Green Rush Interview 2: Mihael’s 49 year Observation Overview

February 19th 2026, Trinidad, CA: I sat in Mihael’s home, which he has rented for the past 20 years, where he has observed the animal life in Humboldt County both in the ocean and on land. Mihael has another home named Fairwind that is off-grid in Honeydew, CA that he built for the ground up, housing his family and his community. It is now used as a spiritual retreat. Mihael has always worked in town as a carpenter, driving from his home in Honeydew to Trinidad and working for the residents inbetween. Through his work, life, and family he has observed the sweeping changes in Humboldt from the beginning of the Cannabis revolution until it’s ultimate down fall after legalization. This interview goes into great detail about the observations that Miheaal hasa madae, from the good to the bad. Focusing on the economy, the cannabis industry and the local environment. Thank you, Mihael and our readers for your time and interest in the stories of Humboldt County. 

Natascha: Hello and welcome to the Little Lost Forest blog, where we are documenting an oral history of Humboldt County and examining the economic shifts that followed the legalization of cannabis. Today, we’re speaking with Mihael Kavanaugh, creator and steward of Fairwind, a healing retreat in Honeydew, California. As a longtime resident of Humboldt County, Michal built his dream from the ground up, living off grid and creating a space dedicated to healing, safety and community care. When he purchased Fairwind, it had nothing to do with marijuana, but the collapse of the local cannabis economy has deeply affected his ability to sustain Fairwind and the life he created there. His story reflects the broader ripple effects felt across Humboldt, raising important questions about what happens to rural communities when their foundational economy disappears and how those shifts reshape livelihood, land and collective identity. 

Hi, Mihael. How are you doing today?

Mihael: I’m doing pretty good, all things considered.

Natascha: Yeah. Thank you for meeting with me. How long have you lived in Humboldt?

Mihael: Oh, 49 years.

Natascha: And what is your history as a resident in this area?

Mihael: When I first came, I was doing tree planting in the winter and construction in the summer. I started going to college at College of the Redwoods, where I opted to not rent and just put a wiki up in the mountains and hike to school.

Natascha: Well that’s creative. What is your history as a resident in this area?

Mihael: Well, going to school was definitely a start and I was very involved with the aspects of preserving nature and environmental concerns. Being a tree planter, I saw the direct effects of logging, I planted trees in Washington, Oregon, California, Idaho, and Montana. So I had a very good perspective of the effects of logging.

Natascha: You also read poetry on a radio station. What radio station was that?

Mihael: That is Kmud radio, the second Wednesday of every month at 8 p.m.

Natascha: That’s lovely. 

How would you define cannabis culture prior to legalization?

Mihael: Well, people were growing in the hills in the early 70s, and a lot of the back-to-the-land movement, people from the 60s found little niches. There were certain communities that they found strongholds, in the Mattole was one of them. I was a little bit younger than some of those people, but the back to land movement was part of the reason I bought property in the mountains, to raise my family, in a close way to nature, and try to grow as much food as we could. And I didn’t have anything to do with marijuana, but it was already in the hills, but not a dominant force; police weren’t doing raids, and there wasn’t much being grown. It was definitely a different era. 

Natascha: And you’re talking about your property in Fairwind?

Mihael: Yeah, it’s out in the Mattole. I witnessed it go through many transformations; almost every decade, there was something new. I mean, it was almost 20 years before medical marijuana came into effect, which was a huge dynamic. Probably the biggest in the early years, CAMP, campaign against marijuana planting started in 1984, primarily 83, they did a couple of things, but not really. By 84, it was full-on military. They were dropping crews of 16 fully armed military-type people, combing the hills. And that created the whole guerrilla culture of people growing in the woods, hiding things. I never grew on the property in the early years. For the sake of having children there. So I didn’t, you know, we could stand there and wave at them, and neighbors would come to my place because they knew it was a safe place. And, um, it entailed hiking many miles in the woods. So that suited me because I loved nature and hiking. But at that time, the price also fluctuated greatly. People said, ” Oh, it went up so much.”

Mihael: Yeah, but you could only grow two ounces as compared to growing a 1 or 2lb plant because you had to hide it. I mean, it’s extremely hide it or risk getting it all taken. So I saw many helicopters during those years. I think the biggest years were 84 through probably 94 or 5. Um, and they really, uh, they had a thing about honeydew. It was one of the first places they ever hit, and they would come there every year for a couple of weeks. And, um, so that created a whole different culture. In that same time when it started going up in price, then people started moving there solely for the green rush quote – of they could grow 100lbs and leave at the end of the year and make a small fortune. I was still doing construction and raising my family, and that wasn’t me. Although there were people, and unfortunately, with that, it changed the community. I think you have a question later about that, but I could go on right now and address those things.

Natascha: Yeah. I mean, go ahead. Keep talking and we’ll go through the questions.

Mihael: The way it affected the community was that a lot of the people who originally moved there, especially before the marijuana boom, we’re moving there because they love the land. They had a relationship with the land. They wanted to grow their food. They wanted to kind of step out of the system of society and live simply off the land. So there was a sense of community that was really strong, and you knew your neighbors, their children knew your children. On the community at Fairwind, we even built our own school. I allowed 4 or 5 other families to live there so we wouldn’t have to go for social. We were mostly on the land all the time with goats, sheep, donkeys, horses, chickens growing our food, then it was a really unique relationship with one another, but with the animals and the land. There was a certain kind of utopian element about it, especially growing up in San Francisco, where the whole back to the land movement thing was something that drove me as a youth. I was listening to Alan Watts when I was 12 years old and just having those influences. Stephen Gaskin, who started the Tennessee farm he used to teach at San Francisco State College and did a radio show. So I was hearing that stuff. The element of living off the land changed because then people started making big money when some of the neighbors who started making more money than… it was almost too much money.

Mihael: So then lots of drugs started coming in. Unsavory people started coming in, people started getting greedy. It changed the dynamics, except for the people who wanted to just keep it simple. That was a big change in that mid 80s era where I saw a lot of people shift their focus, and there was a certain abundance to it that allowed people to build their house to buy their solar panels too. I almost paid off the land just doing tree planting and construction and, and that was adequate. Land was a lot less expensive. Then, of course, once the boom started happening, the price of land started going up. And then it became a cultural kind of phenomena that when CAMP became so heavy and so oppressive because– they were– people started growing indoors with generators. So that was a whole ‘nother culture that I didn’t adhere to because then they were growing in these bunkers and houses, running diesel generators all the time so that they couldn’t be seen from the helicopters. So that was then another like a layer to the evolution of the grossing. A lot more people started moving up from the city going, oh, I don’t care about the lifestyle, but I can come here and make money.

Mihael: It changed the dynamics of some of the people that were moving there because they weren’t moving there, because of the love of the place and a relationship with the land. They were moving there with the hope of making some big bucks. And so that that was like, and like I say, almost every decade, there was another wave of that where it changed again. That happened again in the late 90s when the medical scripting happened, where then people could grow in a greenhouse and they couldn’t just come and take it because it was potentially legal. So the whole helicopter days of them being so oppressive shifted. In some ways good, because people were not so stressed out. They weren’t having to run around underneath the military M-16s. It kind of simplified things and for a time it didn’t get out of control. But then because that happened, then people started taking advantage of that. And that’s when people started bulldozing tops of mountains and growing way too much. And then that brought in a whole ‘nother energy of people from other countries, you know, and Bulgarians moved in, the cartels moved in. Although some of those people came even in the early 80s but just a little bit, It became much more. 

Mihael: The more they realized how much money– you know, when people start floating millions– then other people are like, oh, here, I’m going to be the big dog and run this thing and then that eroded the sense of community because it was so based on money and not caring about the environment. I remember, you know, because I listen to the radio, how many times they would find a grow way out in the woods on a national forest or whatever, and there’d be pallets of poison, you know? Because they were just trying to grow so many thousands of pounds, they didn’t care about the environment. We used to have a ton of great horned owls. Over time, they just disappeared, probably because of people using rat poison. And so those kinds of effects are definitely the negative of people, quote, going for it and going, not caring. I would say that in the early years, most of the original back-to-the-landers and mom-and-pop people were super conscious. They would not use poison. They kept it much more simple. They were stewards of the land. They were taking care of the land. They were the ones trying to defend the land. That culture is, unfortunately, kind of just got overrun by the bigger scenes, and then, hence the kickback from the authorities, because then the authorities are like, oh, we got to go after these environmental people, ruining the environment, and bulldozing and cutting down all the trees and damming creeks.

Mihael: and because some of that stuff, that’s where they were crossing the line. Then making it harder for the people who are living in a good way. There was an in-between time where the schools were thriving, and the children were thriving. The small businesses were doing good and there was rich music, the festivals were happening. 

I remember one of the firemen’s Hall burnt down in Garberville and then, you know, a little while later they were like, oh, let’s do this fundraiser to build a new community center, you know, so that’s when the Mateel formed. The fire company, even in Honeydew, we used to do a food booth at Reggae on the River as a fundraiser for our own fire company. But then that evolved into the Roll on the Mattole like, let’s do our own little music thing. And so a lot of the non-profits, schools, fire companies, they all benefited from those bigger events because it was like, hey, we’re bringing in all this people, this culture, and this is a way to help nurture those fundamental parts of our own culture. At the same time, I think there were some of the government agencies that were like, oh, we can’t let them have solar panels and not be on the grid.

Mihael: The whole Say No Reagan-era was actually, they called it a War-on-Drugs. So the government didn’t like the counterculture getting a foothold in becoming self-sustaining. And a lot of these people, a lot of my friends and people that moved in, you know, were Vietnam vets, who didn’t fit well in society, but fit well into the mountain culture. There were a lot of them who might have been called misfits, yet they were just artists. They were people who wanted to live differently and were culturally, actually adjusted to that lifestyle, and people honored that. If there was a certain neighbor that really wanted to be like a hermit, if there was someone who wanted to be plugged in to the school system and helping with the different events, then there was room for that too. I worked at the Petrolia Community Center the very first summer I was there, and you know, straight away, these are your people. They’re in your valley. So you get to know the families. You get to know the elders. You can get to know the youth. And then as you have children, and then, you know, I’m part of the fire company. I was part of the coaching the basketball.

Mihael: You evolve in the ways that you can plug in and be a part. At least that’s my nature. And like I said, some just stayed quiet and just wanted to make money. You know, for me, that wasn’t why I moved there. So that was never a big priority. In the mid to late 90s, when the whole Prop 215, they call it medical marijuana, it allowed people a little more freedom and a little less anxiety because of the anxiety of the oppression of the helicopters and them driving down the roads and convoys coming in and turning people’s lives upside down. It was heartbreaking sometimes. Not always in a just way, you know, they weren’t just going after the big growers, they were going after some of the mom and pa growers, people who were barely making it, you know? And so that’s when it’s like, come on, let it be. That became even more apparent when it became legalized, because then the people who just were making enough to get by and take care of things, they were spending their money in the restaurants, they were spending their money to go see music. They were buying clothes. Even the trimmers, you know, people always, oh, trim-igrants, blah, blah, blah.

Mihael: But they were staying in the motels sometimes, too. They were buying food. They were buying clothes. That money was being totally cycled right back into the county. And in a good way. And unfortunately, when they shut that down, that’s when a ton of businesses shut down because they took away the very foundation of what was helping things thrive. And that element of– let me interject here. When it became legal, there was Prop 19, was the first one to be voted for. It was geared towards small growers and medical, and written by some of the founders of the people who were kind of at the forefront of things. I think I remember hearing that some corporation in Utah spent almost $40 million with advertisements against 19, saying, “We don’t want this in our schools. We don’t want kids to have access to this.” You know, portraying it as a terrible, bad thing we weren’t ready for. It would have been much more well-rounded for the economy in Northern California, and a better situation for all the growers. But most of the voters are in Southern California and San Francisco. So they were swayed to think, Oh, this isn’t good. So then when prop 64, which was written by corporations for corporations, was presented just two years later, the same $40 million was portraying how good it was, like, oh, finally we have this thing.

Mihael: And so that’s an $80 million spread of swaying by propaganda, people’s voting and. And of course, when they first wrote it, it was supposed to only be an acre with all these guidelines. And within a matter of months, they changed that because the stockholders said, we’re not going to be able to make much money if we can only have an acre. And of course, all the growers in the hills, the only stocks they held were the herb stocks, not anything having to do with Wall Street and investment firms. So that was a huge shift in economic status that then limited a lot of the people that could even afford to get a permit. Uh, you know, I knew some people very close to me who, you know, spent $100-200,000 jumping through the hoops, not even being able to grow for a while to get their permits. They were losing money some years, busting their butt growing, growing, growing with all the stipulations, everything and still losing money. So a number, a lot of them just stopped. They said, this isn’t worth it. Why am I working to fail? And I think the county did some things in the beginning. A lot of it was state regulated, and that was beyond the county’s control. But there were other counties that were much more lenient.

Mihael: You know, like Mendocino, you could have 25 plants with no problem. You didn’t have to jump through a million hoops. So a lot of the people were still able to do okay. Humboldt, I think shot themselves in the foot and then the other foot and then the– and not knowing that they were really crippling their own county by having way too many regulations, making it way too hard, making people literally suffer. People were committing suicide because they couldn’t meet all the regulations and and then they were watching their families hurt. And to me, that’s tragic. That’s a system that has failed miserably. When people are doing everything in their power for years and then committing suicide because they’re failing. And some of that was due to, unfortunately, to some of the programs that the county had and too many strict things. It’s one thing to shut down the big dogs who are trying to grow a thousand plants or bulldozing but a lot of the smaller growers who were just one of the small things, they should have just let it be and our economy wouldn’t have just taken a nosedive. It’s sad, I go to Garberville every month for acupuncture and my radio show and half the stores are empty. It’s like a ghost town. The ones that are still there are not thriving. They’re barely making it. There used to be a ton of restaurants and clothing stores and gift shops and– How are they going to cater to tourists, which is what they’re hoping to do again, because tourists are always come here but if someone stays near there and there’s no restaurants and there’s no stores to shop and nothing catering to, then they’re probably not going to stay long. 

Obviously, now that the redwoods aren’t going to go anywhere. That was a battle in the 80s and 90s, um, to save them. What degree we could. Corporations had their heyday with that. Again, with junk bonds, and just that’s another story. Now, a lot of people are trying to reinvent themselves. Those that are still in the permit realm of marketing, branding, and developing their science behind some of it.

Mihael: I’m always a little sad that there isn’t more emphasis on the spiritual part and the prayers that are in the plant because people feel that, at least people I sold to way back in the 80s, people came back to me and say, oh, does the guy who grows this actually say prayers over marijuana? So it’s not just about the nitrogen, phosphorus, and potassium; many people emphasize the fertilizer, but how you treat the plant and how it affects the feeling that comes forth from it.

Mihael: There are people though, that are fostering better ways to work with it. With some of the regulations, there are people who are still using chemicals. It’s supposed to be organic, it’s supposed to be tested against that. They’ve even proven that some of the labs are fudging the numbers to make it sound like the plants are better than it is. And that’s just counter if you want to view the plant as a sacred healing medicine plant, that’s where the business part always twists things, because then it’s about money. It’s not about medicine. Hopefully, in the future, it’s hard to say how it’s going to go. People tell me that some of what’s in the dispensaries isn’t actually even that good quality. Sometimes it’s old, and to me, that’s just sad. I think a lot of people have gone back to buying stuff on the black market because it’s just better. That’s the backfiring of all the regulations and rules where for decades, people didn’t have that. And so they always found it. Growing up and in school, it was always there and from all over the world, that was the beauty of it.

Mihael: You know, it’s a very cultural thing to a lot of countries that and it has been growing in a lot of countries for a long time. It’s not just a modern thing. There’s a certain beauty to that, and I don’t think people emphasize enough that different strains create different feelings, that there’s stuff that’ll keep you up. There’s stuff that’s more of an uplifting high, and other stuff that’s more like you’re tired at the end of the day and you want to sit on the couch. So there are different types for those different things, and not enough is spoken about that. And even each plant: if you harvest it on a given day, two weeks later, it’s going to be a different feeling, a different flavor, a different high. Two weeks later, that same plant will be different again. People are starting to learn about that. But, you know, a lot of us knew that stuff 40 years ago. I think there should be more emphasis on that, because it opens the door to it being more beneficial in other ways. And I’m glad that now, like many elderly people, I’m finding such benefits and dropping other pharmaceuticals. I know a couple of people who used to take six different medicines that now,  a little cannabis is all they need and they’re actually better off for it and spending less, and having a better quality of life. Of course, the pharmaceutical companies are like that’s why they’ve resisted it all along.

Mihael: Because they don’t have control over it. It’s a plant grown in the hills, and they want to synthesize it into something you buy in a pill bottle. They’ve done some of that, too, because that’s the way big pharma is. That’s the way money corporations are. How do we make a buck? It’s not about providing a service to people. And I think in the early years, it was more about a relationship with it. It was your friends and smaller circles of people you worked with. There was an inherent beauty in that; you had a relationship not only with the plant but also with the people who received it and what they wanted. My musician friends were always like, ” Hey, we want this one because they stay up at night practicing.” Do you have any other questions? I went off on a number of tangents there.

Natascha: Yeah. While you were gorilla growing, which is when you grow off-grid, right?

Mihael: Well, like a mile away from your home in Timberland or forest land, nowhere near anybody’s house, you know, in the trees.

Natascha: Carrying all, all your supplies.

Mihael: I used to hike up to two miles sometimes to go to some of my spots.

Natascha: What was your connection to the plant? Why did you do that?

Mihael: Primarily because of the helicopters, you had to hide it. In the summer, it’s hot and dry.So you have to find a place where there’s a spring. So sometimes that mile and a half or two miles was because that’s where the spring was. Then I would set up simple garbage cans with a drip system from the spring and servicing just eight plants, or maybe 15. Just small, small plots enough to grow, maybe a couple pounds.

Natascha: Why did you grow cannabis? What was important to you to do so?

Mihael: Because I was doing the homesteading thing of raising my kids. We were even homeschooling, growing as much food as we could. It was another infusion of some money that allowed me to still have that lifestyle; of being there, helping raise my children, helping build on the house, tending the fruit trees- it’s 65 fruit trees. When you’re doing farming like that of gardens and that it takes a lot of energy. Heck, I knew people who had huge organic food farms and they’d sell $150,000 worth of produce, but they’d still break even. So even they, after selling $150,000 worth of produce, would have a few plants by the river to help them have a decent quality of life.

Natascha: So what I’m hearing from you is that there is a connection between sustainable living, living off the land and cannabis.

Mihael: Definitely. For me, when you’re doing it in the right way, it’s a right livelihood thing too, because you’re working with a plant and you’re not harming nature, you’re not harming anything. Then it’s something of benefit for people. It’s helping people deal with their pain or dealing with their anxiety, so it’s a win-win that way. It’s not easy work by any means. People think you just put a couple seeds in the ground and no, you got to tend to it for eight months. It’s a lot of work.

Natascha: How did you protect your farm and your business?

Mihael: So in the early years, like I say, just didn’t even grow on the land. So that there was no risk to our well-being and being threatened by the authorities. Even when Prop 215 got passed, I waited two years until I heard the state attorney general, state that as the top law enforcement person in the state, that he had to protect my right to be able to grow. And I was like, cool. So that was the first year I grew something closer to my house and it was just a tiny little 10 x 20. Neighbors teased me and said, what, build yourself a real greenhouse because they had bigger greenhouses. So for me, a 10 x 20 was like way bigger than a cold frame. But for them, it was like, no, you’re still in a cold frame.

Natascha: I mean, your house is the most immaculate, detailed, built home I’ve ever seen. So you had the skills and chose to remain small and humble, it sounds like. When you sold your product, it sounds like you mostly sold to friends and family. Were there any other primary clients, maybe from out of town or–

Mihael: Well, you know, some of my friends from my youth would say bring it to San Francisco, and I’m talking again, 2 to 4 units. Nothing big, you know. And then they would provide some of that to some of their friends. So again, it was just small. You know, friends helping friends kind of thing.

Natascha: When you reflect on the upbringing of your family, was that lifestyle desirable?

Mihael: For the most part. We didn’t have a phone for 20 years because we were out on the mountain. It wasn’t even a possibility. We didn’t have television or the media. We had a little tiny radio, but the children grew up playing in nature. So they made things all the time. They rode their bikes and built tree forts. They created skits and acted. Their imaginations were very fertile. The downside was that when the helicopters came around, they still felt that tension. Even though the helicopter couldn’t land, there was an element of them feeling threatened by it. In part because a couple of times I ran down to the woods to save my crop, so they had this anxiety about that, but also the element of growing up in nature, and, like I say, I made a point of having other children on the land. So they also had friends they could play with. It made it more complete for them. And as they got older and learned that some of their kids, their friends, had video games and stuff like that, of course, they wanted to go stay at that person’s house and hang out and play because they had devices we didn’t have, and that was okay. Of course, they wanted me and I said, no, you get enough of it, you know? So it was all right.

Natascha: What was the crime rate like prior to legalization in Humboldt?

Mihael: Right. Well, so, you know, of course, that’s a remote mountain part. I think it was pretty minimal back then. In the early years, of course, there were always people, but there were a lot of other drugs besides marijuana. I think that’s where a lot of the crime came from. Twas ever thus. It still is that way because I think that some of that stuff. Oh, it just conjures up a whole ‘nother level. Although there were definitely some instances where people, because there was so much money involved with the marijuana deals, there were some very shady stuff that happened. Like that Murder Mountain, I think I didn’t even watch one whole series, but that kind of glorified that part of it. Unfortunately, again, because there was just so much money that then people coming from the city, who maybe were part of gangs and a whole nother kind of thing took advantage of people who were just living on the hill. As far as now, I think we’re in a whole nother era now because money is so tight everywhere. Homelessness has increased. That’s not solely related to marijuana. It’s an influence, but I think that’s more a political agenda of the billionaire class and the ultra rich to suffocate the little people. I think there’s a whole nother level of crime now that didn’t exist before that.

Mihael: Um, I don’t think that can be correlated to the marijuana industry as much as to the bigger picture. Like I say with the ultra rich and corporations and taking away people’s, making the cost of living so extreme when the wages are still the same. For a lot of the people they just up and moved away. Some people went to Oregon, others to Montana, and they found they could live more comfortably outside California. I mean, a lot of people who live in Humboldt are here because it’s just beautiful and they don’t make as much money as they the Bay area, but they just seem to live here rather than there. I left San Francisco as soon as I graduated high school. I’m grateful for having grown up there. It’s so the crime, unfortunately, there’s an undercurrent of young people into meth or heroin or, nowadays, God-awful fentanyl. I think those things drive some of the crime in a whole different way. And people who smoke pot usually are not out in the bars, getting in fights, and even that, alcohol is a whole nother thing compared to marijuana.

Natascha: Do you think the community expected the economic downfall after legalization?

Mihael: I think a lot of people braced themselves for it and knew that that would be a flip side. I know I did. I saw the writing on the wall. Especially with 64 as compared to 19. I think if 19 had passed, it wouldn’t have been such a dramatic nosedive off a cliff. I’ll have to point to the corporations, that’s cold, hard facts.

Natascha: What was the change in Fairwind after legalization?

Mihael: At that point, most of my kids had already moved away, so things were different. Anyway after 20 years of having a community there, I reached a little point of like, I’d rather have no people than the wrong people. So it just became very simplified. I built the temple to create the retreat center. Anticipating that kind of shift. That was again, right when my youngest daughter went to university. So it was like embracing a new stage in my own life. It was going pretty good up until, well, Covid was one thing that happened. In 2019, I only had 17 plants on my land,  medical prescription, which was totally in the parameters of what I could have. And they came and raided and tore everything down, went through my house with warrants, totally turned my life upside down. Threatened me with $65,000 a day, fines for a water tank that was leaning two degrees, and they said it was ready to fall down the hill. I’m like, did you actually see it? I had an environmental hazard thing that was double A, C and D batteries in a bucket in my recycling, they were threatening with $10,000 a day.

Mihael: I mean, the list of things that they were trying to find me for were so redundant. They were so pissed off that they thought they were going to find some kind of big grow with guns and they didn’t find any of that. And they found someone who’s taking care of the land and living simply. I think that they were probably just totally ashamed of themselves. 

It really tormented me emotionally for months. It was just really tragic because there was no, I wasn’t there, if I was there, I would have said, hey, come on in, have some tea, have some coffee. How can I help you? 

And they probably wouldn’t have cut down a single thing, uh, because I was in the parameters of legally. Okay. Uh, one of my elders in Ireland was, um, ill and I went back to visit them before they passed away. So, uh, but that was disheartening. They had come, they had sent me a notice three years before. With what, what how did they term it? Code enforcement. There was a name for the violation and I just went right in the office and talked to the main guy.

Mihael: I was like excuse me, you made a mistake. I shouldn’t even get this letter because again, I hardly had anything grown. Oh, I’ve been in the military 26 years, and I’ve been in this field. Oh, and he does an aerial view with his computer of my house, garden, and orchard. Oh, what’s this? And then he scrolls across the meadow to my lavender field. And he goes, What about this big outdoor cultivation site?” And I laughed, and I said, uh, you mean my lavender field? And he goes, Oh. These were six-foot bushes, lavender that had been in 20 years, big, healthy, several rows, not fenced or anything, because you don’t have to fence lavender. I said, Hey, if you look at those pictures, it’s there year-round. I don’t just plant it every year. Well, can you get me some pictures? I said, Sure. I have tons of pictures of my lavender field. And then he scrolls over to the temple space and goes, well, what about this big building that you built? How do I know you’re not growing in there? And I said, uh, excuse me.

Mihael: We use it for yoga and meditation. I can give you pictures of the inside of it, too. And who in their right mind would build a big, beautiful, sacred geometry-type space to grow pot in? Then he said, Well, are you? I’m going to be really frank. Are you growing anything on the land other than your medical? And I just straight up said, No. I was being honest. I just had a tiny little patch. He wrote it off. He excused it. So the crazy thing was, three years later, when they came with the warrants, I had even less. And I, you know, people said they’d probably been wanting to get me for a long time because I lived there on the hill so long. I’m still in debt because I never did grow much; I was still doing carpentry. I was still doing tile work and building houses for people. And, you know, I mean, I never stopped working for other people and doing things. So that was that.

Natascha: What do you think this says about our government and sustainable living?

Mihael: They are afraid of people who are off-grid and growing their own food and unplugged from the system, because that is what they want to have control over. They want to have a grip on people and their lifestyle. And so when people are living self-sustaining, they’ve shut down almost all the small farms, now it’s industrial-sized farms, even for our food. Small farms, all those people for generations took care of themselves. Ranchers took care of themselves. People used to portray ranchers and growers as two distinct groups. And over time, many people in the community realized: no, you’re growing your own food, you’re doing a lot of the same. There’s actually more in common than not with a lot of the back-to-landers and the ranchers, seeing that. Maybe they dress a little differently, but when their kids are all in school together, and you’re doing school events, and you’re all hanging out, or you’re going to different community events there, you’re all friends, you’re all neighbors, you’re all the same community. I think there are powers that want to create that division; the same goes for environmentalists compared to loggers. A lot of times, those environmentalists were trying to protect the loggers’ jobs, and that came to light in lieu of all the Maxxam stuff and all that, because when Maxxam shut it down, they were taking their pensions.

Mihael: They were screwing the whole community of the logging. And a lot of those environmentalists were trying to preserve the method of their operations because, in the early years, it was more like a family-run business. And they wanted their child to be able to go into that business; they wanted the grandchild to be able to go into that business. The only way that could happen is if even the logging was done sustainably. But once the corporation came in, totally unsustainable, they tried to cut everything as fast as they could rape and destroy. So it was interesting because then even then, a lot of them saw you were actually trying to stand up for us, even though the powers that be were saying, Oh, they’re trying to take your jobs. But that’s the old story. The corporations are always trying to divide. They’ll twist the story to make it sound like you’re against each other. When, even though, it’s not that way. They’re the ones with the big pile of cookies, while the two other people are sitting there with their one cookie, going, ‘they’re trying to take your cookie, not them with their massive pile.’ I just saw a whale by the way.

Natascha: Yeah. I’ve never seen a whale in my life. I’m so happy they’re still here. I’ve heard that the whales are not singing as much as they used to. Have you heard this?

Mihael: They’re not singing. Mm. I haven’t heard that.

Natascha: Okay. It’s really worrisome for me. I’ve been thinking about it.

Mihael: I know.

Mihael: Their migration periods are all messed up because I’ve been watching them for 20, 21 years very closely. For some of them to still be going south, while others in Baja are birthing their babies and heading north soon. I’ve never seen that. I’ve never seen an overlap. Never.

Natascha: What do you think that’s from?

Mihael: The oceans are warming and just the climate changing. Global weirding.

Natascha: I’ll interview you again on the whales.

Mihael: That island there normally has 10,000 murres on it. Right now, there’s not a single one and they usually come in December. But that’s another story.

Natascha: So what changes did you notice in land ownership, housing or access to property after legalization?

Mihael: Well one of the biggest ones is property value has plummeted. Because so many people couldn’t afford to make their land payments and weren’t growing anymore. Then they were forced to sell. Then when you got a thousand parcels on the market, when there used to only be 100, people are desperate. Unfortunately then, say for me, I’m still trying to do carpentry and whatnot to make my payments. I’ve always done okay, but because of injuries and such, it’s harder. But my property value 25 years ago was said to be about 25,000. Okay. I put $200,000 into building the temple and other improvements, and it’s not even appraised at $200k now. So 25 years later, my property is worth less than it was, even though I sunk a ton of money into it. So that’s tragic. The people that are holding on are creating, more people are going back to fishing, more people are going back to logging. I looked into logging myself and was told I would have to cut so many trees and would only make like $5,000. I was like, forget that. Economically people are struggling. But again, the people who have been there a long time, they’re hanging in there. Although I know a few people down in the valley who want to sell their home that’s very dear to them just because they have mega grows right next to them. You have to hear the beeping of forklifts and trucks and fans and their homestead that used to be so dear to them– now, it’s not the same place.

Natascha: So how did these changes affect relationships and community cohesion?

Mihael: A lot more isolation. A lot less community stuff. It seems much more separate. Except for the people with young children who meet up because of school. Those people maybe have a little more and then like in the middle, there’s a pancake breakfast or there’s the cabaret every so many months. So that gets people out of the hills or The Roll on the Mattole, where once a year you see all these people that you only see once a year. It’s changed dramatically for many people. They do their town run, they go up north to get supplies, and don’t even go to the local store as much.

Natascha: So, what do you feel the long-term effects of cannabis legalization are on Humboldt County?

Mihael: Unfortunately, I would say that it’ll take a long time for things to restructure to come out of it economically. There are still some people who are hanging in there with pretty big grows and they’re doing okay. They’re not doing great. And of course, you don’t have to hire trimmers and stuff like that who are getting paid, a third of what they used to get. So even the farm help doesn’t make much because the growers are not making much. It’s sad, I know some people who work on vegetable farms who get paid more than people who grow pot on farms. That’s how bad that is. As far as where it’s going to go in the long term, I think it’s reaching a point where people are trying to recreate it and brand it because a lot of people who do grow here know that its got a reputation because the climate here is one of the best in the world. And so people can grow some of the best herbs in the world. So they have to market it in such a way that they’re not competing with the big grower that grows thousands of pounds. Because once you do that, then you’re losing the touch. I always grew my own seedlings and still do. Then you have a personal relationship with it. So some of the farmers who are still growing sun-grown, that is, well, the best word I can use is consort.

Mihael: So people are growing consort quality, and there’s always a niche for that. I always said that even before the legalization, there would always be a niche for consort quality. It’s harder for them to have a market for it. People have to work harder to get it out and get a dispensary to say, oh, okay, I will pay a little more for this because it’s top shelf. I’ll make that analogy with the top shelf. People will pay a lot more for a fine tequila because of how it is. And so it’s similar with herb. You can buy something that is on sale at the dispensary, but it’s not going to have the flavor. It’s not going to have the same high. There will always be a niche for that. And people just have to work at it. That also requires branding and making a point. I had someone years ago telling me that I should patent some of my strains because I’m the only one in the world who has them, but because I’m only growing my six plants recreationally and I’m not supposed to sell it, then I can’t. What’s the point of doing that? Oh, well. Nice thought.

Natascha: What hopes or concerns do you have for the future of Humboldt County?

Mihael: Irregardless of marijuana, you mean?

Natascha: Yes.

Mihael: Well, Humboldt, how do they say, it’s behind the redwood curtain? I think that, climate-wise, Humboldt is a very, very unique place. Environmentally, it has one of the most diverse ranges of birds in the world. Because there are so many local farmers and industries. Even if all the highways collapsed, Humboldt would still be fine and take care of itself. Some of those elements are something that we can hold on to and know to be true. The concerns are that there are still corporate entities trying to, uh, finagle their way in and change things. They’re still trying to, or they actually even started cutting some of the redwoods in Richardson Grove. Amazon’s now building a big facility here in Mckinleyville and oh, yeah, it’s going to be 167 jobs. But then it’s like, because in my own personal belief system, Amazon is one of the very things that eroded the nature of our country. Just like Walmart, it came to town and destroyed almost every small business thriving in Old Town Eureka. And people fought it for years. Walmart was not able to build here for a long time, and then they found a backdoor way to get into the old coal place. And, you know, and sure enough, you know, you saw all the other K-marts all failed. A lot of the small stores all failed and that’s the eroding of the American dream.

Mihael: To me, the American dream was where individuals could make things happen and make their life a reality. And when the corporations stomp on it and stomp on it and stomp on it and make it impossible to compete, then people just, you know– I think the Humboldt’s really strong in that element of still clinging to a different way. Things like Arcata not letting fast food places build anywhere near downtown, [instead] we’ll give you up there by Giuntoli and Valley West.When Walmart moved into Eureka, you saw the direct effect. I don’t think the Amazon thing is going to change too much, because anyone who wants something from Amazon will buy it anyway. It’ll just make their job easier. It’ll change trucking and maybe even airline stuff that deliver things to get that next-day package. I think that the culture between people wanting to come here for redwoods, people wanting to come here for the ocean, for fishing, those are always going to be points that people from other places will come here and hopefully everybody thinks about that. It’s too foggy and the weather’s not good and they don’t want to move here. Because that would change things.

Natascha: On the topic of hope. After visiting Fairwinds, I decided Arcata has a community that is a healing mecca. Do you have any thoughts on that?

Mihael: I think that Arcata. In the region, the whole region has loaned itself for that. There’s probably more healers per capita here than most places. Just as there are more artists and musicians and instrument makers who are world renowned in this. However many 150,000 people or whatever live in Humboldt and Arcata because of the university. So many people that went to university there back in say, the 60s and 70s fell in love with the place and stayed. And so then we started having the alternative food stores. I mean, the co-op was just in a tiny little thing on the plaza back in the day and they moved, I think one… two… then where Wild Berries is, they were there for a time before building the other place. Things like natural food stores, herb stores, moonrise herbs and HumboldtHerbals, massage schools, places like heartwood that taught alternative healing. All those elements kind of came out of that same era. Kind of going along with the back to the land movement thing of people learning the alternative ways and people having gone to say, India or other cultures where they studied some of those practices. That was also a whole movement out of the 60s and 70s of learning about Buddhism or Hinduism or Ayurvedic or Rastafari. So the spiritual element was also integrated into that healing element. And that I think is their kind of hand in hand because people who are usually leaning into the healing modality, a lot of them have that spiritual foundation. Yeah, so I think, I do believe that there is an element of that one Native American elder I studied with like over 40 years ago spoke about ley lines, which are like energy fields in the earth.

Natascha: Mhm.

Mihael: And she said that there was one going from up near Montana that went through Mount Shasta and then cut over to the coast here near Trinidad. And then it triangulated with the four corners Hopi region. I think that some of that goes way past this generation or that generation that’s pure earth energy. I think that is an undercurrent also of why people are drawn here.

Natascha: Is there anything else you’d like to share that you think is important in understanding this history?

Mihael: I do believe that marijuana herb is a sacred plant and has been used in cultures for thousands of years. I think it has influenced many aspects of our culture in this region. They talk about the Emerald Triangle of Trinity, Mendocino, Humboldt, because that’s where, in the 70s and maybe even late 60s, that’s where people were, first taking the seeds from these other foreign places and bringing them here and developing them. Because of that, some of those pioneers who really had a firm grasp on developing really good quality, it became kind of a mecca of the sort. I think that will continue on in some form; there are people here who are third-generation herb growers. So that’s saying something, you know. And hopefully it integrates in a good way. I wish that legalization, sadly, now everything’s wrapped in plastic and has to be packaged this way and that way; it’s almost contradictory to the whole environmental part. Again, they have to meet safety protocols and things like that.

Natascha: Thank you for sharing your time, your honesty, and your lived experiences with us. Your story reflects the resilience, creativity, and vulnerability that define so many lives in Humboldt County, shaped by its shifting economy. By speaking about your work, your land, and the challenges of sustaining Fairwind, in the wake of these changes, you help illuminate the broader human impact of economic transformation. Your voice contributes to preserving the memory of a community in transition, one built on independence, mutual care, and deep connection to place. We are grateful for your willingness to share your journey and to help ensure that these stories remain part of Humboldt County’s living history. Thank you for being part of this archive.

Mihael: It is an honor. 

Please donate to Mihael to keep Fairwind!

https://gofund.me/7d512babf

CannaClaus: The Green Rush Interviews pt.1

Images shown for historical documentation purposes.

The story of Humboldt County’s cannabis economy is not a single narrative but a collection of lived experiences shaped by land, labor, community, survival, and change. For decades, small family farms, intergenerational growers, and informal networks built what many came to know as the backbone of Northern California’s underground economy. Legalization promised safety, stability, and opportunity, yet the transition also brought unexpected challenges: regulatory barriers, corporate expansion, displacement of small farmers, and shifting cultural meaning.

“The Green Rush” oral history series, hosted by Little Lost Forest, documents these personal histories so they are not lost to policy debates or economic statistics. Through conversations with growers, workers, and community members, this project explores how legalization transformed livelihoods, local identity, and the broader economic landscape of Humboldt County.

This interview offers one perspective from someone who grew up in a multigenerational cannabis family, witnessing both the era of small-farm prosperity and the dramatic restructuring that followed legalization. Their reflections highlight the resilience of Humboldt communities while also raising difficult questions about who benefits—and who is left behind—when an informal economy becomes regulated and industrialized.

As you read, consider this interview not only as a personal story, but as part of a larger collective archive documenting the rise, transformation, and ongoing evolution of the region’s cannabis culture.

Natascha: Hello. And thank you for participating in the Little Lost Forest interview focused on Humboldt County’s economic growth and decline surrounding the legalization of cannabis. My name is Natascha, and today I’m sitting with CannaClaus.  CannaClaus, where are you calling from? 

CannaClaus: Arcata, California. 

Natascha: How are you doing today? 

CannaClaus: I’m doing great, relaxing day. 

Natascha: Sweet. How would you define the cannabis culture prior to legalization? 

CannaClaus: Prior to legalization was the black market, and it was small families and  small farms. There was my great-grandfather and grandfather grew hemp for World War II and Vietnam or something like that. Then there was a huge struggle and the 70s and  80s between northern and southern Humble and Mendocino and the Emerald triangle, there’s a lot of fights and a lot of back-alley deals, and a lot of people died and things  happened. And then we got into the 80s and 90s, and it was more like what I was just explaining at the beginning. Small farms, small families. It became the grandmas and grandpas. And then pretty soon, the industry was legalized, and the big guys came in. 

Natascha: What would you say your first job in the cannabis industry was? 

CannaClaus: My first job. Let me see. I started making clones for my family farm when I was about 11. 

Natascha: Wow, that’s super young. What was the economy like during that time? 

CannaClaus: Oh, for Humboldt, it was booming. Fisheries were booming; the logging  was booming. And then marijuana was our third big– How do you say just big profession out here, that Humboldt County. Everywhere. Everybody was killing it.

Natascha: How would you describe community relationships and even mutual support during these early years? 

CannaClaus: Oh, during the early years, you had, it wasn’t black ops, but it was, God,  I forget what they camped. They used to have camp that rolled around in black helicopters and went around with the police forces and tried to get everybody and catch everybody and get these families, even though they label us as drug dealers or bad people. But it was really just families trying to make a living and get a little extra on the side to have a nice vacation or something. It was really nice because the community  understood that, like when the cops in camp would come to town, they would go meet  somewhere, like in a big parking lot or a restaurant, and all the farmers and everybody  everywhere would start getting the phone calls. Hey, they’re on this mountain on this side. They’re coming up these roads. And so we would all get ready for them. And it wasn’t get ready for them, like get your guns or nothing. It was get ready for them and lock your gates, lock down. Get, you know, kids out of there if there’s kids there and so  forth, and get ready for these helicopters, because they used to come into our  greenhouses and fly as close as they could to them to bust the top of the greenhouse  off. So, if they can visualize and see inside there and see actual marijuana, even if you want or not. You had a farm in the greenhouse. They’re going to try it. If they blew that top off and see marijuana, they can come down and rope down into your property with their big AKs. They’re mean people. So. 

Natascha: Why do you think people kept growing after that? 

CannaClaus: I know that I kept growing after that just because the money was good. I  had more time to spend with my family. We made good money. We were able to donate and share in the community. My family, along with many other families, always donated our extras to people that couldn’t spend the money for it or that needed it. We also would set up fundraisers for the veterans, and it was called Weed for Veterans. And we  would go around and make big meals and hand them out to the homeless in different  places and the community. I mean, with all the money we’re getting in and all the taxes and everything. I mean, the city was doing really well and doing really good for itself and  starting to clean itself up because we all know in the 80s and 90s around here that it  was pretty trashed. And then the city started cleaning up.

Images shown for historical documentation purposes.

Natascha: What do you mean, literally trashed? 

CannaClaus: Or pretty much. I mean, all the downtowns, all the parks. I mean, we just started getting new parks like this last ten years. 

CannaClaus: The homeless rate went skyrocketed when I was a kid. It was just you went; you walked from the mall up to like the bay or whatever. The back parts over there, you’d always see like 2 or 3 little homeless camps. And now with the fentanyl and heroin and meth and all that stuff, those homeless camps have grown to hundreds,  hundreds, and hundreds. The community lately has gotten them to where they’re  compacted in certain areas. They move in and clean up after them and then move them  back out. A lot of community members are finding ways to come together to help them  and get them off the streets in different ways and stuff. The drugs made it so bad, and everybody always blames pot or pot’s a gateway drug or blah blah. No, that’s not true at all. I don’t believe it. I believe alcohol is more of a gateway drug than anything, but I  think I got off topic there. Sorry about that. 

Natascha: No. It’s good. I want to dig into this. Just one more question. Do you feel like the cannabis industry brought in a lot of traveling folks or homeless people? 

CannaClaus: I definitely think it brought in a lot of traveling people, because every summer we call them trim-igrants, and they would come in usually around August,  September, and you would just see them hanging out at Murphy’s or Safeways or  Winco’s or, grow stores or different places like that, finding work because they can come here and get a visa, like a student visa or like a visiting visa and trim for three months from September to November, or mattering how big the farm was. And they  would make anywhere from like 10 to 20 grand trimming because they can make  around 200 to 300 a pound. And then it went down to last, or ten years ago; it went down to 100 a pound. And then five years ago, it went down to 60 a pound. And then the machine trimmers started coming out. Then they would just pay them, you know, 15 or  20 bucks an hour to run the machine trim, and then they would give them 40 bucks a pound to clean it up. And so, then those people are slowing down and not coming out here as much. I believe the homeless rate around here is due to these, I forget what it’s  called, it’s not like asylum cities or whatever, but they we have buses that literally pick up homeless people from different cities and places of the state and just drop them off here. 

Natascha: Right. Would you say that trim-igrants were bringing money into the economy in Humboldt? 

CannaClaus: No, no, they took it out. 

Natascha: Okay. 

CannaClaus: Because they would make their 15-20 grand and go back home to their families. And I know a lot of them that would make around 20 grand or whatever, and 20 American US dollars. They would go back home and go to school or learn a trade or do whatever, and just live the whole year off of that, and then come back and do it again. 

Natascha: How big was your family farm? 

CannaClaus: We had three farms, I think, at the most. My farm was an acre and a  half. My two sisters, I have three sisters: two of them grew. The other one had a two-acre farm. And the oldest sister, she had a 40-acre farm. 

Natascha: Did any of them stay in business? 

CannaClaus: My sister [Heather] was the last one to go out of business. And this was this last year. They came out to the property. Our permits weren’t all aligned, and we were still going through paperwork and getting everything ready with the state, the city, the county, and da da da. And every loophole that they make you jump through  and every paper they have, you triplicate and sign and bring back and take here and  spend this. I mean, literally just trying to get legal or legalized was costing around 100 to  $150,000. And these farmers are now, with outdoor farmers anyways, are now only making, 200 to 400 max on a pound. And when you put in your time, energy, food,  water, hourly wage, you’re making like 20 bucks an hour. It’s just not worth it anymore. Everybody thinks marijuana is like it grows on trees, like money grows on trees, and that’s marijuana. That was when we were getting indoor for 3000. That’s when we were  getting outdoor for 1500, you know. Now indoors 1000 and outdoors 200 to 400. And light deps are like 500 to 600 max. You know, you can’t make a living wage off of that anymore. You might as well just go get a regular job. 

Natascha: What was the furthest license that you got on your farm? 

CannaClaus: Mine was medical. I’ve always done medical. I never got permitted. I just always did my 99 plants. And I would donate half of my crop to different people that needed it. Every ounce I sold, every pound I sold; I would donate an ounce or donate a pound. And everything I got to people was people that had medical cannabis cards and actually needed it. I never was for the legalization of it, just for anybody over 18 to smoke marijuana. I don’t think it’s for everybody. I believe marijuana can really make a person way dumber and just do idiotic things and become slow and not learn trades or learn skills and just become a slug. But when it’s medically grown and it’s for medical reasons for people that actually need it. They use it in the right way. I believe it’s a miracle drug. And I love it. Love it to death. 

Natascha: Well, that’s great that you were able to donate to people because that would help boost economic growth. Let’s say there’s somebody that is not working in their career path or maybe somebody struggling to pay rent. They could utilize the cannabis to also help them financially into a better financial situation. I would assume. 

CannaClaus: That’s why we helped a lot of the vets because it’s, you know, it’s still a class one. All these years, every summer we get together, and we get all the farmers  together and do a bit of weed for vets. They come around and we give them their dabs and their flowers and things and utensils to work with it and different meditations. And just like every booth has something different. If everything was free, everything was free. If you’re a vet, everything was free. So that was super cool. And I mean, if you can’t give back and you can’t get good karma in this life, then it’s not worth doing. 

Natascha: Yeah. Super green work. Uh, how did you protect your farm? 

CannaClaus: Back in the early days in the 90s and stuff. I mean, we protect it with our dogs and our guns. It’s not, you know, the ideal suit for having a family around it and stuff. But my dad was in his early days a very hardcore mountain man. And he felt like what came from the earth is what we’re allowed to. And then we can do what we need to do what we want with it. And the actual human laws only follow the ones that do right and do good. And the ones that don’t make any sense or that are about government, taking your money, or blah, blah, blah, don’t follow those ones. Stay true to your mountain, your mountain heart, and everything. And then once we got older and we didn’t have to have the guns anymore and, well, besides for bears and mountain lions and stuff, and the dogs became more of family pets, other than the protections of the farm, even though they still were out there for rattlesnakes, mountain lions, bears,  different stuff like that. It got a lot more chill. And then in the 2010s, we started getting a lot of people coming from like Hurricane Katrina and different people coming up from  Oakland and Richmond and stuff like that, and coming up and lobbying everybody. 

CannaClaus: And so then we had to bring back out the protection and come back as a community and make phone calls. And then we had social media by that time to be able to share people’s pictures or videos or different stuff with these thieves coming through town, or fake money, or fake this, or fake cops or whatever it is. Then the  legalization or recreation, I mean, it dropped the price tremendously. Nobody really cares about robbing you anymore because it’s not worth it. I just seen a post the other day. A cop pulled me over and got 60 lbs of marijuana, and they’re like, we’re keeping our Trinity County safe. And every single comment on there along with mine is, oh my  God, you got 60lbs. Like, oh, it’s like six grand worth of money. And you just hurt a family that was struggling to make ends meet this year. And you guys think you’re keeping the community safe from these pot dwellers. You know, everybody’s just laughing at them. It’s just dumb. Like, get this meth and get this fentanyl off these streets. And that’s how I lost my little sister this year, a couple months ago was from fentanyl. I just wish the cops paid more attention to that and just still paying attention to pot, like, come on, dude, get out of here, guys. 

Natascha: Yeah. I’m so sorry to hear that. 

CannaClaus: Yeah. It sucks. 

Natascha: How did you sell your product? 

CannaClaus: Before I got medically licensed, I did black market or through family and friends. And, I mean, I started early. I used to roll joints in seventh and eighth grade,  and I would sell them, uh, two for 5 or 1 for three. Okay. And then when I got to high school, we got our first house, a little tiny house my dad got. And we lived in trailers and projects and stuff before that. We got our first house, and he needed help with paying the mortgage and different things. And so, I started selling bud and to friends and people in school. And then I got really entwined in the marijuana community because of my family name and everything. I started growing my sophomore year outdoors, and then I started growing indoors after I left high school and went to college. I started doing my indoor scene, and everything was still really going black market. Then I became medically legal when I was twenty-eight, I believe, which was 13 years ago. And then I  because from 2020-28 I worked for an oil change place, and just went straight and  narrow for a while, just to see the other side of life, and just not be around 

CannaClaus: The price was dropping then, too, but not like it is now. And I just wanted  to do something different. Um, then I went back at 28, and at 30, um, I had a medical  delivery service in Eureka in Humboldt County. And then I started another one in New  Jersey. And to get product out there for my medical patients, which, again, I was a  straight medical, I had to drive it out there, and I had a friend or a partner that would  drive it out there for me, but he ended up breaking down, in Sacramento. And so, I went  and got a rental car and put it in the back and tried to make it myself and got pulled over  in Ohio, about four hours away from where I was, and ended up doing almost two years  in the Ohio prison system. So. 

Natascha: Is there anything else you would like to add to that? Maybe, the way that  they treat cannabis growers and the jail system or the way that the judge 

CannaClaus: They acted like we were the biggest drug dealers. I actually had a lot of seniority or like, higher up, mentality in that prison because I only had 100lbs on me when I got caught. And 100lbs out here is like, like a medium to average guy out there,  100lbs they acted like I was some kind of mafia boss. They pulled me into a back room and tried to get me to, like, say some names, and we’ll let you go, or we’ll give you a lighter sentence. And I was like, what do you mean? I was like, I grew it. It’s my company. I packaged it, and I drove it. So, if you want a name, here’s the name CannaClaus, motherfucker. And then when I got to the police station, they had the news station out there, and they were laughing at me and pointing at me in the car.  When I got to prison, the actual inmates treated me very well. Actually, a lot of inmates and a lot of society inside of prison is very respectable. You respect others, you respect your place, you respect your space, their space. And everybody has their hierarchy. 

Then there’s the CEO, the correctional officers, which are just the biggest dicks I’ve ever met in life. That anybody or anywhere they have a seniority or like a senior complex, but like a bully, like they were either bullied in school, or they bullied people in school, and they get to do it again. They would make fun of me and call me a California fag. 

CannaClaus: Why can’t- and I had another correctional officer ask me, well, why can’t you guys just make pills? Just make pills like all the other doctors do? And I was like, we do make pills. I was like, I got pulled over with pills. I was like, I had CBD pills, and I  had THC pills, and I had a THC, CBD, hybrid pill. And I was like- and they were for specific patients. And everybody is different. Every patient is different. You can smoke,  one patient can smoke flower all day, and just have a great life. Another patient smokes flower and has an allergic reaction. One patient like me, I- I cannot eat edibles. I can smoke dabs and marijuana all day. Be completely normal. Fine. You know, do everything I can in a normal day. But if I eat an edible, I am shaking, I am paranoid, I am sitting on the couch. I am trying to figure out how to get this to stop. So, everybody’s body is different. And I was trying to explain that to him. And then, you know, just says a bunch of messed-up racist and sexist things to me because I’m a California boy, I must be a surfer or stuff like that. You don’t even know what you’re talking about. 

Natascha: Right. 

CannaClaus: When I got pulled over, and they were making fun of me and talking to me about being a drug dealer, I was like, that’s funny, because in your state, marijuana is illegal, but you can fuck your dog. I was like, you guys, bestiality in Ohio right now is legal, and marijuana is illegal. And I go, so you guys are completely backwards over here, dude. And they would say a bunch of, you know, mean stuff to me, drugs, blah,  blah, blah, blah. And I go, go fuck your German Shepherd motherfucker. We talked a lot of shit back and forth, and I didn’t get along with the correction officers, but the inmates treated me really nicely and respectfully. And a lot of movies, a lot of working out, and a lot of books. That’s about it on that one. 

Natascha: Yeah. When you reflect on your upbringing, was the lifestyle desirable? 

CannaClaus: When I was a kid, to make a long story short, my parents divorced when  I was two, and the courts back then always gave the kids to the mother. My mother was a heroin addict for 28 years, and so we lived a really bad childhood for about 4 or 5 years. I ended up going to the hospital for malnutrition and passing away for a little bit,  but they brought me back, and I was bedridden for a year. 

Natascha: Oh. 

CannaClaus: My sisters and my grandma raised me. And then my dad finally got us back from the court system, and then he raised us all the way until we were adults. And then my mom came back into the picture once we were- I’m the youngest. So, once I turned 18, she came back, and she cleaned up everything. She stopped drugs, she stopped drinking. She stopped smoking cigarettes. And she’s been the best grandma and just an amazing person. These last years. But after that childhood with the badness, and us going with my father, and my father being a pot grower. We spent a lot of time in the woods, fishing, hunting, hiking, cracking, and doing all that fun stuff these Humboldt kids do. It was very nice at that point, and I did love it a lot, but we were wary of out-of-towners coming in or people trying to rob the farm or bears, mountain lions, and snakes, and so forth. You know what you have to worry about out in the mountains. But other than that, it wasn’t. It was a good childhood. 

Natascha: Was it worth it in your adult years, going to jail over cannabis? 

CannaClaus: No, because my son was nine months old when I went. When I got back out, he was two years old , and I missed his first steps. I missed a lot of his first- a lot of things. [Voice strains] When I was in prison, I used to watch the sunset every night and know that my son was almost 2000 miles away, and there’s nothing I can do about it.  Constantly looking at fences, barbed wire, razor wire, and guards with guns.  Even though prisoners were respectful of each other, they were still, you know, people on drugs or gangs or stuff that, those fights or different kinds of crazy things that happened. I would definitely change it. And that’s what I did when I got back out. When I got out of prison, I just got a normal job and didn’t care if I made good money or not. And if we were poor or rich or not. As long as I had time with my son every day. There was never a chance of him being taken from me again. I’ll live that life  over odds or money or anything. So that’s when I made that choice. 

Natascha: Beautiful. What was the hope in legalization? Did you see hope in the community?

CannaClaus: I did. When we finally got medical, it was awesome. It was so cool. We could finally come out of the woodworks and out of the shadows, and we all did anyway, but we couldn’t do it in front of cops. And then it was like all of a sudden, like,  we can actually be stoned and not worry or be paranoid of these cops coming in and robbing us, just stealing from us. And this still happens, especially with Camp and Officer *******. That guy robbed me quite a few times. And there were other crooked cops, but that was the one that messed with me. And a lot of people around here ended up passing away on 36. There was a landslide that ended up killing them last year, I  believe. And I’m sorry for the family and everything, but that guy was a piece of crap,  and he would rob a lot of us. Take our money, take our pot, and take our hash. No write-ups, no tickets, no nothing. See you later. You know. And I’m sorry. What was the question again on that one? 

Natascha: We were talking about the hopes of legalization, that things would continue to thrive. 

CannaClaus: When it became medically legal, it was awesome. And we were all super stoked. And then we thought the legalization of recreational, which I didn’t vote for, but the thought of everybody else in the talk around town and through our small knit groups and everything, was that we can finally be free of the police and free of the FBI  and different places coming in and robbing us and taking us and taking our kids away from us, or taking our properties away from us or our, um, annual income for the year to feed us or pay our bills or whatever. And then what it did was when recreational became legal. These bigger companies came in, and they still shut down our smaller farms with all the processes, paperwork, and permits, and you gotta pay taxes on every single acre. You got to pay taxes on every single square foot. You’ve got to pay taxes on how many plants you grow, even though they don’t understand that plants, just like any other crop, you’re going to have pests, you’re going to have molds, you’re going to have bears, deer, all sorts of things that happen. And no matter what, you still got to pay the taxes on that square foot. And for that plant. And they made it impossible for us small guys to go through. 

CannaClaus: So, they shut down about 90% of our small farms out here. And all the big guys came through, and they’re buying these big chunks of the mountain. And another big one, I forget what it’s called- it’s a greenhouse world, the greenhouse something. And it was a bunch of old police officers that got together, and they were the ones that drove a bunch of us out, got together and bought a big parcels of these mountains, and now they’re doing all these legal grows that provide to all these little shops and everything everywhere. But most of it goes down to LA and San Francisco,  and they just completely- we thought it was going to be a good thing, but most people didn’t. I didn’t, but most people did. They ended up biting us in the ass to where all these families and home grows and family-oriented and family this and grandma and grandpa and small farms, they’re pretty much all gone. You rarely see any of them out here anymore. And it’s just these big farmer grows now, and it’s just going to get worse.  I think I’ve heard Philip Morris was coming in and buying some of the mountains up here. 

Natascha: Where do you think these small farms went? Where did those families go?  What happened to them? 

CannaClaus: I knew about between 50 and 60 different families and farms here, and most of them went to Oregon to try their hand up there because it was cheaper land,  still beautiful land. A lot more wet. So, you have a little bit of a different season up there  due to mold and snow. A lot of them went up there with the last bit of money they had; some went to Washington. Same thing. Then others sold their farms at a high price or  sold their stuff at a high price. But, you know, back in the day and got out of it real fast and started up little shops or things around the town, either a Mexican restaurant or a nail salon or a barber and they just started their own little businesses or food trucks.  God, we have like 30 food trucks now. It’s ridiculous. They tried their hand at something different. What I did was I had my little indoor, my little greenhouse out in the backyard for my own little personal and my own family personal. But other than that, I went and got a job with a big lumber company. That’s one of our big things out here is lumber and fish. It used to be lumber fish, and pot, but now it’s just- now the fishing is dying too.  Pacific seafood or whatever, shut down, and lumber is basically the only thing we have left out here. And it’s getting hard. 

Natascha: Would you say there’s more or less crime now than before legalization?

CannaClaus: There was more crime prior, for pot and people coming up from  Richmond and Oakland and stuff, and robbing us. But there’s more crime now due to fentanyl and hard drugs that are up here, eating all of our kids. Crime in all genres,  there’s more crime now. But if you’re looking at crime for just marijuana, crime now for marijuana is down, and crime back then was up. 

Natascha: How would you say legalization has affected labor, jobs, wages, and housing in this area? 

CannaClaus: Housing went way up. Jobs, because I think when COVID hit and everything, we were all able to get jobs and go back to work and do stuff. When I  was younger, I used to have to hit, you know, 20 different places with a resume and an application to get one job. And now there are 30 to 40 places hitting you up to get a job. So I  think there’s plenty of more jobs out there. I don’t know if it’s just this younger generation doesn’t want to work, or they’re going to school and buying into crypto or whatever the hell they’re doing. They’re not having to work as much. And so there’s a lot more jobs,  but I just believe it’s for different reasons than the legalization. Legalization and the pot market trimming jobs went down, trim-igrants coming in went down, Money coming into the county went down, because now all the people from the East Coast that used to come out here and buy our pot because we have the best pot growing in the triangle,  and then bring it back out to the rest of the country. Now they have all these farms in these middle states, and it’s all this really fast-growing weed. It’s called autoflower. And they made a hybrid of a flower that can; it grows to a certain height, and then it just automatically flowers no matter what season it is, no matter how much sun or light it gets; it grows to a certain height and then flowers. They have these massive- where it used to be cornfields- it’s just pot fields. It’s the pot that looks really nice and really pretty. 

CannaClaus: But they spray them with pesticides. They have tons of chemicals in them. And now these East Coast people, they don’t care that the pot’s not Humboldt,  grown. And it’s this beautiful, amazing pot. The more care, distance, time, money, and it still looks and smells good. I don’t give a fuck if it has chemicals or bad things in it for my clients, I don’t care. I’m here to make money. So, all these East Coast people used to bring us money, but that’s gone. All the trim-igrants coming in used to take our money, but they helped us thrive. They helped us trim our product. So it wasn’t horrible to let that money go. They were helpful. The trimming jobs for just your sisters and brothers or cousins and nephews or whatever, that’s gone. There’s no more trimming jobs. All the places that were doing really good and the farms were expanding. Once the location hit,  boom, they hit us with all these taxes and these permits and these paperworks, and then they can legally know, because all these farms tried; they really tried, and they put up all these fences and made it so hard that we couldn’t. And then they knew where we were. So, we just put ourselves on the map, and they came in and started busting everybody that way. ‘Like, oh, we see that you tried and failed. So now I’m going to take your farm. Now we know where you’re at. Now we know where to get you.’ The realization medical was good, but recreational just destroyed the community. 

Natascha: Did you witness economic stress, displacement, or loss within the community? 

CannaClaus: Yeah. Yeah, a lot of people, like I said, a lot of people moved to Oregon  and Washington. A lot of people left. They were fleeing where? Humboldt County and  California, people usually fleeing to. 

Natascha: Mhm. 

CannaClaus: Nowadays, I see people fleeing from. Rents too high, mortgages too high, rates are too high, foods too high, gas too high, fires. There’s no more money in pot anymore. So, everybody’s just like there’s no reason to live here anymore. Why  can’t I just go to Texas or go to these other states and buy a mansion for a hundred  grand? When out here, a hundred grand gets you a one-bedroom shack. So, it ruined it. 

Natascha: What do you think the long-term effects of cannabis legalization are going to  be on Humboldt County? 

CannaClaus: Oh, it’s just going to be sold at Walmart, Target, and everywhere else.  You pick up alcohol and cigarettes behind the counter. You’re going to have your pre rolled swishers, your pre-rolled joints and, all these dispensaries around here, they’re going to pretty soon they’re going to be gone. It’s going to be in the classification of it- goes from class one to class three. And they can start studying it inside of the colleges, and it becomes recreational legal around the country. Walmart and Amazon, and all that. It’s going to take over, and there’s going to be big farms and big farmers, but it’s going to be from big pharma, like it’s going to be the one percenters that own it.  Then we work it for them, and then they sell it through Walmart and Amazon for that stuff. It’s going to be delivered right to the house. Most of it’s going to be crap. I believe it’s going to be like wine; you got your $5 bottles of wine you can get at Costco or  WinCo, but then you have your thousand-dollar bottles of wine that are amazing and tasteful and age and so forth. So, I believe there will still be small farmers, like real petite small farmers, like you would have at a farmer’s market. But other than that,  there’s not going to be anything like we do right now. It’s all going to be gone. 

Natascha: What hopes do you have for the future of Humboldt County? 

CannaClaus: Well, if we can become sustainable in the logging community and keep doing what we’re doing, like Sierra Pacific and the other guys, North Fork and stuff that they’re doing. Every time they go and cut down a bunch of trees, they’re replanting and reforming and going forth. And so that’s been awesome. And now that we’ve got these dams out of the Klamath and so forth in different places. The fish is starting to come back. So, I have hopes, hope the fishery markets come back, and then we can provide  and supply our county off of that, and the logging, and we won’t have to worry about pot  anymore. Everybody will have their small homebrews and stuff like that. But other than that, there is no money anymore. There’s no making a company out of it anymore. It’s going to be Amazon and Walmart and so forth that will have that corner of the market.  Fishing and logging stay sustainable, and as a county, we can make it through that. But other than that, there’s nothing else we have up here. Maybe solar, maybe some kind of hydro from ocean waves, or something like that. But I don’t see anything else coming from up here. 

Natascha: Can you describe the local cannabis culture today? 

CannaClaus: It’s like where you used to go out to the plaza and give nugs to the homeless guys around there and stuff, and be really proud of it and be really happy that they get this really nice medical tasty, you know, strain. And now you go out there to give it to them, and they give you some back. And there’s so much of it everywhere.  And everybody has it that it’s not a present anymore. It’s not special anymore. It used to be like you go and get a coffee ,and you give a nice tip. Now you have to give a bud to somebody, and they just say, nah I don’t need it or I don’t want it. It’s not special anymore. Cannabis up here has changed to just basically taking your medicine at night.  Everybody takes their gummies at night, or everybody smokes a joint on a road trip or something, you know? But it’s nothing. It’s not like it was. It’s not nostalgic anymore.  And I don’t know, maybe it’s because I’m getting older, but that’s how I see it. 

Natascha: No, I think that’s very true. I can think of instances when I was a trimmer, and I gave people a jar of weed, and they’d be so excited. You’re right, now everyone’s kind  of got their own boutique stuff from the dispensaries that they’re paying $50 for an  eighth or whatever.  

CannaClaus: Yeah. It’s ridiculous. Mine’s always been organic, so it’s always just  fucking tasty and beautiful and white ash and just the best of the best. But then, you know, if I’m out or can’t get any, then they go to dispensaries and get a, you know, an ounce of indoor for 60 bucks or 80 bucks, but it’s just crap, you know? Like, it’s pretty,  but it’s old or stinks, or it’s chemical-bound or so forth. 

CannaClaus: It’s crazy. 

Natascha: My last question for you is: Can you detail how the cannabis farms prior to legalization helped the Humboldt community? 

CannaClaus: To the legalization of recreational. 

Natascha: Yes. 

CannaClaus: How did they help the community? 

Natascha: Yeah, the economy in Humboldt. 

CannaClaus: Well, I mean, that’s how they brought in so much money because we’re still black market and medical. It went from 4000 to 3000 to 2000 a pound, but it was still  2,000lb, still good money. We were still bringing in a lot of money into this economy up there. The roads are getting fixed. The schools are getting fixed. More shops were  opening up, where you have your pot farm and husband or your pot-farming family. You had a cousin, a nephew, a niece, a wife, or somebody who was starting a business in town. And so, there were a lot of businesses started off of the pot community and the medical and black market. But once it became recreationally legal and you had to get these permits and licenses, everybody spent their money trying to do that, or trying to get away from it, or trying to hide from it, or trying to go with it. And it was pretty much a loss. There’s abandoned farms, there’s thieves that came through and stole the good and left those people that have molded, hundreds or thousands of pounds of mold-weed just sitting in a basement somewhere because it couldn’t sell. It’s optimal utilization. The economy definitely took a huge hit, and it happened right when COVID hit and all that stuff too. This whole community has been struggling so hard. I’m not for any of these presidents, liking neither Trump nor Biden. And yet they’re all crap. All rich white men that are pedophiles and pieces of shit. I’m not for any of them. I’m not a Democrat, a Republican, a leftist, or a rightist. I’m for doing what’s right, being part of the community, and living life to be as happy as you can before your last day comes. And with COVID, the politics, and the realization of this community, the prices of everything are going up.  We are struggling so badly out there, it’s ridiculous. 

Natascha: Yeah, I hear you on that. Well, thank you so much for sharing your story and your time. Your experiences are an important part of Humboldt County’s living history.

Images shown for historical documentation purposes.

The story shared here is one voice among many that together form the living history of Humboldt County’s cannabis era. Behind policy changes and market statistics are families, workers, and communities whose livelihoods, identities, and landscapes were shaped by the rise—and transformation—of this industry. Listening to these experiences reminds us that economic shifts are never abstract; they are deeply personal, carried in memories of land worked, risks taken, communities built, and futures reimagined.

Little Lost Forest continues to collect these stories to ensure that the cultural, social, and economic legacy of the Green Rush is preserved in the words of those who lived it. If you or someone you know would like to share your experience, we invite you to contribute—because the history of Humboldt County is still being written, and every story helps illuminate the full picture.

Photo Disclaimer: The photographs accompanying this article are presented for journalistic, historical, and educational documentation purposes only. They are intended to reflect the lived experiences, cultural history, and economic realities discussed within the oral-history project “The Green Rush: NorCal — The Rise and Fall of Humboldt County’s Cannabis Economy.”

Little Lost Forest does not promote illegal activity or the sale, distribution, or misuse of cannabis. All content is shared to preserve regional history, community narratives, and research-based storytelling. Viewers are encouraged to follow all local, state, and federal laws regarding cannabis in their area.

Participation in this project is voluntary, and identifying details may be altered or anonymized when requested to protect the privacy and safety of contributors.

The Empathic Processing of Noelle Cox

Noelle Cox, Portrait

Natascha: This is Natascha with the Little Lost Forest blog. Today I will be interviewing Noelle Cox, a local Eureka legend who specializes in oil paints, gold leaf, and customized frames. Noel Cox showcased her exhibit Underneath the Surface at Morris Graves in January 2024. Noel takes a surreal and abstract approach to local animals. Fantasized creatures, glorified bugs, and self-portraits. In her sci-fi paintings, a dark humor lingers in the foreground as each piece is staged with class and elegance. It’s September 7th, around 5:00, and we’re sitting down together in her home studio. 

Natascha: Hi, Noel. How are you doing today? 

Noelle: I’m okay. I’m good. It’s good to have you. 

Natascha: Thanks for having me. 

Noelle: Thank you for having an interview with me. 

Natascha: I was very excited all the way up to this point. So thank you so much for sitting with me. 

How old were you when you started seeing yourself as an artist? 

Noelle: Well, I think it was kind of gradual, but I think that I really got serious when I was about 16. I painted my first oil painting. Yeah, but I would draw, you know, I took it very seriously, actually. It was something I could do by myself that I could feel sacred about. 

Natascha: And what was the oil painting of? 

Noelle: It was kind of dark. It was a dead lady. With strings attached to it in the night sky. 

Natascha: And how did it make you feel when you saw the finished piece? 

Noelle: I wasn’t quite, you know, what do you call it? Satisfied with it. But when I look at it/ when I looked at it, I was like, wow, okay, This is kind of how I feel, you know? 

Natascha: From what I understood, your father just passed. 

Noelle: Yeah. 

Natascha: I’d like to take a moment of silence in remembrance of him. What was his name? 

Noelle: David Dinkfeld. 

[Pause] 

Natascha: I wanted to know, how has your father influenced your art? 

Noelle: Yeah, that’s still something I’m trying to figure out. But I know that my dad was a very intense person, and he, you know, he had the sort of the mentality of that if your second place thats the first loser. And I was a swimmer before. He wanted me to win. Win, win. 

Natascha: Yeah. 

Noelle: Yeah. I think that when I pushed, you know, when I stepped back from that, because I had to. Because it was too much pressure. That was kind of a time when I retreated back into art. That was something that I could hold for myself. I would lock myself in my room and do art. I think. 

Noelle Cox, Mr.Sadie

Natascha: Did you ever have any professional training? 

Noelle: No, I mean. I went to; when I was seven, I went to watercolor classes that my dad took me to- my mom, my parents. I learned how to do a little bit of art. But no, I have- I tried to take a class in junior college but I’m so stubborn. I don’t want to be told how to paint, so. 

Natascha: Wow. The work that you’re putting out looks like it has gone through many courses. 

Noelle: Well, it takes a long time to do too. Yeah. 

Natascha: How long did it take you to look at a finished piece of yours and think, this is good quality work? I’m really feeling proud of the standard of work I’m putting out. 

Noelle: I think it’s more of a feeling that it gives me when I see it. But no work is really ever finished. I think mostly it’s about, for me: When I look at it, I’m just done with it. And it’s also combined with, that the image sort of disappears for me and then it doesn’t have anything else that I can add. Like disappears in the sense of not like not seeing it, but there’s nothing left. 

Natascha: I love the way you phrased that. What are your favorite things to paint? 

Noelle: Anything that means a lot to me. Yeah. The feeling it has to have some sort of meaning to me and something to say. Those are my favorite. 

Natascha: You mentioned that you use oil. Can you expand on the mediums you use and where you source your mediums? 

Noelle: I buy my oil paints from Blick and I get the Winsor and Newton. I mean, they’re not the greatest, but they’re affordable. 

Natascha: Okay. 

Noelle: I mean, it depends on which ones. There’s the higher end and then there’s the lower end, and I usually get the lower end. 

Natascha: And then you have to use a thinner with it, correct? 

Noelle: I just use the refined linseed oil. 

Natascha: Interesting. Thank you. What events in your life have influenced your work as a painter? 

Noelle: So many things. Being a mom, being a woman, you know, in this weird capitalistic, patriarchal culture that it seems like you can’t- it’s almost like we see ourselves as women through, like the patriarchal eye. And I think that it can be very confusing. Yeah, it’s bizarre. 

Noelle Cox, I love you Zed

Natascha: Your gallery work is different than your commissioned work. Next to you is a commission of my dog Zed, who passed a year ago. While your gallery work really encompasses these fantasized creatures and the animals and bugs. How has becoming a commissioned artist impacted the way you paint? 

Noelle Cox, The Fly on the Wall

Noelle: I think that what it does is it puts less- I think about myself less and I think about what other people want from me more. That’s the difference. My personal work is about my voice, about saying what I want to say. And then when you have the commission work, it’s- you’re trying to telepathically sort of connect with what another person wants out of your work, you know? 

Natascha: Yeah, there’s definitely a connection there. 

Natascha: What was the timeline and process like through the transition of painting for yourself and painting for others? When did you start opening yourself up to commission work? 

Noelle: So that was when the pop market died. It’s not just one time. It was a gradual thing, but it happened pretty quickly. 

Natascha: Yes. 

Noelle: And. You know, my husband and I we grew pot and that was how we made a living. And that was how I had the time and the money to be able to do art. I think that once we lost the farm I was like, what? What am I going to do? You know what everybody says is like, well, I shouldn’t say what everybody says, but what a lot of people say is, do what you love and make money at that. And so I tried. And I don’t regret it at all. But art is a tricky thing to make money on. It’s, you know, and especially in an economy, I think the economy globally is having a rough time right now. And on top of that our area here in Humboldt is having an even worse time because of that. There’s not as much money. 

Natascha: Agreed. 

Noelle: Yeah. 

Natascha: Has art played a healing role in your life? 

Noelle: Oh, yeah. Oh, yeah. If I didn’t have it, I don’t know where I would be. It gives me stability and a voice. I would probably be an addict, honestly. 

Natascha: Go art. 

Noelle: Seriously, yeah. Because I’m so determined to do it and to keep doing it that I want to have the right state of mind for it. I don’t want to waste my life. I want to be able to do the best I can with what I have. 

Natascha: I think you’re speaking loudly to this community. And a lot of people could gain a lot of inspiration just from the words that you’re saying now. Thank you. 

I did have a chance to glance at your bio on the Morris grave site, and you mentioned that your move from SoCal to NorCal, was a culture shock that was both healing and dark. Would you say that your paintings now express your impression and self-expression of Humboldt? 

Noelle: Oh, yeah. But I don’t think it’s like- I think it’s more subliminal. The culture here in Humboldt is, in my opinion, way better than down in Southern California. Southern California is very, you know, it’s about money and looks, itemizing your body and it’s very Capitalistic, cultural, patriarchal. I don’t know, it’s very destructive. 

Natascha: Okay 

Noelle Cox

Noelle: And up here, there’s more of- at least in the social ring that I was in, there’s more of an awareness of the goddess and more of the feminine- the feminine power, rather than down in Southern California. It’s more like you’re an object for making money and stuff, and there’s not really any power besides how you are sexualized or whatever that is. This place is a very healthy place, compared to down there. 

Natascha: That really makes me wonder. Can you tell me a little bit more about your experience in Los Angeles and how perceptions of body image may have influenced your process as a painter, and what you paint? 

Noelle: Yeah, there’s a lot of pain in self-image when you grow up on movies and TV and plastic surgery and all this stuff. You start to learn what you’re valued as. I think that a lot of my self-portraits are a quest to accept myself as a human being, for being beautiful the way that I am and not an item. 

Natascha: Thank you. 

Noelle: Yeah. 

Natascha: What impact on your community do you want to convey with the message in your work? 

Noelle: I think that I want people to question why. Why things are the way they are. Don’t just go with what people say. Question it. You know, we need to reevaluate our perception and our way forward. 

Natascha: How does politics, governing, and even corruption play a part in your art? 

Noelle: Oh, politics is greatly corrupted no matter where you go. I’m sure that it has a lot of influence in subtle ways, but I try not to concentrate too much on it because I don’t really have a lot of faith in politics. And because I’ve understood that when you’re someone who wants to be in power, a politician. Those are the people that you don’t want to have in power. And I’m not really sure how to solve that in this system. 

Natascha: I think talking about is a great first step. 

Noelle: Yeah. 

Natascha: How does fun and play interact with your art and processing? 

Noelle: I used to have more fun. I think the trick is to not be married to your ideas so tightly and to try to let loose. When you get an image done, to not hold so tightly to it. If it’s not working, let it have room, and that’s the play. But it does take discipline too. And then sometimes I have good days where I’m painting and I’m just like, yeah, this is great, you know, and I do like a little jig or whatever. 

Natascha: And then others, you don’t. 

Noelle: Yes. 

Natascha: Every time you see people painting on social media, they look so happy. And sometimes when I paint, it’s like, fuck, shit. 

Noelle: Oh, yeah. 

Noelle Cox

Noelle: Well, I mean, that’s like at least half of it. You know, it’s a lot of frustration and it’s a lot of work. And I think that one of the things that a lot of people who don’t paint don’t realize is- that I think a lot of people think that painting is just like this happy go lucky. You know, you just poop out of product without any like, you know, effort. But it takes a lot of effort and a lot of commitment and a lot of times, a lot of times it is very consuming and frustrating. And it’s a lifestyle, really.

Natascha: Wow. 

Noelle: Yeah. 

Natascha: How long does it take you to paint a painting? 

Noelle: Well, I think it depends, but for this one, it takes. I think it took about 25 days of full, full 25 days. Not including building the frame and working the image, like going, okay. I’m going to work with this image and then you dream on it and you think about it and you kind of formulate it. And that takes time too. It’s more just like a subconscious time. But yeah, it consumes you, you know? It’s the way that I live. 

Natascha: You’re very generous with the way you value your art, the way that you offer to others. Thank you. Thank you for putting all your time and effort into it. 

Noelle: Yeah. You’re welcome, very much. 

Natascha: How do you know when the painting is done? 

Noelle: When I’m just done, [laughter] I mean, I don’t know. Yeah. That’s a hard question. I mean, when it sometimes a painting will start to become invisible to me, as in, not like I can see it, but it’s not- I’m not feeling it anymore. And I think that’s kind of when it becomes done is there’s nothing else I can add. 

Natascha: What motivates your color palette? 

Noelle: I love warm colors. Um, you know, but blues are not my favorite. Um, but I love the sky. You know, the sky blues are- When you’re painting a sky, you got to use blue but I, you know, my favorite colors are red, black and gold. 

Natascha: Cool. Who are some of your favorite artists? 

Noelle: You know, I don’t really look at a lot of art, honestly. I think that a lot of people are artists that don’t create art. I’ve gone through my different, like, I like Klimt. But lately, the artists that I’ve been really inspired by are people who have been doing research and, you know, creating ideas of a reality that we don’t see in what we’re taught in our culture. You know, like Marija Gimbutas and Vicki Noble and people who are visioning a different reality, a different future for us. That’s important. It’s very important. 

Natascha: What work of art that you’ve made are you the proudest of? And can you tell me in depth details about your processing? 

Noelle: I think- I’m not sure about proud, but I guess, I don’t know, probably Beneath The Veil. The cross one. That was the most- it took a while, and it was the most involved. It took a lot of [pause] looking inside about how I’m feeling about all this and what it means. How I’m feeling about the signals I’m getting from- throughout my life. With that one, because I used to have, like, sort of a vague image that would come to me and then I would create a frame around it. But with that one- I had to make that cross frame. And it had sit in storage for a good year or two until I finally formulated what needed to be on it. And that’s usually what I do now, is that I create different shapes. 

Noelle Cox

[Recording got interrupted.] 

Noelle: Yeah, the actual frame. Because I like to create frames that are different sizes or different shapes and stuff because I get tired of painting in squares and rectangles. The different shapes actually conjure different feelings for me. And so that’s an avenue that I can work with. 

Noelle: That one was in storage for a while and it took a little bit. Well, a little bit, it took probably about a year to actually really be… Honest with how I’m feeling. I mean, I’m really good at being honest about things, but you have to let things, solidify and coagulate and then you start working with the image and drawing it on a piece of paper and kind of working through the different symbolism and what it means to me and how people might interpret it. So, there’s a lot of cerebral stuff. You have to kind of be in touch with your subconscious. I’ve been learning more about the things that I didn’t learn in public school or just the culture in general, is that there’s quite a bit of subconscious stuff going on for everybody. And I try to, you know, use my intuition and to go into that route of subconscious. 

Natascha: Would you say it’s a joint subconscious? Is this something that you feel on a communal level? 

Noelle: I think. 

Noelle: The older I get, the more I realize that it’s possible that I have sort of empathic, or I don’t really know what that is, but there’s signals and it’s hard to- it’s hard to know. What it is. But I think that there’s communication and there’s like, I just have to say what I’m feeling, I’m still trying to figure this out [head scratch.] 

Natascha: Sometimes I like to think that it bubbles out. It comes up to the surface and- 

Noelle: Just. 

Natascha: Comes out. 

Noelle: And that’s the way that I can- or that I feel like I can. That’s my voice. I feel most confident being able to communicate through painting,  through imagery. 

Natascha: Lovely. 

Noelle Cox

Natascha: If you had a message you wanted to share with emerging artists, what would it be? 

Noelle: I think it depends on what kind of artist you are. 

Natascha: Okay.  

Noelle: People want, you know, neutral, beautiful images, and they’ll buy them. But there’s not a lot of money right now. I think that part of an artist’s job, if you want to make money at it, because I don’t, you know, I make a little bit here and there but it’s connections. You have to be social. You have to socialize in a group that has a lot of money. But at the same time, a lot of people who have a lot of money. And I’m not saying everybody, but a lot of people who have a lot of money, they’re not going to- You’re kind of a toy. You’re something to play with. And I mean, not saying that with everybody, but they launder money through it and, you know, it’s a whole game. But yeah, it’s not. Anyways my advice is to be careful and to listen to yourself, your inner self and what it is that you want out of it. Because this world is full of givers and takers, and there’s a lot of takers. And you have to be careful and to not don’t dishonor yourself. Yeah. 

Natascha: What upcoming pieces or exhibits can we look forward to see from you in the future? 

Noelle: I don’t have any personal work shows coming up, but I do have the mounted prints that I make. They’re going to be shown at the Humboldt Herbs Herbals this November and December and then in Arcata, at the A to Z, I care. Yeah. 

Natascha: The same pieces? 

Noelle: I’m making a whole stack of mounted prints. 

Natascha: Well, thank you so much for your time today. I’m happy to take home our commission piece. I love you, Zed. My family’s 12-year-old terrier passed away in the summer of 2024. Below is Noelle Cox’s oil on canvas painting and Zed’s obituary. Thank you so much. 

Noelle: Thank you so much. So much. 

Noelle Cox

Zed’s Obituary

I met Zed in February 2016, the first night I stayed with Jeremy in the Tarzan house in Oceanside. We watched Courage the Cowardly Dog, and Zed had his precious tennis ball. Jeremy drew his pointer finger along the horizon, and Zed nudged the ball with his nose, following Jeremy’s line. I remember Jeremy having a profound connection with his dog, and I thought if this guy is that good to his dog, he will be that good to his woman. Zed always loved to lick face and bark at squirrels. On long car rides, he would get excited over the cows. No matter where we went, Zed was always a good guard dog, friendly to cats, a cuddler, and licker. When it was just Jeremy, Zed, and me living in the tent, Zed would sleep curled against my belly, and I imagined him as my baby.

When I moved in with Tallulah in her LB apartment, Jeremy followed shortly after, and Tallulah was nervous to host Zed with her two cats. But Zed was really good with the cats, and she grew to love Zed. On our wedding day Zed walked with Orion and I down the aisle. Everyone thought it was rehearsed, but Zed just knew, knew that the day was something special, and when we got down to the stand, he stood post at Jeremy’s side. I cannot imagine the sense of loss Jeremy has; their bond was unbreakable. Every day with Zed was absolutely beautiful, full of love and care. He was an emotional support dog for me and kept me calm and supported while I went through hard times. He was an emotional support dog to Halaya as she transitioned into a new home with a new mother figure, and he was by Malakai’s side from the moment of birth. Zed went on lots of walks, he ate lots of good meat, and slept in our bed every night. I got to spend his last night with him against my belly; after we’ve gotten so far together, into a home, a family, our babies. Jeremy got to spend Zed’s last moments with him, watching the sunrise. I wish I could spend a million more nights with Zed, a million more walks, a million more face licks, but he’s in a better place, and I am grateful for the memories we had. I love you, Zed.

SPRAY PAINT ART @ Cannifest 2024 Humboldt, CA Headlining Lettuce

 I came to Cannifest to support my local cannabis scene, and it didn’t disappoint. Sponsored by SAFFY THC, the first Black and Jamaican-owned cannabis farm in Humboldt County that offers the community sun-grown, greenhouse-controlled dank light dep flower that can be found at Zen Humboldt and Proper Wellness. What I discovered went beyond my favorite cannabis community, local glass artists, and funky, groovy music—what truly captivated me was the underground street art culture.

Cannabis businesses, dispensaries, and farms from all over California gathered to showcase their products. Local dispensaries like Arcata Fire, Proper Wellness, Phenotopia (Santa Rosa), Zen Humboldt, Moca + The Ganjery, and Heritage (Ukiah) were all in attendance, showing the diversity and dedication of California’s cannabis industry. Many out-of-towners were surprised to see street artists painting directly on the city walls. These murals stay up until Cannifest rolls around the following year, when they are painted over, and the cycle starts again.

“It’s too bad,” Ember from Soulshine Glass remarked to me. “I really liked some of the previous art.”
“Well, it’s kind of like your glass art,” I said, perhaps a bit dimly. “It doesn’t last forever.”
“Well, it can,” she replied. That’s when I realized I’ve been seriously mistreating my own glass collection.

The impermanence of street art is something I find absolutely beautiful. Artists create for themselves—to express a fleeting moment, connect with their community, push boundaries, and make bold statements. Knowing their work will eventually be covered challenges them to create again and again, evolving with every piece. It’s a cycle of relentless creativity. Maybe that’s why graffiti culture pulls at my heartstrings so strongly.

This year at Cannifest, I made it a point to chat with some of the street artists to hear what they had to say about their work and the impact of this ephemeral art form.

And of course, the music was on fire! The main stage lineup featured incredible performances from Lettuce, the Dirty Dozen Brass Band, Rainbow Girls, Mendo Dope, Oteil & Friends, the Nth Power, Junior Toots, the Magnificent Sanctuary Band, and a Wiyot Tribe Blessing to honor the event. Over at the Unity Stage, Deep Groove Society, Storytime Crew, Pressure Anya, One Wise Sound, Redwood Roots, and Marjo Lak kept the energy flowing.

Note from Conversations with Participants
Indoor growers will tell you they’re too good for trimming—“Trimming sucks!” Meanwhile, outdoor homegrown farmers will tell you how much joy they get from trimming fat, crystal-coated nugs—“Oh yeah, I love trimming!”

Take the poll: Where do you stand on trimming?

Natascha: So. What’s your tag name?

Artist1: Eesh.

Natascha: Eesh. Can you tell me some advice about tagging to unexperienced artists?

Artist1: Get in where you fit in.

Natascha: All right. Thank you very much. I love the colors that you use. Is there anything that inspires this piece that you did today?

Artist1: Artwork and vandalism.

Natascha: Hi. I’m here with a tag artist. What was your tag name?

Artist2: Oh, I don’t have a tag name. My name is Matthew Olivieri, though.

Natascha: Okay. Thank you, thank you. Matthew. Um, this is a very distinct cube.

Natascha: What kind of cube is this?

Artist2: Well, um. That’s a different question. Um, yeah, it’s.

Natascha: Revert back to the original question.

Artist2: The original question? Um, yeah. The shape of the cube is an isometric cube.

Natascha: Yes. Thank you. And where did you learn about isometric? And, like, what inspired the isometric cube?

Artist2: Well, I actually teach a lot of, uh, I teach art at the juvenile detention facility here in town. Yeah, so I teach how to do 2D or. I’m sorry. Two. Two point perspective and three point perspective and things like that. So I’ve been working with kind of geometric stuff like this for a little while. Um, but in an educator capacity. But I kind of take my, my work home with me a little bit by drawing things like this for myself, you know? So this is actually a logo of sorts. Um, a shout out of sorts for the business that I’m starting with my cousin.

Natascha: Um, what’s the business name?

Artist2: It’s called Faux Real Design Group.

Artist2: Cool for real design group FAUX.

Artist2: And it actually says F A U X.

Artist2: R e a l.

Natascha: Oh, I see it. So, so, um, and then we do.

Artist2: He does, uh, augmented reality on top of my artwork.

Natascha: Wow.

Artist2: So if you scan this QR code, you can actually activate activate the the augmented reality on your phone.

Natascha: Sweet. I’ll tag it in the blog. I really appreciate your time and your art and what you do for the community. That’s awesome. Thank you.

Artist2: Thank you.

Natascha: Hi. What’s your tag name?

Artist3: Uh, Lauren Wheeler. Oh, tag. Uh, I’m. For what? For this. Okay. Yeah. Or. Yeah. Uh, 21 bangers over Instagram.

Artist3: What does this piece mean to you- Politically.

Artist3: Politically?

Natascha: Yeah.

Artist3: Uh, I’m not into politics, so it doesn’t have anything to do.

Natascha: So is it anti-political?

Artist3: It ain’t. Anti anything. It’s it’s it’s pro thinking.

Natascha: Um, you don’t feel like there’s revolutions going on all the time when people protest and speak up?

Artist3: Well, I feel like revolutions just puts you right back into the same spot. It’s an evolution that has to happen.

Natascha: Do you think that happens within, or do you think that happens on a governmental level, on a whole country level.

Artist3: That happens within because it’s thought that put us into these spots. It’s thought that even is going on right now. Everything is only a thought and people’s been killed to think this thought for many years. And then everybody thinks the same thought about the revolt or what’s going on with the government or the money or all this thing. Right? So to evolve, you got to think drastically different and not in those terms.

Natascha: If people are looking for healing, what kind of community do you recommend to find healing in.

Artist3: The same vibration.

Natascha: All right. Thank you very much.

Artist3: Yeah. Thank you.

“The people shouldn’t confirm around the community, the community should confirm around the people.

Lauren Wheeler

Natascha: Hi. What’s your tag name?

Artist4: Uh, my name is Zevo. Z-E-V-O.

Natascha: All right. Zevo, I was wondering, what part of your culture has influenced your tag piece today?

Artist4: Uh, so I’m Chicano, and the Chicano handstyle really influenced me. The old English letters and stuff like that. It’s a big part of my culture.

Natascha: All right. It’s super dope. And where are you from?

Artist4: I’m from Santa Barbara. Socal.

Natascha: Okay. All right. Thank you so much.

Natascha: Hey, what’s your tag name?

Artist5: My tag name is Golden Flower underscore CA.

Natascha: This is a really awesome piece. What is the hand in the in the snake represent to you?

Artist5: To me it represents a connectedness with the water as well. And, yeah, the symbols of just, something humanistic or creature like. Yeah.

Natascha: What about SEON? What does that represent?

Artist5: So this is a collaboration with my friend from Chile. And so this is supposed to be some type of compass. And that is literally the country of Chile in a chili like pepper form.

Natascha: I love it. That totally brings the two pieces together. Thanks for the explanation.

Natascha: Hi Christopher, I love this piece that I’m looking at. Can you tell me a little bit about your style?

Artist 6: Um, yeah. Just try to keep it sharp and clean and vicious looking. And we’re doing, we’re doing a comic book called the Max. Kind of like a tribute to it and putting our own graffiti twist to it.

Natascha: Okay. Thank you so much. It looks sick.

Natascha: Hi, Erica. This is a really beautiful, feminine piece that you put up here at CanniFest. Can you tell me a little bit about the story behind this piece?

Artist7: Well, quick blurb. We have our queen bee and her best buds, and it’s- I’ve been messing around with doing figurative work with creature heads, alluding to a more feral side of things that we often don’t acknowledge and probably should acknowledge more.

Natascha: All right, I see that absolutely.

Artist7: -Know your monsters. I like to paint a lot of the animals that are often given a bad rep and, you know, misunderstood monsters and bees are definitely one of them. So we gave a feminine woman with a bee head and her beast buds.

Natascha: Awesome. Thank you for keeping it fresh, I love it.

Artist7: Yeah. Thank you.

Show Some Love by adding these artst on IG!

@baaby._____

@wandering_eyess

@uglyeyes

@santacruzlurk

@nofacenocase_ui

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@thor.ski

Amazing Interview with Soulshine Glass in SoHum

Sunday March 17, 2024. Natascha drove down to Red Bluff in Southern Humboldt County, with her father and son to meet up with Soulshine on their property to talk glass. Inspired by their work she had seen at Summer Arts and Music, as well as their last shop in Eureka, and their fun-ky Facebook podcast. Her quest was to find out ‘What’s next?’

Natascha: Thank you for meeting with me today. I’m Natascha from the Little Lost Forest blog. I’m excited to learn more about Soulshine and your new space here in Southern Humboldt. How are you guys doing today?

Ember: I’m doing awesome.

Willow: Yeah, we’re really, really enjoying this spring day.

Natascha: Ember and Willow, welcome back from Wisconsin. How was your trip?

Ember: We were in Wyoming. [They mentioned they did have a studio in the past in Wisconsin, Natascha messed up.] And the trip was awesome.

Willow: It was awesome. We were there for, like, six weeks.

Ember: We really enjoy going to different studios, which we got to do in Wyoming. We got to teach and help them develop classes and product and then we also got to blow glass of our own. So, it was just a really awesome situation. Sam and Alicia, they’re awesome people. We had a great time.

Natascha: That sounds like so much fun.

Ember: Hoping to do more with them in the future. So that’s kind of fun and exciting for us. So, moving in more than one direction. But at the same time, we’re going to get to blow glass, we’re going to get to teach. So, a couple of our passions.

Willow: Yeah. Lots of exciting things.

Natascha: Right on. I watched a video on your website. It mentioned that you’ve been blowing glass for 19 years. Is that still accurate?

Willow: Uh, I have been blowing glass since 1994. So, this is 30 years this year.

Natascha: Wow. Congratulations. Woohoo! How about you?

Ember: I’ve been blowing glass. I actually took glassblowing in college. I don’t know if I should even say what year it was. It was a very long time ago. But I also, at the same time, had three kids living on the mountain and really got into that for a while. And I think I’ve been back into glassblowing full-time since 2010.

Natascha: What’s your process like? Do you sketch out your artwork before creating it, or do you prefer to work spontaneously?

Willow: I think both. Sometimes you’re making things that have to fit in a box, because it’s an order for something. And other times you’re making things, where you have to share a vision with other artists and you have to be able to kind of have a plan for that. It can just flow as it go(es) kind of thing. But everybody needs to understand the same kind of end goal. So, that each person can find where they fit into that collaborative team. It’s hard to do that. You know, when you’re by yourself and you’re just going for it, making shit, then you can just be open and free.

Ember: I think that’s one of the things that you’re really good at is in a collaborative class teaching situation, you do, he does a great job at actually drawing out the plan, organizing people so that everybody’s got a part, and a job. And it’s kind of somewhat defined as- not as far as what artwork they’re doing, but where that part will be on the piece. And that, I think is a talent of yours. It’s super helpful in teaching and collaborating with other artists. Yeah.

Natascha: Lovely. Your artwork features brilliant and smooth colors. What’s your favorite palette to work with?

Willow: I think I have some crazy ideas. I think the best color palette we get are the ones where, uh, where I let Amber pick the colors.

Natascha: Ooh.

Willow: Wait, you know, not even that. I like when she just drives the ship. She’s like, this is what it’s gonna be. And I love it because then I…

Ember: We, like, you know, go back and forth, we go…

Willow: Back and forth like we always battle between; I like bold black line outlines, you know what I mean? Like, I like everything to look like a traditional tattoo, you know, with a really fat black outline and a bold image, like a sticker, like you would see a bright poster image.

Ember: I like all the colors between.

Willow: So, she wants it like, white and, like, she wants white in between every line.

Ember: I don’t just like white, I like all the colors!

Willow: And I want black in between every line. And so somewhere between white and black, you have to find a balance, you know. But as far as the colors together, I don’t really have a good sense of that. Like, she definitely influences that unless I know like I’m gonna do a fire water palette, but then I know. Well, all right, I’m gonna pick the fire colors and then the water colors and then- But otherwise if I don’t go with what she says…

Ember: I love color.

Willow: If I don’t go with what her plan is then…

Ember: -If it has purple and fuchsia. Yeah, right. You know, bright, beautiful green. Oh, yeah. Just the drippy, yummy stuff that just makes you want to kind of drool a little at the mouth and makes your eyes just kind of pop and your heart like, whoa.

Willow: You can’t argue with that. You gotta be like, fuck yeah, right. This is the perfect blend, right?

Ember: Throw some sparkles in there.

Willow: If it was up to me, it would be like; yeah, it’s black and white and purple and blue and yellow and green and like, holy shit balls. You know what I mean?

Ember: We have fun with color together. Yeah.

Natascha: I dig it. What is the learning process like for mastering glassblowing?

Willow: Hours is powers. [pause] It’s how you get to Carnegie Hall, right? You got too hours with powers, right? That’s the same thing. It’s like. Hours is powers. If you want to do anything. It’s not really about how talented you are or how smart you are, or how dumb you are or how cool you are, it’s about how much do you want to do that thing, and how much are you willing to dedicate your life to doing that thing.

Ember: So, passion, passion does come in there because hours, you still have to have passion for that medium. Uh, I like think about glass all the time and how much I actually love the medium. Like I was just, for some reason, thinking about it the other night. And I was thinking about how I look at it has changed over the years. And now, where at one time I was afraid, kind of, for when I’d get the glass so hot that it would just flow and move. Now I get off on that. I like, love it. I love how it gets so soft and movement and I can control and make the movement happen. It’s really symbiotic feeling. I love that feeling of symbiosis with the medium. I think that is really…

Willow: Yeah. It’s like an extension of your hand.

Ember: Or your whole body. More, more beyond that. Yeah. Your passion.

Natascha: What are some of the dangers and risks associated with glassblowing?

Willow: Uh, you get addicted to glassblowing. It’s just like.

Ember: It’s like it’s addicting.

Willow: Kind of like crack or heroin or any of those kinds of drugs, really.

Ember: Let’s refer to it as bitten by the glass bug. It’s a little bit nicer. It’s happier, I like it.

Willow: It’s really hard on your bank account. You gotta be dedicated and willing to bust your ass. And so, you gotta be willing to be rich, be poor, be rich, you’re poor, you’re rich, you’re really poor, you’re rich, you’re poor. And that’s like how it is. And if you’re lucky, there’s a you’re rich part that’s like enough to save enough money that you can, like, actually buy groceries. You know, like it’s a commitment that you’re like, this is what I’m gonna do. And some people, they just have another job and they just do that on the side. And those are some people that got a pretty good idea sometimes because it’s hard. It’s hard. And so, it’s hard on that. You know I don’t think like other risks. Like you’re not going to blow your ass up. Maybe. People get burned, but I, I think the pizza taking pizza out of the oven is way sketchier. I don’t know. I get a lot of little cuts that like, they’re just tiny little cuts, you know, but they’re in like a shitty spot and then you get them, like, all over, and then suddenly you have like 8 or 9 and you’re like, I have some kind of curse of the 10,000 cuts and these. That sucks really bad.

Ember: You know what? I get cut, I get burned, and I, I don’t know, it’s still like, somehow, I hardly even feel it. I just want to get back and do it more.

Willow: You get superpowers.

Ember: Yeah, yeah.

Willow: You just like, gotta push through it.

Ember: Yeah. I got the worst burn on my hand right here.

Willow: Oh yeah, that hot graphite.

Ember: I dropped a graphite tool. And I tried to catch it because I didn’t want it to break on the floor because, you know, they’re expensive.

Willow: It didn’t, it didn’t break.

Ember: It didn’t break, but it burned my hand pretty bad.

Willow: That graphite. Don’t fucking play. That graphite like, just fucking hurts.

Ember: But aloe is a wonderful thing. Aloe and a little lanacane.

Willow: And weed.

Ember: And weed.

Willow: I’ve heard, that weed is really good for that.

Ember: I don’t know.

Willow: I heard that, yeah.

Ember: I think so. I yeah, I smoked, I did try, I used it, it seemed to help.

Natascha: Talking about budgets, what aspects of glassblowing tends to be more expensive and are there ways for beginners to start on a budget?

Willow: Ooh, glass is expensive.

Willow: I think that (where) there is a will, there is a way. I think you can totally start on a budget. Willow will kind of say the opposite. He’s like, buy the giant torch, spend all the money right away. But I don’t feel that way. I feel like starting out at your comfortable spot and working your way that direction. Because even if you buy yourself a small torch, I think buying yourself the largest, the best, hottest, small torch or a torch that you can work with, I don’t know. You’ll have to get out there on the glass classifieds and look for somebody who’s no longer interested or upgrading. People upgrade all the time.

So starting out small with a torch that you can afford and working your way up. As you get better, you’ll be able to sell more things and put that money back into your glassblowing. Just like if you had any type of business or something passionate that you were about you would take whatever money came that way and put it back into it, you know? So, I think that is a really good thing to do with glassblowing because you can start out and if you’re really strong and passionate about doing this, you’re going to find a way and you’re going to make those really awesome pendants, those little things, those sculptures or those small pieces that make you happy. You’re going to go out there and you’re going to show them to people. You’re going to share your love, your passion for what you’ve made, and people are going to want part of that. And then you’re going to be able to build your kind of pocket full of things you can do, and that you have, you know, to get through life with. And put that back into your business and get more color, get a bigger torch, and keep moving forward. Because just like life glass is a journey.

Natascha: Wonderful. Can you share some advanced techniques that you guys have mastered?

Willow: We do a lot of sectional montage and linework techniques. Ember does a lot of incredible sculptural pieces that we bring together, like the two a lot, and that has been some of the best kind of things we’ve been doing lately.

Ember: Yeah, I love when we just, like, come up with an idea and I get to sculpt some amazing picture that came into my mind and make it three-dimensional out of glass. I love it. It’s amazing. And then we get to put that together with some amazing shapes that Willow comes up with color and we work together.

Willow (whispers): She picks the colors.

Ember: We do some awesome stuff together at the same time. Like, my love for glass doesn’t stop at lampworking. I really love working out of the furnace and making big pieces of glass work, which involves a lot of body movement. It’s a whole nother part of the medium. And it’s one of the awesome things about the medium is I feel like it’s endless learning. So, if you’re one of those people who likes to be challenged, you love learning. I feel like I could keep learning about different parts and areas of glass my whole life and still not feel like I’ve touched everything. So that’s exciting.

Natascha: Yeah, it’s humble coming from such a master. Super cool. Is it possible to accidentally burn the glass during the blowing process?

Ember: Mm mm. Interesting. Yes. Depending on the type of glass, you can.

Willow: You can boil the glass by heating it with two forceful and hot of a flame or whatever you’re heating it with at one time. And you’re blasting it so hard that the surface boils before the heat can radiate into the core of the piece, like thermodynamics. Right? It’s like a pot pie. It stays hot in the middle, and it cools from the outside, but it has to heat up the same way, because glass is an insulator and it’s going to pull its heat into the core. That’s what makes it gather into a round ball or something like that. And so any flame that you put to it, it’s gonna get hot and it’s gonna melt. But if you like, heat it on high, it’s gonna boil the rice, you know, and you don’t want to boil the rice, and you want to simmer the rice really slowly. And so when it can hold that water in and absorb that, you know, then you have that perfect rice. And it’s the same thing with the glass. It wants to be heated in the right kind of flame for the situation. Even different kinds of glass, different…

Willow: –colors.

Ember: Different colors. Yeah. Uh, have different chemicals or reactive properties that sometimes you want to boil. You want to boil the rice, sometimes a little bit that you get to break the rules or bend the rules. And then there’s other times that you want to like activate the system and you heat the glass and when you heat it, in a different kind of flame, different shit happens, you know what I mean?

Molecules inside the matrix get to float to the surface and create different colors or different effects. Right?

-Ember

Ember: Yeah.

Willow: Kind of like that.

Natascha: Yeah. That was a really good answer.

Willow: Is it too sciency?

Natascha: No, that was so cool.

Willow: Fucking science shit’s awesome.

Natascha: I think so too. Yeah. What’s your favorite type of piece to create?

Ember: I love creating sculptural pieces. I pretty much do a lot of sculptural pieces that I would want to put on functional pieces. And I do a lot of sculptural pieces. I like to make pendants so that people could wear them.

Natascha: What kind of themes do you like to use?

Ember: Um, mostly themes from nature. I love everything about the world in nature, and I love flowers, I love animals, I love trees, I love, yeah. And I actually get really inspired by colors of nature, I don’t know.

Natascha: How about you, Willow? Favorite type of piece to create?

Willow: I like to work with line work, and what that means is that I make a tube that’s a hollow tube but has like encased different colors all around it. So, it’s a lined tube that’s hollow. And I make that first, and then I pull that out, and when I pull it out, I get about four feet of that same color, really dense color, lined tube. And then I take that one piece and I rip it up into like 30 smaller pieces of line tubing, and then I twist them all together in different ways and then reassemble them back together in different ways often on like a 90 degree off-axis. And then there’s all this math that goes into it, and, uh, I get really into shape with the math formula of taking the spirals and stacking them together and reassembling the sections to make more patterns. And then if I make this many here and, you know, three, three, three, anyway, you know what I mean? It gets all mathy. But I like to create patterns like through that with the lines, by reassembling the lines and create really elegant forms. I think I really like extreme flat like transitions, you know, like, I don’t know, instead of slopey bubbles. I like to be, like, cut shapes. Yeah.

Natascha: Ember, now I hear what you mean about the shapes.

Willow: And it’s all math, though. That puts that back together again. That’s the… I don’t know, I sucked at math in school.

Natascha: I did too, I’m not good at math.

Ember: Math’s not my favorite thing at all.

Natascha: But now you’re using math in a different way and it is how you connect with it now.

Willow: That’s how I see math, I guess, all along.

They [teachers] didn’t show me that, like, hey, you can take a spiral and put three spirals together and it makes this other spiral.

-Willow

I’d be like, oh shit, there you go. I get the math. I’d have gotten an A. [laughter] They just didn’t teach me like that. They just taught me the other way. Yeah. You know they taught me the other math.

Natascha: And we talked a little bit about your inspirations being nature. Are there other inspirations that come through in your design work and your art?

Ember: I mean, if we’re going to do something like a collab piece, there’s different things that’ll create inspiration. If we’re going to do lighting for somebody’s house. Okay. I love doing that, too. [dream-like] What’s going to make their house look beautiful, you know? Yeah.

Willow: That’s always fun. Envisioning color palettes in lighting. They’re made in layers. So, we start with white on the inside, and then we put down other colors. And then we put down other colors over that. And then the light is inside shining out. So, you’re seeing that radiate out. So, you’re really seeing this like matrix of layers of glass and transparent colors over opaque colors over different other colors, you know, with spaces and gaps in between. So, you can create something that’s like, really cool and create a whole effect in somebody’s house. You know, I think that was really a fun thing to do. You can really, uh, really it ties the room together, you know?

Ember: Well, and it’s just also knowing you’re making this functional piece that’s going to be part of people’s lives every day and light their world… In glass it looks amazing.

Willow: Yeah, I love glass.

Willow: Um. Uh oh. I almost knocked the bong over.

Natascha: Before getting into glassblowing, what other forms of art were you guys involved in?

Ember: I think that I did all kinds of art growing up my whole life. My dad’s a really awesome artist and a painter and sculptor. And my mom had us involved in doing all kinds of arts and crafts. That’s how our family communicated. That’s how our family got along. I don’t know, I feel pretty blessed that was my world growing up, because I think that carries over into my life and my kids’ lives that I get to share that love with them. And I’ve always said if I wasn’t working in glass, I’d be working in another medium. Whatever’s available out there, I would grab and want to make stuff with it. So, I don’t know. I feel like I’m really blessed to get to work with glass, but also working with anything that’s out there in your world that you can see, like you can make art out of anything, everything. And that’s one of the amazing things about it, just go outside and look around you. If you can’t make it outside, look around your house, make art out of something you have. I, yeah, I think that I guess.

What did I do before? Let’s see before. Right before I got into glass, I was making jewelry using glass beads, and I was like, fuck, I want to make my own glass beads. I don’t want to use other people’s glass beads. These beads were from all over wherever, you know, and I wasn’t feeling conscious about that. I was like, I want to make my own glass jewelry with my own glass beads. So I took, uh, glass bead-making class in college. And back then, I mean, there wasn’t hardly any glass classes or anything hardly going on. It was like, uh, this couple came over. He had designed some, like, head for the map gas. And we all, like, used map gas to make beads. And we stuck them in vermiculite and, um.

Willow: Low tech.

Ember: Very, very low tech. So that’s why when people say, oh, I don’t have enough money to set up a situation to blow glass, I kind of feel like, just like that. Go back to that first time that I blew glass, and, it took nothing; but it took a metal rod, some bead release, some vermiculite and a metal bucket and a little Mapp gas with an airhead on it and I made glass beads. And that’s because I think that there’s that whole situation. If you really want to do it, don’t wait, don’t wait till you have that big, thick thing of money. Don’t wait. Take that little bit and start and let it grow.

Ember: Crazy.

Natascha: Cool. So, do you guys sell your artwork in Wyoming as well?

Willow: Yes, we did.

Natascha: Are there other locations where you guys display your art?

Willow: Let’s see, we have our artwork at Ph Glass, Plaid Hemp Company. They have five locations in Wyoming. You can buy some of our functional pieces and we sell our other work. On our Facebook page or off of our Instagram.

Ember: Yeah. I have a proto line that I’ve sold to different shops.

Willow: Mary Jane House of Glass.

Ember: They have 19 stores throughout Washington and Oregon. Ash Denton has some of my pieces he picked up at Vegas.

Willow: Xhale City. They have 29 stores in Georgia, and they have a bunch of our glass.

Ember: So, I think it’s all over the place. It’s all over.

Willow: But if you want, like, you can just hit us up in the DMs. That’s what the kids say. Yeah. And we’ll be happy to make something for anybody. And we’re almost ready to have people out taking classes.

Ember: Yeah. And we’re happy to start doing custom orders.

Willow: Custom orders, all this stuff.

Ember: And we should be doing classes, hopefully. You know, I think it’s going to take us probably another few weeks. 3 or 4 weeks, I would say. And then we can maybe start doing class. Actually depends on the weather. If we get a lot of rain, it might be too muddy. But if the weather stays gorgeous like this. Yeah, that’ll be amazing.

Willow: If it dries out a little bit. It’ll be perfect.

Ember: But eventually that’s our big plan, you know, that we see in our future is being able to set this place up so people can come out here. We especially want to start a community out here where maybe we’re working with underprivileged youth and kids at risk and being able to have kids out here where they can be part of nature, relax and maybe get in touch with their spiritually motivated passions, and art forms that we can see all around us. And being able to share that with them and hopefully get them in the glass shop, experiencing that as a medium. One of the things I love about it is that we can make it super fun, super simple. You don’t have to play the concert right off. You know, you can make some just really happy, fun things that just bring you joy. And I want to share that with people.

Natascha: I love your passion for the community. Right on. You kind of talked about this, but I recall your previous location in Old Town, Eureka. It was a glass shop with a studio in the back. What motivated you guys to move into this current space?

Ember: We’ve always had this dream about having Glass Camp, so we had that place in our studio over there in Eureka for ten years, and it was an awesome spot. We’re super, proud of everything that we got to do there and make happen, and all the classes and people that came through. We still feel really connected to that. But also at the same time, after the ten years we were there we felt like we could offer more. I think that us having this dream of Glass Camp and still sharing our passion when this place came up and was offered, we thought this was just the best place to grow a glass camp because it’s beautiful. It’s really not that far outside of many towns around here. We’re 20 minutes from Fortuna. We’re still only 40 minutes from the old glass shop. All that’s going to happen is you’re going to come out here instead of the place in town, you’re going to breathe fresh air. You’re going to relax and I feel like you’re just going to be able to get more in touch with that artist side of yourself, you know? And I don’t know, for me, I think it’s just bringing that good quality to life, to ourselves, our friends, our family, and sharing it with the community.

Natascha: You have the Eel River right here in the backyard?

Willow & Ember: Yeah, yeah, yeah.

Willow: We got riverfront.

Ember: In the summer. We’re hoping to make a path down to the river. People can picnic, you know, and enjoy the water.

Willow: There’s kind of a path now.

Ember: We’re working on it a little.

Natascha: I admire how you’re growing everything from the bottom up. It’s too cool.

Willow: We were when we got here. It was like camping. We were camping here. It was. It was crazy.

Ember: Yeah, it was awesome.

Natascha: Can you give me a verbal visualization of what the new studio space might look like.

Willow: Oh, let’s see, right now it’s a 46-foot by 8.5ft wide. Refrigerated Safeway semi-trailer truck. Awesome, right? So, we put the shop in there. It’s ugly too, by the way. It is not a pretty one.

Ember: We’re gonna paint it.

Willow: She’s ugly, but you gotta have the vision. The current state on the outside is like, wow, that truck’s seen some miles, right?

Ember: We’re taking artistic designs right now for the outside of the truck. You never know. It could be like some amazing mural that we’re gonna put on there. That’s magic.

Willow: That’s exactly. The vision inside of there is, the very back is like a co-working room where we can do lapidary and polishing and cold cutting with the saw and all that kind of stuff. Ventilated, separate back area. And then there’s a spot where Ember’s torch and my torch are right together in there. And then there’s a spot where the lathe will go right next to that. And then after that, it’s kind of like another [Marvin. Leave her alone. (Talking about the dog)] Another long table where we’re going to have room for classes up to four people at a time. And then after that, on the end is hippie Chris. He has his spot right there. And so, there’s another side of the shop [Ember: That, Dave’s in there], and Dave’s in there as well with his torch.

Ember: We’re gonna bump it out…

Willow: We’re bumping it. Right. So that’s all on one side of the truck on the other side is pretty much an open wall, except we have our color rack somewhere in there, but we don’t know exactly where it goes. But we just got a sliding glass door that’s seven feet wide by 80in tall. So that’s pretty fucking tall, right? And it’s a sliding glass door. [Talking about the dog: Marvin. No, Marvin. He’s really. He’s really. Yeah. He likes people.] Uh, anyway, uh, yeah, it’s seven feet, seven feet wide. We got this big ass sliding glass door. And then, uh, right next to that, we have this other giant windows like we have in our house there, that eight foot wide by 2.5ft tall windows. We’re gonna put that right in next to it. And so we’re gonna then build a deck out there. But we have two trucks, right. You can’t see the other one. We have another one that was a Salvation Army, donation truck. She’s 32ft. That one actually has paperwork, man. It’s a pretty fucking nice truck.

Ember: We had a way to drive it. We could take it places. She’s a pretty nice truck. That’s part of a dream further down the line, now that…

Willow: -Now that the rain is over. Right. So, like, what we’ll do is where they’re at. They’re just parked parallel to each other. But we’re gonna move the salvation truck out of the way, take the big truck and slide it down like 10 or 20- as many 20fts as we can do down that way. And then we’re gonna turn the Salvation Army truck the other way. So it’s back end is like that, and it makes like a L or a T or wherever the fuck it fits. Right. And then…

Ember: –we can have a nice big deck.

Willow: Now we’re in that L pocket, we can hang out.

Ember: People can even hang out and watch glass blowing through the big sliding glass door or window.

Willow: Yeah, with the deck outside it.

Ember: You know, people want to go out and smoke. You can still watch us. You can still gather out there, create a really nice space.

Willow: With like a covered area. So that way people have an outdoor (area). Even in the winter, it might be pretty cool. And then we could even have an entrance into the other truck from the other side of the alley, you know. But they’re still trucks, so they’re temporary and they’re on wheels, and the decks won’t be attached to the buildings. They’ll be two inches apart.

Ember: Right next to it.

Willow: So, they’re temporary. And the county, you know, we’ll follow all the county guidelines because we’re like in a floodplain. So, we can’t like do build like that. We’ve had to kind of figure out all these other ways what’s allowed, what’s not allowed. We wanted…

Ember: -we wanted creativity.

Willow: …shipping containers, and then have an upstairs and all that. But then the county was like, no, you can’t have shipping containers. So, we had to get rid of our shipping containers. And then we got-

Ember: I know we’re lucky they took them back.

Willow: -semi trucks- I know.

Ember: We bought them locally, luckily. We wouldn’t have been able to do that if we bought them you know (big corp)…

Willow: And the people were super cool. They helped us find the semi-truck.

Willow: And the truck driver guy. He even went and got the semi-truck trailers and brought them here for us in the rain. And it was like right when the trucker parade was, yeah, Kenny, Kenny Howard, he’s awesome. And Travis and Cousin Travis, they both had an excavator and a semi-truck, and they got this.

Ember: They got the big rig stuff.

Willow: Yeah, they brought them in here and it was already Mud City. And Kenny got his big-

Ember: They moved our houses.

Willow: Yeah, they moved our houses. We couldn’t be over there because of the neighbors. So, Travis has, like, a big thing with a flatbed that moves, and we cut our houses in half because now they’re ten by 12, so they’re 120ft² under. You know, you guys can’t be over 120ft² without a permit.

Natascha: So, you’re following all the rules.

Willow: We cut them in half. Now we have 220ft². And Travis is awesome [Ember: I know]. He brought them all the way over here and put them back on the pure blocks.

Ember: Anyway, the shop’s going to be awesome when we get it together. Yeah, but it’s-

Willow: But it’s on wheels.

Natascha: It’s a party I wanted to attend. That sounds really cool.

Ember: Yeah, yeah. We’re gonna have little Christmas lights. It’s gonna be really nice.

Natascha: Does Soulshine have a motto or a guiding principle?

Willow: Oh, she’s got all those. You got all the good ones. Be the ripple. Uh, what was your?

Ember: Be the ripple.

Willow: Let your soul shine.

Ember: Why dream small when you can dream big? Yeah. And it’s I don’t know if you know. Remember, I don’t know. We have a lot of, um.

Ember + Willow: Lot of them. Shoot.

Willow: Stay lit.

Ember + Willow: Stay.

Willow: Stay lit, folks.

Ember: Yeah.

And, you know, don’t settle for the life that you have.

-Ember

If you don’t love it, you know, that’s part of dreaming big. What is the best vision of your life that you can envision? And when you see that, follow it, find that, follow it and don’t give it up. Just keep that in your vision. And I believe that it will keep unfolding in every, every fold that happens is like another part of that. So, you can see it. You can see it happening, you can see how close it is. Just wait. It will keep getting closer. And the other part of that is, is that’s going to keep changing. Just staying fluid in your art and staying fluid in your life and not just sticking to one thing, because there’s going to be times when you need those other things that you know and have learned and experienced or want to. Being able to stay fluid makes those new places happen.

Natascha: Those words resonate with me. Can you share some of the challenges you face in the glassblowing process or even within the business?

Willow: Glassblowing is just part of the business. Everybody thinks, oh, if I could learn to blow glass and I could learn to do this technique or make that kind of product, I could just be rich or I could make it and be successful. But really you have to be smart. You got to be a business person first. The glassblowing part is important and is why you do it. It’s what you’re passionate about, but it’s not what makes it happen.

You know what makes it happen is being a smart business person and knowing how to market yourself.

-Willow

Uh, a great artist with a shitty marketing department is not going to make it or is not going to really make it, you know, in any kind of way that’s able to put the kids through college and pay their bills. But crappy artists with a great marketing department and a really good photographer are gonna go far, you know, it’s just the way it is. And so, you have to find balance in what you want your life to be, or else you have to have good partners or friends or whatever to handle. You have to have a team, you know what I mean? And that takes different kind of business sense.

Ember + Willow: It’s hard.

Ember: It’s a hard job being an artist. You have to have a lot of hats.

Ember + Willow: There’s a lot of-

Ember: Hats, a lot of hats to wear.

Willow: A lot of pieces to the pie that all have to be able to come together – where the rubber meets the road, you know what I mean? Like, can you buy food? Can you buy gas? Can you live a way that you feel like you’re comfortable, whatever that level is that you need? You know, like I’ve seen artists find all those things. Like everybody, it’s different for every person. Some people just want to go out in the garage and make cool things and be inspired, because it doesn’t matter who you are, whether you’ve had a 30-minute marble-making class and you’re sitting there on the torch staring at that fire, trying to keep the little ball of goo from falling on the table or whatever the fuck. Or you’ve been doing it for 30 years and ten-million hours behind the torch or behind the fire in some way or another. That experience that high, that whatever- Like that experience. That ride is the same thing. That’s the same rush, that’s the same euphoria or catharsis or whatever.

I was having a really shitty day. I was really depressed. And then all of a sudden I, like, juggled the ball of goo and I can’t even remember why I was upset. And now I’m just like, whoa, look, I didn’t drop the ball of goo, right? And it’s like, it’s so simple, you know what I mean? But, like, it doesn’t matter why you blow glass or why you do that. Because if you juggle the ball of goo, you’re gonna feel that kind of experience. And it’s always the same. And I think that’s pretty cool. It transcends- glassblowing is like a staircase. Everybody’s on the staircase. Some people just started moving up before you. And some people do it every day for ten hours a day. And some people do it once a week or once a month, and everybody’s on that staircase. But everybody’s like, feeling that same feeling every time they go up the next step. Right? That same rush, that same, it’s fucking amazing. That’s if you can find a way to do that and pay your fucking rent, drop the mic right there. And it takes a lot. It takes a lot, I think. I think it’s like that with any art though.  You can’t just expect because you can make cool art, that you’re gonna be able to sell it and make a living. And I’m gonna have a nice house and a picket fence, and their dog’s gonna be cute, and everything’s gonna be cool, you know what I mean? Like, yeah, I think that’s a great idea.

Natascha: It’s hard.

Ember: That’s just a fairy tale thing. Yeah, you know, it is. Life is hard work. If you really, really want something and it’s worth having, then you have to work a little bit for it. Yeah, maybe you have to work really hard for it and you-

Willow: –gotta keep working.

Ember: And maybe you have to work harder than you’ve ever worked in your whole life, but eventually you’ll get past that and it’s worth all that hard work.

Willow: And then you might have to start.

Natascha: I saw that when I met you guy. You put a lot of work into your relationship and into your art and to your business, and I see that.

Willow: It’s pretty amazing. You gotta really want something really bad. You know? You gotta really want something.

Ember: I think it takes that to make it through like those hard times, you know?

Willow: That’s the secret sauce right there. You just gotta really, really want that super bad and just do whatever it takes every day. You know, the successful artists aren’t the one that make a really badass piece of art. You go to like, the, we go to Glass Vegas, right? This big boiler silicate flameworking show all the big artists, everybody, all the everybody’s there. Big guys, small guys, famous guys, every guy, every guy, every girl, every amazing glass artist that’s in the scene. They’re all there. And there’s like a whole area in the beginning when you walk in with all this crazy ass amazing stuff, you’re like, holy fucking shit, right? Blows you away. And the best artists aren’t the ones that can make something like that. The best artists, the ones that can, like, make something and then on Monday morning, go back in the studio and make something again. And then in the morning, go back in the studio and make something again. And you know what I mean? Like, that’s what makes it, your ability to make art and then go back again and make something again. Whether it’s like coming up with another incredible idea that you’re passionate about for a whole new project that you’re gonna start all over again or what?

Ember: That’s where the whole world and whole community of glass comes in. I think that there’s many cogs on the wheel that in, like, art, it’s not one way, it’s not one person. It’s many ideas and many people and all of them are valid, and all of them have value and are amazing because, like, some of those big art pieces are truly, truly works of art. That person had a vision and they probably drew it out and they got together with multiple people and they made that dream happen. They made that come true. And so when we do go to that place in World Cup of Champions and of glass, you know, anywhere, and there’s so many of them, you know, in different types of glass. Yeah. Uh, admiration and, you know. No thought of you know what, what does that person actually do to make their money? I’ve just, like, in awe of, uh, how somebody can just dream their dream and make it in their medium. And it’s a piece of beauty that just makes me feel inspiration to be able to make people feel that and everyone gets to admire that. I think that’s what keeps helping them push us all forward in our medium. Wherever you’re at, if you’re wanting to just do proto if you want to do, you know, big art pieces or you just want to do your little thing. Either way, that inspiration of what can be is out there for us to see. And that’s what keeps pushing our community of borrow glass workers forward. It keeps pushing not just our artists, but it also keeps pushing, more than that; our tools, our colors, it all keeps moving forward, you know, and that is fucking community of glass. That is not just one person, not ten. It’s a huge worldwide community. And it is amazing.

Ember + Willow: Yeah.

Ember: Magic. There’s magic.

Natascha: You really hit my next question on the head, I was going to ask about the glassblowing community. Is there anything you wanted to add about the glassblowing community to help somebody that’s not in it, understand what that community looks like?

Ember + Willow: Mhm. Ah.

Willow: I think there’s a lot of people that see people from the outside looking in in the beginning, like artists that have been successful for a long period of time. And they seem to set wierd milestones based on what they see from artists who maybe have been doing it for 40,000 hours of time. And here somebody starts something and they have a good talent, but they get frustrated because they can’t compete with somebody that has 40,000 hours of practice ahead of you. And so I think that there’s a lot of like highs and lows in setting realistic expectations. Like if you want to blow glass to make money, you could blow glass for about three weeks. Learn like a set few things like how to make a little pendant, how to make a little marble, how to make a little league, you know, doodly bopper. And like, you could open up a pendant marble doodly bopper fucking mega domain on the internet and pay your kid’s college education, right? If you want to blow glass because you’re passionate about it, you just want to learn and grow and improve, and you don’t set those kinds of barriers to your own learning in front of you, then it’s a better ride. You know what I mean? Like, I don’t know, uh, because I think, I think a lot of people, they just see, like, all these things, I want to be able to do this or I want to be able to do that, and that’s all cool. You could do that and you could maybe make money doing that. But you can also do these really easy this, this, this and this make a bunch of money and then you can pay and afford to be able to do whatever your heart (desires).

Ember + Willow: Yeah.

Ember: Because all those little things are your practice. Yeah. Those are your small practice. It’s like your small meditation every day. That really comfortable zone where you’re like relaxed, you’re comfortable, and meditation starts happening. It’s that way for the glass when you’re starting, and it’s just comfortable with that small pendant and doing it again and again and again. And pretty soon meditation is happening and you’re not really thinking about so much what you’re doing. You’re just-

Willow: –just meditating. Meditating is huge. Breathing is-

Ember + Willow: -big.

Willow: Breathing with the glass.

I think once the glass starts moving, learning to time your rhythmic breathing in with the glass as you’re working, I find is really important for me, breathing through it.

-Willow

Otherwise, I notice I’m like getting really into something and I’m holding my breath and I’m like. And I’m tense and my shoulders are turning and my arms are working and my neck is tense as fuck. All in this contorted, really weird position. Or maybe I’m trying to use gravity in different ways, so I’m contorting my body and all kinds of angles in order to push the glass one way or the other. And if I don’t breathe out, I’m like, otherwise, I’m holding my breath and gritting my teeth and it’s-

Ember: Like, you don’t breathe, you could faint.

Willow: Yeah, you could go down. You saw that one go down. That guy go down one time. But he was kind of a dick.

Ember: Oh, yeah.

Willow: That guy went down anyway.

Ember + Willow: Wasn’t breathing.

Willow: No, he just was holding his breath. It got too hot. He was kind of a jerk. So, it happened.

Ember: Too many heats.

Ember: But that was in the, uh, in-

Willow: the hot shot. It was really hot that day.

Willow: Anyway.

Willow: We tried to tell him to breathe.

Ember + Willow: Shit.

Natascha: I think you got a full circle around the community. Thank you. [laughter] Yeah.

Willow: The glass community is all different people, though. There’s a lot of different people. There’s so many kinds of glass. There’s a million different…

Ember + Willow: -directions.

Willow: You can go. And each one involves a very deep fucking rabbit hole that you could suck you in for your whole life. Each one. Or you could pull out and say, I’m gonna be the jack of all trades, and I’m gonna, like, go down this rabbit hole and this one and this one, and then I’m gonna start combining rabbit holes together.

Ember: I’m a rabbit.

Willow: And so, it just depends on how many rabbit holes you want to go down. But there’s a different community for every rabbit hole. And then there’s a bigger, broader community of glass, and then there’s a bigger, broader community. It just depends on what you’re looking for. Some people just want to hang out in their garage and make cool shit. They’re gonna get the same high as the other people. Whatever you’re looking for in life, if you just look for it.

Ember: It’s a big community of people who are just people. Yeah, just like when you go out in the world, you’re going to meet all kinds of people. It’s like that in the glass community.

Willow: Yeah.

Willow: Not everybody likes licorice. Some people like licorice. They really like licorice. 

[Natascha looks really confused]

Ember: You gotta think about that one.

Natascha: As talented of artists, as you guys are yourselves. Are there any other artists you particularly admire in this trade?

Ember + Willow: Oh.

Willow: So many, so many. Like in glass in general or in, I think that in the studio glass movement, I think Dale Chihuly and Lino Tagliapietra and Dante Marioni are like the three artists in that direction. Uh, William Gudenrath.

Ember + Willow: Mhm.

Willow: Yeah. I mean, and then if you look at Boris silicate glass, there’s just so many uh, Marvin.

Ember + Willow: Marvin.

Ember: Marvin, Windstar. Roger Paramore, Banjo.

Ember: I’ve, I personally, girl fan out on some female glassblowers because it’s a male-dominated medium.

Willow: It is definitely a boys club.

Ember: I’ve noticed throughout the time I’ve been with glass that it is a boy’s club. It’s hard to even get in. It’s hard to even learn as a female glassblower. It’s getting, it’s changing and it’s changed, I think, a lot in the last ten years. But before then, it’s been really difficult for female glassblowers to not only be respected, that’s been lacking and still does in our community, but also sharing is different. Sometimes a lot of guys get together and, you know, maybe they can communicate together, but communicating with, uh, female that you’re kind of sometimes not in the big circle of, of everything. And so that’s been, I think, really challenging. As a female glassblower, I enjoy teaching because I want other women who have experienced that to experience more freedom. I want female community glassblowers to share. I would like to see there be more of a female glassblowing presence together and stronger. And there is that small group, but it’s really like a part of a little bit of a, you know, echelon group, which are, you know, people that I fan out on. So, you know, it’s okay.

Natascha: Can you name a few (female glassblowers)?

Ember: I really love Windstar. I, right now, I hope I don’t slaughter her name, Sibelley. She hasn’t been blowing glass very long, but she was able to move really far in the glass world. And I admire that about her. And I like that she’s moved around a lot, and she’s doing well. And she recently got a job teaching at Corning. And, fuck, I think it’s amazing. And she’s pretty young also. All different glass of flowers that I, like, admire. I love Kelly Howard, who has the Lincoln City glassblowing place right there in Oregon. I love what she did, and I love that she is a female glassblower. It’s fucking empowering.

Natascha: Okay. We only have one more question and this is the silliest. This is the one that I came up with last night before I printed everything and drove out. So, this one’s just for fun. If you see a shift of consciousness already happening in our world, what is it?

Ember: Uh, shift of consciousness is, I see it as a change in community. I think people are moving into from a physical community to an online communities. And so, I worry about the importance of being- eye contact, one-on-one, the importance of touch, the importance of hug, the importance of knowing people, truly knowing them. Because when we sit across from each other and this one-on-one, or even multiples, when we sit across from each other and we talk and we communicate and we share, we get to share so much more. We’re not only using our voice and our ears, but we’re also using what body language people use. The eye contact, just even the vibe, the feel, the energy that moves between us all; life, everything is energy. And I worry about us missing that. And that’s part of us wanting to have a community space and glass that we get to share. And, you know, we’re like- really- open to having all kinds of art and artists also sharing. So, you know, it moves beyond in creating more of that one-on-one community with each other. I think there’s a reason why we move in and out of each other’s lives. I think noticing the importance of that and the value in that, I think creates a bigger and better love for the community and each other. And I think that that’s what’s starting to move out of us all. And I don’t want that.

Natascha: Beautiful. Anything to add? Hello? Nope. It’s okay. You don’t have to.

Ember: What are we talking about again?

Natascha: The shift in consciousness.

Willow: Well, I think people are waking up. Some people are waking up and other people are resisting because their focus is maybe not ready for change, but I think there’s a lot of people waking up. I think there’s a lot of big things that are going to happen. And I think. Yeah. You got to be a warrior, though. This is great weed, right?

Natascha: Yes.

Ember: Maybe you’re in for the long haul, but that the part that really is, is not, not that you’d be at war, but that you be at peace. That you be at love, that you be open. Yeah. That you be open to the universe. To be open to love, share love, give love. One fucking smile can change somebody’s life in one moment. In one moment, that person could have needed that. Just one small gift didn’t cost you a penny, but you gave it and they respond back. Man, you know you did something. You know you changed something. The energy of that one person, they give back to you when they notice that your energy, you vibe, that energy, I don’t know. But the energy of being in touch with that energy of us all being together. That buzz, that fucking beehive.

Willow: What she said. Yeah.

Ember: Love, love.

Natascha: Well, thank you so much, Soulshine, for offering me your time, trusting me with your space, and sitting down for this interview. I hope that the Humboldt County community gets some really great information from this. And thank you to everyone who comes to visit my blog.

Ember: Thank you for having us.

Willow: Yeah. Thank you.

Happy New Year!

Thank you to my 50 followers. I appreciate your commitment.

This New Year has been a resting period for me. I apologize that the blog has been less active, and this can be expected for the next two months.

Opportunities have come up with my edible company, and I am currently trying to settle on a name that captures my brand and stands out from the crowd. Since we also offer salves.

We have sold out of products at Emerald Genetics/ Cal Sole, and our next harvest is in February. We will have on the shelves Gelato 25/ Dosido and OG. Sales and building client relationships have proven to be a challenge. I must constantly reevaluate why our product stands out and what we offer that no one else does. As I’ve been told, growing cannabis in Humboldt county isn’t enough. Even though we can’t hold onto product, I am still establishing myself as a sales face for Cal Sole. You can find Emerald Genetic Products at 101 M Street Dispensary inc. in Crescent City.

I am taking a writing course with my favorite writer Francesca Lia Block. This is the real secret my blog is being put on hold. I write ten pages a week, and I answer some questions that help me explore my characters and also myself as a writer. I then review my peer’s work and then meet on Sundays to review our pieces. It has been a dream of mine to take this course and I am very thankful to be under her guidance.

Little Lost Forest is working on getting its business license and signing up for upcoming fairs. Competing with the artists in Humboldt county takes work. All the talented people seem to come out of the woodwork to live here! So I am going strong with my Etsy and will update it soon.

My best friend, who you might be familiar with, Orion, moved in. He is going to Cal Poly and working on a social worker degree. He will be helping me with the edibles and also with the children.

My husband and I have talked about doing more things together, but we still need to do actually do them. We spent many years getting stable enough to have a child while raising our oldest. We don’t have a lot of time with each other… alone. For now, it is what it is, but since I talk about marriage and relationships in this blog, this is a genuine piece of my life. I miss having “fun” with my partner, like going on car rides along the coast or spending time together at the beach without the kids.

Please take a second to reflect on how you have come into the New Year. Reflect on all the progress you’ve made in the past fifteen days and the goals you have set in place for the rest of the year. Your goals are attainable.

I hope that you are going through the New Year with ease. Enjoy the rain Humboldt County.

Zen Humboldt

Saturday, December 5, 2022- (Eureka, CA) Little Lost Forest put on its first art exhibition, Eris’ Apple, at Zen Humboldt dispensary, which will be on display throughout December. The opening occurred during Arts Alive Eureka from 6-9 pm, accompanied by other local artists. Landscapes, female characters, and meditative practices are themes in the acrylic and spray paint art by Natascha and Jeremy Pearson. The paintings are strung along with a story that will be developed into a book called Discordia, to be released in 2024. 

@original_cannabis_leaf_art– Dan, a Rio Del local, creates unique customized items using real marijuana leaves in his delicate approach. He showcased Christmas ornaments and “high Santa” and Halloween art like a framed pot leaf spider.

Ruthie Creates Art @ruthiecreates_4 (IG) & @Ruthiecreates (FB) from Arcata brought a whirlwind of fun, colorful, and comfortable goods such as crocheted animal-styled beanies, plushies, and shell chimes sourced from local beaches. These pieces are all unique, custom, and one-of-a-kind, perfect gifts. 

Alexis, a Eureka artist, and her partner Novak set up their booth Fern + Fire which can be found on Etsy under FernnFire. They displayed wood-burned wall pieces, runes, Christmas ornaments, and beanies. 

Loren with Primitive Roots brought his wooden goods! (info@primitiveroots.art and FB at Primitive Roots 707) displayed resin and wood bowls, cutting boards, some with transformer-burned wood designs with a resin coating, unique cribbage boards, and much more. You can find a video of Loren woodburning with a neon sign transformer here and his IG.

Jeremy and Natascha Little Lost Forest @littlelostforestart brought rolling trays, local photographs on metal plates (@emeraldtriangle.photos), and self-care boxes including rose salve, face scrub, and body scrub made from all-natural ingredients. 

Water and Tea were served, and as it rained, guests trickled in. They folded up their umbrellas and walked through the cannabis room to a large lounge room where the artists were set up. Guests had a chance to talk with the artist, and once again, our community came together for a beautiful event. If you find yourself in Eureka, please stop by Zen in December to see the Little Lost Forest paintings.

 

Thank you, Zen Humboldt, for allowing us in your space, and I look forward to January’s Arts Alive at Good Relations. See you there! 

Interview with Adam Schluter: Hello, From a Stranger.

August 24, 2022: Transcribed Zoom Interview

Natascha : Hello Readers,

My name is Natascha with Humboldt counties lifestyle blog, Little Lost Forest. Today I will be talking to Adam Schluter, producer, and photographer of Hello, From a Stranger.

Hi Adam.

Adam: Hey Natascha, thanks for having me.

Natascha: How are you feeling today?

Adam: I’m feeling- I’m feeling pretty good. Honestly, I think you saw I had open heart surgery like two months ago and I just had some weird ups and downs but it’s summertime, it’s wedding season, we’re filming the show, it’s Monday Night Dinners, I’ve just been pushing it too much. I think I’ve just been an introvert crashing, hard but other than that life’s good.

Natascha: You’re looking great and you’re spreading positive energy, you are much appreciated.

Adam: Thanks, Natascha.

Natascha: Where are you talking to us from?

Adam: I’m in Coeur D’Alene, Idaho.

Natascha: Cool. How’s the weather out there?

Adam: It’s magic, perfect. Like 85 sunny but in Coeur D’Alene, Idaho you have like three months of good weather, June, July, August. September, October are usually pretty nice. You never really know. But then you have literal six months of deep pure winter. There’s six hours of sunshine during the day. It’s brutal. This area is perfect.

Natascha: Do you stay in the area year round?

Adam: No, fuck, no. That’s why I photograph weddings during the summer. I make all my income for the whole year in those three months and then I have nine months off, so I like to spend like one month in the winter because, it’s very ideal like a hallmark town. Everything shuts down, you walk everywhere. It’s like ten feet of snow a month. It’s just gorgeous. But you know if I’m not working, and I don’t have routines in place it’s really easy to succumb to seasonal depression and my mental health stuff. So, it allows me that time to travel out into the world and focus on my project which gives me a lot of purpose.

Natascha: I can understand that we have a year around cloud coverage here in Eureka. Winters can be harsh.

Adam: What do you mean year around?

Natascha: We’re right there by the bay. Right there in Eureka, not in southern Humboldt or in Oregon but right where I’m at, clouds accumulated by the water and were stuck with it.

Adam: That’s tough.

Natascha: Can you tell my audience a little about Hello, From a Stranger?

Adam: Six years ago, I lived in Mexico and I wanted to move to a place with more opportunity. I was in a long-term relationship with a girl that I loved like crazy- with all my heart. I thought we were going to get married. So, we got sponsored by this outdoor company to travel the Pacific Coast highway from the southern tip of Mexico to Alaska and pick the best place to live out of the three countries. 22,000 miles, I spent ten months on the PCH, and I chose this town where I’m living now, Coeur D’Alene, Idaho.

We spent ten months together. Every day was bliss. We were on vacation, everything was cool. We were both travelers, so everything was cool. We were running from some demons. She was really running from some demons. She was getting over drugs and alcoholism, and a whole bunch of some darkness we were running from.

So, once we slowed down and we moved into this home that I’m in right now we literally had nothing, we only had enough money for the prorated first month’s rent and the deposit- we had nothing left for groceries, for food, we had no jobs, didn’t know anyone. But we made it work, got jobs, figured it out, obviously. Once we got more comfortable those demons came back and it pulled us apart. It came to a spot where I couldn’t do it anymore and we ended up breaking up. I was in a town where I didn’t know a single person and I was way far away from my family and friends, and I moved here with this girl that I thought I was going to marry and be with for the rest of my life and now she’s gone.

I was living in Mexico for three and a half years and I didn’t have a phone, so I just didn’t know what to do. I didn’t know how to make meaningful relationships without technology in America, especially. It’s easier in third world countries. I finally hit a wall. I was going into the first winter out here and I was suicidal. I was thinking about suicide, I was actually planning it. And one day, I really just didn’t want to do it to my family. So, one day I was just looking at a world map, just kind of dreaming, still very broke, not very much money. I was waiting tables at a restaurant, but I knew I was going to die if I stayed in this house stuck in my thoughts. I just said fuck it I’ll just do what scares me the most. If it confirms my fears that I’m alone and the worlds not there, then I can still commit suicide and give up but maybe it will wake me up and get me out of my head.

I booked the cheapest flight the furthest I could away, which was Copenhagen, Denmark and almost no money left, again. I was homeless in my late twenties. It never bothered me. I’ve always lived a very minimal life guy. I don’t mind being uncomfortable. I was like fuck I need to sleep somewhere, and I need transportation. The trains- the trains are all over Europe. There’s one company, Euro Rail, that does 95% of all trains in Europe. I just started hounding them to sponsor me for it, I didn’t have a big portfolio, it was just an idea, and we went down to Fort Bay to ask the group that sponsored part of the trip. Okay I can sleep on the trains; I can move around on the trains. From there my only plan was to find the beauty in the world and try to wake myself up creatively and do what scared me the most, which was to say hello to people and to interact with people. It’s easy as a photographer to be behind the camera and photograph stuff from a distance. I was trying to wake up. I was really trying to wake myself up. I knew I had to really challenge myself.

I’m an introvert. I’m terrified of rejection. So, I was like what is the scariest thing I can do? It’s like just go say hello to strangers and try to have conversations with them. That was the base of this whole thing. Now we’re twenty-one countries in thousands and thousands of strangers, been published three times by National Geographic, there’s a Ted Talk. There’s a book and we have a second book coming out on it this year. We started filming the show last year. We’ll have a show coming up here too. It’s still a work in progress. Mental health is not like one and done, alright I’ve solved this. No, I need to continue moving this project forward. It’s because give me a lot of purpose and it reminds me of the things I need to do for my own mental health and just keep trying.

Natascha: Your story gives me goosebumps. Congratulations on moving this project forward.

Adam: Thanks, Natascha.

Natascha: Of course. Out of all the creative outlets you could have pursued what influenced you to talk with strangers?

Adam: I think- A) I was incredibly alone. I felt incredibly alone but I was surrounded by people. It was like how the fuck does that make sense- I’m sorry, I guess you can take that out- I’m surrounded by people, I feel completely alone. We have social media and people around us, but there’s no in-person depth of those relationships, and that’s hard. It’s easy to send a text but it’s hard to sit with someone. It can be awkward sometimes. And ask for help, sometimes, and to give help when it is asked of you. They really need to learn this, because the technology, it doesn’t matter how many friends I have on that. It makes me feel worse. It makes me feel more alone. Because it’s not in person. The cool thing about this, I was actually so afraid, the first night I was throwing up in my room. I was deathly terrified. And there was no turning back. I didn’t have the money to go back. So, I put it all on the line and it saved my life, but I made up this script because I thought I better sound cool approaching strangers. I have to sound like I have this all thought out and put together. The script was on approaching and saying hello to strangers all over the world but only if I saw something beautiful and, in this moment, this is so beautiful would you mind if I took your photograph? That sounds aliquant and cool. but what I found was that when I approached these strangers you have a millisecond to earn their trust. You have to decide if they can trust me, if I’m trying to sell you something, see if I’m trying to get something from you and if you think that I’m bullshit then in that millisecond you’ll just walk away. You’ll never stop to talk to me. I found that script was dis-ingenuine. And so, through hundreds of rejections. I was getting rejected 90% plus when I was using the script. I just became more and more vulnerable. I was tired and beat down, I was still trying to figure this out. And the more vulnerable I became- you know I thought as a man it was dangerous to be vulnerable, weak to be vulnerable and foolish, obviously. The more vulnerable I became, everyone started trusting me and everyone started opening up to me. Strangers are crying on my shoulder five minutes after I said hello to them, it’s like what the fuck is going on. I didn’t have to do anything. I’m awkward and goofy. I don’t have the right thing to say, there’s moments when I don’t know what to say but like- it’s read as authentic and that’s all it takes.

Natascha: Cool. How do you choose your subjects? How do you decide that a moment is beautiful?

Adam: Honestly just pure curiosity. I love to pay attention to the world around me. There are absolutely no rules to it. It’s never forced, there’s days where I’m like I should get some stories today and I’ll go out and I just don’t find anything that inspires me that day but it’s just mostly I try to inspire people to put their phones down and notice the world around them and I feel that if people did that- come here [grabs cat]- I feel that if people do that and get off of the technology I think we’ll have a much more realistic, the actual beauty of the world around us, no fluff, no over optimism, reality by itself is pretty fucking beautiful. It’s pretty fucking special. And so, I just go out into the world, I’ll pay attention and I’ll see something that makes me curious. A lot of times it’s like a person reading a book in a park, it’s a person covered in tattoos, some of that sticks out. But I’ll say this, I never approach anybody that is staring at a phone.

Natascha: [laughs]

Adam: I don’t try to be cynical about that, it’s just really there’s nothing interesting about that and I already feel that your head is going to be completely busy if I say hello to you and it’s just not my deal. I prefer people that are doing something else.

Natascha: While abroad how did foreigners view you as an American?

Adam: Yeah, really cool question. The main reason above all why I wanted to do this internationally is that I wanted to do it in places where I didn’t speak the same language, I don’t look the same as the other people that are with me. I’m doing it all in countries that I have never been to. That I don’t know the customs, the rules, the cultures, and what I’m really trying to show above all, now, is the power of vulnerability and the crucial necessity of intuition. Those two things together are enough to open the entire world to help you navigate it.

I found me by being myself, being vulnerable and being curious, it’s also- people like to see curiosity because you can see that I’m excited about something I’m passionate about it. People open up to me with that. I’ve been in some of the most complicated situations in countries around the planet, like the Jamaican story, I did this for six weeks in Jamaica. I would always be the minority. I wanted to be the minority, as a white guy to be the minority- unlike in America where I’m not. I wanted to really stick out, I wanted to earn that respect and not be able to hide at all and that’s a great example of that. We never felt those differences. We never noticed it. We’re sitting there, we’re not talking about things that divide us, we’re not talking about things that are different, we’re not talking about politics or religion, we’re talking about life and humanity and emotions and relationships and stuff that as humans we all share. Whatever the differences are we never notice them because they really don’t matter, we’re talking about real human stuff and in those conversations we both feel very human together. I’ve always been welcomed. I have only had one bad situation ever out of thirty-eight countries I think I’ve been in throughout my life. This is all spontaneous traveling. I only have plans for the first two nights, to get established and then it’s up to me to meet the communities, interact with the world, leave my comfort zone, and let them lead me to where to go next. I am very very vulnerable in these spots. And they do have chances too but I’m intuitive and that’s crucial but I’m also, the world is a pretty damn good place, it really is.

Natascha: You must be pretty street smart as well.

Adam: It comes with experience.

Natascha: If you don’t talk about current affairs, religion, or politics, do you avoid these subjects or does it not come up, does it not cause people pain and other emotions when you approach them?  

Adam: I try not to set any rules to it. The problem is if we get into a political conversation accidently let’s say, I’m just very honest. I don’t know enough about politics to have a strong opinion about it and that’s by choice. Also, I’m not saying that everyone should be like that, that’s just how I am. I haven’t owned a TV in ten years. I haven’t watched the news in six months. I just blissfully go out into the world to go see the real story and see what it is for myself. I just don’t know a lot about it. If someone is- the problem with politics or religion- people have already made up their minds. They’ve already created their identities. They already know their speech, they know exactly-there’s no balance to that. Most of the time, like 95% of the time, there’s no doubts to those conversations. It’s I know this, and this is this, and that’s how it’s going to be. There’s nothing for me to learn from in that. I learn a little bit but there’s nothing for them to learn also. Those conversations aren’t very connected. If they do come up, I’ll stop it or I’ll let someone do a rant. If it just continues to not be balanced, I’ll just wish them a nice day and walk away.

Natascha: Are there any common topics or themes that arise in conversations?

Adam: No not at all, honestly. A very broad one, I love to talk about relationships. I love to talk about what inspires people, what they do outside of their jobs that give them inspiration or purpose. I love to talk about families, because I’m really trying to learn about those things. A lot of this is me being curious to help myself learn how to continue growing. I’ve never been married, I don’t have kids, I would love those things. I’ve been through some really tough relationships and I’m trying to learn from other people on how to make sense of that but it’s also a way for me to learn about myself too, in conversation. I’ll tell you this- the secret sauce to this is people know when I’m talking to them that my mind is totally clear. They know that I’m listening. They know that I am genuinely there, present in that conversation and that’s what allows people to open up to me so much because they know that I’m listening. If I had bullet point questions, oh yeah there’s that sound snippet – okay, next! They won’t tell you anything. And that’s fair, I shouldn’t. I’m not really listening. But I really am listening and there’s no format to the conversation and that’s why they go so deep.

Natascha: What are some fears or passions you’ve heard of?

Adam: That’s a great question. Passions are very individual and unique. I’ve just heard millions from juggling to painting to, I hear lots of music, to being a mom. Really beautiful stuff. I just love to hear all the stuff that people are passionate about because it inspires me to continue trying to find them myself. Fear is a lot more- there’s definitely a dread in the entire world right now of fear about life as we know it changing so dramatically so as a global humanity, as a global society, whatever you want to call it, were breaking apart. And so there’s a lot of loneliness that is felt all over the world, everywhere I go. There’s less in third world countries because those are really built on relationships because there’s poverty and poverty doesn’t have much besides the relationships. There’s deep, deep, deep understanding being communicated about technology creating a bit of a chaos that we don’t know what to do about. And the world’s very scared of that. What it’s doing to relationships to communication, friendships to love, and daring. The addiction, people don’t really know what it’s going to continue doing to us. It’s just taking us away from each other in person, so I think we’re going to see a lot of the damage that it causes.

Natascha: Thank you for sharing. Can we talk about your hardware for a second? What is your favorite camera and lens for portrait photography?

Adam: Great question. I always use only one lens ever, for my entire project and it is a Sigma R rig 50 ml 1.4 lens. I’m cheap and I travel light. I just mastered that lens. And I’ve always used ninety-nine cameras. I’ve had a Nikon, D7000, but this project has always been on the D750 and I moved it to the Nikon Z6 last year and it’s made my job incredibly easy. What’s so helpful about having the exact same camera and lens for the entire thing is- I’ve always seen the world in pictures. I’m cursed as a photographer, a lot of us are. I already see the exact picture. I don’t need to take out the camera, I don’t need to take out the lens, I don’t need to look through it. I know the lens so well, it’s like in my eyes so well that it saves me a lot of time and also, I already know exactly what the picture is going to be. If it is something real quick, like holy shit this is an amazing shot, I can get it in to take a picture in two seconds I can get the picture and then we can get into conversation. It helps me a lot.

Natascha: Nifty, cheap and trustworthy.

Adam: Yes.

Natascha: I know we’ve talked about this a bit but what is your stance on the social media dilemma?

Adam: I think that it’s the end of the absolute foundation of relationships that is absolutely critical to us being able to move forward. We’re already seeing it, I mean suicides of despair are down to the age of eight now. There’s eight-year old’s committing suicide. It is so heartbreaking.

An example of that is, I was photographing a wedding and there was this adorable girl, she was eight years old too. She had this little dress her mom gave her and we were all running around. And I said, Hey! Let me get this shoot, it is such a beautiful shot of you. I went to take the pictures and she says, no! Not this side of my face. I only like this side of my face. And I was like, you’re eight years old, where did you get it? She was like, my mom says it all the time. And I see it on TikTok all the time. Children are mimicking what they’re seeing.

I didn’t know when it got cool to be so self-critical. Somehow it got cool for people to feel ugly and talk about themselves poorly. If we don’t have self-confidence then- it’s not ego, it’s self-confidence. It’s like pride in the person that you are. You don’t have to have the best body or be the most beautiful person in the world. Just being okay with who you are. It takes some self-work and that’s a gift we should give ourselves and to the world around us but right now that’s just not the norm. The norm is self-criticism, self-deprecating, belittling ourselves. That’s a bit of cancer to other people around us because then other people around us are like hey that persons beautiful, then I’m ugly. They think they’re ugly then I have to be ugly. There’s no end to that.

So that all being said, with this insane addiction that didn’t exist a few years ago, where people wake up with their phones and they go to bed with their phones, everything in the present moment has been lost. And obviously, the less present we are, the more anxious we are, more depressed we are, the more chaotic we are, we’re not planning on the future, we’re not thinking about people that are right in front of us in that moment everything is expedient, everything needs to be fast. And the most important parts in life are not fast. Love is not fast; relationships are not fast. Like communication is not supposed to be fast. And now I feel like I need to jam in a thirty-minute scheduled time with my friends just to catch up on how life is. We can’t live like that; people are dying because of that and have been. It’s just getting worse and worse every day.

Natascha: Thank you. How do you suggest breaking down barriers within a community?

Adam: I think that’s an easy one, I mean A) barriers are obviously constructed on pride, again, whatever barriers have come in between connections has to come from us swallowing our pride first. And so, the only reason that I wouldn’t go out and try to connect with the community and the people around me is if I was being prideful. Like oh man if they reject me, I’m going to be hurt by it or I’m going to be mad about it, so we think about ourselves so much that we end up not doing what the world needs us to do. To help the world out also, so.

For me, breaking down those barriers is forming relationships and conversations that are vulnerable, authentic, but also not focusing on those things that divide us. I mean, because that is just too easy to do and those are based on identity. Not based on who that person actually is. A lot of people right now with social media, all the stimulus and technology, they don’t really know who they are, they don’t really give themselves the time to find out who they are. They latch on to an identity, this is who I am, this is how I think, this is what’s right, this is what’s wrong. Again, there’s no balance to that. Focus on what’s behind all of that. It’s like who are you really and what do you love? What scares you? What inspires you? And not just question, question, question, because that’s not balanced. It’s like telling them about you also, like really having a balanced conversation. It allows people to have this foundation of trust, that all those barriers just melt away.

Natascha: Good. How do you see conversations with strangers as a healing tool? How can a person overcome their own barriers and talk to a stranger?

Adam: Yup, well however to overcome your own barriers, it’s kind of related to the question before. But again, just try. Like that’s honestly all I can say. What do you have to lose other than your pride? Just try. Hey, I want to talk to that girl. Hi, my name’s Adam. How are you? Hi my name’s Natascha. Nice to meet you. Hey ya’- I’m really busy right now, I can’t really talk. Okay, no worries. And then you learn a little bit. Have a nice day, I just wanted to say hello.

Also, I’d say appear to people without expectations and without an agenda because people can feel an agenda, too. So that’s important, to have an open personality when you approach someone. I think the most healing part of conversations with strangers is this understanding that I saw you. Everybody sees you, and we know that everybody sees us. So rarely do people interact with the world around them that even though everyone sees us, we still feel alone. And so, here’s an idea, I saw you, I said hello to you, and I was vulnerable with you. It’s very scary to do but now I know that you see me. And now we’re going to have a real conversation and we’re both going to walk away from that feeling less alone and more connected to the world around us but also understanding that each and every day we can do that. It might be hard, it might not work, it might be awkward sometimes. But we can do that. So now we have that understanding, we’re back in our home or apartment or whatever and our mental health is having a bad day we know what to do about it. Now if we do it, that is up to us but we at least know something that we can do to help.

Natascha: Do… you believe in BigFoot?

Adam: Oh, that’s a cool question.

Natascha: We are big believers here in Humboldt County.

Adam: I was going to say no. But I’ll just say no because I don’t know enough about it. To not know definitively but know I haven’t researched and don’t know enough about it. I watched I’m All Gas No Breaks on the BigFoot rally, it was pretty revealing but I don’t know enough about it. Do you believe in BigFoot?

Natascha: Yeah, yeah. They are interstellar type of beings that can be- not necessary here all the time, kind of jumps through dimensions type deal. I have another Humboldt County question for you, any stories that relate to pot farms for marijuana enthusiasts.

Adam: Oh man, I can do a whole movie on my time there. I mean the whole thing was so wild. We lived in Clear Lake, but it was off the grid in the wild, this was like twelve years ago. It was like the wild west. Those people are recreational. It was like you can have ninety-nine plants with a doctor’s order, if you had one hundred it was a federal felony so like ninety-nine plants. There were no police because Fish and Game Conservation were the closest thing to police that we had. You’re on your own fucking island. Out in the middle of nowhere. Lots of money in the house, lots of weed plants in the house, you have guns in the house, it was wild. And, toward harvest time there’s like no protection, you know, there’s no regulation. Everyone would do these twelve-hour shifts and there’s people sleeping on patios with shotguns. There were these two sixteen-year-old kids that were out there, and they came out on four wheelers. Not on our farm but the neighboring farms, grabbed a bunch of plants and the people from the farm chased them down and the kids accidently drove off the cliff on the four wheelers and killed both of them. It’s the wild west. There’s a lot of- you probably want more of an optimistic story, but you know.

Natascha: That’s a common story unfortunately.

Adam: Yeah, it is. A lot of boredom really, so fucking boring. You’re trimming ten hours a day, and it was before cell phones were big. You get bored of it. Everybody’s on drugs, a lot of people are on drugs because of the boredom, and I never did drugs. I smoked pot and ate mushrooms. I love those two things, a lot. But I’ve never done hard drugs. And everyone’s on some real hardcore drugs. We had people overdosing. One of our closest friends, out there, OD’d and died. It’s just boredom. People really don’t know what the fuck to do. They’re really just sitting in the house together doing nothing at all. Every once in a while, there will be cool stuff. Like one of the owners of the farm who would never talk to us like the trimmers and the people in it, but he’d come in and he was this very ominous figure. He was nice. He’d go up to the kitchen and sterilize every single thing in the kitchen and nobody was ever allowed to go toward the kitchen. He would put on Grateful Dead, and he would stand there for like twelve hours and he’d just be silent. You know never say a word. We’re all feeling his presence. And then he would walk away without a word, and we’d never see him again. So, there’s just interesting characters.

Natascha: Yeah, yup. My zoom is cutting me short. It says I have three minutes remaining unless I upgrade to pro, which was unexpected. Can you just tell us what you plan on doing next?

Adam: In my personal life I am starting to date for the first time in my life. Really trying to figure out relationships. It’s kind of complicated for me, for the reasons that we talked about before. With my show, my project, we just sold forty percent of it to a major production studio and now we have a major team that is taking, really my team- which is just my director and my camera man, two close friends of mine, and were all merging forces. The next six weeks we are creating our new trailer and we’re taking that too market to sell the show. Which we expect it to sell. Hopefully in the next two to three months we’ll have the show sold and you guys will be able to see what it looks like.

But for my Monday Night Dinners, concept which I do in just Coeur D’Alene, I’m going to be taking it on the road this winter. The idea is to put me in a new city, new country, new place, anywhere in the world. I have two weeks to be there. I have to meet all the strangers but everyone that I meet, every stranger that I met and have a story, I’m going to invite them to have dinner on the end of that trip, two weeks down the line because I always wanted to leave the cities and countries more connected after I leave because, you know, I’m meeting these people and then I just leave. I want to put you all around a table together and I want you to meet each other too. Because of my time there, because of all of our time together, we’re just connecting the world, bringing it a little closer together with every place we visit. Hello, from a Stranger is merging with Monday Night Dinners and that would be the actual show. Some really cool stuff. I’m very excited for them.

Natascha: Alright Adam. Thank you so much for sharing with us. These are some beautiful projects you got going on that are very inspiring and feel good. Looking through your art makes me feel- good.

Adam: Thank you, I appreciate you looking at it and I appreciate this time I really do! It’s an honor and an opportunity. I just want to spread it and remind people that they can do this too. I actually need them to do it because I’m only one person and it’s a big world out there.   

Natascha: Thank you, readers, for checking in at Little Lost Forest. Please check out our IG @littlelostforestart. You can find Adam Schluter at hellofromastranger.com and purchase his book at hellofromastranger.com/orderthebook. 100% of all sales go back to the humanitarian mission.

Cannabis: Edibles, A look into a Small Business Start-Up

THC Almond Butter Cups in Toffee, Coconut, Coffee, Strawberry, Regular

Since college, I have been a big fan of making pot brownies. Later, I’ve noticed that it is more of a medicine than a party favor. Edibles are a less harmful way to intake THC and CBD than smoking. Edibles can get a seasoned cannabis smoker high again. A more significant amount of Delta-9-THC goes into your liver when digesting an edible and converts to 11-hydroxy-THC. This form of cannabis intake is noninvasive to your surroundings and environment, with no smell to latch onto your clothes or linger in the air. Edibles are discreet and offer a relaxing high. While it may take a while to kick in, it’s long-lasting. The benefits of eating edibles, according to healthline.com, include treating “poor appetite, pain and weight loss in cancer patients, reduce pain and muscle spasms, relieve nausea and vomiting, enhance sleep quality, and improve anxiety.”

My goal would be to offer affordable, high-quality edibles that focus on health and healing, compared to your average sweet treat. The brand highlights dark and earthy tones, reflecting on my Celtic heritage and the change of the seasons.

The primary base for my 420 edibles is coconut oil. Coconut oil is saturated fat like butter. It is a plant-based alternative. Coconut oil helps the body assimilate fat-soluble vitamins. According to research from Hightimes, coconut oil distracts THC second best to butter. It also attributes to weight loss, “coconut oil contains a high amount of MCTs, or medium-chain fatty acids, also called triglycerides. These MCTs are harder for our bodies to store as fat and easier for us to burn off compared to long-chain fatty acids. “

I make a variety of chocolates, including almond butter cups, white chocolate bars with rice crispy, and coffee-infused cocoa. Chocolates are good for menstrual cycles, depression, and anxiety. They come in bite-size, squares, and cups. I add natural ingredients for deluxe treats like green tea, toffee, strawberry chunks, and coconut shavings.

420 Hot sauce has been my favorite for a while. You can check out my blog Caribbean style hot sauce here. Even though my hot sauce in the past has come out like a paste, my brother is in the craft hot sauce business in San Diego, and he will be assisting me in making coconut-based hot sauces that keep their liquidity. Hot sauce is low-calorie and easy to store and use on the fly.

My newest addition to making edibles is the green bars. Green bars are a healthy mix grain bar that includes dates, pistachios, pumpkin seeds, hemp seeds, and spirulina. This bar will not only contain medical benefits but will also give you energy.

Are you interested in opening a cannabis edible business? I assume I’m not the only one. My friend sent me these classes I am interested in attending at College of the Redwoods on building a business in the marijuana industry, https://www.redwoods.edu/communityed/Detail/ArtMID/17724/ArticleID/6299/Cannabis-Business-Training-Program. I’m considering taking these classes if I can afford them. You can make a donation on my home page. I will make sure to blog about my experience.

I haven’t even thought of a name for my edible company yet. After years of being associated with the cannabis industry, I would like to see how I can share natural healing edibles with my community.

***DISCLAIMER EDIBLES ARE NOT FOR SALE. THIS IS A START-UP COMPANY THAT HAS NOT YET BEEN LICENSED. Investors may send inquiries to littelostforestart@gmail.com***

REFERENCES:

https://www.healthline.com/nutrition/eating-weed#:~:text=Edible%20cannabis%20products%2C%20such%20as,9%20%2C%2010%20%2C%2011%20).

https://www.vice.com/en/article/bj5mza/edible-high-vs-smoke-high

The so-called, “Billion Dollar Industry”

The Unjust Pay System in the Marijuana Industry

As an observer of the marijuana community, a question pops up all too often that has everyone wondering, where is all the money at? We have hard-working employees, males, and females, who work long hours, which are not afraid to get their hands dirty. So, where is the profit with all the planting? As COVID brings marijuana sales to a record high while dispensaries remain open as an essential business, why do farm workers remain at the bottom of the pay scale?

The real reason the grower and the owner can’t see eye to eye. A worker goes on to a farm, helps them turn their harvest to an abundant green yield, and in the end, their pay comes late, scarce, and more work is expelled without a full payout up to that point. Bonuses are promised but never seen. What once was a decent paying job, the worker finds themselves waiting for their pay, unmotivated to work, and easily replaceable with the next willing participant. Where did this mom and pops, family valued, hippie ‘ love and peace,’ grow community, one might think they are stepping into, go? It went to corporate America.

Yes, the men with ties and suits are to blame. Even if the owner thinks they are the big shoot, spending outside of their means on music equipment, big cars, and overextended vacations, here’s the catch- that money isn’t there. Corporate America is making the so-called billions in the billion-dollar industry. So much of the profit goes into taxes that the once hippie-dippie landowner is now hanging with rappers, sporting an image they can’t afford. While white market owners can’t value their pounds half of what the black market can, none of this money dwindles to the grower. The lead grower is being worked to the bone, and his profits directly reflect the owner’s value in people. As the quality withers, prices and pay drop slowly, the farmworkers starve while the owner keeps his appearance.

Marijuana was legalized in California in November 2016. Growers didn’t have great expectations for this. It was expected to take away thousands of pot dealers’ jobs by bringing the marijuana industry into businesses. What did this mean to the grower? What many Americans might have assumed would keep thousands of pot growers outside of jail, growers had to face a new reality, now they had to follow the rules, regulations, and worse of all, pay taxes or be subjected to raids and fines. As growers race to get permits, many growers end up taking the easier way out and remaining black market.

So how does this affect the ones growing the weed? White/ Black, “whatever” market, growing weed isn’t like working at Carl’s JR, but the pay of a lead farmer isn’t far off from the income of being hired off the street at a Carl’s JR. The skills of the marijuana grower are being undermined in an industry that is holding onto nickel and dime compared to pre-legalization, where the industry was about helping the little guys out, not using them. Farmers with years of skill are treated like basic laborers, and even the white market players are getting away with not paying their employees what their worth is.

So how to fix this problem? Illuminate the greed and go back to the root. Project owners should appreciate the person growing their weed. We’re not talking about a robot. The farmhand is a human being growing medicinal plants to help people heal. The handling of marijuana influences its outcome, and if we grow weed like we farm our meat, we will all end up glutenous.


Happy Cows come from Happy Farms. Happy Plants come from Happy Farmers.


Staffing companies pocket 20-30 percent of the worker’s pay in exchange for legal paperwork, including paychecks, benefits, and HR work. The farms might have their employees covered, but those employees don’t see the benefits. Their pay becomes minimal, and they are once again replaceable. To solve this, farm owners can’t just be suits and jackets. They have to have humility and care for their workers. Their workers, in return, will care about the outcome of their product. And how do we get the owner to care for their worker? By lowering taxes so that they are not stretched so thin, they too are just looking for the next dollar to keep the farm afloat. Let them keep their facade image, which may never change, but do it so that they can pay their farmer and put food on the table for their families. Then, add a structured pay scale for positions on farms. As the government recognizes this industry, its positions should be recognized and compensated adequately. Like any business, starting laborer shouldn’t be paid the same as long-term workers, transparency about weight and numbers should be available, bonuses shouldn’t just be a dream, and lead farmers should be paid for their skills and knowledge, not the equivalent of a fast-food worker with no experience. Last of all permanent employment shouldn’t be waved in front of staff like a golden ticket, without any winner.