What's your approach to trying to spread your training resources out to cover more?

I am so lucky.

Okay, so I worked at Higginbotham.

I am in the training and development and we have all, what I do is if you're a new hire in your non-production, so your CSM, CSR, policy checker, camp manager, any receptionist, you come through my program insurance 101.

Then I have like a higher level that's more intermediate, but the nerd in me loves what we do in October.

We have this program, where it's like choose your own adventure.

And for two weeks I put on about 21 hour webinars.

But when you look at a successful program versus an unsuccessful program, are there certain fundamentals that you tie back to or certain ways in which things were set up that you sort of look at and say, hey, this led to success or conversely, like this did not lead to success? What if you can share an example or two of that?

What are some of the ways that you think about bringing that mindfulness, bringing, practicing that connection to the breath? into the process.

Yeah, I think, well, I love the breath so much because it holds the paradox of so many things.

It holds the paradox of giving and receiving.

And there's a kind of brightness on the inhale and a release and a softness on the exhale.

And all of these things go to make up music and they also go to make up performance.

So I think, for example, when it's very clear for me with Boeing, I'm fascinated to hear more about what it's like for a wind player, because we can work very actively with the breath, as you do.

We often don't, and I would say most of us in our training haven't worked directly with the breath, whereas you have to as wind players.

Yeah, I mean, that