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This is the Happy Pod from the BBC World Service.
I'm Paul Moss and in this edition... I went over there and I was like, we have to get them out.
And I mean, because I guess that was just like the motherly instinct in me.
Like I seen that mama and she was trying so hard to get her babies back, the raccoon brought back to life by a nurse after one too many peaches.
Embrace the fear, embrace the pain and go through this.
I love that.
If you're going through a hard time, keep going.
Life lessons from the woman dubbed the Ice Mermaid.
I felt connected to my past, but also cut off from it.
You know, the stone is the same, but I'm not the same person as I was then, the man who wanted to recreate a picture from his childhood almost 40 years later.
We meet 81-year-old Janet, who's grown more than 4000 trees in her garden.
And What are the animals that I'm seeing?
Before you.
One group shows a hound overpowering a stag, while the other depicts a tiger attacking a bear.
The talking statues in France teaching history.
We start in the United States, where a nurse in the state of Kentucky has won international fame after she was filmed resuscitating an unconscious baby, raccoon.
The cub had passed out after eating fermented peaches thrown away by a distillery.
Nicky Cardwell has been finding out more.
We've all been there, unable to resist a delicious treat, but also unable to judge when we've had enough.
And it's often mum who picks up the pieces when we're facing the consequences of our own excess.
What happened to you?
In this case, it was Misty Coombs, a nurse from Kentucky, who heroically intervened to help a raccoon rescue two of her babies, who got stuck in a skip next to a moonshine distillery where they gorged on fermented peaches that had been thrown away.
She told the local TV station Lex 18 what happened.
I went over there and I was like, we have to get them out.
And I mean, because I guess that was just like the motherly instinct in me.
Like.
I seen that mama and she was trying so hard to get her babies back but she didn't know what to do.
She scooped out one of the babies with a spade, but the second was unconscious and not breathing.
Come on baby.
Everybody that was around was like, it's dead.
I mean, it's just not going to make it.
And it was, it was not breathing.
So immediately I just started doing CPR on it.
Then a sign of life.
The raccoon, by this time nicknamed Otis, took a breath and started to move.
After a night at the vet's sleeping off the moonshine, Otis was given a clean bill of health and Misty was given the honour of sending him back home.
Oh, it'll once out bad.
Yeah, it does.
It knows it's home.
I was tickled to death that it was able to join its mum again.
Come on, Otis.
Yeah.
Misty says hopefully Otis has seen the error of his ways and the next time he's drawn to the tempting smell of fermented peaches thinks twice before overindulging.
Yeah, that poor little raccoon.
I hope it stays out of the dumpster.
Goodbye, Otis.
Nikki Cardwell reporting.
Barbara Hernandez is a cold-water swimmer from Chile known as the Ice Mermaid.
Earlier this year, she braved hypothermia and hungry leopard seals to become the first South American to complete a marathon challenge known as the Ocean's Seven.
And now she's front-crawled her way to a Guinness World Record, completing the furthest ice swim ever by a woman.
And she did it all without a wetsuit.
She sounds like rather a glutton for punishment, telling people the pain is the prize.
That dedicated determination has won her hundreds of thousands of fans around the world.
The happy pod, Stephanie Prentiss, caught up with Miss Hernandez and discovered that within her spirit of adventure there's a life lesson.
A group of people wrapped up in thermal jackets are climbing onto a small boat dusting off the frost to sit down.
One of them takes a deep breath and strips down to a swimsuit.
The water lapping against the outside is 45 degrees Celsius and Barbara Hernandez, the ice mermaid, is going in.
In the ice-cold waters of Puerto Natales Chile, this self-styled mermaid is going after her fourth world record.
When I jumped into the water.
I really enjoyed the feeling just to stay there and see the mountains, see the snow and feel this cold, but also thinking about my heart and my memories.
When your body is dealing with a level of pain, really physical pain, is it those happy memories that get you through it?
Yes.
I have a lot of memories with my team, with my parents, with my husband.
The key is go through the pain.
And sometimes it's also about the embrace the fear, embrace the pain and go through this.
I love that.
If you're going through a hard time, keep going.
Keep going.
Yes.
I think that is the best, the best word ever.
The ice mermaid never wears a wetsuit or the kind of insulating grease that some cold water swimmers use.
And she completed the last segment of this swim while suffering from hypothermia.
I was worried, of course, because it's so important to be in that place and to be alert and very connected with the team next to you on the boat.
So in the beginning, of course, with the adrenaline, you stay so fast, so happy and everything.
And then it's so difficult because you feel the pain.
And of course, your hands and your legs are every time heavier.
So it's very difficult, but also again, the key is your faith.
So I stay connected with my faith.
Another time Barbara used her breath to stay calm during previous open water record attempts where she was up close with sea leopards, jellyfish and sharks.
I think the key again is embrace your fear.
The sharks, of course, they swim under you.
So I thought maybe we can be just friends.
Sharks aside, Barbara credits her human friends with getting her through.
And to get this world record, she spent more than an hour in the water and swam for 38 kilometres, beating the previous record of 35.
But as she builds her ice swimming community online, she told us that getting other people in the water is her true purpose.
It's not about the Guinness World Record or the medals.
It's how can be our own community trying for our goals and embrace the fear, embrace the doubts and go through that.
So start.
Never is the best moment.
So the best moment is just now.
Just stay and start again and again.
Because for me, that is life.
That report from Stephanie Prentice.
I think many of us will have had the experience of looking at an old photograph of ourselves and perhaps wondering who was I back then?
Am I really the same person as that toddler or child?
That's what the Scottish writer Peter Ross felt when he saw a photo taken of him at the age of 11 on a Scottish island.
It prompted him to set off on a quest to find the spot where he was standing and to replicate the same scene almost 40 years later.
When I turned 50 years old, my mother gave me an album full of pictures from my childhood.
So it was a real nostalgic rush, quite emotional really.
And there was this one photo that seemed to have a different look and feel to the others.
And it was me as a boy sitting on what I took to be an ancient standing stone.
I had no memory of the picture being taken and I didn't know for sure where it was or even when it was.
So it had this strange quality of a lost memory.
I had an idea that it was the island of Islay, an island that I'd only ever been to once, in the 1980s.
There was just something about the quality of the light and the landscape that made me want to go and seek it out.
And also the picture has this kind of hazy, sort of fuzzy quality, a sort of warmth, but also a kind of melancholy quality to it.
So although it's a moment from my own life, it's just out of reach.
Now, the Scottish island of Islay, I gather, has quite a lot of standing stones.
How did you manage to find this particular stone?
Yeah, Islay is rich in prehistoric remains.
I followed a hunch that it was the island of Islay.
And while I was there, I met an archaeologist who is a specialist in the prehistoric sites of the island.
And as soon as he saw the picture, he was able to tell me what it was, which is Cragabus, a Neolithic human chambered cairn, in other words, a tomb which was built around 3500 BC.
And he showed me on a map where I could find it.
So there you are on Islay, and you do manage to find the site, the stone where this particular photograph was taken.
How did it feel to be back there nearly half a century later?
We have to kind of reach to the Welsh language for this.
The Welsh have a word, hiraeth, which is sometimes described as homesickness.
But I think it's more like a yearning for a place or a person that can never be reached.
It's a kind of ache in the soul, but not unpleasant.
And that picture to me is a perfect example of hiraeth.
That's what I felt when I was there.
I felt connected to my past, but also cut off from it.
You know, the stone is the same, but I'm not the same person as I was then.
That's what makes these old stones significant, I think.
Their eternal quality makes us feel our own transience more keenly.
Recreating these pictures give us a strong sense of how fleeting our lives are, and they perhaps encourage us to make the most of them.
Peter Ross, author of Upon a White Horse, journeys in ancient Britain and Ireland, speaking to us about the joys of recreating a childhood photo.
Now, plenty of people worry about climate change.
Perhaps fewer try directly to do something about it.
81-year-old Janet Williner's concern led her to grow more than 4,000 trees.
She foraged for the seeds locally and grew each sapling in her own garden.
Trees, of course, take carbon dioxide out of the atmosphere.
These ones have been added to forests in the North English county of Yorkshire where she lives.
Vanessa Heaney has more.
Meet Janet Williner, otherwise known as the tree-growing granny.
It started out because...
I was deeply saddened by the destruction that the human race have caused on this beautiful planet of ours.
So she joined the zero carbon movement and learned about different ways to reduce the levels of carbon dioxide that contribute to climate change.
The only one she felt she could achieve was planting trees which absorb the gas known as carbon sequestering.
Janet had always loved growing things, so she started foraging for local seeds.
She planted them in some empty pots she had at home and waited.
She didn't tell anyone what she was doing, just in case they didn't germinate.
The first week of lockdown, I'd been staring at these pots of soil all through the winter.
And that day when lockdown was started, I saw the first green shoots come up.
And I was absolutely over the moon.
She tried to grow around 20 species of trees native to the UK, such as oak hazel rowan, birch and spindle.
What started as a small experiment rapidly grew into something rather big.
By the end of the first season, she'd grown 400 trees, all of which she'd financed by herself.
And then came her ambitious target.
I decided that I probably had 10 years of active life left And if I could grow a few more than I'd done, say 500 a year for 10 years, I could grow 5000 trees.
And that would be a reasonable legacy.
Janet secured sponsorship for her tree project and estimates she's already grown around 4200 trees, gifting them back to nature through a variety of organisations.
She really hopes to inspire others.
Because what I can do as an individual person is just a drop in the ocean.
But an ocean is made out of lots of drops.
So if other people could do something similar.
And Janet has no plans to take off her gardening gloves any time soon.
When she reaches her target of 5,000 trees, there's quite a big possibility she'll keep growing.
Vanessa Heaney reporting.
And if there's anyone in your community that's doing something, small or big, to combat climate change, we'd like to hear about it.
Coming up in this podcast.
She struggles with her emotions and stuff like that.
So it was put to me about helping her with resilience and just getting her confidence built up and stuff like that and it seems to have worked.
She's a lot better than she used to be.
The playground helping children explore and where no parents are allowed.
We'll be right back.
We'll be right back.
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The Palace of Versailles, just outside the French capital Paris, has teamed up with two AI companies in a project that allows many of its statues to talk to visitors.
They're hoping this will be a new way for guests of all ages to learn about the art and history of its Baroque gardens.
Our reporter Harry Bly went to see them.
The horses represent the power and energy of the sun.
They are spirited and almost untamable, showing the raw force of nature.
This was me at the Palace of Versailles speaking to Apollo's fountain.
What is the big golden fish in the water?
Ah, that's no fish.
Those are sea monsters surrounding my chariot.
They blow their...
The music you can hear tells you that we're in the Baroque gardens of the palace.
Here there are 20 iconic fountains and statues which visitors can now speak to and hear their stories.
It's all come about thanks to a partnership with the artificial intelligence firms OpenAI and Ask Mona.
And it's relatively simple.
At each site, there's a QR code.
When you scan it with your mobile phone, it takes you to a website where users can launch a conversation.
Now to give some visual context here.
Apollo's fountain is right in the middle of the palace gardens, just down the hill from the palace itself.
The fountain features the Greek god Apollo, the god of sun, rising from the water in a four-horse chariot all in gold.
MUSIC
Chateau Versailles partnered with OpenAI, responsible for the popular app ChatsGPT, to create the real-time conversational technology that lets visitors converse in a natural and immersive way.
And Ask Mona, a French AI company which specialises in designing artificial intelligence products in cultural and educational settings.
Ask.
Mona is known for bringing to life famous artworks like the Mona Lisa.
To provide engaging conversations with visitors.
Marion Carey is the founder of Ask Mona.
She told me how important it was that each chatbot was trained with accurate information.
What we bring into the experience was the ability to use information from their site to feed the AI with it.
But we need the AI not to invent information.
Currently, the chatbots can be used in three languages English, French and Spanish and there are plans to expand this.
Developers have also ensured that each statue's bot has its own curated voice to best suit the character being depicted.
What aspect of these animal combats intrigues you?
What are the animals that I'm seeing?
Before you.
One group shows a hound overpowering a stag, while the other depicts a tiger attacking a bear.
And, as Marion explains, the bot can adjust to people of different ages.
For example, if you're going from the statue and say hey, i'm with you, like a six-year-old kid, and i wanted to talk about blah blah blah, the ai is going to answer with appropriate language for a six-year-old kid.
So it's really a way for us to uh be able to personalise the experience.
Pierre-Hippolyte Penet is the chief curator at Château Versailles and led this project.
We have 6000 questions asked every day to the statues and the visitors seem to be very happy with the experience.
It's a new way to interact.
Pierre Hippolyte says embracing innovation is firmly in keeping with the history of the palace and its former residents.
We can say that Versailles has always been at the forefront of innovation.
We can remember that during the 17th and 18th centuries many inventions were presented to the king here in Versailles.
So we are in the tradition of innovation in Versailles.
Pierre-Huppelit Penet, Chief Heritage Curator at the Palace of Versailles.
Ending that report by Harry Bly.
Carlos Acosta is widely considered one of the greatest classical dancers of the modern age, with his career taking him from the back streets of the Cuban capital Havana, to some of the most prestigious stages in the world.
After retiring from performing a decade ago, he set up a dance company in Havana called Acosta Dancer, which has taken classical stories and styles and added a distinctly Cuban flavour.
And to celebrate the 10-year milestone, the dance company is bringing a showcase of its work to the London theatre, Sadler's Wells.
It's called A Decade in Motion, and Isabella Jewell went to meet Carlos as the group were rehearsing.
In this program, you could see what Acosta Danza is all about.
You will see pieces in pointe work and contemporary and Cuban folk.
You will see a platform for foreign choreographers to express their own part of Cuba from their own perspective.
It consists of four pieces.
I think it's sunny.
It summarizes what Q1 is all about.
It's the Caribbean.
It's a melting pot of culture.
It is in line with what I intended for the very beginning for this company, which was a company that will share the Q1 talent to the world.
So it is a bridge from Cuba to the world and vice versa.
This is to celebrate a decade since you founded your dance company Acosta Danza.
Could you tell me a little bit more about it and your ethos for the dance company?
In Cuba you have three dominant companies, which is the National Ballet of Cuba, the Danza Contemporánea de Cuba and the Folkloric of Cuba.
And so I thought I was going to form a company that sits in the middle of it and we develop dancers that could do everything.
Could do from classical to contemporary and Cuban folk.
And then the following year, in 2016, we formed the academy.
And I must say that 10 years on now, all of the dancers came from the academy.
Most of them come from Santiago, Guantanamo, from the eastern part of Cuba.
They have a very, very poor background, similarly to mine.
We gave them everything for free, from the shoes that they wear, the costumes, we trained them.
We are half Spanish, African, French, Chinese.
And so that's why this kind of melting pot of dances that the Acosta Danza dances have in their bodies is a symbol also who they are as a culture.
When we went to the Kennedy Center this last April, the critics really valued the authenticity of the repertory.
Because you have dancers that start doing point work like classical, but then they take the shoes off and do the most extraordinary contemporary piece.
And then lastly, with tennis shoes, they dance conga and salsa and various stylized kind of Cuban rhythm in one performance.
And so that is quite unique.
Do you yourself miss performing on the stage in front of an audience?
I love the fact that when you are at this time in my career, it's about everybody else.
It's about directing.
It's about bringing dancers development and bringing audience joy through a company.
But, you know, when you dance, it's all about you.
It's about you, your thoughts, you in the space, you know, just being in tune with your body and then really connecting to an audience.
I can't give you the news now, but yeah, I'm planning to be real soon on stage again and you will hear about it.
HE LAUGHS
Some music from A Decade in Motion, ending that report from Isabella Jewell.
And finally in this edition of The Happy Pod, we visit a playground with a twist.
The Land in Wrexham in North Wales is a community-funded play area for children where parents are not allowed.
The idea is that this approach of free play can improve young people's mental health.
They did make an exception though, for the BBC's William Kramer, who got a sneak adult chance to see The Land and find out more.
Imagine a place where children come together to make toys, build houses and play games.
Grown-ups aren't allowed in unless they have special permission, and children are free to do whatever they want.
Well, this place exists and it's called simply The Land.
You can build stuff here and there's a lot of wood and at the park you don't get to do that.
The land is a space that supports children's play that society may struggle to support.
Claire Pugh started the land in 2012 after working on other play schemes in this neighbourhood.
This was a neglected piece of wasteland and the fence went up and really claimed this space for children.
At first glance, the land is little more than a junkyard.
There are stacks of used wooden pallets and big reels for holding wires.
But if you look a little bit closer, you'll see crooked homemade structures, hidey holes and turrets.
Children run barefoot.
They swing on ropes and throw themselves down a makeshift water slide.
We're making secret bases up there.
Are you?
Yeah, and I'm underneath there.
Do you want to show me your base or is it too secret?
Well, come on, I'll show you.
I follow five-year-old Amelia.
Come on.
Yeah, I'm coming.
Yeah, I'm coming.
Oh, my goodness.
There's a whole web of these plastic tubes that the kids scurry up like hamsters.
Amelia's just gone up a blue tunnel and I'm not sure I'm going to fit in it.
I'm trying.
It's really small.
The children like to play lots of running games and catch games.
And, as an adult, you try and navigate through them and it's really difficult and you'll scrape your back or you'll bang your head.
But kids are the experts and they just fly through them and it just highlights that this is their space.
This is my base.
Is this your base?
I'm not sure I'm going to get out.
This is my base.
The tunnels are fashioned from industrial tubing from building sites.
Structures like this are made by the children themselves or put together by attendants, called play workers, based on the children's ideas.
This type of playground is not new.
The first junk playground, or adventure playground, opened in the 1940s in Copenhagen, Denmark.
Then, after the British landscape architect, Lady Allen of Hertwood, observed the way that children played on bomb sites in England, she suggested allowing them to play there freely and build their own structures.
Adventure playgrounds reached their heyday in the 1970s, but they're now a rarity.
Most playgrounds have fixed equipment that doesn't change.
I'm showing you a house, a little house I made.
This is nine-year-old Jamie.
What, you bang the nails and stuff?
Yeah.
No way!
Jamie has been coming to the land for about a year.
Her mother told me that coming here has had a big impact on her mental wellbeing.
She struggles with her emotions and stuff like that.
So it was put to me about helping her with resilience and just getting her confidence built up and stuff like that and it seems to have worked.
She's a lot better than she used to be.
She's come out of herself a lot more.
13-year-old Dakota has been coming here since she was seven.
When I first started joining, I was shy and I didn't talk to anyone at all.
But when I started coming more, I started talking and being more confident.
13-year-old Dakota ending that report by William Kremer.
And to hear more about the power of play, just search for People Fixing the World wherever you get your BBC podcasts.
And that's all from the Happy Pod for now.
We'd love to hear from you about people who are doing something in your community to help climate change.
As ever, the address is globalpodcast at bbc.co.uk.
This edition was mixed by Mark Pickett and the producers were Holly Gibbs and Harry Bly.
The editor is Karen Martin.
I'm Paul Moss.
Until next time, goodbye.
America is changing, and so is the world.
But what's happening in America isn't just a cause of global upheaval.
It's also a symptom of disruption that's happening everywhere.
I'm Asma Khalid in Washington, D.C.
I'm Tristan Redman in London, and this is The Global Story.
Every weekday, we'll bring you a story from this intersection, where the world and America meet.
Listen on BBC.com or wherever you get your podcasts.
