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bjbj ~ Wired for Success TV ~ Mastering the 7 Areas of Life HYPERLINK "http://www.wiredforsuccess.tv"
www.wiredforsuccess.tv Presented by Melanie Gabriel & Beryl Thomas [Episode 11] Creativity:
The Spine Of Learning Creativity The Spine of Learning [Episode 11] Wired For Success
TV [0:00:13] Melanie: Welcome to another episode of HYPERLINK "http://www.wiredforsuccess.tv"
http://www.wiredforsuccess.tv m Mel Gabriel and with me is my co-host, Beryl Thomas. And
today, we ll be talking to musical pioneering genius, Lawrence Ball. Lawrence has had an
illustrious career composing music for film, dance, orchestra, and choir, and computer,
and the list goes on. He s also a well-sought after Maths tutor with many other passions.
Two of which, we will explore today in the context of stimulating creativity and raising
consciousness. Today, we are really curious to explore with Lawrence the role his music
plays in helping to balance our lives and the common relationship between his music
and free energy in the new physics. Also, the relationship between his music and spiritual
practices and how to live and view life from deep states of joy while effortlessly meeting
life s challenges. Also, drawing on his skills as a Maths tutor, we ll take a look at how
music affects the brain and can bring the mind and feelings into deeper rapport and
enhance learning through deeply relaxed states of concentration. So, welcome Lawrence. It
is re thrilled to have you with us today. Lawrence: Thank you very much. Thank you,
Mel. Thank you, Beryl. Melanie: Now, you re going to have to forgive me if I ask some
really basic questions today. But there are so much richness in this topic and the promise
of me being reintroduced to the real part of me that I want to make sure I can embrace
it all with relaxed concentration. So Lawrence: [Indiscernible] [0:01:56]. Melanie: So, could
explain to our audience within the context of what we re going to talk about today, what
relaxation and concentration is? And I ask this question because there are so many people
out there who think they can t relaxed and traditionally, people think of concentration
as something that s going to hurt the brain. So could you put this into context for us
today in terms of your music? Lawrence: Sure. I ll try anyway. All we can help during this
early stage of human history. Basically, I get the impression people have the notion
that relaxing means you stop concentrating and when you concentrate, it means you stop
relaxing. This is maybe instilled in us from school. If you re not suffering, you re not
learning. Not like it was in my day, which is rubbish of course. And this the work ethic
which is when you re working, you have to sacrifice you put your shoulders on the wheel
and this is not about you. And when you re relaxing, that s when you get the treat. Now,
I was having a conversation with man in a special group I m part of the other day and
he was talking about how he can get in touch with the inner world so the deeper imagination
or the spirit, if you like. The borderline between sleeping and waking, when you re just
about to go to sleep and when you re just coming to in the morning. And I said, it s
important that these days that we can be in touched with that state at any time. That
everything we do and the people we deal with particularly our friends and everybody really
has to be in this state whereby we are in deep connection with ourselves rather than
it being just for special treat time or when we get time off at the end of the day. So
it really flies in the face of convention but I m all for this idea that relaxation
and concentration are two very important half parts of the same integrated whole and we
should strive to look at these that way. Melanie: And so, your music is guiding people into
that integrated state. Lawrence: It can do if they learn to engage with it. And sometimes
people find it I think they don t get it or some people get it more. One of my friends
once said that the musician, Charles Hayward, he said, Music makes available socially and
it s just it wouldn t be there otherwise. This idea Melanie: No, carry on. I was just
thinking, oh, letting my brain process that. Yes. So, you said, if they get it. Now, I
suppose the whole point about not re using relaxation as an escape mechanism is that
you re not sort of I suppose you re coming out of your head into your heart space and
actually learning to let go. And I suppose in order to let go, we re really talking about
freeing yourself of any preconceived expectations and just entering into the presence of the
moment. Would you like to comment on that? Lawrence: Yeah, that s good. I think the idea
of not using it as an escape mechanism, I think people are very often, when they have
their relaxation or their treat or their meditation they think, oh, and there s nothing wrong
with detachment but it can be a way of checking out completely for some people from the life
that they re maybe needing to focus on even situations with the people close to them.
So, there s a difference between checking out and going into the deepest self which
I think is a bit more connected. Melanie: OK. So perhaps, we can just have a little
look at how your music, you talked about your music perhaps not so easily got implying that
it s probably different from what people are used to, perhaps you can explain to us what
is different about how your music achieves what we re talking about, helping people to
go into deepest states of awareness and perhaps free themselves of expectation? And what is
different about the way your music is created and experienced? Because I seem to remember
in a conversation we talked about you talked about the meditative qualities of it comes from
constancy and repetition? Can you rescue me here? Lawrence: Sure. You don t need any rescuing.
You re swimming beautifully. That s fine. Sorry. I hope you don t feel like you re at
sea too much. Melanie: No, no. Lawrence: Well, interviewers often say to me, What effect
do you want your music to achieve? And whereas this is very sweet of them to do that because
I think they re helping me and in a sense they are, I feel there is an effect beyond
effect where and we all know this from being at peace with our friends, from being in nature
where you don you don t remind what happens. It s getting to that place where there s a
magic there that can be steered in any direction. Partly that s achieved by using a kind of
four-dimensional thing or repetition, rather like a mantra. In a sense, my music is bridging
the east and west thing because it s at one, it s a mantric and also, it has the ostinato
from Western classical music. And so, it unifies the two. So in that sense, it s not really
music to help you study better or music to help you achieve an alpha state although these
things I m sure are possible. s letting the energy from a deepest space come through,
a space where energy really flows without effort for me and for the audience of for
me and the yourselves. And we all like to reach that place because it s where things
are easy and they don t need scheduling or control. Beryl: Lawrence, can I ask you this?
When you re composing, how do you know that you ve got it right if there is such a thing?
How do you know that the piece that you ve just composed is going to have those kinds
of effects on someone? Is it that you feel it in yourself or is this maybe even almost
a channeling, something intuitive and you just know that you ve captured it? Lawrence:
That s a good question. How do we know when things are the way we want them to be when
we create something? It s quite a deep question. Some of it is through the sheer physiological
yes I get from in the body that this is doing something. Some of it is because I got some
guidance about it internally that makes me feel like this is definitely on track. Intuition
is a very deep thing and it has many forms. And basically, we can put it under the umbrella
of intuition but ultimately, the music is not sound. It s the person who creates it.
And that s why we enjoy a performer who is more relaxed and allowing energy to flow through
them just as we enjoy our friend when they re being clear and allowing something to happen.
Melanie: So sorry. Did you want to say something, Beryl? Beryl: No. It comes it brings up all
kinds of thoughts to me about if I say entrainment. And when you say music is not the sound, it
s from the person Lawrence: Yes. Melanie: Or it is the person. Beryl: It is the person,
yes. So that s interesting. So, there s something in you that you want to share with the world
and music is your modality to share that where it might be Lawrence: Probably. Beryl: Yeah.
So for some other people, there will be some other modality like if you re a Tai Chi teacher
for example. You would be using that modality possibly or an artist or a painter. And that
s what you re saying, isn t it? Lawrence: It s common I think it s common to all human
service or creativity depending which words you put on that. Yeah. Melanie: So, are you
able to say because I think this is a good way to understand is are you able to say and
it s OK if you can t, what is the expression in you that you re giving birth through your
music that the rest of us can benefit from? Lawrence: Well, I think it s like a sandwich,
a sandwich of energies all the way from the physical all the way up to the spiritual.
It music in a sense is like multilevel. It s not just physical sound. It has its invisible
counterparts which are very real and very luminous just as creativity and sharings between
people can be luminous and have many invisible levels otherwise, we d just be lumps of matter,
wouldn t we? Melanie: True: So maybe there isn t an answer to this because we re talking
about spontaneity here. But clearly, if the music is you, the result which is what we
hear the music is some passion in you trying to express itself. Lawrence: Yes. Melanie:
And I don t know whether I m not hearing you correctly but I m just wondering if I can
put my finger or you can help me put my finger on that passion in you which is trying to
express itself, that we re enjoying is your music. Lawrence: Yeah. I think perhaps it
s not quite sure to say that it is me. It s more true to say it s me in resonance with
the Divine to wherever it extends as possible or if you don t like the word Divine , the
deeper universal intelligence. Melanie: OK. And of course, the deeper universal intelligence
is best accessed if we re coming more from our heart space. Lawrence: So they tell me.
Beryl: When I was listening to the recordings that you sent me, Lawrence, very late last
night Lawrence: I didn t send them last night. Beryl: Indeed, you didn t. By giving us no
such thing as time. Lawrence: Right. Beryl: When I was listening to them last night, as
a yoga teacher, I m used to listen to any certain type of relaxation music. So when
I listened to your music, it was not the normal kind of relaxation music and there was a kind
of discordance in me from it which I was curious about. And yet, when I got over that curiosity
and I was almost startled by it, I did find that I had a deep feeling of peace and stillness
which was very nice. It did feel relaxing but not in that kind of relaxing going to
sleep kind of relaxing. But how can I put it? Relaxed and aware. Lawrence: OK. Beryl:
Is that a common kind of response when people think it s going to be of a certain genre
of relaxation music? Lawrence: Well yes, in a way, as Mel said at the beginning, I m kind
of a pioneer. I ve been putting contemporary music together with what people would normally
call new age music where there is more space to be yourself and just see what you feel
about it. But there s a component in there that does engage the mind in a way that perhaps
some of the other music doesn t. I m trying to be kind to them. s not really just being
in the now. It s also about bringing the mind into the now as well. So you ve got more it
may seems strange for us because perhaps one is used to just being zero but it s more engaging
us, is what I would say in a way that a classical music is because classical music is very much
a cerebral engagement as well as a feeling engagement. Beryl: Yeah. What I felt was,
what I experienced was and it s hard to find the words so forgive me if I don t quite get
it right but it fast tracked me out of my mind into a place of, for want of a better
phrase, no mind. And it s interesting because I m quite a kind of adrenaline-driven kind
of a person, buzzly kind of person so I don t find it the easiest thing to do to drop
into meditation. And I know many other people don t, who are kind of like me. And this seemed
to get into that space quite quickly and I knew purist won t have pure meditators are
not in support of having music to help you to meditate. They think it s a distraction.
Well, I kind of feel one says doesn t fit all. And if you do have a buzzly kind of a
mind or say, you are very anxious about something, it s not that easy to slip into that space.
So what I m saying is, just in a few minutes, I think your tracks are maybe just five minutes
that I was listening to, it just seemed to ease me into that space really quite quickly
having gone through as I said that slight discordance which I would say let s say, we
know that order comes out of chaos. We know that. So maybe that s what s going on. There
s a little bit of churning something up there and then quickly slipping to that place of
order and peace and stillness. Does this making any sense? Lawrence: I understand. Yeah, that
can happen. Sure. Yeah. I used to I developed some healing sounds in the 80s. I used to
lie down and listen to them myself because I find them very helpful for me as well. And
sometimes, I go through a phase of turbulence and then I found I became aware of the part
of myself that was behind the turbulence and then the turbulence lost its relevance. It
s a bit like becoming aware that you re depressed and then no longer being depressed about it.
It felt like that kind of thing. [Indiscernible] [0:18:28]. Beryl: Yeah. I would yeah. It s
like a kind of a coming home kind of a feeling. Lawrence: Yeah, I see. Melanie: Actually,
that reminds me of an experience I had with this as well which and I expected it the experience
will be different for everyone in different every time but when I first listened to it,
I ll go back to that word, discordance that Beryl brought up. It s not that it brought
up discordant thoughts or things I didn t want to think about but I was present with
things that perhaps I would not have thought of as calming, relaxing, or easy to think
about. But somehow, the music made it easy just to be with it without any thought or
perception or preconceived ideas. And that it just evaporated into this deep silence.
Lawrence: Yeah. Pamela Wilson, who I follow very much in spiritual life, has this rather
wonderful way of looking at things that it s our aversions that really are the key to
going into the harmony sometimes and the things we need to do with, not just the visual state
but the things that visual states bring up in turn that help liberates that are important.
So maybe that s what maybe aversion and discordance are we need to look at the minus sometimes
in our lives in order to get to the real the expanse that comes from the nothingness and
the emptiness. Nothingness and emptiness after all is a [indiscernible] [0:20:21]. I know
from my study of Math, it s actually zero, right? So it isn t positive or negative. Melanie:
Yes. Lawrence: There aren t many people who will pay for workshop on nothingness but that
s what they really need. Wearing means you get to nothingness. I m not such a big carrot.
But nonetheless, it should be. Melanie: And it s important to know that you have to embrace
the things that you consider to be negative as well in order to get that balance. Yeah.
Lawrence: Pamela told a lovely story about how this man is entertaining joy. Joy comes
to visit him and they re sitting there having a lovely conversation. And they re drinking
some wine and they are enjoying themselves. And suddenly, there s a knock at the door.
And the man gets the door and he says, Who are you? And she says, m sadness. He said,
Well, you can t come in. She says, But she and I are one. We are sisters. We are one.
We are not separate. And I think it s a beautiful story. Melanie: Yeah. Beryl: The duality.
Lawrence: Yeah, yeah. Beryl: Well of course then, in nothingness, there s everything too.
Lawrence: Absolutely. In Maths we might say, that zero and infinity is the same but that
s not quite true mathematically. But in a way, it is because we realized when we get
in touched with nothingness that what did they say? Be careful all things come to he
who waits or she. So, not just one or two things but all things, right? Beryl: Well,
a friend of mine talks about the seed of an apple. If you cut open an apple, you cut open
the seed, there s nothing and yet, there s everything that that seed needs to know how
to grow into an apple tree. Lawrence: I got the symbolism. I would probably explore that
further but maybe in another time. Beryl: Yeah. Melanie: So having mentioned your other
skill as a Maths tutor, how do you if it s all combined your music with learning? Lawrence:
OK. So some music I began to realize that there was a connection between the kids enjoying
themselves and their receptivity to being able to work better and learn more effectively
and it led me to write an article called Maximum Happiness With Maximum Concentration. In the
80s, no one tell jokes when they were teaching Maths. But now apparently, even classes, there
are teachers sometimes tell jokes because they realized this is ridiculous. You can
t put an old face and do the stuff even though Math has a and Math also is society s Syria.
It s a fall guy for society because everyone looks to Math, it s like something out of
the Wizard of Oz. Everyone looks to Mathematics as being this wonderful sort of indicator
of a kid s intelligence which is completely upside down and rubbish because many people
do perfectly well without learning Maths, perfectly well. And it s only one aspect of
using even the logical mind let alone the deeper mind. I love what Ken Robinson says
about Math, he says, In the subject-driven education system. We got a subject-driven
education system where the Arts are right at the bottom which is terrible. Maths comes
at the top. Why? Because it s everyone s insecurity and I dare not mention at parties that I m
a Maths tutor because it caused, well, what happened as a bad in school. We re not fun
of them anyway. They say, Oh Math. So I say, m a composer. That s much easier for people
to digest. They think it at least there s hope in there. Beryl: So, with some of the
students who come to you for their Math situation, some of them will be there because they re
struggling with their Maths. Lawrence: Right. Beryl: Some I guess because they re very good
and want extra. But with those that are struggling, what is the issue for most of them do you
think? Lawrence: There are many different types. I must have taught a thousand private
students by now and I ve got a handful at the moment for instance who are very resistant
to learning at all even sitting down at the table, some of them. They won t even there
is something about the this is probably colostrum damage because they ve been told that they
have to do this. And the way in which they have been told that is less than ideal. So
there s damaged from teachers. There s emotional reaction to study too. Most kids have good
genes and brains now but they have emotional funny stuff around learning because of how
they ve experienced the so-called elders helping them with it. So, there are many, many things
happened. I ll give you one example without mentioning his name. He is a boy that is obsessed
with drawing. He loves drawing pictures, images. He can produce cartoons without any effort
at all. There s part of him like a waterfall. And I found teaching him is very difficult
because he would he almost writhed in agony. He would put his head on the desk or fiddle
with anything he could find. And then I discovered if I got we created a joint fantasy from princes.
He had a rubber on the table he was always fiddling with. He drew a picture on the rubber
and we now have this character called Mr. Rubber and we have these stories about Mr.
Rubber. And we have a conversation with Mr. Rubber. And because he is engaging his right
brain or whatever it is they call it, he is more relaxed and he is now plowing through
his times tables doing very well indeed because he is just he feels he is being treated like
a real person. Stuff like that. Beryl: This is a key, isn t it to learning well, to be
in a relaxed state. Lawrence: Absolutely, yes. None of us would consider doing something
if we were too wind up or stressful. We put it down and going to get a cup of tea. But
kids don t seem to have that option sometimes. Beryl: And especially when there a lot of
expectations on you that you have to live up to, it s not the easiest thing to just
relax into it, is it? Lawrence: No. I think all three of us have suffered an education
system. It s not designed to help state of mind. They re only looking at the results
part mostly. There are some good teachers around. I shouldn t be saying that but you
know what I mean. The casualty is huge. Melanie: And so, it sounds like there needs to be a
top-picking school on being able to concentrate or at least teaching the importance of relaxed
concentration. Beryl: So, can I ask you something else, Lawrence? It s just come in to my head
so it must be the right thing. Lawrence: Sure. OK. Beryl: There is a school of thought that
to play music to yourself while trying to while learning can be of benefit if it s a
particular type of music. Am I right there? Have you heard that? Lawrence: Yeah, the work
of Ostrander & Schroeder, Schroeder documenting Bulgarian experiments, 2000 words per day
of a foreign language synchronizing the heartbeat and the breath to the tempo of Baroque music.
Beryl: Gosh. Say that again slowly. Two thousand words a day. Lawrence: Two thousand words
a day of a foreign language by synchronizing the breath to the tempo of Baroque music while
silently or softly hearing the words spoken on the headphones. They achieved these results.
The average person can learn 200 but some people managed 2000. This is documented 30
years ago. I don t know why it hasn t been taken up. Beryl: Fascinating. Lawrence: So
yes, it can help because it s the brainwave state and the deepest state of mind when we
re relaxed. When we re receptive, we trust. If you don if a kid comes from a family that
s loving and warm and end up in a school who has hired this teacher because they can get
them cheaply straight out of a university with no experience then you re creating an
emotional friction between the kids and the teacher. You re going to create the opposite
of that trust. The degree of the profit of the school is going to create bruises on the
kids and the teacher. Beryl: So you re saying if the teachers perhaps are a bit anxious
because it s their first teaching job and they re not quite sure and they don t know
if they can control the class, that anxiety is going to be transmitted to the children.
Lawrence: Yeah. It s a bit like a prison for everybody. There could be in school a separate
subject, which is to do with study methods and how to approach study and how to approach
learning. I think the schools will be initially afraid of that because they think it s going
to spoil their results. It s the same insecurities we have sometimes of trusting and letting
go of life. The school is having the biggest scale. Melanie: So, here we are talking about
trusting and letting go of life which is one of the effects, certainly the effects that
I experienced listening to it and I think we can say the same about you, Beryl, even
though we don t know what it is we re letting go of. And of course, you do quite a lot of
improvisation with your music. I m wondering whether having sort of talked around it for
a while, you could give us just a quick blast. I noticed you ve got your piano there behind
you. A quick improvised blast. Lawrence: Let me see if the lead stretches to the piano.
Improvisation I do a lot. It s something I find very soothing for myself. It just about
stretches I think. Melanie: Yeah. We can just about hear you. Lawrence: OK. [Music playing]
[0:31:14 0:32:28] Beryl: Beautiful. Melanie: Thank you. Beryl: Beautiful, Lawrence. Thank
you. Lawrence: Pleasure. I couldn t smile at the camera but Beryl: It was lovely. Lawrence:
Thank you. Melanie: So, there s a thought going through my head and I don t know how
appropriate a question it is to ask but I m thinking to myself, I wonder what s steering
or what s moving inside you while you re giving birth to that? Lawrence: OK. Melanie: Is that
a question that can even be answered? Lawrence: Well, I could be poetic because it s the inner
part of me. It s not in the realm of science. I don t think. Science doesn t do with these
things too well. Yeah, it s ultimately love, isn t it? Because when you love doing something,
it engages all of you and it is contagious and it it frees us. It frees us from whatever
it is we might have been worried about or anxious about or whether it was an appropriate
question or not or Melanie: Well, it s giving me an answer I can run with because having
listened m thinking, I wonder what s steering, what s emerging? And yes, you ve given me
an answer which sort of make sense and I suppose make sense in terms of the impact of the music
because it s something that for me, entered through my upper torso and it definitely isn
t something you try and make sense of. You just have to immerse yourself in the experience
of it. Beryl: I find it very peaceful. I mean this is one of the most relaxed interviews
we ve done. And yet, there s part of my brain saying, But I don t understand it all. But
that feels OK. I just wonder if you have sometimes the experienced that because you re in a very
heart space space a lot of the time, Lawrence Lawrence: Yeah. Beryl: how some when you meet
people who don t get what you do and it s not that easy to get what you do for most
people, how do they react to you? Do you m not explaining this very well. But you re
this very peaceful energy, this very love, peace, joy kind of energy and if people come
in to your space, the opposite of that, is there a kind of do they resist you? Do you
find that Lawrence? Lawrence: The universe will always send us our aversions. It s part
of the way it works where you attract the things that we re polarized against and the
things we re polarized towards, some sort of magnetic effect. I was going through a
phase where I was feeling very anti-doctors and anti-pharmaceuticals. And then one of
my best ever students I was asked to teach and both his parents are doctors and I discovered
that both of them were really nice people and even though they were doctors, they were
still very aware of the shortcomings of the medical profession and very aware of the pushiness
and the corruption of the pharmaceutical industry. That s quite interesting. I think we will
always attract people and it happens to me. Sometimes it s testing us out to see if we
can reach the humanity in somebody rather than being identified with the things we have
in common with them on the surface. So that s what I would say. I don t look upon anyone
who s being negative. I think one of my students last year, her father was a major supporter
of the Tory Party. But people I wouldn t normally consider a bona fide human beings but I learned
through having taught her and her sister that this family is very I hope they don t watch
this, they re incredibly lovely family and they re always very gracious towards me particularly
the older one, works extremely hard, made very good use of what I taught her. So I think
there s always we are not one dimensional beings that there is always more dimensions
that are really wonderful and that even if one m trying to think of a more extreme example.
One of my ex-clients is furiously against a lot of the new physics that I m into. I
made the mistake of sending him a few [indiscernible] [0:37:52] email about one of them just to
see what would happen and it was like, the Titanic capsizing. It was mild in comparison.
So one you don t have to be aware if one is an open person. But I think not just aware
to protect oneself, aware that sometimes to understand what it means to help oneself become
more flexible and not simply think of them as the enemy and not think of them as the
enemy at all really. They re there for a purpose. Melanie: So Beryl: Go Melanie. Melanie: So
you just touched on your interest in the new physics. Perhaps, you could begin to introduce
that in the context of how you see that and free energy, which we know you re very passionate
about, how you see the relationship between all of that and what your music generates
or is? Lawrence: Yeah. Well, as people probably realized who studied esoteric and spiritual
books and also study science, realized there s a huge gap between the official establishment
version of what reality is to the point of even the so-called major well-known scientists
completely blind to these inner dimensions in many cases. And my music addresses that
energetically because I ve always been interested in that having studied science at school and
teaching physics sometimes. So for me, I sort of embody someone who is aware of this discrepancy
between the establishment and official view of the world. And if you study any of the
people who have gone beyond the veil with science either because they have been involved
in top secret stuff in the military and have come out of the woodwork or because they have
been researching themselves and they re unafraid to come forward, you find that what we know
as electromagnetic field is only a small part of what people already are working with in
secret. So, we hear a lot of things about free energy although no one has really I don
t think we ve had a public demonstration yet. There is one coming up next month in Belgium.
It s very hard because it threatens the national economies if you have energy devices to circumvent
the power grid then you re going to have loss of taxes and that s something which this guy
in Belgium is even addressing. The idea that we can produce energy from the vacuum state
is similar to the principle that if you meditate, your life and your body will be re-punished
from invisible source or from God or how He put it. So these things all connect up. People
who meditate can very understand the idea of a box in your room, in your home that produces
free energy. Most conventional scientists now will get crossed or cynical or extremely
condescending if we even mention it. But after the public demonstration, I think we re going
to see some major changes in people s belief systems. Beryl: You re talking about Keshe,
is it Keshe? Lawrence: Yes. Beryl: The Uranian. Lawrence: He s the one who seems to be more
of us and other people. I don t think he s BS. I think that from what I ve seen, he s
a genuine. And there s a consensus of certain people in America who feel that he and about
four others are already at the front of this movement. Beryl: And I want to ask you something
about the timing of all this and perhaps the shift in consciousness that is allowing for
these new ideas to come in, Lawrence. Lawrence: Yes. We re all hearing about 2012 being in
alignment to the center of the galaxy. And the Mayan Prophecies of course where you have
these nine levels of evolution and we re right at the end of the ninth one which is speeding
up. Each one speeds up far faster than the previous one according to the Mayan interpretations.
So people like Calleman and James, I forgot his name. Anyway yeah, it s this idea that
the world is changing very quickly. I certainly feel that things are accelerating in the fields
I m in particularly with people s personal lessons. I think the personal lesson seems
to be the [Indiscernible] [0:43:01] of it. We re all feeling the *** is hitting the
fun for the world and for us and we can even not see the ***. We can see there s an uneducated
pause for ourselves like I said before with the aversions. I definitely think this is
happening. Keshe is releasing his s going to make a public demonstration of anti-gravity
he says, December 14th, which is one week before the solstice which is why the galactic
point happens. So that s very interesting. I don t know if he chose it consciously. But
we are in a very interesting time. And the big challenge for me is to know what to do
with every minute of my day because one still has to look after the bank account. Melanie:
Oh, I see. You mean you can get so involved in this that you get your priorities wrong,
is that what you re saying? Lawrence: I don t know. My friend, Pamela Wilson, says, You
just lie back in your love boats and trusting God. And I guess that s my the closest I get
to a principle. So not for the faint-hearted, these days. We all have to be courageous and
deal with what someone once said, Can you afford to go on holiday? And they said, I
can t afford not to go on holiday. And I think that s what this new consciousness is about.
It s not really what we can afford. It s about what we can t afford not to do. Melanie: Exactly.
Beryl: Fascinating, Lawrence and very calming. Lawrence: Good. Melanie: Speaking of which
because time is coming rapidly to an end, can you just tell us a little bit about your
experience of playing, delivering your music to meditational groups? Lawrence: Sure. Playing
to people who have the intent to meditate is very humbling because I had to deal with
my own noise and also deliver. It s a very powerful metaphor for a musical performer.
You see these people up there radiating divine and angelic energy with hundred thousands
of people and you think to yourself, Oh, how wonderful. But what they don t realize is
they have to deal with their own noise in the system in order to get to the purity of
that. So that was my challenge. And I guess to repeat exposure to that sort of experience,
I learned to be to honor that more deeply. Yeah. Melanie: I recall you telling us about
a piece of music you were composing. I don t know what it was, an improvised piece then
that and the effects it had on you or certainly the environment you are in whilst you were
putting it together. Can you relate that story? Lawrence: Yeah. I ve been sitting for half
an hour dealing with my own noise more than usual in this occasion during the time I was
playing during the occasion that I was playing for [Indiscernible] [0:46:29] meditation group
in the early days where there were only nine people in it, before she had the hundreds
that came later. And suddenly, it was as if I came to a clearing in the forest. And although
it was improvising with the tape recorder on, this piece came out intact, note for note,
the way I will play it for you now. And it was accompanied by the most unusual multisensory
presence and the most striking feature of this presence was that it was as if the room
had been flooded with a scent of roses, very, very rich, deep kind of red sensation and
perfume. And I wasn t concentrating so much on that but I was aware of it powerfully.
It was very, very pleasant indeed. But so I was making sure that the notes came out
right. And that that was the most extreme. I mean it happens to me quite often when I
m working. There s this sort of energy there. But this was the most pronounced breakthrough
in that realm. Melanie: So, would it be good for you to share some of that energy with
us now? Lawrence: I can t guarantee to produce a nine-foot angel or anything like that but
I will play. Melanie: I m sure something will come out that s appropriate to each of us
listening. Lawrence: Can you hear me now? Beryl: We can hear you. Melanie: Absolutely.
Beryl: Yeah. Lawrence: So, this is the song with the rose. [Music playing] [0:48:11 0:50:30]
Beryl: Beautiful Lawrence. Melanie: A big round of applause. Lawrence: Thank you. Beryl:
And Lawrence, just for m not sure you can hear me right now. Lawrence: Yes. Beryl: For
those listening by podcast, could you just tell us what that instrument was that you
were playing so beautifully? Lawrence: It s a Saz and the other people should know too.
Beryl: Yes, like me. I was trying to be a bit clever there. Lawrence: No, it s a S-A-Z.
No, it s good to be clever. Beryl: S-A-Z. Lawrence: Remind them that they re being s
good to remind people who driving their car or by the way, don t listen too hard to that
on the cars. It s too late to warn people. It s nice to make people aware that you re
thinking about them, right? Beryl: Well, this has been a lovely, lovely, enjoyable hour
that we ve spend with you, Lawrence. Melanie: And relaxing. Beryl: Very relaxing. I hope
you ve enjoyed it too. Lawrence: Fabulous, yes. Thank you so much. Beryl: I m sure there
s more that we can explore on another occasion with you. Lawrence: No, no, you ve blown it.
Sorry. Beryl: I ve blown it. OK. I m going to have to do some heart space meditation
now. Melanie: You should need to now. Beryl: If people want to find out more about what
you re doing, Lawrence and you are a fascinating individual and I know I could listen to you
for hours and explore other ideas with you. Lawrence: Very kind of you. Beryl: Where is
the best place for people to find you, Lawrence? Lawrence: On the web, I assume you mean. Beryl:
I don t think you want people knocking on your door right now. Lawrence: Meditationalmusic.net,
you can sample a lot of my music there and watch videos I ve made and a lot of different
things. I mean you can buy downloads there. If you people want to purchase CDs, they should
approach me privately or the Method Music Album that Pete Townshend helped record. There
s a lot of work went into that, three years of work and I m very, very pleased with that.
That s on Amazon on iTunes, you ll find it under Method Music it s called. Beryl: OK.
Lawrence: Thank you both of you very much. This has been very inspiring for me too. Very,
very nice. Thank you. Beryl: So thank you everyone for tuning in to today s episode
of HYPERLINK "http://www.WiredforSuccess.TV" http://www.WiredforSuccess.TV . We would just
like to mention before we wrap up that if you re watching this episode on our site,
then please comment in the box below and leave any thoughts and questions there Lawrence
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and join our newsletter for updates and content by adding your name and email. We reply to
all comments and suggestions and we would love to hear from you. So thank you for tuning
in. Remember to tune in for the next episode of Wired for Success where we help you to
master the seven areas of life. So from me Beryl and my co-host Melanie and from our
interviewee, Lawrence Ball, we bid you farewell until next time. Copyright: Wired For Success
TV All rights reserved. No part of this transcript may be reproduced, stored in a retrieval system,
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HYPERLINK "http://www.wiredforsuccess.tv" http://www.wiredforsuccess.tv |t|iTI h,{0
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F:\Clients\Nausal Technologies\October
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