Embracing Multi-Potentiality: An Inspiring Conversation with Atmos!

Peace. Peace, everyone. It's your girl, sequoia blue back in here with another episode. And today we have a special guest from the UK, Atmos. And he is a multi instrumentalist, composer, artist, photographer, poet and author. I mean, just all around talented. And he considers himself to be a multi potential light. And that's a great segue, y'all, because, you know, I consider myself to be a multite potential light. So I definitely want to get his opinion on what

that means to him. So thanks, Atmos, for coming into the pod today. And what does multi potential, like, mean to you? Oh, that's a good place to start. So multi potentiality is something that I came into quite late, really, and I never really knew it existed. So for me, it means wanting to explore lots of different areas, but deeply as well, not just scratching the surface.

So it's exploring multiple interests and sort of really diving into them and finding out what it's about and what you like about those interests as well. I like that. Yeah. Because there's so much stigma on that. They're like, focus on one thing and meet down and blah, blah, blah. And it's like, that's not everybody, right? And everybody can handle different things, right? Exactly.

Exactly. Yeah. I was just going to say, like, for me personally, like, one of the reasons I consider myself a multi potential art is because different art forms, for example, they cater to different needs or different things. I want to express. You know, I might want to express something visually through art or photography, but then if I have an emotion, I want to get out. It might be music that fulfills that. So you just. You just let out whatever vibes you have

with whatever skill set that's there that you have. I like that. Like, it's good not to close ourselves off because it's just, it doesn't make life fruitful when we can't just say, okay, let me express this this way. I'm a painted. I love it. I like your paintings, by the way. Please check out his website. Thank you productions slash links because his art is very different. I like the style of it. I'm actually probably gonna buy one of these because I like, I like, I like art the size of boxes,

as you all probably know by now. And so what, so what is the favorite. What is your favorite thing that you like to do when it comes to, like, figuring out what you're. What you're gonna map out, like, as far as, like, your book or just your music? Like, how do you sit down and prepare for it? So I think one of the ways I prepare for doing these things is almost kind of doing the groundwork by just allowing myself to play and sort of create without expecting

too much to start with. A lot of the projects I've created, they've come together almost afterwards. I've been writing a lot of poetry under a tree, for example, at one point in my life, and then at one point I thought, well, maybe I should do a book, because these poems that I've been coming up with are quite strong, and they clearly link together for

most projects. It's not really a case of I've got a vision that I want to come together, but that does happen as well sometimes, especially if it's something like the music that I've been working on. If I've got, like, a concept album in mind, then I kind of explore that theme and again allow myself to play and then try and draw together these different creations and try to make some sense of it. Wow. I love it. I love it. And what inspired you to write poetry

for the blind? So when I first started doing

poetry, I never thought about doing a book at all. The first poem I actually did, it was, in a way, a tribute and like a sort of putting myself in the shoes of my uncle, who he was in the Falklands war, and I experienced myself sort of hearing him with night terrors. And it sort of put, I wanted to sort of think how things might have been from his perspective when he came back from the Falklands. And I actually wrote the poem

war based on that. And originally that was going to be song lyrics, but once I read it over a few times, I realized it stood on its own ground. It didn't need music for it to have any weight to it. And from building on that, I ended up doing another poem called speciesism, which actually converted me to. I basically converted myself to veganism,

really, because I've. Yeah. Oh, so I've always been into animal rights and animal welfare, but once I started researching more into the realities of animal agriculture, I started to connect the dots in my mind, in my subconscious, I think, and I started to write about it. And once I put the words onto the page and I realized what I was supporting at that time, because I was vegetarian, I realized that I need to start doing this if this is what

I believe and this is. And it kind of led from there, really. And I started building on other social themes and things that I'm really passionate about. I think other people, or most people, we need to pay attention to things more. It's so easy to get on with our own day to day lives and almost ignore some things that are important in the world. Oh, I love that. And your book covers various themes like philosophy, consciousness and gratitude. What does

conscious mean? So I think, to put it in a sentence, I think a conscious way of living is being present in the life that we have and that. So that could be our personal life, but also the world that's going on around us at the same time not shying away from things that are going on. And a good example is what's happening in Palestine right now.

It's something that may not directly affect us in one way, but it doesn't mean that we should ignore it, because I think issues like that may be affecting people in another country, but one day may affect us, and we want people in our corner to support us when that happens. Yeah, I totally agree. Just being all around aware, and that's what I'm about is awareness. Just knowing what's going on out here. You know, you got a lot of people that don't know what's going on and you're like, dang, you

don't gotta. I think it's important to stay aware and not be fearful. Right? Like, I think people, it's a fine line between being scared, watching, and then just being aware. You know, it's. I think it's like this mind warp thing. And I use that word a lot fresh in cop, you know, trademark that. But mind warping yourself, which is to understanding the differences and things, you know. You know, like spirituality versus religion and all these things

that, you know, are set. I mean, do you see yourself as spiritual or do you see yourself as. So I wouldn't see myself as

a religious person. I think at one point I did question a lot of that area, whether I did want to go down the path of being religious or whether that kind of life was for me. But I would say that I'm a spiritual person. I did. So I have fallen out of a bit of a spiritual practice that I was quite ingrained in at one point. But I still believe in a lot of the

principles of living a spiritual life. And I also believe that this is not the only existence that there is, that there are other, like, you could call them realms or dimensions that we don't necessarily see, but I believe they exist, whether that's reincarnation or other things like that. Yeah, I did, too. Like, I sometimes think my dog has lived before. He's been here before, his little man in him or something. I mean,

I just. I just think outside the box like that. And I think that's what makes life better and more aware of what could be, you know, watching the show evil right now, in the show evil, it talks about, you know, different spiritual things that could happen to someone, like possession. And then, you know, you have a psychiatrist, and you have a. Who is it, a priest? And then you have the tech guy, and they're all going to these different situations. And they're trying to see if it's really a

demon possession. Or is it actually their mind. Is it psychologically all. They need some medicine or something. And I think that's interesting because it's like, that ties into, like, the whole awareness and the consciousness thing. Because it's like knowing, okay, what's the difference of it all? And can you get outside of your mind to see the difference? Like, what if you're stuck and it's one thing, and you can't see that this person may be possessed, might need some other help besides some

medicine? It's just a deep show. I. You know, it just. I don't know why you booked it. It sounds good, but, yes. Okay. Carry on. What? Yeah, so I was gonna say kind. Of what you're about to think. One of the things that show makes me think of, although I haven't seen it, is I think there's an innate human need for us to put logic on everything. Or try to define something logically in a way that we can make sense of. But I don't believe that there. We

will ever understand everything that there is to know. And I think that's okay. You know, I think sometimes there are things that are beyond us. That we just have to kind of let go of trying to make sense of. Yes, I totally agree. Sometimes you just don't know. Just say you just can't figure it out. Even if all the degrees or whatever you feel like, you know, has got you into this world and say, okay, this is what. Is what it's got to be. Because I went to Harvard, like, you know,

we don't know. You know. So that's just what it is. And, uh, how do you think poetry can. So that's good. So I think with poetry, I mean, I don't know the complete origins of poetry, but I think. I think of poetry as a form of protest, like lyrical protest. I mean, it doesn't always have to be that way. But I feel like there's a lot of power in words, whether it's through poetry or, you know, through fiction, for example. And I think it's quite accessible as well,

unlike some art forms that people might not get as much. I think if you can write something, if you can write a poem that is true to your beliefs and something that other people can resonate with, then you almost share your perspective with them through words and you connect on a deeper level, even though they've never met you before, and you're sharing ideas by them, consuming what you read and then thinking it over in their own mind and then questioning how those words make them feel.

Mmm, that is so true. I mean, because there's always someone else in the world thinking the same thing you are and just wants maybe somebody else to say it or to connect with someone else. And that's how I feel like poetry is, you know, I mean, because every, when I used to do. I actually do

poetry, too, but I don't do it as much as I used to. But when I used to go to this poetry shop in Atlanta, Georgia, when I used to live in Atlanta, I used to go and recite poetry, and people would be like, you know, hey, man, I connected with that or this and that, and it's like you can see their face light up, you know, and it just makes. Makes it all worthwhile, you know? It's very interesting. Yeah, definitely. I think that's one of the reasons I like performing poetry live as well sometimes.

Because if you look around the room while you're performing and you engage with the audience, I think you can usually tell when someone's really intently listening to what you say, whether they connect with it in some way as well. So it's. It's really nice and refreshing when that happens. Man, that's amazing. So do you believe in law of attraction? So I'm just trying to remember. So my understanding of the law of attraction is it's when you, you attract what you

put out. Is that correct? Yes. Yes. So I do believe in it. I don't know if I fully believe in it, but I do. I can sort of make sense of it with the logic that we were talking about earlier. Yeah.

So I think what we focus on is what we get closer to. And I think that does. It's essentially the same thing, I think, for me. I mean, one thing that I was trying to do for a long time is I was trying to move to a different city, and it

wasn't quite working out in the way that I wanted it to. And despite that, I kind of changed my tactics of what I was doing at the time, and I tried to help build the creative community or get involved in that in my local area, because those were the things that I were craving at the time. And by doing that, I've made so many new connections. I've had more opportunities and just more friendships as well from creative people, which I think is part of the reason why I wanted to move, because the

place I was thinking of moving was a place called Brighton in England. I don't know if you've heard of it before. Tumble. I heard of it, actually, yeah. So I haven't been there a lot, but there's quite a creative scene there of lots of different kinds of people. But I no longer think that you have to move to those places necessarily to find those people. A lot of them are in the same cities that you live

in. It's just knowing where to find them. And I think by changing the way I was approaching how I was trying to live, by not moving anymore, I helped myself to find those people because I got involved in the community, and I attracted those people into my circle, if you like. Oh, I love it. Yeah. Because I do believe there's just some type of circle of, I mean, call it signs, you call it spirituality.

I don't know. I do believe that when you're. When your mind really wants something, and I mean, not halfway wants something, but really wants it, I swear, it just comes to you, like, and it started happening to me. I started becoming more of my conscious awareness journey and gratitude journey, really, just like a year ago. And things just start coming, like type of guests. I want everything. I'm like, what the. I don't even look for nothing no more, you

know? And things that I don't really want or halfway want, they just don't come. Yeah. You know, are things that may just take a long time. Maybe it's. I'm not ready yet. Because sometimes you understand that you might have want to start doing the performing at 20, but you just weren't ready at the time. And I think I just wasn't ready for certain things in my twenties, like I am, like I am now. It's like sometimes it's

your thirties, forties is more fruitful. Like, you know, I think sometimes it's okay to start later because sometimes it's like you're better when you start later, you know, and just try to get that stigma if you got to be young and do this and that. Just get that out. Get that out of your brain, guys. I mean, come. Come on. You know, it's just so much more to life. We can live up to 100 if we, you know, eat right. It'll be like atmos. I'd become a vegan, but I don't know if I. It's

gonna be very hard for me. I'm a pescetarian right now, and I don't know if I can. Maybe I'll have to set a challenge for you. Try it out for a week. You never know. You might

have to send me a recipe or something because I can. I'm just like, I'm just so used to having some type of meat and, you know, and then I feel like sometimes I get sick, like, from salmon. I used to be like, okay, I can eat salmon, but then I'm starting to get sick from it. I said, what the heck am I going to eat? I don't know if they're point. You

know, I've seen so many documentaries. We probably, you know, you've probably seen it, too, where there's stuff in the food now, and it's just causing a lot of issues. So it's, it's, it's just so many directions you can go, but it's hard. It's very hard for me. But I'm like, yeah, no, I know what you mean. I mean, the culture of food, food that we, like, live in, it's. Yeah, it's so, like, different to,

I believe, how it should be. I mean, ideally, we would have local communities or, like, local gardens or something where we have, you know, access to fresh produce, you know, most of the time throughout the year. But instead we've got these, you know, mass manufactured, you know, whether it's livestock or, or it's crops that have been sprayed or with pesticides and all

those kind of things that we're then ingesting, you know, and. But it's no wonder that people get sick because we're not really consuming real food a lot of the time. No, we're not. I'm like, God dang it, it's getting worse now. And I'm just like, what am I? What is going on? So I just try to try to stay positive about it, try to figure out and just keep going because, you know, your body is used to what it's used to. And I think that's the issue with a lot of people. So you also went down

a musical journey here. When did you start? So my introduction to music was one of the first creative things I really got into. So when I was around, I'm gonna say around ten, I think that's when I started playing the recorder. I don't know if that's something you guys do in America, but it's quite common here for a lot of kids to learn the recorder and. Yeah, so I started with that, but that never really stuck for me. It's. Yeah, it didn't really interest me much.

And then I started getting involved in viola maybe like a couple of years after. And I think I found it too difficult, if I'm being completely honest. So I gave that up as well. But when I, when I was around twelve, then I found the guitar and I think it's because of the music I was listening to at the time as well. All my bands and musicians that inspired me. That instrument stuck for me.

So from twelve onwards I gradually got more invested in music and started practicing my skills and started to connect the dots and understand how music works and how we can use it to express ourselves and to connect with other people as well. Especially if we're playing live music with the band and an audience as well. Wow. I love it. And have you ever had any like stage fright or anything like that or. Absolutely. I think

any musician or any performer that says they don't get stage fright, I think they're lying, to be honest, because I think with stage fright, the reason we get it is because we care. We care about providing a good performance. We want to connect with the audience, we want to play our music properly that we know it's even if the audience doesn't know what it's supposed to sound like. Because we know that there are a lot of people out there that will judge us for how we are

on stage and off stage. And we most want to put our best foot forward. But I think it's important to not let stage fright stop you from doing it at all. It's okay to make mistakes. Even the most famous musicians of all time do it on countless occasions that you might not notice if you see them perform because you're not looking for their mistakes. You're trying to enjoy yourself.

They're home. Yeah, I totally agree. I mean, I'm not really, I'm not a judge, judgy type person because I don't know if it's because I'm an artist at heart, but I, I just, I don't look for the flaws, I just look for just a good artist and I'm not comparing them to another artist I notice and you know, where I'm at, it's like a lot of, you know, a lot of people compare, you know, certain artists to other artists, like, oh, you're not this artist or that. Especially

when I was growing up, they would say, oh, you're not. You know, you don't. You're not sounding like you're in a church. You're not sound like Lady Houston or something. And, like, I'm not. I love those. I love different type of music, but I'm definitely just myself. And that, you know, it took years to figure out, oh, this is, you know, I'm an eccentric singer. I'm an abstract soul singer. I call myself, because I might mix rock with soul. I might mix

things around, you know, I don't want any rules. I don't like rules. Like, because it's music. It's still art. It's like a painter. So, you know, Vincent Van Gogh can paint his stuff and do it the way he wants, and I should be able to do my music the way I want. But things are changing now. You see more of that happening, more that revolution. Yeah, I mean, I absolutely agree. I think, you know, there's only one of you. Why try and

be someone else? Only you can express yourself, yourself authentically. And I think despite any pushback from people saying that you can't do certain genres or you can't do certain instruments, for example, almost do it, almost go against it on purpose as a form of rebellion. That's. That's the way I kind of see it, just to do it for yourself first, but almost to say that, you know, I can do this if I want. Yeah, it's like, I mean, and that's what I'm trying to push out here, because I

want some. Someone that's 20 years old that's nervous and stuff to just do it. Do your own style, because we're sending a statement. Most people are followers, unfortunately, but you got the 5% that are just, like the change makers, if you will. And I think those are the ones, like us, you and I, we're the ones that's changing this game with the pushing our perspectives and challenging people perspectives. And that's what you're doing in your poetry book? Like, yeah, definitely.

So I meant to ask you, what's your favorite poem in your book? That's a good question.

So I don't know if I've ever thought about what my actual favorite is, because when I went through writing the poems, a lot of them kind of happened in phases. I'd focus on maybe a couple of poems at a time, and then I would just zone in on those and just make sure they were finished before moving on. I think, although there's a lot of deep subjects in my book, I think one of the. My favorites, just because of its simplicity, is the haiku that's

at the start of the book. And the simplicity of it, I think, is good because it sort of embodies one of the principles of the book about how we can change the way we think. We don't have to be locked into these beliefs that we've adopted through our environment or through what other people have told us, and it's possible to grow and we can be better versions of ourselves. So I'd probably say the haiku is one of my favorites, but it's

entitled, though, so. Yeah. Wow. Okay, that's interesting. And have you done any, like, book tours yet or anything? And, yeah, so I've done quite a few things since I released it last year, actually. So some of the ones that come to mind is I did a book signing in a local bookshop called Kenilworth Books, I think, last, late last year, which went really well. And I'm just going to say a shout out as well to all local bookstores that

support artists. I think you guys are heroes because pretty much if you don't have a publishing deal, any big, major bookstores, they won't even consider you. And that was quite a shock that I learned when going through the self publishing route. There's definitely some gatekeeping going on in the literary community. And even with magazines or different people that offer to review books as well, most don't take self published books, which was quite a shock.

Wow, that's crazy. I know. Here they're accepting it more now because I was, you know, and I mean, it's just weird because to me, the self published authors, hey, they got, you know, you know, I would say uniqueness now, and it's more authentic and raw in a way because, you know, we're coming to you ourselves. But hopefully that starts to change. I mean, do you like being self published, though, or did you want a publishing deal?

So it's. I'm not sure, really. I think with being self published, I like the fact that you can have more creative control and you can express the, let's say in my case, a book, you can express it the way it's intended to be expressed. Whereas if you go a traditional publishing route, there's no way my cover would have been accepted the way it is without any text, because that's like a big no no for like. But going with a traditional publisher does have its perks as

well. You know, you. You sacrifice or compromise on certain areas, and then they might have a bigger reach. They might be able to get you more event placements, but I still think with traditional publishers, there's no guarantee of success. Just like with record labels, you know, with music, they invest all this money into you, and essentially they can give you an advance, but it's just a loan, really. At least with record labels. Yeah, pretty much. And if you don't turn out to be a successful

musician in this case, then. Then guess who's gonna have to pay it back. Thing I do. Yeah, exactly. What's that? I mean, yeah, I was about to ask you about that because, you know, a lot of times people think that being a music artist is just like being on tv everywhere. But when I turned 20, the game started changing. You know, the independent artists are making money. Like, I met a guy and I used to work at the airport. I was 20 years old. He

was pulling 200,000 a year artist. Chilling. That's incredible. He wants. And I think, yeah. I was like, what? Okay. So he was doing that, and I say, it's possible. And when I took a, I took a marketing training, I think it was like three, four years ago. No, it hadn't been two years ago. Time go by so fast. And I said, all you need to know is how to market and have money to push that market. So all you have to do is, even if you have to get

a loan from the bank, that is your loan. So it's a little bit better if you have to get a higher paying job. Whatever the case is, you can market your own stuff just like the labels, because marketing is the key to winning, so you don't even have to deal with the label, them telling you how to dress and what to do. Because I've seen a lot of artists in my twenties in Atlanta, Georgia, where they were, like, telling them, hey, you know, you need to dress like this. You need to do this and

that. I was even told to be more like Rihanna at the time. Rihanna was popular during that time around 20, when I was 22, 23, and they would tell, you know, tell us to be more like that artist. And it was like, it took the juice out of it. Like, I thought that I could just be myself. So, you know, I was already kind of wise at that time that I didn't want to be like that. And the other artists were just getting. Some people gave in and said, hey, I'll be this caricature. And so

said, no, I'm not going to do it. You know, and that's, that's why it's just more fruitful to be independent, I think. Especially if you authentic artists. Yeah, I mean, I respect that. And the idea of you trying to imitate another artist, to me is, I think it's a waste of time.

Because if. If a fan of her music or someone that likes that kind of music has a choice between a big, well known artist that, you know, had been marketed probably a lot more than you have, and is already a household name, they're probably going to go with them if it's. The choices are very similar. So it just seems like a waste of time. Yeah, they're losing money. They're gonna lose out on their loan, like you said.

So I think. I think it's just my opinion. I mean, my advice to artists out here just listening, please, just learn marketing, go take a course. Because nowadays there's courses. Back when I first started music at 20, there was really no free courses. You got udemy, now you got coursera, where you can learn free, you can learn training on marketing and just market your own stuff. Even if it's a dollar a day on Facebook, it can take you far and just do

your own events. People like events. So if you, if you. I don't know if you guys have eventbrite in UK, but, like, there's certain apps you can use where you can, like, book a venue. I know it's like 50 an hour here in the US, but there's probably somewhere you can book a venue and then just people like live stuff and they'll buy it just

because a lot of people don't have. Some people don't have anything to do, or they just want to do something different, they will literally buy your, your tv ticket, you know, and I think that's one of the biggest ways. More than just streaming platforms, you know, is just starting your own shows. I think on that note, like, that's really good

because it's something that I've experienced a lot as well since, especially since releasing the book, I found that most of the time where I made my sales with my book, it was in person events. It was taking them to open mic nights, you know, plugging the book at the end of my set,

book fairs and things like that. And I think it's because, like, you're talking about, like, the in person nature of it, I think it's because when you have that connection with someone in person, it feels a little bit more real and genuine. Whereas if someone streams your music,

they. I feel like there's a disconnect. They're just hearing your music rather than connecting with you as a person and like, because of that, I think, yes, the in person marketing, if you like, through doing events, is the way to go, and it's, it's the way to build your fan base and to become part of a local community of real people that, you know, make genuine connections with each other as well. Yes, I

love it. I mean, that's, I mean, I think that's what I think artists should be doing because it, I'm telling you, they'll see a big growth in no time. That's what I believe. I mean, I didn't do it yet. I'm gonna work on it. I have some stage fright issues I'm getting over, but I can, I have a whole studio in my, in my room. But it's like,

oh, man. It's like I like to perform just hiding a little bit. But at the end of the day, I do want to start performing out again and getting, you know, getting that connection and getting people to just to hear new type of music, new styles. But, uh, but, yeah, so before, well, you know what? I have two questions before we end the show. So what are your thoughts on AI, artificial intelligence and the music and art? Like, is, does that affect you or do you enhance it? It's funny because

this has come up a lot recently. So my sort of thinking of AI is I don't think AI as a whole is necessarily a bad thing, but I really think that AI should just be banned from all art altogether because I think if it starts getting used for the minor details of creating a creative project, it's only a certain amount of time before it starts getting

used more and more. And a really good example of AI and art that I really disagreed with, and it was a real shock, was a video competition that Pink Floyd put out where they wanted different animators to create a video for each of the songs off their record. Dark side of the Moon, I think it was for the 50th anniversary, and unlike a lot of competitions, there was no, there was no clause that said that AI wasn't allowed. And because of that, there were so many AI entries and one of them actually

won. And it won compared. Yeah, exactly. And there were lots of artists that you could tell. They spent months and months on their animations. And the guy that won, almost like he couldn't sort of explain what he did properly or like, it didn't seem very genuine yet his video won. And I think especially because it's Pink Floyd, like a massive household name, one of

my favorite bands as well. It's that alone is set a real dangerous precedent that, you know, artists or like, animators in this case, they have to compete with AI now. And AI is almost winning in some cases. Wow, man, that's crazy. I do. I do understand you on that one. I kind of. I sometimes feel like I'm half and half. I do like artificial intelligence, what it can do, because I, you know, I work in tech and I do like some of the things that it can do,

and I do like, some of the art I can create. Create. I know that's naughty, but I just like to create certain art with it. I was a painter, you know, I paint kind of abstract type work, so I do know how to paint. But when I do. When I do artificial intelligence art, it kind of just, I don't know, I kind of bring out what I want in a way, in, in a different way. So, you know, I don't know. But I do think that it's wrong to. To.

I think if. I think there should be different type of competitions, if it's one to. For real animators and real artists, that should be said and then have a contest for maybe the AI artistic piece. Like, just have different. Just differentiate. Differentiated. I think that will help out because it isn't fair to the artist that took all this time trying to get this piece done, our song done, you know, because you're also doing songs. Well, yeah, exactly. Yeah. No, I agree with

you. I think clearly AI is not going away anytime soon, but if it's reshaped into a way that doesn't harm real artists and it is kind of kept separate and it's people that create it acknowledge it as AI art, I think that's a direction that is better rather than trying to sort of blend. Blend the two and sort of kind of make real artists compete with AI. Yes, I totally agree. I love it. And before we head

out, I want to know what. What events or anything are books or any projects that you have coming up that you want the audience to

know about. Yeah, sure. So I think the most thing, the thing that's coming up that is the most interesting and close to completion is my photography work. So I've been building a fairly, well, I think, a fairly big portfolio in the background. I haven't really been sharing all of it on social media yet. And I think within the next three months, maybe sooner, I should be able to start offering prints of my, some of my portfolio as well, which I'm really excited

about. I can't wait to get them printed either by myself, I get a professional printer or another company, get them mounted and boarded and presentable, basically, for anyone that's interested in them, so that they can hopefully put them up on our walls at home. No, that's so inspiring. I love it. You know, always thought AbOut. I mean, we're so similar. It's not Even. It's uncanny. Because

one thing is, I. I said, I want to take some pictures of some. I got some hummingbirds out in my backyard, and I said, I want to take some pictures of the hummingbirds and stuff. And I just never bought the camera because I felt guilty, because I'm doing a lot of. I'm like. I'm, like, doing something that said the guilt came in, but I said, you know what? You know, now that I'm talking to you, I'm like, I just want

to take pictures that God darn honey bird. I just want to. Because Mickey memories. And when I'm old or something, I can look back and say, that's a BeAuTiful picture of THat HummingBird. And I can. Maybe somebody else might want to buy it. I mean, if you do take a photo of it, please let me see. Because I'm all for WIldlife photography. It's one of my favorite genres of photography. Yes. And then maybe you can critique and let me know what I can do better

and stuff, too, because I'm still learning. The photography thing is kind of new to me. I know how to edit pictures and stuff, but I'm like, oh, so just. I'm gonna start. Yeah. Well, if it helps, it's still quite new to me, to be honest. I mean, I only took it seriously late last year, but since doing that, my progress has been exponential. I've learned. I've read quite a lot about it, watched so many YouTube videos,

and. But I do think the most important thing, I guess, this applies to any art form, is just to kind of experiment with it with photography, you know, this is just like a joke, general thing. Go out and take photos. Don't sit at home. Go out and look at the things that you find interesting. In your case, it could be hummingbirds. Just go and watch them and see

what they do. And hopefully, when you go out again sometime, you have a camera with you, and you might capture a special moment that you wouldn't have had you not had that camera. That is so true. I love it. I love it. And what's the saying or quoting? Oh, that's a good one. So I don't know if this is someone else's motto that I've kind of copied without even realizing. But one thing I try to think of sometimes is about embracing

imperfection. And I'm saying that as a perfectionist as well, which is ironic. But I think sometimes we try to make things too perfect and we take away the human element of it. And I think sometimes we need to kind of let go of mistakes or, well, quotations mistakes, because they're not necessarily mistakes. They could just be points of interest. Oh, now that was so cool. That's a sound like everywhere. I love that. I love that because they're in the age of

perfectionism. Perfectionism. And sometimes I feel like I'm kind of in the middle. Like I'm not so much perfect, but I'm like, if I don't do this, then it won't be done because I'll sit there and overthink it as a scorpio. So I'm like, oh, I got to do this anyway, so I'm happy you said that. So. Yeah, well, I think what they're going. To do,

one of the major downfalls of perfectionism, and I can say this from experience, is if it gets or if you let it take control, you just don't do anything at all. And then your art suffers because of that. I would rather have, let's say, 50 photos where there's some kind of thing that could be improved in it than no photos at all. Because at least then I'm probably still going to be improving. So I'm still taking the photos. I'm not sort of standing still.

Yes, not standing still. I love it. I love it. So I want to thank you for coming on today. I mean, this was just a great conversation. And also, oh, I got your link anyway, so I'll share your link to the, to

the fans if you have a new. Yeah, sure. So I think I don't have a new website that's coming up, but I think one thing I would say, or two things actually, is keep an eye out on Atmos productions because in the next couple of months, hopefully sooner, my new store will be operational and hopefully there'll be some prints on there. So I'm very, very much looking forward to sharing that, finally. I've been doing a lot of work in the background for that.

Nice. I love it. There you have it. And I'll also add that in the show notes. Y'all. See if you didn't catch that. And I want to thank everyone for rocking with me. Please subscribe, thrive and share. And I appreciate it and stay safe out there. Peace, everybody. Thank you.