Latest / Repossible / re359: Mariëlle S. Smith reads my Akashic records. Wow.

Transcript

re359: Mariëlle S. Smith reads my Akashic records. Wow. · Repossible

• 0:03
  Speaker A: Meet me.
• 0:07
  Speaker B: And here we are. Here we are with Mariela. And. Hi. And in a different scene from last time, when we spoke, we had talked about akashic records a little bit. Yeah, a little bit. And I was very intrigued. And you said that we could do a live reading. And you're going to explain if I'm butchering it all about how we're doing this? I just love this stuff. I love anything very well, not so secretly if I say this, but super spiritual guy who, I mean, I've done everything from ten day silent meditation retreats to healing circles, and I just give me the open door and I will just jump on through it with both teeth. So I love.
• 0:57
  Speaker A: As you did.
• 0:58
  Speaker B: Yeah.
• 0:59
  Speaker A: And I didn't know that. I didn't know because this is such a very specific level of spirituality.
• 1:06
  Speaker C: Yeah.
• 1:07
  Speaker A: Not everyone who does, like, yoga or meditation is like, yeah, yeah, this is for me. And when I mentioned it, you were just like. You just saw you go like, yeah. And I'm like, oh, okay, you know, I can do this. We can do this.
• 1:19
  Speaker B: Yeah, no, there's a friend of mine wrote a book, and she said it was. It starts with open.
• 1:28
  Speaker A: Oh, I love that. I always think curiosity, but maybe that is. Maybe curiosity is being open.
• 1:34
  Speaker B: Maybe curiosity is going through the open.
• 1:36
  Speaker A: Door, but, yeah, because fear, when the doors open, when the door opens, like, you can also respond with fear. So openness means nothing. Like, there's openness and then there's. How do you deal with, like, do you. Do you, do you. Is it fear? Is it. Oh, what is that?
• 1:55
  Speaker B: Yeah. Thus it starts with open. Then you can choose, do you want to go through the door or not?
• 2:03
  Speaker A: Open gives you an option.
• 2:04
  Speaker B: Yeah.
• 2:05
  Speaker A: Then you decide, do I back away or do I look what it is?
• 2:09
  Speaker B: Yeah.
• 2:10
  Speaker A: Do I follow this curiosity?
• 2:12
  Speaker B: Yeah. You know, you say how not everybody is into this or even open to this. And I think if you have some pretty heavy events happen in your life, depending on how you react to them, it may or may not, because that's what happened to me, all of my spiritual journeys. I can never say that without whiny accent. Spiritual journeys. My experiential journey began when my dad passed away. It actually began before he passed away because I was looking like, frankly, I was looking to save him. How could I help him in any way? Western medicine, eastern medicine, anything and everything in between and far above and far below. And I just went off the deep end trying anything and everything, any way I could help him. And of course, what happened is that I got into it, and I learned, and my door was opened, and I jumped right on in because I had a clear goal. How can I help my dad? And even if it's. Even if it's. How can I help my dad transition from life to death?
• 3:22
  Speaker A: I think that's.
• 3:23
  Speaker B: And I did. I did, by the way.
• 3:25
  Speaker A: And I think. I think the moment you move from western medicine to eastern way of perceiving life, you almost automatically move from. Helping him is not saving him, but it can mean, how do I help him pass on to the next phase.
• 3:47
  Speaker C: Yeah.
• 3:47
  Speaker A: So I was immediately thinking. And then I think, like, what I've learned from the. I've become much more chill about life because of the Akashic records, because I understand now that there are, like, literally, if I cannot do it, this life, there will be another life. Right? So if I cannot solve something, like, let's say you have some karma with a person, like. Like a karmic contract with a person, and this person is not on that level, this life, that they can do this with you. Right? They. Maybe you can heal your part, but if they're not ready to heal their part in this lifetime, then some people are like, they get really upset about that, but I'm much more. Well, you know, hopefully we can fix it next life. Like, I did my part, they're not doing their part, which is fine. It's their journey, so maybe we can do a next life. But it also made me much more relaxed about what do I want to achieve in this life? Because I'm like, my essence will move on my soul.
• 4:51
  Speaker C: Yeah.
• 4:51
  Speaker A: So I'll just do the best I can to evolve to sort of the highest level I can reach in this life. Then when my life is over, that will just be passed on. And then hopefully, of course, my next reincarnation is a bit quicker on the uptake, that you can actually reach back to all these previous lives and learn from that. Yeah. So it's a bit of a.
• 5:18
  Speaker B: You just said, for example, next life transition, reincarnation, past lives. Go back to the past lives. It's so funny. Before my. My dad had passed away or was even in his last years or months, this conversation we wouldn't even be having. I would. I'd be like, what? What are you talking about? You're. You're weird. Whereas not only now do I not think you're weird, I just think it's. It's not only fascinating, I. I feel bad for the people who cannot embrace this or at least be open to it. And I'm not saying you need to fully jump in with both feet. And I always joke about how you need to move to Nepal and wear an orange robe and live in a monastery. You don't need that. How much of it in your life do you want? And I usually find, like, for me, I call meditation medication, right? It's one letter away from medication. And if I don't do my. I don't take my meditation in the morning. I have. I don't have as good of a day. And the more thorough and better my meditation is in the mornings, the better my day is. It's a clear corollary, and I do.
• 6:27
  Speaker A: Think that meditation is medication. Yeah, yeah, to a certain extent. Like, I'm also not one of those people who are like, oh, you have cancer. Well, if you meditate enough, right. I'm not one of those who, like, let's disregard western medicine entirely, because those people have always been inspired. Right? So, so people who've invented certain things, they have been right. They. They got the messages, like, yeah, like penicillin. Who the hell thinks that? Like, I'm like, how do these things get invented now? I kind of think that these people just, like, some of they call it downloads. Like, just, you know, there's a little something just sort of, like, put into your brain, and then you're like, aha. Let me try this. Where did it come from? We don't know.
• 7:17
  Speaker C: Yeah, right?
• 7:18
  Speaker B: And so, so many. So many of those inventions or discoveries came by accident, right?
• 7:23
  Speaker A: Yeah, yeah. I'm like, how many people died before they discovered bread? Right? Like, what can you eat and what country? Right?
• 7:30
  Speaker B: But people died.
• 7:33
  Speaker A: I'm just like, let me try this. Oh, don't eat that berry, because, you know, Garrett didn't make it. Well, it does make me think, like, do sometimes. Like, is there also a gut feeling that you go through the forest and you're like, I'm just gonna not try that. And maybe somebody else is like, you know, why don't I try this one? And you're like, no, I wouldn't. And then the person dies. You're like, I knew this already.
• 7:56
  Speaker C: Yeah.
• 7:57
  Speaker A: Right?
• 7:57
  Speaker C: Yeah.
• 7:57
  Speaker A: Because we do have, of course, the gut feeling, and the heart is very perceptive about what. What we should avoid and whatnot. But, yeah, so I do think that when you say that, I think that it's very much, like, I love that, the meditation medication, but, like I said, like, I do not think. I think the combination. I think we can prevent. I think we can prevent a lot through having that kind of balanced life and doing like energy work and stuff like that. But I also think that sometimes, sometimes diseases. This sounds really awful. Sometimes diseases, I'm not sure. I don't know what. I don't want to say need to happen. But often it gets. People get a purpose after it.
• 8:45
  Speaker C: Yeah.
• 8:45
  Speaker A: Or because of it, or they. So I'm not entirely sure whether I can, like the whole everything happens for a reason thing.
• 8:52
  Speaker B: Yeah.
• 8:52
  Speaker A: I don't think that is necessarily true. I think some things just happen, but we are not okay with these things until we have given them a purpose. So we give them a reason in hindsight, yeah, I think that is more so. I don't think. Oh, I don't think. Oh, this Palestine. I don't think that needs to happen for a reason. But I think we can all learn from it. I mean, I hope we finally do because it doesn't look like the actual people with any say are learning the lesson hard enough right now. But those things, I don't want to be like, oh, you know, that we needed that as humanity. It's more like, okay, this is apparently how far we've gone in the bad sense of the word. Like, this is how far we have removed ourselves from the loving light beings that we are inside. So let's learn from that then. Let's say, okay, if this happened for a reason, what is the reason? What can we learn from this?
• 10:02
  Speaker C: Yeah.
• 10:03
  Speaker A: That's kind of how I try to view life.
• 10:06
  Speaker C: Yeah, yeah, yeah, yeah.
• 10:08
  Speaker A: But I don't like saying these children needed to die or your kid brother needed to have that accident or your mom needed to die when you were young. Like, but what we often see is that because these things happen. Like, you got this whole door opened.
• 10:26
  Speaker C: Yeah.
• 10:26
  Speaker A: Because your dad died, it doesn't mean that your. This is why your dad died.
• 10:31
  Speaker B: Right. Or that he needed to. For me to start.
• 10:34
  Speaker A: Yeah. So that I find really, I try to be careful saying everything happens for a reason. No, we. We can give everything a reason afterwards.
• 10:42
  Speaker C: Yeah.
• 10:43
  Speaker A: Yeah. And I do think that these things shift, but I don't think they need to happen. I think that is the thing. It's like, I think things just. Sometimes they're like, sometimes we need. We need to meet people in the universe who make it happen. But there are definitely things that I'm like, no, that is just bad luck. Like, this person wasn't listening to this and this person wasn't listening to their guidance. And then that's when bad things happen. Somebody is not listening to their intuition, so they're not driving at the right speed, and this kid is distracted and right accident. So that's kind of how I try to.
• 11:24
  Speaker C: Yeah, yeah.
• 11:26
  Speaker A: Okay. Different topic. Well, slightly. Slightly related. Yeah, related. Yeah. Yeah. Okay, so where do we start?
• 11:41
  Speaker B: I have no idea. Where do we start?
• 11:46
  Speaker A: Do you know what. Do you know what Akasha graphics are?
• 11:49
  Speaker B: No. No. That's a good place to start. Let's start there.
• 11:53
  Speaker A: No, you know what? I love that about 99% of the people that I work with have no idea what your cash records are. They're just like, this sounds interesting. We want to work with you. I really love that because I always kind of assume that you show up because you already know what something. But they're like, no, what is it? Actually, I just felt this pull to work with you. So what is it you actually do? Like, I was just meditating, but I don't know why. Or I'm like, oh, great. Well, let's start from the beginning. So the Akashic records, I see them as kind of this massive archive. They exist on a metaphysical level. It's not like you can drive there, take a train, and then just, you know, enter. It's on a metaphysical level, so on a higher dimension. And I say archive because, as the name implies, it's called Akashic records. Everything. All our souls do in each and every lifetime is recorded there. So you can go in. And so time doesn't exist there. Right. So it's. It's past, present, and future all in one. So you can go in there and look at. Okay, so this is something that I'm struggling with right now. Where does this, like, where does this come from? And it could be that it happens from in this particular life, right? You can have blocked something from an early childhood that is now coming up for you that you need to work through. But sometimes it's. Oh, this is something that I took with me from a past life. So when you go into the records, it's literally just rows and rows of books. So you can actually grab a book, open it, and see. So it's a little. When I say. When I say an archive, I mean, it's like a library. And that's also how I visualize it. So I'm always working with books. I always get, like, I come in and I ask, like, I ask, okay, this person is struggling with this, or has this question about this. What is, like, where is the book that I need? Right? And sometimes the book just falls into my lap, and sometimes I have to go through a little bit of a search very much depends on how open the person actually is to receiving the answers because sometimes there's a little bit of resistance. That means I go, like, through a maze sometimes. So in the Akashic records, we have record keepers. From what I understand, from what I've been taught, the record keepers are members of our soul family who are not currently incarnated. So they keep track of the records, right. So it's very possible that during the moment when we are not reincarnated, so when we're not on this earth, that we also fulfill that role in other people's records, people of our soul family. So sometimes I come across very reluctant record keepers because they're like, why are you here? And what are you? And that sometimes means is a very big thing for a person. So then I have to sort of explain, like, okay, so this is why I'm here. Like, I was invited in here. Like, so I recently had that. That was really one, like, like, why are you, like, what do you, what do you want? And they were really afraid that I was going to ask the wrong questions, which was great because that in that particular reading, that guided me because when I didn't get any answers, I was like, oh, wait, this. I already got the message, like, that this person was afraid it was not going to ask the right question. So I was like, oh, I needed to tweak that. And then just this door opened. I was like, oh, there are all the answers. That's great. So that was a really good warning, actually. So how I do this? So I have my own method. A lot of readers do this face to face. So we have a Zoom call. You have a question. We tweak the question till it's, like, usable in the records, and then we go in together, and then we find the answer to your question. I like to do a reading. I like to do an offline reading. So I go in the hour before and I always invite the person I'm reading for to just meditate during the time or just, you know, if that's not your thing, just sit on the couch with a cup of tea or with your cat or whatever. Just take the time for yourself. That is not necessary. It's not like my reading is not going to work if you're running around at work. That's not the case. It's just nice to take that time for yourself. And then afterwards, I do the call and I just basically report what came to me and then we talk through it. So that's, I already went into your records. I'm already out of your records. And now we are going to walk through what came up for me. And I'm really curious, because this is the thing for me, because I do this first part of line, when we do it together, I can immediately see if it resonates. And now I have this. I have four pages of notes. I'm like, let's see what's going to resonate with Bradley today. Because you might be like, no, that doesn't sound like me at all, but that doesn't resonate. So that's a bit of a tricky. I always feel like I'm also jumping right, like, this is trust for me. Like, let's just see. And sometimes it is. Sometimes things don't resonate. It's just because a person is not ready to hear that. Which I find really interesting, because what we know about the Akashic records is that if people are afraid of that, like, if they're afraid of, like, it's not like pandora's box, right. It's. They will deliver the messages that you're ready to hear. So if there is. So it's also, if you want to know, if you want to look ahead. Okay, what is next for me and how can I achieve that? Etcetera, etcetera. They might not show you everything. They will just show you what you need to know right now so that you stay on course. Right. So it's not like there will be questions that I didn't have that with you in this case. But sometimes somebody has a question and I ask it, and I just feel like I run into a wall. And if I keep repeating the question, they will kick me out of the records because there are certain things that are very simple. You're not there yet, so you're not getting the answer. And sometimes it's just a case of it's not relevant. So again, you're asking the wrong question. So you're not. This is not the root, like, pivot. Ask something else or something related. And then, oh, wait, that's how I needed to ask that. So it's really. It really is a conversation. And I'm literally sitting here with my notebook, talking to myself. That's what people will see when they walk past my house talking to, like, I literally have a conversation out loud with. With the records. Yeah, yeah, yeah. Like, I really. I really do that. Yeah. So that's kind of. I never. I had to do. I had a guest recently, and that was the first time I did a. I did a reading while somebody else was in the house. And I did not like that. I did. I did. I did feel limited. So, like, I'm not doing that again if somebody is here, because I have visitors sometimes, the perk of living on a rare island in the middle of the Mediterranean Sea, people actually want to come here and go to the beach and stuff. I will actually kick them out of the house next time, because that was not pleasant for me. It was doable. What I was like, I'm very aware of the person in the house. Okay? So what I always do. So when I go into anyone's records, I always end up in a different place. So everybody has their own personal kind of library for me. And I'm pretty sure that if somebody else does your records, they will see something different. I don't think it's. For some reason, this is how I see it. So I always. This is completely unrelevant, irrelevant, but I always like sharing what I saw. And actually, sometimes it is relevant, sometimes it isn't. So let's just start there. What I got, when I got into Yule records, I very much felt like industrial meets a lot of plants. So there was, like, a lot of high ceilings, lots of steel, but then there was also a lot of plants. And then eventually, as I started sort of walking into this space, I realized the back just disappeared into the forest. So it's like, it didn't feel like the forest was taking over the building or the building was. It was. It was encroaching upon. It was very much like they were in balance, like, so that was interesting because I would assume that, you know, either nature is taking over or the building is, you know, encroaching upon the nature. But it was very much like, no, there was very much a sense of peace that there is this huge. It was a huge building, and then there's, you know, half of it was sort of, like, taken over, or maybe it was actually built into the forest. So the. The forest was being taken into account when we. It's not an actual building, of course. Right. It's only the physical level. And I didn't really get, like, I was sort of, like, at the first floor, just like. Because sometimes I enter into an office space, and I was like, okay, that. That didn't happen. I just stood there like, okay, is anyone here? So then what I. If that happens, I just give, like, I gave you a form. So I said, okay, this is what I'm here for. These are Bretley's struggles. These are the questions that I have. And that's when I was led to this sort of nook, it really felt like sort of a loft space. That's how it was. It was like an open space, but there were, like, these nooks made. So there was this nook, and it had, like, a couch, and it had, like, a coffee table, and there were a stack of books on there. I'm like, okay, books. That's my corner. So I started with the question, why does Bradley struggle with focus? Because your question, like, the question on the form is, what is your. What is currently your biggest or most persistent struggle? And you said, focus. So I immediately got the sense that this is an old pattern. So I immediately saw, like, a sort of timeline of, like, past lives. Right. Like this, sort of like, this is not something new. This is very much part of your system.
• 21:55
  Speaker C: Yeah.
• 21:56
  Speaker A: And then the message I got, it's not the same as attending to everything all at once, which some people do. They attend to everything, so they attend to nothing. I really got the message. That's not what's going on. It's not that you're so distracted and you're working on everything that you're not getting that. That's not the. Because that happens with some people, of course. Right. You attend to everything, which means that nothing is getting your full commitment or the focus that it needs. So I really got the message. That's not what's going on here. What is going on is it's more that there's too much inside of you, and it just wants to get out. That's what I get. So it's not like you don't know how to. You don't know. It's not like you have struggle, like, oh, what is important to attend to? It's more like, there's so much importance.
• 22:46
  Speaker C: Yeah.
• 22:46
  Speaker A: And it just needs to. That's really the sense I got this sort of, like, bubbling over. So I asked, is there an origin for this, or has Bradley always been like that? And then I got this life. So we're talking. This is old stuff. I cannot tell you how many hundred years back, maybe even a thousand. I don't know. So the first thing I got was taste of freedom. That was the first message I got. And what I got was that after multiple reincarnations, so very early on, your first incarnations, there was no space for creativity, like, literally. And I didn't get why. It could be poverty or just being in a strict household, or everybody just had their job, and there was just no space for that, because creativity is sort of like you can only do that when your basic needs are being met.
• 23:39
  Speaker C: Yeah.
• 23:40
  Speaker A: Because creativity is the second chakra level, and the first chakra is your right to exist and the fear of survival. So if you're surviving, there is no. You cannot rise up to the second chakra. So, yeah, do not have that creative impulse, because there's no space for that. So after these multiple reincarnations where there was no space, your soul decided, I have enough of this. So they picked a family that was almost the exact opposite, and it wasn't. I first thought maybe because they were really wealthy, so they could give you everything. That was not. It was. They couldn't. It was not like they could give you everything. It was more that they allowed you to have that space, to sort of tinker away and. And they gave you the encouragement. And I really got this sense that whoever your father was in this lifetime was a bit like an inventor, but a bit like, you know, somebody in the village who's like, everybody's a bit like, yeah, the guy's. Maybe he's useful. He's a bit weird because he's always, you know, doing his little things, but he's useful. And sometimes he, like, let's say one of the ten things he invents are actually useful. So we do pay attention to him. We have a certain respect for him, but we're also like, we don't really get this guy. Right. I get to think that that was your dad. Right. So there was a lot of inquiry, and there was a lot of time you could spend with him in the workshop, because, like, he loved that. Just. And he was also. He was very focused, so he was just, like, doing his thing, and you got to see that and do that as well. So then I asked, okay, this sounds like a gift, actually. Right?
• 25:17
  Speaker C: Yeah.
• 25:18
  Speaker A: So. But has this always felt like a gift to Bradley? And then I got. It was a struggle every time you ended up in a situation that was more rigid and structured, and I got this life. I cannot tell you when this was. When you were working as a soldier, I don't think that was a voluntary thing. I think that was more of a. You know, you're of a certain age, and you need to. Yeah. And you were like, the odd one out. Right? All the men had the same sort of, you know, this is what we do when we're not fighting or when we're not training. And you were just always doing, like, always doing something, creating something, writing something, and not like, the obligatory letters to the girlfriend or the mother, but other things, and they were just like, they didn't quite know how to deal with you. So that's when these things were a struggle, when you were forced to be in a more rigid pattern. Right. So I asked, okay, why does it feel like a struggle now in this particular lifetime? Because you're not a soldier. You have the freedom to create right now. So this is interesting because I'm like, that is a really specific answer. I'm wondering. I'm wondering how much this resonates. I got that you are much more aware of your mortality this lifetime. And also then. So he hasn't had to think about leaving a legacy before. There's never been a space, and I don't know whether that was because you never reached a certain age, so it wasn't on your radar. And I also got. Brati is also much more conscious of reception, so how his work might be perceived than he was ever before. So I really got the sense that you often do this for yourself, and now it's much more like outward focused, like, I bring something to the world, and then what do the people think of that? So I asked, why is. Why is Bradley so much more aware and conscious of it in this lifetime? And I got world. Seeing the world as an oyster. There's freedom that you haven't had before, and then that freedom also comes with a certain limitation. And this is where it became really sort of vague and very intertwined. I got that back. So all those lives, it was just part of who you were, right? It was just sort of like who you were, and now it is what you do. So. But at the same time, it was never. So I said, it's. This is where it's like, what are you trying. What are they trying to show me? Other people didn't perceive it as, this is who you are, right? That was just something that you did when everything else was tended to and you had the freedom to just, you know, do your thing. So it was very much. It feels like a bit of, like a contradiction to me, the difference between. It's just something that is part of you, too. This is something that I do that I actively put into the world, and that's the difference.
• 28:54
  Speaker B: Okay?
• 28:56
  Speaker A: And so I asked, and this is. I already told you before you hit record that some Freud came in. How does. How does that affect Bradley's creative process right now? And so this is. I think I got it through a Freud explanation because I'm very familiar with psychoanalysis, but when you. So this is how Freud and also Jacques Lacan explain the process of becoming into the world of becoming a subject. There's a child and the mother. So there's a child and the mother, and it's symbiosis. And then the father intervenes. And then you get the triangle.
• 29:35
  Speaker B: Okay?
• 29:36
  Speaker A: So it's the father who breaks, makes the break between the child and the mother, because the child and the mother are this. So how they wanted me to explain that is that before you and your creativity were like, you had the symbiosis. And in this life, something came in, and this is. So the father creates the separation between mother and child. So in this life, something came in that made you separate from your creativity. So now there is a bit of a distance. So you understand that you and your, I think your creativity, you are still the one. But for some reason it feels like in this life, it is what you do. So what I got was that in this life, you are being asked to define it, to give it meaning. And you can only give meaning to something once it's been separated from you. This is also what, before we hit record, also it becomes a bit philosophical. This is what I was talking about. So you are asked this life to think about it and to think about something, you have to put it outside of yourself. Okay, that's what I got. And because I'm all for philosophy, but I also like practical answers. So I asked again, okay, but how does that affect practice process, like on a day to day? Yeah, right, because that's what we want to know.
• 31:10
  Speaker C: Yeah.
• 31:12
  Speaker A: And then I got the answer. Because he measures things by standards that aren't necessarily his own. So that was an interesting one for me.
• 31:23
  Speaker C: Yeah.
• 31:24
  Speaker A: Does that resonate?
• 31:25
  Speaker C: Yeah, yeah.
• 31:26
  Speaker A: Because for me, knowing you, I was like, really? So I was like, hmm. So that, because that was like, when I got like, okay, can we get this in normal language? Normal. What was the effect of this whole process of the sort of like the symbiosis being broken? So then, because you mentioned perfecting, and that was a really interesting thing. That's why I love the form, because I can pick things from that just from people are just typing. I was like, oh, I just sort of like home in on certain things. I'm like, hmm, this is interesting. So I asked, okay, what is it about perfecting certain things that doesn't speak to Bradley? Because that's what you said. You said, what did you say? You said, oh, you love that you want to create new things instead of perfecting one thing. Yeah, that's what you said. I was like, okay, so what is it that doesn't speak to you necessarily? And I got that you haven't embraced that as part of the creative process.
• 32:27
  Speaker B: The perfecting part. I haven't embraced that part as part of the creative process, yes.
• 32:32
  Speaker A: And I see this a lot with my, because I'm an editor as well, I see that a lot. Like, there's people who love the editing process, and there's people who just love the first draft process. Right. And most people who love the white page and just type in new words, they feel very unproductive when they're in the editing phase, and it's because they have not. They haven't yet embraced that. Like, writing a book. It is part of that process. So that's the same. I kind of got, like, oh, that's kind of similar. Similar answer here. And then I asked, okay, so why hasn't he like, why hasn't he embraced that? And then I got. Because. And this is where my handwriting fails me. Okay, I got it. Okay. So you created because you were creative, right. It was never before this life. It was never something that you wanted to put into the world with intent. So you haven't embraced it yet because you are still getting used to taking it seriously. That's what I got. So I asked, okay, so. But now that's what he's doing. Now he's trying to bring something into the world with intent. And I got, yes. And that means professionalizing it. That means taking that next step.
• 34:02
  Speaker C: Yeah.
• 34:03
  Speaker A: Right. So I got, okay, so is that the thing, is the professionalizing, which is, of course, very much connected to the perfecting.
• 34:10
  Speaker C: Yeah.
• 34:12
  Speaker A: Is that what Bradley is resisting? Yes, that's what I got. So I'm like, okay, so why? Why does he resist that? And then, so this, now, now I'm really curious what your answer is going to be. I got. Because he hasn't figured out, like, at the very deepest core of him, why he does what he does. He hasn't. He's never had to define it before. It was always something he got away with.
• 34:39
  Speaker C: Yeah.
• 34:40
  Speaker B: Yeah.
• 34:41
  Speaker A: So that's a very deep point. Does that resonate?
• 34:43
  Speaker B: Absolutely.
• 34:44
  Speaker A: Okay. Because I was like, it's kind of, the akashic records aren't mean because they're like, therefore your optimal growth. But I was like, I wonder how he's gonna say what I'm like. Because you haven't figured out why you do what you do and you get away with it. That's the really, like, it's something you always got away with.
• 35:01
  Speaker C: Yeah.
• 35:01
  Speaker A: So I feel like the sort of beating around the bush kind of feeling. Right, like the. Like. Because you mean you are a smooth talker.
• 35:11
  Speaker C: Yeah.
• 35:12
  Speaker A: So you can sort of wind your way around this conversation. So I asked, okay, does Bradley need this in his life to get where he wants to be? And I got, yes, but he also needs to keep the play. So don't go. Don't go overboard in like. So I was like, how do I explain it? And then I got, you need to have this balance between taking yourself too seriously and not seriously at all. So you need to ask yourself, at what level are you taking yourself seriously enough? So where is that balance for you between taking yourself way too seriously and not taking yourself seriously at all? Whereas do you need to find that middle ground? Like, where are you? Where is that for you? Because there is a middle ground, right?
• 36:09
  Speaker C: Yeah. Yeah.
• 36:10
  Speaker B: Can I give an example?
• 36:12
  Speaker A: Yeah.
• 36:13
  Speaker B: So before we recorded, I was just saying how I've been doing a lot more public speaking, which I'm thoroughly enjoying. And in typical Bradley fashion, I could give a speech every week, I could give a new talk every day, because, like you say, I'm just a creating machine. And that's me, that's who I am. And that's how I like it. I like it that way. I'm happy to give a new talk every day. I have a new idea every day. And like you said, at some point, you know, like the one father in one of the stories, you said he creates ten things. One of them is useful, practical for the village or whatever, and nine maybe, maybe not so much. And that's fine. I'm good with those odds. I like those. But I also like creating the ten things. And I don't know which one in, when I start, which one of the ten is going to be the one, or which of the hundred is going to be really the one, or which one of the thousand is really going to be the one. And so, but like you say, I've just been plodding along doing that, and that's been fun because I enjoy that. This is how I get my energy, this is how I get. I get my creativity by creating. I make more and I just get more. One idea leads to more ideas and more talks and more books. So then, so recently, like I was saying, last weekend, I was in a competition for public speaking. And so for this one, I didn't have to give the same speech as I did previously at previous levels, but I wanted to because I had practiced it quite a bit. And so this one talk, I must have rehearsed it, I don't know, 30, 40, 50 times. And I never do that. Just like books. I write them, they're done. Bye bye. I don't over edit, I don't overanalyze, and I'm on to the next topic. But this example of this competition where I wanted to do well and I wanted to. Okay, well, this gets a little bit interesting because as I told you, according to the public, I won the competition. Right. According to the jury, I did not. And so this is a little bit related to what you were saying earlier. Like, why am I doing this? Who's it for? Is it for me? Is it for someone else? Who's the audience? And in this answer, I think a very practical answer here would be, I'm doing it for the audience. I'm not doing it for the jury, because I also, I know, I know enough about this particular organization, and I know the jury wants these certain things and they will check boxes and that. I didn't necessarily check all the boxes. And I knew, I consciously knew I was doing that. But I'm going for the audience. However, previously real Bradley or deeper Bradleys, I don't even do the, I don't even do the competition. I just create a new talk every day.
• 39:16
  Speaker A: Yeah.
• 39:17
  Speaker B: And so this is really interesting now, because you're saying, find that balance between the professionalism and the play. And I can. Yeah, I can see that. And I've been way in play zone. You know, I've written 39 books, and probably 38 of them are in play zone. And one, it's my best seller, the one that sells the most is on the more professional size. Using the words. You're using professional.
• 39:49
  Speaker A: Right.
• 39:50
  Speaker B: I did more to.
• 39:53
  Speaker A: There's a different intent behind it.
• 39:55
  Speaker C: Yeah.
• 39:56
  Speaker A: Yeah. I think that is the professionalism is an intent. Right.
• 40:00
  Speaker C: Yeah, yeah.
• 40:02
  Speaker B: And it's interesting, you know, we're talking, here we are mid 2024, and this is a recent phenomenon for my, for me, what you're, what you're talking about this finding this balance, and which side do I want to go on? Do I, do I want to just stay in the playground and just play all the time? Because like you said, I've been getting away with it, or do I want to or need to shift to the more professional for the reasons, you know, what are the reasons? Why do I want to do that?
• 40:33
  Speaker A: And I love that your records say that the shift is not like this. It's more like.
• 40:39
  Speaker C: Yeah, yeah, yeah.
• 40:42
  Speaker A: Right. It's not like I've been doing this. I need to do this now. It's like, okay, I need to stay in the play.
• 40:49
  Speaker C: Yeah.
• 40:50
  Speaker A: But. And to me, this is also about taking yourself seriously and honoring yourself and your own potential.
• 40:55
  Speaker C: Yeah.
• 40:56
  Speaker A: Right. Because if. The thing is, if you were happy, if you were happy living the life like your dad in some very old life did. Right. Just, you know, tinkering about a bit. Sometimes, you know, you have a win, and sometimes people look at you like, you're insane for inventing this thing. Right. But you are clearly seeking for more.
• 41:18
  Speaker C: Yeah.
• 41:19
  Speaker A: So then the question becomes, how do I get. And so if you were not seeking for more, I'd be like, there's nothing wrong with what you're doing. Keep having fun. But. So now the question becomes, how can you keep having fun but just pivot more towards. But I can have. Where can I. Where do I. Where's the line between, I'm still having fun, but I also honor my true abilities.
• 41:49
  Speaker C: Yeah.
• 41:50
  Speaker A: And what I. And for me, and this is what I. Since I started working with the records, believing more and more everybody came. I already believed it. Now I feel it. Everybody came here for a particular reason. So are you going to honor that or not? I think that's. That's the balance. And like I said, it's not from play to this.
• 42:15
  Speaker B: Right.
• 42:15
  Speaker A: It's more like, if you're here now, it's more like, okay, can we find the middle ground? So that's not a massive shift. That's just so you don't have to be this person. And I don't think you are that person.
• 42:30
  Speaker B: I'm not. And I couldn't be. I could act it, I suppose.
• 42:34
  Speaker A: Yeah, that's not. We don't want that. Because the reason I think your audience, like, I love that you're the audience, like, yeah, you clearly won. Because I think that's way more important than what the jury thinks. Because.
• 42:46
  Speaker B: Exactly.
• 42:46
  Speaker A: Because jury assessment is from the head. A lot of it is from. I'm sure they also look at how things enter.
• 42:56
  Speaker C: Yeah.
• 42:56
  Speaker A: Right. But an audience isn't thinking about form and structure and whether you're hitting all the right notes. Right. The audience just knows, is this resonating, yes or no?
• 43:06
  Speaker B: Yes, exactly. And that could be. And this is interesting because I got the question afterwards from people who, they know the organization, they know me, and they say, so, Bradley, if you could only choose one. What do you want? Do you want to win over the audience or win over the jury? And of course, my answer is, well, both. But if I could really only choose one I'd rather have the audience. Another comment I got was, the audience is the real world. The jury is this particular organization on this particular day and these particular people with certain.
• 43:41
  Speaker A: They have a paradigm and parameters.
• 43:43
  Speaker C: Yeah.
• 43:44
  Speaker A: Right. They have a particular view.
• 43:47
  Speaker C: Yeah.
• 43:47
  Speaker A: These people are there because they look at the world through a particular lens.
• 43:52
  Speaker C: Yes.
• 43:52
  Speaker A: And they just want to see whether you fit that lens or not. So it's like. No, and that's not so. That is exactly not. That's the world. If you're like, in a job interview.
• 44:04
  Speaker C: Yeah.
• 44:05
  Speaker A: Do I fit with what these people want of me?
• 44:08
  Speaker C: Yes.
• 44:08
  Speaker A: But if you. If you. If you want to engage a particular audience, then that's what you should focus on.
• 44:15
  Speaker C: Yeah.
• 44:16
  Speaker A: And I get that because certainly I remember the shift. Getting that. I'm getting to that age. I remember when we got the shift in all those talent shows where they started moving from just a jury to that. The audience also got a vote.
• 44:31
  Speaker B: Oh, right, right.
• 44:33
  Speaker C: Yeah.
• 44:34
  Speaker B: Like Eurovision successful stuff like that.
• 44:37
  Speaker A: Yes. I'm thinking X Factor. Like all those shows that started in the Netherlands.
• 44:41
  Speaker C: Yeah.
• 44:43
  Speaker A: Like, that's like. That was a very. I remember that we could text message if we wanted this thing to win. That was like. And I was like a teenager, I think, at the time, so that was. That's a very particular. They also understood that there is a difference between how somebody sort of, like how a jury sees someone and how people living, breathing, who do not have these particular notions about what a good performance is or why they just vote with their hearts.
• 45:19
  Speaker B: So you and I know each other from book world and my story is very similar with my books. I will get nine out of ten. Or it's like a typical bell curve, right? I'll get the people who don't get me at all. Then I get the people who kind of get it. Then there's like, the bulk of the people are like, okay, I think it's probably good, but I'm not sure I understood it. Then I get, oh, that was really good. And then I get the, oh, my God, you are the greatest thing since sliced bread and I love you and you're the greatest thing ever.
• 45:52
  Speaker A: I think we talked about this during the last time because you said there was somebody like, I think it was about your audiobook. So somebody like, like, I can never listen to this guy ever again. Like, oh, my God. And then there is also this person that. I don't care what else he's going to publish, you know, as long as he. Like, I will listen to him. Like, I don't think she said until my dying day, but just to get it right. So it's like. But, yeah, you can cry over that or you can go, oh, look, audience. Not audience. Perfect.
• 46:27
  Speaker C: Yeah, yeah, yeah.
• 46:28
  Speaker B: So with the profession. Okay, let's keep going.
• 46:30
  Speaker A: Yeah, because we get to this. Okay, we get to this, actually. So that's interesting because, yeah, we can talk forever about this. So my next. The previous question was like, do you need that sort of level, that sort of, like, finding the balance to get where you want to be? And then. So my next question after that was, how can Bradley start accepting this part of the process, that this is actually part of the process? Because for someone like me, that is so obvious. But for a lot of other people, they're just like, why do I have to do that, too? It's the same with the marketing. It is part of the process.
• 47:07
  Speaker C: Yeah.
• 47:08
  Speaker A: So how do we embrace it instead of, like, sort of fighting it? And then I got that you need to really, really, truly ponder your why. Why do you want to create the things you want to create on the deepest of levels? So again, I got the sense that you got away with this answer for a bit.
• 47:25
  Speaker C: Yeah.
• 47:26
  Speaker A: So deep down, like, very deep. Like, when you think you found it, dig deeper. Like, what is it that you're here to say? What is the message? What are you trying to do here?
• 47:35
  Speaker C: Yeah.
• 47:37
  Speaker A: And then I asked because I wanted to go, because you said what I always ask in my form, like, is there anything you've done? You've tried to overcome this, like, obstacle or to work on this struggle? You said, well, I moved. I moved from working on 49 things to five things. So that's. So just to be sure, I asked, does Bradley work on so many projects at the same time because he's inspired all the time, or does he do that so he doesn't have to ask, he doesn't have to think about these deeper questions, why he's doing things, just because I like to throw out the meaningful, let's get really honest here. And then I got, no, he really is a creative machine. So your akashic records acknowledge that you are really a creative machine. They just said, bradley just needs to learn to recognize when it is time to shift gears. And this is where balance comes back. So perfecting something is a completely different gear than sheer creation. Right? Sheer creation is put them in five and just go. And maybe perfecting is like one or two. I'm sure you drive stick now you're in the Netherlands, so you know what I'm talking about. It's not like what do I have here? I write, I don't have stick here in Cyprus because it's very hilly. So it's like, what do you have? Drive, reverse, right. Neutral, that's it. Neutral, that's it. Yeah.
• 49:10
  Speaker C: Yeah.
• 49:11
  Speaker A: So it's, again the balance. So it's not the constant moving forward. You need to balance that. Like sometimes you just need to, you.
• 49:21
  Speaker B: Know, pull over to the side of the road, sometimes.
• 49:25
  Speaker A: That too, like sometimes you just need to park and be like, okay, what now? Like, what am I doing? Yeah. But also I think it's important that. Why they said it's a whole other gear. Perfecting, perfect, perfect. Perfecting is not parking.
• 49:43
  Speaker B: Right, okay.
• 49:44
  Speaker A: Yeah, yeah, that's, that's why it's, it's, it's, it's, it's a gear shift. It's not halting the motion. And I think that, and I'm now thinking about all those clients I have that are like, I hate it when I'm not writing new words. It doesn't feel productive. You're still moving towards something.
• 50:03
  Speaker C: Yeah.
• 50:04
  Speaker A: You're still in motion.
• 50:06
  Speaker B: The gear thing is interesting because they, a good friend of mine who knows me pretty well and she also, it's very sweet of her, but she says, you know, Bradley, I know you have these brilliant ideas and you do, some of them are awesome. Like I just wish you would slow down sometimes so I could catch up with the ideas because I would like to understand the ideas on a deeper level. But you're just so in fifth gear that I, I can't keep up. And she wasn't saying like, oh, I'm whatever, something, er, I'm more something than her, I'm smarter or faster or whatever. No, she's just with that idea because it's my idea and I'm in fifth gear in my car and I'm in fifth gear and I know exactly what it is and what I'm doing and why it's important and I know the whole deal and it's kind of like, I mean, I lost the visual now, but it'd be like, here, jump into this car in fifth gear on the highway, friend.
• 51:05
  Speaker A: Yes.
• 51:06
  Speaker B: Like can we just pull over and stop please, so I can switch drivers, you know?
• 51:11
  Speaker A: No, you just like, you just, you're just driving past them. 100 km an hour, 120 maybe, depending on which highway you have in the Netherlands. And then 130, I think even it's on some these days. And then it's like, come on, hop on board.
• 51:23
  Speaker B: Yeah, come on, come on.
• 51:25
  Speaker A: In, and she's just like, my door is open.
• 51:28
  Speaker B: Yeah, what's your problem? Doors open.
• 51:31
  Speaker A: They're just like, yeah, okay. Yeah, go ahead. Like, finish that.
• 51:36
  Speaker B: No, no, no. That's perfect. That's perfect. The doors open. Come on in. Why aren't you getting in my car?
• 51:41
  Speaker A: Yes. So I think this is a beautiful metaphor for your audience. Is that part of your professionalization and also your reach is that you have to take into account that your audience needs time to hop on board?
• 51:58
  Speaker B: Yes.
• 51:59
  Speaker A: I think that is a beautiful. I love that you bring that up because it fits in so well. And they, no matter how brilliant your ideas are, people cannot hop on board if you don't sometimes say, you know what? Here is the station. I'll just breathe for a second. Here. Everybody can hop on board. And then we. Slowly, slowly. So I see a train now, like one of those older ones, and then come on the journey. But you have time to. Time to catch up with me, time to get used to the speed. And then we'll reach the next station, and you can get off and just be like, okay, that was a train, right?
• 52:40
  Speaker B: Not to mention, we haven't even talked about, are we going to Paris or Frankfurt or Copenhagen? Which train are we even on? Because you want to get on the train to Frankfurt. I'm already cruising in the train to Copenhagen. No, because I'm on to the next journey. That's the last book that you're already on.
• 53:02
  Speaker A: The last journey.
• 53:04
  Speaker B: I mean, that's like. That's the most. Second most recent book is to Frankfurt. I'm already on the next book, which is the train to Copenhagen.
• 53:11
  Speaker A: So. And this is, of course. And so then. So now I envision, and I didn't even ask about this. So now I'm just wondering to what extent your audience is a bit lost, too.
• 53:20
  Speaker B: Oh, totally.
• 53:20
  Speaker A: Because they cannot track you.
• 53:22
  Speaker B: Exactly. They're totally lost. Except for the crazy oddball weirdos like me, who are like, happily jump into a car at 100 km an hour and say, like, let's go. Right? But they're so few and far between. That's why I have certain fans, whatever, readers who are like, I totally get it. This is amazing. Let's go to Copenhagen. Fifth gear all the way. Let's go. Right. What I say, there's so few of them, right? That 99 of them aren't the trains left the station.
• 53:55
  Speaker A: They're just like, so what I see now is that you're on the highway, fifth gear. And then. So you're true. You're super fans, they're on the top of another car and they're just speeding by so they can slide through your window, basically. That's kind of what I'm seeing. Right. And then, and then your other. And then you're in fifth gear, but you're going way too fast. Right. You're going way past the speed. So the rest of your audience is sort of like.
• 54:28
  Speaker B: Right.
• 54:29
  Speaker A: That sounds kind of interest. Oh, it's gone already?
• 54:32
  Speaker B: Yeah, yeah, yeah. That pretty much sums it up.
• 54:35
  Speaker A: Yeah, yeah, I love that we got this visual. Okay, so that's something to work on, maybe. Yeah, maybe something to think through. Okay.
• 54:44
  Speaker B: Yeah.
• 54:47
  Speaker A: So, okay, so then you. So you ended, actually. So I asked some question. We're almost there. Because at the end, I'm like, what do you hope to get out of the reading? And you said, clarity. Courage and confidence. The clarity to know what to do, the courage to do it, and the confidence to finish and succeed. So I was like, how about I shape that into questions? So I asked, what clarity can we give Bradley today? So I get it's Bradley's time to shine, but to do so, he needs to level up, and that means get rid of the noise and fine tune your message. Okay, so really? So that gets back to the why, like, on the truest, deepest level. But the funny thing is, I think that to get there, you need to slow down.
• 55:36
  Speaker C: Yeah.
• 55:37
  Speaker A: And I'm wondering whether in that slowing down, your audience has a chance to catch up.
• 55:42
  Speaker C: Yeah.
• 55:43
  Speaker A: Well, you. Instead of creating the next best thing, you actually sit and like, okay, why am I doing this?
• 55:49
  Speaker C: Yeah. Yeah.
• 55:50
  Speaker A: They have this. I sort of feel, like this collective breath when I say that.
• 55:55
  Speaker C: Yeah.
• 55:58
  Speaker A: So how aware can Bradley find the courage to do this? And then I get, okay, so truly knowing your why will go a long way, because that knowledge will drive you forward, because that then becomes your. Oh, yeah, your drive. You know, why you're doing it. And I'm also wondering now whether that will then give you the energy that new creation usually gives you. So maybe you can swap that out a little bit.
• 56:27
  Speaker C: Yeah.
• 56:28
  Speaker A: Well, then instead of. Because I understand that. Right. Like, the more you create, the more you create.
• 56:33
  Speaker C: Yeah.
• 56:33
  Speaker A: Right. That's just how I know that. That's how it goes. Like, the more you write, the more you write. That's just how it is. I don't know why. It's just what it is. So I'm wondering whether. So it kind of is like, that is how you have your. How you drive, you know, stays in motion. But maybe this knowing your why will take over a little bit so you have less need of the next project because the drive comes from a deeper internal place. Yeah, that's just. I'm just wondering. That's. That's just me trying. Me as myself, trying to connect all the dots, because that's something that I very good at. Like, what would you just, like, how is this all connected?
• 57:17
  Speaker C: Yeah.
• 57:18
  Speaker A: And then, of course, how. Or where can Bradley find the confidence to finish succeed? This is where we get to the woman who's like, I don't care what he publishes next. I'm gonna listen to the book. Right, so this is. This is the person on top of the car trying to catch up and just sliding into your window. She's like, I'm on this. Right? Like, this is. Yeah, I mean, it's. So. Because the answer I got was, Betty needs to look at how his work has been perceived and really look into what resonated with people and why. So sort of, like, find out the essence of why people connect to your work and then use that. Like, use that knowledge. Oh, yeah. Oh, yeah. So home in on that. What's the message they find? And is that the message that you want to be sharing in its purest form? Like, and how can you share it in its purest form? How can you distill from how it's been perceived, what that message actually is? What are people getting from what you're doing? And then I would say, like, and how can you then bring that to the. How can you slow down enough so that other people can get a taste of that, too? Yeah, that makes sense. So, final question is always, for me, is there anything else Bradley needs to hear today? And this. And this is really funny, because I got this entire thing in English, and I got this one in Dutch.
• 58:44
  Speaker B: Okay.
• 58:45
  Speaker A: I got. Do you know that idiom?
• 58:53
  Speaker B: No, I don't know that phrase, but I can. I can envision something.
• 58:58
  Speaker A: The english version is separate the wheat from the chaff.
• 59:01
  Speaker C: Yeah.
• 59:02
  Speaker A: Yeah. So I think this resonates. This goes back to the noise. So you have to become really clear about what it is, what you're doing, and that will clarify your message. So that's what I got. Like, sort of like, all these things you're doing. What are you really doing? And then I was told, go back to the tarot deck that you pull the card from for Bradley in 2019 and show him that card again. Do you remember. Oh, can you see it? Do you remember this baby?
• 59:42
  Speaker B: What does it say at the top?
• 59:44
  Speaker A: It's a second of ones. So it's a two at the top. Do you remember this? This is the card I drew for you in 2019.
• 59:59
  Speaker B: In the Edinburgh Castle.
• 1:00:01
  Speaker A: Yeah. In the cafeteria, actually.
• 1:00:03
  Speaker B: I think we were having lunch or something.
• 1:00:05
  Speaker A: Yeah. Yeah. And then the message was all about direction and that you. Like, there is a. I love my new background, but this is not very conducive that you have a tendency, like, there are a little bit of offshoots on the branches, and that's your tendency to follow those. And so back in 2019, we already had the conclusion that you need. So the keywords of this particular card is determination, and I'm really trying my best here is determination and direction. So before I left, they were like, show him the card again, that you and. I don't usually remember this stuff. I don't know why, after five years, I remember that this is the card I drew for you. But do you remember it? Do you remember?
• 1:00:55
  Speaker B: I don't. I. I don't remember. I remember being there with you and doing this, but I don't remember that card. No. Although it's. You know what's interesting? Somebody just shared with me, and actually, this is. This is so relevant. Just shared with me a. She couldn't find it, but she described it and she said it's a graphic that she says some known thing that she just was reminded of. And there were two stick figures. Two stick figures, and they're both standing next to stick ladders. And one ladder, the rungs of the ladder, like the places you hold onto, were so far apart that the stick figure couldn't even reach the first rung of the ladder. So that stick figure was at the bottom of the ladder, the other stick figure. At the other ladder, the rungs were close enough together where they could. They could climb up. And so. And this is back to going too fast. Right. So that ladder, they're both tall, they both reach up to the top, but you can't even use that ladder is not functional because you can't get from one step to the next, whereas the other one, the steps are close enough to each other that you can keep one step at a time to get to the final destination and you can.
• 1:02:22
  Speaker A: Keep your momentum as well.
• 1:02:23
  Speaker B: Yeah, keep your momentum. And so the word. One word I've been using recently is tiny wins, little successes. Right. Tiny wins.
• 1:02:33
  Speaker A: Yeah.
• 1:02:33
  Speaker B: And maybe this is back to, you know, we're back to the train, and sure, we're going to Copenhagen, but we should stop five times to pick up other passengers or whatever. It's not a non stop, direct, 130 km an hour train.
• 1:02:52
  Speaker A: But the way you're going right now. It is.
• 1:02:55
  Speaker B: It is. Oh, I don't stop anywhere. I just. Why aren't you on board with me?
• 1:02:59
  Speaker A: Why didn't you just hop on board like when we left Utrecht?
• 1:03:04
  Speaker C: Yeah.
• 1:03:04
  Speaker A: Or wherever. Wherever the hell the train took opening maybe sounds. Yeah. So you need. You need to become the train that actually has stops and then says, hey, anybody else want to hop on board?
• 1:03:19
  Speaker C: Yeah.
• 1:03:19
  Speaker A: I have a cool thing for you. I have a cool story for you to tell.
• 1:03:24
  Speaker C: Yeah.
• 1:03:25
  Speaker B: Note the. It's super cliche, but it's the journey, not the destination.
• 1:03:33
  Speaker A: You know why?
• 1:03:33
  Speaker B: It's why things are cliche, because they're true.
• 1:03:36
  Speaker A: Thank you.
• 1:03:37
  Speaker B: Yeah, yeah. So, similarly, I actually don't even care about Copenhagen. I just like the train ride. It's the journey. I just want to be on the train. I just want to climb up the ladder. I don't even care where the ladder leads to. And that's, you know, that's a little bit. No, not a little bit. That's a lot. My. Why? Enjoy the journey. Enjoy the train ride. And in fact, let's slow it down a little bit.
• 1:04:09
  Speaker A: Well, I think that's where you are right now. Like, how can you then slow it down so you can enjoy it with more people?
• 1:04:15
  Speaker C: Yeah. Yeah.
• 1:04:16
  Speaker B: Because I'm on that fast train, but I'm all alone.
• 1:04:22
  Speaker A: It's. When I grew up, I had one of these cards, actually. This is sort of a childhood trauma for me, I think. I think it's one of the. I think my mom gave it to me and the card actually had this mountain top, right, like snow. And then there was a guy on it and the card said, it's very lonely at the top. And I'm now wondering whether my mom gave it to me back then because she already knew that I was going places that she. She had no intention for me to go because that just mean I was separating myself, like, moving places and stuff like that. And some people don't like that. But it is true at the same time that it can be very lonely at the top. And I think back about that father person in that life is that there was a certain level of respect in the village, but except for you, he was all alone in his workshop and people really didn't get him.
• 1:05:21
  Speaker C: Yeah.
• 1:05:22
  Speaker A: Because he was so in that. Right. And that is fine if that's who you want to be.
• 1:05:30
  Speaker C: Yeah.
• 1:05:31
  Speaker A: But I think you're too much of an extrovert.
• 1:05:35
  Speaker C: Yeah.
• 1:05:35
  Speaker B: Yeah. I want the train to be full.
• 1:05:39
  Speaker A: You do this thing to connect.
• 1:05:41
  Speaker C: Yeah.
• 1:05:42
  Speaker A: That's what I get just from knowing you. Not from this reading, but just from knowing you, like. And we know from meeting in Edinburgh that, yeah, conference was nice, but it was the retreat, the time to meet people, to have conversation. That was gold. So it's like going to. And this is also why we at one point had a discussion that Edinburgh was, like, perfect. And then you went to Las Vegas afterwards and you're, like, completely different because it's just about the conference. There's very few time, very little time to. And opportunities to actually talk to people. Like, because of how it was set up, we had the time to sit down somewhere and drew some tarot cards.
• 1:06:27
  Speaker C: Yeah.
• 1:06:28
  Speaker A: Because of the way it was set up. So for you, I think where you are in the journey is like, okay, this has been great fun. I've wrote 39 books. Now I need to slow down so that my audience can, you know, get with me on this.
• 1:06:50
  Speaker B: Yeah, yeah.
• 1:06:52
  Speaker A: But what I got was, like, once, you know your why, I think that will slow you down very much. So. And this leveling up. Right. This sort of, like, becoming really clear on your message, but also, I think, keeping the sort of the gear shifting in mind as well. And the empty train.
• 1:07:14
  Speaker C: Yeah.
• 1:07:14
  Speaker A: Like, maybe you need to move from the train to Copenhagen, which is like one of those. What's it called in the. Oh, the Hochesno Heights line. I don't know what that is. What's that in English?
• 1:07:29
  Speaker B: Yeah. High speed trains.
• 1:07:31
  Speaker A: Yeah. Maybe you need to become a. Between Utrecht and Amsterdam that goes, like, through Brooklyn, stuff like the one that has every bloody stop that takes like 40 minutes to get to Amsterdam or maybe longer. Right. It's a completely different sensation.
• 1:07:49
  Speaker C: Yeah, yeah.
• 1:07:50
  Speaker A: We call it the we. I don't know how you would call it in English. We call it a bumotrain. I have no idea where that word comes from. That's how my family, we call that.
• 1:08:01
  Speaker B: Well, it's funny what they call it here. The sprinter, that here in Netherlands.
• 1:08:08
  Speaker A: Yeah. So that's what it's called nowadays. Of course, yeah. So the sprinter, because it just.
• 1:08:13
  Speaker B: Yeah, sprints from one to the next. Yeah, yeah.
• 1:08:16
  Speaker A: And you think it was a. That those are the slowest ones because they just do these tiny sprints and then there are many stops. Yeah. After that. That's the official word for it now. Yeah.
• 1:08:26
  Speaker B: I think this is with your. With your idea, you trip to Amsterdam, maltrain, you said bummel, bumble train.
• 1:08:35
  Speaker A: But that's. I think that's how my family used to call it was like. It is the idea of, like, it just chugs along.
• 1:08:40
  Speaker C: Yeah.
• 1:08:41
  Speaker A: Instead of one of those fancier, like, two levels.
• 1:08:44
  Speaker B: Right.
• 1:08:44
  Speaker A: It's one of those that, you know, might not have toilets. So I definitely think that we now call it a sprinter. We now have a name for it.
• 1:08:51
  Speaker B: Yeah, yeah, yeah. And I like that you said utech to Amsterdam. It's not. Not Amsterdam to, whatever, Berlin. Right. It's a. This is a little bit then, related to tiny win. Tiny wind is uche Amsterdam. It's a short distance and we're going.
• 1:09:07
  Speaker A: To get it done and getting people, like. And getting people on board, like, I don't even know where it passed. Like, I only know Brujkola. That's. That's like. I think it's the first stop. I don't know what. Because I never took that. I think I took it once by mistake and I was like, coach. Because I wanted to go to Amsterdam and it's usually quite fast and I was like, oh, God, now I'm stuck in this one.
• 1:09:28
  Speaker C: Yeah, yeah.
• 1:09:30
  Speaker A: So maybe. Yeah.
• 1:09:32
  Speaker B: You know the tiny win, you say, my, my, why? And I think tiny win is at least part of it, because I. I want. I spent. I whine and moan about this. I spent, like eight years or nine or something. And I say, like, dreaming and whining and moaning and thinking and talking and chatting and wondering and wishing and hoping to write my first book and I never.
• 1:10:00
  Speaker A: Then you did Nanowrimo.
• 1:10:03
  Speaker B: Yeah. I don't actually know what happened when I. How I. Well, I know, I do. No, I do know what happened when I started. I was, like, threatened slash invited by a friend to get my damn book done.
• 1:10:17
  Speaker C: Right.
• 1:10:17
  Speaker B: So it took an external party to invite me to do it, to finish something. I wasn't finished. Well, I wasn't even doing it at all. I wasn't writing at all. I was just dreaming about it. And that's also one of my things. I don't want to, you know, I don't want to talk about the train from. From Amsterdam to Hong Kong. That's a massive, huge journey. I like your Utrecht to Amsterdam. Let's get to Utrecht to Amsterdam. Done and finished and awesome.
• 1:10:47
  Speaker A: And that doesn't mean you cannot take a similar train to, like, it doesn't mean you can go to Berlin.
• 1:10:55
  Speaker C: Yeah.
• 1:10:55
  Speaker A: Nobody says you can. You don't. Nobody says you have to stop there.
• 1:10:59
  Speaker C: Yeah.
• 1:11:00
  Speaker A: But you could take a. Imagine being on a similar train to Berlin. So instead of being in Berlin in a couple of hours, what if you actually stop, not just at the big ones.
• 1:11:12
  Speaker C: Yeah, yeah.
• 1:11:15
  Speaker A: But actually envision being on a train like that from Amsterdam to Hong Kong.
• 1:11:23
  Speaker C: Yeah.
• 1:11:25
  Speaker A: And then.
• 1:11:26
  Speaker B: Yeah. Tiny winds.
• 1:11:29
  Speaker A: That is so much slower than I need to get here. And the thing is that I actually think you can get to Hong Kong with it. I think it's much easier, actually, to get there by slowing down.
• 1:11:41
  Speaker C: Yeah.
• 1:11:42
  Speaker A: Than trying to cut off corners or.
• 1:11:47
  Speaker B: Wait for people to board the train, too.
• 1:11:51
  Speaker A: Yeah, but I think that. Yeah. And that is. I think that is. I think that is a key for you now.
• 1:11:57
  Speaker C: Yeah.
• 1:11:57
  Speaker A: And how do you do that? Like, the. Why the focusing on that and the slowing down.
• 1:12:03
  Speaker C: Yeah.
• 1:12:04
  Speaker A: So that when. So that when you. When you enter the station and you halt and you open the doors, you can tell people are like, okay, why do I need to hop on board? You're like, well, so you can tell them. Elevate a pitch. This is why you want to get on board. Oh, okay. And then they come on board, and then you take them along, but you don't go so fast that then they just sort of, like, g force level are sort of, like, trying to stay upright in the train. You just actually chug along so they can, you know, have your book and read it as the train goes along, and then there's somebody who walks by with some beverages and some snacks and. Yeah, I'm really taking this train to a whole new level because this is another thing. Right. Like, if you. If they hop on board and then you go so fast that they feel like they're like, whoa, they get nauseous and you don't want that either.
• 1:12:57
  Speaker C: Yeah.
• 1:12:57
  Speaker A: So you want to make the journey pleasant and not. Not pleasant as in that you have to be complacent in your creativity. Right. If you do crazy things, do crazy things, but sometimes slowing down a little bit or at least preparing them for the crazy thing a little bit.
• 1:13:15
  Speaker C: Yeah.
• 1:13:17
  Speaker A: I think that might help.
• 1:13:18
  Speaker C: Yeah.
• 1:13:19
  Speaker A: So that's what I have for you today.
• 1:13:22
  Speaker C: Wow.
• 1:13:23
  Speaker A: How was that? Because you've never done this before.
• 1:13:26
  Speaker B: No, no, I never have. You know, I have to say that I'm super visual, and the train and the fifth gear and the highway and the all that, it really helps. And then your visuals of the woman in the next car is not even in the next car. She's on top of the next car trying to get into my car.
• 1:13:49
  Speaker A: Yeah. She's chasing you down.
• 1:13:51
  Speaker C: Yeah, yeah.
• 1:13:52
  Speaker B: She wants to come along.
• 1:13:54
  Speaker A: But also, these are the people who like the thrill.
• 1:13:57
  Speaker C: Yeah. Yeah.
• 1:14:00
  Speaker A: And I think, so what I envision now is I saw the friend you recently talked to. This would be the person who jumps in front of the car. And it's like, could you stop, Liz?
• 1:14:09
  Speaker C: Yeah.
• 1:14:10
  Speaker A: So you, so I think you, so recently you've got somebody who was trying to pull the emergency brake.
• 1:14:18
  Speaker C: Yeah.
• 1:14:21
  Speaker A: Like, hello. Like, we're here. We're here and we're trying, but you need to give us something.
• 1:14:29
  Speaker B: And it's also because she's a friend. Right. A reader is not going to take the time. An unknown reader. Like, you know, we don't know each other. Not going to take the time to say, hey, Bradley, if you slowed down, you know, I'd buy more of your books.
• 1:14:40
  Speaker A: No, because they just, they just, they're like, okay, this is going way too fast for me. And then they just. Although they'll read something else.
• 1:14:48
  Speaker C: Yeah, yeah, yeah.
• 1:14:52
  Speaker A: But can you imagine how many people would feel like your friend?
• 1:14:57
  Speaker B: Yeah. And who don't say anything or don't dare say anything or don't want to say anything, whatever.
• 1:15:01
  Speaker A: Would you, would you read it? Would you read a book and be like, I didn't get this. And then write, like, write to the author? Like, I think I love what you're doing, but could you do it differently? I cannot explain how, but there is something that I'm just like, could you do it? Just, could you just do something different? I cannot imagine if some, if I'm reading something and for some reason the author or whatever they're writing doesn't resonate. I just, I just, I just leave the station and find something else.
• 1:15:32
  Speaker C: Yeah.
• 1:15:33
  Speaker A: Right. This is how you lose your, your potential audience.
• 1:15:39
  Speaker C: Yeah.
• 1:15:40
  Speaker A: And you've shown by, like, the speaking that if they are in a space you have.
• 1:15:46
  Speaker C: Yes. Yeah. Yeah.
• 1:15:49
  Speaker A: So how do you do that with the books? How do you get them? How do you in that space?
• 1:15:55
  Speaker B: I had them first. I mean, it was only seven minutes. Right. It's very timed and organized. I only have seven minutes. And I had people coming up to me left and right afterwards, you know, and I remember, I specifically, I see this woman. She's coming from the other side of the room. She is beelining towards me, and then she's right in front of me and says, I've been tracking you down since last night. I want to tell you this, but.
• 1:16:21
  Speaker A: With a book, she's another person on top of the car waiting for you to roll down your window so she could jump in.
• 1:16:29
  Speaker C: Yeah. Yeah.
• 1:16:30
  Speaker A: She cornered you.
• 1:16:32
  Speaker C: Yeah.
• 1:16:34
  Speaker B: And that seven minutes speaking in front of a person, you know, audience has only me I'm the only thing going on. Right. It's just me on stage with hundreds of people in the room and I have their attention, you know? Try that with a book. Right?
• 1:16:49
  Speaker C: Who?
• 1:16:49
  Speaker B: You. How do you hold on to somebody's attention for seven minutes? You have like 7 seconds. You know, that's like, there goes my train.
• 1:16:57
  Speaker A: Yeah.
• 1:16:58
  Speaker B: Oh, that one's gone. Oh, that was. I think it was blue, you know?
• 1:17:01
  Speaker A: Yeah. Where did it go? We don't even know. We don't even want to know where it's heading to yet.
• 1:17:05
  Speaker C: Yeah.
• 1:17:05
  Speaker B: And then, oh, look here. Grabs another train that's going to stop in this station. It's going slow and, oh, look, it's pretty and has red frillies on it. I'll take that one.
• 1:17:14
  Speaker A: Yeah. And it also doesn't go so fast that I lose my lunch while I'm on it.
• 1:17:18
  Speaker B: Right. Yeah.
• 1:17:20
  Speaker C: Yeah.
• 1:17:20
  Speaker A: Because it's such a roller coaster. Right. So. Yeah, because I'm. So this is the thing, like we. This was a very metaphorical conversation.
• 1:17:30
  Speaker C: Yeah.
• 1:17:30
  Speaker A: Do you think that will land? I gave you a few semi practical things to work on.
• 1:17:38
  Speaker C: Yeah.
• 1:17:38
  Speaker B: Yeah.
• 1:17:39
  Speaker A: But do you think this will land?
• 1:17:43
  Speaker B: Yes.
• 1:17:44
  Speaker A: To the extent that you're like, okay, now I know the way forward for me.
• 1:17:48
  Speaker C: Yes.
• 1:17:48
  Speaker A: In practical terms.
• 1:17:50
  Speaker B: Well, what's also interesting is that it's landing at a perfect time because I've been since the beginning of the year, it's now June. Since the beginning of the year, I've been searching for, I think, this call with you.
• 1:18:07
  Speaker A: And I love that when these things just come at the exact. And I love also that it's not just new, it's affirming a lot of the things people are already telling you, that signs are already there.
• 1:18:18
  Speaker C: Yeah.
• 1:18:19
  Speaker A: And then I. I think this works better because I'm not giving you this. This as a completely out of the blue, like.
• 1:18:29
  Speaker C: Yeah.
• 1:18:29
  Speaker A: It's more like it tells you. Yes. The signs you thought were signs are signs.
• 1:18:35
  Speaker C: Yeah.
• 1:18:36
  Speaker B: Listen, so back to the train. It's you, Mariela, but also akashic records are in front of the train on the tracks saying, so when we had.
• 1:18:52
  Speaker A: This previous call, me saying, let's do this, that was me sort of saying, I can jump in front of your train if you want to.
• 1:18:59
  Speaker C: Yeah.
• 1:19:00
  Speaker A: And you were like, so you want it. You need it then.
• 1:19:04
  Speaker B: I know I need it. I want it. I was about to say I'm tired of being on the train, but I'm. I'm not. I will always be on the train. I'll always be going 100 miles. 100 km an hour, I think. I don't know. I've never not been that way. I think I've always been just a creating machine. So it's going to take some doing to slow down the train.
• 1:19:30
  Speaker A: Yeah. So this is the thing. But how can you slow down the train without not being like. It's the same with like, you'll find the balance between the play and the, like, taking yourself seriously enough. They're not saying, bradley, playtime is over.
• 1:19:43
  Speaker C: Right.
• 1:19:44
  Speaker A: None of that's in there. Right, right. It even warned you, like, pivot. But do not forget about the play.
• 1:19:52
  Speaker C: Yeah.
• 1:19:52
  Speaker A: So it's very much like, do not. Do not become a different person.
• 1:19:56
  Speaker C: Yeah.
• 1:19:57
  Speaker B: Right, right.
• 1:19:58
  Speaker A: Just slow down who you already are.
• 1:20:00
  Speaker C: Yeah.
• 1:20:01
  Speaker A: And really figure out. And I do think that figuring out the why and like, the connection, knowing that and knowing why you're here for people, I think that will make it much easier to slow down. Because when you are really clear, this is why I'm here. This is what I want to tell these people. This is why I want these people on board. You have the drive to create a space for them to hop on board.
• 1:20:25
  Speaker C: Yeah.
• 1:20:29
  Speaker A: But I really love that it's. This doesn't just sort of. It's really a. I love the calls, especially when it's like, oh, this person is already on it. And this call is like, yes. I just wanted to know that. So this is like, I'm not crazy. These things that are happening everywhere. I am on this path and this is where I need to get.
• 1:20:52
  Speaker B: Yeah, yeah. Like affirmation or confirmation.
• 1:20:56
  Speaker A: Yeah. So did it give you the clarity to know what to do?
• 1:21:03
  Speaker B: Yes. In a word, yes.
• 1:21:06
  Speaker A: And the courage to do it.
• 1:21:11
  Speaker B: That's. Yeah, I think it's weird, but. And it's funny because I think I'm such a full of courage person. I'm like, scared of nothing and I'll do anything. But this is different. This is slowing down the high speed train. And it's not to the point of, do I want to win over the jury instead of the audience. And I realize you're not saying that and I don't have to sort of choose, but it's. And you're also not saying, Bradley, park the train and take the bus. Right. Train's done. No, no, we're saying, no. The train's always going to keep going. If you would like some company on the train, then why don't we slow down and stop at a few more stops?
• 1:21:57
  Speaker A: Yeah. And then you can just immediately. And this is because actually like, to make more, to just, you know, heap on more metaphors. We started this conversation talking about open doors, right. And basically how you've been creating is, hello, people that are open doors.
• 1:22:15
  Speaker C: Yeah. Yeah.
• 1:22:17
  Speaker A: So you're like, okay, so we talked about when you see an open door, like, do you follow your curiosity or do you back away? But if the open door swishes by, you could only back away. Right. If a really fast train goes past, there's a reason there's a line on the platform where you have to stay behind, because if they go by so fast, you want to do that. Maybe you've been sitting around being like, hello, I have 39 doors open, 39 books. Why isn't anybody following their curiosity? Well, because they're scared of their life. Because you keep going by so fast.
• 1:23:01
  Speaker C: Yeah.
• 1:23:02
  Speaker A: So if you look at it from the audience's perspective. Yes, there is. Is it an open door? They don't know it went by so fast.
• 1:23:09
  Speaker B: Yeah.
• 1:23:10
  Speaker A: They're just like, I think that train was blue. Like, that's all they. That's all they got.
• 1:23:15
  Speaker C: Yeah.
• 1:23:17
  Speaker A: So. And again, like, you don't even have to stop. Stop, right. You can just slow down enough so that people can hop on board. Right. You don't really have to brake. You have to brake, but you don't have to halt.
• 1:23:31
  Speaker B: Right.
• 1:23:31
  Speaker A: Just like, because the doors are open and you're like. You're like, I've been letting people in. Where are they? Well, you know, they're clutching their pearls on the platform as you. As you swoosh by. That's what's happening right now.
• 1:23:51
  Speaker B: Well, and also continue with the train. If I had a. You know what. What do they call that? Is that like a rute plumber or something? Like I have. This is the train from Utrecht to Amsterdam. We're going to stop in Brucklen and. And whatever. Here's the train from a to b and here's where it's going to stop. Right. Because otherwise, if they're on the platform.
• 1:24:23
  Speaker C: Yeah.
• 1:24:24
  Speaker A: They need to know. They need to know where they.
• 1:24:26
  Speaker B: Where they're going, where are we going and what are the stops on the way?
• 1:24:32
  Speaker A: So are you feeling that this is not what you're doing?
• 1:24:37
  Speaker B: No.
• 1:24:38
  Speaker A: No, because let me. I know we're trying to end this call, but we're not there yet. Let me remind you of the conversation we had when I drew this card. I don't know if you've actually done it. I also really do not understand why I remember this because I usually do not. Like, I'm usually when I do this kind of work, I feel like I'm sort of protected because it leaves me. Right. It's like, I don't have to carry that. Right.
• 1:25:03
  Speaker C: Yeah, yeah.
• 1:25:05
  Speaker A: I remember you talked about your plan was you already had, like, ten books out by that time, so we've been very productive in the meantime. You were talking about republishing them in a particular order to give people a journey.
• 1:25:22
  Speaker B: Okay.
• 1:25:22
  Speaker A: You were talking about that back then.
• 1:25:25
  Speaker C: Yeah.
• 1:25:26
  Speaker A: So that, for me is like the ruteplaner, the. So, like Google Maps. Like, how do I get, like, from a to b?
• 1:25:34
  Speaker C: Yeah.
• 1:25:35
  Speaker A: The navigational tool.
• 1:25:37
  Speaker C: Yeah.
• 1:25:37
  Speaker A: So are you saying that you've never actually created the navigational tool that you talked about in 2019?
• 1:25:43
  Speaker B: I have, but it's only in a language I understand. Right. It's not a. It's not clear or obvious or, you know, here's the steps.
• 1:25:54
  Speaker C: No.
• 1:25:56
  Speaker B: So as good as no.
• 1:25:58
  Speaker A: Okay. So basically, again, what you're saying. I have a train, my doors are open. I cannot tell you where we're going. I mean, I can tell you in my language, but how about you just trust me and hop on board? That is not pretty much it, because what people really like to know. Are you going from Utrecht to Amsterdam? And do you only stop at. What is it, Amsterdam sound? I don't know where it stops. The. The faster one? Or are you gonna do the whole broke. I don't know. Like I said, I really don't know my topography here. Like, what are you. Because people want to know, like, on which one? Like, you know, when they look at the board, like, I need to go there. Which train will get me there.
• 1:26:45
  Speaker C: Yeah.
• 1:26:46
  Speaker B: Okay.
• 1:26:46
  Speaker A: So finally we come back to that conversation we had then when we just were getting to know each other, actually. And that is, again, it's like the direction. Right?
• 1:26:57
  Speaker C: Yeah.
• 1:26:58
  Speaker A: So you want to direct everything in a certain. But also. And this is like. Because it does look a little bit like a ladder. It also designs. So you also want to create steps for these people.
• 1:27:12
  Speaker C: Yeah, step.
• 1:27:13
  Speaker A: Ones that. Okay, so you. You kind of created it, but not in the language that people will. Not in a language that is marketing wise.
• 1:27:22
  Speaker C: No.
• 1:27:23
  Speaker A: Open to a broader public.
• 1:27:26
  Speaker C: No.
• 1:27:27
  Speaker A: Also something to think about.
• 1:27:29
  Speaker C: Yeah.
• 1:27:31
  Speaker B: And not that difficult. Right. I'm not talking about space exploration. Right. I'm talking about things that exist and they're there. It's just. I need the ruteplaner. I need to say we're going from a to b.
• 1:27:46
  Speaker A: You have to sit down. You have to. For this one, you have to park.
• 1:27:50
  Speaker C: Yeah.
• 1:27:51
  Speaker A: And actually explain to someone. Okay, so you start driving. Second turn, you go left.
• 1:28:01
  Speaker C: Yeah.
• 1:28:01
  Speaker A: And the third one, we go right. And then there's a roundabout. You take it three quarters. That's what you need to do.
• 1:28:08
  Speaker C: Yeah.
• 1:28:09
  Speaker A: And you have to. This means you have to be. Again, we come back to the message. When you're clear about your message, you'll be able to see this is the umbrella. Right. This is the overarching, arching message and this is the path that you can take.
• 1:28:25
  Speaker C: Yeah.
• 1:28:26
  Speaker A: And it can be a meandering path. That's completely fine.
• 1:28:30
  Speaker B: Right.
• 1:28:30
  Speaker A: But you can still explain it. And you have to explain why people need to take these particular steps to get to the whole message. But this means you need to slow down enough to figure out what is it that I'm trying to say and how can I explain that to people.
• 1:28:47
  Speaker C: Yeah.
• 1:28:48
  Speaker A: Which is another. Another part of the brain than sheer creation.
• 1:28:54
  Speaker C: Right.
• 1:28:55
  Speaker A: It's like the. It's like the blurb writing part of the book writing.
• 1:28:59
  Speaker C: Yeah, yeah.
• 1:29:00
  Speaker A: It's a completely different.
• 1:29:02
  Speaker C: Yeah, it is.
• 1:29:03
  Speaker A: It is a creative process, but a different creative process.
• 1:29:06
  Speaker C: Yeah. Yeah.
• 1:29:07
  Speaker A: Oh, I find that really interesting that we come back, because I know we talked about this back then and like I said, I don't know why I remember that.
• 1:29:15
  Speaker C: Yeah.
• 1:29:16
  Speaker A: My brain is a very scary space. That is a lot of depth there. But I remember now that this is when I was talking about direction, you were like, oh, this reminds me of my plan that I have, like, after Adam, I want to, like, republish and then give them an actual order. And so you've started that.
• 1:29:36
  Speaker B: Yeah, but, you know, I did it. I did it. They. They're. They're all in order, but it's not explained. Well, you know, it's. They have a number. Here you go. Yeah.
• 1:29:49
  Speaker A: Yeah.
• 1:29:50
  Speaker B: So we're going from Utrecht to Amsterdam, but I don't actually name the stops. It's just 12345.
• 1:29:54
  Speaker A: Yeah. It's just like. Yeah, so when I. So I said, like, you need to level up. Right.
• 1:29:59
  Speaker C: Yeah.
• 1:30:00
  Speaker A: But finally to level up, sometimes what you need to do is. This is the wrong way to say it. Dumb down the message.
• 1:30:09
  Speaker B: Right.
• 1:30:09
  Speaker A: That's not how I want to. That's like, you need to simplify. So for you to level up, you do need to come down to your audience's level.
• 1:30:20
  Speaker C: Yeah.
• 1:30:21
  Speaker A: Who are not with you. You are like, in front of the train, steering it and trying to see if you can throw more coal in it. That's not really how it works anymore these days. I do get that.
• 1:30:32
  Speaker B: Yeah, I am. Let's just keep going and let's go faster.
• 1:30:36
  Speaker A: Yes. So you actually. And this is me doing this for you, like, somebody, like, on your shoulder going, like, sir, could you take a minute to explain not only where we're going, but why we're going there and why we are going this particular order? Order.
• 1:30:55
  Speaker C: Yeah.
• 1:30:57
  Speaker A: So there's a lot of slowing down.
• 1:30:59
  Speaker C: Yeah.
• 1:31:02
  Speaker B: It's perfect timing for where I am right now.
• 1:31:05
  Speaker A: I love that. I really love that. I really love that. That happens a lot, that when people say, let's do this, it's because they're already on the precipice. Like, they're already poised to make that, and that's why they're open.
• 1:31:19
  Speaker C: Yeah.
• 1:31:20
  Speaker A: Which is great, because I know from. Not from experience, luckily, but I know from other Akashic records readers that there are also people who are just like, I have a problem. I'm not necessarily ready to deal with it, but I just want you to give me the quick fix by finding me some answer. And I very particularly do not want to work with clients like that. And I think I said that. I don't know if I even set that intention consciously, but I have never. With this particular work. Other work, yes. But with this particular work, I've never had someone who's just like, I have a problem. Could you fix it for me? It's always people who are already in motion or already doing the work. And I love that. That's exactly. If I can give that affirmation, this confirmation, and some useful metaphors for you. So you can just. You can now you just see the train. Okay. Well, like I said, this is what I have for you today.
• 1:32:19
  Speaker C: Okay.
• 1:32:20
  Speaker A: I hope that was useful. It sounds like very much.
• 1:32:22
  Speaker B: Very much so.
• 1:32:23
  Speaker C: Yeah.
• 1:32:23
  Speaker B: Absolutely. It was.
• 1:32:25
  Speaker A: So this is your first trip. So this is what the nokashic records reading is. I go in, I channel messages for you. That's really, really it.
• 1:32:35
  Speaker C: Yeah.
• 1:32:37
  Speaker A: And like I said, I really focus on working with people who do creative work.
• 1:32:42
  Speaker C: Okay.
• 1:32:43
  Speaker A: That's my. Sort of my niche.
• 1:32:47
  Speaker C: Yeah.
• 1:32:48
  Speaker A: So you fit. You fitted that build perfectly for me when you're like, oh, what is that? Can we do that? Yeah, you can do that.
• 1:32:55
  Speaker C: Yeah.
• 1:32:56
  Speaker B: Well, thank you. This has been wonderful and enlightening and delightful and fun and scary, you know, scary, too, because there's some real fun.
• 1:33:06
  Speaker A: Yeah, but it's fun because you're not scared of everything, so then, you know, it hits something.
• 1:33:11
  Speaker B: Yeah, yeah, yeah.
• 1:33:13
  Speaker A: But good thing is I actually know you, so I will be able to track what you're up to.
• 1:33:19
  Speaker C: Yeah.
• 1:33:21
  Speaker A: And I'm sure, because I think the last time we talked on your podcast, we had a whole list of things.
• 1:33:27
  Speaker C: Yeah, yeah.
• 1:33:30
  Speaker A: So this is only the second episode. I'm sure. I'm sure. Sure we'll know. But we also. We lost touch a little bit because of the pandemic, I think.
• 1:33:38
  Speaker C: Yeah.
• 1:33:40
  Speaker A: So I think we will have more conversations like this in the future so I can keep an eye on you and be like, are you. Are you slowing down, Bradley? Are you doing the work? Are you letting people in on your train? Poor people. Completely. I see people windswept and just be, like, completely disoriented. Like, I thought I wanted that. Now we can. We can. We can take this metaphor very, very far.
• 1:34:04
  Speaker C: Yeah, yeah, yeah.
• 1:34:06
  Speaker B: I love trains, too, so. And I love slow train, so it's perfect.
• 1:34:11
  Speaker A: I'm assuming that you have. It is a slow train where you. You have a sprinter, I'm guessing, or do you have the. The big one at your particular station?
• 1:34:24
  Speaker B: Both, actually. All three? Even. The even. Well, not the inner city Express. Not the ice.
• 1:34:31
  Speaker A: Oh, that's the one. Yeah, that's the big. That's the big one. That goes to, like, Berlin and Paris and. Yeah, yeah, no, it's just because you. It's a valid. It's not broken. I think where you live is bigger.
• 1:34:46
  Speaker B: Not necessarily. It's just a. It's just a. Like a hub, for some reason, of train stop there.
• 1:34:55
  Speaker C: Yeah.
• 1:34:55
  Speaker A: I never know why. I never get that. Yeah.
• 1:34:58
  Speaker B: Probably some logistical thing. I don't know.
• 1:34:59
  Speaker A: But it's good because you love trains.
• 1:35:01
  Speaker C: Yeah.
• 1:35:02
  Speaker A: Okay.
• 1:35:03
  Speaker B: Okay.
• 1:35:04
  Speaker A: I will let you go now. And see, I told you this was gonna take longer than we thought, but.
• 1:35:09
  Speaker B: This has really been fantastic. It's really been wonderful, and thank you.
• 1:35:12
  Speaker A: Yeah. So keep, like. Keep in touch. I'm really curious what you're gonna do with this and how it's going to land. And like I said, we'll talk again.
• 1:35:22
  Speaker B: Great.
• 1:35:23
  Speaker C: Thanks, Mariela.
• 1:35:24
  Speaker A: Thank you.