Song and Word as Charm, Pattern and Vibration Part 2

Re-join your hosts for the exciting conclusion of the conversation which began 2 weeks prior with the discussion of song and words as charms, patterns and vibration.  After a brief reminder of Samael's words from Part 1 Tava and Jenn continue their exploration of song as divine patterns, full of information, healing and remembering. The concept of soul songs and divine blueprints are discussed.  They introduce the 'Temple of Song' as a place for discovering, and expanding one's unique song. The discussion continues with an exploration of harmony and silence and their roles in creating pattern. The episode concludes with an emotional message from Samael to Jenn about singing her own songs as well as being an instrument for others. 

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

Jennifer Taylor (2): [00:00:00] Welcome to part two of this Mystical Musings podcast, because it has now been two weeks since you have heard part one. I'm going to just remind you a little bit of what it is that we were speaking of, just to help the conversation make sense and refresh your memory. And I thought that possibly the best way to do that with regards to this conversation is to start by replaying, Sam's words 

speaking about the power of song and pattern and how all of this comes together and spoken word. I will also replay the song from part one, to bring us back into the energy of the conversation. So we'll go right into that and then we will continue the conversation. Thank you so much for joining us again this week. 

Jennifer Taylor: D. D. D. D. D. D. Ding.[00:01:00]

DD, D, D, D, d, ding.

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

D. D. D. D. D. D.[00:02:00]

D. D. D. DD. 

ding. D, D, D, D, ding. D,

D, D, D, d, D.

D. D. D. D. D.[00:03:00]

Oh,

Jennifer Taylor: ding. DD, D, D. Ding. Oh.

D, D, D, D.

Ding.

D,

D,[00:04:00]

d, D.

[00:05:00] 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. [00:06:00] [00:07:00] DD. 

Tava Baird: 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, understand that these utterances may also be used as charms. Cut up my book and wear it. he says, ding Dong is balanced. It's [00:08:00] 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? Yes. ​

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 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 [00:09:00] 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 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 [00:10:00] 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. of those things we can help swing the balance away from destruction and back towards creation. 

Jennifer Taylor: Yeah. And as I was kind of sitting and connecting as you were bringing [00:11:00] through his last set of words, the thing that kept coming to me was sing the new patterns back in place, or seeing the patterns back, 

'cause for me, I'm always looking at, okay, how do we use this with healing? how do we use this information to bring through healing? And if injury is a song of the breaking of the pattern that was the wholeness, then by singing a new pattern or singing their original song, the song of the blueprint of their wholeness back to them, you are, it's like you're fixing the pattern.

you're resetting the pattern. You're bringing in a new pattern and then allowing the energies to reform and realign along with this new pattern. And the song is the pattern. [00:12:00] And the song holds the energy of the pattern. 

Tava Baird: He says, "yes, singer, you cannot undo what has been done, but you can sing in a new piece to repair and build."

You're not gonna erase what has happened to them because once the turtle shell is broken, the turtle's life is forever altered. But you can sing in a new piece that will fit in and act as a bandage so that things can move forward. Things can heal, things will be altered. But that doesn't mean they can't be made stronger.

"Original scars remain" 

Jennifer Taylor: Yeah. And this idea of someone's divine blueprint [00:13:00] or their kind of original blueprint has come in for me in a lot of ways, and I've used it in a number of ways in healing sessions. and also the idea of a soul song that had come to me a long time ago, and that I learned that in some kind of indigenous, tribe somewhere.

I had heard that when a mother is pregnant, she goes and sits under a certain tree and receives the soul song for the child, and she learns it and she teaches it to those that are close to them, and then the ideas that they teach it to the community as well. So as the child grows, whenever the child acts in a way that demonstrates that they're veering from who they really are, then they sing the song to that child, their soul song to that child, and it reminds them of who they are and their essence, their divinity, and it helps [00:14:00] them to right.

Themselves and get them back on their path. And this may be something that does not actually exist somewhere, but somebody has perpetuated these stories. But I love the idea of a culture where if someone commits a crime, rather than putting them in jail, the entire community gathers around them and sings their soul song to them until they can remember who they are and realign with that.

And I wonder if that soul song is essentially the pattern of their essence, the what they know when they're in there remembering the, the part of them that decided I'm coming down into this embodiment. And that soul song holds the pattern. And that when you can sing this pattern back into them and their embodiment, it helps to realign things with that original essence and knowledge.

And [00:15:00] if that is kind of the same thing of if you could sing the divine blueprint of someone, and I don't know if Divine Blueprint is more of a sort of physical blueprint of maybe your original, your body in its healthiest form, because I've seen that as a, blueprint made out of really intensely bright blue light.

with all these like points and all these lines connecting it that can be overlaid over the person's body to do the same kind of thing. That it's a pattern that when overlaid on your physical body helps to remind the physical body, oh yeah, this is how we work. If that's the same thing. But years ago, and I know Tava knows because I think you're the only person outside of a dog that I sang this to, 

I felt like I received your soul song on your birthday. Yes. And I recorded it, and then I didn't have the courage to play it. Love to give it to you until like a [00:16:00] year or two later. But the, and love the effect was profound. And so I'm starting to feel like more and more I'm being called back to the idea of that receiving someone's soul song.

And then it could be used as that pattern to remind themselves of their remembering. 

Tava Baird: I have something else coming through for you from Samuel.

Oh, this is good

"singer. The Temple of Song is a place where humans can return to repair and find their unique song to heal, to build, to find their place in the pattern." Say that again. Do I have that down? "A Temple of Song is a place where humans can return, so they [00:17:00] don't go there just once to repair and find their unique song."

So you're saying they get, they go to the Temple of Song to discover what they need to sort of patch the hole that, that are the holes that are opening up in this incarnation. He says yes, "to heal, to build, to find their place in the pattern, both earthly and unearthly."

Jennifer Taylor: So it's not something that I would bring through and sing to them, and that they would sing for themselves. But I create the Temple of song and I help them to access it, and they receive the song themselves directly. 

Tava Baird: He says, no, [00:18:00] no, you may do this. Each person is different.

Oh boy, there's a lot of gesturing. Okay.

He says, it depends on the person, but some may not be able to hear anything when they first come to you. You will have to bring it through for them. There are others who will come to you or return to you further down the path.

I don't even know that word to,

to add to the composition is how he has dumbed it down 

Jennifer Taylor: for 

Tava Baird: me 

Jennifer Taylor: to add to the composition. Did it, was it an English word that he used? 

Tava Baird: I don't know that it's in this language. I think we're dealing with an angelic communication vocabulary issue.[00:19:00]

So you're saying that there, that songs do, songs develop over time. So he says that the, what you call the soul song is at the center of everything, but that as people go through different incarnations and different lives, there are additional voices and instruments and overlays and repetitions, and that sometimes it all starts with finding their unique base, but that the song may change over time as they walk through this incarnation and remember other parts of themselves.

Oh, okay. Okay. K, k, k. Okay. He's, we're exampling here. Okay. So listeners, I, this is way out there today. Um, okay. do you know how recently when [00:20:00] you have been working on healing for people, you've been getting flashes of other rituals and other songs and other places that you have performed healing in what we would term other lifetimes?

Or they might be other time flows? Other DI don't know exactly, because we are our own ancestors. Oh God. I feel like I need I'm gonna need some hardcore singing at the end of this. So your place in the all in Between your life Times has a vibration and a song. But that place in the All As if you choose to come back to, okay, don't talk about the whole everything.

Same. Just Earth for right now. Okay? So imagine, God, my brain's exploding. Okay? Imagine you are getting ready to be born and you have [00:21:00] never been in an earthly body before. You have. You have maybe been a divine creature at other places or what have you, and you come and so you have a song, and in that song is contained your unique particular vibration of the all.

But then you choose, I'm gonna come down to Earth and I'm gonna be human for a while and I'm gonna learn what's here. And all of my experiences here are going to inform those watching who take all the patterns of everything that you're doing here and everything you're learning and what happens. And they give all that back to Metatron.

And that is all research that moves the collective all forward. But that's a completely different topic. We'll get to that. But you are, you're also going to vibrate differently when you're in a body than when you're out of a body. Your song is. Have another layer to it. Maybe you started off as all harp, but now you've [00:22:00] got some guitar.

Maybe now you've got some vocals, right? All of these experiences of this incarnation are going to be layered over top of that pure first pattern of number and vibration that we can call song. And even when you leave this body and you go back to the place of remembering, you're not only gonna remember your initial harp, but you're gonna get the guitar.

Then you decide to get incarnated again on this go round, and I'm simplifying this because you're picking up a flute, right? And at times, as you are doing healing work down here, what's happening to you is he's saying, you are starting off with your pure form of harp. This incarnation that is Jennifer Taylor, is a complex guitar arrangement that goes with it.

The next one is flute. Maybe on down the [00:23:00] line you're playing the oboe, but you're doing a very strong healing for someone. And suddenly some of that guitar from another life comes flipping right in. And you go, whoa, where'd the guitar come from? Right? That the songs become multilayered and complex. The more experiences you have, and you can remember all of these, every time you return to the divine.

So the song is always becoming more elaborate, more beautiful, more deep. It's always becoming more of a complex pattern. The longer you go on, the more that you touch other divine entities and have their vibrations rub off on you, the more time that you have experiences. So what he's saying is you may get people who come to the Temple of Song who say, in this incarnation, [00:24:00] I can't hear my heart or my guitar, I'm kind of lost and I don't know what to do.

And you may bring forth through for them harp or harp and guitar or help, maybe they've got their harp, but they're having trouble finding their guitar. You know, you are going to help facilitate them being able to move with these vibrations and learn to sing on their own. But you might have somebody who's got a whole fricking John Williams orchestra going on already, and they're already a powerful healer and they're drawn to your work and they come in for a tuneup and a repair.

Or maybe there's a part of a previous incarnation that they need to fully develop as a healer that they can't quite remember. You can help attune them to that. So that they can then start to bring it through themselves as well. So it's going to depend where people are and how, if they feel very blocked in this life or if they're already like, [00:25:00] dude, I have led Zeppelin going on in my head all the time, but I feel like the drummer went and had a cigarette break.

Is there any way you can help me find the drummer and bring him back in? It's going to depend on the person and how many visits they've been there and what their healing requires. 

Jennifer Taylor: It's really fascinating. One of the things you were saying is that as we have more and more experiences in lifetime after lifetime, the musical composition becomes more complex.

And it reminded me, going back to the cymatics as you move up the, the musical scale. Like, you know, if you start with like the very lowest note, the geometry that you see is very, very simple. just like a couple basic lines is all that's on there.

And as you work your way up in pitch, there's, which it's like you could almost be seen as like [00:26:00] lifetimes. The pattern is goes from very simple and then you, if you slowly side it up with like, it's, I believe it's called gda, where it's like, oh, where it keeps, it's like where there's not a clear, you know, going from like do re Me, but like everything in between it, the in between those major notes, it goes back to this chaotic sort of thing where everything just sort of meshes together and then you hit that next note and it's instantly snaps into place and you can see another sacred geometry that's more complex.

And as you go up the scale to the higher and higher notes, those patterns become increasingly complex. And it's like exactly what you were describing where as you continue to live and you have more experiences, your song becomes more complex and more multi-layered and more, you know, multifaceted.

It's like the same thing that you can see with [00:27:00] cymatics. Oh 

Tava Baird: my, can you spell cymatics? So someone wants to Google this? 

Jennifer Taylor: Yeah, it's C-Y-M-A-T-I-C-S. I believe. I'm not great at spelling out loud. Okay. I'm so glad you started get, I'll put a, I'll put some links in the show notes to John Stewart Reed, who is one of the foremost.

pioneers of cymatics and, I'll also see if I can find a video where you can see this yourself, because it absolutely blows your mind to watch it go from somebody just dumped a bunch of sand on a screen to all of a sudden all of it organizes and it looks like a tortoise shell.

And then they raise the pitch a little bit and everything goes into this chaotic sort of looking thing again, and then it all snaps in like it, it seems impossible until you see it. but that's also used a lot of times [00:28:00] as the, um, a way of understanding that sort of chaos in between levels. Where, as we're expanding and we're learning and we're integrating these things.

There's that period where it seems like we've gone backwards where it seems like we've lost our way, or it's like, wait a minute. I was making all this progress, I was having all this expansion, and Sam Mile was saying, how we need to rest. And I'd received those messages that were saying, you know, we're gonna kind of go backwards, clean up some of our vibrations so that we can move forward.

I feel like that's all the stuff that happens in that visual section where you see it go from this really clear geometry to. seeming chaos. But you know that in that chaos, you're just about to break through to that next platform where all of a sudden, all the pattern has become more complex and it's stable again.

Tava Baird: this is the most ex, like, [00:29:00] he's been like, serious or kind of fierce slightly. He is excited, like a, like there's just so many angelic gestures happening. He wants me to say yes. Yes. Well, there's a lot more yeses coming out. As you were talking. Think harmony is both simple and complex. What we are after as angels is an ultimate harmony.

So if you think about harmony, okay, everybody's essentially all singing the same thing. and it could be a very simple song, you know, everyone's going, happy Birthday to you. They're all doing that. But within that harmony are, is a complexity of voices. So it appears that at least part of the angelic work.[00:30:00]

Is helping to bring things, to bring the shifting sands before it settles into the pattern, closer to being in the pattern. So we're all kind of walking around as our sands are shifting and it feels like we don't have a grounding and we don't know what's going to come next, and everything is chaos.

What he's telling us is it, none of it is chaos. It is simply what needs to happen for us to be able to harmonize better next. It, 

Jennifer Taylor: it almost reminds me, remember when you saw that portal and you saw it fixing itself? Yes. It's like that, that what appears to be chaos and what feels like chaos to us is actually the pattern fixing itself or being, yep.

Being adjusted and fixed and supported by angelic song and all of the things that they do. And it's so funny. So [00:31:00]this morning, and I have known, I was completely brought back to this book and it was about the ancient wisdom teachings of the Q'ero and the high Andes. and I'm convinced that that is the face that I saw in the trees was a Q'ero ancestor.

and so I picked up that book, I was led to it, by Keith ing yesterday. He was dig and I was like, I need to sit in front of this.

So I literally sat in the floor as he had this, that giant like six foot dig. Whoa. And he was playing it. And I sat right at the mouth of it at the end, and just absorbed the vibrations. And the next thing you know, I turned around and I was like, no, I need it in my back. And I sat there and I looked and it put me right on the floor right in front of where this book was.

And I knew this was important. And I felt that Q'ero. Lifetimes or ancestors or however we wanna call it, reaching out to me, trying to help with something. 

Jennifer Taylor (2): So I pulled the book out and I was looking at it this morning and I [00:32:00] did a practice called Lexio Davina, and I know there are several different types of names for it, where you essentially hold the book and you can ask a question or you can simply intend that whatever messages are meant for you come through and then you just open the book, you know, supposedly randomly to.

a portion and just start reading wherever your eyes happen to be. And so I did that this morning and it was talking about harmony and the difference between harmony and balance, and saying that harmony and balance are not the same. That harmony is a compliment of differences. In harmony, you are celebrating and recognizing and maintaining the individuality, the difference, the uniquenesses among energies or people, or beings or animals or whatever it is.

But when they're in harmony, they're kind of [00:33:00] aligning to similar purposes or working together. But that balance is actually a dualistic term in which we're seeking to make things equal and thereby kind of seeking to make them the same, and that it's far more preferable to have harmony where you're celebrating the differences in everyone's uniqueness is maintained than to be striving for balance, which I thought was really interesting.

and so when you said harmony, I thought, oh my goodness. I just opened the book to the spot where it talked about harmony and balance. So I just had to share that.

it seemed like something that clearly was meant to be shared today, given that it came up right beforehand. And when we speak of harmony musically, also, you know, we're not talking about making all the parts equal, but that complimenting each other.

I love that the compliment of differences not only in the sound of each voice and each instrument, but in the volume as well, that we can have a [00:34:00] beautiful harmony without things necessarily being equal, but really bringing out exactly what is meant to come through in that moment. 

Jennifer Taylor: and I, I've been thinking about this a lot. When we would talk about the practices and the types of practitioner that Lilith is and of working on the edge and how they're the, unethical practitioners that are trying to just kind of push people over the edge but that the practitioners of the type that are ethical are working on how do you extend the time on that edge and the magic that happens on the edge between things.

And my favorite kind of harmony is, and I love singing harmonies like this, are these harmonies that are right on the edge of dissonant. It's like where you're pushing the edge of what is harmonic. And there [00:35:00] is an absolute bliss in it. I absolutely love it. To where if you are just, I mean just the tiny, tiniest hair off, it's gonna sound terrible, but if you get it just right, it is this magical sound.

And I love those kinds of harmonies. 'cause there are harmonies where you're, singing an octave above or below, or maybe you're like a fifth off or something, you know, above or below. And that makes a very dependable, very solid kind of harmony. But then there are the harmonies that, you almost hold your breath a little bit because they're so close that you can feel that if, anybody moves a tiny bit one way or another, then it's gonna be like, Ooh, yeah, that doesn't sound good.

and it's like those kinds of harmonies that are you know, energetically maybe pushing us forward and creating additional patterns that sort of move humanity forward. It's that literally singing the edge. [00:36:00] Yes, 

Tava Baird: he says in harmony everything. And everyone has a place, it's not necessarily an equal place, but it's place where they belong, right?

Where they, where they're happy to be there, where they feel like they are their true selves. And then he says, if, in regard to you talking about that, that edge of balance, he's very excited about that. If we can find balance on the edge between one thing and the other, all is elevated. All is transcendence, all is remembering, all is joined.

So, wow. 

Jennifer Taylor: yeah, if with singing being patterns and the patterns being really foundational or essential to life and the way that everything works, then [00:37:00] singing the harmonies like that is singing a pattern that brings things into the all. So creating things then that have those kind of really close harmony seem like they would have a very specific healing property or, intentional use.

Tava Baird: But I've got a quick message for you.

" Singing and speaking makes you an instrument. It's the most accessible pathway towards directing energies and understanding the all." And if you think about it, it takes years of practice to probably really understand a lot of other instruments. But we sing and speak quite a bit right from birth, right from our first cry as we come into this world.

And he's letting me [00:38:00] know that just because someone is mute does not mean 

they can't sing. if someone is mute or one does not hear. Silence is also its own song and every human makes noise. So that's apparently a whole nother topic, Samuel.

Wow. Yeah. 

Jennifer Taylor: Oh yeah. To speak to that for a second. 'cause that I, I, that's very exciting when I think about it because everything is vibration and therefore everything is song. And so you're very existence and what you are doing with your energy is a song in itself. your just existing is a song. And so it's a matter of what kind of song is it?

Is it a beneficial and harmonious and, coherent song? But we're [00:39:00] really walking around then in a sea of songs that are just outside of what our ears can hear and pick up on. our ears have a very limited range of what it can hear, but you know, like dog whistles and things like that, like, 

Tava Baird: yeah.

Jennifer Taylor: So they, they may be literally hearing the songs of our bodies or the songs of our organs. When dogs can detect cancer in certain areas, like John Stewart Reed has proven that the sound, the song of a cancer cell is a different song than the song of a healthy cell. And whatever the body of that is, it could vary.

Well be that dogs that can detect cancer may actually be hearing a dissonant sound, a dissonant song coming from that part of their body and honing in on it, it's like the fire alarm starts going off and they're like, oh my gosh, make it stop.

Like they're hearing the songs [00:40:00] of our cells, of our bodies and the energies that are, yeah. So when we think that we're silent, we're never actually 

Tava Baird: silent. He says, and so Singer, it does not matter if you pause when you bring through Gabriel or Michael, the silence is part of the song. 

Jennifer Taylor: Yes. And I feel that really strongly.

And I realize I'm, I'm constantly battling between my knowledge of the silence as an important part of the song and my concern that listeners are gonna be like, did something happen? Like, did somebody have a stroke midway and they forgot to, you know, to do something about it? Did I, did my, you know, did I lose my connection?

Um, right. but I think this is definitely the proof that, you know, we're just letting everybody know when there is silence. And I, I took a whole [00:41:00] class on song and silence and how the silence that follows the song is actually a lot of times has the most potent energy.

Um, and so, yeah. I'm just gonna go on record then as saying, we're gonna go ahead and start leaving these silences because they are really important and I need to just stop fighting that. you know, it's, it's very unconventional to leave a couple minutes of silence in the middle of a song or in the middle of a podcast, but I think it's time.

Tava Baird: Well, this was not what I expected to. 

Jennifer Taylor: Yeah. Oh my goodness. Yeah. I feel like, there are now, like, say that all the time. There are now so many more conversations that could come and, yeah. I feel like we say this constantly too. this is the tip of the iceberg of Yeah. all the things that are possible with this.

I feel like my brain's gonna be exploding from all of this information for a while. 

Tava Baird: Yeah. and just this idea that, you know, [00:42:00] you drop a glass on the ground and it shatters and you sweep it up and you move on with your daily life. That the pattern that the glass fragments fell in and the sound it make when it hit and your reaction to it, and even the sound of sweeping the glass into the dust pan and, putting it in the trash can or whatever it is, all of these things are not just a moment in a day when you dropped a glass.

All of these things feed into the change in the patterns of the all. Um, it's not random, it's not wasted, it's not lost. It's just overlooked by us as we walk through our daily lives embodied and not remembering. [00:43:00] And it makes me feel a little bit better that when I am a klutz and something falls, that there is a purpose to it.

Beyond, whatever shame comes along with me for not being coordinated enough, everything is sound, vibration song and information for the progress of divine pattern. 

Jennifer Taylor: Yeah. And him talking about the pedals like that, the pedals on the ground, that all of that is intentional.

Like none of it is an accidental thing that all of that is, is intentional. And it's funny, I, that especially speaks to me because I did a lot of kind of sweeping up and clearing out, um, in the spirit of our last podcast and the front, and there are millions of bright pink, little crepe myrtle blossoms [00:44:00] all over everything.

And I was sweeping them up. And there are areas where they're all clustered together and some of them are rotting and different things are happening. And I keep seeing those images in my mind when I hear, you know, him saying that none of this is accidental. And like, what does that mean for us, you know, to look around, like so many things we think of as this is meaningful.

This isn't, this is something that's intentional and maybe we would see as a sign or we would see as more sacred. And this isn't, and when you think about like every one of those pedals, every one of the, pine needles on the ground, everything is intentional. There's, there's a whole lot to unpack there.

Tava Baird: Yeah. He says, and if it has fallen, I think he's talking about the needles or the pedals or whatever, and it is pattern anew. Like it's something that's [00:45:00] emerging. Imagine the delight of the beings who discover them. So that's one of the things that we are put down here. We are a unique being. Having unique one of a kind experiences.

There will never be another you driving along in your car at this moment, dressed as you are dressed, thinking what you are thinking about to interact with, who you're about to interact with. And a lot of the patterns are, they're the movement, they're the repetition, they're all of these things.

But if somehow or another you make a different choice or you do a different thing or you learn something in a way that no other being in the universe has ever perceived it before, that is going to draw the delight of the all Look what we have discovered. The next step in the journey, the next movement of the pattern.[00:46:00]

A new way of flowing. It's not an accident, it is emergence. 

Jennifer Taylor: That is beautiful. I love the way you just put that. It is not an accident. It is emergence. So I think it is time for us to sing again. Yes. And uh, goodness knows what's going to come through now. 

Tava Baird: He says whatever it is it was meant to be. 

Jennifer Taylor: Alright, well I am going to maybe let Michael and Gabriel and Samael work together and decide who is going to come through to bring through exactly what is in the highest good.

Tava Baird: He says, let yourself come through Singer, and we will sing with you. Oh, 

Jennifer Taylor: wow. [00:47:00] I, I'm like, there's a lot of emotion. I just, all of a sudden in that, were you okay? Yeah, I'm fine. I'm just, I didn't really expect to suddenly want to just sob in a good way. Not a bad way. Like just overcome with emotion.

It's a beautiful, beautiful, thing that he said. Whew. Okay. 

Tava Baird: He just went like this. I am rather fond of her, you know?

Yes. He's very fond of her. I'm, I 

Jennifer Taylor: am very fond of him as well. Wow. Okay. Well, if I can manage to sing and not cry, we'll see what I have to bring through, 

[00:48:00] Oh.[00:49:00] [00:50:00]

Tava Baird: That was lovely and I think Samuel worries that he upset you right before you sang. So he has a message for you. He said, 

Ah, that voice. Please tell her I would offer my embrace for She is my favorite instrument in this place. [00:51:00] Keep walking, singer. Continue your boldness and generosity. Know that we honor you for bringing us through. You give us standing in this realm. Keep singing Child of the Universe. Keep singing. 

Jennifer Taylor: That's so beautiful.

I was really overcome with emotion because I think I was really honored by what he said. Like I was kind of surprised and honored because usually I think of my role as. Stepping aside as who I am and bringing through, you know, whoever wants to come through.

And I think the idea that he wanted to hear me bring through me was so moving and touching, and I felt so profoundly honored that he wanted me to bring through my voice and that they [00:52:00] would sing with me was so beautiful. And there, there was just such a rush of emotion of like, oh my goodness, really kind of thing.

So yeah, he absolutely, did not, offend or hurt me in any way. I was so honored and so surprised and taken aback that there was just a lot of emotion that came with that. But I am so grateful for those words. that was just so beautiful. Thank you. 

Tava Baird: And so listeners, we come to the end of what is probably another, I'm guessing, two part episode.

So as you are all out there. And, oh. Happy Luna. Happy llamas, for those of you who celebrate the first harvest, of the many harvest festivals of 2025 and wherever you are and whatever path you are on, [00:53:00] and however you vibrate, and whether you can hear your place in the universe yet or not, please keep singing.

Amen.