Song and Word as Charms, Patterns, and Vibration

In this episode of Mystical Musings, Tava Baird and Jennifer Taylor open to their guides and receive fascinating information about the metaphysical uses of song and written word.  The messages necessitate the exploration of the ancient definitions and traditional uses of amulets, talismans, and charms, - highlighting their differences and applications in modern metaphysical practices. The hosts delve into the power of song and words as essential elements in creating protective and empowering objects, blending these ancient definitions into practical tools for contemporary use. They also discuss the interplay between sound, sacred geometry, and the pattern of existence, emphasizing the transformative power of music and story in shaping reality. The episode concludes with a note on the upcoming interview with author Jason Mankey and a replay of Gabriel’s lullaby.

00:00 Introduction and Reflections on the Last Podcast
01:16 Upcoming Events and Appearances
05:05 Musical Invocation and Spiritual Guidance
18:02 Exploring the Concepts of Amulets, Talismans, and Charms
27:58 Pendulum Motion and Singing
29:44 Creating Talismans from Dreams
34:38 The Power of Words and Song
40:29 Sacred Geometry and Cymatics
46:44 The Alchemy of an Angel's Work
57:12 Singing as a Defense Against Negative Energy
58:49 Conclusion and Upcoming Interview

Resources mentioned: 

discussion and demonstrations of Cymatics 

https://youtu.be/HVcjQ7tHFbw?si=H2CueWH-9A6KDVxE

Thank you joining us today, remember to LIKE and SUBSCRIBE to keep up to date with your tribe.

Connect with your Hosts!

Tava Baird: tavabaird.com or https://darkflowerbooks.etsy.com.

Jennifer Taylor: Willow Ridge Reiki and Healing Arts https://www.willowridgereiki.com/

Transcript

Song and Word as Charms, Patterns, Vibrations

Jennifer Taylor: [00:00:00] good morning, Tava Baird. Good morning, Gente. welcome to all of our, mystical Musings listeners, and Congratulations on making it past the two hour podcast of last week.

That is a major accomplishment. and I have to tell you, I feel like we have really been walking the walk of that podcast, this last period of time. Like it has definitely launched us into doing these practices and tava, in spades, doing that. So, uh, you know, any of you who are doing this along with us know that we are not just telling you this, but we are absolutely doing it in our daily life in a kind of an exponential way since that podcast.

Tava Baird: it's pretty funny. I know I always say everything is funny, but this actually is, it used to be Samiah would tell us things and then like six months later it would make sense. Now he says things and like three days later we [00:01:00]are doing the stuff he's talking about. 

Jennifer Taylor: Yeah. 

Tava Baird: I feel like the timeline has stepped up quite a bit.

Jennifer Taylor: Yeah. Things are, it's like, all right, you got it now. Use it. You got it now. Use it. 

Tava Baird: Yep. 

Jennifer Taylor: So we'll see what comes through today. 

Tava Baird: there are, a couple of unique things happening in the upcoming months.

but would you mind if I mentioned a couple of things that are coming up soon? No, absolutely. 

Jennifer Taylor: I know people would love to know how they might be able to see you in person, 

Tava Baird: and I'm hoping we'll get you down to one of these as well.

Oh, I should have grabbed, that's great. 

Jennifer Taylor: so folks, we are recording this at the beginning of August. We just finished, the Surface Project at the cemetery this last weekend and it was awesome and we had a really good time and I got to bone read for people.

Tava Baird: We are planning on doing another one of these the first weekend in November, and there will probably be a [00:02:00] death cafe at that time as well. So, keep your eyes out. 

if you are listening to this in nearly real time. I will be at once upon a con if you love fantasy. It is a enormous fantasy book conference with live action, role playing stop, and a whole vendor's market.

I will be in author Allie, and that is the weekend of the 15th, 16th, and 17th of August. We have some classes at the Blue Ball Inn in August. On August 23rd. There is a Book of Shadows class and a scrying and tea leaf reading class there to benefit the Inn on the 24th of August. I'm doing a puppet class in Frederick, Maryland, our Lady of Ravens and Wolves at The Simple Life.

If you have not been to the Simple Life, it is a [00:03:00] fabulous, fabulous, really new metaphysical shop right downtown on South Patrick Street. And oh man, do they have every urban, every crystal you could hope for? my books and prints are there and bone kits are there too. If you want to grab one of those, moving a little bit into September and then I will stop.

I will be at the Lovettsville book fair on September 6th. I will be at the Halloween Fear Fest in Hagerstown on September 13th. And then I'm doing a Morgan class at the Blue Ball in that same pop it one on the 21st of September. And if you wanna see me and gen together, what we're aiming for the weekend of September 27th and 28th is witches pride in Fredericksburg, Virginia.

I will be teaching a class on [00:04:00] blessing salts, which will have some of gen's Ricky charged herbs in among the salts and little alter brooms there on the 28th, which is Sunday morning. And Jen is gonna road trip down and hang out and get to meet you all. So, which is pride, check that out. And that is basically August and September.

And then Lordy, lordy, we'll talk about October later. 

Jennifer Taylor: Yeah. Well, I'm so excited to get to come to one of these, festivals and get to meet you guys, so I really hope that you can come out. 

Tava Baird: as we get closer, we'll let you know which day Jen will be there. She's like a moving target of pure white light. You gotta act quick to find her right?

Me? You can find it anywhere. I'm al I'm always out there in like a tent or a booth somewhere. Just 

Jennifer Taylor: you're like, yeah, I much more 

Tava Baird: elusive. You're like, yeah, it's Tabba again. Big W Where's Jenn? [00:05:00] I hardly think so. Oh goodness. Alright, so let's get into the singing. I can tell you Sam Mayel is, he's literally been will there be singing all freaking morning.

So I'm so glad you're about ready to sing. 

Jennifer Taylor: So I know the last time we did this, he was recommending that Lilith be invited to sing. does he have any sort of guidance for me as to who might be wanting to come through today? 

Tava Baird: Let me see. Sam, do you have Perhaps it is best to keep it calm for today. I thank you for that.

I appreciate that. Sam, are we still coming down from the last podcast recording? I know I am. Um, yeah, he said Gabriel might be a good one to, to tap in with. Yeah, my brother Gabriel. Okay, so, 

Jennifer Taylor: alright, [00:06:00] well, I invite in Archangel Gabriel to sing through me, and as always, Michael, as he feels, sees fit.

And of course, Samuel, it's always welcome should he change his mind. And so inviting all of the energy that is in our highest good for this particular episode to prepare us and open us to be able to listen with open hearts and minds. D. D. D. D. D. D. Ding.

DD, D, D, D, d, ding.[00:07:00]

D. D. D. D. D. D. D.

D. D. D. D. D. D.

D. D. D. DD. 

[00:08:00] ding. D, D, D, D, ding. D,

D, D, D, d, D.

D. D. D. D. D.

Oh,

Jennifer Taylor: ding. DD, D, D. Ding. [00:09:00] Oh.

D, D, D, D.

Ding.

D,

D,

d, [00:10:00] D.

[00:11:00] Ding. DD. D. D. D. D. D. D. D. D. D. D. D. D. D, D, D, D, d, d. Ding, ding, ding, ding, ding, ding, ding. D, d ding. Ding. [00:12:00] DD.

Oh my goodness. Oh boy. I was thinking this was, 

Tava Baird: I don't, go ahead. [00:13:00] No, no. This was not a topic that I had on my radar today. 

Jennifer Taylor: Yeah. I was wondering, when I was singing, I was thinking, this is something different coming in and I'm not quite sure what it is. And I'm like, am I getting worse at this or are they just throwing more and more at me to through?

And so it feels like each time I'm doing this, it's a new challenge of following and what I'm supposed to be bringing through and the types of energies that feel, I think I'd gotten into his place of feeling, comfortable with singing, with Michael coming through. And it just felt so comfortable and easy.

And now I think, and more maybe is being asked. Of me each time. And so I start going and it starts feeling really like I'm teetering on the edge, each time. So I sit down and I'm like, I [00:14:00] hope that I brought that through. I'm not sure where it was supposed to stop. It was like, and then more little bits came through.

So I have no idea what's gonna happen in the editing of that song. And if Sam all gets guidance of, where it was meant to stop or what was meant to be there. I am very open because I'm like, I don't know what just happened. 

Tava Baird: This is really interesting that you say that because he used what you were doing as an example, as he was talking to me.

Oh, boy. And I'm wondering, to hear, and I'm thinking about this, I'm thinking about this too, on the last podcast where he w we were bringing, you were bringing Lilith energy through, and so it became really challenging. I think when we, what we usually do is you bring in your sort of pure thing, and then Sam Iel responds to what Michael or Gabriel is sending and [00:15:00] talks, and they're kind of two almost separate processes, like, you know, we're turning on the radio and then he uses.

To dance. What I've noticed in the Lilith podcast and in this one is that the two processes are growing together. Where it's almost like he and Michael or he and Gabriel are, all three of them have planned what they want to illustrate in advance or planned who they want to come through.

And you've been asking more, give me the flavor, who should I bring in? And we didn't use to do that very much. And so I think what's happening is the whole process, they're not sort of two separate things that are happening at different times anymore. One that isn't inspiring the other, they're actually happening at the same time.

And so I think what may be happening is in certain places, Sam Ael is putting down words and he wants to make a [00:16:00] point and he will say, look at what the singer is doing now. And that sort of timing and that synergy where it's really blending together rather than having sort of two almost separate ingredients happening one after the other, I think is a lot more complex.

Yeah, it's, I'm just guessing here. Because this was very much him talking about what you were doing at that moment as he spoke. 

Jennifer Taylor: Yeah. I almost wonder, 'cause I think about people listening and I know that in real time, you're writing, feverishly trying to get down all the words and there's all this happening.

And so when there are these long pauses, I worry about the listener being like, did we get disconnected? Like, why is there a long pause? So I usually kind of edit, those things out. Yeah, yeah. But if, the pause is a part of the process of listening, 

I do think, more and more, it's one [00:17:00] unified thing that's coming through in song and word at the exact same time.

Yeah. And how to translate that to, to listeners is the challenge. Yeah. 

Tava Baird: Well that 

Jennifer Taylor: and bringing it through. 

Tava Baird: And so I'm wondering if that's why it's feeling so much more complex, because I'm writing over here and he says, listen to the singer. And he stops speaking so that I can do that.

and then you start doing something and then he comes back and says, her voice is being used as blah, blah, blah, blah, blah. So there very enmeshed. 

Jennifer Taylor: Wow. Whereas 

Tava Baird: it used to be almost like you were singing and that inspired him and he spoke. Now it's almost like he's like, kids who, we have a lesson for you today.

You know, Michael's gonna start and then as Michael's doing the experiment, I'm going to comment on what he's doing. 

Jennifer Taylor: I get to be the angelic experiment. [00:18:00]

Tava Baird: Oh boy. Do you, um, Okay, so before, I read this, I feel like I should clarify how some of these words are being used because it makes sense.

for our listeners, there are three words that you hear a lot in religious and metaphysical and communities. And those words are amulet, talisman, and charm. Okay. Now, a lot of people, me included, until I started actually writing books about witchcraft, we tend to intermix the words. And go, oh, it's a charm for this.

It's a charm for that. It's an amulet for this. But we don't necessarily know what is the difference between the word amulet, the word talisman, and the word charm. So I want to give you the context first, because if you don't know that what he's saying is not gonna make any sense to you. [00:19:00] So, when we talk about an amulet, okay?

An amulet is, something worn usually or carried. It is an item that is supposed to ward off negative energy. That's its purpose, is it keeps the bed juju out. Think about when people wear things in the Middle East, like those evil eye protective bracelets and pins and things. That's to ward off the evil eye.

That's an amulet. And historically, ambulances were often natural items, so it would be a rabbit's foot or a four-leaf clover or a, tooth of something, right? They were natural items that people carried in order to deflect negative energy. Okay? and I will tell you there are lots of people with different opinions on these things on the internet.

[00:20:00] But, I went to one of my trusted sources, which would be Lewellen, right? Big metaphysical publisher and also several other sites that I follow where, I believe they're witchcraft to be very, very well researched. And this is my understanding, if you want to come out to one of the events and, fight me over the difference between amulet and talisman, I really hope we won't do that.

sit down. I'll buy a hot dog. We'll have a good time. But, you'll know where I'll be. Okay, but amulet, the original definition we believe was that it warded off negative energy. A talisman was something that magnified power to bring protection, healing. You could use them for harm, but basically they amplify things.

So this is going to be, you've made a piece of jewelry that has certain stones in it, certain woods, a lot, certain metals. A lot of times these things have magical, like they're [00:21:00] constructed for a magical purpose. Rabbit's foot comes along on a rabbit, right? 

The clover when it grows is a clover, right? It wasn't constructed by a human for a magical purpose. you didn't select copper for grounding or rose quartz for love or elder wood for protection, that sort of thing. So talman are usually used to amplify a particular energy that's already around, be it negative or positive.

So, they can have a multitude of purposes. Some of the examples that I've seen is are also like Excalibur King Arthur sword, right? It was a magical object designed to amplify his already sort of magical ability and prowess in battle, right? It took his qualities and basically [00:22:00] juiced them up. You might have sports stars who carry around something to make sure that they win it a game.

Those sports stars are already talented. This talismans kind of juicing up the power, And a lot of these things are constructed for that use. Exclusively. A charm is good luck or fortune, right? So you could also say a rabbit's foot is a charm because that's how we use it. But what I didn't know is that in ancient times, charms were not physical objects.

They were spoken or sung often as blessings. And this is how. And so now in our modern era, we go, oh, what are you carrying in your pocket? Oh, I carry this for good luck. And then we just insert the word. It's an amulet, it's a talisman, it's a charm. And the waters have become very muddy [00:23:00] over the difference.

So now you could say, I call this my lucky rabbit's foot charm. But that probably would've been called an amulet a long time ago because it was of natural materials and it's supposed to ward off negative energy. Okay? And now if you use it for luck, it becomes a charm as well.

So, I know this sounds kind of crazy, but the reason I'm telling you this is because Sam ael is using the old definition of charm. Talisman an amulet as he's speaking here. So to review, we're gonna use amulet as something that wards off negative energy and is usually has some sort of natural base. A talisman is something that magnifies energy.

It can also bring good fortune, but it's raising things and it's often constructed for that purpose. And then a charm. It [00:24:00] can actually be like a sung benediction or blessing or prayer. And now people carry concrete things and call them charms so we can duke it out over what your rabbit's foot should be.

the witchcraft police aren't gonna come wrestle you to the ground on this, but he's using these differently. So here we go.

I wish to speak on charms. Um, shaah for everyone listening can use one. Listen to the singer. Her voice is being used initially as a charm, a blessing, a bell. You carry this source of good fortune with you. When I speak of being the word, [00:25:00] understand that these utterances may also be used as charms. Cut up my book and wear it.

I kind of went, what the heck? So what he's trying to tell us here is that Jen was going, ding Don. Ding, Don ding. She's clearing space with the power. She's making herself a human bell. That bell sound was clearing space, okay. To bring about goodness. Right? Good luck, good fortune. It's a blessing for our podcast and everyone who's listening, he's saying that beyond it being thought of as we're just sort of setting the stage, that you can actually use recordings of Jen as a charm [00:26:00] or copy what she's doing yourself to bring about an intended effect.

So say you're about to walk into a business meeting that you think is gonna go south, you can literally, without having to have any physical object, bless the space and quote, unquote charm it by standing outside the door for a few minutes and going under your breath. Ding ding. So he's giving a name to that practice and it's charming it 

Jennifer Taylor: when interestingly it, and this dawned on me near the end.

In this instance, it wasn't ding dong, it was ding, ding, ding, ding. Oh, you're right. And near the end. I thought, I wonder if there's a difference. Like there must be a difference in the ding dong and what that does. And the ding ding, ding. And [00:27:00] I wonder if the ding, ding, ding part is like a charm and a blessing and maybe that's the part, maybe the dong part is the part that's like the lower vibration clearing things.

And the ding balances that when you have ding don ding dong, it's like blessing and clearing and blessing and clearing. And that the ding by itself, maybe that's more blessing, which is charm. 

Tava Baird: He says, ding dong, we are so gonna have to title this podcast. Ding dong, ding dong. The No, not that. No, not not.

Ding Don The Witch is Dead, because then that becomes a solo podcast. Um, okay, he says, ding Dong is balanced. It's ascending and descending. He says, ding, ding is an advent that you play it to bring something in. Something's coming in. There's your blessing, right? [00:28:00] Yes. 

Jennifer Taylor: And so as I, so as I was singing. I found my arms, I was making this like pendulum motion with my arms.

you have the balls that hang down and they hit each other. They like on a string, and you lift one back and it knocks the other one. And the other one, knocks out like back and forth and back and forth. That's what my arms were doing. They were down almost like holding a ball and one would swing out to one side and back together and kind of like it was hitting the other one and the other one would swing.

And so a lot of times initially there was a different sound that I would sing when I would do that motion. And then I would stop and do this ding, ding, ding thing. But then near the end I was doing the ding ding while my hands were doing what feels like would be the balancing motion. Right. So I, I'm really interested.

Yes. I can't wait to see what he says. There's, that's that kind of evolved. [00:29:00] Yeah. So sorry I've totally hijack, hijacked your thing. But no, the ding and the ding ding. I started realizing, no, there's a difference. 

Tava Baird: But this is reframing. I mean, a lot of what you do all the time that not only is this music for us to begin and start a podcast with and for this space, but that so much of what you do can actually be used as.

A practice or mimicked as a practice and used or carried as a charm. And so, hold, we're gonna keep going here. There's a little bit more. Now I need to fess up something before I continue. So I've been dreaming about making these particular items lately and I've actually gotten supplies to do it.

And, but I haven't had time. And so I [00:30:00] thought as I go off to, free spirit gathering to teach this week, I'm going to have some downtime between classes. And I thought I would actually try to manifest these things that I've been seeing in my head. And so he's talking about this. He says, the objects in your dreams are talismans symbols to raise power and amplify stuff them with words to add the power of charm.

So these things that I wanna make are actually little pins that have little fabric art envelopes almost on the bottom of them, little pockets. And he's telling me to take the book of Sam and cut up. Things that he says and put them in the [00:31:00]pockets. So the words or song is a charm part. And then the artistic vessel that I am creating with color and not magic and intention in mind is a talisman.

So they're blending there and he says, and stitch slowly and with intention, add the power of amulet as well by adding nature. So now he's wanting me to stick in a little bit of bone or a little stone or a little something. So he's essentially telling me how to create a magical object that is at once a charm, a talisman, and an ambulance technically, and that will have all of these different elements as part of it, he says.

After [00:32:00] that, I encourage those listening to create their own holy relics in these difficult times and gift them to others from wood, clay, or stone knots or fabric. Bone and hair and glass ornament yourself and march forward without fear. So I believe he's wanting us to get creative during these times when we often are feeling like it's one bad news slog after the other.

And to create our own holy relics that involve spoken or singing in words in their creation. [00:33:00] So music, creative use of, whatever of color, magic, not magic numerology. Whatever magics we've got that we are comfortable with. And then to add to it something from nature, which is where we reach the divine and to wear these things or to keep them in our bags or put them near our beds, to help remind ourselves that we are divine and that we can create our own holy objects to protect ourselves.

And I did not expect this today. 

Jennifer Taylor: Yeah. I had so many things that I'm like, oh, I'm sure we'll end up talking about this. Nope. 

Tava Baird: Well, I mean, and I assumed because we had, you know, what happens when you assume, but because we've had so many experiences in these past week or two with what do you do when there's [00:34:00] a negative energy taking up space in your dwelling that when he started talking about this, I thought, oh God, he's just totally switched topics now.

I'm wondering if he has, because as I've been going into these more haunted or troubled spaces and trying to help people clear the energy, a lot of times I'm a little bit, I know I need to bring in protection. I know I need to bring in wording. I'm loading my pockets with all the normal stuff, you know, Blackstones and incense of different sense.

The main thing that I have had that has actually worked at when I went into these spaces was your voice. When I left a space the other day that was very, very troubled, the first thing I did was get in the car and call you and say, please, please, please sing to me over the phone, [00:35:00] and you chanting and singing, cleared that space like no other.

It invited the good fortune in. And so now I'm seeing that there are actually things I can construct and wear and bring into these spaces when I'm doing energy work that are gonna be more powerful than any one Black stone or one Blessing oil on its own. Because in some of these cases, I've gone in and sat down and gone to pick up what I thought would be a powerful warding item for the situation, and had the entity that I was working to converse with laugh at me.

And I went, oh no. Oh, oh, that doesn't actually bother you. And that's what I brought to protect me. But the, he's telling me what I can make, what we all can make when we're walk walking into the toxic [00:36:00] workplace, when we're walking into the family argument over the will when we're getting up in the morning and news comes on and makes us want to weep.

I think what he's telling us is that we can construct our own very powerful, intentional items to protect us and guide us and ward off negativity at these times.

And that we shouldn't assume that they need to be made by others, or that they necessarily need to be 100% material items. Because charms were originally the power of word and song. And so you're going to incorporate words and song into these items that will also have components of your own artistic creativity and the [00:37:00] natural world in them.

Jennifer Taylor: And I love the idea of. Creating one thing that is at once, a blessing, a wording and an amplifying of the energy that you want, you know? Yes. I mean, how powerful to have a charm, an amulet, and a talisman all in one, to use. I mean, that's seems really powerful. And something hit me. I was thinking, depending on what you're doing, Sam Mayel gave you those words to say that we recorded.

Tava Baird: Yes. 

Jennifer Taylor: Um, what if you were to write or print out those words and cut those out and roll them up and put them in something. When you are going to be in a situation like that, you could be wearing those words, like having the power of those words from Samuel and Lilith, as a part of it.

And depending, then on what sort of [00:38:00] situation you're going into. You could have then just the kind of, 

Jennifer Taylor (2): specific charm that you need It's almost like a written word, amulet because it's a major kind of warding.

It's a, in the words child mullet. Yeah. Because he was saying to use them as charms, I guess maybe though cutting up the words that he's spoken that are blessing and empowering to us, which also then the empowering is also talisman. Yeah. I mean, he provides us words for all of these things.

Blessings and warding and talisman and 

Tava Baird: empowering and to be able to use those, instead of just thinking, okay, I'm gonna read it and this is gonna be something that I learn to actually write them or inscribe them or roll them up and put them in something, and have that, I was thinking of how powerful would it be, in some of these instances where I'm going into a place that really needs [00:39:00] clearing and help to bring, printed out the invocation to him, andt it to the wall.

when I had an event where I was helping, someone recently. And when I went over there, after I started playing the music that Jen had so kindly given me to help start clearing out the energy, one of the things that I did was I had transcribed Samuel's words that we used in the last podcast, and I said them aloud, and then there was a section of it where I would say it, and I would have the person that I was helping repeat after me.

And as soon as we started to do that, the person who needed this clearing, who needed this space, who needed this help, as soon as they started repeating Sam Miles's words, they just started to cry. Like you could [00:40:00] see the wall around them getting broken and the emotion coming out. there was a strong effect in having the person who was sort of stuck in that space and couldn't get out, start repeating Samuel's words.

And as they did, the negative energy that trying to feed off of them started to fall away. So now I'm like, whoa. There was a university I visited once. They may have done this at UVA too, but when they build universities, they put in pathways, right?

They put in sidewalks between the buildings, but students don't always use sidewalks. They take the path of least resistance. So if there's a more direct route between the commerce school and the dining hall, doesn't matter if there's a sidewalk there or not, they're going to walk it and eventually it gets worn down and it becomes the pathway of its own.[00:41:00]

I've seen some universities that when they first put up the buildings, they don't put in the sidewalks and they wait for the students start walking and that first group and they can see exactly where the sidewalks need to go. Right? These are the places that, and the students are carving their own path.

We do have this, it's striking me now that while we do have these very definitions of talisman charm amulet, over time as humans, we have really carved our own path where we've blended the definitions together and we use them interchangeably despite how they may have been used a couple hundred years ago.

And s Mayo was using those definitions to explain a concept to us, but at the end of it, he's just telling us to blend them again. 

Jennifer Taylor: Yeah. Take 'em all together and make one thing out of them. 

Tava Baird: Yeah. 

you know, the natural course of our magic is making those exact definitions less and [00:42:00] less clear. Said something really neat to me the other day. They said purpose of language is to communicate. Actually, it might have even been Jason

Mankey actually, we've already had it, but you guys haven't heard it soon. But we haven an interview with him coming up. and, we spend so much time, a lot of times nitpicking grammar or exact definitions or, well, it's technically pronounced this way. And then you look it up and you discover there's 10 different pronunciations and it doesn't really matter if the person understood you.

That's language. 

Jennifer Taylor: Yeah, absolutely. I think when we get stuck on, the semantics, then we completely lose the message to begin with. when we start nitpicking the way in which it's delivered as opposed to just getting the information, then we're automatically off track.

but I appreciate how important it was to know that going into Sam's words because. Without that, we wouldn't have had the distinction of what each part was [00:43:00] that he was talking about. So for that, for going into hearing his words, it was important. 'cause otherwise it seems like he's just saying the same things are three different things.

So I, I think that was helpful. Yeah. it occurred to me, I've been sitting here trying to think of, would it be valuable or useful at all to take song and put that into some sort of written kind of form. Like, for example, you could put what I just sang could be transposed into, written musically, on the notes on the staff.

And that could then be printed out. Yeah. Un rolled up, put in something. Mm-hmm. Or with a Simo scope, you could get a visual representation of sound and that image that looks kind of like a mandala could get printed out and used. 

Tava Baird: Yeah. And I'm wondering, oh, that'd be amazing.

Jennifer Taylor: Like, Or if we're partially missing what [00:44:00] Sam Ile is saying and that the utilizing of our own voice or the playing of the sound, you know, we have plenty of words that we can use. Maybe it's more important that we sing them, you know, that we sing them ourselves and we use that additional component, that additional vibrational nuance to add to it.

And, you know, stick with words as the things that are naturally written or if, he would feel like that was something that would be beneficial. 

Tava Baird: He is for Sam Mayel, very excited. He said. Both are good. And when you were talking about how, when you print out some music, it looks like you said it looks like a pattern or a design.

Jennifer Taylor: Oh, that's, cymatics. cymatics is sound made visible. And so John Stewart Reed has discovered that you can create a visual of sound and that it's not in [00:45:00] waves, but sound is actually spherical. And the two dimensional representation of those looks like a mandala.

And they've discovered that they've actually been able to kind of. reverse engineer the sound as well from images. So for example, monks who would chant mantras or seed sounds and have been drawing these intricate mandalas for, hundreds of years, probably thousands of years up in these, monasteries.

And they're up in the temples on the walls. That those are actually what the actual scientific representation of the sounds are. So let's say they had om and they were chanting om and they were drawing these, they were actually drawing exactly what the form of that sound actually looks like.

you know, and they knew that. But s is like, no, that's just some sort [00:46:00] of pretty design they made, you know. And so what John Stewart Reid has discovered is that you can actually bring sound into the visual thing and you can see what that sphere of sound looks like when it's created.

So they used to have an app that was, I think it was like six or $7 and you could like say your name into it or something, and you would see it would translate , the vibrations into an image. But the app is now defunct, so I don't know that there's a way of doing that other than directly working with John Stewart Reed.

Um, but if we could, it seems to me like that would be really powerful. 

Tava Baird: Samuel says Sacred geometry. It is all sacred geometry as you were talking about the things, that is how angels speak. And then he said Sing Metatron. I mean Metatron does have symbols that are associated with [00:47:00]him. 

Jennifer Taylor: so one of the things that they've done with Cymatics before, he had the Cscope, which is a really highly sophisticated instrument, they would just take, a metal plate and scatter like really fine powder or sand or something on it, and then attach a clip to it, and they would send sound into that.

And when they would do that, all of the just piles Of dust or, you know, whatever they put on there, like sand would immediately start to vibrate and form shapes. And the shapes that they formed were sacred geometry And also reflected natural patterns, like the pattern on a tortoise shell 

And they were increasingly complex as you went higher up in pitch. and especially if it's in a harmonious thing, so like cells and stuff, when they're really harmonious, the image is very coherent. Like it's a, it's a sacred geometry kind of looking image, [00:48:00] but when it's not, it's a distorted, like asymmetrical out of balance kind of thing.

So I wonder if I had Metatron sing through me. If that would create, a really high vibration image that would then be beneficial to use. Or if it's actually singing his name, Oh, he's 

Tava Baird: going name, name, name, name. 

Jennifer Taylor: Okay. So like singing Metatron, Metatron Metatron. Yes. Seven times I would bet. 

Tava Baird: And he says exercise caution. Exercise caution. And inviting Metatron to sing it can be overwhelming. 

Jennifer Taylor: Yeah. Yeah. I can imagine. Let 

Tava Baird: that one a little bit more, um, a little bit more coming through is he is way into this conversation with you.

He says, gates and portals are sung open and closed. [00:49:00] So in order to open and close Gates portals, they are sung to create them. And he jumped when you were talking as soon as you said hurdle or the tortoise. Shell, he was talking to me at the same time.

So Saturday night I was out at the Greenhill Cemetery and I was out in front of the mausoleum 'cause it was much cooler outside than it was in the mausoleum. So we had like dinner set up in the mausoleum and then everybody was eating outside. And I was hosting at the mausoleum as volunteers came in.

But some of our volunteers had already gone out to start working. And I was also doing bone readings for people. So I'm sitting at this table with my bones and along comes this lovely, very nice volunteer, walks up to me and he says, we found two things as we were cleaning. And Marco, who was [00:50:00] one of the other organizers, told me he should bring them to you.

And the first was a jawbone of an animal with teeth still in it. It was gorgeous. I think it was probably a young deer. And so I set that aside. But the second thing was a turtle. She, and, there was no turtle. It was almost entirely intact. Like you could flip it open over and the bottom was still carefully connected in places, but on the back, on the turtle shell's back pattern is there was a hole.

Some sort of predator had managed to break through the shell or something broken through the shell, and there was a hole in the pattern. Sam Mayel started talking about it as you were talking about the sacred geometry [00:51:00] of the turtle's pattern. Said Turtle shall. The break in the pattern is captured in the sound and vibration of the moment before its death.

So there is a relationship in the whole, in the pattern, almost like if we were to somehow take that turtle shell and remove the part of the song from the pattern where that hole was, where something broke into its life, we would get a vibration and pattern and sound that was evocative of the existence of that turtle just before it died.

And like when he said that, my whole heart just went, oh my God. [00:52:00] Like I think there's something here in this sound and pattern conversation that says, when we break a bone or when we break a glass or when, we find an old skull in a burial and there's a hole in the skull somewhere, that those placements of those breaks are not random.

They create a vibration and an. A, an image of what that moment that they occurred, that moment when things were shattered sounds like and looks like energetic space. I feel like we've gone way up to the perimeter here. 

Jennifer Taylor: Yeah, I'm really just sitting with [00:53:00] that. I really feel like I just need a minute to just sit with it and see.

I feel like something is sort of trying to piece its way together.

Tava Baird: He's talking a little bit more.

He says everything you see, every scattering of pedals on the ground

is not random. It is a part of the song,

the song of existence.

The pattern of being,

the sound of realms,

broken,

singing, adjusts , pattern back towards the all.

[00:54:00] Never underestimate the power of music and story.

It is the thread

that binds the universe together

It is the alchemy

of an angel's work. I don't know what that means. I'm gonna read The alchemy of An Angel's work saying, as he said, Angel's work. Everything you see, every scattering of pedals on the ground is not random. It is a part of the song, the song of existence, the pattern of being, the sound of realms, opening and shutting their doors when all around you seems broken.

Singing adjusts the pattern [00:55:00] back towards the all. Never underestimate the power of music and story. It is the thread that binds the universe together. It is the alchemy of an angel's work. He's said before that angels converse in song, but it sounds like he's also trying to tell us that the manipulation of song is the manipulation of vibration, everything vibration according to him.

So that. Yeah. Every time something happens, a predator launches on a little turtle and cracks the structure that is there to protect it. It's a tragedy for the turtle, right? The turtle is not going to be embodied much longer. Her, that attack, that [00:56:00] violent moment, created a vibration. It created a, a change in the pattern of the turtle's life.

It created, from what you've said, a connection that vibrates that we can see visually beyond just the physical. And so what he's saying is that when people or things around us beings, whether they're embodied or disembodied, invade our borders and create heartbreak and difficulty, and we feel like there is nothing we can do, we think, oh, I'm not there .

I don't have the resources to fight it. That song and story or things that are not just there to make us feel better, but by putting positive energy in nation. [00:57:00] of those things we can help swing the balance away from destruction and back towards creation. On an energetic level, this is reminding me of something that happened at the end.

There is an entity at the Inn who is not nice and he tends to come up to people, somehow, knows their deepest, darkest fears and starts to verbalize it to them. And I had an encounter with him once, and the way I got him to back off and go away was I sang at him. And we've done this in the, in multiple people have, some people have encountered him in the, have encountered him in their cars outside.

Some people have encountered 'cause he'll try [00:58:00] to get in the backseat of people's cars. some people have encountered him in dreams. He is there and he can be very overwhelming. But if someone starts to sing, even if it's just happy birthday, something that is a happy moving full of emotion song, he backs off and he dissipates and he keeps his distance.

And so this feeling of hopelessness that we have, that there's nothing we can do to ward off the dark and that the dark is coming in around us. And I, by this I don't mean the sacred dark, I'm sorry, I should have said negative energy, because I kind of jam along with the dark these days. But singing is our first line of defense.

It's our first charm. 

Jennifer Taylor: thank you so much for joining us today. We look forward to continuing this conversation with you two weeks from today. As next week, we are interviewing the [00:59:00] Luan author Jason Mankey, who is absolutely wonderful. He is the author of the recently released High Priest.

Which is a biography of Raymond Buckland, who is considered the father of American witchcraft. So we hope that you will enjoy this conversation with him next week, and then we look forward to continuing this conversation in two weeks. But before we go, we will leave you with a replay of. Gabriel's lullaby to bring in a really soothing, calming energy to send you back out into the world.

[01:00:00] [01:01:00] We.[01:02:00]

We [01:03:00] [01:04:00] [01:05:00] are.