Delia: Hello and welcome to the podcast where we talk about creating experimental art in trauma-informed and sustainable ways that support artists, our communities, and our organization as a whole. I'm Delia, and I'll be your host for this episode of Any Other Anythings.
Hello all and welcome to episode number three of season three of Any Other Anythings. I’m Delia, I will be the host for this episode. I am- have- I have existed at Grey Box in a digital way. Only since 2021 did I start participating in Grey Box Collective. So I'm excited to be interviewing someone who has a bit longer of a history with the organization.
Today. I'm here with Adam, so welcome.
Adam: Hello, hello.
Delia: In a moment we'll get into more of your origin story, but I wanted to start off with a little check-in and resourcing first. So do you have a favorite? Well, first yeah. How are you doing? What's going on?
Adam: I am doing, I am existing and I am trying to find the thrive to strive. Or the strive to thrive.
Either one of those, you know, just collecting data from like what you need for taxes and then what you need artistically to fill yourself as a human. Water. I'm always looking for more water. So honestly, that's where I'm at right now. And you know, this is really nice to have these little check-ins and then also to be back at GBC again.
Yeah. Wow.
Delia: Yeah. Thank you. Yeah, my, “how are you doing” is I feel- I guess for context for the listeners, I am a little bit late to our meeting and I wanna name that because I think something I've been working on is actually being like “in time” versus “on time” and allowing, you know, I think that you, Adam, gave me a lot of grace for showing up late.
And I also am proud of myself for not totally freaking out right now about that. So as we continue our conversation Yeah. What is your favorite sort of resourcing activity that we do at Grey Box, that we can settle into?
Adam: Yeah. So for me it's just a good old breathing and breathing out. I'll share something real quick too.
I work with an educational theater company and we do social-emotional work. So if we can do a quick check in, we're gonna do a square breath together. So if you wanna follow me real quick, I'm just gonna do this for myself cause I need a set in. We put a finger at bottom of our square
and we breathe in 2, 3, 4, and hold. Four, breathe out 2, 3, 4, and hold
and like that. It's like a box, like Grey Box, but it's a square breath we call it. So .
Delia: Love it. Thank you. Okay, so one of the things we are doing slightly differently this season is dividing out each episode into three segments. One focused on GBC creative's personal stories, one to talk about behind the scenes of our most recent projects. And then the last is where we lean into the, Any Other Anythings title and just choose where our conversation goes. And for a little transparency, we've talked about the structure and content of today a little bit prior to recording. So a lot of the content will just be spontaneous, but the form has already been agreed upon by both of us.
So first we. We have this opportunity to hold space for Adam's origin story on this platform. And origin stories can take many shapes, but we think of them as clues throughout our lives that suggested that we'd end up where we are today, either physically, professionally, personally- however, Adam chooses to take that today.
Another way to think of these stories are parts of our journeys that don't necessarily make it into our bios or websites, but are definite threads that have been part of our lives. So, Adam, please share your story and as a formal exercise, this is often done with the challenge to the listener, or myself as the host, to hold space for the speaker without interjecting. With minimal non-verbal communication, which is hard for me. None, none of my, mmms and nods and all of that. So I'm gonna go quiet and put myself on mute and then you can share your origin story when you’re ready.
Adam: Definitely, thank you. Thank you. Thank you. Origin story for Adam Mendez. How does it go? Sixth grade classroom books, desks, musky, Montana, smell humidity, reverse the six to a nine.
It's ninth grade, not sixth grade, but we were in ninth grade. So well, a lot of the origin story from my art creating and my process as an artist started in my ninth grade year. I was really into poetry and at the time growing up, I didn't really have much, people I could have called my friends cause I just moved to Montana.
It was over it's own bubble of people that knew each other since, since they were little, little kids. And I had no idea who I was or where I was, honestly still. But poetry is always like the grounding factor that ringed me back into where I I current was in the moment, and I'll never forget. One of the moments that really solidified my decision to continue art was a Poetry Out Loud contest, and I took up “a Dream within a Dream” by Edgar Allen Poe.
And the first time I ever had everyone be quiet and just like give me their full attention and be in that kind of power seat, was quite intoxicating for that first time. And I didn't know how to get that feeling back again. So I was just relentless, vigorously trying to chase it, being loud, being disruptive, being, doing like a lot of things, like I'm in trouble growing up, but until one of my English teachers, Ms. Shot, she pulled me to the side and said, Hey, I could see, remember that day when you share the poem and I think you should continue on into theater and you should really find your voice in there. To me, I'd just thinking, nah, I'm not doing theater. That's, that's weird. I ain't never gonna do that. Because, no, it was never a thought in my family, ever, or like an idea that one of us could do art for a living.
Like that was so, so, out outside of the ballpark because we're just workers. We're all like hard workers. Immigrants from the nine, early 19 hundreds, and even recently in the 1980s from my mom coming to the country, from kitchens to farms to the earth, to the water, just always our hands deep in it. Elbow, elbow deep, and giving back to the communities that allowed us within.
You could say, So once, what, what really solidified it was my professor, one of my teachers, Adam Wagner, he introduced me to John Leguzamo. His one man show Freak, and once I saw that and the possibilities and the. The imagination that comes with it. I realized I've been choking myself, my own stubbornness and my knowledge even.
So I decided to challenge myself and step out in my comfort zone and push through. I dropped all the sports I was doing. I was I was not, I wouldn’t say I was a jock, but I did a lot of like soccer and baseball. And my trajectory originally was to be a, a athlete, you know, for college level at least. You know, when I did the 180 to theater and the arts, everyone was surprised.
But for me, I was really, really secure in what I was doing, and I've never felt secure about that like that in my life, ever. And since then, I've been creating and I try to create something every day, at least one little thing from a rap to a, a drawing to something on my, on my instruments. Always sudden try to create something every day because it feels like that's when I'm truly alive at a moment and I'm present.
Delia: Thank you. So there's sort of an opportunity to either leave your origin story just as you, as you gave it and then move forward, or are you interested and open to like a follow up dialogue about that?
Adam: It could be an open dialogue. I'm, I'm fine with whatever talking about it. I mean, that's what I do now for a living.
Delia: That's my job. I think a couple of different, I mean, it's always nice when you've worked with someone to then like hear, oh, this is how they got to this place. So that context is really interesting to me and a couple of threads that stuck out to me. About creating something every day, especially as this new year has come, I've been seeing a lot of visual artists who are doing a sketch a day for 2023 or, or a song a day.
So I guess I'm curious, is it like, if you do that in a really specific challenge or you're documenting yourself or it's sort of like at this point in your life, it's second nature to make something.
Adam: Mm-hmm. So definitely it's cathartic and also documentation is a great way to put to it. Cuz looking back on my works and I was at a certain time in my life, it does give me like a, a wholehearted feeling, which is hard to get a lot of these days unless you, the main consumer consumes a lot of art for themself. Or if you go back to your hometown, even for other people. But within the writings I reread, or music I rehear that I've written the past, it really like brings me to full circle to who, who I am as an artist and where I'm at right now.
I forgot the question.
Delia: I think you answered it. Yeah. Kind of laid a lot out there. I'm also curious about well you talked, you talked about how with your, like daily creations, it might be writing, it might be doing something with music. But you describe yourself as a theater artist and I am...something I've been thinking about a lot is how I have these creative outlets that I don't, that are they're connected to, but not necessarily an integral part of my artistic practice as like a professional. So I'm curious, yeah. Is do these little bits of creativity feel separated from or entangled with you work as a theater artist… Or maybe both and...
Adam: Yeah. You know, in Los Angeles everything's film first. Theater is an afterthought and a dying source of income out here, you could say for. My creating and writing for my personal self. It's very much cathartic. It's very much my personal own wellbeing and mental check.
I'm doing, like going to the gym too, or even like organizing a room that that's like my check-in and my, my stability for each day to ground myself as for my work. I mean my work with educational theater right now is like my, my bread and butter, but it's also one of my prides living here. Cause I get to work with young audiences and work on emotional skills and emotional intelligences that we've neglected for generations upon generations. Also want to add into with film, it's also a job I see and I understand the characters and how to get into it. And when it comes to film there's a lot of varying types of work. There's commercial, there's, there's drama dramas like working, and there's comedy all within itself, a whole different presentation and style that you just need to understand formulas to and understand the rules and break them or figure out ways to even like challenge the audiences interpretations.
But my thing the, the thing on the back of my mind a lot that I always neglect or I fail to put as much focus in is my music. I, I write a lot of songs and like this computer, my books, everything has like pages upon pages of sounds and noises I put together at a certain time of my life. And a cathartic thing I would do is I would play that song on my headphones for sometimes hours in a day, two weeks or, or, or a whole month.
And. This is how I processed and got through some the harder times in my life.
Delia: Yeah, it's interesting. And last season when I had a conversation with Micah, he ended up talking about how music is a form that he feel like he feels like he's had or hasn't necessarily dedicated as much time to actively and.
When I was talking with Molly, I, I was sort of talking about how with the digital creative process I was creating a soundscape, which is not sort of something I normally think about. So I, I guess it, I'm, it's just interesting this sort of shared space of an entire sensory experience that we're intrigued by, but don't necessarily put that
intention into, or that, or aren't actively working within in this moment, but that there's like a collective Oh, sound. That, that's happening too. Yeah. .
Adam: Mm-hmm.
I will say of all my instruments, the violin is the one I'm most fluent in, meaning I can go into any space, get the strings, and I can figure out and play on the spot, which is something I always take for granted, but then also something I just understood and never wanna show off. I just wanna be modest with it and just provide when I can in certain spaces when it calls for it.
Delia: Beautiful. I love string instruments.
Adam: Gorgeous.
Delia: This feels like a good moment to sort of move into the next section, which is talking about the creative process and the behind the scenes of our most recent project. Since both of us were working on the digital process for the Understanding Otherness film, I'm excited to talk now a little bit after the process about how that felt for us.
With almost any creative pursuits. The final product, project performance is sharing just a tiny part of the work with audiences, and so much happened well before what the people who see these films are going to be aware of, though this is our opportunity to share more about the creative process as individuals and as a collective.
Yeah. So I'll leave it to you to sort of direct where this part of the conversation goes.
Adam: Yeah. Well, first off, mad respect and applause to you for editing and putting a lot of that material. The, you took the palette, you got the paintings, you got everything. You, and you really helped solidify us together.
So I'm gonna say thank you first for that, Delia. Yes.
Delia: Thank you.
Adam: As for me. This was a challenging year because I just had ACL and meniscus surgery on my left knee at Sep- end of September, and we were creating material here in the last few months of the 2022. So with Molly, I'll let her know my limits, but she's even just pushed me even further saying, create within what you can, but at the same time, you're still an artist and you can figure out what to put on the film that we can utilize. So I was really like, okay, well I can't use a pity out where I just don't put any film in. So I really went back home in Montana and lot of, lot of interesting backgrounds and snow and things there. I, I really am pulled to when it comes to creating movements and in the recent work you see the, some of the spaces too. And it was nice to actually forget about it after a bit and just moving through and flow through. I mean, I had my leg wrapped up to the max with all, all my bands and, and stuff together, but I was able to push through and like really find the flow internally and have it influence my whole body.
I definitely, I look like a different performer than I have in past years working with GBC, to which I started back in 2013, 2014. Wait, yeah. Back then with Finger Painting [for grownups] and It's not that Simple. A lot of lot of work we did together. But yeah, so it was nice to have this challenge and then to see, to see myself succeed and, and find, figuring out what to do in the movements.
But yeah, and I think. The, the voiceover poetry really just came in, in the moment just to like spark more within the group. And I'm so glad people added in their own poetry too. Cause that really, really like based out and spread out all the roots to the tree. You know, a great strong tree with, with oak branches has just a strong roots down low and everyone was contributing to that.
So it was really nice to see.
Delia: Yeah. Yeah, I remember when we were doing the sort of like virtual sticky note making and vision boarding kind of, of the project, there was a sticky note that was talking about body parts being cut, cut off from one another. I'm not sure if you contributed that one or not, but like this otherness of the body or like otherness of the mind from the body.
And I'm sure that that definitely comes up in a space where we're feeling injured or we're like, we're having to learn something new about this tool that we're used to working with. So yeah. Anything else about. How the topic of otherness thread threaded through this, these discoveries you were making
Adam: whenever it comes creating with GBC.
I always understand this as a artis. Lemme start over. Working with GBC in the past, I've understand there is an artistic freedom to our choices within a realm of our topics and themes. And with otherness, I was, I think this is the most challenging one where I'm tr still trying to understand what exactly is otherness to me because I, I mean, it's like you said too, the sticky note.
I think, I think that was me probably about the whole detaching of limbs and such. My, my, my leg still feels. It feels fine, but I still doesn't feel like my own at times. Like there are moments where I, I, I'm touching it and I can't feel that I'm touching it and I'm like, what's going on? And maybe that's the otherness and I'm living it in that example.
Or maybe I'm just so detached from other people in my world that otherness is, I'm just existing in as is, and I take it as a norm. And honestly, I'm secure in my own isolation because I just wanna work and create for myself and I'm entertained by my, my own energy in, in a way where I don't need anyone else around me.
Yeah. And that's just the artist's life. You know, in general, if you really are about your work, you really want to push yourself forward more. You really put yourself first then, and not really anyone else sort of macabre, but at the same time, that's just the way of the soul, I guess. I don't know. Lamenenta de alma.
Delia: I-I also remember moments in the process. Where, I mean, you and I were both submitting videos from these, like these home spaces that were really natural and outdoors. And I remember moments when You know, Ray was like, I can't even imagine seeing a place like that because you know that, that different members of the team ha-have different interactions with spaces and nature and then In in the conversation where other GBC members were seeing the draft of the film, nature kept coming up as a theme that they were seeing that wasn't intentional.
Like we never sat down and said, oh, nature is important to this topic of otherness. And yet those images came up so many times in the film. Yeah.
Adam: Definitely.
Delia: I'll just leave that there.
Adam: I definitely agree. Yeah. From my, my space in Montana where Lewis and Clark, Rocky Mountains, the rivers, that's my space.
Even seeing your content, I, I can't remember where exactly you are, but a lot of trees, a lot of like rivers and the fall colors and everything. It was quite, quite surreal cuz then you have Molly's nature that she brought in, which, you know, Arizona, a lot of desert, a lot of flat dust, but in its own sense, a whole color palettes of reds and oranges that really blend well together in its own spectrum.
So yeah,
Delia: And it's interesting because we were filming you and I, like we were filming at the same time and it looked like we were in all of these different season. Because I had the fall leaves, but it certainly hasn't gotten cold enough for snow here where you have these beautiful evergreen trees. And it's interesting that you mentioned Lu-Lewis and Clark, because I'm in, I'm in Virginia, so I'm in like John Smith Pocahontas type country.
Like John Smith literally walked on the land that I live on. All that and what that entails .
Adam: That's so interesting. But you know, it's history that I'm glad conversations are resurfacing and rediscovering and re-rehealing, I guess, you know, allowing yourself to finally heal from those actions and past. Yeah.
Past, past things that happened. A lot of like Native American studies. I-I-I really love reading into, and, and looking into as well from the Americas down to Mexico, down to like mess Meso-America. It's really, really interesting. The knowledge and power and influences we, the people beforehand had on these lands, but then wiped clean essentially, and we have to start over in these lands.
So it's relearning, regaining.
Delia: Absolutely.
I have like, I have two different converging- a fork in the road of where I can take this. So I'm trying to figure out,
Adam: I definitely put, oh,
Delia: Now I feel it,
Adam: An extra. I definitely. Something in there, but yeah. Yeah.
Delia: Yeah.
I guess something that also came up in your origin story that feels tied is a-a, something that I believe we share is both having migrant parents. My dad came from Colombia in the eighties, and you mentioned your mom coming to the States in the 80s. And and before we started the recording, we were talking about our relationships with Spanish.
And so that feel the, we never really got into this during the, our conversations about otherness, but, but like the othering from language definitely seems like things that are, things that are both-on both of our minds. ,
Adam: you know, you hit it right on the head of the nail there. I think there is something there with otherness and within our cultures and languages.
Yeah, my mom came from Mexico in 85 and met my dad soon afterwards. Had me in 92 and. Yeah, my, in our household, no English, I mean no Spanish, excuse me, no Spanish, all English. I think growing up in Livermore, which then was a cowboy town, so very Americanized in a way. It was just to protect ourselves and just to secure our, our footing into the region, but it's something I lost and put me on a disadvantage. Now here I am 30 in LA because everything is like a lot more Spanish speaking and want bilinguals. I mean also at the same time, they take advantage of the bilingual user by, because that's two sorts of information and they pay 'em less or about the same as they would for an English speaker. But that's another conversation to where that's something else.
Same time, yeah, the otherness detachment from my own culture, like going around and speaking Spanish. I'm very confident cause I grew up in a taqueria next to my dad all my life making Mexican food. But now I know the language enough to order in Spanish when I go to these Taquerias out here and it's such a prideful moment for me.
That's the only time I feel connected, like, and with my own people. But other time it's, it is definitely like an otherness where I'm like, oh, I guess I'm Pocho is a, is a word that comes up a. is, is more, ac is more accurate for me how I see myself. I know the Latine community has a lot of different opinions from like people who just are all traditional or just like the emotional intelligence isn't there cuz they've been neglected their whole lives.
So they feel everyone needs to share their mindset or to the people who are trying to make changes and bring more unit- variety and flexibility in our worlds. It's really. It's really interesting seeing it from a Mexican culture standpoint and an American culture standpoint. You know, cause my dad's more American, my mom's from Mexico.
So just seeing both of those, it's like huh?
Delia: Yeah. Yeah. And I think there's this this desire for the la-Latine community to be this one unified thing. But it's a super vast diaspora that even if you think about the different regions of Mexico, obviously they're gonna have their own regional differences.
Or in Colombia it's the same, like it's a pretty small country, but each department or state is super different. So how can someone from North America, like from Sonora, be expected to fit in the same box as someone from the tip of South America? I don't know. There's something that, especially living in Arizona for a while I feel like I've had a lot more access to Mexican culture than to Colombian culture.
And so I've been- something I've been investigating is what are, what are things that have-about Mexican culture that have been co-opted into a unified Latin experience? Like what? What are those things that I feel really touched by that aren't actually mine or aren’t culture-culturally related to me. How are the way, the ways that, like what are the ways that I can feel that same way about things that are actually Colombian, I don't know.
So all of those. The, the othering, the push pull and push and pull that we talked about the ways that our otherness can also shared otherness builds community, all of those topics that we spoke about in the process in really abstract ways. Yeah, those are like the more, the less abstract ways that they've shown up.
Adam: This is such a dense topic where like we could spend probably a good amount of time talking about our own experiences. Cause I'm, I'm really curious about the Colombian experience. I-I really don't know cause I don't know what's my own but okay. I mean, see now my- my brain's turning, my gears are, are working, trying to understand like everything.
Well, how about this? I'll give you a quick fun fact about Mexico. Well, you already know the answer. Where was the Caesar salad first originated or invented?
It was in...
Delia: You froze for a second.
Adam: Sorry. Sorry. I'll start over. Where was the first Caesar salad invented? Is in Guadalajara, Mexico. With a raw egg. I didn't know it was a raw egg. That, that blows my mind. It's like, oh, okay. Hmm. So yeah.
Delia: Wow. amazing. I can share. That is a really fun fact. And is Guadalajara the part-that's where your, your mom is from, or that area.
Adam: Oh, she's Chi area or She's, she's a Chilanga.
She's from Mexico City
Delia: Okay. Yeah. Something I can share about Colo-Colombian culture without going on a whole journey is that this behind me this was given to my father by my uncle, but it was woven in the state of Santander, Colombia, which is where my family's from. And so the, these cats and sort of this, this is sort of similar to a Poncho. It's called a Ruana, and then this is like representing a woven basket. So they're like the indigenous communities. They have a really. Rich weaving practice and is a very, like, there's a lot of milk, like the food is really meat, potatoes, cheese in that part of the country.
Adam: Interesting. Yeah, I mean, potatoes came from Peru, like people think it's from Ireland. Nah, it's Peru all a hundred plus different kinds of potatoes. There are so many potatoes out there. A hundred plus different kinds. Yeah.
Delia: All of the, the nightshades did, so even tomatoes, they're from South America.
So Italians and their marinara sauce only exist because of colonization.
Adam: That's the topic that's that's the one we're still unraveling from. Anyway, subconscious. A lot of unconscious behaviors that we're not ready to really admit to or talk about. Cuz then it's like, well now you're being over dramatic.
Where it's like, nah, is this just a pattern that we've always neglected and ignored, and now we just wanna talk about it? And then you get defensive because it's too much to process. Or it's like, oh, we're being, what's the word, snowflakey, as some people say. I'm like, all right.
Delia: Ooh, that's an interesting term with your snow background behind you
Adam: Right? I do love the snow. I run hot, so I always have to be cold.
Delia: That's-okay. I feel like we've just naturally moved into our, Any Other Anythings moment where we're just throwing anythings back and forth at each other. Because you said you love the snow and you run hot. Reminds me of how I think people really associate me with earthy plant-like things. And so they always think that I, I'm an earth sign in my zodiac chart. I actually have no earth placements. My whole chart, I'm all air and fire. So somehow I-I've tricked everybody.
Adam: whoa. Wow. Okay. That's, yeah, that's interesting. That's very interesting because, you know I'm Earth, Water, Earth, so I'm all, I'm just earth and water. That's it. Just grounded, oh Virgo, you know . So, yeah. Any Other Anythings? I found this interesting to hear from a fellow coworker. -With your last name.
Do you know what it means?
Delia: I don't know a meaning. I know that it, it's definitely like, originated in Spain. Like it's an old Spaniard last name that came. And that there's, there's a part of Spain where there's a lot of Ibañezes that my dad visited, but I don't remember. where? So I don't know, know the actual meaning. Well, it's also
Adam: real quick, it's interesting cuz Ibañez is also a guitar brand, ibanez.
So it's like, oh, the guitar is like that. But for me, Mendez, I learned recently like the name Mendez from Mend, or Mendel from German Origins. It's definitely, it means all sacrificing or full-full bearing to, to offer like my full self. So honestly it gives a lot more clarity to.
Behaviors in the past with other people, which I'm like now I just want to fully commit to myself in that way. For Any Other Anythings. Hey, if any y'all are visiting Helena, Montana, go check out El Vaquero Taqueria best Mexican food in the whole state. And I've put my, put $10 on that. I will. Because it's just, you can't get a better anyone else.
And it's not, cuz I'm biased because I'm educated. And if you, you want go to calle Street tacos, grab 'em, eat 'em up. You're not gonna be disappointed. Believe me if you do. Hit me up and we're gonna have a conversation and I want you to articulately explain to me why it was bad for you, and I'm really curious to hear about that.
Any Other Anythings? My music's online. You can check that out. Or I'm doing some art going after it, but everything's a, is a, it's a journey, so just breathe and take it and, and enjoy it. Yeah.
Delia: We’ll make sure when we do the shownotes to like have a link to the taqueria, the link to your site, all of those things. I see.
I'm curious, my, Any Other Anything is what, how do you like to dress your taco?
Adam: Con todo, you know, cebolla, cilantro, limon, salsa cruda.
So, okay. All right. Okay. It's Al pastor. It's always Al pastor. It's gonna be an Al pastor. I just, I love, love the citrus. You know, you got all that stuff. If I'm feeling saucy, I'll put some cotija on top of it, just cause I like the, the, the cheese with the sweet and then the spice. But usually I'm, I'm in the kitchen with my dad and I just want to eat quickly and go work with him.
So I just take it, just golf it down and just get back on the line and just help him out when I can. Y tu?
Delia: I always like an al pastor tambien and like I always definitely have to put the lime on it. I-I'm, sometimes, I'm wimpy about cebolla, but it's always delicious too. And I only recently I started liking cilantro, so I feel like that's a big win for me. Especially all of the Colombian foods have so much cilantro in them. So I am very glad for this shift.
Alright. So we have reached the end of our episode and we'll wrap this up with a checkout. How are you, Adam? How are you doing and what are you thinking about?
Adam: I am…pleased with this conversation today. I-I've never met you before except this last few months ago, and honestly, it's been really a, a, a joy to like, know you a little bit more and understand your work ethic. And honestly, it's, you're like someone, I'm like, okay, I respect you as an artist. And I'm like, all right, this is great.
I, yeah, I'm actually really surprised by how fluid and pleasant this conversation was and what I'm thinking about. I told my homie, we'll be getting sake and ramen today, but now I want tacos. So we're gonna see when I see him, we're gonna talk, but see what happens. How are you?
Delia: I'm doing well. Yeah, this was a really pleasant conversation.
I think it's, I keep thinking about how we in creative processes, we reach all of these deep vulnerable places sometimes and then don't even know each other. And so it's, it's nice to have this space that this podcast is creating for us to all be in conversation with each other and they don't have more conversations in the future about all of the different topics that came up today.
Oh, we also, we get to seal it. How would you want to seal it today?
Adam: Oh, let's, let's seal it the way we started. A square breath. All right, so out of my screen, I'm not gonna count. I'm just gonna breathe. Breathe in
hold, exhale.
Hold.
Delia: Thank you.
Adam: Hey listener, thank you so much for taking the time and energy to listen to this episode of Any Other Anythings. Be sure to check out the show notes for links to find out more about this podcast, the speakers, and Grey Box collective. You can also go to Greyboxcollective.com/podcast for a full transcript of this episode.
Thanks again for listening and take care.