Latest / The PAUSE with Ari Clibe / Back from the Prairie in Prayer (S1E13)

Transcript

Back from the Prairie in Prayer (S1E13) · The PAUSE with Ari Clibe

0:07
Love, it's all I'm trying to bring to the table.
0:11
Not just in the eating, in the touching, in the
0:15
tending.
0:20
Let's stay together even when you're steamed raw
0:25
or in between. Because, baby, as you and I both know,
0:28
you don't rush something that wants to simmer slow.
0:37
Let me be tender, let me be soft. Let me listen
0:41
to what's already holy in your leaves and what's
0:45
aching to be held.
0:51
You said love will make you do right, love will
0:56
make you do wrong. So I surrender to that kind of seasoning.
1:10
I want that love and happiness to rise up from the
1:14
pot and anoint us both.
1:24
You're listening to the pause providing sanctuary
1:28
for the wild ones, streaming worldwide at www.radiokcn.com
1:36
in Knoxville.
1:40
That I put into question. See, we can call that
1:44
intelligence. Intelligence is of a different quality from thought.
1:47
It does not even originate in the brain. It originates somehow in
1:52
some real, very subtle reality which we cannot locate in
1:56
space or time. But it acts within the brain. You see, the self
2:01
is considered to be something supremely important. Whatever it needs is regarded as
2:05
absolutely necessary. Therefore, it takes first
2:09
priority and pushes everything outside, including even the requirement that
2:13
thought should be correct and true. And therefore it
2:17
immediately starts self deception going. That is why thought becomes dangerous.
2:21
This action of creative intelligence can really touch the brain.
2:25
So physically we could think of removing the program, you see,
2:28
free humanity from the disruptive conditioning
2:33
we've been talking about as this conditioning around the
2:38
self. Centered thought is really an enslavement.
2:41
Enslavement to absurdity, to destruction, to unhappiness.
2:45
And no other kind of freedom means anything unless we are freed
2:55
Thought in itself is not intelligent because it is restricted to
2:59
being the response of past assumptions and dispositions that may
3:03
no longer be relevant. And those assumptions and dispositions are not capable
3:07
of questioning themselves because they're too rather like a
3:11
computer program. And something more is needed to become
3:15
aware that the program is inadequate into questioning. See, we could call
3:19
that intelligence. Intelligence is a bit different quality than thought.
3:23
It does not even originate in the brain. It originates somehow
3:26
in some very subtle reality we cannot locate.
3:36
Foreign.
3:50
Camp Fire. Sing along is
3:55
like a Montana Camp Fire.
3:58
Sing along is like a
4:02
Knoxville city street street at 2am because
4:07
they both have their stars
4:13
obscured. But one can
4:17
feel them. Anyway.
4:25
I like the feeling of low density
4:29
human. You gotta stay up late hours out east.
4:34
Frequent off season. You gotta stay up late hours and it's
4:39
a bit easier to do in Montana. Frequent off season spots.
4:44
It's A bit easier to do in Montana,
4:49
but the feelings are equally exhilarating.
4:57
A merch table at a dive bar concert
5:02
is like a childhood photo because
5:06
you see things cycle round,
5:15
pretty much remain in that the
5:19
drunk people and the children know where the
5:23
fun is to be had. It's in singing
5:28
and dancing and.
5:31
Maybe. Buying a souvenir for your sweetheart.
5:35
A prairie wind is like a promise.
5:39
I don't remember making A prairie
5:42
wind is like a promise I don't remember
5:46
making because it sounds like.
6:13
Here are. The sounds of a
6:18
cabin near the main road through Stanley, Idaho.
6:34
Interesting story today about my feet and
6:38
big toes.
6:41
I'm standing outside and notice a blackish
6:46
blue butterfly going
6:50
from the oak leaf hydrangea to the cedar.
6:57
It then decides to fly to my left big toe and
7:02
land there for an interesting encounter.
7:09
Its proboscis begins smelling around and
7:15
sees I have a black and blue mark on my big toe.
7:20
It's actually on both of my big toes.
7:25
So the butterfly flaps its wings and shuttles
7:29
about for nearly 10 minutes,
7:39
then goes to my right foot and does the same thing.
7:48
I'm standing so still,
7:54
breathing tensely
8:01
the whole time.
8:07
Then I notice how delightful this encounter is and
8:11
how utterly transformative it is for both of us.
8:27
So our question was, what do people need?
8:31
And maybe just to be supported,
8:35
to just be. I was talking earlier about wanting
8:41
to get away from the restlessness, but what about if it's okay to just be
8:45
restless or not? No.
8:49
To, like, be unresolved. Be okay in the
8:53
uncertainty. And like,
8:56
how do you do that? You just pause.
9:02
Welcome to the pause.
9:06
You start by arriving
9:15
into the moment you're in,
9:19
feeling the support of the earth, whatever that looks
9:24
like, the place where your feet are
9:28
meeting the ground beneath you. However that looks in this moment,
9:33
whatever kind of flooring
9:37
that is, surface that is,
9:43
feeling the place where the soles of your feet meet the
9:48
material beneath them.
9:51
Noticing all the. All of the surface
9:56
area of the sole of your foot. It can be helpful sometimes
10:00
to gently move your feet, like rock the
10:04
weight. Like, explore all of the
10:08
geography of the soles of your feet,
10:12
noticing how much space,
10:15
how much sensation is available,
10:20
just allowing your attention to rest there in the
10:25
sensation in the soles of your feet.
10:29
And if you're seated,
10:32
maybe playing with the same thing where
10:36
your body meets the surface beneath your hips.
10:42
Again, like taking in all of
10:46
the area of you touching not
10:52
you. Sometimes it can be helpful to, like,
10:55
rock your weight a little bit from side to side,
11:01
exploring all the sensation there.
11:06
And then if it feels Good. Allowing the attention to
11:10
travel to the breath and just
11:14
noticing as air floats in through
11:19
your nose or your mouth. However it's happening.
11:24
Just beginning to be aware of the
11:29
process of breathing. The sensations of breathing.
11:35
Maybe you can even dial into the sensation of when the
11:40
breath enters you, when it
11:43
transforms from the air outside of you to the breath inside of you.
11:47
If you notice it on your lips or in your nostrils.
11:52
The sensation of the air
11:56
passing through your throat and into your chest.
12:02
It's literally feeling the expansion
12:06
in your chest as the air comes in and
12:12
makes room inside of you.
12:17
The rise and fall of the ribs.
12:22
Perhaps the air is able to travel all the way down into your
12:26
belly. You might notice the
12:30
way your abdomen expands as the air flows
12:35
in and swirls around you,
12:39
stirring up what's ready to be released.
12:45
And as the muscles of your abdomen contract with the exhale and you
12:51
let go of what has been stirred up,
12:57
Allowing it to return back out into the air where
13:03
the trees wait to receive and cleanse it.
13:10
Where you can once more begin to tune into the
13:14
soundscape around you. Let it hold you in this moment,
13:21
allowing it to wash. Peace.
13:26
Noticing how there's room in this sonic symphony for
13:30
the noise of the human worlds with
13:35
the sounds of the more than human world.
13:39
How they dance together and both belong.
13:43
Noticing how you are part of it and you belong.
13:48
Allowing the sounds to begin to anchor
13:52
you back into your body.
13:56
Sounds to return you into the present moment.
14:03
Allowing the breath to connect you back in to
14:07
your seat and your feet once again.
14:11
Feeling the support beneath you.
14:16
Perhaps beginning to shift your weight a little bit in
14:21
your hips or your feet, depending if you're sitting or standing.
14:26
Maybe wiggling your toes again. Just taking
14:30
in the sensory map of the soles of your feet.
14:34
Exploring how much sensation there is, how much surface area
14:39
there is. Letting all the parts of your foot,
14:43
the sole of your foot, touch the earth.
14:48
And then allowing your awareness to come gently
14:54
to the backs of your eyelids. And if you've
14:58
closed your eyes, you might just allow them to open
15:02
the slightest tiniest bit. Just letting
15:07
in a little bit of light.
15:10
Just pausing here to notice
15:15
what your gaze has rested on.
15:18
Just noticing the shape,
15:21
texture, movement.
15:25
And then slowly expanding
15:30
your field of vision just the teeniest bit at a time.
15:35
Like you're widening the lens.
15:39
And we're back. Welcome back. Whack.
15:42
Welcome back. Where'd you go? You were doing cave paintings.
15:47
I did. I'm done. You're done? I'm done. That was beautiful.
15:52
Thank you for guiding us. You Know what I feel?
15:56
What? I feel like I belong.
16:01
We would just being. Being is
16:05
belonging. Oh, being is belonging.
16:09
Making a rock painting, a cave painting. Even if I'm not in
16:13
a cave. Did you make an arts? Yeah. Look at
16:17
all this beautiful white stuff. It's so soft. This is the softest
16:21
rock I've ever had in my life. I wonder if it's limestone. I don't know
16:24
anything about rocks. Limestone. Look. Look at the
16:28
powder that comes out of this thing. Look at the powder. See, you can feel
16:33
it. It's so soft. Oh, wow. It's not even like.
16:36
Yeah, it's like chalk. It's like chalk, chalk,
16:39
chocolate. Here, you want to try?
16:43
No, I want to take a picture of that spider web before you destroy it.
16:46
I ain't destroying nothing.
16:56
Oh, yeah. We have to go here. This is. This is a
17:00
super cool little stopping spot.
17:03
It's a chair. It's a chase lounge here. There's like a whole bunch of
17:07
chairs. Yeah. Which one? You can. You can take that one. That's the good one.
17:10
Don't tell me. Pick my own. Okay, then I'm gonna. Rebellious face.
17:16
I do what I want.
17:19
There's like so many good ones to choose from.
17:22
This is where the little lecture is. Oh, here we go.
17:26
Oh, look at this. Yeah, look at this little maple
17:30
split leaf that you're sitting next to. Oh, yeah. Wow. Oh, and under.
17:34
Look, it's like. Yeah, it's like creating a little canopy for you.
17:39
A beautiful little tree. Yeah, look how it's
17:42
growing out of the rocks. Very Japanese.
17:48
We're back to Japan again. This is a good place to
17:52
be. To be.
18:03
Where is the support? It's right here.
18:06
When I stop and breathe and I let my feet connect to the
18:10
earth. The earth is holding me.
18:16
The cabbage goddess.
18:20
But to even just like not even
18:24
like mystical woo. Anything like the literal.
18:28
Their ground is literally beneath my feet, allowing my nervous
18:32
system to sense felt sense that I'm held in
18:37
the chorus of the woods singing to me.
18:40
And this warm sun illuminating me.
18:45
The gentle breeze holding me,
18:50
wrapping me, the breath,
18:53
inspiring me, filling my body
18:56
with life. All as well.
19:00
When you were saying about the cool breeze,
19:03
I was feeling it coming from down there. That's the beautiful
19:07
part of the creek. It just allows that prana of just flowing,
19:13
flowing. You have to be really kind of still.
19:17
You have to be still to feel that. Because if you're
19:20
more like vigorous, you're not going to feel it.
19:23
This is exactly what forest bathing is. People are coming to
19:27
nature because they know it's good for them, but they don't know how to be
19:29
the charge. What's that? How can I get there faster? Did you see the thing?
19:34
Let me ID everything. Can we slow down?
19:37
Can we simmer into our sense?
19:42
But people need a guide. That's what I do. You were,
19:46
you had this question for us around. What do people need right
19:51
now? Yeah, right now. So I want to kind of come back to that question,
19:55
that intention of for us to be open to what is
20:00
needed now. Yeah. And I think a great place is always what do I need
20:04
right now? What do you need right now? Because what I'm finding is yet often
20:10
it's what's happening. I'm always taking.
20:13
My life is always taking the temperature of what's happening at the, you know,
20:17
like microcosm macro level. So if it's,
20:21
if it's happening with me, it's probably happening with others.
20:25
And we were saying last night that we were both experiencing feeling like.
20:28
Well, I was describing it as restlessness. What was the word you
20:32
used? Aimless. Aimless. But there's always this
20:36
moment. Like I mean look at this. How is
20:40
there aimlessness in this? Do you want to describe what's happening?
20:45
I'm listening to Sarah express
20:50
this rootedness in
20:55
being receptive to listening to
21:00
the chorus, the feeling the cool breeze from the creek to
21:06
making connection with her feet to the gravel,
21:09
to the earth. She's present.
21:15
I'm being. She's a being. I'm.
21:19
I'm a being. She's a being. I'm a bean.
21:22
Mostly. Coffee? No, but like it's
21:25
like, it's funny because I, I could, I felt restless,
21:28
aimless. But then if I come into this,
21:33
I'm just being. There's nothing to do,
21:37
there's nothing to achieve. Like in this moment everything is
21:41
perfect. The sun is just like.
21:45
I don't even know the word. It's like lasering into me.
21:50
Like all I have to do in this moment is be.
21:56
But we're out in nature where we belong.
22:00
Cuz we're wild ones.
22:08
I think people to hold us, to remind us
22:12
to be the container for the, the mystery
22:16
that we're in and the darkness that is very personal.
22:20
It's hard for others to be really in it with us. But to
22:25
be the container, to be like, you are going to come back. You are going
22:28
to come back and you're going to still need to have the resiliency
22:32
and strength and courage,
22:35
curiosity to meet that and know
22:39
that that's part of the journey. Yeah, you Were
22:43
talking about that earlier. When that gauntlet gets thrown down,
22:48
it's not like we want to pretend that it's not going to happen.
22:52
Well, our society does like to pretend it's not going to happen.
22:55
Yes. And that's why we're also unprepared for it. Right. So what
23:00
if we just had more time to pause, to kind of
23:04
reset into the mystery so that when we don't.
23:09
The magic is in the mystery. God is in
23:13
the woods. God's in the cabbage. The goddess is in the cabbage.
23:17
Yeah. God's in. God's in the woods.
23:20
And so when we have the conflicts, which we do.
23:24
And they're not going anywhere. They're not going anywhere.
23:28
We can. We can. We can look at them as opportunities.
23:38
That's. I don't even know what the word is. That's. That's part
23:42
of the paradox for me. Like, what is it when we actually can
23:46
meet those moments like you talked about disappointment of
23:51
wanting to see someone in a certain light, and then they turn
23:54
and they're not there for you like they said they would be,
23:58
and there's disappointment. What is that?
24:01
I don't know what it is. It's still hard to describe of
24:05
like, okay, and it's sad, and we can
24:09
have our feelings. I don't know what that state is.
24:13
Like, detachment, but not in a bad way. I've been thinking about this a lot.
24:17
Like attachment. Like, when we release our attachment to outcome to something
24:22
being a certain way or thing, there's like a freedom to just be like,
24:25
okay, but I think we have to have our containment. We have to have
24:29
our people to fall back onto that. Right. That know how to be
24:33
there. That don't say. I don't know what to say to you. That say,
24:37
hey, this really sucks, and you're home here, and I
24:41
know you're going to be okay, and you can just come and sit and cry.
24:44
Unless we're at the Trevor hall concert, then I need you to get on my
24:48
fucking vibe. You said that to me. I did. I did.
24:51
I know. It was a terrible parenting moment. It was a terrible parenting moment.
24:55
So bad. And so when those terrible parenting moments present
24:59
themselves, then there's opportunity for repair.
25:03
Repair. Yeah. But the thing when the. That's all we're really looking
25:07
for. But. But we're. But I'm talking about when the gauntlet happens and
25:11
the person shows you that they're not the kind of person that can or will
25:15
do the repair. That's. That's what I'm saying.
25:19
How is the forest, Flores?
25:22
The woods, if you want to call them. The woods. Yeah. The wilds.
25:27
The wild. How are they? Like community? How are they similar?
25:31
They're waiting to hold you. They're always there.
25:35
You have to choose to turn to them.
25:39
You have to choose to be present. You have to
25:42
choose to be. When you ask, you ask
25:46
yourself. You're like, do I need to be in the woods to be
25:50
held? We need to be able to, like, raise our hand and say,
25:54
hey, yeah. Can the community be the woods
25:58
here for me? And hold so that I can ground
26:03
and breathe and stretch and so I can be.
26:08
And then I can be long. Yeah.
26:12
And I don't think we've designed our community
26:15
with an agreement that we can do that. Yeah. And so
26:20
if we don't have that feeling, like, that's okay,
26:23
that's. In fact, it's encouraged,
26:26
then we're missing a vital part of what it means
26:30
to feel connected and safe and
26:34
strong enough that we can meet the challenges which we're
26:38
gonna be eventually facing anyway. Because that's what seems
26:42
like to me, that's what being on this. What this planet's
26:46
about. Yeah. It's wacky. It's a wacky
26:50
paradox. It's a wacky planetox.
26:54
It is a planetox. It's a plan.
26:57
Yeah. It's a planidox.
27:02
Did you smell that? Oh,
27:05
okay. So I got all these pots, you know, like. Like these pots
27:09
of me. We were talking earlier. Yes, I understand. I'm a mountain biker.
27:13
I'm a comic. I'm a poet. I'm a griever. I'm a murderer.
27:17
I'm a parrot. You're part of a murder. I'm a person. Did you
27:22
kill the mayor? You part of the murder? Don't even joke about.
27:25
Okay, sorry, sorry. You have to cut that out.
27:28
Cut that out. Erase that. So I meet people and I connect.
27:33
Some part of me connects. And what I'm learning is that does not mean that
27:37
they are my person. It just means that there's this connection because
27:41
life is flowing because I am being myself and I am drawing these people
27:46
to me. Yeah. But it doesn't necessarily mean that
27:51
it needs to be someone I date.
27:54
Yeah, we gotta go to Sweet Peace. Have we talked about Sweet peas or
28:00
barbecue and Knox? I'm waiting for the invitation. You're invited.
28:04
Okay. Sweet Pea. Oh, Sweet Pea.
28:08
That's what my mom used to call me. And on Long island, there is a
28:12
little grocery called Sweet Peas. There's a grocery called Sweet
28:16
Peas. A tiny little Grocery called sweet peas. It's like all produce.
28:21
How about that? But my mom used to call me sweet pea.
28:25
But I think that's the name of the song that. That your friend,
28:28
you know, from Philadelphia. What's his name?
28:33
Amos Lee. We were talking about it. I think it's called
28:37
sweepy. It's like his number one hit. It's a
28:41
sweet, sweet song. Let me get my phone list. He's the one who told us
28:45
to go to BlackBerry farm. BBF Take her to BlackBerry
28:49
farm. BBF Shout out to BBF.
28:54
Shout out to BBF Maybe, maybe, maybe you sponsor a
28:58
show sometime. Maybe. Maybe come listen.
29:02
I don't think we're quite their vibe.
29:06
Okay? All people like that, like the bbf,
29:09
Amos. We're the BBC of the bbf.
29:14
Okay? Sweet pea is the number one song on his list.
29:18
Say, that's another thing.
29:23
Oh, it's the dance time. Oh, it's dance party. Well, for you.
29:27
Keep playing. I am. Oh. All the
29:31
reason I keep coming back to you.
29:34
I like this.
29:39
Sweet pea. Oh, I know this song.
29:51
I'm coming home.
29:58
Sweet pe. What all this.
30:07
You're the only one pleaser Keep on coming
30:11
home. This song is in a lot of movies.
30:18
Having so many feelings right now.
30:29
Please don't stop.
30:34
Sa o
31:03
you're the. Only reason.
31:08
The holy reason.
31:21
All right, that was. That was a dance party off the kitchen segment.
31:26
Like, you've done that before.
31:44
We were so. Yeah. First couple episodes we went live.
31:48
Live. We're like, whoa, whoa.
31:51
Dance party. I like.
31:57
I really like my
32:01
cheese because I. Get so crackling
32:05
too square again. So in my feelings,
32:09
I can't even tell you how many 25 million different feelings I had from that
32:13
song. And so, like to have to come back and tend to something when
32:18
I'm like, I want to go over here and explore all the things that just
32:21
got unlocked inside of me. And then to be like, oh.
32:25
And we're back. Welcome to kbbl, your number one radio
32:29
station for dancing in the kitchen and
32:33
cheeseburgers. Ari, let's hear the forecast. Well. Oh, the forecast.
32:38
It's a gorgeous day for you to go to the beach with your favorite Persian.
32:42
It's only two and a half hours. What are you gonna do? Well, Ari,
32:46
I'm going to the boardwalk and I'm gonna eat the popcorn that Denise told me
32:49
about. The popcorn. And there's ice cream. The soft
32:54
ice cream. Soft ice cream. I guess I can't do that because.
32:58
You just had the dairy. No, no, I was saying, like, it's really Hard to
33:02
go from like being all my squishy feel. That's what I'm saying. I didn't know
33:05
I could do that. It did it really great. Beautiful. You're very talented.
33:09
Shifting. It's the shift. Yeah. I lean this way. Yeah,
33:13
you're still on. You're still in the boat.
33:17
They're still in the boat. Sailing.
33:20
Oh, yeah. There's a new documentary about yacht
33:25
rock. Oh, really? Yeah. And it talks about your boy Crisscross,
33:29
who wrote that song Sailing.
33:32
I'm supposed to be watching that. I haven't watched it. Should be watching
33:36
it. We should have watched it. We should have watched it, but we didn't because
33:39
we forgot because I'm. I'm an elderly person.
33:42
I'm elderly. I got tired. No, it was my fault. I said it was too
33:46
late to start a movie at 9:30. We're gonna watch the Birdman.
33:50
And I was like, it's too late. I can't start a movie at 9:30 on
33:54
a Sunday. Ari.
34:09
There's something up for me with sailing for real. Like it's every.
34:13
It's coming up everywhere. My. This is a funny thing to say. My former brother
34:17
in law, it's a weird thing. Like once you're not married anymore, you have these
34:20
former in laws and so. What do you call them? Former in
34:24
laws? Well, I with him just want us to call him my brother in law
34:28
because he's still a brother and he's still my son's uncle.
34:32
And so. But anyway, he is actually an
34:36
incredible craftsman and he used to make custom cabinetry like that. He had
34:40
a business doing custom cabinets. Um, was very talented.
34:44
But anyway, someone traded him. He still,
34:48
he still does some of that work, you know, just like it's not a full
34:51
scale business, but he'll do it. So he, he did a trade with someone where
34:54
he did something with cabinets for them and they gave him this little
34:58
like mini one person sailboat and he asked me if
35:02
I wanted it and I was like, hell yeah, I do. So I need to
35:05
get it from him because there's. Is it called a sunfish? Is that the name
35:10
of the things? I don't know. The sunfish, maybe.
35:14
Okay, let's go get it. What's difficult about it? Put in
35:18
your. Put it in your pocketbook and go home and you go, you can,
35:22
you can keep it and you can put in the tub and you can practice.
35:26
You can go on the boat. You can tell Kai,
35:29
watch me in the tub.
35:35
I know. You could take your blow dryer and blow the sail and
35:39
simulate some real stuff. So when you go.
35:42
My cat would love this. So my cat stalks me in the bathtub.
35:46
I'm a bath person. Every. I have to take a bath every night. And my
35:50
cat. The. The. My bathtub is like a Japanese soaking
35:54
tub. And so the. The.
35:57
The sill of the tub is only like an inch wide,
36:01
so it's very narrow. And this insane cat comes in, like,
36:05
perches. He, like, sits over me while I'm in the tub.
36:09
So I'm just imagining if there's like a sailboat like him in there.
36:15
This could be a brave new world for him.
36:17
Yeah. Yeah. So you're sailing.
36:21
You got the. You got the. You know, you got your.
36:25
Yeah. Blow dryer. Blow dryer. Even though bathtub sounds like a really safe idea.
36:29
Well, it's not in the tub. You're not supposed to have
36:33
a blow dryer closed. Or a toaster. Why do people always say not to have
36:37
a toaster near the bathtub? Why would someone. Okay, can I just tell you the
36:41
real separate. What they ghost to call the gluten.
36:45
The wheat from the chaff. Okay, so here's the thing.
36:50
Water, plain water, okay?
36:53
H2O does not conduct electricity.
36:57
I know a lot of people in the audience. They're going to be like,
36:59
ari, you don't know what you're talking about. I taught
37:04
science. It's. It was not the
37:08
straightest science, but I did teach it. You could talk
37:12
to my students. They're out there. They're listening.
37:16
So they say, why do. Why did. Why did Bubby and Zadie always make
37:20
us not put a toaster next to the tub?
37:23
Bubby and Zadie, that's grandma and
37:27
grandpop. I want to be a. Yeah.
37:30
Bobby and Zadie, they said, don't put the toaster oven.
37:35
Don't put your blow dryer. Don't bring your radio or
37:39
whatever. The thing was that you're listening to. My Fisher Price cassette
37:43
player. That thing too. But we like to talk about the radio
37:47
here. Sure. Right. It was a radio. It's all about the radio.
37:50
Yeah. Sweetheart, we're cooking.
37:53
Cooking. So. So what about it? What about the.
37:58
The. The. The. The risk? Where's the risk?
38:03
Timing isn't dangerous enough.
38:06
Let me tell you where the risk is. Your skin.
38:11
Right. Back to science. And this
38:15
is biology and chemistry. It's like the biochemistry.
38:18
Ari. Professor Clibb. Professor.
38:22
Mr. C. I used to be called Mr. C.
38:26
Professor Clib. In the. In the kitchen. In the kitchen.
38:30
Mr. C. At the counter. Yeah. Science hour with Mr. C.
38:33
Look. Look at your skin here. Give me. Give me. Give me a hand here.
38:37
Okay, so let's say you get some.
38:41
You're spitzing. You're spitzing. I'm sweating. You're sweating.
38:45
And then you pours. They get full of salts, right?
38:49
And then every night you go into your bath and
38:53
you. You take a bath. Where do the salts go? Into the water.
38:57
Into the water. What happens when salt water has
39:02
electricity? Well, now it conducts. And now you
39:06
can get electrocuted. And that's where the eels come from.
39:10
And eels chuck me like
39:15
an electric eel. You know that song? I don't. Let's play.
39:18
Let's do a dance party. All right. I'm not. I'm not. I don't know why
39:22
I'm not feeling dancer. I'm a listen. I'm in a listen party. Well, I'm ready
39:26
to dance. You dance. I'm always ready to dance. Electric field.
39:30
Electric field. Do you know the song Mgmt
39:34
oo?
39:40
Those boys went to my college. Did they really?
39:44
They really did know who they are? Of course I know who they are.
39:48
I thought you said the Eel. I did. So you know this
39:52
song? Yeah. This is like a billion and a half. Plays on.
39:56
On the big streaming services. Electric Eel.
40:00
Oh, you call this the Electric Eel? I call
40:04
it what I want. Yeah. They did this in West College. It was a
40:08
place where people did a lot of experimentation,
40:12
drugs. We had a day. It was used to be called
40:16
Zonka Harris. You ever hear Zonka Harris?
40:19
Boy, so much to teach you, so little time.
40:35
Electric Eel.
40:44
Yeah. Super cool.
40:48
That was a fun dance party. Oh, is it over?
40:54
Come on and dance up here. I'm doing my seated bop.
41:06
You know why I like dancing? I like dancing in this travel hall T shirt.
41:10
He's never taking it off. This is. You want to feel again?
41:15
This is so nice. It's a thick and nice
41:19
cotton. It's not plastic.
41:22
Not plastic. And feel this collar. It's so thick.
41:26
He's obsessed with the collar. It's really well made. It's made
41:30
well for your mic. It's the official PA T
41:34
shirt. It is Paula, my. Oh, yeah. Look, Yours is drooping. Drooping. Yours is
41:39
like. Yours is drooping prematurely. Yeah, it's sad.
41:42
It's. It's a sad mic. Sad. Maybe you
41:46
could get one of these T shirts. I could call up,
41:50
oh, Cousin Trevor and say, cousin Trevor, this is.
41:54
This is Ari from the pause. You heard the pause, Cousin Trevor.
42:00
You're still making music with those wonderful Indian musicians.
42:04
They're so good. Tell us about the show. Right here. Let's pause and
42:08
then we'll find a nice Trevor song to play. Hold on. I'll play this while
42:13
it. I'll give it to you this way. The lime tree or Pacific
42:17
coast highway. If you want me to start
42:21
to cry, then you play that song.
42:25
Instant human. Just add coffee. My old friend
42:29
John Lennon. You ever hear of him? He was a really
42:32
good friend of mine. I miss him. Was he the Butterflies?
42:37
He was the Butterflies. That band. That band, the Butterflies. The Butterflies from.
42:42
What's the name of that country? Somewhere over. Yeah.
42:46
Oh, lots of colonials over there. Lots.
42:49
Instant. Let's not go there. We're gonna get canceled. Instant comma.
42:54
Instant karma. He wrote that song. John Lennon
42:57
from the. No, but Trevor Hall's got a song called Just Karma. Just Karma.
43:02
And look at. Look at that punum over there. Is she the cutest? She's the
43:06
cutest face. The face.
43:10
Yeah.
43:15
Oh, forgive.
43:24
Put down what you are carrying.
43:27
Denise said something about that yesterday. She said Trevor has
43:32
this song about putting down what you're carrying.
43:36
And sound out the goddess's mother's dominion. Bird of the
43:41
thunder we don't go under we sing aloud we don't care for
43:45
opinion oh, scow horses Ancestor forces I
43:49
hear the language I hear the language Deep wake
43:53
from your sleep Swallow up the message and tell me what you see
43:57
I see constellations burning, burning,
44:00
burning, burning all the worlds they
44:05
are turning, turning, turning, turning but
44:09
the music is my fortress Fortress, fortress,
44:13
fortress See, I heard it in
44:17
a chorus. Chorus, chorus, chorus.
44:22
Last night I saw her blazing stallion
44:29
running through the fields.
44:36
Do you want to talk about adhd? Let's talk. Do you want to
44:40
know what is happening in my brain right now?
44:44
Yeah, sure, I want to know. We talked about. ADHD is
44:48
not an attention deficit. It is an attention. Well.
44:52
It's like a stimulus overload. And we don't pay attention to the thing that the
44:57
teachers, the grownups, whoever wants us to. We're interested
45:01
in other things. And society labels this a problem.
45:04
So we're standing here in your kitchen, we're listening to this song,
45:08
and these are all the things my brain is doing. Uh, there's a cat
45:13
deferrer sitting here, and I'm thinking about the
45:16
conversation I had with Denise yesterday while she was brushing the cat
45:20
and then telling me about the hairballs. And I'm like, picturing saving
45:25
the fur to make cat yarn.
45:28
And I'm listening to this and I'm feeling all my feelings.
45:33
And where else did it go, oh,
45:37
constellations. When it said constellations, I was transported back
45:41
to the art barn that we visited yesterday and listening to Jesse
45:45
talk about the piece that you showed her,
45:48
the. That you're working on, and how
45:53
she just used the word constellation. So I was transported there.
45:57
And now that I'm talking about it, I'm picturing their little one and just
46:02
transported back to that place. And I think this is just
46:06
the most perfect image of adhd because my brain can just
46:10
zip and zap back and forth to all the places at
46:14
once. And who's to say that's wrong? Because I can't stay focused on
46:18
this song or this conversation or whatever the
46:22
thing is, I'm supposed to be focusing on what. Let's. Let's focus on what it
46:26
is that you would like to focus. No, but that's what I'm saying. This is
46:29
adhd because. Why is that wrong? Why is it wrong that I can.
46:32
Like. One second. Who's saying it's wrong? Well, the world. But it's
46:36
not. That's what I'm saying. You're dancing. We call it. I call it dancing.
46:40
Yeah, it's dancing. Did you know
46:45
one of my teachers? I miss her. She's the
46:49
cutest. She was the cutest. What's her name?
46:52
Her name was Anna Halperin. What kind of teacher?
46:55
She was a teacher teacher. Oh, like actually at school?
46:59
No, not at school. She was a teacher in the world.
47:03
Okay. That kind of. For artists. Okay. Yeah, she taught in healers
47:07
and earth people. She had this thing called Circle the Earth.
47:11
It was a dance. It was a cosmic dance. She led
47:15
a lot of the time. We studied with her for three weeks intensely.
47:20
Her former husband, he passed away, but he was an architect.
47:25
He designed this community called Sea Ranch.
47:29
Wait, where? California. Santa Barbara.
47:33
No, it's like three hours north of
47:37
that other city, San Francisco. St. Francis.
47:41
San Francisco's named after St. Francis?
47:44
Holy shit. Do you ever have the Golden Gate Bridge?
47:49
Gold. And I looked them out there in 1986.
47:52
That's not gold. It's not gold. What are you talking. You're messing with me.
47:56
Oh. Wanna hear my ADHD go out a little bit here?
48:00
Yeah, I do. So I'm in London, right? That's not where the Golden
48:04
Gate. No, but you know what? There's a circus there. It's called Piccadilly Circus.
48:08
And Denise and I got out of the tube. They say they tube.
48:12
We'll say the tube. They said that. Mind. Mind the gap. Mind the gap.
48:16
We walk outside onto the street whack. Listen,
48:20
we look around. There's no circus. There's no Ferris wheel.
48:25
I'm devastated. There's. There's no.
48:28
What's it called? Cotton candy. There's no popcorn. There's no
48:31
peanuts. There's no. There's no clowns. There's no Cracker Jacks.
48:49
I think it's interesting, like, when you get to the
48:53
point in a relationship where any kind. Where something like that happens
48:57
and you see who someone is, it's nice. This story you
49:01
got. It was a positive experience, it sounds like. But when
49:05
it's not and you see who they really are, you can't unsee that.
49:09
That's something I've been struggling with lately. Like, you.
49:12
This idea of who I think someone is.
49:16
And I have this problem of seeing the best. You said that.
49:19
Yeah. Even if it's in there, but they're not actively that.
49:22
And then these. You know, the situation, the.
49:26
What's the word? Gauntlet happens, and you
49:31
have the opportunity to see who they truly are. And when
49:35
they're not who you thought, speak from the first person. When they're not who I
49:39
thought they were, I can't unsee that. It's really hard.
49:43
Yeah. So where do you go when you experience that
49:48
gauntlet? I go first
49:52
really negative of thinking everyone sucks
49:56
and I can't trust anyone. And then hopefully something snaps me
50:00
out of it and I focus back to the people who have passed
50:05
their gauntlet. I don't want to call it a test, but who have.
50:09
Who have stayed
50:15
with it in the gauntlet, who have shown me who they are,
50:20
who have shown me they're real and they're not going anywhere. And I. I try
50:24
to anchor back into those relationships and. And remind myself,
50:28
oh, no, not everyone sucks.
50:31
I have this person and this person, and I'm
50:36
playing with the idea from Somatic,
50:40
experiencing Peter Levine's work where you, like, kind of lean back and
50:44
forth. The titration. Actually, I don't. I'm not sure if titration is the word for
50:48
this part, but like, you. In your body, you practiced feeling the
50:52
places where there's a little bit of spaciousness, and then practice
50:56
feeling the place that's tense or whatever. And so this would be something
51:00
similar of like, okay, I'm experiencing that this person is
51:04
not who I thought, and the disappointment of that and
51:08
all of the scary feelings of that. But then I lean into,
51:11
like, I. I would hope I could just lean for just the teeniest bit
51:16
into how it feels with the real friend and leaning
51:20
into the feeling of being loved and supported.
51:24
Or maybe it's like, just the feeling of, like, someone who is
51:28
the kind of person I want. Okay, my brain just shut off, so we'll
51:48
It's a lot of energy for our brain to have to work things out,
51:52
and so it wants to put it in boxes. From like. Like, evolutionary perspective,
51:56
it's less energy. If it can label it, put it in the box, it can
51:59
move on to do other things. So that's why we're so obsessed with putting things
52:03
in boxes. And you think a segment on the show is, like,
52:07
a boss? Exactly. It's a box. It's a box. And so
52:11
it's a place where it is completely appropriate
52:14
to. To make a box. So it's very satisfying to our brain.
52:18
Once again, he's, like, snuggling his espresso
52:23
machine. Come on, little baby.
52:26
She's getting very hot. She might be getting too
52:30
hot. She's not working no more. Oh, she's out
52:34
of water. I'm saying. There's a light flashing. Oh, my God. I almost killed
52:39
her. Oh, my God. I forgot to add water. These eggs are yummy.
52:43
So segments are like little boxes.
52:48
And that's, like, really satisfying to your brain because
52:52
we can't really segment our lives. It's all connected. But we want to,
52:55
because our brains want things to make sense. Even though
53:00
we know at the pause, most of us live our lives all jumbled up
53:05
like a big ball of string. And you try pulling one
53:09
part out and put it into a box, it could take lifetimes to
53:13
get him into that box. But then the cat will come and eat the string
53:17
and just blew his mind. Blew my mind. I'm gonna go back to the
53:21
eggs. Banksy would never,
53:25
never, never. He would never. No. Such a good boy.
53:31
Where is that little character? Oh, he's at the front
53:35
door. What are you doing sitting at the front door?
53:39
Like someone's gonna let him out. What'd you find, Banks?
53:43
Going under the table. God is in
53:47
the woods. What did it say? We should. What you got there?
54:02
Enjoy safely. And text me if you have any, like, you know.
54:06
Oh, well.
54:09
What'S the name of the popcorn place?
54:13
Johnson's Tour Brothers and Cool
54:17
Brothers. The best soft ice cream.
54:20
Cool Whack is going.
54:24
Whack is on the board. Whack.
54:28
I'm gonna call you. I'm gonna call in from the boardwalk.
54:33
Ooh, saltwater taffies. You know what them are? Yeah.
54:37
Do you like the chocolate one? The ones that are covering chocolate.
54:42
Oh, good. Grief. That's very Jersey.
54:46
Very Jersey. I send them to my friends in
54:50
Los Angeles and they just. They plot. They love it so much.
54:54
They're like, ari, you sent me salt water tap.
54:57
He's just the sweetest. I gotta wash
55:01
up and close my little eyes. Okay, so you want to hear what it
55:05
sounds like so far? Yeah.
55:32
Returning the seeds to indigenous growers.
55:36
Restoring language to sacred sites.
55:39
Replacing settler names with indigenous names.
55:44
Also reactivate ceremonies at mound sites
55:47
or rivers once considered lost.
55:51
Reweaving relationships to ancestors by creating art,
55:55
song or stories that remother the land.
56:01
Rematriation honors the Mother Earth principle.
56:05
Restoring what has been severed from the womb of cultural memory
56:09
and reconnecting us to land as mother,
56:12
ceremony as nourishment, community as
56:17
family. It's a form of place based healing. A reweaving.
56:23
Not a return to the past, but a return to. To relationship.
56:46
Warrior spirit of night,
56:50
Iridescent shadow, wing trailing
56:56
sparks of the stars.
56:59
Enter this body and
57:08
teach it to move through the dark,
57:15
to fashion stillness and secrets into
57:20
medicine.
57:28
Guide my soul to draw beauty from the shadowed
57:32
places, courage from the unknown
57:36
horizons. But sharpen me slowly,
57:39
Obsidian butterfly. Turn your blade toward me
57:44
gently. I want love
57:48
and happiness to rise up from this pot and
57:53
to noi tus both.
58:05
Love. It's all I'm trying to
58:09
bring to the table. Not just in the eating,
58:14
in the touching and the tending.
58:19
Let's stay together even when you're steamed raw
58:23
or in between. Because, baby,
58:26
as you and I both know, you don't rush something that wants to
58:30
simmer slow. Let me be tender,
58:34
let me be soft. Let me listen to what's
58:38
already holy in your leaves and what's
58:42
aching to be held. You said love
58:46
will make you do right. You said love will
58:51
make you do wrong. I surrender to that
58:55
kind of seasoning. I want that love and
58:59
happiness to rise up from the pot and
59:03
anoint us both. You've been listening to
59:06
the pause on Radio K C M Knox. Paul,
59:11
hey, it's Whack. And I'm here to ask you a favor. If you could kindly
59:14
hit pause and take a minute to write a quick review of our show.
59:17
A five star review. And please say something nice. As my mother taught
59:21
me, if you don't have anything nice to say, don't say anything at all.
59:23
And I have so many times heard people say, please leave us a review.
59:26
And I'm like, oh, I would if I could, but I ain't got the time.
59:29
But here's the thing. Your review, it helps us to get found by more people.
59:33
And would you believe we are flying up the charts? We're like in the
59:37
40s now. They told me what number it was. I can't remember. I got a
59:40
lot of things on my mind. I'm a busy bird. But if you would quick,
59:44
quick review, it would mean the world to us, and I'm looking
59:47
forward to picking some to read. Maybe it'll be yours.
59:51
So all you got to do on Apple podcasts is scroll down past episodes
59:55
and click the purple. Write a review link and just put your kindest,
59:59
bestest words there. And don't forget to hit the five stars.