Entertainment Value

Jennie Bovard:
Hello and welcome to Low Vision Moments. It's the podcast all about those sometimes frustrating, potentially embarrassing, but often pretty comical things that happen when you are just going about your day with blindness, visual impairment, or albinism. I'm Jennie Bovard, I'm the creator and host around here, and this is episode number 28.
Now before we get going, I have a quick little confession to make. This is actually our second attempt at recording this episode. Not to ruin the magic for all of you, but due to technical problems caused by, you guessed it, a low-vision moment on my part, this is a first time that we've had to redo an entire episode. We could have released it with what we had, but you, the listeners, the viewers, you are the best, and that means you deserve the best in audio and video quality.
So here we are, we're moving on, we're doing a take two. I have no doubt that my guest and I will be able to recapture the magic that was our first conversation the first time around. Now, I'm a big fan of stand-up comedy, and that's been since forever. I have three or four comedy shows that I have tickets lined up for already in the spring and summer. So I'm really pumped about that. But nothing speaks to me more than when the satire is relatable, with a side of reality really. I like the relatability and the side of reality because that just brings it all together for me. And this guest, I think they do just that. They really do that for me anyway.
They are a comedian originally from the USA residing in British Columbia now. Good choice by the way. They've been performing in comedy since the 1990s, entertaining audiences across North America and beyond. You might have caught their stand-up special called Blind Ambition. They've been to probably every comedy festival you can think of, including a little one you might have heard of called Just For Laughs. They've been on Conan O'Brien, Comedy Central. I have to say their 2021 album, Super Bloom, it's available on Apple Music, Spotify, Amazon, wherever you find your stuff. It is the shit. You need to go and get it and listen to it. I can't recommend that enough. So yeah, this guest, they're a bit of a legend, and I'm really happy that they're able to take the time and come back and do this thing with me again. Welcome, to the very funny and philosophical Darryl Lenox.

Darryl Lenox:
Thank you, Jennie. I appreciate you having me. I look forward to being in Halifax and let's dig into this thing and see what kind of juice we can squeeze out of it.

Jennie Bovard:
Oh man, I can't wait for you to come to Halifax. Again, I'm just so pumped that you're here with me again. Now, your resume in the comedy and entertainment industry is, well, mine pales in comparison. And I'm not making an albino joke, but it really truly pales in comparison.
So I thought maybe I could share some of my experiences attempting to work in entertaining people, and maybe we can compare notes a little bit. I'm sure we'll have some differences, but there are always those little commonalities too. Does that sound okay to you?

Darryl Lenox:
Sure, let's get it. I'd like to hear about it.

Jennie Bovard:
Right on. Let me set the scene. This is a little over 10 years ago. I was fresh out of film and TV college. I have a diploma in that field and I was out in Vancouver living out there, your neck of the woods, and I was trying to get my foot in the door, get into the film industry to tell some stories and get creative. I was really keen on working in that industry, thanks to my dad for being a big film buff. But I was out there, fresh diploma, and I was basically taking any job I could get to try and be on a set and just be part of the project.
I took a job as a PA, a production assistant. I don't know if this goes today, but they called us gofers back then. You're going to go for the coffee, you're going to go for that beverage over there. You're going to go for that wire sitting on the table that the gaffer needs, et cetera. You're going to run and do whatever job that needs doing. So that was me. I was fine to be that person. My understanding was that I would do this for a while and build up my resume, get the better jobs as you go, as it were.
It's not an easy industry to break into, but at this time, I was also really not open about my visual impairment. I was trying to fly under the radar with very little success. This time I managed to fly under the radar though. So this was East Vancouver. We are shooting on East Hastings Street, right across the street from the now police station. Right across the street is a police museum type thing. We were filming a public service announcement, and it was an anti-drug public service announcement.
First of all, this was one of the weirdest things I've ever seen. There was a grown man dressed up like a joint, like a doobie. I just kept thinking, this is the silliest thing. I don't know if this is going to be effective, but hey, I'm here and I'm going to get some experience. So we're on East Hastings, and this area, you may know, it's a little bit of a rough around the edges type area. There's a lot of homeless, people who are unhoused tend to congregate around there, and it's known for some crime and maybe problematic substance use. So it's a difficult area to... not a difficult area, but it's an area that's rough around the edges. I'm trying to be delicate in describing the scene here, but I want to paint a bit of a picture.
My first job that day was to watch the truck out front of this police museum with my eyes that did not work very well at all. This truck was filled with very expensive gear and very expensive things that are required to produce this public service announcement. Me, being stubborn and not wanting to disclose anything, I said, "Sure, I'll watch the truck. No problem." All the while I'm thinking, wow, I'm really flying under the radar here. These people have no idea I can't see. I had no business watching that truck. Honestly, nothing was stolen, nothing bad happened, but the whole time I was standing there trying my best to look out for danger, I kept thinking, man, these people are really not very observant, because they had seen me try to navigate down a pair of stairs or read anything, trying to navigate around a new space. I don't know how I flew under the radar.
They should have either known that I was visually impaired, there were clues, okay? I also told them I don't drive. I didn't say why, but a PA, it's handy if they can drive. I told them I didn't. I was dropping clues here and there. But I was either visually impaired or high as a kite and did not belong on this job, this particular van watching job. But it was, not a success, but it was okay and it worked out.
So that day was okay, but it was really a strange experience for me where I was like, "I don't know how much more of this I can do while still flying under the radar." But that's not the case for you, right? You are very open about your visual impairment. You talk about it in your material, and it surely lends itself to when you're writing your material. I'm sure that it allows you to weave it in there, like I said. I wonder, Darryl, were there any points along the way where you questioned, "Am I going to be able to continue in this industry," while you're experiencing vision loss, while your vision was changing?

Darryl Lenox:
I never once thought I wasn't going to once I started, and it didn't matter what happened, one eye, two eyes, no toes, whatever. I knew I wasn't going to stop. Probably one of the most significant moments of my journey was I was given a book called Conversations with God, and I understand the power of the phrase, "I am." So for a while I would never say, "I am deficient in vision, I am low..." I just wouldn't say it because that made it even more true, on an energetic level I am. But when I got to losing the left eye, and now eventually the right eye, now just because I can say, "I am blind," doesn't mean that that's a permanent state of being for me.
So it's just a part of who I am now. As far as the comedy goes, I have to write to my I am statements. So I am great, and that is [inaudible 00:09:57]. I am great without being able to see. So I'm very, very particular about my I am statements. But I've had so many embarrassing moments because I refuse to say it or refuse to acknowledge it. I think it's interesting with your story how you're giving them clues when you could have just said, "I can't see very well." So yeah, it's just a hard thing to do.

Jennie Bovard:
Exactly.

Darryl Lenox:
So I would do similar things, but because being a stand-up is different than being part of a team, I could fool a lot more people. I don't drive, I don't see well enough to drive, but that didn't affect me from performing in any kind of way. Once, actually when I was doing Conan, I thought I was going to... So in rehearsals, they kept trying to find X so I can hit the mark, and I just couldn't see that X. A helicopter could have landed on the X that they had on there. I kept missing it and kept missing it and kept missing it. Then finally they said, "Okay, let's just do the best we can."
So when it was live-action time, I come out there and I stopped at least a good four-foot short of that X I was supposed to, and I just stopped and just started doing the show. But because of my bad eyes, I just got scared. But I just knew at the end of the day, just be who you are, and then everything else will adapt around that. But I love it now. I love every aspect of it now.

Jennie Bovard:
I have to say, the fact that you just have the right attitude, in my opinion. When you go through changes in your vision, when you experience vision loss, no matter how quickly or slowly that happens throughout your life, that's a huge adjustment. So to have the right attitude, I think that's always just the first step. So that's amazing for you, that you've been able to come around and have those I am statements. Really, I think there's a real power, you harness some real power when you are able to acknowledge these things and share with other people.
For me, it wasn't like that. I was born with the same level of vision, and I tried to, as I said, fly under the radar and hide it and failed miserably. Now it's just so much easier to move about the world and interact with people as more of an open book. It doesn't always go as planned. There were times, Darryl, when I really didn't think that I had a chance in hell. I really didn't think that I could do anything related to storytelling or entertaining.
One of the experiences that made me think that was, again, I was still living in Vancouver. I was on a different project as a PA. This was the second and last project that I did, just showing up and working on a set, and easily enough, you would think it would be easy enough, all I had to do was set up the food ahead of time before the rest of the crew was to show up. So we were at one location, well, they were at one location, they were coming to the second location where I was to be setting up the food.
The food had been delivered, it was sitting outside, and all I had to do was move it inside. Now, again, to set the scene a little bit, I have really intense light sensitivity, extreme light sensitivity. So for a lot of people in the summertime or in the brighter months, when you step outside and it's really, really sunny and you're out there for a while, your eyes adjust and then you come back inside and your eyes have to take a few minutes to adjust when you come back inside to the change in lighting.
Well, in this particular venue, it was like a dark, legion Lions Club-type venue. No windows in this place, dark, dark, dark. So you'd be in the sunny, sunny outdoors and step inside, it's just completely dark. It took forever for my eyes to adjust, and that's normal for me. But I was bringing food outside, inside, outside, inside. So I had figured out a scheme. I had mapped out basically my route from the door to the table where I need to put all the food.
It was going well. No one was around to see me doing my blind stuff, counting the steps and all that to get it figured out. But when it came to the last thing, it was a flat of cans of pop, like the long, short cardboard box. And the cans of pop are popping out the top. But they're not sealed. So it's a whole flat, there's a bunch of pop in there. I don't know, probably 12 or more cans of pop, and this is my last thing to bring inside, Darryl. I was perhaps a little cocky by this point because I had done so well with the food and I was like, "This is the last thing I have to do, da, da, da."
So I've got the flat of pop and I step over the threshold to go into this dark ass venue, and don't I trip over the little thing that is the threshold, no depth perception over here, completely missed the threshold. I think anybody could have done that, but I'm pretty sure my vision had something to do with it. I trip and spill a bunch of these cans of pop, four or five of them fall out of the frigging box. They hit the concrete, luckily outside of the door. So they didn't fall in the venue. Luckily, they at least fell outside the venue on the concrete. But as they're hitting the concrete, Darryl, you know when you drop a can of pop or something carbonated, it's going, "Psst, psst, psst," and all I'm hearing as these cans of pop are hitting the frigging ground, I'm hearing, "Psst, you shouldn't be here. Psst, you're too blind to do this. Psst, psst, you should have studied something more practical in college." I'm just like, "Fuck, man. This is the worst. What am I going to do?"
I was able to clear up these cans, get rid of them. I'm obviously not able to clear up the pop in front of the doorway. I don't have a hose or anything, but I got rid of the cans of pop, the exploded cans, and I threw them away, and I thought I was in the clear. But then as the people started showing up, they're stepping in the pop, they're stepping in the mess that I made out front, and then they're coming inside and all day I was hearing, [inaudible 00:16:28] and their shoes and their feet sticking to the floor. And every time it was, [inaudible 00:16:33], just peeling away a piece of my dignity.
I was just like, "That's it." I threw in the towel. I was essentially like, "I don't think I can... I can't fly under the radar anymore. I am so not about to try and explain what I cannot do in this industry." I didn't think that I could be taken seriously explaining my visual impairment and albinism. That's not a constructive way to be, but that's how I felt at the time. I didn't feel like I could be taken seriously. So I was like, "You know what? I got to start working on my plan B. I'm not working in this industry." So I went and did some other stuff. But then I came around to AMI and I've had a lot of really awesome opportunities. So I'm an open book now. I try to always, with my vision and my albinism anyway, I'm always really open. Again, like I said, it's just so much easier to interact with the world a lot of the times.
Like I said earlier, you do such a great job at weaving those ridiculous blindness stereotypes with the realities. Sometimes we have to get a little dark, and you do that, and you touch on the dark and difficult stuff when it comes to vision loss and when it comes to everyday life. Because you talk about a lot of different things. Not just blindness. You talk about politics and so many other interesting things. I find that you do that so well with a dose of that reality. Not all comedians do that. A lot of people don't say anything real about themselves. You don't know if that guy's just making a marriage joke or if he's really married, right?

Darryl Lenox:
Right.

Jennie Bovard:
But that's not you. I feel like you're very open. Is there anything that you're not open about when you're on stage?

Darryl Lenox:
If I've experienced it, I probably have spoken about it on stage. I just think that in my quest to be significant and galvanizing, and arrogantly speaking, one of the best, I have to dig into a library of life experience that nobody else has articulated before. But when I do, it has land that on a human relatability to almost anybody and everybody.
So the trick of this part of being now blind, is I feel even more gigantic and even more relatable because... In a weird way, because I grew up the way I grew up with my family and being Black American, my blindness does not affect their delayed rent payments or bills. So they're like, "I'm sorry to hear that, but I still got to make a payment." So it's just a part of, they're like, "So what? You're blind. I'm broke." So that's made me go, "Okay, I still a big part of life. And my big blindness has very little to do with other people's [inaudible 00:19:31] or bereavement or whatever they're going through. We still need to laugh." So I try to use my life experiences, which encompasses being blind, so it lands on everybody, because we all got something.
My blindness is not worse than your albinism, or worse than my friend Maggie's paralysis. The human element and all that is what I really try to strive to find the fun in all of it. But I'm just trying to be as great as I can and care as much as I can and find some laughter to be the connected tissue between all of it.

Jennie Bovard:
I love that. The connected tissue. That's great because it is all so connected.

Darryl Lenox:
Right.

Jennie Bovard:
You're so right. We've all got our stuff.

Darryl Lenox:
Right.

Jennie Bovard:
Some of us have multiple things that we have to deal with that are difficult. I think you articulated it probably better than I will, but in your experience as a person who's gone through vision loss, you are relatable to so many more people, and your material is able to be so much broader and the stories that you tell and how you engage your audiences, you're able to touch that many more people with your stories, whether they have a personal relationship to blindness or not. Thank you for bringing them around to our world, because it exposes them to blindness. And it's okay to laugh sometimes, right?

Darryl Lenox:
Sure. It's just an introductory step to the relationship. You know what I mean? Okay, so I just meet you at the bar, next thing you know, you find that I'm blind. Then once we get past those first two steps of the questions and the thing, now we're way more intimate than we would be if we're both looking at each other, judging each other. That's the space I love, that place of intimacy, quick intimacy of now we're in this new comfort zone of you're not being judged by me majorly, and you could just look at me openly or watch how I use my finger or poke my tongue out to touch the tip of the glass. So now we're intimate, we are actually metaphorically in bed together, and this is pillow talk now. That's where the growth in the humanity is. When we can get past all of our stuff and just get intimate, "Oh, look at my scars. Look at this wart on my butt." Now we're growing, and that's the stuff that I dig the most.

Jennie Bovard:
Oh, man, absolutely. Yeah. To get away from the industry talk, as it were, but on a more relationship level, nothing is more meaningful than when someone can understand why I'm doing something in what may be perceived as a weird way. Do you know what I mean? Why am I holding my food so close to my face? Well, it's because I want to know what the hell is on my fork. I want to know how much hot sauce is on there before I dive in. So if you can understand that, you're now my people. And that's, you said it's an introductory thing when you're on stage, but it is so impactful, and it's relatable for us in the blind and visually impaired community. We want to be part of your satire. Include us, please.
Now, just to bring it back to trying to work with teams and employment in entertainment and the business of telling stories. I think sometimes, for me, because it's not always obvious for some people that I have a visual impairment or that I have real everyday considerations because of the albinism. We're pretty rare. We're one in 20,000, people with albinism. So I don't blame people for not knowing about all of that. I think sometimes no matter how clear or open or collaborative we try to be, I found particularly in employment settings, sometimes the barrier can just be not necessarily the want to understand, but I think other people, they mean well sometimes and they just don't get it, when it comes to applying the things that I've explained to you, putting it into practical application.
For example, I was working on a documentary project last year. It didn't get completed for a number of reasons. But leading up to this project and all throughout production, part of my duty was to help them explain how I can function on a set, whether that's inside or outside, lighting, this kind of thing. In particular, when we would be filming in an outdoor setting or a naturally lit setting where there'd be some sunshine. I basically explained several times the logistics of the sunscreen, the fact that if we're going to be outside, there, first of all, was no reason for us to be outside for this project. It could have been all done inside in a studio, but we were trying to mix things up visually, I think.
Anyway, we ended up being outside, and I had explained several times that I need lots of warning if we're going to be outside and I need to put sunscreen on 30 minutes in advance, 15 to 30 minutes in advance, and then I'm going to need to reapply that every 60 minutes to two hours, depending on what's going on and some other factors. That includes makeup. Makeup for TV is not a quick thing. I had to do that on my own as well, which is fine. But there were these scheduling nightmares.
I should say, before I talk about the nightmares, Darryl, they were really good with the indoor lighting. If we were setting up lights, shooting inside, very receptive, very understanding. Everything was beautifully diffused. But when it came to outside, it's like they couldn't apply the things that I had explained to them.
For example, I showed up a couple of times and they were like, "Oh, we're shooting outside this morning." "Wait, what? You mean now I have to take off all of my makeup, put on sunscreen, do my makeup all over again?" That was such a pain. "Okay, I'm not trying to be a prima donna or whatever, but it's like you could have just told me in the schedule that you sent me last night that I was going to be outside this morning. It's kind of a big deal." And then we had a whole day, I got the schedule the night before, whole day, hottest frigging day of the year, Darryl, hottest day of the year, sun beating down. I get the schedule the night before. We're going to be outside all day.
So I made a phone call to the director and I said, "Dude, outside all day? Where am I going to wash my sunscreen and makeup off and reapply it? Where's the washroom? Where am I going to be? Have we planned these logistics?" "Oh, don't worry, there's plenty of shade. You can sit in the air-conditioned car." Nowhere in any of my explanations did I say, "Hey, as long as I'm in the shade, I'm good." No, I'm still going to explode into dust particles in the shade.
Anyways, it was a bit of a nightmare. I don't know if you've had these experiences where people just don't get it, but in the aftermath, I often wondered, is there something I could have done better or explained better? Could I have been more clear? I literally use the words, "I'm allergic to the sun." I literally use these words in trying to explain what the deal was. Short of turning into a bat or sucking their blood, I don't know how else I could have explained that you're basically working with a vampire here. I'm not trying to throw shade, although I prefer shade, it's not the answer. I just think there's so much more learning to do for us to be able to work at full capacity and to have the same level of opportunities in this industry. I don't know if you've ever experienced that, where people just don't get it?

Darryl Lenox:
Not to that magnitude, but again, because stand-up is such an individualized sport, that it's basically, if you get me to the microphone and the stool, I will be okay because now it's just my thoughts, my words, my actions. But I don't know exactly if I've had any experiences like that, but I do know that my wilful Aquarius arrogance will let me walk out there and try to do it on my own, and that leads to some bumps in the heads. I remember one point in time I was doing a show in Edmonton, and then everybody went to this bar downstairs, and it's a little risque of a story.

Jennie Bovard:
Oh, nothing is too risque for us.

Darryl Lenox:
Okay. There was a couple, and they came to the comedy show, and then they're downstairs. The lady had a very, very short skirt. So she was playing pool, and she was a little bare under the skirt. So everybody's standing around sneaking peeks, but I, because I had the vision of a tadpole, couldn't see well enough. So I was like, "What's this bullshit?" I go out in the middle of the floor and I get on the stage and dance. I'm dancing with these girls. Again, my depth perception is that of a cricket. So the DJ-

Jennie Bovard:
I have to use that.

Darryl Lenox:
The DJ starts playing a Michael Jackson song to get me on the stage. And I go, "I'm not going to dance to a Michael Jackson song. I'm not sacrificing cool to dance at Michael Jackson." So I step off the stage, again, with no depth perception, and I fall a good five feet, land, snap my leg in four places. Boom, compound fracture, everything. I heard it pop and I could feel the blood coming down my legs. At that moment, it's almost as if my eyes protected me. I didn't look down. I remember looking straight ahead and just said, "All right, I'm the strongest dude alive."
People came and EMTs came up and everything, but it almost felt like my eyes protected me from seeing something that I wasn't supposed to see. I felt like I've always had that relationship with my eyes. As much as I thought they were there, a hindrance to me, it seems like they've always protected me from seeing things I wasn't supposed to see. So now that I'm at zero vision, it's like they're saying, "Okay, you've got it from here now. I've gotten you this far, now you got to trust your instincts completely. I'm not helping you anymore this way."
It's been a ridiculously empowering experience. So anytime there are some shortcomings, when it does happen, it's almost like my eyes still have a sense of humour. Like this past March when COVID was at this craziest moment, I got rejected from the board in Canada to come to my condo here in Vancouver, so we walked across. My assistant and the guard is walking me. They walked me straight to a line, that we couldn't go past the line otherwise we stepped into US territory. So US Immigration is supposed to be waiting for me on the other side. They can't step across their line because then they'd be in Canadian territory.
So I'm in the middle of nowhere. On the way to go into this line, I'm just traumatized, like, I've been in Florida for three months, my brain said, "I want to get home." I went to Vancouver and ran into a pole, bang, right in the middle of the forehead. I was like, "Oh my," and I wanted to cry, but it's almost like my eyes said, "Hey, there are way tougher things than this you have to deal with." Bang. So they let me loose like a balloon, and I have to wander some 100 yards or meters from one Canadian [inaudible 00:31:39] to an American. They're both yelling at me opposite directions. "Okay, go to the left," which is right. "Go right." So I was just weaving with my suitcase and my show shoes on and my stick and a bag on my back, wandered into the abyss between two countries.
Again, if my eyes had worked at all by then, I would probably be crying and figuring out... but I had to be so aware of trying to get to the right voice. So I feel like I'm in great partnership with my eyes, no matter what. Always felt that way. Instead of resisting them, now they're like, "Okay, man, you got it from here." And eventually I found the right country.

Jennie Bovard:
I'm amazed that even in the moment you're able to have such a strong sense of self. I'm amazed. I've been there, I've hurt myself, I've conked my head, I've fallen downstairs. And usually in the... "Okay, I think I'm getting better," but in the moment I probably would still cry. So I'm just impressed by your... you just have such a strong sense of self. If I could take anything away from our conversation, I think it's that.
I'm starting to learn this too, I think, as I am more of an open book, as I said about my visual impairment, but there is real power in just using your past experiences as a point of reference in life. If I can fall off my bike and get a head injury and come out of that A-okay, and then start up a tandem biking program for other people who are blind or visually impaired, we can do anything now.

Darryl Lenox:
That's right.

Jennie Bovard:
Surely I can figure out the next thing. I think there's so much power in that, and I'm so grateful that you are doing what you do because again, we want to be part of that satire. We want to be included. And you do such a fine job of doing that. I just want to say thank you for including us, and continuing to do what you do. Please don't stop.

Darryl Lenox:
I can't. How could I? I can't. How would I? I won't. To me, this is not a crying offence. That's why I've never once cried about my eyes, never once. I've never, because if I cry, then that means I feel bad, and then people can see me crying, then they get to feel bad. You don't get to feel bad about me because I'm bigger, stronger, faster, whether I can see you or not. So this is not something I need to be sad about. This is just going to make me another proverbial bullet in my chamber. Excuse the American reference. But this is just another asset for me to be a part of. When I was fighting it, even though my eyes were like, "Hey, man, you're going to have these by yourself at some point," when I treat it like a liability and act like it was liability, well, I had liability laden results, and I'm not having that.
So I won't bend to anything other than greatness, otherwise, why are we here? If that means I'll fall down the stairs or break my leg or run into a pole while I'm getting kicked out of a country or whatever it is, then that's just what it's supposed to be, but it's there to make me bigger, better badder. So I won't bend.

Jennie Bovard:
There's got to be a better way to get people across the border who can't see. You brought back memories of trying to go through the security thing at airports, and that always is a kerfuffle. But Darryl, you're a force, my man. You are an absolute force of nature, and I thank you again for coming on. I cannot wait to go and see you live here when you come to Halifax. Where can people catch you online, find you live? Where can we follow you?

Darryl Lenox:
From what I'm told, I'm on everything. I think I'm twittery and IG and whatever things are out there, I think I'm out there somewhere. So look for me, find me. You can always find Super Bloom and Blind Ambition on all the platforms. Just, I'm out there, I'm giving it all I got.

Jennie Bovard:
Go get Super Bloom people, seriously, for more of the force of nature that is Darryl Lenox, again, just search him up on YouTube, Apple Music, all of your favourite streaming and media apps. It's spelled D-A-R-R-Y-L L-E-N-O-X. Look for him performing in a city near you, including coming up here in Halifax, my neck of the woods. I'll keep you posted on those details as they come forth.
If you are watching or listening to this podcast and you haven't subscribed, I would love if you would consider doing that, please. If you have a suggestion or feedback about the podcast, or if you'd like to be my next victim, I mean guest, you can leave a comment on YouTube or send an email to podcasts@ami.ca. Or you can even give us a call and leave us a voicemail at +1 866-509-4545. Once more, that phone number is +1 866-509-4545. Just make sure to mention Low Vision Moments in the message, please, and thank you.
You can come and follow me on Instagram if that is your thing. I'm there under Uberblonde4, that's U-B-E-R-B-L-O-N-D-E, and the number four. The following people make this podcast a reality, and they just so happen to be listed in order of most to least entertaining. Marc Aflalo is our technical producer. Ryan Delehanty is our podcast coordinator. Thanks to manager at AMI Audio, Andy Frank. And thank you for watching and listening. Until next time, I'd like to leave you with a little quote from the wise Darryl Lenox. "We've all had hard lives, but to complain about it is useless. You know who cares less about your problems and your life than you do? Everybody."