Reid My Mind

TR:
Hosting and producing a podcast alone, requires taking on multiple roles.
Ring master, assuring everyone in the audience is aware and entertained. Knowing when to bring out the next act, do something silly to make an audience member giggle a bit or call in the clowns.

We juggle all sorts of responsibilities, walk a fine line when picking and choosing what to include or leave out of an episode.
Hopefully, we make it look easy so others can simply enjoy themselves and walk away feeling informed, uplifted, encouraged with a smile on their face.
With that said, there’s only one way to kick off this first episode of our Flipping the Script on Audio Description season.

Brian:
ladies and gentlemen children of all ages. I’m Brian Velazquez from Omnium circus. We would like to welcome you and your family to Reid My Mind Radio!

Now here’s your host Thomas Reid!

TR:
(Energetically)
See, now that’s how you do it baby! Let’s go!

Audio Reid My Mind Theme Music

TR:
It was summer, 2023 and I’m at an event at the Lighthouse in New York city. It was my first time there. I was in conversation with someone when soon after a young gentleman introduced himself to me.

Brian:
My name is Brian Velasquez. I am the Outreach Coordinator, with Omnium a bold new circus.

TR:
He went on to tell me a little about the circus when I quickly realized I not only heard of them but I wanted them on the podcast. They’re a perfect fit.

Omnium not only provides an accessible experience to the children of all ages, but many of the acts include disabled performers.

TR in Conversation with Brian:
Tell me a little bit about how you came to learn about and work with Omnium circus.

Brian:
. Growing up, I used to love going to the circus when I was little. But as with all things I grew out of it. Long and behold I start my first year of college.
I’ve always wanted to be a Braille teacher, that was my mind set since I was around so many Braille teachers growing up.

TR:
Soon after beginning his course work in education, Brian realized he really wasn’t interested in being a teacher. So he moved from the school of education and discovered therapeutic recreation.

Brian:
Continued with that work with geriatrics. Graduated with a degree in therapeutic rec in 2015.

TR:
Soon after, Brian began working at Coney Island Hospital.

— “Where Brooklyn at…” Notorious BIG

Brian:
I implemented a program with the residents where we learned about the loading and unloading of the Ringling Brothers and Barnum Bailey Circus train. So we watched a video on that we did some threading, we answered questions, we discussed it. And a little sparked started to form.

TR:
It wasn’t the first time Brian used the circus as a way to facilitate therapy in his work.
I don’t think he ever so called “grew out” of his love for the circus. And why should he?

Brian:
Little by little something begins to draw me back.
I come across Lisa Lewis because I look up tickets to go to the Big Apple Circus in New York City.
I saw they needed a volunteer for circus of the senses. I was like why not? It wasn’t gonna affect work. So I connected with Lisa B. Lewis.
And the rest is history.

Lisa:
My name is Lisa Lewis and I am the founder and executive director of Omnium circus. I am five foot tall, I have dark brown hair, relatively pale skin, red glasses. Generally I’m wearing red lipstick. My pronouns are she and her.

TR:
As it turns out, these two, Brian and Lisa actually have a history together.

Lisa:
Brian was eight years old and came to circus of the senses. He loved it. He came every year. I know Brian, I know his classmates, I knew his teachers. We’ve all stayed very good friends.
I just adore Brian. He’s so smart. His insights are so interesting. I’m a big, big, big, big, big Brian fan.

So fast forward a bunch of years. And Brian wanted to come and be a part of the circus.
At that time, I was still with Big Apple. So I said, Why don’t you come Be Our Guest ringmaster for circus of the senses.

TR:
The Big Apple Circus which began in 1977 is a one ring circus mostly residential to New York City. Community involvement and outreach has always been a part of their philosophy.

Circus of the senses was the Big Apple Circus outreach to children with disabilities.

Lisa:
So they would give away tickets to kids with disabilities. And we provided audio description, American Sign Language interpreters. And that really kind of clicked to listen to people to realize their enjoyment to know that these people wanted to love the circus just as much as everybody else wants to love the circus. And a simple access was all that’s needed to be able to include them in this popular entertainment. And they only got it once a season same now with Broadway shows. If you’re deaf and you want to see an interpreted show, you only get one shot at it. To me, that’s just not right. I always thought how, how could we make this so that anybody can come to any show?

TR:
That question would ultimately lead to the creation of Omnium Circus.

Lisa:
I eventually ran the program. I eventually split it off so that we had one show for people for whom the access of audio description and American Sign Language was beneficial and Another one for people with sensory needs, and autism. So we created two different programs.

And then finally, by the time the pandemic had hit, and everybody was kind of sitting around I thought,? could we create a show that not only was accessible to everybody, at any show?

TR:
Looking even further at the make up of the circus, Lisa noticed other disparities.

Lisa:
I live in New York City. This is not a monochromatic place. This is an incredibly diverse and vibrant community. And we thrive for our diversity, because we each have so much to offer.

Could we bring that to the ring? So that was part of what I was thinking, Could we do that?

TR:
Lisa wanted to bring all of that to the ring.

But this was during the pandemic, so Lisa had to use a different approach.

Lisa:
We made a virtual version.

we pull together a group of artists from all over the world from all different abilities to really showcase the beauty of the human spirit. And we collaborated with an organization in New York, called Disability unite. And we created a platform online that would provide for different channels of simultaneous access.

TR:
That included audio description, captions, Spanish language translation…

Lisa:
As a person who signs I got really tired of looking to the side to watch the interpreter and missing all the action. To me, that was annoying and a circus. So I wanted it integrated, I wanted the person who was signing a, to be deaf and b, to make sure that it was integrated and part of the action.

. So you’re still enjoying the same show at the same level. That’s equity. Then we put it out. Let’s just see what happens. And we ended up getting almost 30,000 people watching it in 16 states and five countries.
That gave us the energy to say, Okay, let’s see what we got to do to make this a reality.

TR:
this performance called “A Celebration of Diversity” is still available for purchase on Eventbrite. I’ll link you to it directly on this episode’s blog post at ReidMyMind.com.

TR in conversation with Lisa:
So how big is your organization?

Lisa:
Our whole organization is actually not that big.

Twenty five percent of our performers have disabilities. Forty percent of our overall organization have disabilities. The performers are obviously the largest part of our company.

Outside of performers There are maybe eight of us. Nine. Well, we’re small and mighty.

TR in Conversation with Brian:
What do you do as an outreach coordinator?

Brian:
I reach out to organizations, such as schools, community centers, NFB, ACB

It is a little scary at first, especially reaching out to schools, it’s a little daunting, but I’m starting to getting used to that more. Most people. They’re like, Oh, wow, send me information.

I work remotely.

we all work as a team when it comes to outreach. We have someone that does flyers for us, we have someone that may send a couple of emails for us to help out. So all the work is spread out evenly so we can all work together as a team and do the best we can to get people in seats.

— Music Begins Quarter note hi hat open to a slow bass heavy groove.

TR:
The best way to get people in the seats is to have great performers.

Lisa:
Some of the acts in the show, especially this year are just incredible.

We have a young woman who plays our lead, who is the world’s fastest juggler. Our choreographer and onsite director who also does a crossbow act just set the Guinness Book of World Records, because he shot a crossbow looking into a mirror over his right shoulder 25 feet to hit an apple off the top of his wife’s head.

TR in conversation with Lisa:
Oh my god. How long were they married?

Lisa:
They’re still married!

TR in conversation with Lisa:
I’m gonna ask my wife after this is done.

Lisa & TR Laugh!

Lisa:
We have a dancer who’s a seven time NCAA gymnastics champion, who also is a wheelchair user, who does a beautiful, beautiful acrobatic dance.

We have a gorgeous aerialist, who also came up through the world of gymnastics and does this beautiful aerial silks duet with her husband.

Brian:
It’s done by Miss Chandrika Bower and Dominic Bower. And the husband plays the trombone during part of the act and it is just such a beautiful act. You see the romance? You see the passion.

TR in Conversation with Brian:
He’s in the air playing trombone? Oh my gosh!

Lisa:
It’s just this gorgeous love story. She happened to have been born without legs.

Brian:
We have a female ringmaster. Danette Shepard Vaughan. African American. She is phenomenal.

Lisa:
She’s got this gorgeous, Jazzy singing voice and her partner. We call the character of the poet who is a full dancer. He is death and he performs the entire show in ASL.

Brian:
And we have another act that I like is the King Charles troupe?
I don’t know if you’re familiar with them?

TR in Conversation with Brian:
Wait, are they on the unicycles?

Brian:
Yes, they are.

TR
I remember seeing this talented group who perform these amazing basketball acrobatic stunts on unicycles. I first saw them when my oldest daughter was only about two or three. They performed with the UniverSoul Circus. We went at least twice. During one performance, I actually got picked from the audience to go into the ring and dance with ReRun from the show What’s Happening. You know, Roger, Dee, Dwayne? Shirley from the diner?

— Transition – Theme music from “What’s Happening”

TR in conversation with Lisa:
I’m really curious. How do you go about finding these acts?

Lisa:
We have the world’s most amazing artistic director. His name is Noe Espana. He has sixth generation fifth generation circus. His wife is sixth or seventh sixth generation circus. His kids are now Seventh Generation circus. And they know everybody, Noe finds our acts. He creates the shows. He writes the shows. He puts everything together. He is a creative genius. Wow. Okay. And we take applications, although, in all fairness, you gotta be good. (Laughs) Be really good. Noe’s picky.

TR in Conversation with Lisa:
Yeh, so you’re getting people walking in off the street like “Hey, I want to apply for the circus?”

TR:
Duh! I know that’s not the case.
Obviously circus performers require a lot of skill that come from years of practice and experience. Many begin perfecting their acts from childhood.

Lisa’s love for the circus also began as a child, but it wasn’t until she attended college where she came across the opportunity to get involved.

Lisa:
One of my roommates was trying to teach me how to juggle. I was a miserable failure. But I was in the theater department and Ringling Brothers had just posted an audition for clown College.

She goes, Why don’t you go try out this audition, at least maybe you’ll learn to juggle. So I went to the audition. And I fell in love.
I felt like yes, this is where I belong.
I was one of 50 students out of a pool of over 2000 [that were accepted that particular year.]
And in 1986, I went to Ringling Brothers and Barnum and Bailey circus clown College, and my journey began.

TR:
In addition to clown college, Lisa did finish her degree and went on to get a Masters in Circus history.

Lisa:
Circus is an art form and always has been an art form. That can include so many people, because it’s not a language based art form. It’s not an intellect based art form. It’s a heart. It’s a feeling. It’s a visceral enjoyment. And so it can bring all kinds of communities together, and has been since the beginning of time.

TR:
That ability to bring people together made it an effective way to impact society.

(Lisa:
the electric light bulb was introduced in a circus, because everyone was afraid of it. So the circus was the first to light with electric light bulbs to show everyone that that was okay.

Barnum introduced the horseless carriage in a circus. Cars started becoming popular. So it’s a really wonderful way of reaching large groups of people.

I love it for its ability to include. I love it for its ability to entertain. I love it for its ability to showcase the best of the best. It’s like watching the Olympics. You see the best of the best people who’ve spent their lives for generations dedicated to learning a specific art form and you see what amazing things the human body can accomplish all bodies, any shapes, any sizes, anything. The amazing accomplishments of the human spirit.

TR in conversation with Lisa:
What’s the relationship between freak shows and circus?
Lisa 50
I’m actually really glad you asked that question.

So back in time, humanity was a lot less advanced. There were different water fountains, there were different bathrooms. We weren’t real nice to each other, to say the least,
And one of those not very nice things. Concerned persons with disabilities. They were thrown in institutions, they were drowned. They were killed. They were hidden away. They were not given respect as individuals.

TR
As awful as that sounds, Lisa points out a very real and practical side.

Lisa:
So the freak show, quote, unquote, at that time, provided viable employment when people couldn’t get jobs. No one would hire you if you had a disability. The Circus provided employment, you could buy a house you could raise your family, they had a life they had a community to become involved with.
the circus created a very positive space within a very negative paradigm.
So we’re reclaiming the paradigm, but not showing people because of what makes them different than 75% of the world. But what makes them unique and special and their incredible talent and artistry to lift them up. So that the world can see that we all are people and inside each one of us is a beautiful gift, regardless of the body to which you are born or the skin you are in.

TR:
Lisa went on to work for Ringling Brothers, freelanced as a clown and ended up working in the Clown Care Unit, an outreach program of the Big Apple Circus.
Clown Care Clown Doctors are specially selected professional performers who are trained to work in the sensitive hospital environment. Using minimal make-up, evocative costumes, juggling, comedy, magic and music these “clown doctors” help ease the stress of illness and aid in a patients’ healing.
In pairs they make “ Clown Rounds” visiting children throughout the hospital from bedside to all sorts of patient encounters.

Meet Lisa’s former clown doctor partner, Liz Bolick.

Liz:
I go by she her hers pronouns. I am six feet tall, with reddish brown hair to my shoulders a little bit curly. I have an oval face, I’m a Caucasian woman kind of shapely.

Liz:
I had worked with the Big Apple Circus for many, many years in New York City as a performer, and as a clown doctor in the clown care unit, working with their specialty programs with hospital clowning. And then I started doing pre show for the circus of the senses,.

Lisa Lewis approached me and asked me if I’d be interested in being an audio describer. I said, Sure. That sounds cool. How do you do that?

TR in conversation with Liz:
Oh my goodness.
I used to go to New York Hospital. On the east side?
I used to love the clowns. I used to have such a good time.

Liz

How old were you?

TR in Conversation with Liz:
I was a grown ass man.
The clowns and I would connect because I’m hysterical. And they’re like this is the only person who really seems to be enjoying this.

Liz:
I was at New York Hospital. for 20 years doing it at New York Hospital, Columbia Presbyterian. Then I went out to Einstein in the Bronx. Your doctor sneakers, that was me.

TR in conversation with Liz:
Wow. Okay.

Liz 24
you probably saw me play. Crazy high top sneakers on. That’s how kids remembered me buy my shoes
TR in conversation with Liz:
I would look forward to go just to see the clowns.

Liz:
Well, it makes me happy that we made a difference in that in those moments for you. Right.

TR in conversation with Liz:
Absolutely.
I think for other parents, it was just a little levity.
It was really nice.

Liz:
Great for the staff to sometimes a little joy. It just breaks people out of their sorrow or their stress for five seconds. Yeah. And it makes a difference. And so I’m blessed to have done it.

TR:
To continue providing access to joy, Lisa signed Liz up for a two week audio description course at the Theater Development Fund.

In addition to AD training, TDF offers Accessibility Programs that provide a membership service for theatregoers with disabilities that require some form of access including wheelchair seating, captions, ASL and audio description. You can check them out at TDF.org.

Liz:
I found it fascinating. And then one day, she said, Alright, jump in. I said You mean today.

TR:
Just like making clown doctor rounds, at Omnium, audio description is done in pairs.

Liz was paired with Carl Anthony Tramon.

(Liz:
I was absolutely nervous. But she had Carl there as the audio describer, who is brilliant and has done this for years and years and years. And she said, just jump in and work with Carl.

it was one of the best things I ever did.

I remember sitting next to Carl, and I was sweating. I was so scared. And I turned to Carl and I said, Do you have any advice for me, and he turned to me with this big smile on his face and said, just talk like it’s a conversation. So imagine we’re kids seeing the circus for the first time. And let’s describe what we see and have fun.

I had this great experience. And I got to work with a master. Of course. Generally, you don’t get to work as a team. But I think I was extremely lucky that not only did I get placed with a partner, my first experience, but Carl Tramon, was that partner.

TR:
Unfortunately, Carl was not available for this interview but brother, if you’re listening,
I’m extending an open invitation to you to come on the podcast
and share your experience with audio description.

Although Liz was new to AD, the skills she gained as a clown doctor were perfect for describing a live circus.
Liz:
It makes you very present. And you have to be in the moment. And there’s nothing more in the moment than audio description,

You really have to be aware of what’s happening right in that second.

TR:
Being prepared to respond quickly to something unexpected is crucial in live description. However, there’s still a lot of preparation that goes into the role.

Liz:
I’m somebody that likes a lot of rehearsal and likes to feel really prepared. So I’m usually over prepared.

I get to know the individual acts, I like to look up their websites know what skills they’re doing, what’s a history of their family? How do you pronounce their name? If they’re doing a Diablo act? What’s the history of that Diablo? That’s a Chinese yo, yo, what are the terms for it? I’ll watch YouTube videos of how to do Diablo and it’ll give me all these terms.

TR:
Those unfamiliar with the process of AD are surprised by the amount of research and preparation required to write effective description. Even when it appears to be spontaneous.

And of course, whenever possible, go to the source.

Liz:
I like to speak to the artists directly if I can.

I’m lucky because I’ve been part of circus for so many years that I understand a lot of the acts.

What is the seer real? What is the Hulu back? What are the aerialists? What’s a tight rope? What’s a high wire? I know a lot of what these acts are, but describing them to someone who’s never seen them was the trick. So I needed to increase my vocabulary, but also make it down to earth simplistic and really describe what the actual physical movements of the body and the person are not necessarily technical terms.

So it’s like preparing for a role in the theater and then you have to throw it away and be in the moment.

TR:
Liz, who is also a costume designer and producer, brings all of that plus her extensive knowledge and experience as a circus performer to AD. The combination of her and Carl who she says is great at describing the technical enables her to sprinkle interesting facts about other details.

Liz:
So I can talk about the sparkling outfits and what they’re made of, I can talk about the Top Hats and the colors of the lights changing from a design point of view, a costume point of view, and you don’t always have time for all of that. So I also do a big prep, I also have quite a bit of pre show available that I rewrite in advance, so that if kids come 15 minutes early, and if technically have time in the theater, I can give a lot of background on each and every act, or the biggest moments, including costumes and descriptions of the people in the show that you may not have time for in the moment. Because circus happens really fast.

TR:
This sounds like the approach heard in sports. Play by play commentator paired with another who provides interesting facts and adds color to the broadcast.

Liz:
For me, it’s the essence of what’s happening emotionally, for the audience, because it helps bring them into the moment of the danger of the excitement and the anticipation of the moment that maybe they’re going to miss or maybe they’re going to make it. Now those things I think innately are in the timing and the tenor of my voice. I think it makes a better show.

I’ll go like (Starts in a whisper and moves to louder more excited voice) “And now, walking up the thing, and the thing and they turn and they flip and they go!”

TR in conversation with Liz:
And that’s such a big difference from standard audio description for a film or a Broadway production. Have you ever done any of those?

Liz:
I’m starting to really

TR in conversation with Liz:
Okay, So what’s the difference like for you? Because it’s less emoting.

Liz:
First, that was shocking. I couldn’t even speak. Like, I’m sitting there, I say, and he moves on, and the lights come up, and then they talked for like, 30 minutes. It was so weird for me. I’m used to talking non stop because you can’t talk over the dialog, right.
So then you kind of have to follow a script. But if I’m following a script, I’m not in the moment as much.

TR:
Being in the moment never replaces the need for preparation.

Liz:
I would watch the videos over and over and over again, if I get my hands on them. I go to a dress rehearsal , and then I’ll go to a show. So there’s a ton of prep.

TR:
This is a public service announcement!

If we do the math and calculate the hourly rate based on the actual amount of time put into preparing and describing live theater, well, let’s just say this group is highly under paid.

Automation and artificial intelligence isn’t the way to resolve that rather it’s changing the way we think about access.

That concludes our public service announcement.

Liz:
I would try to talk to the producers in the playwrights and the actors, I still like to ask an actor how they want to be called.
How do they want to be described not necessarily how I would see them.

Different people from all races and cultures want to be described differently.

TR in conversation with Liz:
Is it easier within the circus to get access then in Broadway or Off Broadway plays?

Liz:
It’s easier for me in the circus because generally like Omnium I’ve been with them for so many years. I know a lot of people, these are my friends. I’m doing one show for a whole season.

TR:
Outside of Omnium, Liz doesn’t always have the opportunity or permission to directly speak with the performers. But, Liz is spunky, she was a clown after all!

Liz:
I’ll just show up grab people. While they’re offstage, I’ll just show up and work my way and being sweet and funny. That always works. Kindness goes a long way. I think most people feel happy that you’re asking.

TR in conversation with Liz:
It’s a combination of probably parents and children. Who are you describing for in your mind?

Liz:
More like family audiences. I think the good thing about the circus is that anyone in that room feels like they’re five years old. First of all, but you can’t talk down to people and especially children, like children are a lot smarter and hipper than anything. So even when I’m working with a two year old, I’m not treating them like a baby.
Fun and energetic but not too super technical.

TR in conversation with Liz:
do you have any favorite acts that stick out to you that you really like to describe?

Liz:
Well, I love to describe the clown acts, because I’m a clown myself. So I love to describe the comic timing.

I like to add narrative to a silent comedy routine. is really fun because I’m a silent comedian, physical comedian.

TR in conversation with Liz:
What type of things are you describing?

Liz:
Well, like their first facial expressions, like if you have a comedy team, like we have dick and Tiffany, Monday and Riley in the show, I’ve known them their whole lives. So like, take a look over at her she’ll kind of flip her head. And it’d be like, she’s not super happy. He better watch out. She’s gonna smack him on. Oops, she did. She smacked him on the butt.

Liz:
there’s like silly beats that happened.

TR:
With two describers, Liz and Carl can bounce off one another to really bring out the emotion of what’s taking place visually.

Liz:
He’ll be like, Oh, no, he didn’t. And I go, Oh, yes, he did. Like, well, we get into like a comedy routine about it. We’ll do it together.

We have a pretty good trading off back and forth repartee that goes on, and just happens naturally.
And we’re lucky because we can both improvise really? Well. He’s a great actor, singer, dancer, Director. So we’re both good at improvising. And I think we’re both aware of each other’s strengths, I would say. Plus, we would do the same show over and over, especially at the very beginning, we did the same show, like for an entire season. So then you have your rhythm and beats and we’re kind of rehearsed in a way we kind of go oh, we kind of know each other’s parts a little bit. That’s

TR in conversation with Liz:
That’s like a show within the show.

TR:
The circus is about two hours with a 15 minute intermission. I can imagine it really helps to have multiple describers working together.

Omnium also offers one hour special events for schools. Exposing even more children to the joys of the circus.

In fact, during some of the special events, some of these children may not realize it, but the ring master was once in their seat.

Brian:
. Ladies and gentleman now.
Um, woof. My neighbors are probably like, What the heck is he doing?

I’ve been really learning about circus.

The ring masters used to use these booming voices because back in the day, there was no microphones.
There was a term called Barker.

Hurry, hurry, hurry, step right up, step right up. Hurry, hurry. Not sure if it was the same concept as the ringmaster. But it was kind of similar, but then the ringmaster wouldn’t have a mic neither. So they would have to project their voice and otherwise, you wouldn’t hear anything.

So that’s why there’s been a tradition of keeping the voice, they had to use those big, loud heavy duty. Voice commands.

TR:
That’s right, Brian has served as ring master during some of these events, which sometimes offer open audio description.

TR in Conversation with Brian:
So while you ring mastering Do you listen to it as well.

Brian:
Oh, my goodness, good question.
I was able to follow through with the audio description cues. That helped me a lot immensely when it came to, you know, okay. It’s time for me to say this, or Okay, I’m gonna do this now.

TR:
It’s always important to remind folks that access is not just about consumption. Disabled folks are not only participants, but we are makers of art, content, technology, accessibility and more. Removing this perspective of the conversation continues to leave us out of all sorts of spaces.

So what other access is available at Omnium?

Brian:
we have open ASL in the show. You’re gonna see everything that’s said in the show. What the ringmaster is saying everything. What the Ringmasters singing all that you you’ll be able to see it because there is live open ASL interpretation at the show.

sensory friendly, very important. For those who are neurodiverse who may be sensitive to sound or light. The house lights are not completely off. And the sound decibels
at a decibel where it’s suitable for everyone.

We have a common area with little activities you can do like markers or drawing
you’re gonna have your few people that may be a little overwhelmed that need a break. And that’s okay.

TR:
Of course that includes wheel chair access and closed captions wherever possible.
Brian
we want it to be as inclusive as possible for all, that’s why we are America’s first comprehensively inclusive circus.

TR:
Big shout out to Brian Velasquez, Lisa Lewis and Liz Bolick, you’re each official members of the Reid My Mind Radio Family.

I don’t care who you are, if you’re hearing or reading this episode, Omnium is for you. Take your children, grand children, students, athletes … you can always take me, I’m a forever five year old.

Honestly, I wanted to get out to see them when they were in New York this year but unfortunately scheduling didn’t workout. But I will get there and hope you do the same.

For the current schedule and links to social media visit OmniumCircus.org.

Another Public service announcement If you’re not registered to vote, please do so.
We’re in some serious times and I hope and encourage you all to get out there and vote. In person or absentee mail in, I really don’t care, just make it happen.

I appreciate you rocking with Reid My Mind Radio wherever you get podcasts. We have transcripts and more at ReidMyMind.com.

It’s come to my attention that some don’t think I spell it enough… seriously!
You got to spell it right, that’s R to the E I D!
— Sample (“D! And that’s me in the place to be.” Slick Rick)

Like my last name!
— Reid My Mind Radio outro
Peace!

Hide the transcript

TR in Conversation with Riana & Raven:
What is your politics around disability?

Raven:
I think most people who have disabilities should be put on an island.

Riana:
Silly Laughter

Raven:
Away from us normal people! (Laughs)

Riana:
Girl! I agree. (Laughter continues….)

TR in Conversation with Riana & Raven:
Ok, this is the way I’m going to open the show.

Raven:
)Loud laughter)

TR in Conversation with Riana & Raven:
Nobody’s gonna know you’re playing.

Riana:
My sister’s opinions do not …

TR in Conversation with Riana & Raven:
(Loud Laughter)

Raven:
Hey! I thought we were in this together.

(Group laughing fades out!)

TR:
Maybe not an island.
But let’s say Andrew Leland’s country of the Blind were indeed a real place, what would be the requirements for citizenship?
Is it based solely on acuity or must you have additional qualifications?
What would be some of those qualifications?
What actually makes you Blind?

Visual Accuity?
Orientation and mobility skills?
What if you have multiple disabilities?

These questions, well sort of, have been on my mind ever since my conversation with Andrew, featured in the last episode. the actual questions I’ve been thinking about are more related to topics like ableism, and what categorizes something as disability art or a part of disability culture.

Today, continuing with my self portrait, I’ll see where these topics take me. That is, with the help of those two you heard at the top of this episode.

Riana:
My name is Riana Reid. I’m a 26 year old woman. I’m brown skin. I wear rectangular glasses. I currently have my hair and a pineapple meaning My curls are on the top of my head and like a ponytail. I have a bright smile. And high cheekbones, kinda. (giggles)
People tell me I look like my mommy. (Giggles)

TR in Conversation with Riana & Raven:
You look like your father.

Riana:
(Giggles) Okay!

Raven:
Riana’s pronouns are she her hers.

Hi, everyone. My name is Raven. I’m a 20 year old woman. I have dark skin and big curly fluffy hair with almond shaped eyes and big smile and my pronouns are she her hers.

TR:
I’m Thomas Reid. If this by chance is your first time listening, I’m the host and producer of this here podcast. And more importantly, I’m the father of these two young ladies.
That’s right, Daddy Daughter Day in full effect! Let’s go!

— Reid My Mind Radio Intro

TR:
During my conversation with Andrew, we got into a discussion about what categorizes something disability culture. What makes someone a disabled artist.

TR in Conversation with Andrew: 56:24
If they’re in the mainstream, I don’t consider that disability culture. That’s just me.
Are they making the art from a disability perspective? I think that’s the way I draw that line.

Andrew: 56:57
My book is a mainstream book, it’s with a commercial publisher.

I don’t want to put you on the spot. But like, does that mean that what I’m doing is not from a disability perspective?

TR in Conversation with Andrew: 57:08
No.

When you mentioned the blind music artists, like, everybody knows Stevie.

to me, it’s a little different.

Andrew: 57:28
It’s interesting, he has like an album called Talking Book.

He’s not singing about blindness in every song.

It’s kind of a bigger question about identity.
Does your work fall under the category of the identity just by virtue of your having the identity?
Or does the work have to be about the identity for it to be included?
I think it’s kind of a spectrum.

TR:
Before we get to the question of what categorizes something as disability art specifically, let’s talk about identity.

A few years ago, I submitted Reid My Mind Radio to a Black podcast collective. They were looking for Black podcasts to amplify. Based on the fact that I never received a response, I assumed my podcast wasn’t Black enough for them.

But I’m Black!

TR In Conversation with Riana & Raven:
How do you define black?

Raven:
From African descent?

TR In Conversation with Riana & Raven:
Okay.

Riana:
There are some people who have some African descent and are not Black. Clarence Thomas, I guess he black technically? Well, he probably (Said in a deep mimicking voice ) “I’m not black I’m dark complexion. I’m the same race as my wife.”

Raven:
We had a speaker in this club that I was in. And I just remember her saying that she doesn’t use the term black anymore because someone found it offensive and she’s African American. And I don’t know if I lost my mind in the moment. But every time I think about it, I lose my mind. Black people are all around the world. And I think whoever said she was offended by the term Black has her own personal issue.

Riana:
At the friggin schools, they’re always like Black or African American. I’m like this school district is blessed with such a beautiful black diaspora. Half these kids do not identify as African American, but they definitely black.

Raven:
I’ve had friends before be like, Oh, I’m not black then because I’m not African American. I’m like girl.

TR In Conversation with Riana & Raven:
Cause they’re from the Caribbean…

Raven:
That’s what they’re taught.

TR:
Could I have been rejected from that Black podcast network because I’m Blind?
Stevie’s Blind, Ray was Blind and they’re Black!

— Do the Right Thing on He’s Black but he’s not Black!
Mookie (Spike Lee):
Can I talk to you for a second?

Pino: ():
What?

Mookie:
Pino, who’s your favorite basketball player?

Pino:
Magic Johnson.

Who’s your favorite movie star?

Pino:
Eddie Murphy.

… Magic, Eddie Murphy, Prince, there not Black. I mean….
Let me explain myself. They’re not really Black, I mean they’re Black but they’re not really Black. They’re more than Black. It’s different.

Mookie:
It’s different?

Pino:
Yeh, to me it’s different.
End of Clip

TR:
When I listen back to this podcast, I think it sounds Black. Not just because I’m on it, not because of the music beds or the references throughout that I know those who know, know. It’s a vibe that is in everything I do.

Police see me as Black.
My teachers and authority figures saw me as Black.
But then again, if your perception of Black is based in stereotypes then ok, maybe my podcast and I don’t fit.

But, I’m Blac!

— Song “I’m Black” from the Parody film CB4

Andrew: 58:30
So there’s a writer named Jim Knipfel who wrote the first book about blindness I ever read, which is a RP memoir called slack jaw that came out in the 90s. He and I have become friends. He’s sort of like a blind writing mentor for me. One day, he paid me a really big compliment, he was like, Andrew, be a writer, don’t be a blind writer, you’re too good of a writer to be a blind writer.
And it was a compliment, but it was also like I’m kind of psyched to be a blind writer.

TR:
Without knowing the exact intent behind that message, it reminds me of someone telling me I don’t look or act Blind. Which is actually less about me and more about someone’s perception of Blind.

Andrew:
John Lee Clark, the deaf blind poet, he had an interview in Word Gathering, the disability arts journal, where he kind of said the opposite. He was like, don’t hide it. That’s a perspective that is going to set your work apart. It’s a perspective to really draw from, I want to write everything from a deafblind perspective.

I kind of feel the tug of both of those approaches to being an artist.

TR:
Could it be more about who is doing the defining?

Andrew:
I was getting a ride from a friend of mine, honestly at the end of the ride, I was like, why are you a friend of mine?

He said to me, in no uncertain terms, so now that you’ve written this book, you got to know your audience, people really respond to hearing the story of you losing your vision, that’s what you need to write now. Just stay in your lane basically.

Write another book that’s about losing more vision. I was like you knew about my career that I had before I wrote this book now all you can see is blindness and like this kind of emotional aspect of vision loss that you see as the moneymaker.

I think that’s what Jim meant by being a blind writer, as opposed to just being a writer. People could only understand you through this experience. And so to me, that’s the pitfall. That’s, that’s where I agree with Jim. But then the next book, I want to write, it doesn’t even have to be about vision loss, but it can be sort of, from a blind perspective. And using blindness in that way that I find really positive.

TR in Conversation with Andrew: 1:00:45
Yeah, I totally get it. It’s how you’re being perceived as one way, and how you present yourself.
Sometimes it doesn’t seem to even matter, you’re being pigeon holed, which is not your goal.
When I started podcasts, I had this whole thing, I don’t have to do everything about blindness.
That wasn’t my intention. But along the way, I was like, wow, there’s nothing wrong with me doing things about blindness and then it broadened out to disability in general, I like this. And I can talk about everything and anything within the disability community or from a disability perspective.
I’m making that decision, it’s not someone putting that on me. But at the same time, when someone wants to limit me and say, This is the only thing you can do, that’s what I have a problem with. Because I can do whatever the hell I want to do!

Andrew: 1:02:37
That’s the question that I’ve been wrestling with really through the whole process of writing the book and figuring out my own identity as a blind person.

Is it supposed to be central? Or is it supposed to be incidental? When is it Central? When is it incidental?

Raven:
You know what blows my mind.

TR In Conversation with Riana & Raven:
What?

Raven:
When I don’t mention that you’re blind? And it’s like, (Mimicking voice)”Oh my God, how did I not know? Why didn’t you tell me, oh my we’ve been friends for so long, you didn’t tell me.”
(Laughter)

What’s it gonna come up for?
“Yeah, my Dad didn’t see today!”
(Laughter)
What the hell do you want me to talk about?
(Laughter)
I don’t know!

Riana:
it’s the same thing with me. They’re always like, shocked that I didn’t share and I said why would I

TR In Conversation with Riana & Raven:
I mean you can understand why people would find that….

Raven:
Not really.

Riana:
No! They think it’s like me sharing like a like a trauma

Raven:
exactly! That’s what it feels like.

Riana:
(Mimicking) “Why didn’t you tell me?”
And that’s weird.

TR In Conversation with Riana & Raven:
If you go back everything that you learn about disability in the in the world and how it’s perceived and all of that stuff, it makes sense that people will respond like that.

Raven:
Yeah but it’s stupid!

TR In Conversation with Riana & Raven:
It is stupid. (Laughs)

Riana:
And I also don’t like it sometimes because especially older generations if I tell someone that my father is blind, probably because it contributed to a conversation. They’re like, Oh, I’m so sorry.

Raven:
You knock his eyes out?

TR:
When it comes to being Black or Blind, I never had a choice.
I’m totally Blind. No eyes Blind! Like, I can win a Blind contest

— Timpani Drum roll “And the winner is”

TR:
Years ago my intention was to bridge this gap between the Blind community and others. It feels like a natural thing to consider especially as someone becoming Blind as an adult.

Today, considering all of my identities, I’m just not interested in trying to convince others to se my humanity.
I want to live a life with others who choose to recognize and appreciate people as they are in full.
I want to be seen with all of my identities not just those we happen to share. I want to do the same for others.

On the question of what makes something a part of disability culture, I think it’s about intention.
Who is the art made for?

I think disabled artist create for disabled people. Of course, others can appreciate, find inspiration in and interpret based on their own lived experiences, it’s art. But, in my mind and my interpretation, it was made for us.

— “Hold Up!” (Nate Dogg Sample)
Music begins: A crescendo leads into a bouncy up tempo beat!

TR:
Hey y’all! Quick update.
Shout out to all of the R double M Radio family out there who continue to put in that work.

Justice Shorter, who joined us during our Young Gifted Black and Disabled2022 season, along with SeededGround, recently launched the Disaster Justice Guide Book

“This guidebook is a collection of disaster-oriented lessons, lived experiences and learned expertise concerning people of color with disabilities. Based on six interviews conducted during the summer of 2023, each section is curated using the contributions of profoundly insightful individuals of color who are all well-versed in their respective areas of focus.”

You can find the downloadable guidebook along with accompanying interviews at JusticeShorter.com.

Big shout out to Ajani AJ Murray who launched his podcast Acting Up with AJ & Crew.

The podcast focuses on disability and pop culture. From movie analysis and reviews to some of the latest media happenings in the disability community, AJ’s got you covered.

I’ll link to both of these in this episode’s blog post over at ReidMyMind.com.

And now, back to the episode!

TR in Conversation with Riana & Raven:
What is ableism?

Raven:
Ableism

TR in Conversation with Riana & Raven:
(Laughs)

Raven:
(Spelling out the word) A B L… (Laughs)

Riana:
ableism to me is pretty much society today where it’s just it’s set up for able bodied people with the lack of acknowledgement for people with disabilities,
I guess that’s discrimination.

Raven:
I feel like a lot of the isms and all of that come from just the belief that there’s a normal like boy and girl that and if you stripped from that in any way you need to be fixed. In terms of disabilities to I think that’s what the feeling bad comes from because they’re not living the normal life that we deemed as a society as good and easy. Even though you can live happily with whatever cards you’re dealt.

Riana:
Yeah, we just need to adjust society

Raven:
Yeah!

Riana:
… to be more inclusive.

TR:
I can’t recall hearing the word ableism prior to becoming Blind.
In fact, it wasn’t until I eventually began reading about disability in general that I came across this word and concept.
That is, the discrimination of and social prejudice against people with disabilities based on the belief that
typical abilities are superior.
It defines people by their disability and is applicable both to an individual and system.

Like my girls said, society views disability as something requiring fixing.
It’s evident throughout our culture. Art, politics, religion.

Andrew: 52:10
The refrain that the poem says over and over again, is fall to your knees. And thank God for your eyesight.

TR:
This poem Andrew refers to in his book, was read during a service in a synagogue.

Andrew:
You just sort of have to sit there with your family, as a whole room of people just sort of appreciates that they aren’t blind.
It was kind of wild to me that Lily was offended or found it annoying and it wasn’t just me.

— Theme from Love boat!

TR:
My family and I were on a cruise taking in one of the family friendly comedy shows held in one of the ship’s smaller theaters. It’s still amazing how incredibly large these ships are. But they still get tossed around during stormy weather.

When attending any sort of comedy show, I specifically do not sit in the front row. I don’t want to be visible to the comedian. I’m there to be entertained, not part of the entertainment.

— Music begins: A dark, menacing violin repeats over a mid tempo beat.

We weren’t in the front row but it wasn’t a large theater and I was sitting in the aisle seat.

There was this one “comedian”, I say that in quotes because there wasn’t much about his comedy at all that was funny.
I could tell he was pacing from one side of the stage to the other.
He then stopped in front of the aisle that I was sitting in. He took a few moments and then walked back off to the right side of the stage.
I could just feel it, a Blind joke was coming.

It did. And it sucked!

He was struggling to make something up on the fly. It was some corny, basic joke that involved Stevie, probably the most famous Blind person on the planet. In fact, I didn’t even tell you which Stevie and you know who I’m talking about.

TR in Conversation with Riana and Raven:
Anyway, do y’all remember that? Do you have any recollection of that?

Raven:
I have about 10% recollection. And I am afraid that 9% of it is because you’ve told me the story three times this week.

TR in Conversation with Riana and Raven:
(Laughs)

Riana:
Literally the only thing I remember is daddy’s story. I don’t remember that happening at all.

TR in Conversation with Riana and Raven:
Really, y’all don’t remember that?

Raven:
Kind of?

Riana:
You’re saying that he saw you in the audience. And then he made a joke because he made the assumption you were blind.

TR in Conversation with Riana and Raven:
I’m telling you. It was like there was an energy thing something was going on. But it was like, it was as though we were making eye contact.

Raven:
Maybe you had a dream.

TR in Conversation with Riana and Raven:
Oh my god! )Said incredulously)

Raven:
(Laughs)
TR in Conversation with Riana and Raven:
It’s like, you know when you just go somewhere and you just want to be. You know what I’m saying? You just kind of want to just do your thing. You don’t necessarily need to interact. You just want to be there.

Riana:
definitely every day. I can see what Daddy is saying. When we go out, he has his cane or if you’re holding on to somebody’s arm people are going to look especially when Daddy had his eyepatch. Everybody was staring there was no just being like blending in the crowd. We stood out for sure.

TR In Conversation with Riana & Raven:
Sometimes as a family we don’t necessarily always get that and that was one of those times for me that we don’t get to just be

Raven:
(Sympathetically) Augh!

Riana:
Does mommy remember that?

TR In Conversation with Riana & Raven:
She did. She remembers it like I remember it she just says it was a different cruise which I don’t care that’s fine. And it was just it was a weird thing

Raven:
I remember a comedian saying a Blind joke and it not being funny on a cruise.

TR In Conversation with Riana & Raven:
This was that guy! (Mumbling incredulously)
Laughter

Raven:
But I don’t know what you want me to tell you.

TR In Conversation with Riana & Raven:
Did it make you feel any sort of way?

Raven:
I was probably very upset, annoyed.
But you have similar experiences that are all the same thing.

TR In Conversation with Riana & Raven:
Again, we talked about it goes into that just being, okay, we’re just hear we just want to have a good time like everybody and then all of a sudden, boop! Spotlight! You see what I’m saying. And not the good spotlight where you know I’m rocking the crowd “hey what’s going on” (finger snaps… “Uh, Uh!” as if dancing)

(Silence….)
Hello?

Riana:
Laughs….

Raven:
That makes me sad.

TR In Conversation with Riana & Raven:
Why does it make you sad?

Raven:
Because I don’t want you to think that it’s like, hard to go out and be a family, with your family?

TR In Conversation with Riana & Raven:
No, no, no, I’m not I’m not saying that. I’m saying it’s nothing that we do wrong, it’s not our fault. My thing is that I want to know how it impacts you or do you all recognize that and I know you do now, Riana has come a long way in terms of it doesn’t you know, she knows what it is, it doesn’t bother her. So I really feel like she’s gonna be better for that. She’s a better person…

Raven:
What? (Giggles) I thought you meant better than me.

TR In Conversation with Riana & Raven:
No, no, no! (Laughs)
I’m just saying like, she’s gonna be better for that. And I think the same is true for you. At the end of the day, we’re just goin’ do are thing!

Raven:.
That’s always been my thing.

TR:
And that’s exactly what we were doing during that trip and in that theater.

The rest of the audience around me, I could sense was aware of my presence, they seem to be looking for my reaction.

— Music stops.

In this case, there was none. Because I didn’t find it funny.
I don’t think they did either.
Although I’ll never know if that’s because they are aware of me being there or if as in this case, the joke just isn’t funny.

But, that uncomfort felt by the non Blind folks, a reluctance to laugh as they await my reaction as though if I find it funny absolves them of the “sin” of laughing at a blind joke…

— (An evil, menacing laugh….) “That actually is, (coughing) pretty funny!”, The Joker.

TR:
I was extremely aware of racial discrimination at a very young age.
But, I knew nothing about ableism.
I know I didn’t harbor any sort of hatred toward disabled people. I didn’t have an ableist bone in my body! (Sarcastic giggle)

TR in Conversation with Riana & Raven:
Do you ever notice any of your own internal ableism?

Raven:
Yeah,

Riana:
For sure.

TR in Conversation with Riana & Raven:
I know, Raven should be really good.
(They all laugh)

Raven’s like, “And, what’s the problem!” (Laughs)

Raven:
I think I noticed more of internal ableism with more intellectual disabilities because I’ve been exposed to it less.

TR in Conversation with Riana & Raven:
that affects you in a certain way? Is that what you’re saying?

Raven:
Yeah.(Pause)
Riana didn’t give any…

TR in Conversation with Riana & Raven:
I’m going back. This was all about an intervention for you. (Laughs)

Raven:
That’s what it feels like. (Laughing)

TR in Conversation with Riana & Raven:
I remember growing up, it felt like when you saw someone with a disability, you were supposed to feel bad. And sorry, and sad. Right.
The tel-a -thons. Y’all don’t know about the tel-a-thons.

Riana:
I don’t feel bad at all.

Raven:
We do know about the tel-a-thons.

TR in Conversation with Riana & Raven:
Oh, ok! That was a thing.

Raven:
Did you hear Riana?

TR in Conversation with Riana & Raven:
What she say.

Raven:
(Overly sarcastic and in vocal fry) “I don’t feel bad at all”

(They all laugh)

Riana:
I don’t. The only time I do is if like, if they’re not being accommodated.

Raven:
Yeh, yeh!

TR in Conversation with Riana & Raven:
Riana, , what about you anything around the internal ableism?

Raven:
Yeh, anything for you? (Laughs)

Riana:
Right now I see like ableism in the way that like I approach, neurodevelopmental disabilities or disorders. Sometimes I need to remind myself that we don’t need to, like, fix it. But especially with like a kid with like ADHD, because you get into this mindset, especially at the school, and I’m definitely not going to name drop that school, but they’re very ableist, in the sense of every behavior needs to be addressed. And they have to display the behavior in a certain way. And that’s where I see myself, making sure that I step back and be like, we don’t need to change this child. The curriculum needs to be adapted towards it. And school psych is pushing towards that message anyway. But I see myself being like, (Mocking voice that sounds a lot like Elvis Presley impression, LOL)
oh, yeah, we gotta do this and check in check out, behavioral modification…

(TR and Raven laugh hysterically)
Riana:
For real, I see it. Or like a kid with autism, we were just doing like, trying to figure out an intervention for them. And I just had to sit back and be like, Okay, we’re not trying to fix this child. We’re not going to try to change this child.

TR:
Another message around disability was, inspiration. As in, “Damn, if they can do it what’s my problem?”

— “We interrupt this broadcast to bring you this special news bulletin.”

That’s not inspiration. That’s just looking at someone as less than yourself.

No one ever gave me reason to question that way of thinking.

In my episode with Andrew, we talked about an early experience he had at a NFB chapter meeting.
That really brought back some memories for me, both as someone new to that environment and as someone who used to chair meetings of a local blindness organization.

In the latter, I had many opportunities to observe the uncomfort of those attending a meeting for the first time. These folks assumed we were a support group even though everything advertised about us was clear that we were a community advocacy organization working to increase access and opportunities for people with vision loss. That was literally what I’d say to not mention the word Blind because it scared folks away.

But when those unfamiliar with disability read “people with vision loss or blind”, I think their interpretation is, “Of course it’s a support group? What else do those people need?”

During these meetings, we’re talking about the business of advocacy. Meanwhile, those new to blindness are there in search of resources, maybe comfort, encouragement?

I don’t care if you’re personally impacted or a family member or friend, there’s something quite shocking when first encountering white canes, telescopic lenses and anything else associated with blindness.
Of course, there’s nothing shocking about these things, but when you are in this position where you’re facing a new normal; it’s a lot to take in.

Over time, I could recognize those who would return and those who were outta there.

Occasionally I think about them. the ones who ran away. I hope they found what they were looking for.

I’m not necessarily saying it was internal ableism that stopped them from connecting with our group. I just know that my internal ableism could have stopped me from connecting with people who truly made a difference in my life.

TR in Conversation with Riana & Raven:
Have you ever witnessed ableism, in the real world …

Raven:
Are you kidding me?

TR in Conversation with Riana & Raven:
… that’s outside of anything to do with your father?

Raven:
Oh my god. Yeah.

Riana:
Girl, yes! (Laughs) What?

Raven:
Are you joking? (Laughs)

Riana:
Yeh, everyday.

Raven:
Number one, Villanova. That place man…

Riana:
Yeh, Villanova.

Raven:
Not the place but

Riana:
No the actual place is not accessible.

Raven:
(Ugh!) Ok, hold on. So the first thing I’m going to say is that a lot of the places on the campus, obviously they make accommodations but a lot of the places on the campus have like the disability stalls but there’s only stairs to get in it.

Another thing that drives me nuts is the people who think that they are so woke .
I was telling a story once something about going into the big stall somewhere and they were like, (In a British accent for some reason. LOL)”Oh I don’t use those stalls cause I realize those stalls are not for me”

TR in Conversation with Riana & Raven:
(Laughing)

Raven:
And I’m like… (laughs) it pisses me off because I’m like, (yelling) “How are they gonna get inside of the place if that’s what you’re talking about.” It pisses me off because it’s this one dimensional viewpoint here it’s like don’t say a slur to someone but it’s so much more than that.

Riana:
I’ve been around people with disabilities for a while so I see it, institutional heavily like Raven was mentioning. Daily conversations. I’m thinking of things in like recreational therapy too.

The Rec therapist is coming in and trying to make something accessible. So you’re seeing how it’s not accessible for everybody. Just a lot of times you go into a space, and they’re like, Oh, this is what you can use. And it’s like, well, we’re going to need contractors because the people are not going to even be able to come in. If you take two seconds and put yourself in somebody else’s shoes. Even like a YMCA we went to and it wasn’t accessible. Every day living, we just had to create things, at least in my experience. And maybe that was just because we were students. So they weren’t really taking us seriously, but you had to be very creative. It puts you in a mindset of like, wow, people who are just not included. You have to be so creative, just to make sure that you’re able to do what you need to do.

In school psych. It’s always like, wow, my child looks normal, they seem normal.
And I’m like, you know who’s not normal? You

Raven:
I think also in a casual way, I notice it more. I think as a society we’re starting to work on our language

Riana:
Yeh!

Raven:
But I notice that it’s a little less with ability language.

TR in Conversation with Riana & Raven:
Hmm! Riana let me ask you this. What’s the language that’s used when it comes to disability in your line of work?

Riana:
In School Psychology?

TR in Conversation with Riana & Raven:
Yeh! Do they used differently abled, special needs, do they use disability?

Riana:
No, we say disability. That’s my huge argument over semantics. Everybody’s like don’t get caught up with semantics but that’s extremely important. If you describe a disability in a certain way it can put a picture in a parent’s brain and sometimes you just have to let that parent or teacher or whoever is uncomfortable, be uncomfortable because it is what that child is period.

TR in Conversation with Riana & Raven:
It sounds like you’re in the camp of no we’re gonna use the word disability, we’re not gonna change the language we’re gonna use those words.

Riana:
No!
Riana:
I’m not making you comfortable with anything, especially when I’m making you comfortable within ignorance. I’m not doing that. I’m gonna tell you your child has Autism cause there’s nothing wrong with Autism.
The DSM 5 says what it is and it is what it is.

Raven:
I just noticed this thing because I’m taking Psycho Pathology and I’ve noticed a lot of the names of things have changed.

Riana:
Yeh, like Sociopath is anti social personality.

Raven:
There’s like a lot that I realized have changed.
Riana:
Yeh! And that’s because of culture though. The way that semantics comes into play and the way they become derogatory and then we have to be sensitive. And that makes perfect sense, you know what I mean.

Raven:
Yeh!

Riana:
The “R” word. It makes perfect sense, I’m not going to use it.There’s some things though like obviously school psych’s aren’t going to test if a child has “gender dysphoria”, but I wouldn’t approach a situation where a child says they’re non conforming . I’m not going to say you have gender dysphoria. Like, that’s so stupid. That’s something that’s becoming a little derogatory too. That’s when I might change my wording, but that’s because of a cultural aspect.

— From George Carlin Stand Up Comedy:
“Sometime toilet paper became bathroom tissue. Sneakers became running shoes. Information became directory assistance. Car crashes became automobile accidents. Used cars became previously owned transportation.” (Audience laughter.) “Room service became guest room dining. And constipation became occasional irregularity.” (Audience laughter fades out)

— Music begins: A very bright, fun mid tempo beat.

TR:
Now, thinking about the requirements for citizenship in the country of the Blind, the truth is I don’t know that we have an immigration issue at all.
I don’t know anyone lining up trying to get in.

The country of the blind, just like this podcast, has fully open borders.

That being said, it is an opportunity to examine and challenge the way we move through the world to really figure out what blindness is and isn’t. What disability is and isn’t.

Even more of an opportunity if you have people in your life who you love and love you back to share in the experience.
Yes, these conversations can produce a range of emotions, but if you’re lucky, it can just lead to strengthening those bonds as opposed to breaking them.

(Sounds of laughter and conversation between Raven, Riana and Daddy!)

Blindness, disability is all a normal part of the human experience. Which I think works better when we’re all in it together!
Raven, Riana and Daddy:
(The conversation continues and leads into a hysterical laugh from the three!)

Big shout out to Andrew Leland, author of The Country of the Blind, remember, available on the NLS BARD for digital download and Book share as well as all the other places you can purchase books.

Riana and Raven, AKA, Daddy’s babies!
Hanging out with them, is one of the biggest blessings of my life.
Daddy loves you!

Reid My Mind Radio, daddy loves you too! (Silly laughter)

Reid My Mind Radio is available wherever you get podcasts.
Transcripts and more are at ReidMyMind.com.
The only way to get there is by spelling it right!
Riana and Raven:
R to the E I D!
— Sample: “D! And that’s me in the place to be.” Slick Rick

TR, Riana and Raven:
Like my last name.

— Reid My Mind Radio Outro
Peace!

Riana:
Can we do shout outs!

Raven:
Can we say bye?

TR in Conversation with Riana & Raven:
You just said bye!

Raven:
Not really.

TR in Conversation with Riana & Raven:
Go ahead, say bye!

Raven:
Bye, guys! Thank you for having us on Reid My Mind Radioooooo! Peace!

Riana:
Peace! (In a deep voice)

(In her television announcer voice)
Thank you everybody for listening to Reid My Mind Radio. I’m Riana Reid with my co-host Raven Reid, taking over for this episode. Please follow us on Instagram. Mine is @RianaGeorgette. Raven what’s yours?

Raven:
I’m @Raven22 .

Riana:
We love you, thanks for listening, see you next week.

Raven:
I liked it, that was awesome!

Raven (at about 5 years old)
Woh! Heavy breathing. That was awesome, that was awesome!d

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