“Control language and you control thought; control thought and you control action; control action and you control the world.” -Peter KreeftIf we understand the secret of language can we harness the almost ‘magical’ nature of words to influence our reality?Most of us overlook how the spelling and sounds created by words might actually be manipulating how we think and act. Laurel Airica is one of those people who has recognized the immense power of language and has dedicated her life to upgrading the codex in order to enhance our collective existence.She is a prolific poet, and it was an absolute delight to be in her presence during the show. Not only are the concepts explored on this podcast mind expanding and beautiful, you will never quite look at language the same again.Connect with Laurel AiricaWebsites | http://www.laurelairica.com/https://wordmagicglobal.com/Facebook | https://www.facebook.com/laurel.airica

AUBREY: All right, ladies and gentlemen, put on your wizard caps because we're about to explore the magic of words. And as they say, they call it spelling for a reason. And we're here with Laurel who's going to explain how deep the magic goes into language. Good to have you. 

LAUREL: Thank you. I'm honored and delighted and thrilled to be here with you and with your audience. So, most people find my work through a video I posted in 2010 called "The Secret Spells of the English Language." And it was somewhere like 90,000 views five years later. And then I got a phone call from a woman saying your video, "The Secret Spells" has 55,000 views. And I said no, it's over 90,000. And she said, I mean since I posted it on the Facebook page of Collective Evolution three hours ago. So, a lot more people became aware that the language is using us. We are its human instruments. And it is filled with cultural biases as well as words that reflect our innate human wisdom to us, but we've been mostly oblivious to that. 

AUBREY: It's almost like we've been deaf to the language that our language has been speaking to us. 

LAUREL: Exactly. And look at our word definition. We are deafened by our definitions. Or are we talking about what a word means, but what does the word ‘mean’ mean? And mean has all sorts of nasty connections about behavior, unkindness, shabbiness, and being average. And that is the average on this planet. And my work is about inspiring the best instead of the beast in other people. And a lot of people shoot off their mouths, and trash talk other people. And then you've got ugliness in your mouth, a bitter flavor. And it all bounces back because everything reverberates. And so, an anthem I wrote for our era, several years ago, is called speaking beauty. And I'd like to share that at some point, but I just want to give the whole point of what my work is. A lot of people, once they see the Secret Spells of the English Language. Have you seen it? 

AUBREY: I have. 

LAUREL: Okay, good. So, I share what I call our premier life sentence. Which sounds like a death sentence. And actually, what's inflicted on children is even worse, but it's not as easily summed up into a single sentence. However, I asked the woman who posted it on that website to post the answer to the problem that the secret spells reveal. And that answer is called taking command of the English language. And it's really quite a nice poem, I have to say. And it references random acts of kindness and acts of senseless beauty, which was a thought a woman had at a café, I think in Sausalito, wrote it on a napkin. It traveled the world and it still affects people's behavior. So, she never posted it, that second poem. So, people are more looking at who did this to us, rather than what can we do about it? So, I will start with a little bit of my vision statement and then just go into a little rappy riff. In all our efforts to heal our psyche and raise consciousness on the planet, we have all but overlooked the very instrument of conscious thought and communication. Yet our forked-tongue English language, which is the leading software of the Western mind, is itself in great need of retuning and upgrading. Over the course of my life, I cultivated a heightened sensitivity to how the total normality of insanity in society is echoed, reflected, and reinforced by the English language, which inadvertently yet unavoidably, propagates an antiquated and manipulated vision of reality promulgated by the ancient church as an instrument of mind control at a time when people had to surrender their mind if they wanted to keep their heads about them, quite literally. So, if we elect collectively to upgrade the English language to a higher frequency through our linguistic creativity and naturally-occurring verbal eccentricities, then ultimately, even clatter from our idle chatter, prattle pattern, blabber blather and palaver, as we jabber, gab in Babylon, will turn our glowing terms from verbal vapor, either hanging in the air or trapped on paper into tiny bits of shiny matter, as we gather, chat, and natter on. And with new skill at trilling, thrilling statements that instill fulfilling imagery of higher possibilities will finally steal the quiet riot have the wild child's manic panic through the mind so we can flip the switch enlightening every circuit of our consciousness with the electric surge of verbiage that encourages superb and selfless services, to spread from soul to soul around the globe by what is said in all the light years up ahead. And then, from the islands of silence between all that spoken, we will listen as doors to the heartland spring open. 

AUBREY: That is beautiful. That is beautiful. 

LAUREL: Thank you. 

AUBREY: What's interesting is, you're obviously a native speaking English speaker and you referenced the English language. It seems that this is probably a phenomenon, this phenomenon that you're getting to, that is in every different language in many different ways. But as I was preparing for this podcast and I thought, we ascribe a lot of cultural differences to a culture, potentially, different genetic dispositions, climates, a lot of things. The one thing that I don't think we've looked at is how the language itself is shaping individuals who grew up speaking that language. It's curious for me to explore that pathway for you as well. And of course, we'll be focusing on English because that's the language that we're speaking in here now and that's the language of the listeners. Otherwise, they probably wouldn't be listening. But fundamentally, I'm just curious if you've taken a circumspect view of the rest of the languages in the world, talked to other linguistic, people of your similar mind and explored this. 

LAUREL: A little bit. In the '80s, I read a book called "On Puns”. I think I know the editor, a collection of essays by linguists. And mostly, they were talking about other languages and puns in other languages. And it's just so interesting what words come together to resonate at the same frequency, yet be very heterogeneous in their meaning. And I recognized early that words may be more connected through sound than through meaning. So, yes, it happens in every language. It's just that English has so many languages in it. And so, some I think the language was salted with contradiction. 

AUBREY: So, conscious manipulation of our language, which is what you mentioned. Yeah. 

LAUREL: Yeah, that happens today. And it was so interesting. I recently came across a quote, I don't have the complete quote, but it's by Thucydides, the Greek general and historian writing about the war between Athens and Sparta. And he said, the greatest horror of all was the corruption of the language. And Confucius said, the first thing he would do, if given charge of the administration of a country, would be to correct the language. 

AUBREY: I think it's one of the big tasks of a philosopher or poet is to actually start to clean the language in a way that you can use it without infecting the person that you're delivering and incepting the idea of the word into from all of the baggage that it's been associated with. Like the word God is a dirty word in the language for so many people. And that's a shame. It's a good word. It's a good word. So, cleaning that up. The word love has become reduced. I think Don Miguel Ruiz calls love the fallen angel because it doesn't really mean the same thing. People think love hurts. They have all of these associations. Well, it's never actually the love that hurts, it's the way that your mind has responded to the ego's desires and your attachments that actually hurts. So, cleaning language has been one of my own pathways of thought. But the idea of, actually, sometimes we may be trying to clean something that's baked into the nature of the word itself. And so maybe, we need a new word. 

LAUREL: Oh, I completely agree. I think in some cases, it's about tuning up an existing word. And in other cases, it's about bringing through new words. Like I upgraded, intelligent to intelligentle, because there's really nothing smart about a brain without a heart. Although it seems to be the ultimate seduction because it grants us unchecked power, but just to bring our darkest hour for it endows us with a genius for destruction. So, yes, tuning up and reinvention. And two things in regards to that. One is kind of peripheral. People have looked at the Secret Spells of the language. I also share sacred path words, which are words that reflect our innate genius to us and remind us of what we already know. And the simplest example is the fact that Earth and heart are the same word. It's just where you put the H. So, ask any semi-literate child, what do you suppose is the implication of this connection? And wonderful answers come out. And ask yourself, ask others. It's like there's so much to contemplate in this convergence. I'll put that away for a moment. So, yes, I think it's time to become more aware, to find more of these Sacred Path words. One of my favorites I've used and people have it in poetry and such. I was walking in a park overlooking the ocean, this was years ago, and I said to my invisible friends, give me a new word. And they gave me the true meaning of beautiful. And all these are just self-evident. To be truly beautiful is to be you to full, be your wholesome self. There is nothing as exquisitely beautiful than a whole being who is true to who they are. And it's so funny, the word noble, I mean, it's self-defining. It's like no bull. It's integrity. It's like you were talking in your trip report with Blu about the true king and the imposter. I mean, it was wonderful. And we all know that. I have a poem on the letter I because just as we have two eyes on our face, there are two eyes in the alphabet. And they talk about our higher and lower self and the yoyo effect. So, yes, it's in every language, all languages are pun. I have a quote somewhere that the difference between languages is a singular way of making puns. And I'm always interested in what is the electro poetic force that causes words to migrate across continents, cultures, and centuries to come into the same vibration. 

AUBREY: This is kind of getting into another question that I had, which is, you could look at these and say, coincidence. It's beautiful that you came up with that. B-A, just- 

LAUREL: Be you to full. 

AUBREY: That's great. But it's a coincidence. Noble, no bull, coincidence. But what you're kind of hinting at is that it's almost as if the words came into form in a particular way and a subconscious manifestation where that word actually came into existence because it was in resonance with certain other sounds and different other ways that words were put together. And those are the words that stuck and other words kind of fell away. So, it was almost like an evolutionary selection of our language that creates these interesting synchronicities. 

LAUREL: Who knows? But let's look at the word coincidence. It's a word that labels and then dismisses as insignificant. And what it's saying is a coincidence. But it's not looking at well, what are these two disparate elements doing sitting next to each other at a coffee shop? I don't know if you heard from Christian. But when I flew, I guess it was yesterday, a packed airplane. I sit between two fellows, engage in conversation with one of them. He was going to Kansas to meet with his cousin to go to a Dodger game and he asked what I was doing. So, I told him about our upcoming conversation. And he said, oh, my cousin was Aubrey's marketing manager until they sold the company last year. 

AUBREY: Wow. 

LAUREL: Mike, it sounded like Spadier or something. 

AUBREY: Yeah, Mike. Shoutout to Mike. 

LAUREL: I arrive, and I go on a little walk and I have my parasol. And this beautiful, young woman stopped me at an ice cream shop to comment on my—

AUBREY: Parasol? 

LAUREL: Well, my way of being. 

AUBREY: The whole vibe. The whole vibe. The whole thing. How dare I be reductionist and assume that she was complimenting only your parasol? It's never only the parasol. 

LAUREL: No, it's the gestalt, the whole energetic being. We exchanged names and she asked what I was doing here. And I told her. And she said, oh, I was Aubrey's personal assistant for four or five years. A beautiful young woman named Jenna. She said, I can't speak highly enough of him. And she took a picture of us and sent it to you so you might find it. So, those are co-inside-dances, and we don't know what is the force we're working in, because we're so ignorant. I mean, we are fish in water. But I think in our case, rather blind to the substance in which we dwell. I think we're living in an echo chamber and a hall of mirrors. And that language is constantly echoing and reflecting either cultural consciousness or innate human wisdom. And because we have been deafened and to our definitions, we are clueless. And yet the language is constantly echoing and reflecting, talking back to us. In some cases, contradicting and undermining. And other cases, offering a little jeweled gift if we would but notice. 

AUBREY: As I step into this world with you, and you give such a beautiful invitation. Who wouldn't want to step into this world where we're actually exploring a territory that we believed we knew? But seeing it from a different perspective, where all kinds of things illuminate. If you actually slow down and look around, and look backwards, and forwards, and look within the words, you can discover little clues and hidden gems. And I imagine this is what your life is like. You'll find a new word one day just thinking about something—

LAUREL: And just go dancing around. Absolutely. 

AUBREY: And I just thought of this and this is not something that's original to me. And I've heard it before but I dismissed it because the category of this type of correlation and coincidence was not really alive in me. But live spelled backwards is evil. And just thinking about that, obviously, evil is the anti-life energy. And you could say, total coincidence. Then you even hear the sound of how it sounds exactly opposite. Live, live, evil. It's like there's this whole different sonic play of things that are happening in this interesting way in which, forwards is one way, backwards is another way. 

LAUREL: My meetings with that cousin of your business manager and your personal assistant yesterday, synchronistic, were they meaningless? There's a line in "Sherlock Holmes," Arthur Conan Doyle, the author, saying, “the world is filled with obvious things that nobody happens to notice.” And do you know what was kind of frightening? First of all, the word oblivious to the obvious, the only thing that separates them is a “li”, L-I. And when a beloved friend of mine, Shane Dieter, who is just a master website designer and brilliant man, in many areas. So, his family came and visited a couple of years ago, and I was in the car alone with his then four-year-old son on a little video game. And he was interacting with it and a voice was interacting with him. And do you know what the voice was saying over and over into a four-year-old's brain? Nothing going on over here. Let's look elsewhere. Nothing going on over here. Let's look elsewhere. Ignore the obvious, discount what your eyes tell you because science hasn't validated it as real, even though science is the slow younger brother of mysticism. Struggling up a mountain to prove what nature-based people know innately because they feel it and because the environment feeds them with knowledge and information so they can interact with harmony. We didn't need a mediator for that. So, that's with coincidence. And then live and evil. Turn love around, see what you get. 

AUBREY: It's like, evolve. 

LAUREL: Yeah. And it doesn't quit. And if you add an E, and then another E, you keep getting evolve, I didn't bring it with me, but I have a little graphic of evolve like a chain of DNA. And in the other direction, it's love with a Valentine, which is that extra V, in between? I mean, yes, you can't love backward, you can get confused. You may be so love-starved you wouldn't even know it if you felt it. And that can lead people to be insane because there's nothing more precious than love. I have some wonderful quotes by—

AUBREY: And also, nothing more abundant. And therein lies the paradox of that experience. 

LAUREL: Say more if you will. 

AUBREY: Well, love is the most precious. And usually, that which is precious, like a diamond, is very rare. And you could say that the experience of love is rare, but it's also the most abundant. It's the substrate of the universe itself. We are participating in a universal love story of the cosmos in its unfolding. This is another way to describe, in my mind, the divine. You can call it the all, the source, God, love, light, even truth. There's other different ways to describe it. But love is the fundamental substrate of existence. So, it's in radical abundance. And we can access it if we have the keys and the heart for it. We can access it at any point. And it is still the most precious, which is something that we don't understand. We don't understand how abundance and preciousness can go hand-in-hand. 

LAUREL: That's because it would seem to me that rarity and preciousness are equated in the marketplace. And the great hoodwink about precious diamonds is that they're pebbles and they're extremely abundant. And that was a DeBeers advertising campaign that hypnotized people into thinking, oh my God, something so rare. 

AUBREY: Well, if they said, look at these pebbles, they're extremely abundant. It probably wouldn't have been as effective as a marketing campaign. 

LAUREL: Truly. But then to think that love is so abundant, and yet it's precious, how does that equate? In a marketing arena, it doesn't. But in reality, it does. 

AUBREY: And that's a rewiring of our understanding of the world that's very important. And it just shows the frame of reference that we're in, which is in the commodification itself. And in this, I think, capitalism, gone a little too hard in the pain, a little too extreme, so that it's permeated even the way we think about love. 

LAUREL: It's horrible. 

AUBREY: And of course, I think it's still the best economic model that exists. But nonetheless, everything needs to have its own balance. 

LAUREL: Pardon me for starting with you know. Predatory capitalism, I should have memorized the definition that I found on Google, but it's popular acceptance of aggression and greed as normal behaviors in the marketplace and—

AUBREY: "The Wolf of Wall Street." 

LAUREL: Yeah. I mean, look at Bernie Madoff, too much of nothing. And one of my favorite little parables is a wealthy man who cannot bear to leave it behind. So, he begs and beseech his God to let him take it with him. And God finally relents and says, okay, but only one suitcase filled with your treasure. So, he fills it with gold brick, has it under his bed till the appointed hour, at which moment, he appears at the pearly gates, suitcase in hand, and St. Peter says to him, I'm sorry, but you can't bring anything in here. And he says, yes, I can. God has given me permission. And he said, this is most unusual. Would you mind if I see what you couldn't leave behind? So, the man proudly threw open the suitcase, revealing all this glimmering gold brick. And St. Peter looked at it and looked at the man and said, why in heaven's name would you want to bring pavement? So, I see these wars. These are people fighting over pavement and paving over beauty. And there's a wonderful quote from the socio biologist E.O Wilson, he was at Harvard. And it says, the foreign policy of ants could be described this way. Restless aggression, territorial conquest of neighboring colonies, genocidal annihilation of these colonies where possible. If ants had the bomb, they'd destroy the world in a week. So, I saw we are not in a ‘dog eat dog’ world. We're in ‘ant eat ant’ world. We are living at the level of insects that have identical identities and are operated by a queen. This, I think, is some people's vision for our future. Wouldn't it be nice if we could herd them all into a collective and wire them up so they're responsive to a directive that comes from on high? So, that's one vision. But what is meant to happen at that time, and we all feel the energy. It's the energy of ascension. This is metamorphosis energy. This is a time like none other that is so catalytic to our transformation. And just like a kernel of corn has to be heated to a certain temperature to burst open into an irreversible metamorphosis, a flower, an edible flower that delights, takes a lot of heat, and it takes a lot of pressure. Same with diamonds, just to parenthetically move over there for a moment. In terms of rare diamonds or whatever, that's what we're meant to be is rare diamonds. That's what's rare. We are made of love, everything is. But the uniqueness of who we are is one of a kind in all eternity. 

AUBREY: Yes, indeed. My teacher, Rabbi Gafni, likes to express it as the following, that there's more God to come. Because as the divine manifests in each unique self, and that unique self is evolving into ever even greater uniqueness, participating in the divine field, there is more God to come. And it's this beautiful way of thinking like we're participating in the evolution of something that is ourself and also much bigger than ourself. And I think one of the things that we're experiencing now in this collective time of heat and pressure, is the desire for heat and pressure, because human beings don't do particularly well when things are too easy, too comfortable, too lavish. Then we don't have that forging pressure, almost the creative constraint of our own soul to bring out our best. And I think we're calling that in, collectively. I really feel that happening, where even the people who are preparing for the worst, some part of them wants the worst because they know that something will emerge out of them, some hero, some grandiosity will emerge when they come face to face with the challenge.

LAUREL: Yeah. People say, I need a good kick in the pants. But what we're talking about is a catalyst. And I was fascinated to read, years ago, that some seeds are timed to open only after a second thaw and frost because there's going to be two cycles. And if it gets it in between, it's gone. And some seeds—

AUBREY: Nature is so smart.

LAUREL: Genius, all of it. Some seeds take a fire to ignite their growth. So, that's what's happening. It may feel like hell. The resistance certainly makes it hellish, but not the actual experience. So, the acorn, a case in point, if that hard shell doesn't get cracked by something, that oak tree that lives for so long, that offers shade, and shelter, and food, and all sorts of things, it can't happen. Birth is kind of a painful, bloody process for many, many. The thing is, we're all guaranteed to live forever. You can't get out of here even if you want to. But there are higher and higher realms, I understand. We don't have to live in the same psychodrama. 

AUBREY: One of the things that was really mind-bending for me was when my friend and multiple time podcast guest, Matias de Stefano. Who remembers his past lives, and I say that very casually. And obviously, I approach that with great skepticism, but he's won me over with this kind of anthro ontological meaning, I can feel it in my body, truth, of what he's expressing. 

LAUREL: Yeah. You remember? 

AUBREY: Yeah, I remember. I remember what he's remembering and I can feel it as true. And he laughed about a similar thing. He says, you die and then you go to the liminal space where you're not yet reincarnated. But that's in a place that's beyond time itself. So, it's simultaneously immediate reincarnation and an eternity of space and time. And I was thinking, how do we even think of something like that? But ultimately, he was laughing at this idea of people scrambling to live forever when we live forever in so many different complex ways in this mundle of time and space and the unborn and undying essence of who we really are. 

LAUREL: Well, that's the problem with speaking a dead language that loses precious words from its dictionaries. Like one of my favorites. I've never met anyone who knew it. 

AUBREY: Oh boy, this feels like my chance. 

LAUREL: You won't. 

AUBREY: Okay. Fair enough. Hoax. 

LAUREL: You likely know; omniscient, all knowing; omnipotent, all powerful; omnipresent, present everywhere. We know that is infinite intelligence. We're tuned in, but we're not that fast. But the word that applies to us, I've never met anyone who knew it. And it is omnificent, possessing full, creative power. And someone said to me, I'm not creative. And I said, well, we've already demonstrated as a species, that we have full destructive power. So, the opposite has to be true. And we have the power of the word, which has been a very overlooked power. But Ken Burns, the documentarian, said, it's the most powerful force, I believe, on Earth, the English language. And the English language is the language of the birds, this mythic language that I can get back to in a moment. But the possibility of speaking and having the lag time between pronunciation and experience kind of evaporate or fall into divine timing rather than you keep tripping over your tongue contradicting yourself or letting yourself have a verbal outburst at somebody in order to relieve the pressure of the upset. Only, you're stuck with that nasty taste in your mouth. And it can deaden your sensitivity. 

AUBREY: One of Don Miguel Ruiz's four agreements is about honoring your word. Be impeccable with your words. Be impeccable with your words. And what I've noticed is as I've paid more attention over the years to the meaning and the deep meaning of that lesson, is that when you actually start gossiping about someone, it may feel good in the moment or something because it creates again, what Rabbi Gafni talks about, is this pseudo interiority, a sense of me and you are on the inside, but that guy, Christian over there, you know Christian. And then it brings us closer, but not really closer. It just creates a false boundary where we feel like we might be closer but not. 

LAUREL: Except we also feel nervous because the other person is a betrayer. 

AUBREY: Of course. Of course. But what you can really tell is that you can tell the aftertaste. The aftertaste is ashen and bitter. No matter how it might feel in the moment, maybe you get a little rush of closeness with the person that you're talking gossip with. But then when you finish, everything is just a little more bitter and ashen in your mouth. And I say that, obviously, not literally but energetically. 

LAUREL: Yeah. And one might even be able to taste it. Just the bitterness of it, the dryness of it. Hopefully some, I don't want to use the word guilt, except, I think it also means, is it a female pig? I'm not positive. But also, a little gold. So, guilt. Odd word. But in any case, yes, it doesn't taste good and it doesn't feel good. Gosh, so much to share. A little bit ago, when you were talking about love being the most abundant force in the universe, I have these quotes by Pierre Teilhard de Chardin, a Jesuit priest and philosopher and anthropologist. And I read it when I was 20 in a book called, "The Phenomenon of Man." If there wasn't the propensity toward union at the most rudimentary level, at the molecule itself, then what we call love couldn't appear in harmonized form. It's the glue that holds everything together. And I have another quote of his, and if you like them, I'll send you my very short collection. They're so stimulating. He says, there'll come a time when humanity will discover the power of love. And for a second time only, we will have discovered fire. Something like that. We have the creative force in our hearts, on the tip of our tongues, on our fingertips. I mean, these things are so alive in us. A little piece of verse went floating through. They're so alive in us and they are vital, creative forces. And as we do, as you do, and become clearer and clearer of the programming, the stuff that gunked up the system, so that we have no impediments to the full expression of divine aliveness that we use the word to communicate with others. I like the word ‘communification’. But also, a word I heard was ‘glueclose’. It's the sweetness that binds us all together. There's nothing that feels better, The Freudian analyst himself, Sigmund Freud, he figured everything came down to the pleasure principle. And he kept it down at the genitals, the anus, and then the mouth. And that's the best humans can do in their pursuit of pleasure. Find some way to stimulate one of these three holes. Exactly.

AUBREY: I mean, you gotta throw the ear holes in there, nose. Good smells, good music. Who doesn't like fresh baked cookies? Smells good. 

LAUREL: That is so true. 

AUBREY: But yeah, it's the pleasure of the holes, or the pleasure of the heart, and pleasure of the spirit—

LAUREL: And the pleasure of wholeness. That's what we're really seeking. And the more we refine our senses, our sensitivity, our spiritual and awareness, the more exquisitely refined the pleasures can be. So, it isn't a quick bump and grind, and you get off and you're wasted. It's an intoxicating state of ecstasy, I would guess, without chemistry. But that which people generate on their own. The human instrument is a divine instrument. Ask the English language. It says infinite, the infinite. And where is the infinite? In finite. You mean all that's in here? The oceans in this one little drop? 

AUBREY: As Rumi said. I just finished a podcast today, actually, with Robert Edward Grant about hermetic principles, hermetic wisdom. And it occurs to me that the first principle of the hermetic as described in the Kybalion is the principle of mentality, which is, all his mind, the universe is mental. And then if you combine that, and as legend goes, Hermes was a contemporary of Abraham. But if you combine that with the start of Genesis, which was in the beginning, there was the word. So, if the universe is the mind, and in the beginning, there was the word, I think it's pointing to a very interesting thing, in that words are actually the way that we think. To think without words is incredibly difficult. It's incredibly difficult. It's like trying to do math without numbers. 

LAUREL: Gorgeous analogy. 

AUBREY: It's very, very hard because once we get in language, then we think through symbols and that's how we structure everything in our brain. And so it starts to make sense why they would say something like, of course, I know they mean the logos and the word can mean many things. But they say the word, in the beginning, there was the word. And I think it's because of how we structure our mind, and our mind is participating in the greater capital M, Mind, of the all. 

LAUREL: Wow, yes. We have the word thought. People don't notice there's also the word mentation, which I think is just all that worthless jibber jabber? 

AUBREY: Mentorbation. 

LAUREL: Yeah. Sentimental. Sentimental worthless. It's the same as a penny for your thoughts. My thoughts are worth a whole lot more than that. The language is playing us. It's like we're in a big organ and we're the monkeys. We're dancing to this music till we go, wait a minute. I don't think I like this number. I'm going to find what my own rhythm is. So, yeah, a big mind. And you were talking about your teacher and—

AUBREY: Yeah. I think there's many different directions to go. But I think understanding how significant the way that we perceive the world actually creates the world. In this way, that if this is a universal love story, we're for our own self, participating in our own multiverse inside the universe, the “oneverse” of the universe. And we're writing our own story that goes alongside this collective story. But we're writing the story, often, through our words. And of course, our actions, our feelings, or everything. But the way that we describe it and the way that our mind even remembers it, and the way when we tell it to somebody, we reduce it to words. And so, everything is just categorized. It's like the Dewey Decimal System of our own consciousness is like how we remember things by the words we say about them. 

LAUREL: Yes. Yeah. We're trapped like flies on flypaper. But Peter Russell, a physicist, futurist, early on with Maharishi, and I did some PR work for him. But one of his lines in "The Global Brain Awakens" is, at last, evolution is in the hands of the evolutionary material. So, it means we can think it's all closing in on us. And for some who decided they didn't want to, they're happy to go elsewhere. It's getting pretty rough and horrible here. We love, appreciate the service. We grieve with those who lost them. But we trust that this is all intentional, in the sense that, or can be used. For whoever holds the highest intention holds the highest frequency, among those who are looking for. There's this evolutionary impulse now to come together as a superorganism and where every person is themselves to the fullest, sounding their singular note in the universe, and contributing something that no one else can, that creates a universal harmony that lifts life for everybody. That's one vision. I call that the real commonwealth. The other vision is called herd mentality. Let's see if we can herd these people like ants. And there's even myrmidons, is a word. They're like soldiers, like ants, just following orders. Isn't that what some people who are sick of the illusion that wealth, sex, and power is going to bring them anything that satisfies their soul? Those who have gotten carried away in a total night nightmare, false dream. So, be it for them. But they would like to have an ant colony. This is not predatory capitalism we're living in. It's parasitic capitalism. I mean, they're sucking the last flow through people. How do you be that hungry, that starving, and fat blind, that you have to suck energy from other people in an infinitely abundant universe that is happy to be in communication with you in every moment? 

AUBREY: Because no matter how much they suck, they're starving. It's the hungry ghost. No matter how much they keep trying to solve the same problem with the same thing that created the problem in the first place, it's a Sisyphean Chase. It'll never happen. I think that's the challenge. They need to shift their mentality. So, to me, when I look out at the world, there's lots of existential threats, and there's lots of challenges, and there's lots of things that could use attention, and love, and nurturing, and support. But to me, consciousness has to shift first. It has to shift first because—

LAUREL: Everything, all fall down. 

AUBREY: Yeah. And so, that's why the main thrust of my effort is how do we help change people's minds and hearts and have them singing a different song that includes but also transcends the song that they've been saying? 

LAUREL: Yes. So, Lynne McTaggart said, we need a new lens, most important, we need a new lens through which to view the world. Well, we see the world through the word. A new lens means, going back to what we were sharing earlier, the need to tune up the language, tune up the false notes so that they're very resonant, so that they play this human instrument in a way that is scintillating. That is going to have me singing my high notes. So, tuning up the language and reinventing. I'd like to share, if I may, my invention for the pleasure principle. As we get more refined, our pleasures are more refined, and more intense, and more forever. They're not that quick jolt and then it's all over for a while. No. I do agree that the universe was created in the pleasure principle. I mean, Sir Fred Hoyle even called it the Big Bang. Is that not a guy thing? And years ago, I wrote a piece, I'll do a little bit. It's called a "Modest Goddess Odyssey." Never mind. It doesn't have the piece that I was looking for in it. That came later. And what it is, is as I'm on this "Modest Goddess Odyssey" in this poem, the infinite divine Mother says to me, by the way, it wasn't a big bang, it was a giant jolt of joy. And that jolt is still happening. You can be permeated by it at any time. And as you were saying, we can't just erect better structures of government and economics and stuff. It's all going to go the same way because of the interior landscaping, re-landscaping all of us need to do, by whatever means works most effectively for you, to rewire. So that this instrument is tuned up to allow your infinite divine intelligence in and to operate without obstructions. 

AUBREY: Yeah. It occurs to me that when you say, erect new structures, this is a very masculine way of thinking about things. Like, let's erect a new building, let's erect a new set of principles. That more feminine approach would be like, let's nourish the seeds that are there. Let's listen, and nourish, and feed, and nurture, and allow what wants to be built. And then with that merging with the masculine, we got this all squared away, allow me to help make it erect. Allow me to make it strong and full with all of my life force as well. But this is the time of great balancing. And I think we need both energies to come into right alignment. And really, historically, where the alignment has been off is the suppression of that feminine energy and the dominance of the masculine. Too much erection and not enough cultivation. 

LAUREL: Connection. 

AUBREY: Connection. Yeah, exactly. 

LAUREL: When I was just finishing my poem on the letter S, which is called "eSoterica by Laurel Airica: The Definitive Exegesis on the Letter S in Verse." And the joke is that an exegesis is an in-depth analysis of a biblical passage, for the most part, and I did it on a single letter of the alphabet. And of course, it's the definitive one in verse because who else would do such a thing? When I just finished it, I got to meet an amazing man, Dr. Leonard Shlain. I believe he was chief of laparoscopic surgery in San Francisco State. By the time we met, he'd already written and published his best seller "Art & Physics." When I knew him, he was working on his second of four, and it was called "The Alphabet Versus the Goddess." And it's all about words and images and what happens. And what he shows from culture to culture to culture, is that as soon as a culture became literate, it's like the emphasis went into the left brain. And at the same time, there was a demotion of women and images in terms of how they were valued. So, it was like a split. I mean, it's just so completely insane. Anyway, I won't go into it. I don't wish to offend anybody. 

AUBREY: I don't know if our audience is easily offended. So, feel free to let it rip. 

LAUREL: Thank you. My life changed significantly when I was 23. Maybe I was younger than that. I had graduated from Berkeley, and was driving back up from LA. And it was like we were coming in at the last act of everything. Everything was a repetition of tradition, to the point of mindless idiocy. And that's a summary statement. It would make more sense if I gave an example. And so, my aunt, as a little party for her unwed nieces, brought couples together with the hope of something happening. It was hors d'oeuvres, and then dinner, and then dessert. No real connection ignited anywhere. But people just sat, and she kept feeding them. It was 11 or 12. So, it was all that hospitality and kindness to the level of senselessness. So, what happened around that time is, it felt like the last act of everything. Like the stage sets were getting struck. Now, it was dirtier and a lesser element, as if untutored minds had been turning on to acid. So, it was just a kind of wreckage in terms of consciousness. I met a fella, we had a nice connection, but it was over fast because there was this bright light, and then the dark was dark. I mean, I'm talking about an, anyway, very, very brief. And I said to my roommate, I get it. Women are the power in the universe. Everything created comes through a woman. If a woman were together enough, she could connect with the cosmos directly. So, this domination of the male is trying to propagate a sense of importance and domination. And it's meaningless in terms of how reality actually functions. 

AUBREY: At the very least, it's been reductionist because it's been strength of arm and might of violence, which has unfortunately, dominated the powers that be in our culture. And of course, those are masculine characteristics. Not that they can't be embodied by a woman. We carry both within us, of course. But nonetheless, I think we've reduced the values to strength of physicality and brutality in a certain sense, through different institutions, of course, and different nation states, and powers, and governments, and churches, and all of these different forces. And it's got us to the position that we're in. I sometimes play the fantasy in my head of what if? What if something could have been different? But it's ultimately a fruitless path because here we are. And the most sacred thing is what is and now is our opportunity. 

LAUREL: For some reason, a week or more ago, I want to get back to all of what you said, so a little digression. A week or so ago, I had a little bit of grass and then a pump started coming through. And it's not complete, but it was as if I were writing for despondent inner-city kids. And I thought, what am I doing here? And then I was contacted within a few days by a nonprofit in rural Tennessee, looking for some writing PR, etc. So, I thought, that's why that came to me. A line in one of my poems is, from towering trees to toothpicks whittled, our children's souls are thus belittled. Charles Bukowski, the 20th century depressive poet said something like, most everyone is born a genius and buried an idiot. Well, there are people who know how to help children, cultivate genius. I have a very dear friend, you might want to talk with her, an amazing woman, who does that. All the children become Renaissance geniuses. 

AUBREY: This seems like one of those areas where there was a conscious effort to actually make people good little factory workers, rather than geniuses who wouldn't want to follow orders and wouldn't want to screw in one bolt over and over and over again for endless amounts of time, and then numb the pain and discomfort of that existence with more and more ameliorates and intoxicants and deliriants that could keep them from the pain of this existence. And it seems to have woven itself in and kind of infected the education system to a great degree. 

LAUREL: Yeah, everything has deteriorated enormously, and it seems it's a fast slide going on. And also, the loss of masks and pretensions. It's like whatever animal certain people in power are portraying, it's like the human mask is coming off. Are we in a group of werewolves and vampires? Are these the ones leading the countries? The craziest people get to be in power with the mom and the ability to decide life and death for billions of people? 

AUBREY: Well, when you have a game, like politics that selects for the most self-compromising and cutthroat amongst us in the most Machiavellian way, then you're selecting for that. And that's the system that we've created, is selecting for that. So, that's a challenge. That's the challenge that we're in. 

LAUREL: Right. Exactly. I don't know what's really so. But I do believe, I heard Gregg Braden say, it only takes one quarter of 1% of people who are on a higher frequency to shift it for everybody. And thinking earlier about—

AUBREY: And this is getting to a point, and I've heard different numbers. Gregg said a quarter of 1%, I've heard 1%, I've heard 10%. People have different numbers, but what we're talking about is a tipping point effect. And it's actually closer than we think and then the tipping point momentum will actually take hold. And then from there, it'll be like the flywheel. It's the hardest thing to get it started but once it starts, it's going to keep rolling. 

LAUREL: Yeah. And it's mental. Its smell. So, it's magnetic. But also, it's like those cake rolls with ice cream, or jelly in between. Jelly Rolls, I guess they're called. It's like what's in between all that mental power is the power of love, which we know is the ultimate power, the ‘glueclose’ of everything. So, this juggernaut, that is coming through our participation, each of us doing the best we can every day to up our game, to be a little bit more conscious, kind, aware, disciplined, whatever it is you feel needs some tuning up because you're the human instrument. And how exquisite do you want to be in the music you emit, the sound you emit, the resonance it has, the impact it has? Yeah, this, I believe, is the moment. 

AUBREY: Here it is. I wouldn't want to be alive at any other time. And sometimes, you can get lost in the, oh, I can't believe this is happening. And why is this? Why is this going on? And what might happen? The movies we like to watch, the stories we like to tell, the hero or the heroine of that story always goes through intense challenges. And the challenges are the crucible and the chrysalis for their transformation. So, we want this. We want this. We do. 

LAUREL: We just don't want it to hurt. 

AUBREY: Yes. But that's not the way it goes. That's not the way the system is built. And that's why things hurt, so that we can push through and learn from the contrast. 

LAUREL: Yes, yes, yes. From learning, acceptance, and acquiescence. I like the idea of the word aqua essence, which is like water. You're just taking on the shape of whatever is containing it. And sometimes water is fighting against it as we do some. I guess it's navigating those currents. Back to that word I was going to tell you about this fun little word I put together to describe the most exquisite pleasure that comes from this kind of intercourse, where it's heart to heart, it's mind to mind. It's open heartedness. It's saying, read me, I'm here and I'm available. How can we make music together that uplifts us all and spills over onto the audience? So, everyone is lifted by this intercourse we're having, and it feels so good. And acts of loving kindness stimulate the same part of the brain as cocaine, I've heard. So, for heaven's sakes—

AUBREY: Dopamine. 

LAUREL: Dopamine. So, I believe our essential evolutionary leap now is meant to be not into an ant heap, as some would try to engineer. But our evolutionary leap is from humankind to human kindness. And this is the moment. If we want a planet to live on and we want it to regreen itself, then it would be very worthwhile to speak beauty, to do acts of kindness, to tune yourself up every time you feel a meanness in your heart, like I have recently, and I thought, boy, that is not attractive. And also, I thought, I saw myself—

AUBREY: So hard for me to imagine meanness in your heart, Laurel. 

LAUREL: Oh, thank you. 

AUBREY: We all have it and it's important to recognize that if we don't see the meanness that exists within us, then we're not looking close enough. We need to take another big, long look in the mirror because we'll see all of it. 

LAUREL: I like Reverend Michael Beckwith's phrase about this sea of human garbage. We're an inlet and an outlet for that when we stay at a lower frequency, when we allow the TV to program us, and when we stay deafened to all the examples that the English language also programs us. And like Peter Russell said, at last, evolution is in the hands of evolutionary material. We can program what we want. And I change “want” to “wand”, because it's not just lack and gimme. It's, I have the power to put out the kind of energy that attracts what I value into my life. 

AUBREY: Yeah. I think a lot of people in this law of attraction mindset, they think of the literalization of what they're looking for. Again, kind of reminds me of what you said, why are you bringing all the pavement to heaven? But as soon as we start seeing what we're actually looking for, by coming from that frame of mind, then everything becomes that. To step into the kingdom, to use the biblical terminology, the kingdom of heaven, it's a matter of perception. It's not a matter of geolocation. It's just, how can we see the world in a different way? Stepping into the more beautiful world our hearts know is possible, is just a matter of changing our story about the world. And the changing the story, our story about the world, when enough people do that, the actual story of the world changes. 

LAUREL: Yes. I do believe that this was probably why the awareness of the mettle of our minds magnetizing and connecting as an energy, projecting on a story can bring that story into the collective life stream. So, now's the time for a new story. Because it's all metaphor, which goes back to something I was going to say about what is incredibly ignorant, is to think that God is male. And there's a holy trinity and not a metaphor. Because everything is a metaphor. And you can’t have, nothing manifests, as much as science has taken. I mean, it's just the most ridiculous thing. Birthing parent. Not mother, not woman. Pregnant person. This is so dumb. It is diabolical. And Orwell said, politics corrupts language, and language once corrupted has corrupting real-world influence. But we can start making changes at the verbal end. That is what I'm here to introduce people to, a concept of empowerment. That if the word made the world and our world is in anguish, it must be time to get free from the spells of our language.

AUBREY: Nobody's ever asked what the sex, except for potentially some kind of insectologist of, whatever that name, Entorology?

LAUREL: Entomologist. 

AUBREY: Entomologist. That's the word. No one's ever asked the sex of an ant. Of course, you know the queen, but the rest of the ants, they're just ants. And I think this framework that you're talking about, when people are saying birthing person, we're neutralizing the gender of an individual as it's expressing and manifesting. And of course, I understand the fluidity of this concept and how we carry it all inside. But it's really going in line with this model of reducing humans to ants, by saying, nope, you're just an ant. And it's like people are cheering, yes, we're just an ant. And it's like, what? How did we get on this path? And why are we cheering this? What makes us want to celebrate this thing? 

LAUREL: You have evoked so many poems of mine. But let me just go to the ant mentality. I completely agree with you. I think that there is a push for androgyny and for identical identities. And the flip from homosexuals being outcasts to now anything goes and everything goes was pretty effing quick. And I don't think that happens unless there's a unified agenda. And I think the agenda has to do with androgyny. And look at the word identity. It sounds precious, it sounds rare, but it isn't. Identical identities. That's what they're seeking. But to be a real identity, it's about having a very open eye. The eyes are windows to the soul. And at the center of our eye is our pupil, which means we are meant to be lifelong students of our own soul, to get to know ourselves more deeply all the time. So, what I thought was stupid was thinking that all of this could come through a man. It takes participation. We all are needed. We all play a role. It's not, we're superior. No, we're superior. That's the same insanity. 

AUBREY: How does it even make sense to think God is both everything and a man? Do you not notice the contradiction? God is everything but imagine, though. What? How are you everything and not a man and a woman and every other thing in between? It's wild that we've allowed these things that don't even make sense to actually infiltrate our brain and then we just repeat them and pattern and program time and time again in a new iteration. What? How did we get here? And then flipping it the other way. Also doesn't make any sense, although it's a corrective measure, and some say God is a woman. It's “She”. No, it's not. It's not that either. I understand and appreciate the sentiment behind that, which is to reprogram that thing which has been incorrect. But nonetheless, you can't assign a gender to the all, otherwise it's not the all. Doesn't work. 

LAUREL: Absolutely true. And how do we be so dumb? And look at Abraham. God says, show me how you love me by murdering your son. What a loving God. 

AUBREY: That sounds more like a demon. 

LAUREL: It does to me too. Enna Reittort's book. Did you hear Paul Chek's interview with Enna Reittort? 

AUBREY: I didn't. 

LAUREL: What is it? "The Godtrix of the Matrix." She has three master's degrees and a PhD in, I don't know if it's medical anthropology or cultural anthropology. She has lived for many years with indigenous people and was able to let go of that academic urban identity and get in touch with a deeper esoteric reality. So, this woman has, in this amazing power-packed book. And in Paul Chek's four interviews with Enna Reittort, that'll give you an eyeful and an earful about what we're living inside of. 

AUBREY: Yeah. And again, the more we can become aware and let the understanding start to inform us, I think it's so important. It's such a necessary first step is to just see. You can't act before you see or else, you're going to be acting indecently and imperfectly, imprecisely. 

LAUREL: I'm sorry. Waving my, trying to get my word in. I'm sorry, for waving my arms around. 

AUBREY: Get your word in. 

LAUREL: So, what you were talking about is, you have no choice or voice unless you have a vision, unless your eyes are open. And the words themselves say that “C-H, Ohh, I-C-E(see)”. And E is an energy in motion. Subscribers to my website, wordmagicglobal.com. can download my free e-book called "The Book of E, A Book of Alphabet Alchemy. So, choice, O, I C. You can't make one unless you do. Voice. O, I C. You have nothing to say unless you have your eyes open and are seeing through your own lens and endeavoring to clear it more and more and more. 

AUBREY: Indeed. Indeed. What are some of the other words and potentially poems and areas that you like to explore? I'm really enjoying this dance, but I just want to invite forward any particular dance steps that you have, that call to your heart. 

LAUREL: I appreciate that. I've always wanted to have a conversation in an altered state with a brilliant being, and to be just free flowing. Thank you. You have gifted me so enormously. 

AUBREY: You're so sweet. 

LAUREL: Thank you. So, when I'm on this side of the looking glass, I feel myself to be an English language L-M-N-TAL. I want to introduce you and your audience to some of my experiences. I have said for years that I feel like a human being from the plant family. I feel like where I come from, we don't evolve out of animals. So, that may be my fantasy. But seeing growing plants helps the center, and I think that's true for everybody. And I felt like an exile from the nature kingdom here to help humans harmonize their speech with natural frequencies so that the whole planet can heal and thrive. I've joked about having adult-onset fairy identity because I don't remember identifying so much with fairies. But then, someone else I would like to introduce to you is Jeffrey Armstrong, who is also Kavindra Rishi. And he is a Vedic scholar, and Sanskritist, and has a new translation of the "Bhagavad Gita," and an amazing poet. Anyway, Jeffrey's publisher introduced us, and we became friends, but we haven't actually physically met. And in Jeffrey's book, "Spiritual Teachings of the Avatar: Ancient Wisdom for a Modern Era," on page 18, it says, in effect, that it is well known in the Vedas, that people from the Devic realm can incarnate humanly, especially at a time when humanity needs to be harmonized to nature. So, that's what I am. 

AUBREY: The Devic realm, I've never heard that terminology before. 

LAUREL: Well, we're the elemental czar who works in the gardens, who does all the little tasks. I mean, we're not alone. "The Alice in Wonderland" vision of a realm where everything is conscious, that's reality. The dead zone, where we've been, speaking a dead language that hypnotizes us into being zombie-like, I mean, how did zombies and all these odd beings get to be so popular in the culture? This is such a death-focused culture and we do not have to participate. 

AUBREY: Well, it's also death-obsessed, because death has been pushed aside and repressed to such a strong degree. And every chance we've gotten, we've kind of tried to neuter, and make clean, and cellophane, and sanitize the very messy, grief-stricken process of death itself. And in any type of repression, then you get distortion and perversion. And this is the place where we're in where we're pushing death away at every possible chance and cost, keeping people alive who have no sentience left at all. At any cost, at any sake, pump them full of as many drugs as possible, just absolutely death phobic. Xenophobic, I guess you would say. And with that, we become obsessed, same with repression of sexuality. Then it creates an obsession with it because it's not allowed to live its natural course. And we're not allowed to engage in it in the way that actually our ancestors used to. 

LAUREL: Yes. And death is an anagram for hate. So, what an interesting coincidence. Everything is echoing and reflecting. We're creating out of consciousness and the word, just as you were saying. And we are cultivating our hearts so that our words become more beautiful. Because right now, we're writing our will. We may be here to live it. And if it's our will that other people suffer because they disagree with us, that's what we'll be living in. Paint the picture of what you really want in your life and inhabit it energetically at various intervals. I call that—

AUBREY: You just described part four of the book that I'm working on, literally. That's it. That's it. Paint the picture of your life. But first, you have to understand what do you really want. Which requires you to understand who you really are and where you are, and then what you want. And then the fourth part is, now write your story. And then inhabit that story with all of your essence, all of your being, every part of you, live inside that story. And that story will become real by your occupation of it with your full heart. 

LAUREL: How delicious. And what we want is the feeling anyway. You almost don't need the accouterments after that. 

AUBREY: Yeah. They're just vehicles, they're just portals to the sensation. And when all too often, Ram Dass talks about this, we'll get stuck worshiping the gate rather than going through it. Oh, the gate. Especially with sexuality. Oh, this pair of genitals. What's the point? It's a gate. It's a portal. It's a portal to something else. Don't get obsessed with the gate. Go through the gate into the portal. That's where you want to go anyways. You want to go through the portal. But we'll get obsessed with the mechanism by which we get there. 

LAUREL: Yes. What is it called? Confusing the map for the territory. You brought up so many poems that I have. I'm not going to go into my fairyography at the moment, anyway. 

AUBREY: It did make me notice your fairy wing earrings when you said that. 

LAUREL: Yes. So, this is my first time publicly going full on fairy, because of your kind invitation. 

AUBREY: And nobody wants a half fairy. We want a full fairy or no fairy at all. 

LAUREL: Exactly. And we don't want it to be unfairy. But rather than do that particular poem, "My Fairy's Tale," I'd rather do one called "The Time of our Lives," because it talks about the redundancy of the idiocy that you were talking about. Don't you see this obvious thing? Evidently not. You're sleepwalking. So, I wrote a poem. 

AUBREY: Aldous Huxley called that sleepwalking somnambulance. I always thought that was a good word. 

LAUREL: It is a good word. Somnambulism. There's so many good words. 

AUBREY: There are so many good words. I know. 

LAUREL: You know Reverend Michael Bernard Beckwith? 

AUBREY: I know of him, I haven't met him. But I imagine that connection will be made at some point. 

LAUREL: I adore him. And I was his student in the early '90s and his editor. He wasn't writing books then, it was more articles. At the end of one of the year-long classes, we had to do a creative expression of what this closer walk with God means to you. And I wanted to braid the language, which I used to do a lot. Which is what I called linking words through rhyme and sense. And I didn't think I could still do it. I had very little faith in my own intelligence. And finally, the time was coming, and the reason we have death, I realize, is because without deadlines, we wouldn't do anything. And so I went to my favorite wilderness park in Malibu, where I'm often alone. 550 acres of trees in embrace. That's not the right form of the word. Central embrace with stones. They grow sections out of their trunk to embrace stones. It's such a powerful place. So, I walked in. I told my elemental friends. Actually, it was a lizard, a big lizard in a pathway. And I asked if I could sit by it, and I was given permission. And we sat for an extended period of time. And I poured out my angst that I want to be able to create, and I want to be able to braid language again. And I don't know if I have the capability, I don't think, to do a very good job. And I took notes on what I heard. I don't know where they are. But what lasts in my memory is I heard through this vehicle, quality is never the issue. Authenticity is. And I thought, well, I can do that. And so, I wrote a poem called "First Person Singular." And I didn't think it was very good because it rhymed. And sophisticated poems didn't at that time. And I thought it was another indication of my elemental or elementary nature. But in any case, I did recite it. It was well received. The president of a new age label Higher Octave Music, a fellow named Matthew Marshall asked if I wanted to do an album of my verse for their label. And I'd only written that one poem. Plus, I had marijuana sutra from 12 years prior. But I said yes. First, I got $4,000. To do it. I didn't know how long it would take. And then it just grew to $10,000 I got from this one poem, "First Person Singular," which gave my vision of what the world looked like when I came into it. I'll share just page one. 

AUBREY: Please. Please. 

LAUREL: Thank you. This life is like a shadow play, the flickering of night and day, through which illusions in our minds are manifest and intertwined into a web that few evade, though they see through the masquerade. When I was small, I felt so certain I could peek behind the curtain, and I was sure what would appear would be some master puppeteer, who pulled the strings and wrote the dance of orchestrated happenstance. The world appeared for all its noise, like stage sets made of tinker toys, where people played pre-scripted roles, like lost and unawakened souls who hardly ever came alive, which helps the culture to survive. This haunting specter made me feel lives don't unfold, they just unreel as numberless non-entities, identical identities are merged into a single heart, manipulated by the word, and driven by insane obsessions, to sell their souls for their possessions. And all are taught to genuflect to knowledge and to intellect, to follow the majority, to kowtow to authority, to worship youth and beauty like some consecrated duty, and to treasure monetary wealth, more than the Earth and life itself. And everyone I met pretended this made sense and were offended when I told them I perceived that all of them had been deceived, for everything materials, essentially ethereal, which means we need to pay attention to the source of this dimension. I suggested every action that we take for satisfaction might be merely metaphorical, for current and historical desires of the human being, to unify with the unseen creative force that animates, that elevates, intoxicates, and fascinates the human mind, enabling us to leave behind the torment of our daily cares. When such a source is reached with prayers, it's always transformational, quite healing and sensation. But often people want that splendor, but aren't willing to surrender egocentric motivation for divine illumination. Since no one seemed to get my point, I'd sit alone and smoke a joint and simply let my mind unhinge while speculating from the fringe about a novel paradigm that blends the human with the sublime. Trapped in this world, I thought that I would scrape my head against the sky if I allowed myself to be what spirit had in mind for me. So, I avoided normal life. I'd no career, I'm no man's wife. I stayed on the periphery of regular society for fear that if I drew too close, that I, too, might go comatose. So, it goes on for another two pages. We'll skip over to a different one. That's the poem that got me the opportunity to write an album of my verse. 

AUBREY: I understand why. Beautiful poem. 

LAUREL: Thank you. I didn't know what I'd write about. So, I thought since people love horror, why don't I just hold up a mirror to the times? So, I wrote a piece called "The Time of our Lives." It was during, I guess, what's his name? Clinton and Gore were new in office so there was some optimism. He looked at the poem, he read it and he said, kind of dark, isn't it? And so, I put it away for 30 years. I had no tolerance for criticism, having had way too much of it growing up. Then I shared it. So, I wrote two poems venting my rage about the insanity of the system, and how people are so gullible. Like guppies, I guess. So, I wrote "The Time of our Lives." I mostly have it memorized. I believe I may have it all memorized, but I will have this with me. 

AUBREY: Beautiful. 

LAUREL: Thank you. I guess I'll wait till I need it. We're always tense about time, whether future, present or past. We try to beat it, kill it, waste it, yet fear it will not last. We fret about tomorrow and then mourn for yesterday, and thus we live our lives in sorrow and increasing disarray, while still believing sudden windfalls could bring everything our way. Night falls, so day breaks. And each morning, we awake and through the weekdays, undertake to earn our living till we make it to the weekend, weekend, weekend, just in time to catch our breath and certainly, to get deep rest. We run our lives on deadlines and then wonder why they're dismal. And why all the daily headlines grow increasingly abysmal. But it really isn't hard to figure why there's so much fighting for when life is this lackluster, death seems all the more exciting. And since malice and brutality is what we call reality, then callous immorality can grant one immortality. We long to live forever, but we don't live in the moment. And we hope to be so clever as to wrangle a postponement when we fear our death's arrival, for we think our sole survival is dependent on the likelihood of physical revival. We are timeless beings living in time. We are deathless beings living and dying. We are human beings, essentially divine living mundane lives that were meant to be sublime. We want to grow, just not right now. We want to change, just not too much. We want the truth downplayed somehow. Let's all get close, let's just not touch. We think we've all the time on earth, what little time remaining, and believe we have too little worth to spend that time refraining from the various, I just got off-track. The mind went. The various addictions that we use for anesthesia, which then render us unconscious in a deepening amnesia, such that problems we're avoiding, grow to staggering dimensions since that's what it takes to captivate our wandering attentions. In hoping for a second coming to prevent us from succumbing to the suicidal siren's call, we're hastening a harder fall. We would have to be delirious to overlook how serious this is, or else lack passion to survive. But we're both numbed by the immensity and hooked on the intensity because it helps us know that we're alive. And thus, we face this dire emergency with little sense of urgency, desensitized by our routines and all the tragedies we've seen. So, it's no wonder, for vacation, we indulge and wreck creation, since it takes tremendous voltage just to give us some sensation. Since we're wandering unawakened in the Eden we've forsaken, all the while perplexed about the dismal churn that things have taken. We live like poppers in paradise, and through the bars of our paper prison, project upon the universe the narrow and distorted vision by which we all are scrutinized, then analyzed, and hypnotized, until the world so sanitized, denatured and dehumanized, that love and trust are violated, spirit is annihilated. And ruined lives are just the casual ties that the pace of the race has liquidated. For we run the human race like it's some deadly competition, wherein everyone is driven by their greed and blind ambition to amass the greatest wealth and fight for it number one position against everybody else, whom we declare the opposition. Which is why we're here 2,000 years later and we still haven't learned to love our neighbor. But full of judgment, and begrudgement, speak our piece, then draw our saber, waving it with righteous pride, convinced that God is on our side, while we proceed like holy terrors, to decimate God's human errors. This labyrinth of insanity created by humanity is stupefying all our youth who go insane in search of truth, since rarely do they ever find a grownup who is of sound mind. But trapped in city idiocies, inequities that hideously beget the grim scenarios of ghettos, slums and barrios, our children dance to violence, romance the deadly heroine, while all that they are dreaming of is dying literally for love. Like towering trees to toothpicks whittled, our children's souls aren't thus belittled. Yet still, we make our foolish choices, drowning out our children's voices, unconcerned that they are crying, while the earth and air are dying. For we are quick to sacrifice their future for a paltry price. For nothing ever could suffice a parasite in paradise. We are an idiot savant. We've a grand intellect to flaunt, but only, just the smallest ratio of deep wisdom and compassion. And there is really nothing smart about a brain without a heart. Although it seems to be the ultimate seduction, because it grants us unchecked power, but just to bring our darkest hour, as it endows us with a genius for destruction. It has brought us to this precipice. Below us looms a deep abyss, in which our dreams may all get smashed, our children's legacy be dashed. And yet, we have no other course unless we recognize our source. Because the ego thinks it's greater than its own divine creator. And if ego wins, then geo spins into a grim oblivion. And no one knows how deep it goes or if we will return again. It rarely comes to our attention that this is just a dream dimension. But we wake now where no doubt lingers. The live stream will slip through our fingers. Thank you. 

AUBREY: That was beautiful. That was beautiful. I've often pondered that ego translated into is “I am”. But actually, ego is referring to exactly the opposite. Because it's referring to the part of us that says I am not. It's the part of us that's declaring separation from our source. Whereas “I am” is participating in the grand I am of everything. And it's almost as if the very word itself plays a trick. 

LAUREL: The word ego? 

AUBREY: Yeah. 

LAUREL: It does. Just spin it around and you have geo. We're meant to go from egocentric to geocentric. 

AUBREY: Yeah. I've referenced him a few times. But again, my teacher, Rabbi Gafni, talks about the evolution of man from homo sapiens, the thinking man, the mental deification of what our potential is, to homo amor, which is the man of the heart and the man of love. And I say, man, in the mankind sense of the word, obviously. 

LAUREL: Yes, I know. I love how that microphone is connecting your heart chakra right to your throat and your mouth. Wow, you are such a truth teller. 

AUBREY: I do my best to clear my way of all the truth. Sometimes the words do get in the way. I recognized early, I've always been a poet myself and been writing poems. One of the first poems, I can't remember it exactly but it was basically expressing that words are not the craft of the poet, they're the obstacle. They clumsily get in the way of the reality that we're really speaking about. They're a clumsy obstacle that we use and we use them in the best way that we possibly can, but they'll only ever approximate that which we're really called to. 

LAUREL: What occurs to me is, I've liked the phrase, articulating the ineffable. Finding words for which there are no words. And I would imagine that as you continue to elevate your consciousness and have experiences, that words will occur to you from whatever source for that, how to describe that. So, that brings me back to that word I have talked about that I invented, if you could call it that, I cemented it together. As a word for the most exquisite sensation of intercourse with perfect strangers. In ways that there is a conception of a new life of the mind, of the heart, of experience. Something takes place through an interchange like that. And the pleasure principle is what motivates us. And the more we are clearing the debris away of all the conditioning we experience, the more we sensitize the instrument for sweeter and finer forms of pleasures. So, my word for the ultimate pleasure is metatranscensuous, super sexual para hedonism. The tagline is accept nothing less. So, all of those words meta, trans, supra, it's all about above, above, above above. So, hedonism, pleasure, that is such an elevated level, that oh my gosh, the trees are growing all around you. The harmony of your walk through the forest is a symphony for the trees as they are for you. 

AUBREY: Just hearing you speak, it's very much in the lineage of the erotic mystics of many lineages and many times from the Kabbalist mystics to the Sufi mystics. The way that Rumi talked about the great beloved all around him in every way, the whipping winds, silks, and the sweet wine. He was making love to all of life. The erotic was not reduced to the sexual. It was expressed in every single thing, every context, and every way. And I think reawakening this impulse to live erotically is essential for us to actually have a world that we want to save, protect, fight for, live for. And without that, I mean, if we are actually in hell, who cares? Let it go, let it die. Whoever wants to save hell? That needs to be transformed. So, until we get to a place where we can step inside the pleasure of this erotic life that we have literally at our fingertips, by the pleasure that can transmit through our skin, and our eyes, and our ears, and our hearts in every aspect, then we're not going to really understand what we're even doing. What are we even fighting for? 

LAUREL: Yeah. Because we're fighting for feelings. And fighting over feelings. 

AUBREY: Yeah. And again, we're pretending that there's scarcity, when we're really living in an abundance of ecstasy. And we just have to find the keys to open the doors and use the right words, and the right intentions, the right feelings, the right tools. Of course, for me, plant medicine has been a big part of that tool. Relationships are another beautiful tool. All of these are just tools to get us through that portal, get us through that gate, where we're living so alive and so erotically with all of life that it causes people to defect from that world that you're talking about because they're looking over and they're saying, wow, that looks great over there. Maybe let's try that way. And of course, some people will attack that world because it challenges them and they don't think they can get there. And if you don't think you can get there, maybe you should destroy that thing so you don't have the anguish of not being where you would like to really be. And I think that's where you see so much attack on those people who, myself included, who are trying to say, welcome to heaven, population, everyone, we're here. 

LAUREL: You have brought up two poems. Did I cut you off too short? 

AUBREY: No. Perfect timing. 

LAUREL: Thank you. Ipsissima verba is a Latin term for the very word. And I just want to preface it by saying, the sun in the sky and the son of our child, I believe we need to swap the vowels. The sun in the sky needs the big round O to represent its fullness. The son that is your child can have the U which is like is part of you, and is the chalice. I think that's all I need to say, because I'm going to start off with those two words. Ipsissima verba, the very word. From worshiping the sun, man grew to worshiping the son. And so I cannot help but wonder just how far we've really come. Since every prophet of the high imperium has said the light of the divine is meant to shine in everyone. And so I took a look at dogma for I've always found its sound odd and discovered that it's backward. Turned around, it spells out am God. Next, I took the Holy Eucharist and saw that with a letter switch, a door appeared to paradise because it now spells “You A Christ”. And then I found an atheist bound by no faith cannot exist to breathe a space twixt A and T and a theist shows up instantly. Then I found the word theocracy, where church and state dictate united and governmental policy is said to be divinely guided is actually a homonym which means it has a verbal twin. The alternate theocracy spelled with an S and not a C is not in every dictionary, which is itself a commentary. For theocrasy means union of the personal soul with God, within, around, and above. So, what need have we for admonitions, taboos, decrees, or prohibitions when all are guaranteed admission to the promised land by definition? That's that one. Thank you. Do you want to do one of yours? 

AUBREY: I thought about that, and Christian on our team here, who I love, that you guys have developed your own relationship as well. 

LAUREL: Yeah, we have. I love this man. His vision statement, you've seen his vision statement? 

AUBREY: No. Have I seen your vision statement? We're breaking the fourth wall now. Christian is coming out from behind the fourth wall. And now he has a vision statement. 

LAUREL: Would you read it? Would you state it? 

AUBREY: Step into the light, my friend. Step into the light, my friend, and take the microphone. Let's go. 

CHRISTIAN: All right. 

LAUREL: And Christian, I shared it with a husband and wife who are spiritual awakeners. I read that to them and the wife gasped. It's so profound. It's so true. It's so beautiful. It's so clear. 

AUBREY: Oh, look at you go. Look at you go. All right, come over to this side. And I don't know if this will go high enough for you. But I'm going to give you my seat and I will hang out in the back around here. 

CHRISTIAN: Yeah. So, part of my work in bringing people on to the show, it's been really beneficial for me to frame it in the way that I shared with you. And the way that I put it and the way that I see myself with the mythopoetic lens, is I see myself as a scout who hunts down the imaginal cells of a more beautiful world and leads them to platforms that amplify their signal. 

AUBREY: So you do. 

LAUREL: I just so appreciate you. And look at who you're apprenticing to. I mean, you are a young man on the rise. And of such a humble, sweet, inquiring nature and serving. Just gorgeous. I'm sorry I'm not wearing my biogeometry pendant. My fairy wanted to come out. 

CHRISTIAN: Thank you so much. 

LAUREL: Oh, absolutely. 

CHRISTIAN: For putting me on the spot. 

AUBREY: Well, in our little break there, I found a poem that was actually potentially going to be forever lost unless I looked for it just now. Because I recorded it and then it just went off into the ether somewhere. So, I can offer this poem. And then maybe something else I found that's not exactly a poem, but it's a very meaningful thing and I can now potentially share. 

LAUREL: Not potentially. Which gives me the opportunity to introduce the word entelechy, which means an actuality versus a potentiality. We all talk about actualizing our potential, absent the awareness that there's already a word for it. Not only of actualization, but the inner force within that, for instance, causes the acorn to burst open and a tree grow. The word for it is entelechy. 

AUBREY: And that's not one of your words. That's a word that I can look up. 

LAUREL: No, no, no. It's a Greek word. I think it belongs to Aristotle initially. 

AUBREY: Yeah. It's the intelligence contained within the acorn that has all the intelligence of the tree. Is that the idea? 

LAUREL: Well to me, that was my expansion on it. My expression of my understanding is simply that that force within us, the self-actualizing energy within us. And right now, it's really...

AUBREY: It's revved up. We've been watering it, we've been giving it sunlight. And here we are. All right. Here's a poem. Tyranny is not the virus, it is the host. It is not the ghost, it is the house. We know tyranny in our bones because there's a tyrant in our shoes. Born into a world of win-lose, of don'ts and dos, the 8 billion people pyramid game of trying to elevate your name above that other girl, over that guy right there. Why are people following them anyway? What about what I have to say? Wait, never mind? I'm not going to say anything. What if I get it wrong? People will get mad at me, criticize me, judge me, cancel me. What if I'm not actually better than them? What if we're all actually the same? What if I can't win the game? I'm just not going to play, sing, dance, do anything. Safer that way. Hey. And that, my friends, is how tyranny becomes the substrate upon which your united state of consciousness is staked. So, if tyranny is the host, then freedom is the virus. And it's contagious, inside the social distance. So, take off your mask and expose yourself to it. Touch it, feel it, taste it, fuck it. The ecstasy of liberation injecting into your cells, infecting self-condemnation, extracting you from hell, changing your DNA, showing you a different way to live without a despot ruling from above, but emergent from the source field of love. Then you become the host, terrorizing the house of tyranny as the Holy Ghost, singing hymns of peace as an act of war, not against but for the more beautiful world we came here for. 

LAUREL: Incredible. 

AUBREY: Thank you. 

LAUREL: It was like a visionary trip. An altered state of consciousness. powerful. 

AUBREY: Thank you. Thank you. Poetry for me is interesting, I just need to get like, it's like a thread comes down from the ether. It's just like a string of a kite. And sometimes it's windy up there and heavy and I can't quite pull it down. But oftentimes, as soon as I get a hold of the thread, I can pull down the whole ball of yarn. 

LAUREL: Does it all come at once? 

AUBREY: Often, if I'm in the current, I can keep going with it. And then, I let it sit for a minute. And then from there, I get to refine it. And then it gets typically better as I iterate over it. But I usually get most of it out with a thrust. And sometimes I just get enough of a thread where I know that I could go back. And if I wanted to, and I felt inspired, I could go weave it all the way through. And sometimes it just goes all the way through. 

LAUREL: Beautiful. Very sensuous experience. 

AUBREY: It is. I think it's one of the things. I think earlier as a poet, you get a little bit lost in the artifice of creating poetry, like the rhyme, the cadence. But then eventually, it becomes more like a rhythm, becomes more like a dance with words, rather than some kind of engineering project. And I think if you make poetry an engineering project, it's not going to be fun. It's not going to feel right. You know what I mean? Of course, the creative constraint is part of what makes poetry beautiful. But it really is more of, it's more of a rhythm. It's more of a feeling. It's a transmission rather than an architectural project. 

LAUREL: Yes, absolutely. And in terms of rhyme being an artifice, I want to share with you my Pirin penchant for punning and rhyme. And Pirin, I believe it's an island in Macedonia, said to be the home of the muses. My tongue is naturally curly, so my words come out in rhyme. This started very early and still happens all the time. I've done my best to compensate, to speak in tidy rows of prose. But for my words to come out straight, my tongue would have to decompose. And I'm amused, far too amused with rhyming words and verbal curlicues. She has made dripping on my tongue each time we come upon a pun. So, is this diction and affliction, and my verse some kind of curse? Am I to keep my tongue in check and cheek, make points not spiral when I speak? It is beyond my powers to speak in sentences, songs, flowers, for words are so alive in me with L-M-N-TAL energy that I'm compelled to let them dance upon the page. Thus my penchant all writhe with rhythm, rhyme, and pun. They slip our fingertips and tongue. I sigh and they escape my lips in sonic somersaults and phonic flips. So, since I can't excuse this quirky temperament, or lose my amuse-bouche speech impeppermint. Though it might be for my sentiment's betterment, I put these gifts to frequent use by whipping up spirits in a literal moose. For when I let loose and go for broke then sweeter words cannot be spoken. As I challenge you to find the equal to my enchanted verbal treacle. 

AUBREY: And I feel like you really embody that in which, when the rhymes that you've shared in every one of your poems, it's a delight. And that's what you ultimately want it to be is an unpredictable delight, where you don't know the next rhyme that's coming. You don't see where it's going and it delights you every time you do it. And it just flows out of you effervescently. And that's poetry. It's not that if you are writing an iambic pentameter, if it's great poetry, you don't notice the iambic pentameter. You're just lulled into the rhythm of the structure, like a great salsa dancer. If you're a beginning salsa dancer, you're always worried about the steps and it doesn't look very much like dance. It looks like practice steps and practice moves. And then you see somebody who's a real salsa dancer and you're like, holy shit, they're really dancing. And again, it's just practice. And it's not to say that if your poems are in that kind of like, you're learning how to salsa, and they just rhyme, great. Writing of any sort is going to be beautiful. And I think my invitation for all the writers is just really tap into the feeling and the spirit and the rhythm of what you want to say and then the rest will find its way. 

LAUREL: Yes. And one of the stumbling blocks I've seen in using rhyme is looking for any rhyme even if it's not the perfect word. 

AUBREY: Putting artifice before art. 

LAUREL: Exactly, exactly. But it's like playing with magnets. And when you find two that fit together, both in sound and meaning, wow. It's like a very strong magnet. It's funny, a thought goes flickering. I'm sure I'll find it again if I need to. 

AUBREY: Since we're here, the other thing that I was going to share. This is something that came through as a practice. And it came through very much like a poem, but it wasn't a poem. And it was a eulogy for myself that I could hear being spoken through one of my dear friends, a good friend named John Beer. And I could hear him saying it. And I think for me, I've always trusted. I think why it came through me hearing it through his voice is I trusted him to tell it like it is and to speak the truth. He always speaks his mind and he doesn't filter his words or candy coat them in some way to make them more palatable. 

LAUREL: How wonderful. Someone who says it like he experiences it. 

AUBREY: Exactly, exactly. So, I did this little eulogy practice. And again, this is something that I thought was a cool practice. And I have never shared it. It's, of course, deeply personal and potentially emotional. But it was interesting to think of what someone might say about me at my best and also in my truth. You couldn't put a box around him. He was this, he was that, he was whatever he put his mind to. He was what he cared about, whether it was for an instant or forever. He was a shapeshifter, a polygon too vast to count vertices. He was always whatever you needed him to be and sometimes what you wanted him to be. He fucked. He laughed. He cried. He died. But he fucking lived. It wasn't easy at first to live that big until he learned to love, to love that big, to care that big, not about himself but for the good of all. Vylana opened the door, his children even more. Aubrey was funny. Vylana would say he was cute. He was a poet, he was a savage, he was a sweetheart. He didn't always get it right. But he fucking tried. He was a good man. A king, husband, a son, a father, a lover of life, scared only of fear itself. He was free. Let it be said that here lay the ashes of a free man who chose to be in prison so he could show the way out. A liberator. He was magic. He was a rascal. He was God with a wolf heart. He was Aubrey. And at his best, he was nobody. 

LAUREL: Wow! Staggering. It's so powerful and clear. And it's such a marvelous exercise to do. Wowie. Wowie. Wowie. Who you are and how you express it, that was very powerful. Thank you. 

AUBREY: Thank you. Thanks for receiving it. 

LAUREL: Oh my gosh. 

AUBREY: I don't think I would have read that if it wasn't for the invitation that you laid by your, both your sweetness and your playfulness. And the kind of intimacy of this intercourse that we've had together on this podcast. It's been really a beautiful experience for me, too. 

LAUREL: Thank you. Thank you. I'm so glad you shared it. And I hope you're going to do quite a bit more sharing of your poetry. 

AUBREY: Yeah. I typically try to get them out. There's lots of fragments and pieces and things that have been, not developed. But it's a part of me. It's a part of who I am and it always will be. 

LAUREL: Gorgeous. Well, it must be. For the fluency and the depth and breadth of insight, and the ability to articulate the ineffable, I mean, how do you find a few words that create such an image of what's happening and how you are? That's masterful. 

AUBREY: Thank you. Thank you. 

LAUREL: Yeah. Yeah. 

AUBREY: As we close here, is there anything else you'd like to share with our beloved listeners? 

LAUREL: Thank you. I would like to share "Speaking Beauty." And I consider it an anthem for our era. 

AUBREY: Let's go. 

LAUREL: We are godlings on this planet, here because we all pre-planned it. Ghastly, ghostly shadows. Damn it, now's our chance to superman it. Lift your voices, re-enchant it. Freedom's codes are all semantic. Though we're small and sometimes frantic, souls are whole and all gigantic. These may be our darkest hours, but each of us has superpowers. The Infinite is in-finite, which means we can turn on the light. All life's a dream and we're the dreamers, though hate streaming through the schemers, we're all here as world redeemers. Beaming peace, we're love supremers. So, mages, sorceresses, sages, artists of all sorts and ages, share your gifts now. Be courageous. Daring actions are contagious. A diamond mind and heart of gold are gifts, the prophecies foretold for those uniting souls on earth by recognizing each being's full worth. When we let go of againstness, we step into our immenseness. For the genesis of genius is the light we strike between us. When we share the gifts with which we're blessed to inspire higher consciousness, then we'll gain what we've been dreaming of, the gift of everlasting love, the bliss of everlasting love, the kiss of everlasting love.

AUBREY: Laurel Airica, this has been such a pleasure. Where can people go to see more of you? 

LAUREL: Thank you. I have a YouTube channel. I'm working with a young animator to put more of my work out. There's opportunities to fund there and also the Patreon page. Wordmagicglobal.com. Become a subscriber and receive the free "Book of E, A Book of Alphabet Alchemy." You'll receive announcements of everything that's going on, including an upcoming Word Magic class. As well as monthly sacred rights creative circles. And I'm so grateful for you. And here's the big news is it's time, as we know, to create that new lens, that new vision. And that's by tuning up the language, as we discussed. And see, there's discussed. We have a conversation and Am I disgusted about it? No, I'm not. I'm delighted. So, come to my website and subscribe, and check out the classes and all of that. Oh, what I was going to say? Time to evolve the language collectively, creatively. We can do it rapidly. The Vision I've had for a very long time is a literary lotto, where people are incentivized with a profit motive to open to the still small voice with the desire and intention to download a new word, either a tune up of an old one, or your own invention for something really special. That when people hear this word and what it means to you, it will resonate their heartstrings. They will have more music in their being. So, you'll get to send it in. And we'll start collecting words and choosing the ones we think are the most exquisitely beautiful. Because remember, it's like we're evolving the word to evolve the world. We're upleveling the language to uplevel our own consciousness, so that we absolutely are able to make at the crucial moment, that evolutionary leap from humankind to human kindness however that looks moment by moment. Because obviously, global warming of the earth, earth and heart are the same word, only through global warming of the heart, can we possibly address it by sharing resources. I have a book, unpublished, called "We Do Come With Instructions." It's all so simple and so obvious, you just have to look. So, please come to my website, play with me. Send in a word, you'll see. And if you want to be part of the team of selecting words and phrases, please go look at "Taking Command of the English Language" on YouTube. It outlines how to do it. So that we are collectively, creatively evolving language, it takes a team. The idea is, if people send in with a few dollars like a lottery, and then the words that we find most resonant, and beautiful, and catalytic, we promote them, we market them, we honor the prophet who brought it forth, and profit the prophet as well. So, people are cultivating the muscle of inner listening, while we are putting these kinds of flowers, bouquets of beauty, of positive qualities that resonate positively with us. We start spreading it everywhere, like forest flowers, wildflowers. You'd really liked my poem, I think, of "An Art Synchrony." But if we need to go, we can do it another time. But it is a vision of what will happen, how this kind of an evolution of language undertaken collectively, and each one cultivating inner listening and contributing to it, what it can do. Not only energetically to how we feel, and the people we connect with, and the skill we're developing of inner listening, but the impact on the environment. 

AUBREY: Well, I will never step in front of a poem that is ripe and ready to be shared. So, please do it. It also comes to mind, not to take us into another tangent as well, but the one person who I've seen, a writer, Cormac McCarthy. I've noticed that in his writing, when I've read his writing, he would use a word and I'll be like, wow, I've never heard that word. And it wouldn't be a word. He just came up with something that seemed to fit the expression of what he was saying. And you knew what it meant, but you've never heard it. It's like almost moving from writer consciousness to creator consciousness in this really beautiful way and you're inviting that from the highest conscious perspective. So, I love the project. Bring us home with your final poem. 

LAUREL: Thank you. And just to say. What was I just going to say? I thought, when I wrote this piece, I couldn't stop until it completed itself. And I said to myself, you are really gilding the lily, you are going so over the top. And then I think it was a number of years later, I was walking in the neighborhood and I met Anne and Whitley Strieber and we became friends. Do you know Whitley? Communion. He was one of the first people, if not the first, to come out with his abduction experience and a movie was made of it. He has many books. Brilliant man who's had many experiences with those he calls the visitors. So, they gave me a book by William Henry called "The Language of the Birds." And it is everything. My fantasy turns out to be part of ancient mythology. 

AUBREY: Beautiful. 

LAUREL: I think of how exquisite it will be when we endeavor together to create an enchanting living language of supernatural poetry, that scintillates so sensually, that everything around us begins to vibrate sympathetically. Our words will ring so true, that our honest expressions initiate lyrical sensations that every creature can appreciate, since we are all interconnected, genetically, and electromagnetically. So, just as bird songs, cricket choirs, and other natural voices evoke a wholesome rhythm and nourishing harmonic on the planet, our gentle elemental language, every time it is spoke, will resonate, syntonically with earth and all upon it. Then when we give our words, if they can't be broken, we shall spin gold every time they are spoken. This may sound absurd but let no one scoff it. And truth be told, it shall make us profit. If this vision vibrates your soul, then let go of concern for the rules of transformational English grammar that have made us all such conversational fools, virtually deafened to the defamations still hidden by the glamour of our incessant ancestral verbal clamor. Instead, open your heart's mind to the transcendental music of the new Singlish language with its true sacred spells, affirming terms, amazing phrases that can ring all our bells, lift our spirits, sing God's praises, till our whole communication with the Lord in all creation, underwrites our transformation and world rejuvenation. Let's set tongues wagging around the world with the possibility of sweetening up English to a true romance language. For if our words so melt the heart, they start the melt of human kindness flowing so that every time we speak our mind, we set another flower growing. Then I believe before our very eyes, we human beings, like butterflies, will fully metamorphosize and as new creatures in the sun, who speak the language that's become our mother planet's mother tongue in this first Aquarian millennium, we will talk our way back through the garden gate, with words that help reconsecrate this hallowed ground unto which we all are bound by fate. For that with the lyrics to the song of songs that rings throughout creation, we will regreen the meadows of our hearts as sacred Psalms and incantations. And with poems so rich in spirit pollen, mercy grows where words have fallen. And all of us, with faith and trust, will clearly hear our own soul calling. And then do you know what we can call this place? When everybody walks and talks with the beauty, kindness, wisdom, love and grace of a Buddha, or the Christ, paradise. For our joyful noise will have made it possible for us to love and live on the fear frequency of a higher octave. Thank you. 

AUBREY: Thanks so much, Laurel. 

LAUREL: It's been a pleasure. 

AUBREY: It's been a true pleasure. And thank you, everybody, for tuning in. We love you. Goodbye.