagnosed with this sight loss but nobody’s taken away the skills that I’ve always had. They’re still there.

— Audio clip ends —

Audio: Bumper

TR:

More on her latest artistic endeavor a little later!

February came around and I was feeling pretty good. I was swimming on a regular basis – which truly means a great deal to me. That itself is an access story for another time.

I also got the chance to introduce you to my man, Ajani AJ Murray! In his episode Starting with Imagination, we see that no matter the disability, the idea that begins with our thought or imagination can sometimes be delayed by access. Notice I said delayed, not halted or deferred.

— Audio clip from: “Ajani AJ Murray – Starting with Imagination” begins —

AJ:

I always had this dream of being an actor. It was something that was always looming in the back of my mind. It was always in my spirit, but I didn’t know how to physically make the connection. I couldn’t necessarily afford acting classes at the time and I wasn’t in high school at the time to be a part of an acting club.

That idea of working within your reach continued. In the episode Climbing Accessible Heights with Matthew Shifrin, Matt talked about his work with Lego and the objective of his advocacy to give that access to others.

Audio: Bumper

— Audio clip from: “Climbing Accessible Heights with Matthew Shifrin” begins —

MS:

I just wanted people to have this resource because I’d benefited so much from it. Not all Blind kids have people that could write instructions for them. Everyone deserves to be able to build and to learn from what they’ve build.

— Audio clip ends —

Audio: Bumper

TR:

Sharing our experiences with others is so important. Dr. Mona Minkara from Planes, Trains and Canes used the power of show not tell, to capture the wide range of responses to a Blind person traveling alone. And as we know, those reactions are filled with nuance.

— Audio clip from: “Taking A Ride with Planes Trains and Canes” begins —
[TR in conversation with MM:]

Wait up. You said he was nice?

MM:

I’m saying he was nice yes. (Laughing)

[TR in conversation with MM:]

Did you feel that way in the beginning? From the video, I took this guy like he was being condescending.

MM:

Oh, he was totally being condescending. I think it’s just the norm there to kind of treat people with disabilities like we are a bunch of 5 year olds.
— Audio clip ends —

TR:

Traveling is less about the destination than the journey. In the episode John Samuel: Guided By Angels, we see it’s about who you’re traveling with and what you do once you arrive!

Audio bumper
— Audio clip from “John Samuel: Guided By Angels” begins —

[TR in conversation with JS:]

And you just happen to be standing next to her. There’s such a pattern with you.

JS:

I know man; I can’t make this stuff up. I got angels all over the place.
— Audio clip ends —

TR:

While many people were progressing with their 2020 Vision plans, looming underneath it all was Covid 19. We were advised to take individual precautions; wash your hands, don’t touch your face, use hand sanitizer and somehow that translated to get as much toilet paper as you can!

I invited my wife Marlett on to compare what we experienced as a family adjusting to blindness and what the world was going through in the midst of the pandemic.

— Audio clip from: “A Peak at Finding A New Normal” begins —

Marlett:

Social distancing, that’s funny to me because no one really came around We understood about social distancing people were doing that to us for quite some time. Distancing themselves from us.

[TR in conversation with Marlett:]

Damn!

Marlett:

Well it’s true.
— Audio clip ends —

— Audio clip ends —

— Music ends —
TR:
If 2020’s perfect visual acuity has shown anything, it’s the inequity in our society.
Covid 19 zoomed in on the drastic differences in healthcare.

— Audio clip begins from “Corona – So Many Parts” —
Audio: Instrumental “Quiet Storm” Mobb Deep

Audio: Covid19 related News montage

– “The Pandemic seems to be disproportionally affecting people of color”
– “African Americans have been hardest hit by the virus. Despite accounting for 14 percent of Michigan’s population they represent 41 percent of its Covid victims.
— Audio clip ends —

TR:

In this same episode, Corona: So Many parts, I went on to compare the adaptations made in society in response to the Corona with those people with disabilities have been seeking for years.
— Audio clip from: “Corona – So Many parts” begins ”

All of a sudden!

Audio: Gazoo (from The Flintstones)

Have you noticed all of the corporations now accommodating their employees with work from home access?
The online conferences and entertainment now available.
Everything getting done online.

If inaccessibility is manmade then maybe man can fix it,
Audio: “That’s right!” from Harry Belafonte’s “Man is Smart Woman is Smarter”

TR:

Huh!

Audio: “That’s right!” from Harry Belafonte’s “Man is Smart Woman is Smarter”
— Audio clip ends —

TR:

Swindler, Scam artist, Liar, Snake oil peddler, Divider, yet in this past election, many have and continue to support him and his white house administration.
. Some of those supporters I’m sure have the absolute worst intentions. They are white nationalists. But there are some who have simply been played. And one of the rules that we need to remember is everyone gets got at some point in their lives.

I shared a story where I was duped into being a part of a dog and pony show disguised as a demonstration and discussion about Blindness.

— Audio clip from: “Live Inspiration Porn – I Got Duped” begins —
Well, in this particular case, while the dog and ponies sat up in front and this one off to the side a bit, the sighted donors were led into their temporary world of vision loss.

Reluctantly at first, one after the other each slowly began trying on the glasses.

“Oh my”…. “wow”
“where did you go Jeanie?”

And then the real fun began as they exchanged glasses with one another. Laughing as they realized how little they could actually see. Unable to find things they placed on the conference table. The host joking as she moved their cups of coffee.

Meanwhile, the dogs and ponies sat up front. While the jackasses continued with their disability experiment.

Empathy, I didn’t see that. But a check was written.

I don’t remember how the event finally ended, but I do know that was it for me. I checked out. There may have been some additional conversation but I doubt I had much to say to anyone after bearing witness to that display of ableism. I vowed to never be a part of anything even remotely like that.

I could easily imagine each of the donors around the table going home fulfilled and thinking “I should really count my blessings, because there’s always someone worse off in the world.”
— Audio clip ends —

— Audio clip from: “George W. Bush Fool Me Once” begins —

GWB: there’s an old saying in Tennessee, I know it’s in Texas probably in Tennessee but it says fool me once… (long pause) shame on…, shame on you. (long pause) Fool me can’t get fooled again!
— Audio clip ends —

TR:

You know, learn from your experiences

— Music begins – A bouncy energetic Hip Hop beat —
TR:

Hey! Do you enjoy listening to this podcast?
Do you have a topic you want to recommend?
Reach out.
email ReidMyMindRadio@gmail.com or call 570-798-7343 and leave a voice mail. Like this;

Voice Mail:

I’m calling because I listened to the Reid My Mind and I thought that episode on Charles Blackwell was just fantastic!

TR:
That was actually Mr. Blackwell himself playing a little joke on me. He said I could use it and I would either way because he doesn’t have a computer so he won’t find out!

If you do have a computer or a phone that is online and you want to stay updated to what’s happening here;
Subscribe wherever you get podcasts!
Transcripts & more are over at ReidMyMind.com.
That’s R to the E I D
(Audio: “D and that’s me in the place to be” Slick Rick)
Like my last name.

And now back to the episode
—
Audio Bumper:

“Come on chop chop, the Doctor will see you now!”

TR:

Well not really. But let me break down 20/20 as a fraction signifying normal vision.

The numerator, (the top number in the fraction), , represents – 20 feet. The denominator represents the distance in feet where a “normally” sighted person can see that same thing.

So, someone with 20/20 vision is seeing as expected.

A person with 20/200 can see from 20 feet away what a normally sighted person sees from 200 feet.

When it comes to an awareness of police brutality, Black people been having 20/20 vision. I’d add Indigenous and many people of color as well. I’d even add woke White people somewhere on the spectrum.

But too much of America has been hovering around that 20/200 acuity. They’ve been legally Blind to police brutality forever. There’s no lens to help them see the systematic racism not only in the police departments across this nation, but also throughout our society. At least not long enough to actually do something about it.

The Covid 19 pandemic created the environment enabling the magnification of the brutal killing of George Floyd, the murder of Brionna Taylor and the injustice that followed.

I wanted to be hopeful that the initial attention and outrage would be a catalyst for real change throughout society. I talked about how these events have and continue to impact me and my family. I even talked about it in the realm of Blindness advocacy!

— Audio clip from: “Let Me Hear You Say Black Lives Matter” begins —

TR:

All the organizations that are either of or for the blind want the same thing; independence, security opportunity for all Blind people. Who does this really include? For some, blindness skills training isn’t going to be enough to have an opportunity to reach that goal.

For me personally to believe these organizations and others are really about independence for all, I’m going to have to see them lead the way. That leadership needs to come from those in power right now.

I’m going to need to hear them simply say it; “Black Lives Matter”

Audio Montage of individuals saying “Black Lives Matter!” Concludes with all simultaneously saying it.
— Audio clip ends —

TR:

I’ve been thinking about these intersections and specifically about the experiences of Black disabled people no matter the disability.
So I teamed up with RMM Radio alumni AJ to co-produce and host Young Gifted Black & Disabled! Along with our guests, Rasheera Dobson and D’arcee Charington, we talked about all sorts of issues including the lack of Black disabled images in the media.

— Audio clip from “Young Gifted Black and Disabled” begins —

Rasheera:

I get a little sad. I never saw anyone like me. I never saw a girl with disabilities in Essence magazine. Struggling with low self-esteem growing up I think it had a lot to do with the fact that I was reading Essence magazine, Ebony magazine Jet magazine reading the stories of Toni Morrison and hearing the Black struggle but I never read about the disability struggle.

It Matters, it really does.
— Audio clips ends —

TR:

Yet D’arcee shared how there’s so much to be proud about.

— Audio clip from “Young Gifted Black and Disabled” begins —

D’Arcee:

I was just thinking of the Morpheus quote from The Matrix Reloaded, which I recently saw. When he was in Zion, when he was talking to everyone trying to calm them down and what he said is; what I remember most is after a century of struggle I remember that which matters most.

Audio from Matrix Reloaded: “We are still here!” Crowd roars in applause!

That resonates so deeply with who I am as a person.
— Audio clip ends —

— Audio clip from “Young Gifted Black and Disabled” begins —

AJ:

The full story of the black experience hasn’t been written yet.
There are plenty more chapters yet to be explored.
— Audio clip ends —

TR:

That exploration includes the experiences of people like Artist, Poet, Writer Mr. Charles Curtis Blackwell and his words of hope and inspiration.

— Audio clip from: “Charles Curtis Blackwell – Words of Meaning Empowerment & Inspiration” begins —

CC Blackwell:

I realized ok, God gave me this talent and with this talent he’s kind of helped raise me up from that bed of poor self-esteem. Lift me up and encouraged me and inspired me. And I have to take care of this talent. I have to nourish it, be kind to it, treat it right and try to use it.

— Audio clip ends —

Audio Bumper:
Uplifting music with a beat could work to close out from here.

TR:

With over 250,000 people lost from Covid in the US alone and millions affected, it’s hard to say anything good came out of the pandemic.

I did however have to acknowledge the accessible content coming from the team that brings you the Superfest Film Festival. Director of the Paul K. Longmore Institute on Disability
center Cathy kudlick talked about the types of films featured at Superfest.
— Audio clip begins from : “Superfest Disability Film festival: Going Above & Beyond”

Cathy:

“… we highlight what we think is disability 201 – films that share the creativity and the ingenuity or the unexpectedness or the intersections of disability with other kinds of identities.
— Audio clip ends —

TR:

Associate Director of the Longmore Center and Superfest Coordinator, Emily Beitikss talked about the festival’s commitment to access including Audio Description.

— Audio clip begin from: “Superfest Disability Film festival: Going Above & Beyond”
Emily:

So much of our work is working with these film makers to teach them, think about the problem and have tough conversations as we do it so that hopefully people are thinking about it in advance of making their films.

— Audio clip end —

TR:

Including AD as an ongoing topic of discussion fully aligns with the objective of this podcast. It’s never just about entertainment. Media isn’t just about entertainment. Access isn’t just about entertainment!

This year we featured a bit of a history lesson on Audio Description. Rick Boggs of Audio Eyes took us through the involvement of Blind people in AD from its inception.
— Audio clip from: “Viewing Audio Description History Through Audio Eyes with Rick Boggs” begins —

Rick:

What I’m proud to say about Audio Description is Audio description as created by Blind people. And every innovation and advancement in Audio Description that has really contributed to what it is now was made by Blind people.
— Audio clip ends —

TR:

We continued with IDC’s Director of Audio Description Eric Wickstrom on what makes quality AD
— Audio clip from: “Audio Description with IDC: Good Enough isn’t Good Enough!” begins —

Eric:

There’s too much good enough is good enough. For us and our standards at IDC, no we’re not striving for good we’re striving for great!
— Audio clip ends —

TR:
A big part of that great is in the writing. Head Writer Liz Guttman shared her passion for AD.
Liz
— Audio clip from: “Audio Description with IDC: Good Enough isn’t Good Enough!” begins —

Liz:

I go to work every day and I get to write, think hard about the best way, the most vivid and concise way to convey something that’s on screen. So that someone who’s listening to it will get the same feeling that I have watching it. And to help bring us all in to the same level. Especially since I have become more familiar with the Disabled and Blind and Low vision community. I have friends in that community now. I care about their experience.

— Audio clip ends —

TR:

In Flipping the Script on Audio Description, we expanded the conversation to be a bit more critical and inclusive of those involved in AD from varying perspectives.

Like Media Accessibility Provider, Alejandra Ospina

— Audio clip from: “Flipping the Script on Audio Description” begins —

Alejandra:

I do Close Captioning and I do transcription and I do translation and Audio Description and so I like to imagine the things I’m doing all sort of promote access to content. I don’t consider myself as often a content creator but I like to facilitate people getting to see or hear or know what they’re watching.
— Audio clip ends —

TR:

In the second installment we heard from four Voice Over artists also narrating AD. We talked a bit about the inequities and the importance of authentic voice representation. Inger Tudor well she just broke it down to the very last compound!

— Audio clip from: “Flipping the Script on Audio Description Part Two – Voice matters” begins —

TR:

I know some people hear this and say, why should it matter? Shouldn’t anyone with a suitable clear voice just be able to voice characters or narrate films no matter their race, ethnicity, gender etc.?

Inger:

Hold on a minute. Four hundred years, we haven’t had the opportunity to do a lot of stuff, take a seat for a moment because I guarantee you your seat for a moment will not end up being four hundred years. Then when we get to the place where everybody can do everything that’s fine, but we’re not there yet and we need to catch up so give us a minute, ok?

[TR in conversation with Inger:]

There it is!

— Music ends with a base drop that pulsates and slowly fades out.
— Audio clip ends —

TR:

We went outside of the US in the third installment. No real surprise, the guidelines used in Canada and the UK tend not to include race, color or ethnicity in Audio Description.

Fortunately, there’s people such as Rebecca Singh of Superior Description Services in Toronto who are changing that.

— Audio clip from: “Flipping the Script on Audio Description Part Three – Moving Beyond Just US” begins —

Rebecca:

I feel like I owe it to the listener and the listener is not necessarily a middle class cisgender white female or a male and sometimes I feel like from some of the teaching and reading and some of the history from what I’ve seen of Audio Description and words, it’s really taking one particular perspective. That is exclusionary and also not fair to people who are Black and Indigenous or people of color.
— Audio clip ends —

TR:

2020 doesn’t seem very fair.

The success achieved by other countries in their handling of this virus shows this pandemic, could have just been a thing! way too many lives lost that could have been prevented if we all spent a bit more time adjusting.

If only we learned from our past – you know 2020 hindsight? Oh wait!

Audio: 2020 Hindsight, Dilated peoples

Big shout out to all of the Reid My Mind Radio family. Whether you been rocking with me for just a few episodes or 100 plus!

One of our family members and alumni, Victoria Clare reached out during the pandemic to see if I’d be interested in collaborating with her on a song she was writing. She wanted to include a rap break and thought I could make it work. I said yes!
The song is available just about wherever you buy or stream music. It’s called By Any Means – it’s an upbeat dance track written to empower and inspire women who reach that point when they need to go inward and pull out that strength. I’ll link to the track on this episodes blog post.

If you like what’s been happening here on the podcast please pass it on. I know there’s a lot of people who would benefit from meeting others impacted by all degrees of blindness and disability.

Some have asked if there’s a way to financially contribute to the show.

If you are so inclined, you can donate via PayPal to ReidMyMindRadio@gmail.com.
All funds go to supporting the podcast.

Finally, I want to close this episode a bit differently in memory of someone I lost this year. A teacher of mine who said as a teacher he was there to quench our thirst but would eventually melt away. He was wrong! He ain’t going anywhere!

When we finished our conversations he’d say “May we remain” I think of that now like a little prayer.

Reid My Mind Radio Family, I wish you all a very joyous holiday season and great things in 2021!

May We Remain!!

Audio: Reid My Mind Outro

Peace!

Hide the transcript

TR:

What’s up Reid My Mind Radio Family!

Welcome bac to the podcast.

First time here? Cool. Allow me to introduce myself. I’m Thomas Reid host and producer of this podcast. This is the place to be if you want to hear from compelling people impacted by all degrees of blindness or disability in general. They all share one thing in common; their dope!

Not because they’re doing anything magical. No, their human. In fact, many of them have been where you may find yourself right now.

If you’re uncomfortable with those words, blind, disability, that’s ok for now. But take a listen to how comfortable my guests are with these words at their current place in their life journey.

Your journey will be different, but you’re definitely on one. And the R double M Radio family and I are here for you.

I think there’s only one way to bring on this one; lights, camera, action!

Audio: Reid My Mind Radio Intro

Scene from See…

TR:

This is a scene from the premiere episode of the new series called See available on Apple TV Plus.

Audio: Scene includes Audio Description Narration

TR:

yes, there’s audio description.

Here’s the synopsis from the opening scene

Audio Describer: Following the outbreak of a deadly virus in the 21st Century, the Earth’s human population was reduced to less than 2 million humans who survived all emerged Blind. Now centuries later the idea of vision exists only as a myth. To even speak of it is considered heresy.

TR:

Well RMM Radio you should be proud because in a six, well three, degrees of separation sort of way you are each connected to this new series. No, not because you yourself may be blind, but because one of our family members are let’s say, associated with the production of the show.

JS:

I’m Joe Strechay, I’m a Blindness Consultant for Apple TV Plus’s See, which is a streaming television show. And I’m also a Blindness Consultant out in the world outside of that working with organizations around blindness.

TR:

That’s right, our brother is back! He’s and O.G. in the R double M R Family.

Audio: Air horn

I couldn’t let 2019 end without discussing See and the role Joe played in its production. And even more in tune with this podcast is looking at his life path and how embracing his blindness helped his journey.

[TR in conversation with JS:]

Why don’t you catch up the family, because you’re part of the Reid My Mind Radio family big time!

JS:.

Definitely!

My favorite podcast around blindness! You heard that, favorite one!

Audio: Joe singing “Radio”

Last time you heard from me I was the Director of Blindness & Visual Services for the Commonwealth of Pennsylvania, overseeing the services for people who are Blind or Low Vision. I’d been working in the entertainment field part time over the last years.

TR:

That includes working with writers of the shows like Royal Pains, The OA on Netflix and of course Marvel’s Daredevil.

Audio: Clip from Daredevil episode.

While working as the Director of BBVS Joe was presented with an opportunity.

JS:

Apple TV Plus’s See Production in their infancy days reached out to me to see about working on the show. I had an interview first with the creator of the show Steven Knight and Jenno Topping who’s the president of Chernin Entertainment one of the studios involved. I think one of the Executive Producers involved was on the line as well. And then I had to do a Skype interview with Francis Lawrence who’s an Executive producer and the Director for episodes one through three. Once I cleared Francis I was able to land the position. We kind of talked about it and I talked to the production staff and it sounded like it was full time. And I’m like I’m going to have to leave my place of employment.

TR:/

His responsibilities first began with part time work. Consulting on scripts and exchanging ideas via a secured platform and conference calls in the evenings.

A day or two after his final day at the Bureau

JS:
I flew to British Columbia to officially start my full time job.

TR:

So what exactly does a Blindness Consultant do in the making of a series like See?
Audio: available on Apple TV Plus.

There’s the pre-production work like reviewing scripts and providing input…

JS:

We prep’ d for almost two months in person. We worked with a movement director like a choreographer type person and a team of choreographers.

I have lists of these little aspects of blindness that most people don’t know about. You’ll see more and more of that in the scripts I would say four through eight and maybe most people won’t notice them, but they’re in there.

Walking through some of the set pieces and saying oh, I think I would do this. Meeting with the set dressing department who puts out the objects that are set out in the space. Where I would put stuff, how I organize things.

Ideas for props. Even the weight of the props. How they might use that prop. Kind of help create the world with this amazing creative team.

TR:

A world, Joe points out is not of blindness.

JS:

It’s a Science fiction world probably somewhere between now and 100 or 200 years from now somewhere in there, a viral apocalypse happens. Kills off the majority of the population of earth. There are just a few million people left on earth and then those individuals emerge blind. Our show takes place centuries after that where civilizations have built out different environments.

It’s not a world of blindness, it’s a world of See really.

TR:

Definitely not a real world and therefore not a true depiction of how Blind people live. But representation matters. You know, sometimes you just have to take a stand!

JS:

There were definitely times. We did a lot of exploration around these people and making them different, each group different. Even differentiating the posture of people for their environment and like how they do things. There were times when I was yeh, I don’t think we’re gonna do that!.

TR:

Yet the science fiction format is known for exploring social and cultural issues.

JS

Our show battles with Ableism purposely at times.

TR:

Specifically, exploring, what happens when a set of twins are born with the ability to see in a world where everyone is blind

JS:

What people with vision might think versus people who are Blind. In a world where everyone else is Blind. Seeing that battle, seeing where people who are Blind are better at some things and people with vision are less than. I love that aspect. Everyone has different skills.

TR:

Multiple members of the cast are actually Blind or Low Vision. Again, representation matters.

JS:

One of the things I was really proud of in our background and some of our actors had other disabilities. We have background who are Deaf or Hard of hearing, a gentleman with Cerebral Palsy, all kinds of different disabilities. Our show embraces that. We want to make sure people have opportunities. These were talented interesting people that we could include in our show. There are people with other disabilities that you’ll never know that are within the show and even behind the scenes in production. It’s not because of their disability, it’s because they’re talented individuals.

TR:

As the majority of See’s characters are Blind, Joe is working closely with each. This includes the show’s lead, Jason Momoa.

Audio: Scene from see featuring Baba Voss played by Jason Momoa.

JS:

He’s super nice. He has a big heart and he brings so much consideration, energy, enthusiasm ideas. I’ve never met someone so creative. He sees things in the scenes. Most actors they see their role and their part in the scene, but he sees the whole scene at many times like where other actors are and what kind of story you can show with the angle. He’s directed.

TR:

Directed, co-wrote and starred in Road to Paloma a 2014 Drama thriller.

Also starring in the series is the 4 time Emmy Award Winning Alfre Woodard.

Audio: Scene from See featuring Paris, played by Alfre Woodard.

JS:

She taught me so much and continues to. Brings so much to our show and just as a person is an amazing friend as well.

That’s the thing I didn’t just make professional relationships it’s like so much bonding. We spent like six weeks at least in remote areas if not like 10.

TR:

That’s Joe with the cast of See

Audio: available on Apple TV Plus.

JS:

So Nesta Cooper, Archie (Madekwe), Mojean Aria, Hera Hilmar and all of them became my friends.

We spent time in an isolated area in British Columbia which is in Vancouver Island. There was a pub at our hotel and pretty much was the only place you could eat or drink! We’d have like an hour and forty five minute ride to set and back each day, so long days. You’d go to the pub and hangout.

[TR in conversation with JS:]

Now you’re there full time so you’re living there while you’re working. Were you the only Blind person there?

JS:

Yeh, at first I was the representative of Blindness originally, working through the setup of the show in person. I was there for 9 months originally and then another month for re-shoots. I became part of the Blindness community in Vancouver in British Columbia. The community really invited me in. I started going to audio described theater in the area. There was an international Goal Ball tournament I went to. I went to this organization’s Blind Beginnings events. Met with CNIB, the Canadian National Institute for the Blind and the Blind Sports Association of British Columbia and Canada. They were fantastic. Going to fundraisers for different groups and going to see the Blind Hockey team practice. They actually started becoming part of our background in our show.

TR:

Away from home for about 10 months, eventually Joe moved into an apartment after spending about three months in a hotel.

JS:

Right next door they had one of the best breakfast or lunch places . I met a couple of people out at this Ramen shop in the neighborhood who work there. I was eating Ramen and having a beer and we just started chatting. We became really good friends. Charlotte and Sebastian. My wife hung out with her too when we came in. I met so many people in the community. I was definitely in the community doing things. Going snow shoeing with friends.

[TR in conversation with JS:]

Laughing…

Ok, so I kind of want to move this to your career. And what you just talked about I think is probably an important aspect, especially from what I know about you. Networking, but really I don’t want to just call it networking because I feel like you’re a relationship guy. How important has that been in your career? Like that aspect of your personality.

JS:
You know throughout my career I moved up and down the East Coast to places where I didn’t know anyone at all.

I literally make an effort to go out places and sometimes it’s tiring you know, you worked all day, but that’s how you meet people. That’s how you become part of the community. That Ramen shop I went to a lot, I love that Ramen shop. they know me by name there(laughing). I also stick out, I have long hair, a beard and white cane so…

[TR in conversation with JS:]

Laughing…

JS:

But it has been important. I’m careful to ask people about what they do, their life, what they want to do. The same stuff we do in career counseling. That’s a great thing about blindness, I don’t judge a book by its cover. I just met someone and I talk to them . For the better or worse and typically for the better. Once in a while I get screamed at from some random person for no reason but you know everyone’s dealing with something.

TR:

Whether it’s moving to Florida for his Master’s degree or West Virginia where he ended up meeting his wife;

JS:

I meet people, I get to know them, maybe exchange information. If we click as friends or if I can help them I’m always willing to help people and connect people.

Yeh, I’m a relationship guy for sure!

TR:

Looking back, we can see signs of Joe’s interest and early preparation for a career in the entertainment industry.

JS:

I love television and movies. In high school I worked my four years at a video store, a VHS store.

TR:

For those too young to recall, A video store is like having a bunch of Netflix’s oh wait my bad, Apple TV Plus, in stores in every community. Rather than opening an app and making your selection, you’d have to leave your house and get to the store. You’d search the shelves for the movie that you wanted. If it’s there cool, take it to the front desk and pay to borrow that for a day. Now hurry home and watch it but don’t forget to bring it back the next day or you’ll have to pay additional fees.

Whew! Hooray for technology!

JS:

In college I never thought about working in film really, but I took a film and literature class. I enjoyed it.

TR:

His studies included the portrayal of minority characters as well as gender roles in film.

After receiving his Communications and Public Relations degree hhe went out into the world.
JS:

Worked in Public Relations right after school but I didn’t fall in love with the product side of it. I’m mission oriented I want to see things succeed.

TR:

Joe even came pretty close to landing the coveted job of a NBC Page.

JS:

I made it out of they said 10,000 or so. Six people on a panel interview with four people interviewing us. And it was like Valedictorian of Howard University, Valedictorian of another or a guy who worked on 20/20 already. Legally Blind since 19 and I had that opportunity to be part of that six.

I didn’t have all the skills I should have had to be successful at that point. I learned from it too.

TR:

Audio: I have a certain set of skills…Scene from “Taken”.

Joe’s particular set of skills include his Master’s degree in Orientation & Mobility.

But skills are only a part of what it takes.

JS:

When I had the opportunity to work with entertainment programs a little bit at American Foundation for the Blind and then more so with Netflix’s Marvel’s Daredevil which I did outside of my work at AFB. I had to complete all of my duties plus all my work so I was travelling all over the country, using New York City as my home base. There’s a lot of sacrifice.

TR:

Sacrifice is leaving a comfortable position and putting yourself out there for possible disappointment.

JS:

I’ve been offered other entertainment opportunities for movies. They want you to leave and be full time for like 2, 3 months at the most. To leave a full time position to go do that is a gamble. It was a big decision. My wife Jen and I discussed it and weighed the options. I sought advice from friends I worked with on other productions. When it came down to it, it just seemed like a unique opportunity. A game changer to impact the world but also they were committed to hiring actors that were Blind and Low Vision as well and wanted me to help with that. Making sure that there was accessibility and figuring out what that was. I never had that opportunity. I worked on other shows but it always just involved the portrayal of blindness, scripts some set advising and props s but this was a full time doing all that and so much more. We were figuring out what my role was as we went. It just kept expanding.

[TR in conversation with JS:]
How important was Apple? Was that a big factor in you making the decision to leave BBVS and go there?

JS:

It was a huge factor. When you throw the name Apple out in our community, the blindness community the disability community, it is like the gold standard.

Since 2009 and the third generation iPhone and even right before that with the Nano iPod where it had Voice Over embedded into it. It changed the game in accessibility. I have multiple Apple TV’s in my home, my Apple keyboard on the table here, Air Pods, iPhone 11 pro here and a iPod Touch over there so when Apple was connected to it I’m like this is going to be something!

TR:

When it comes to Joe’s real motivation, I think it’s pretty clear to see!

JS:

I’m very passionate about the portrayal of blindness in entertainment. I wrote an article about how disability is portrayed for AFB Access World years ago even before my time on Marvel’s Daredevil

Our show shows people as heroes, villains, good guys, bad guys, warriors, lovers. Things that you don’t typically see people who are Blind doing. Living their lives in a community cooking, building all kinds of things like that. That means something to me.

TR:

Did you catch that?

Audio: Rewinding Tape Deck

JS: “Things that you don’t see Blind people typically doing”

[TR in conversation with JS:]
Now you’re on set, working side by side with the Director? That’s pretty cool man! Explain that.

JS:

We had been talking and meeting a little bit. I gave him some ideas and suggestions. He wanted to make sure the world brought some reality of blindness as well and there’s interesting ideas that most people wouldn’t notice. And he’s like I want you next to me at every shot! It was unreal. I learned so much from all the directors, Francis, Lucas and Steven and Fred and Sally and all these amazing directors. They’re all so different and preparing in different ways and how they manage the set and each shot is different. So I learned a lot about how they setup things and their process and how to give input.

As the season goes on there were scenes that have no individuals who are Blind in it that I have input on that made it into the show. It wasn’t just the blindness that I was helping with.

[TR in conversation with JS:]
Are you interested in directing? (Laughs) You’re standing right next to the director man, like you’re already getting all this info.

JS:

You know I could see co-directing with someone.

[TR in conversation with JS:]
Now I know you have your YouTube channel so is this your preparation for being in front of the camera? (Laughs…)
Are we going to see you in See? (Laughs…)

JS:

I had a cameo or two . It hit the editing room floor – some of the scenes got cut. And it wasn’t because of my work. Who knows maybe in season 2.

TR:

Do you hear that optimism? That belief in anything is possible? Don’t get it twisted, that’s a process. Joe wasn’t always feeling that way. Like when he was 19 and diagnosed legally blind.

[TR in conversation with JS:]

If you could go back to some of that initial reaction. What would you tell yourself, your 19 year old self now?

JS:

When I first lost my vision I went through depression and I got counseling. They helped me guide through and understand that blindness and disability is not to end my life or anything. It changes and it changed how I viewed life. I would say embrace all of it.

It would be introducing myself to successful people who are Blind or Low Vision. Go someplace and learn how to use a white cane and learn the skills of independence as a person who is Blind.

People are always going to tell you what you can and can’t do as a person with a disability as a person who is Blind. They like to say no or you can’t do this. Don’t let them say no. During our show most of the things that you see people who are Blind do, I did as well. To figure out or feel. Climbing cliffs, hiking through different areas all kinds of different things that you see , I’ve done.

My buddy Dan Shotz, the show runner will tell you like early on people were like uh, I don’t think he should be doing that. I’m like, are the characters who are Blind doing this, then I’m going to do it. They embraced it. Dan pushed it and really allowed me to put myself out there and show them how we can do things. And if I didn’t have the expertise you know Erik Weihenmayer sent videos about climbing that I shared with Jason Momoa. I reached out to people such as T.Reid, Thomas Reid to share about their life and that was shared with all of our casts and production. Every couple of weeks I shared videos about people who were successful who were Blind or Low Vision from various types of work, backgrounds, life experiences.

[TR in conversation with JS:]
Hold on you’re telling me that Alfre Woodard saw that video?

JS:

Oh yeh, Alfre Woodard saw your video.

[TR in conversation with JS:]

Alfre Woodard saw me? Laughs…

JS:

It’s true, it’s true. Yup!

[TR in conversation with JS:]

Ahh, that’s cool!

Joe Stretch! Dude I told you that I think your story in terms of your hustle and what you’re doing is just so cool and inspiring to folks and to me personally. I definitely salute you, what you’re doing and keep doing it Bro. You’re doing your thing! I’m happy for you.

JS:

Thank you brother. You know how I feel about you and your podcast.

[TR in conversation with JS:]
Yes Sir… laughs…

JS:

Can I say it again?

[TR in conversation with JS:]
You can say it again!

JS:

My favorite podcast!

[TR in conversation with JS:]
Your what?

JS:

My favorite podcast around blindness is Reid My Mind… (Singing) Radio!

[TR in conversation with JS:]

Laughs…Yeh, there it is!

JS:

Woo!

TR:

See

Audio: available on Apple TV Plus.

was released with 3 episodes and subsequent episodes dropping weekly.

Creating See as a premier show for the launch of their network (Apple TV Plus) could be viewed as a risky move.

First, Apple has such a positive reputation with the Blind community. I’m sure they wouldn’t want to risk offending or having negative press like what we saw earlier this year when the CW launched “In the Dark” and the NFB responded with #LetUsPlayUs.

Yes, it’s Sci-Fi but blindness is real. Anyone who understands the power of media knows that it does impact how people view others.

but it appears they made every attempt to get it right.
Apple’s influence on accessibility goes beyond their own products.
When a clear leader of design and innovation makes such an open commitment to access, well it’s clear that others follow suit.

Leading off the launch of their streaming service, Apple TV Plus,
With a show built around a world where
blindness is the norm,
in an actual world where the thought of being blind is so feared.
I don’t know, that to me sounds like Apple once again being bold and let’s hope setting some trends.

This episode sort of made me want to look at whether I’m challenging my comfort level, putting myself out there enough, taking risks. As
people adjusting to blindness, disability I think we should be doing that.

It doesn’t have to be climbing mountains and what not. Those days are done for me. My back just hurts thinking about it. But there are definitely other ways. Who’s with me!

Joe’s experience is a great example of what’s possible.

I know there are some who hear Joe’s story and say he’s lucky. Well, I’ll agree with you. If you’re working with the same definition of luck. That’s when preparation meets opportunity. Because that’s when things happen.

[TR in conversation with JS:]
The coolest thing about watching the first episode was that right when it’s over and then ran the credits and I hear my man,
Audio: “Associate producer, Joe Strechay”, Audio Describer from See.

TR:
Dude I’m on the treadmill and I’m like yeh Joe, yeh! Laughs!

TR:

You can check out See (Available on Apple TV Plus) right now. Just open that TV app and you can get right on it. You can even get the first episode for free.

You can check out Joe on YouTube, his channel is called Joe Strechay. And he’s also on Twitter and Instagram under that same name.
That’s S T R E C H A Y!

TR:
I think this is a perfect way to officially close out the 2019 season.

I may drop an extra holiday episode, but you know there’s only one way to make sure you get that… Subscribe on Apple Podcasts, Spotify, Google Podcasts or where ever you like to get yours.

The podcast will be back in 2020 in time to help make things clear for anyone adjusting to blindness.

In the meantime please help spread the word. I hate to think of another young 19 year old who doesn’t get that help and have the same opportunities to reach their potential

Feel free to reach out and say hello. I love hearing from listeners.

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

TR:

Peace!

Hide the transcript

TR:

What’s up RMMRadio Family?
It’s me, T.Reid, host and producer of this here podcast.
This is your place to hear stories and profiles of compelling people impacted by all degrees of vision loss and disability. And yes, occasionally I throw some of my own experiences in there pairing those words and music and sound design.

Today, I want to jump right into it. We have a lot to cover.
So…

Audio: Reid My Mind Radio Theme Music

Audio:
* Rain Man – Dustin Hoffman

TR:

Each of these clips, are from movies featuring a main protagonist with a disability.

Audio:
* Forrest Gump – Tom Hanks

Yet, each starring actor does not have a disability.

Audio:
* Ray – Jamie Foxx

TR:

It’s not a new issue

* Audio: The Rear Window

A scene from The Rear Window with Jimmy Stewart, in 1954

* Audio: Wait Until Dark

And Audrey Hepburn portraying a Blind woman in 1967’s Wait Until Dark.

Audio: “The Upside” trailer

TR:

Most recently, Kevin Hart and Brian Cranston star in The Upside.

Cranston, known most for his lead role in “Breaking Bad plays a wealthy quadriplegic who hires a former criminal, played by Hart, to be his caregiver.

With fewer than 2 percent of characters in movies being a person with a disability, well it’s understandable that the disability community took to social media to express their disapproval.

Cranston’s reply?

According to a BBC report he said;
“If I, as a straight, older person, and I’m wealthy, I’m very fortunate, does that mean I can’t play a person who is not wealthy? Does that
mean I can’t play a homosexual?”

In fairness, he does agree that there should be “more opportunities” for actors with disabilities.

I guess just not those that he’s slated to play

Audio: “In the Dark” trailer

TR:

In the Dark is the new television show on the CW Network that stars Perry Mattfeld as a blind woman who is the only witness to her friend’s murder.

Perry herself is not Blind.

The NFB, National Federation of the Blind, believes this is not acceptable. The organization which says they have 50 thousand members in all 50 states including DC and Puerto Rico, began a campaign called #LetUsPlayUs.

I reached out to NFB’s Director of Public Relations, Chris Danielsen, to learn a bit more on what sparked the protest.

CD:

We’ve been concerned for some time that there are not opportunities for and roles for Blind actors. I know we passed a resolution at our National Convention in 2018 on this topic and I think we had passed one even before that.

Fast forward a little bit to early 2019 and the CW Network began heavily promoting its new series “In the Dark”. CW was asked why a Blind actress was not cast in this role and they really made excuses for not casting a Blind actor in the lead role of Murphy in their show.

TR:

According to TheWarp.com:
Nicky Weinstock, an executive producer for the show said:
“We went about searching for a blind actor immediately, and looked allover”

That included 29 different organizations for the blind where he said they were hoping to find the lead actor.

NFB’s Chris Danielsen had this to say about that.

CD:

We were not one of those organizations by the way.
And then they kind of said but we do have a blind writer, and a Blind Consultant and we do have a another Blind actress in a supporting role

They made those sound like compensations for not having cast a Blind person in the lead role.

TR:

You have to wonder, what do they really know about what it really means to be Blind.
Especially when you hear that same CW Executive Nicky Weinstock describe Mattfield as accurately portraying a blind person based on the committment she demonstrated after acquiring a cane and using it around her apartment for weeks.

CD:

This could be really tone deaf publicity on their part, but it’s pretty typical of the behavior that we see from the entertainment industry. There have been literally dozens of films and television shows about Blind people and in none of them that we’ve been able to find, was a Blind person actually cast in a lead or recurring role.
CD:

We felt that this is the right time to really respond to what the CW has said and done but also to this type of behavior that is just recurrent in the entertainment industry. And for that reason we launched our Let Us Play Us Campaign.

[TR in conversation with CD:]

Tell me what is exactly the objective of #LetUsPlayUs?

CD:

The immediate objective is to have the CW reconsider its decision to cast a sighted person in the lead role.

Given that they have really sought in a very discouraging way to justify their decision not to cast a Blind actor in the role, we feel like the only way they can really make it right at this point is to simply re-cast and re-think the show.

TR:

The showed debuted on Thursday April 4, 2019.

It doesn’t look as though this demand is going to be met.

There is time however, to expand the conversation about representation.

CD:

We have found over the years that a lot of the portrayals of Blind people are very inaccurate and often even offensive.

We want to engage in a dialog with the entertainment industry and talk about why it is that Blind actors are not cast. Why there are such low expectations for Blind actors and performers. And how we can work together; the entertainment industry and the National Federation of the Blind to actually identify Blind actors, to develop their talent and to actually see them included in the future projects so that those projects have an authentic perspective on blindness.

TR:

Disability representation in media can be categorized in four groups of characters according to a white paper recently published by the Ford Foundation.

Disability Activist and Senior Fellow at the Ford Foundation, Judith E. Heumannn authored the paper titled; Road Map
for Inclusion Changing the Face of Disability in Media.

The four stereotypes:
* THE SUPER CRIP – think Daredevil
* THE VILLAIN -The James Bond Franchise is known for many.
* THE VICTIM
* The Innocent Fool

I’ll link to the report on this episode’s post over at ReidMyMind.com.

The show’s trailer, gives the initial impression that “In the Dark” may not be too interested in changing the paradigm.

Murphy, the main character is shown trying to hide under a glass table.

Audio: The above scene from the “In the Dark” trailer
In case you’re new here, Blind people know glass is transparent and they know how it feels.

And probably even more concerning, the trailer includes what appears to be the ol’ feel the face!
You know that all too popular scene in just about any movie or television show featuring someone who’s blind where the brilliant idea comes to the sighted person to have the Blind person feel their face so they could know what you look like.

Audio: “Hello”, Lionel Richie Music Video
— From the video, Music plays and a telephone rings…”Hello” says the Blind woman in the video.

TR:

Hey how are you doing? This is T.Reid from Reid My Mind Radio. May I speak to the creator of this music video please?

— From video: Lionel Richie sings “Hello”

TR:

Lionel?
Was this video your idea?

— From video: Lionel Richie sings “Hello Is it me you’re looking for?

TR:
Well yes, if you’re the creator of the video.

— From video: Lionel Richie sings “Cause I wonder where you are”

TR:

My brother, I’m in the future.

— From video: Lionel Richie sings “And I wonder what you do”

TR:
Well, I host a podcast, it’s sort of…

— From video: Lionel Richie sings “Are you somewhere feeling lonely”

TR:

Well now that you ask?

— From video: Lionel Richie sings “Is someone loving you”

TR

Hey bruh, that’s personal.

— From video: Lionel Richie sings as echo and fades out “Tell me…”
— Music continues…

TR:

Look man, on behalf of Blind people around the world who have been asked to feel somebodies face.
You know, that thing in your Hello video.

It’s 2019 I think we can end this stereotype.

It’s 2019 & the results are in, we’re over it!

— From video: Door shuts!

Blind woman says: ” I’ve wanted you to see it so many times, but I finally think it’s done.”

TR:

At least I guess we can be happy that in the actual scene from In the Dark, Murphy was resisting and even protested saying that’s something Blind people don’t do, but her friend insisted.

We later see it was needed to advance the plot. This was how she identified her friends body.

I personally would have suggested something like Microsoft Seeing AI which allows you to take a picture of someone and it will recognize them in future pics. But maybe that doesn’t work for the rest of the show.

But that’s just me. Everyone is different.

Not all Blind people use technology.

Like any other marginalized group, we don’t all act one way, we don’t think the same and we all have our own voices.

In fact, I tried to get some individuals with opposing opinions to share them on this episode but I didn’t get a response.

Not everyone believes this issue should garner as much attention from the NFB.

Some believe, the hiring of a Blind writer, consultant and additional cast member are steps in the right direction.
Therefore, demanding the network pull the show well that’s not a way to open a dialog.

Most of the discussion I thought was valuable, focused on strategy.
That’s always going to be a source of contention.

TR:

On April 2, 2019, the NFB protested outside of the CBS offices, owners of the CW Network, in New York City. .

CD:

We had well over 100 Blind people from five different states, at least, participating in the protest. We protested for two hours

We told the CW Executives who bothered to look out the window or listen, we don’t know for sure that any did. We told them that Blind face is just as unacceptable as Black face for example.

TR:

In addition to the protesting outside of CBS, NFB and others have taken to social media including Facebook and Twitter.

[TR in conversation with CD:]

So Chris let’s talk about something because I was going to go one way but now I have to switch it up. The social media campaign, and I’m gathering that the future consists of continuing with the hashtag… (#LetUsPlayUs). One of the things that tends to happen around this topic is that comparison to people of color. I’ve seen things where people are saying “Oh you don’t want white people playing other nationalities, ethnicities etc. Even though that happens and it still happens today.

CD:

Sure, sure.

[TR in conversation with CD:]

I think that’s almost like, defeating the purpose, but then also the one you just mentioned which was the comparison of Blind face to Black face. What is the NFB’s position on that because in social media I notice that the official NFB account kind of stayed away from that. And I was wondering if that was on purpose or if that was just a coincidence.

CD:

Well to be fair that comparison came up in the protest. It wasn’t intended so much as a comparison as kind of a play on words I think when it was originated.

We are a diverse organization. We have a makeup of membership that is racially diverse, ethnically diverse different sexual orientations and all of that. We respect all of that, all of that diversity. That said, we’re not focused so much on trying to make that comparison. That said we do see some commonality in the idea that we don’t, we don’t allow people anymore to sort of appropriate and sort of pose as others. It does still happen, but there are areas where it doesn’t happen anymore and doesn’t happen as much as it used to . But so far disability isn’t one of those areas.

There wouldn’t even be a thought at this point of having, really seriously, of having a man play a woman. Back in Shakespeare’s time it was common for woman to be played by men, typically young boys. You did have situations where it was considered appropriate to put on black makeup. So why are those things largely gone and why is it still appropriate and considered the norm in fact to have non-disabled people play the role of people with disabilities. It’s the norm and it’s rewarded . Think about how often we’ve seen Oscars awarded to people for doing this; Dustin Hoffman, Al Pacino Daniel Day Lewis.

Audio: “And the winner is…” followed by each of the above winning Oscars.

TR:

Chris is right about that last part. Let’s take a look at some others who won in roles of someone with a disability.

Jack Nicholson, John Voight, Tom hanks, Ann Bancroft and Patty Duke both won for the Miracle Worker playing Annie Sullivan and Hellen Keller respectively.

And oh yes, my bad…
Audio: Jamie Foxx winning for Ray.

Does anything stand out to you about that list?
I’ll give you a second.

Audio: Jeopardy music

All but 1 are white.

Which brings me back to this idea of Blind Face.

That’s a made up term, it doesn’t have the history that is tied to how Black face was systematically used to dehumanize an entire race of people.

And it’s not gone.
.
Audio: Multiple news segments regarding Virginia Governor Ralph Northam & Black Face.

TR:
Even outside of medical schools in the 80’s.

Audio for below Two college girls suspended for Black Face
College campus frat parties still have it… sometimes they use different names but it’s the same. Parties where they dress like rappers. There was even a so called Gangster Halloween costume. And don’t get me started on other examples of appropriation.

Audio: About Redskins

Does it mean that those who used the term Blind face have the same intent?
I don’t believe that.

But what can we expect when this history isn’t taught, when people prefer to be color blind and refuse to have these conversations. Especially in this world of social media and the re-tweet.

There are valid and strong feelings in all marginalized groups. Something we all need to take into consideration.

CD:

We’re not Oscar bait. We’re people with real lives. We don’t exist so that actors can play us and feel good about themselves because they’ve supposedly experienced what we experience. Which of course they haven’t. That’s what’s really offensive.

I’m interested in your perspective too because you know we don’t want to make an offensive comparison. We want to be careful about that and at the same time the point that we’re trying to make is that there are situations where it’s no longer appropriate and the industry seems to understand that it’s inappropriate to have certain kinds of portrayals. Why is blindness and disability the exception to that.

[TR in conversation with CD:]

That’s where the difference of opinion definitely comes into play and I think the perspectives where you say that the industry understands that; I don’t think most people of color would say that the industry reflects their real lives.

CD:

Sure.

TR:

Remember those 4 stereotypes of disability in media?
* THE SUPER CRIP
* THE VILLAIN
* THE VICTIM
* The Innocent Fool

Black stereotypes have existed and continue to make up what we see in film today. Slightly modified versions of, well take your pick:
Sambo or the lazy happy go lucky Negro
Mandingo – the over sexed, big Black man
Mammy, subservient Black woman who’s nurturing ways usually focus on the white children
Jessabelle – over sexualized Black woman

So many films and television shows to this very day still have some version of these stereotypes.

In fact, as the years went by new stereotypes came into existence. The Welfare Queen, the criminal or thug and of course some of your favorite movies might star the magical Negro. who’s there to mysteriously make the white persons dreams come true.

Stereotypes also exist for Latinex, Asians and just think about the context of when you’d see a Native American on the screen.

So for those of us who are aware of this history in culture, hearing what can sound like an implication it no longer exists, well that can feel like all of that struggle and history is being erased.

With that said, let me make it as clear as I can, disability experiences deserve to be on the screen as much as any other human experience.

[TR in conversation with CD:]

You don’t have to make these comparisons.

CD:
Mm , hmm!

[TR in conversation with CD:]

There are comparisons that can be made. And the thing that I like to say is we can compare apples and oranges, they are both fruit…

CD:

Yeh, yeh, yeh. (In agreement)

[TR in conversation with CD:]
… but they are so different.

CD:

Yeh, certainly the intent is different. I would say that some portrayals of blindness have been specifically meant to put Blind people down, but some haven’t. There just profoundly mis-informed. So I totally agree with you, then in that sense it’s not an appropriate comparison. I think that’s why we have stayed away from the comparison on social media. We definitely don’t want to minimize the real pain that, that has caused, but sometimes the paper trail of disability does cause pain as well. Not the same kind, but the misconceptions out there are harmful to people with disabilities and they do trickle through.

TR:

Now we’re getting there!

Probably the strongest argument for increasing representation and the one that lots of people with disabilities feel on a regular basis.

Kristen Lopez:

There is so much mis-information out there about disability. Films are a gateway for us to learn about people and cultures different from ourselves.

TR:

This is Film Critic Kristen Lopez. She also writes reviews on new and classic films.
She has a much cooler way of saying it though.

Kristen Lopez:

Freelance Pop Culture Essayist, who writes a lot about representation in cinema, specifically gender and disability.

I’ve had so many embarrassing encounters with people. Unbreakable being a great example.

People who’ve seen the movie and they feel like that’s some sort of gateway into relating to me and it’s completely wrong.

TR:

Unbreakable, is the film starring Bruce Willis and Samuel Jackson whose character is a wheel chair user and has Brittle Bone Disorder, as does Kristen.

Kristen Lopez:

I refused to watch it because I didn’t think it was actually going to be a movie that represented me. And for a year solid when people heard I had Brittle Bone Disorder they were like oh have you seen Unbreakable? it’s great, you’d love it. And I was like, why would I love it. And they’re like because it’s about you.

I’m not a super hero or super villain

I was very indignant; no that’s not me. I actually never saw Unbreakable until two years ago and I thought it was fine. It didn’t offend me.

TR:

Dr. Adam Pottle, is an author and screenwriter in Saskatoon, Canada with
4 published books and two produced plays.

He himself is deaf.

He’s experienced firsthand how misperceptions and stereotypes find their way into common belief. Like this idea that Deaf people carry on conversations by reading lips.

As he explained to me via email.

(Note the change in sound when I am reading Adam’s words.)

Adam Pottle:

It’s not enough. Reading lips is fucking exhausting, and we don’t always get things right. We need visual confirmation, whether through Sign language or captioning.

I was bullied in school about my ability to read lips. Older kids would point to their lips and mouth out, “Hey deaf boy. Can you read this? Fuck you.”

TR:

The argument for representation is less about personal offense and more about the impact images have on society.

Kristen Lopez:

Movies have sold disability as this grand mystery. We are this enigma that unless the audience knows how to handle us their not going to be able to interact with us and I think that that’s very wrong.

It’s just important to get rid of the little things. We’re talking now about a time where politically people are talking about who’s entitled to what and who needs what. Do we need healthcare? Do we need the ADA at all?

I think a lot of that has to do with movies which fuel the dialectic, fuel the culture and presented disabled people which is entitled, spoiled and massively wealthy and doomed to die relatively young. The movies have sold us as a burden on society.

TR:

Interestingly enough, I read a review of The Kevin Hart and Brian Cranston film, The Upside titled;
“The Upside” is a good representation of life with disabilities.

I don’t know if this writer is disabled. It wasn’t mentioned.
But disability isn’t one size fits all. We can’t forget the intersections;
Gender, sexuality, …

And as Film Critic Kristen Lopez explains, it’s complicated.

Kristen Lopez:

As an adult, I’ve slowly grown to be like I do identify as white, but that’s only because my skin pigment is white. So I know most people, I tell them my last name is Lopez and they look at me and they’re like what the hell are you talking about. I don’t identify as Hispanic, but I do identify as Latino just because my father is.

Now as an adult as I’ve seen how white disabled narratives are it does bother me on that level as well because you know there are no movies with disabled people of color. There’s barely any movies about disabled women but disabled people of color is completely absent in these movies. That doesn’t even factor into people’s discussion of disability because they’ve never seen it.

TR:

Representation is more than who is on screen. It’s about who is producing directing, writing and in general influencing the overall message and feel of
the project.

Adam wants to add his voice to the conversation. Currently trying to make his way into the business. He’s an aspiring screenwriter with three horror scripts under his belt. He has a PhD in English literature, for which he studied how Deafness and disability are represented in Canadian literature.

Adam Pottle:

Because my scripts all feature Deaf and disabled characters in lead and supporting roles, it’s a bit difficult to get them produced, even if they’re well-received. I have one script, a horror story, that’s been selected by six different festivals that I hope to have made one day.

TR:

When it comes to inclusion of any form, the first reasons also known as excuses is often we can’t find “them”.

The CW, couldn’t find a Blind lead. Silicon Valley can’t find people of color in STEM, Corporations can’t find women executives.

Well, I have less than 600 Twitter followers and A Blind Black Man in the Poconos, Pennsylvania found a deaf white writer in Saskatoon, Canada.

(Laughing…)

So in the words of Mr. Biz Markie:
Audio: “C’mon, don’t give me that” from “Just A Friend”, BizMarkie

Adam Pottle:

The problem is systemic. The film industry is ableist to its core. It prefer stereotypical narratives. It doesn’t understand that Deaf and disabled people have rich lives with their own stories to tell. It prefers to look at us with pity and scorn. Recent examples include Me Before You, The Upside, Stronger, The Theory of Everything…

Notice these films all feature white actors, too. We don’t see Deaf and disabled Black characters, or Indigenous characters, or Asian characters. We don’t see LGBTQ2+ disabled characters.

Deaf and disabled people must be allowed to tell their own stories, from the ground up, as writers, directors, editors, photographers, producers, costume designers, and of course actors.

TR:

So #LetUsPlayUs, I’m with that. But can we let disability drive the conversation. Call out the many valuable reasons for representation and inclusion and rather than using the history of others as catch phrases use the lessons and honor those who paved the way.

I think we can agree the more marginalized you are in the society the lower your chances of seeing a real representation of yourself. Go ahead and think about the various marginalized communities. As you filter and each segment appears to have less and less representation not only in society but also on screen.

Just imagine if rather than re-booting movies and shows from the past, Hollywood start out by seeking multi marginalized Non Cisgender women of color with a story to tell.

As Adam Pottle points out.

Adam Pottle:

the first producer or major studio to truly recognize the potential of disabled filmmakers and disabled actors will experience a tremendous cultural and financial windfall. There are over a billion disabled people worldwide. We want to see ourselves onscreen. When we do that, disabled people will come out in droves, leading to changes in theatre spaces and screening options. In short, disabled people will change the way the world watches movies.

TR:

We’ve literally already started that process; Caption and Audio Description have already begun seeping into the mainstream.

So let’s continue.

By the way, the reviews of “In the Dark” are in & mixed. I started watching the premiere via the app but there’s no Audio Description. I don’t believe it’s offered by the network. One review had this to say:

“One thing In the Dark does get right is that the blind characters are completely in control. There’s a murder mystery at the center of it, but the real thrill is watching Murphy live such an imperfect, independent life. She goes out; she smokes cigarettes; she has sex—these are things we rarely see blind
characters do onscreen.

TR:

Seriously? Yawl need to go to a convention!

Apparently 80 percent of the writing staff is made up of women and several LGBTQ+ and blind writers and led by a female
showrunner.

And Calle Walton, the young lady who is Blind and part of the cast, said:

“When I lost my sight, I was devastated. I had to throw my acting dreams away. I thought there was no way I could become an actress now that I was blind. This experience has just been amazing:
getting me back on my feet, getting me back into my love for acting. I hope this really opens up the field and it makes it so blind people are getting looked at as characters that can play roles, instead of sighted people playing roles as blind people.”

Same goal, different strategy!

Shout out to :
Chris Danielsen , Director of Public Relations for the National Federation of the Blind.
You can find out more about them at NFB.org. And #LetUsPlayUs on social media including Twitter and Facebook.

Freelance Pop Culture Essayist, Kristen Lopez. You can find her work on line where she’s written for Rotten Tomatoes, Forbes.com and other outlets.
She has two podcasts;
Ticklish Business – all about classic movies before 1970
Citizen Dame – she’s joined by three other female film critics talking all about the latest entertainment news from a feminist lens
You can find Kristen on Twitter
@Journeys_Film

Dr. Adam Pottle is @AddyPottle on Twitter (Also spelled out)
His website is www.adampottle.com
He has a new book out now title Voice.
Where he explores the crucial role deafness has played in the growth of his imagination, and in doing so presents a unique perspective on
a writer’s development.

I think it’s clear that there’s a lot tied up in this topic of representation.

Consider this episode as just the opening of this discussion here on Reid My Mind Radio.

I hope to bring you more in the future which will include highlighting those behind the scenes as well as in front. I got my eye on some talented peeps.

You know there’s only one way to be sure you don’t miss an episode…

Subscribe!
Apple Podcast, Spotify, Google Podcast, Stitcher, Tune In Radio or wherever you get podcasts.

You can always send me feedback or recommend a guest or topic all you have to do is hollaback!

We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

I appreciate you listening and if you liked what you heard please rate and even review the show via Apple Podcast. And please, tell a friend to listen. Spread the love, man!

You can always visit www.ReidMyMind.com, that’s R to the E I D like my last name!

Audio: Reid My Mind Radio Outro

Peace!

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RS:
My name is Roy Samuelson, I’m a Voice Over Artist.

Audio: Multiple demos of Roy’s voice over work.

TR:
That’s up next, right here with me T. Reid
your host and producer of this podcast, Reid My Mind Radio!

Audio: Reid My Mind Radio theme Music

TR:

In 2018 I published some thoughts on Audio Description. That was followed up with an additional conversation on the subject. Today we’re continuing this exploration of Audio Description or AD. This time from the perspective of Voice Over artist and AD Narrator Roy Samuelson.

First, Roy answers the question, what exactly is a voice over

RS:

Voice over is anything you hear with a voice. That could be in a video game a character that’s talking. A commercial where someone’s introducing a product. A promo where there’s a T.V. show being advertised, someone’s introducing when it’s going to be on and what channel.

TR:
As a kid, Roy and his class was assigned the task of interviewing anyone they wanted.

RS:

I wanted to interview someone att eh radio station. When I went there one of the first things the announcer showed me was how to angle the mic so the p’s won’t pop and I thought that was the most amazing thing I had ever seen in my life. Laughs!
This little adjustment could make such a difference. So my curiosity was definitely started then.

TR:

That curiosity along with some additional experience helped lead Roy to voice over.

In his early 20’s he landed a job with then Disney’s MGM Studios theme park in Orlando Florida.

DisneyJob

RS:

I would take over as a gangster and take the audience through all of the scary scenes in movies. I’d have a microphone and in between shooting things I’d be narrating what was going on around the place.
Every 6 to 8 minutes I’d get blown up and start the thing again. So it kind of became like an exercise in just building the skill of talking to people who are paying attention to the story that they’re seeing. That kind of introduced me to voice over.

[TR in conversation with RS:]
What makes a good voice over artist?

There’s a bunch of different opinions. I like to see voice over as a form of acting. It’s a character whether it’s a narrator, a character in a cartoon or even just a commercial. It’s a character telling a story and being part of a story and sharing that with people.

[TR in conversation with RS:]

Do you have a background in acting as well?

RS:

I do yeah. I took a lot of improv classes. In school I had a lot of opportunities on stage and that’s really helped a lot.

TR:

That acting experience eventually landed Roy in a script writers group.
These meetings brought together professional script writers seeking feedback from actors who would cold read their scripts. Meaning, there was no preparation on the part of the actors.

RS:

We would read the characters and read the description and afterward the feedback was all about the writing. So the spotlight was definitely on the script and not the actors and I felt that was so enjoyable. I could play and I could have fun do these ice cold readings without a lot of preparation. The more times I practiced, the more experienced I got with cold reading. When I found out about audio description it seemed like a real segue way from what I had been doing at the script writes and even as far back as that Disney job along with all the other voice over work that I’ve been doing. It felt like a right fit.

[TR in conversation with RS:]

So how did you actually find out about Audio Description?

RS:

A friend of mine referred me and I didn’t literally knock on the door, but I knocked on the door for about two or three years just letting them know I was available and strongly interested and the response was well we’re kind of booked up right now we got everyone we need but thank you for checking in. It wasn’t a brush off it’s just that’s where it was. Every now and again there would be an opportunity where I could fill in for someone and I did. It was so exciting and so much fun and I said thank you so much any other time please let me know, oh sure we’ll let you know. Another year passed . It took a little while.

TR:

In order to get better insight on how Audio Description is made, I asked Roy to walk us through the process
from his perspective.

RS

Audio: Upbeat music…

The scripts are pre-written by, they’re called Describers.

I call myself a Narrator, Audio Description Narrator.

The scripts come to me pre-written and in it are obviously the words that I say. There’s a bunch of queues that tell me when I say what I say. For example, a queue could be time code, where I’m watching the screen and reading the script at the same time and on the screen there’s a time code (like a stop watch). When it gets to a certain point in time that’s my queue to start talking.

there’s visual cues or audio queues. Sometimes it’s the last few words of dialog that the character is saying. It could be even a pause between a long section that I’m speaking. First two sentences then there’s a 2 or 3 second pause before I start speaking again. There’s all sorts of different queues that they use.

TR:

Process makes production efficient. But
they can also unintentionally exclude people from
participating.
Visual cues for example could limit a blind Audio
Description Narrator’s ability to independently function in
such a position.
When I asked if laying down all of the voice over work and
editing at the appropriate time positions was an option,
Roy explained further.

RS:

That could be a way. I’m on a few one hour shows, when we’re all in sync and the script is ready, we’re able to finish in about an hour. They give me four hours total, just in case something can come up . For the most part, it’s not real time but it’s pretty close to real time.

TR:

Watching over the entire recording process is the AD Director. Familiar with the script, they’re listening for any mistakes including mispronunciations and time overlaps.

[TR in conversation with RS:]
So you’re sitting there watching the time code and reading the script, what happens if you go a little longer? Is it just okay, take two?

RS:

If there’s one line that I did not speak quickly enough and the last few words and maybe the last few syllables are spilling over to dialog , as you know that’s not fun for an audience member. They do their best to adjust it either by having me go a little faster or they try to change the words or they even slip the audio that I recorded and make it slide in to fit just perfectly.

TR:

Fully aware that Roy’s responsibility in the process is voicing the narration, I still had to ask;

[TR in conversation with RS:]

How do they determine which narrator is right for a movie or project?

RS:

That’s a great question. I’m learning, I’m definitely on the action adventure horror side of things. (Laughs…) You know with Criminal Minds, the upcoming Girl in the Spider’s Web, the Inspector, Jurassic World. This is the genre that is pretty narration heavy and I do my best to go as quickly as possible without sounding fast. I’ve done some other projects that are more wonderful in the sense of awe inspiring, kind of take it all in sort of thing. Those are the sorts of things that I been cast. That’s something they know I can do and I would think the people that make the decision it makes it easier for them. Oh yeh, this is something Roy’s already done before.

[TR in conversation with RS:]

One that I talked about and this was my personal opinion was Black Panther. So Black Panther ended up being voiced by what sounds like a British White Man.

RS:

Oh!

[TR in conversation with RS:]
For me as the consumer, I thought it was a little disruptive…

RS:

Sure!
[TR in conversation with RS:]

… to the whole feel and aura of the movie.

RS:

Yeh! Absolutely.

[TR in conversation with RS:]

I ended up hearing from some other people who said that same British person voiced Captain America. They were like, I didn’t like the fact that it was a British guy voicing Captain America. People felt a little upset by that. What is taken into consideration when these choices are made?

RS:
Oh it’s so exciting I have so many things I want to talk to you about with
this.

[TR in conversation with RS:]

Okay!

RS:

I remember there’s a quote by Shonda Rhymes where she talked about normalizing instead of diversifying. I’m seeing so many femal voices, people of color voices all sorts of opportunities. I hate to say it, the stereotypical white male voice that has been so common is now not as common which is great. I think there’s many more opportunities different voices to be in this. I think it can only help the story. I think you named two really great examples. When you’re in a story you don’t want to be interrupted. So when the audio description comes in it shouldn’t be out of left field.

I do think these companies are more aware of the content of the story being told and they’re taking a lot of consideration into that.

[TR in conversation with RS:]
That’s good to hear.

[TR in conversation with RS:]
One of my complaints in terms of the script and how things are determined, what are you going to describe? So if I go back to Black Panther, there was a very interesting thing that I found out because it was being discussed. It was not included in the description at all it came up like months after on a radio program I was listening to. They went into more description about the spaceship. I guess in one of the angles when the ship came down, they said how it resembled an African mask.

RS:

Hmmm! (In understanding.)

[TR in conversation with RS:]

They all look different but I get a real sense of that. Plus the fact that the spaceship was created like that , that blew my mind! But I never got access to that information.

RS:

Oh!! (In further understanding.)

[TR in conversation with RS:]

So there was a decision made. Someone didn’t think that was important. So this is why I’m always wondering well at some point it seems to me that the writers of the description should be the writers of the movie.

RS:
Oh, I see.

[TR in conversation with RS:]

They have the vision right? the Director, they’re the ones making these decisions . So some of that information of what they want that consumer to feel , whoever that consumer is Blind or sighted, that should be passed along and so I always wonder, are there conversations between the audio description company and the actual producers and writers of the film. And it doesn’t seem like it. Maybe on like an independent.

RS:

I’m not sure which film it was, but I know it was a big budget film, they definitely cared about to make sure the audio description was heard and they brought in the team. I was brought back and recorded some lines that were very nuanced.

So I think there is a genuine care for the audience for audio description. I’m not going to make a generalized blanket statement on that but I think there are people who are involved outside of audio description but still want to care about the things that you’re talking about.

I’m not sure if Haunting on Hill house on Netflix is described. There’s an element of that series, after 10 episodes I was kind of familiar with the story line. There was an element that was shared on line and as soon as I heard it it was so obvious. It was one of those things like aw wow I didn’t even notice that.

But I think what you’re talking about, back to the Black Panther spaceship is that with audio description we are limited to … if a picture is worth a thousand words , there’s 24 frames per second you know it’s like… I’m not defending it but it definitely is selective. The audio description is by its very nature limited. I’d be curious if there is a way to have like I’m just brainstorming here but out takes or something else that goes deeper into the story to allow those visual elements. How exciting that would be.

[TR in conversation with RS:]

I think there is.

For the Audio Description experience part of it is so so frustrating. It has nothing to do with what you all are doing, it’s the technical side. When you go to a movie theater chances are they’re giving you either the wrong device or the device doesn’t work. So you have to run back over and find a manager. And in my case it’s always my wife. She moves a lot faster than I’m going to move so she’s doing it! Boom, boom, boom! And I feel terrible. I feel awful because she’s missing that part of the movie, but she doesn’t want me to experience it without it.
There’s all this time during the promos. Those aren’t described so I’m usually bored. It would also be a test of the technology because if the right track is coming through that’s telling you about the movie, then you know your stuff is working, you technology is working. This is exactly what they do in a show, like a Broadway show. They introduce you to the cast beforehand. They describe their costumes, they let you get acclimated to their voices, they’ll describe the set. All of that is done before the show. So I think like hey, why not put that out beforehand. Yes the movie is limited to that time, but the experience really does go past that time.

RS:

Wow!

TR:

Listening back to our conversation, I realize a few things.

First, I think I get a little enthusiastic about the subject.

Secondly, I referred to the issues encountered in theaters when using AD only as a technical problem. And while yes sometimes the problems arise from the technology, more than often I feel as though the problems stem from uninformed theater workers.

I’m still trying to figure out why when you let them know you’re Blind and want to use the Audio Description device they translate that to mean you want the device for the hearing impaired.

Come to find out, Roy is familiar with this faulty part of the process.

RS:

My mom wanted to watch a screening with audio description, same thing happened. It didn’t work. The exciting thing with that is the manager found out apologized profusely , they said it was a glitch . There’s other technology coming out. I want to say Acti View?

[TR in conversation with RS:]
Yes Sir!

TR:
Acti View is the app that allows audio description consumers as well as those using captions and enhanced audio, with the means of directly downloading their access solution. For more on this service and how it came to be, check out the episode where we speak to one of the founders.

RS:
That kind of stuff is starting to happen. I can’t help but think that this is an opportunity. The popularity of podcasts, audio books and how easily accessible those are for this audio description is kind of in the same world. Commuters who happened to be sighted can enjoy the experience of audio description and that can only help the audience get more opportunities that look forward to enjoying it.

Aw I’m so excited.

TR:

It was nice to hear that Roy and I share a mutual excitement for Audio Description. It made for a good conversation.

Not only did I appreciate hearing his enthusiasm for the subject, listening to him accentuates his ability to employ several styles in his narration work. Roy says he tailors his voice to the genre.

RS:

I gotta be part of the stories. I can’t sound happy and joyous all the time. Laughs…

TR:

Next time you’re enjoying a television show or movie with Audio Description and you find yourself thinking that voice sounds familiar. there’s only one way to be certain. Wait until the end of the credits and you hear;

Audio: Read by Roy Samuelson. (Audio Description from “Jurassic World Fallen Kingdom”)

TR:

You can connect with Roy on social media;
On Twitter @RoySamuelson and
on Facebook you can find him as Roy Samuelson Biz or
visit Roy Samuelson.com

Audio bumper

Audio Description isn’t new. The lack of AD in movies and television programming over the years since its creation amounts to exclusion.

The result, many in the Blind and Low Vision community feel as though movies are just not for them.

In 2019 however, there’s lots of reasons to give television and movies with audio description a try.

We have
the 21st Century Telecommunications Act on our side – leading to more content.
And we have multiple accessible ways of consuming that content.

. If you haven’t yet experienced AD either at home or in a theater , I urge you to give it a try.

It’s not just entertaining television and movies, more documentaries are including description. Something I’m personally happy to see.

The process of making video accessible shouldn’t itself be inaccessible to the community it seeks to serve. Blind and low vision people should have access to these opportunities.

Blind people come from all backgrounds. We’re Black, Hispanic, Asian, Native as well as white. We’re straight, gay, lesbian transgender. As we call for television and movies to be more reflective of our society so should the voices that describe these movies to us.

How do you feel about Audio description?
Holla back!
We have the comments section on the blog, ReidMyMind.com.
The email; ReidMyMindRadio@gmail.com
The Reid My Mind Radio Feedback Line where you can leave a voice mail: 1 570-798-7343

I would really love voice messages that I can share on the podcast. If you don’t want to call, you can grab your smart phone and record a voice memo and email the finished recording to ReidMyMindRadio@gmail.com.

I’d love to hear and share the voices of those who are listening. If you want to send a message but don’t want it shared just say so and it’s all good.

We’re going to continue to explore Audio Description as we move through 2019. So my best advice for you to make sure you don’t miss that and everything else in store…

Subscribe!
Apple Podcast, Spotify, Google Podcast Sound Cloud, Stitcher, Tune In Radio or wherever you get podcasts.
Visit www.ReidMyMind.com

So there’s no confusion, that’s R to the E I D like my last name!

Audio: Dramatic closing music from Jurassic World, Falling Kingdom RS: “Cut to Black”

Audio: RMMRadio Outro Theme

TR:

Peace

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