creativity the spine of learning [episode 11] wired for success tv

7/29/2019 Creativity the Spine of Learning [Episode 11] Wired for Success TV

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~ Wired for Success TV ~

Mastering the 7 Areas of Life

www.wiredforsuccess.tv

Presented by

Melanie Gabriel & Beryl Thomas

[Episode 11]

Creativity: The Spine Of Learning

http://www.wiredforsuccess.tv/




Creativity The Spine of Learning [Episode 11] Wired For Success TV

[0:00:13]

Melanie: Welcome to another episode of http://www.wiredforsuccess.tv.I’m Mel Gabriel and with me is my co-host, Beryl Thomas. And today, we’llbe talking to musical pioneering genius, Lawrence Ball. Lawrence has hadan illustrious career composing music for film, dance, orchestra, and choir,and computer, and the list goes on. He’s also a well-sought after Mathstutor with many other passions. Two of which, we will explore today in thecontext of stimulating creativity and raising consciousness.

Today, we are really curious to explore with Lawrence the role his musicplays in helping to balance our lives and the common relationship betweenhis music and free energy in the new physics. Also, the relationshipbetween his music and spiritual practices and how to live and view life fromdeep 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 musicaffects the brain and can bring the mind and feelings into deeper rapportand enhance learning through deeply relaxed states of concentration.

So, welcome Lawrence. It is – we’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 basicquestions today. But there are so much richness in this topic and thepromise of me being reintroduced to the real part of me that I want to makesure 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’regoing to talk about today, what relaxation and concentration is? And I askthis question because there are so many people out there who think theycan’t relaxed and traditionally, people think of concentration as something

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that’s going to hurt the brain. So could you put this into context for us todayin 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 thatrelaxing means you stop concentrating and when you concentrate, itmeans you stop relaxing. This is maybe instilled in us from school. If you’renot suffering, you’re not learning. Not like it was in my day, which is rubbishof course. And this – the work ethic which is when you’re working, you haveto 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. Theborderline between sleeping and waking, when you’re just about to go tosleep and when you’re just coming to in the morning. And I said, it’simportant that these days that we can be in touched with that state at anytime.That everything we do and the people we deal with particularly our friendsand everybody really has to be in this state whereby we are in deepconnection 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 thatrelaxation and concentration are two very important half parts of the sameintegrated 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 peoplefind it I think – they don’t get it or some people get it more. One of myfriends once said that – the musician, Charles Hayward, he said, “Music

makes available socially and it’s just it wouldn’t be there otherwise.” Thisidea …

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 –we’re using relaxation as an escape mechanism is that you’re not sort of – Isuppose you’re coming out of your head into your heart space and actually


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learning to let go. And I suppose in order to let go, we’re really talking aboutfreeing yourself of any preconceived expectations and just entering into thepresence 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 escapemechanism, I think people are very often, when they have their relaxationor their treat or their meditation they think, oh, and there’s nothing wrongwith detachment but it can be a way of checking out completely for somepeople from the life that they’re maybe needing to focus on even situationswith the people close to them. So, there’s a difference between checkingout 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 explainto us what is different about how your music achieves what we’re talkingabout, helping people to go into deepest states of awareness and perhapsfree themselves of expectation? And what is different about the way your music is created and experienced? Because I seem to remember in aconversation 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 swimmingbeautifully. That’s fine. Sorry. I hope you don’t feel like you’re at sea toomuch.

Melanie: No, no.

Lawrence: Well, interviewers often say to me, “What effect do you wantyour music to achieve?” And whereas this is very sweet of them to do thatbecause I think they’re helping me and in a sense they are, I feel there isan effect beyond effect where – and we all know this from being at peacewith our friends, from being in nature where you don’t – you don’t remind

what happens. It’s getting to that place where there’s a magic there thatcan 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 atone, it’s a mantric and also, it has the ostinato from Western classicalmusic. And so, it unifies the two. So in that sense, it’s not really music to


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help you study better or music to help you achieve an alpha state althoughthese things I’m sure are possible.

It’s letting the energy from a deepest space come through, a space whereenergy really flows without effort for me and for the audience of for me andthe – yourselves. And we all like to reach that place because it’s wherethings are easy and they don’t need scheduling or control.

Beryl: Lawrence, can I ask you this? When you’re composing, how do youknow that you’ve got it right if there is such a thing? How do you know thatthe piece that you’ve just composed is going to have those kinds of effectson someone? Is it that you feel it in yourself or is this maybe even almost achanneling, something intuitive and you just know that you’ve captured it?

Lawrence: That’s a good question. How do we know when things are theway we want them to be when we create something? It’s quite a deepquestion. Some of it is through the sheer physiological yes I get from – inthe body that this is doing something. Some of it is because I got someguidance about it internally that makes me feel like this is definitely ontrack.

Intuition is a very deep thing and it has many forms. And basically, we canput 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 ismore relaxed and allowing energy to flow through them just as we enjoyour 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 sayentrainment. 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 inyou that you want to share with the world and music is your modality toshare that where it might be …


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Lawrence: Probably.

Beryl: Yeah. So for some other people, there will be some other modalitylike if you’re a Tai Chi teacher for example. You would be using thatmodality 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 tounderstand is are you able to say and it’s OK if you can’t, what is theexpression 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 theway from the physical all the way up to the spiritual. It’s – music in a senseis like multilevel. It’s not just physical sound. It has its invisible counterpartswhich are very real and very luminous just as creativity and sharingsbetween 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 resultwhich is what we hear the music is some passion in you trying to expressitself.

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 onthat 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’smore true to say it’s me in resonance with the Divine to wherever it extendsas possible or if you don’t like the word “Divine”, the deeper universalintelligence.


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Melanie: OK. And of course, the deeper universal intelligence is bestaccessed 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 usedto 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 kindof discordance in me from it which I was curious about. And yet, when I gotover that curiosity and I was almost startled by it, I did find that I had a deepfeeling of peace and stillness which was very nice. It did feel relaxing butnot in that kind of relaxing going to sleep kind of relaxing. But how can I putit? Relaxed and aware.

Lawrence:OK.

Beryl: Is that a common kind of response when people think it’s going tobe of a certain genre of relaxation music?

Lawrence: Well yes, in a way, as Mel said at the beginning, I’m kind of apioneer. I’ve been putting contemporary music together with what peoplewould normally call new age music where there is more space to beyourself and just see what you feel about it. But there’s a component inthere 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.

It’s not really just being in the now. It’s also about bringing the mind into thenow as well. So you’ve got more – it may seems strange for us becauseperhaps one is used to just being zero but it’s more engaging us, is what Iwould say in a way that a classical music is because classical music is verymuch a cerebral engagement as well as a feeling engagement.


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Beryl: Yeah. What I felt was, what I experienced was – and it’s hard to findthe words so forgive me if I don’t quite get it right but it fast tracked me outof my mind into a place of, for want of a better phrase, no mind. And it’sinteresting 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 intomeditation. 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’thave – pure meditators are not in support of having music to help you tomeditate. They think it’s a distraction. Well, I kind of feel one says doesn’tfit all. And if you do have a buzzly kind of a mind or say, you are veryanxious 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 thatspace really quite quickly having gone through as I said that slightdiscordance 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 bitof 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 – Ideveloped some healing sounds in the ‘80s. I used to lie down and listen tothem myself because I find them very helpful for me as well. Andsometimes, I go through a phase of turbulence and then I found I becameaware of the part of myself that was behind the turbulence and then theturbulence lost its relevance. It’s a bit like becoming aware that you’redepressed and then no longer being depressed about it. It felt like that kindof thing. [Indiscernible] [0:18:28] .

Beryl: Yeah. I would – yeah. It’s like a kind of a coming home kind of afeeling.

Lawrence: Yeah, I see.

Melanie: Actually, that reminds me of an experience I had with this as wellwhich – and I expected it – the experience will be different for everyone indifferent 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 discordantthoughts or things I didn’t want to think about but I was present with things


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that perhaps I would not have thought of as calming, relaxing, or easy tothink about. But somehow, the music made it easy just to be with it withoutany thought or perception or preconceived ideas. And that it justevaporated 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 thatreally are the key to going into the harmony sometimes and the things weneed to do with, not just the visual state but the things that visual statesbring 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 minussometimes in our lives in order to get to the real – the expanse that comesfrom 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 onnothingness but that’s what they really need. Wearing means you get tonothingness. 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 thingsthat 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 lovelyconversation. And they’re drinking some wine and they are enjoyingthemselves. And suddenly, there’s a knock at the door. And the man getsthe door and he says, “Who are you?” And she says, “I’m sadness.” Hesaid, “Well, you can’t come in.” She says, “But she and I are one. We aresisters. 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.


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Lawrence: Absolutely. In Maths we might say, that zero and infinity is thesame but that’s not quite true mathematically. But in a way, it is becausewe realized when we get in touched with nothingness that what did theysay? “Be careful – all things come to he who waits or she.” So, not just oneor two things but all things, right?

Beryl: Well, a friend of mine talks about the seed of an apple. If you cutopen an apple, you cut open the seed, there’s nothing and yet, there’severything that that seed needs to know how to grow into an apple tree.

Lawrence: I got the symbolism. I would probably explore that further butmaybe in another time.

Beryl: Yeah.

Melanie: So having mentioned your other skill as a Maths tutor, how doyou if it’s all combined your music with learning?

Lawrence: OK. So some music I began to realize that there was aconnection between the kids enjoying themselves and their receptivity tobeing able to work better and learn more effectively and it led me to writean 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 theyrealized this is ridiculous. You can’t put an old face and do the stuff eventhough 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 theWizard of Oz. Everyone looks to Mathematics as being this wonderful sortof indicator of a kid’s intelligence which is completely upside down andrubbish because many people do perfectly well without learning Maths,perfectly well. And it’s only one aspect of using even the logical mind letalone the deeper mind.

I love what Ken Robinson says about Math, he says, “In the subject-driveneducation system. We got a subject-driven education system where theArts 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’ma 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, “I’m a


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composer.” That’s much easier for people to digest. They think it’s – atleast there’s hope in there.

Beryl: So, with some of the students who come to you for their Mathsituation, 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 withthose 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 thousandprivate 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, someof them. They won’t even – there is something about the – this is probablycolostrum damage because they’ve been told that they have to do this. Andthe way in which they have been told that is less than ideal. So there’sdamaged from teachers. There’s emotional reaction to study too. Most kidshave good genes and brains now but they have emotional funny stuff around learning because of how they’ve experienced the so-called eldershelping them with it.

So, there are many, many things happened. I’ll give you one examplewithout mentioning his name. He is a boy that is obsessed with drawing. Heloves drawing pictures, images. He can produce cartoons without any effortat all. There’s part of him like a waterfall. And I found teaching him is verydifficult because he would – he almost writhed in agony. He would put hishead on the desk or fiddle with anything he could find. And then Idiscovered if I got – we created a joint fantasy from princes. He had arubber on the table he was always fiddling with. He drew a picture on therubber and we now have this character called Mr. Rubber and we havethese 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, heis more relaxed and he is now plowing through his times tables doing verywell indeed because he is just – he feels he is being treated like a realperson. Stuff like that.


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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 youhave 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 resultspart mostly. There are some good teachers around. I shouldn’t be sayingthat but you know what I mean. The casualty is huge.

Melanie: And so, it sounds like there needs to be a top-picking school onbeing able to concentrate or at least teaching the importance of relaxedconcentration.

Beryl: So, can I ask you something else, Lawrence? It’s just come in to myhead 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 foreignlanguage 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 bysynchronizing the breath to the tempo of Baroque music while silently or softly hearing the words spoken on the headphones. They achieved theseresults. The average person can learn 200 but some people managed2000. This is documented 30 years ago. I don’t know why it hasn’t beentaken up.


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Beryl: Fascinating.

Lawrence: So yes, it can help because it’s the brainwave state and thedeepest state of mind when we’re relaxed. When we’re receptive, we trust.If you don’t – if a kid comes from a family that’s loving and warm and endup in a school who has hired this teacher because they can get themcheaply straight out of a university with no experience then you’re creatingan emotional friction between the kids and the teacher. You’re going tocreate the opposite of that trust. The degree of the profit of the school isgoing to create bruises on the kids and the teacher.

Beryl: So you’re saying if the teachers perhaps are a bit anxious becauseit’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 thechildren.

Lawrence: Yeah. It’s a bit like a prison for everybody. There could be inschool a separate subject, which is to do with study methods and how toapproach study and how to approach learning. I think the schools will beinitially afraid of that because they think it’s going to spoil their results. It’sthe 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 whichis one of the effects, certainly the effects that I experienced listening to itand I think we can say the same about you, Beryl, even though we don’tknow 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 talkedaround it for a while, you could give us just a quick blast. I noticed you’vegot 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 Ithink.

Melanie: Yeah. We can just about hear you.

Lawrence: OK.


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[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 knowhow 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 tothat?”

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 thingstoo well. Yeah, it’s ultimately love, isn’t it? Because when you love doingsomething, it engages all of you and it is contagious and it’s – it frees us. Itfrees us from whatever it is we might have been worried about or anxiousabout or whether it was an appropriate question or not or …

Melanie: Well, it’s giving me an answer I can run with because havinglistened – I’m thinking, I wonder what’s steering, what’s emerging? Andyes, 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 thatfor me, entered through my upper torso and it definitely isn’t something youtry and make sense of. You just have to immerse yourself in the experienceof it.

Beryl: I find it very peaceful. I mean this is one of the most relaxedinterviews we’ve done. And yet, there’s part of my brain saying, “But I don’t


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understand it all.” But that feels OK. I just wonder if you have sometimesthe 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 doand it’s not that easy to get what you do for most people, how do they reactto you? Do you – I’m not explaining this very well. But you’re this verypeaceful energy, this very love, peace, joy kind of energy and if peoplecome in to your space, the opposite of that, is there a kind of – do theyresist 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 andthe things we’re polarized towards, some sort of magnetic effect. I wasgoing through a phase where I was feeling very anti-doctors and anti-pharmaceuticals. And then one of my best ever students I was asked toteach and both his parents are doctors and I discovered that both of themwere really nice people and even though they were doctors, they were stillvery aware of the shortcomings of the medical profession and very awareof the pushiness and the corruption of the pharmaceutical industry. That’squite interesting.

I think we will always attract people and it happens to me. Sometimes it’stesting us out to see if we can reach the humanity in somebody rather thanbeing identified with the things we have in common with them on thesurface. So that’s what I would say. I don’t look upon anyone who’s beingnegative. 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 bonafide 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 incrediblylovely 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 isalways more dimensions that are really wonderful and that even if one – I’mtrying to think of a more extreme example. One of my ex-clients is furiouslyagainst a lot of the new physics that I’m into. I made the mistake of sendinghim a few [indiscernible] [0:37:52] email about one of them just to see


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what would happen and it was like, the Titanic capsizing. It was mild incomparison.

So one – you don’t have to be aware if one is an open person. But I thinknot just aware to protect oneself, aware that sometimes to understand whatit means to help oneself become more flexible and not simply think of themas the enemy and not think of them as the enemy at all really. They’re therefor 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 andfree energy, which we know you’re very passionate about, how you see therelationship between all of that and what your music generates or is?

Lawrence: Yeah. Well, as people probably realized who studied esotericand spiritual books and also study science, realized there’s a huge gapbetween the official establishment version of what reality is to the point of even the so-called major well-known scientists completely blind to theseinner dimensions in many cases. And my music addresses thatenergetically because I’m – I’ve always been interested in that havingstudied science at school and teaching physics sometimes.

So for me, I sort of embody someone who is aware of this discrepancybetween the establishment and official view of the world. And if you studyany 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 havecome out of the woodwork or because they have been researchingthemselves and they’re unafraid to come forward, you find that what weknow 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 – Idon’t think we’ve had a public demonstration yet. There is one coming upnext month in Belgium. It’s very hard because it threatens the nationaleconomies if you have energy devices to circumvent the power grid then


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you’re going to have loss of taxes and that’s something which this guy inBelgium is even addressing.

The idea that we can produce energy from the vacuum state is similar tothe principle that if you meditate, your life and your body will be re-punishedfrom invisible source or from God or how He put it. So these things allconnect up. People who meditate can very understand the idea of a box inyour room, in your home that produces free energy.

Most conventional scientists now will get crossed or cynical or extremelycondescending if we even mention it. But after the public demonstration, Ithink 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. Idon’t think he’s BS. I think that from what I’ve seen, he’s a genuine. Andthere’s a consensus of certain people in America who feel that he andabout four others are already at the front of this movement.

Beryl: And I want to ask you something about the timing of all this andperhaps the shift in consciousness that is allowing for these new ideas tocome in, Lawrence.

Lawrence: Yes. We’re all hearing about 2012 being in alignment to thecenter of the galaxy. And the Mayan Prophecies of course where you havethese nine levels of evolution and we’re right at the end of the ninth onewhich is speeding up. Each one speeds up far faster than the previous oneaccording 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. Icertainly feel that things are accelerating in the fields I’m in particularly withpeople’s personal lessons. I think the personal lesson seems to be the

[Indiscernible] [0:43:01] of it. We’re all feeling the shit is hitting the fun for the world and for us and we can even not see the shit. We can see there’s


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an uneducated pause for ourselves like I said before with the aversions. Idefinitely think this is happening.

Keshe is releasing his – he’s going to make a public demonstration of anti-gravity he says, December 14th, which is one week before the solsticewhich is why the galactic point happens. So that’s very interesting. I don’tknow if he chose it consciously. But we are in a very interesting time. Andthe big challenge for me is to know what to do with every minute of my daybecause one still has to look after the bank account.

Melanie: Oh, I see. You mean you can get so involved in this that you getyour 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 Iget to a principle. So not for the faint-hearted, these days. We all have tobe courageous and deal with what – someone once said, “Can you affordto go on holiday?” And they said, “I can’t afford not to go on holiday.” And Ithink that’s what this new consciousness is about. It’s not really what wecan 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, canyou 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 veryhumbling 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 upthere radiating divine and angelic energy with hundred thousands of peopleand you think to yourself, “Oh, how wonderful.” But what they don’t realizeis they have to deal with their own noise in the system in order to get to thepurity of that. So that was my challenge. And I guess to repeat exposure tothat sort of experience, I learned to be – to honor that more deeply. Yeah.


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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 ithad on you or certainly the environment you are in whilst you were putting ittogether. Can you relate that story?

Lawrence: Yeah. I’ve been sitting for half an hour dealing with my ownnoise 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 Icame to a clearing in the forest. And although it was improvising with thetape recorder on, this piece came out intact, note for note, the way I willplay it for you now.

And it was accompanied by the most unusual multisensory presence andthe most striking feature of this presence was that it was as if the room hadbeen flooded with a scent of roses, very, very rich, deep kind of redsensation and perfume. And I wasn’t concentrating so much on that but Iwas aware of it powerfully. It was very, very pleasant indeed. But – so I wasmaking sure that the notes came out right. And that that was the mostextreme. I mean it happens to me quite often when I’m working. There’sthis sort of energy there. But this was the most pronounced breakthrough inthat realm.

Melanie: So, would it be good for you to share some of that energy with usnow?

Lawrence: I can’t guarantee to produce a nine-foot angel or anything likethat but I will play.

Melanie: I’m sure something will come out that’s appropriate to each of uslistening.

Lawrence: Can you hear me now?

Beryl: We can hear you.

Melanie: Absolutely.

Beryl: Yeah.


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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 – I’m not sure you can hear me right now.

Lawrence: Yes.

Beryl: For those listening by podcast, could you just tell us what thatinstrument 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 – it’s good to remind peoplewho driving their car or – by the way, don’t listen too hard to that on thecars. It’s too late to warn people. It’s nice to make people aware that you’rethinking about them, right?

Beryl: Well, this has been a lovely, lovely, enjoyable hour that we’ve spendwith you, Lawrence.

Melanie: And relaxing.

Beryl: Very relaxing. I hope you’ve enjoyed it too.

Lawrence: Fabulous, yes. Thank you so much.


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Beryl: I’m sure there’s more that we can explore on another occasion withyou.

Lawrence: No, no, you’ve blown it. Sorry.

Beryl: I’ve blown it. OK. I’m going to have to do some heart spacemeditation now.

Melanie: You should need to now.

Beryl: If people want to find out more about what you’re doing, Lawrenceand 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 thereand watch videos I’ve made and a lot of different things. I mean you canbuy downloads there. If you people want to purchase CDs, they shouldapproach me privately or the Method Music Album that Pete Townshendhelped record. There’s a lot of work went into that, three years of work andI’m very, very pleased with that. That’s on Amazon on iTunes, you’ll find itunder 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

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


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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.


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creativity the spine of learning [episode 11] wired for success tv

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