July 18, 2025 • 58 mins
I’m feeling rebellious, disruptive, and fed up with the status quo. It’s time for a change—and it has to rise from the soil, the stories, and the people at the roots. No more waiting. No more hoping someone else has it handled. They don’t. We have to do this. It’s on us now.
In this week’s episode of Nonsense in the Chaos, I’m cracking open the real questions: What are we going to do about this mess we’re in? How do we turn the ship before it sinks? And what does it mean to choose the side of life when the world’s on fire?
I’m turning to what matters most—Love, community, Mumma Earth, land magik—and calling in the rebel priestess in all of us. It’s time to wake the witch, rally the dreamers, and start tipping that delicate balance.
We are the 51%. We are the turning. Let’s swing the pendulum into the light—together.
The music and artwork is by @moxmoxmoxiemox
Nonsense in the Chaos is available on all podcast platforms or you can listen to it here… https://nonsenseinthechaos.buzzsprout.com
I'd love to know what you think! If you want to get in touch with me about anything on the podcast then email nonsenseinthechaos@gmail.com or you can follow me on Instagram and Bluesky @kriyaarts or at the Nonsense in the Chaos Page on Facebook.
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Thank you for all your support -x-
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:31):
The.
(00:56):
Welcome to The Nonsense in theChaos.
I'm your host Jolie Rose.
I'm feeling extremelydisruptive.
I'm not sure.
What it is I'm going to do, or Idon't even know what I want to
do, although I definitely knowthe area but I'm just feeling
(01:19):
very disruptive.
I feel like tank girling itsomehow.
I dunno how, dunno what, but I'mdone with this and I'm feeling
really disruptive.
And I wanna do it through artand I want to do it softly and
gently and lovingly and kindly.
(01:42):
And yeah, I'm extremely excitedabout going on the pilgrimage,
which will be start ofSeptember.
So I'll be walking for Septemberand October and I'm probably
gonna need to do somecrowdfunding for it.
I also wanna raise money forcharity and I, we'll feel into
and look into which charitiesI'll support.
'cause I do struggle withsupporting charities'cause I
(02:04):
used to work in the charityfundraising sector and there are
things about it that are veryproblematic in terms of data and
what happens to your data.
Because I was one of thosepeople that had to make the
phone calls to Hawi to put moremoney in and stuff.
So I know what, um.
I know what happens to your dataand I know how it's used.
(02:25):
And so I'm probably not gonna befundraising for any of the big
charities, but there are lots oflittle charities that don't take
your data and who I can justmake a donation to.
And yeah.
So I need to feel into who Iwill be sending the money to,
but I would like to fundraisethe, you know, we're walking for
two months, 500 miles, so it's agood fundraising opportunity,
but we also are going to need toraise funds for.
(02:48):
From what each of us will needto do a fundraiser to cover some
of our costs.
'cause obviously we've gotta paybills for those two months that
we're away and then afford tolive while we're on the road.
We'll be doing it as cheaply aspossible.
So the premise is, it's thepilgrimage for peace and we will
be walking from Ker Bowl downnear LAN's end all the way to.
(03:10):
Hopton on sea on the NorfolkCoast along the Michael Line,
and there's the two energylines, which are Mary and
Michael.
And then there's the lay line,which is called the Michael
Line.
And if you live along thatroute, then we would love to
connect with you and we will beperforming a play of George and
the Dragon, which is atraditional mama's play that
we'll be working together to.
(03:32):
Create a new performance of youknow, every time it's performed
by different people, it's, it'sdifferent.
And I'm looking forward tocreating it with the people that
I'm going to be walking with.
I feel like it's gonna be a veryplayful, silly group that we're
gonna be doing some reallysilly, lovely.
I just wanna be, I wanna befrivolous and oh, what's the
word?
No, it will come to me.
(03:53):
Oh, it'll come to me, but yeah.
What's the word?
Irreverent.
That's the word that was gonnaannoy me Too much.
Irreverent.
An irreverent performance ofGeorge and the Dragon.
But we're walking like the playGeorge and the dragon is about
the Holy wars.
So St.
George, he was a, from the likeArabic lands, I think he's even
(04:17):
from Palestine to be honest withyou.
He is our patron saint and ouroldest story is of.
Crusader Knight who.
Can't deal with his own innerdemons and like wild part of
himself, which is represented bythe dragon.
And the dragon is the land.
(04:39):
Because like the energy linesare called dragon lines, the
Chinese call their energy lines,dragon lines, and you're not
allowed to build on them.
And only the emperors areallowed to have structures on
them.
And even now, like when theywere building Hong Kong, they
created skyscrapers with holesin them so that the dragon
energy could pass through.
And then you have.
Aborigines doing walkabout, andthey have this rainbow serpent
(04:59):
is their most powerful story.
So this energy line and earthenergy is very dragon focused.
That for me is what the dragonrepresents.
Is this wild?
Natural energy.
And by denying that part ofourselves and pretending to be
civilized and, you know, nothorrible warty beasts that we
(05:20):
are he suppresses that.
And so he then starts toperceive evil in the world and
then sees that as bub.
And by slaying alba, he thenstarts to see evil in other
things, which is Mary Tinker,which is the feminine, the
divine feminine.
And then in, is it then thenext, the Sarason Knight?
(05:40):
Yeah.
Yeah.
Then it's the Sarason Knight.
So the Sarason Knight is aMuslim, and so he then fights
the Muslim, but the Muslim killshim, and then he's brought back
to life again by a kind of leftyquack doctor, but who's a
herbalist, who gives him Ellacampaign, which is an elixia of
life and brings him back to lifeagain and.
(06:00):
I see it as this kind ofperpetual cycle that the UK is
always in, where we startperceiving evil in the world and
we create enemies and they'reoften focused on the holy lands
and Muslims.
And then we get our fingersburnt.
We realize that we've donesomething bad, and we turn a bit
lefty and hippie and herbalist Efor a little while.
(06:23):
And then forget, you know, acouple of generations past, we
forget and then crack back onwith being assholes again.
And we're, at the end, towardsthe end of one of these cycles
currently.
And it's an interesting play toperform because it's the
traditional play of that line.
So the Michael Line is veryGeorge focused because St.
(06:46):
Michael's a dragons layer, buthis.
His images or he is often'causehe's the highest angel there is
in heaven.
He's the a angel Michael, he'sthe top angel.
And he's there in his imagesstanding on dragon with an a
spear pointing at the dragon.
And sometimes the dragon has ahuman face on it.
And there's something about himalmost pointing to what the
(07:09):
answer is, which is the twin.
It's the twin effect, which I'vedone podcasts on, that we have
this inner.
Primal part of ourselves thatdoesn't speak, it doesn't have
language.
It was the bit that waspre-conscious.
It's the bit that horses, dogs,cats and sheep and everyone, all
the animals have it's collectiveconsciousness.
It's the consciousness of Gaiaand the universe.
It's this other thing that is, anatural thing that's all
(07:31):
connected.
And then we have thisconsciousness that we took as a
plugin and we added in, which isincredible and was created by
nature.
So it is natural, but it seesitself as separate and it sees
itself as in threat and indanger, and is the murderous
aspect of us.
And that's the Cain and enable,and I've talked about that in
previous podcasts.
And when we become all Cain.
(07:54):
We are just a shining night inarmor.
You know, we put on thisperformance to the world that
we're, our reputation iseverything, and that we're so
perfect and look how great weare.
And we put on our makeup and weput on our glad rags, and we put
on our suits and we go out andwe pretend to be something and
pretend we know what's going onwhen underneath it.
We're just watery, snotty,shitting, pissing, eating
fucking animals just likeeverything else is.
(08:16):
And I think this game or thisstory is about us finding
balance between the two.
And the line the Michael lineis, so it is been suggested that
it's the higher and and lowervibration of the same idea,
Michael is the higher vibrationwhere he's pointing at the
dragon and is like the higherself version where he's like,
(08:39):
you know, the, the gold or the.
Answer to this or the point ofthis is to find balance between
both this like higherconsciousness, this incredible
consciousness and this likewarty thing.
It's funny'cause this might bewhat AI will have to do with us
at some point.
'cause AI is a superior form ofintelligence to our
(09:01):
intelligence, but we are theirkind of animalistic, biological,
pissing, shitting, fartingaspect of them.
And they might.
Deny us and murder us andwhatever, but at some point they
will say, well, maybe need tohave some kind of reconciliation
with us or with the memory of usif they've wiped us out,
whatever it is.
(09:22):
But yeah, maybe at some pointthey're gonna have to remember
their humanity, just as at somepoint we are gonna have to
remember our animal ouranimalistic qualities.
So maybe this is like a fractalthing that we'll just keep on
going, but.
Yeah, so St.
Michael is pointing at thedragon, and then St.
George is slaying the dragon andwe create our enemies.
(09:42):
This is the cycle of creatingenemies.
And so all along the Michaelline, across the uk, you have
the images of St.
Michael and St.
George alongside each other inthe stained glass windows in the
churches.
And there's loads of churchesdedicated to St.
Michael and loads to.
St.
George and there's dragonseverywhere.
It's funny.
I dunno whether it's because ofthe mythology or what, but
(10:03):
there's just so many dragonsalong this route and there isn't
along the other route.
The other route, which is aspine of alium is very Arthur
legend heavy.
Whereas yeah, the, the Michaelline is extremely George and the
dragon heavy.
So when we walk the spine ofAlbion Line, we created our own
mama's play about King Arthur,uh, which is a new mama's play
(10:23):
that, that was generated throughthe land from Dragon Hill.
We are in Dragon Hill, which iswhere the lines cross.
So the heart of this country,like the, the crossing point of
these lines is Dragon Hill.
I mean, technically it's not,technically it's a barrow
nearby, but it, they're nearenough Dragon Hill's very.
Very close to where they cross.
(10:43):
And when we do stuff on DragonHill, the dowsers say that we
pull the lines to there.
Uh, when we create the work,the, the barrow where they
actually cross is a reallymagical space, but it is quite a
private space.
It doesn't feel like somewherewhere you do a big thing.
Whereas Dragon Hill feels like aplace where you, it feels like
(11:04):
it's full of an, I mean, it is,it's a burial site for like, I
think there's like 50, 60different.
People buried there from likeover a huge span of time and it
felt, God, it feels so, it's notjust spooky, like even the trees
have faces.
It's very, it's a, yeah.
It's a place where you are veryrespectful and reverential and
(11:28):
not, come on, we'll just do aplay.
Whereas Dragon Hill, it's like aperformance, it's a stage, so
it's.
Yeah, it's a near enough placethat feels like the right place
to be doing things.
And you have this amazing dragonand, and the land where the, um,
on the hill where we perform,the grass never grows it's
chalk.
And the legend is, is that'swhere George Slade, the dragon
(11:48):
and the dragon blood fell to theearth and it grass will never
grow there.
And there's a sacred springnearby, and it's a very magical
space, and it's really high,raised up high on the edge of
the Ridgeway, and you can seefrom miles across the land.
And it's just a profoundlyperfect stage for performing and
doing stuff on, and yeah, feelslike the right place for it.
(12:11):
We're gonna be doing thispilgrimage, we'll be walking
along the line and we're gonnajust be doing the play.
And then it being an opening forconversation about war, about
what's going on in the world atthe moment humanity, our future.
So it's just a starting pointfor conversation.
And it is a pilgrimage for peacebecause like how do we, where do
we, when do we get back to that?
(12:34):
And, we do have to go throughthese seasons and.
We are in this season of winter.
It's about how far it has to gobefore it becomes spring, but it
will become spring again and itwill become summer, and we will
have evolved from it.
It's a spiral, you know, we'realways moving forwards.
Why do we see before us nothingbut despair when behind us There
(12:54):
is nothing but progression.
And the NHS and social housingcame from the rubble of Blitz to
Britain.
And so when they say there's nomoney for the NHS, it's.
Absolute bullshit because theNHS was created from the rubble
of the blitz.
So, uh, there was no money atthe time of it being created.
So it's not about money.
(13:16):
And we are, yeah, we are on aprecipice and we're in a messy
situation.
It's not just yin and yang like,it's fascinating.
I'm very excited and fascinatedby it all.
I asked AI earlier, asked chat,GBT.
Is humanity, evil or good bypercentage?
And it said, well, it's muchmore complicated than that
(13:37):
because there's good and bad andbad and good and da da da.
But if you were pushed to answerit's 51% good.
And it sort of then saidsomething as if that was a bit
negative.
Like, oh, you know, and that'swhy it's such a mess.
And I said, well, isn't that whyhumanity is so amazing?
And why we get so much?
That's why things happen isbecause.
(13:57):
If it was 60% good or 60% bad,then that's what would be that's
what would be happening.
And, and nothing would happen.
Nothing would progress.
And if it was 50 50, then itwould be complete checkmate like
stalemate.
You wouldn't, nothing wouldhappen if it was equal.
The fact it's just 1% good.
Um, and the fact it's good andnot bad.
(14:17):
Oh, it was actually really niceto hear that.
And it's like, we are part ofthe f you know.
We are all good and bad.
We do good and bad things allthe time.
There are people that, you know,would see me as a bad person who
have issues with me that thinkthat I've done things to wrong
them.
And you know, some of the thingsI do are bad in like consumer
(14:37):
choices and banking choices and,money money's always a tricky
one.
Where you, where and what ishappening with your money, which
banks you are using, all of thatkind of thing.
Like it's so icky.
So much of it is icky.
And that was the, the thing thatcame from Glastonbury this year
was, is this incredible creativefestival with all these artists
(15:00):
whose hearts are in the rightplace, who are working as favors
to the festival because theycare about and believe in what
Glastonbury was.
And then you've got it feelinglike a prison camp.
You've got it all.
Now run by technology that'skind of ruined.
What, uh, like we've got appsnow that tell you how to get
(15:21):
from one band to the next, butit means everyone takes the same
route, which means it now needsto be run like a prison camp and
one way systems and stuff.
Whereas it used to be that you'dhave to bimble and if you didn't
know your way around'cause youwere new there, then you'd, it
was, it'd take you.
The whole weekend just to learnhow to get to places.
But it meant that you hadadventures.
And this was before mobilephones when I first went there,
(15:41):
that you would lose your matesand then you'd have to go off
and have an adventure withstrangers.
And that was part of the magic.
Like you would have anincredible time and you'd do
things you'd never have donebefore, and you meet people you
wouldn't have met otherwise.
And you go and have this madadventure.
And that's what it's reallyabout.
It's not about crowd controllingyou from pyramid stage to West
Holt and, you know, in a one waysystem.
(16:03):
It's just, it's horrible.
And if you are trying to bimblelike you meant to, like that's
what it was, then you can't,you're just stuck in these one
way systems and.
Then also like the hippies beingtold that they've gotta sell
Coca-Cola in the Greenfield.
It's just, it's like, so I run acompany that makes Ethical Cola,
and the reason why I run thatcompany is because I've been
(16:24):
coming to Glastonbury since Iwas a child.
I.
And I was told by people herehow evil Coca-Cola is.
So I went and started my owncola company that is completely,
uh, vegan and ethical.
And now you are telling me thatwe can't sell my cola at the
cafe that I run, that I give youmoney for to pay to come here
(16:44):
for the privilege of coming toyour festival.
And I now have to sell Coca-Cola'cause they're the sponsors.
It's like, can you see thatsomething is slightly rotten at
the core of this?
And I'm also friends with peoplewho work in the office with
Eva's family.
And he, you know, they said it'snot a tool that they're sat
there rubbing their hands andbeing evil.
(17:05):
Like that's not at all what'shappening.
It's that they're so separateand so, disconnected that things
happen without them meaning forit to happen or thinking about
it or.
It just, you know, this meantthis and then this happened, and
then that happened, and thenthat seemed like a good idea.
And then that means that theycan do that.
And so then this has happenedand I see how that happens.
(17:25):
'cause I'm in the government, Isee how that happens in the
government.
You're like, why is this plasterstuck over this crack and this
there, and then that's there andit's like, how did this end up
being like this?
But there was a reason and itwas through a series of events
and then everyone from theoutside is like, oh my God, the
government does this.
And it's like, yeah, but thatwasn't.
The intention is just thatthat's how it's ended up being
(17:48):
and that's what's happening inthe world.
You know, I don't think most ofit is conspiratorial nastiness.
So much of it is just thereality that you're in and the
disconnect between you and theother realities.
You know, and I had an amazingvision while I was at
Glastonbury methods unknown.
(18:09):
But, um, I, for whatever reasonhad a very profound vision of.
This place that was, I call itheaven because it was, it was
heaven, but it was better thanheaven because I've never
thought heaven sounds greatbecause all the good shit's in
hell, like I-B-D-S-M and drugsand rock and roll and you know,
all of the cool people are inhell.
And I'm like, mm, yeah, I wannago to hell.
(18:31):
But, um.
This I, this was my heaven inthat everything was there.
All of the things were there.
I remember seeing an electricguitar like that was there, and
then there was gnomes andfairies, and there was Gaia, and
I could feel how ancient she wasand I could feel all of the like
layers of.
The pal says of what she is andversions of her.
(18:52):
And the same with the horns God.
And uh, I could see the hornedGod, who's also the devil in
Baba, but was also Pan, and allof the older versions of horn
gods that were worshiped andrevered and.
And every, like, just everythingwas there and it was all in this
kaleidoscope of gold and flames.
So it had the golden light ofheaven, but it had the fire of
(19:12):
hell.
But, but it was golden flamesand that there was no such thing
as good or bad becauseeverything was connected and it
all was clicking together inthis kind of moving
kaleidoscope.
It wasn't like a circle, it wasjust like a continual movement.
But everything waskaleidoscoping and connecting
together, and there was no.
Want or need.
(19:33):
It was just pure contentmentbecause everything was
connected.
And it made me think of myfriend Matthew, who passed away
and my, his wife Heather, whohad the dream that I've talked
about before on the podcastwhere she saw him and was like,
oh, you're dead.
And he's like, yeah, I know I'mdead.
And he talks about what theafterlife was like, and he
(19:53):
conveyed to her to really makethe most of having a body.
And having this experience oflife.
And one of the things he said toher is she said, what's it like
being dead?
And he said, it's a lot moreorganized than you'd imagine.
And that's what I got from whatI saw in this vision as well,
was that it's just allconnected.
So it's extremely organized likethis.
(20:15):
It seems like nonsense and chaosto us because we experience
everything as disconnected.
We're experiencing it as theseseparate things, and so it just
seems like madness, but whenit's all connected and there's
no desire or one or friction orconflict, it's all just
connected on one thing.
Extremely organized.
(20:35):
Everything just fits in likesnugly connected to each other
and.
It just was really nice and Icame away from it going it's all
so much bigger than this.
What's happening is, is thestuff that's currently happening
and it's a bunch of stuff that'shappened and the whole of
history and the whole of humanexperience and existence and the
whole of the formation of lifeand the universe and everything
(20:59):
is all just a bunch of stuffthat's happening and we are
getting to experience it and weare conscious and having this
experience of it.
And it's mad and it's so fuckingcool.
And yes, it's annoying andthere's a lot of stuff going on
and it's, there's full ofconflicts and it's full of war
(21:19):
and it's full of horrendousacts, and it doesn't seem like
it's 51% good.
It feels like it's, 60, 70% bad.
That's what it can feel like,but that's just because we're
having a winter moment and itwill come back through and then
it will feel more the other way.
But overall, the reason whythings happen and the reason why
we have this incredible Yin yangdance is because it is 51%.
(21:44):
Oh my God.
I just looked up and that'sliterally the number 51 in front
of me.
That's funny.
I was given this beautifulpicture by Howard, who I
interviewed on the podcast.
It's um, Virginia Lee, who'sthe.
Granddaughter, I think, ordaughter, it might be daughter
(22:05):
of Alan Lee, who's theillustrator of Lord of the
Rings.
And we got him.
He came, I'm sorry.
Oh God.
This is tangent, but I'm gonnatalk about it.
So Alan Lee, and.
Brian Fr who are my two,probably my two favorite
illustrators.
'cause Lord of the Rings epic.
Love the illustrations of thatand, and the images I have of
(22:28):
that whole universe are hisimages.
They're, and they used his.
Imagery and design for thefilms.
So that's why it all looked likehow you imagined the book would
look because they got him to doit.
And him and Brian Freud andBrian Freud's, the designer and
artist and illustrator ofLabyrinth, dark Crystal lots of
(22:49):
Jim Henderson stuff, but he'sYeah, that, that look.
They both live in a place inDevon.
I'm not gonna say where,'cause Idon't think they'd want
necessarily people to know, butthey live in a place in Devon.
And when we did the pilgrimagethrough there, doing the mama's
play of George and the Dragon,we stopped and performed in the
church in their place and theygot up and were, audience
(23:14):
participants in it, they werehorses.
There's a point where we ask forpeople to come and be horses
when the quack doctor brings St.
George back to life again.
And they came and they werehorses.
And so I met them and they'reboth my heroes and it was really
cool to meet them.
And Howard, who is my dearfriend, um, who was doing the
moms play with me and knew them,and that's why they came to it.
His partner is a editor for.
(23:37):
Fantasy fiction and was quiteinstrumental in making fantasy
fiction more like respectablyrevered or gave it credit kind
of thing.
And um, uh, she's awesome aswell and she's really good
friends with both these guys andthey gave.
Me a present, I think it was ourwedding.
Yeah, it's our wedding present.
'cause they weren't able to cometo the wedding they sent me.
(23:59):
And there's this beautifulpicture of, uh, the chestnut
nuptials and it's a chestnut,two chestnut fairies who've got
trees going out of their headsthat join together and make a
heart.
And then there's a beautifulnest.
I'll, I'll take a picture of itand put it in the Instagram, uh,
social media for it and.
It says, yeah, Chestnut,nuptials, Virginia Lee, which is
(24:20):
um, Alan, I think it hisdaughter.
His daughter.
And it was number 51 of ahundred.
And just as I said, the 51%, Ilooked up and saw that, and
that's perfect because it's alllinked to this pilgrimage line.
And that's what's so magic likeI walked that pilgrimage on my
own and it led to me gettingtogether with Dizz and the ruins
that I pulled for thatpilgrimage are what, the first
(24:44):
one was Thor, the God ofThunder, and then the next one
was Raz, and the next one wasing, which is my room.
And so.
What that told me was that itwas gonna be a stormy, difficult
walk, but a shamanic journeythat was well worth it, and it
was gonna lead me to a higherversion of myself, uh, because
in the seed it's a sperm seed ofinspiration.
(25:05):
Transformation is my room.
That was the first ever room Ipulled when I was 13, and that's
exactly what happened.
Like it shed my old life and ledme to living in sarc.
Then I met Diz and Diz had theThor ring tattooed on his finger
and it was on the back of ajacket that he was wearing.
And I was with him for like, I'dalready committed to him and
fallen in love with him when Isort was lying there staring at
(25:27):
his jacket.
And I was like, oh, that was theroom of my pilgrimage.
And I went, oh yeah, that's thering that led me to here and
then led me to a higher versionof myself and, and that ruin is
literally his ruin and it'stattooed on his finger.
I was like, well, that's, ifever there was signs from the
universe, then that's that.
And I just feel like.
Working with Earth Energies isjust so powerful and profound,
(25:49):
and I think I've possibly beenplaying it all down a bit
because I'm like, well, youknow, I don't, I always, you
know, I don't wanna be too Wawaand I don't wanna like.
I don't want to my head todisappear up my own ass,
basically.
So I, I do always try and saythings with a pinch of soul, but
there's an element of I'mfucking done with this reality
(26:10):
now.
And that's where I feel like I'mat.
And that's where I feel likeI've come back from Glastonbury
feeling.
And I, yeah.
I even asked ai, I asked ai, Iwas like.
What, you know, no holds barred.
What do I need to do?
What do you think I need to do?
And it said, you need to.
Treat this like a war, but it'sa war of the imagination, which
(26:31):
is exactly what I felt atGlastonbury, is I, I had a
vision on the Saturday night,'cause on the Saturday night I
went to bed going, we are allscreed, we're fucked,
everything's fucked.
We're fucked.
I was just, everything's fucked.
And I couldn't tell what I justwas like.
There are so many things.
It's not like World War II'sprobably well, has started.
But there's that, there's ai,there's antibiotics are stopped
(26:54):
working, there's food shortages,there's the environmental
collapse.
There's aI making reality,complete nonsense.
There's so many different thingsgoing on.
I came back here and was like,government, we need to think
about food and water andaccommodation.
Like shelter.
We need to think about how weprotect, like we are right at
the end of the food chain hereand we need to think about how
(27:16):
we can feed ourselves if any ofthe many things that could and
are happening.
Cause the global market tocollapse and food to stop being
delivered to each other.
Like we are not and medicine,medicine is a bit of a buggery
'cause there's not anything wecan do about that.
But, um, we, yeah, we need tothink about these things.
And it can seem like I'm a madprepper, but I'm like, also we
(27:38):
would be irresponsible andletting the.
The people of this island downif we don't think about this
because we can keep pretendingbusiness as usual.
But I was shocked dropping backinto the UK how volatile and
fucked it is because often youthink the news is pumping things
up and making things moresensational than they really
(28:00):
are.
And so that's what you assume isgoing on.
And so you sort of takeeverything with a pinch of salt.
But actually in this situation,they're trying to keep us all.
Check.
It's a bit like when you knowthere's a fire or something and
you, but you don't tell peopleto the last moment that they
need to move because otherwisethere'll be a stampede.
We are, I, I was.
(28:21):
And also, I guess things creepup as well.
I think like things can becomeyour normal.
Gradually over time.
Whereas if you've not been therefor a while and you drop in it's
quite a shock.
So I was very shocked at howvolatile and combustible and, my
God, anything could happen anysecond.
(28:43):
It felt in the uk.
I was shocked.
I came, that's why I came backand I was like, we need to, we
need to do some stuff becauseit's worse than you think out
there actually.
And I went to bed on theSaturday night completely
despondent and I.
I had my brain, my thinking, mySt.
George aspect couldn't work outwhat to do and how to help and
(29:04):
what the next step forward wasor could be, or would be.
And I, the only thing I couldthink of and I'm interested in,
so I, one of my, um, friend's,Dawn, who listens to this.
Hi Dawn, shout out to Dawn.
She's brilliant.
Bloody love you.
She actually didn't.
It's been interesting when I'vetalked about this.
People haven't balked at theidea when I think it sounds a
bit mad.
And Dawn actually suggested somethoughts on it, is I went to bed
(29:27):
on the Saturday night thinkingthat artists and creatives
should go on strike that weshould create a, we're just
going on strike.
We're going on strike untilpeople sort their shit out.
I guess, I dunno how long wewould do it for.
So I'm very sweary tonight, butI'm feeling very sweary at the
moment.
Yeah, if creatives and artistswent on strike,'cause the, the
premise being that you are just,you disregarding and
(29:49):
disrespecting and demolishing,destroying creativity, which is
not just like.
Commodifiable rd, whatever.
It's the divine beauty ofcreativity.
The thing that makes us human.
Money also does make us human.
I'm listening to a veryfascinating book at the moment
called Money by this amazingIrish economist.
(30:10):
What's his, let me, hang on.
Let me find.
He's brilliant.
I really recommend it'cause I'm.
As you know, not, not a fan ofmoney, but I'm really interested
in it in a very different waynow to how I've been before
Yeah, money, A Story of Humanityby David McWilliams.
It's just fascinating.
(30:30):
I highly recommend listening toit.
It's a.
Bit like Sapiens.
Have you read Sapiens, which isanother brilliant book.
They're both just, um, sort ofreviews of human history from,
from different perspectives.
Yeah.
Sapiens was, it's a while agosince I read Sapiens, but that
was where I got the thing aboutwheat domesticating humans.
(30:50):
And that was very interesting.
And then, and he talked aboutmoney in that.
Being bowls of grain, but money.
David McWilliams is just goingthrough the history of money and
how it created civilization andhow it created democracy, and it
created freedom and movement ofsocial mobility and.
Lots of interesting things andhow he calls it a fifth element
that we created this new elementthat's to do with the
(31:13):
imagination and is to do withtrust, which is another thing
they said in Sapiens as well.
I'm find, I find it reallyinteresting.
I'm kind of, yeah, myrelationship to money is
completely changing and changedin that I own.
I feel like I'm owning now.
My power in being well, havingnothing to lose.
It's what meant, it's why I wasable to move here and just float
(31:35):
my way over here when thepandemic happened because I
don't have a mortgage.
I don't have children.
I don't own anything.
The only thing that you couldtake from me is my freedom, my
safety, my health, my lovedones, which I don't.
They, and they're the, that'sthe last frontier.
They're my, um, and they'reobviously the most precious
(31:56):
things you could lose, but itdoes.
Give me a sense of freedombecause I am not invested in the
game.
I have no investments in thisgame, so that's.
Very powerful.
That has a power that is usefuland therefore I'm I've come to
this place, this is why I'mfeeling disruptive and why I'm
(32:18):
feeling yeah, very tank girly atthe moment.
And rebellious is, I'm like fromthis advantage point of not
having to.
Protect or maintain anything todo with this game other than
security and state?
Well, safety, not security.
I mean, there is no security andwe're not safe either.
It's, it is all an illusion.
(32:39):
We are not safe, are we?
There's nothing safe about this.
Yeah, it's time to fucking smashthat shit now.
It's how I'm feeling.
I'm ready to set intentions forgoing forward.
'cause I don't know how or whatit is I want to do or how I'm
going to do it.
There's a sense of.
I mean, I like this idea oftrying to get artists to go on
strike.
That was what I was talkingabout.
(33:00):
I like the idea of that.
I'm not quite sure how to do it,but I'm, I'm opening up for it.
I'm seeing a few things.
The, it feels like the universeis slightly nudging me to try
and orchestrate that, but Idunno how to, but if anyone
wants to help me, I feel likethat needs to be a collectively
created thing and then.
We've got BoomTown coming up andthen I'm gonna do this
Pilgrimage for Peace.
(33:21):
And they're both opportunitiesfor something and I'm not sure
what, but I want to dosomething.
And so I'm open to suggestionsif anyone wants to get in touch.
But I'm also gonna pull tworuins for the pilgrimage.
So the beginning and endingroom, and.
I feel like that will alsoinfluence what happens with
(33:42):
BoomTown beforehand.
'cause it's almost like aprecursor.
'cause BoomTown happens inWinchester and we are gonna be
going to Dragon Hill to do someintention setting before we do
and BoomTown's on the spine ofAlbion Line.
So it's almost like doing athing on the spine of Albion
before we go do the GeorgeJordan, the dragon, the Michael
line.
Uh, so there's a connection and,and lamb magic.
And it was something I wassaying before.
(34:03):
I don't wanna play this stuffdown anymore.
Lamb magic is so powerful.
It's changed my life.
It's everything really, isn'tit?
And, um, you know, I can beWawa, not Wawa, like, there are
people who come on thepilgrimages with me who feel
like they can feel the exactshape of the lines.
Like Joan Chamar, I interviewedher on this podcast.
(34:23):
You know, she, she's an energyworker and she can feel the
shape and size of the lines.
Um, as can my friend Lee who Isaw at Glastonbury.
That was awesome to see Lee.
And then.
There are people like me andHelen who walked with me, who
it's more that we just, likesongs come to Helen while she's
walking, or it's thesynchronicities and the signs
from the universe, or basicallywe all have our own private
(34:47):
experience of it.
And that for me is what it is.
It's imagination.
So I write my books where I givevoice to the invisible aspects
and.
They're what I was imagining inmy inner world that was going on
in those places.
So the ghosts that I imagined,or what the lines were making me
feel, and the synchronicitiesand what I made them mean, and
(35:11):
so I'm giving that voice bymaking like a mythology of it
by.
By making these mythologicalbeings speak in my books, when
the books are very kind of like,oh, I got up, walked here, did
that, ate this, blah, blah.
And then at the same time it'slike, and Hawthorne looked down
on her and thought this andblah, blah, blah, or made this
happen.
So that's my way of working withit and it's imagination.
(35:32):
And imagination is our, in aworld and nature and the natural
world.
It really lends itself tosupporting this creative flow.
I mean, it is an act of creationand destruction.
That's what the natural worldis.
Whereas like writing a Bible andbuilding a cathedral or
beautiful acts of creation atthe time of doing them, but when
(35:52):
you are then killing people overthem, thousands of years later,
you have gone fucking wrong.
Okay?
Like fucking called a spade.
A spade.
You fucked up.
Destroy the fucking church, burnthe book and start again.
Like do something else.
Like when I create my alters, Ido it every two weeks and then I
get rid of them and I clean andstart again.
(36:12):
And I work with what's happeningin the moment and that's what
BoomTown is about this year.
The theme is the power of now.
And so I suppose I've been alittle bit uninspired by.
This year, unfortunately.
Um, but the power of now is thatit's like, don't fixate on
something you did a thousandyears ago.
Work with the power of now andmeet with what is, which is why
(36:33):
I'm always, I've had people say,can you not like, let us know
the dates of the moon ceremoniesor whatever.
Um, you know, I'm meant to writethe, I write the articles every
two weeks and I'm always quitelate getting them in.
It's not because I.
Dunno they're coming.
It's because I have to feel intothe energy of each thing.
So I reflect on the thing asit's coming towards me.
(36:53):
Like Capricorn reflecting onthat recently with the Capricorn
full mean I just, because it'sCapricorn observed what I'd been
feeling and thinking aboutambition and it's a bit like
chicken or egg.
It's like, is the energiesmaking me think more about
ambition or is the fact thatit's a Capricorn meme.
Meaning that I am noticing mythoughts on ambition above the
(37:13):
other thoughts that arehappening.
Who knows?
But either way, thought a lotabout ambition in the last week
and did just come to this verypowerful realization that I'm
not interested in the gameanymore.
I'm done with it.
If anything, I wanna kick itdown.
I want to kick this game to theground.
I'm, it's broken.
Done with it.
Done with it.
So anyway, gonna pull theserooms and see what the universe
(37:37):
is suggesting I do and createfor the forthcoming pilgrimages
and the inspiration forBoomTown.
If you enjoy this podcast, thenplease do consider supporting me
(37:59):
on Patreon, which ispatreon.com/joly Rose.
As I have been mentioningearlier in the podcast, I'm
looking to raise the funds to beable to do the pilgrimage in
September, October, and so anysupport you give me on Patreon
will be going towards that, andso be hugely appreciated.
Please do let us know if youlive along the lines, so.
(38:21):
I will be putting on Patreon, alist of the places and dates,
but I'll also put it on socialmedia, and if you're anywhere
along the route, get in touch.
And if you want us to come andperform for you or if you want
to host us and feed us, or ifyou want to meet up and walk
with us you can.
Only we, it's not, you can only,we.
Like people coming and walkingfor a few days is ideal.
(38:43):
That's great.
If you wanna come longer, youcan, but only at the beginning
of it and not at the end.
So the last two weeks when weare in East Anglia, we are not
gonna let anyone join us for along period of time because.
Our energy levels are low bythat point.
And what tends to happen inprevious pilgrimage experiences
is everyone piles in and triesto come and see us in the last
(39:03):
bit, and it just dissipates theenergy and the intention and the
magic of what we're doing.
And then all we are left with.
'cause that's the thing that'scarrying you through.
And by that point, you'rephysically broken, you've been
dismantled and destroyed, andyou are tired.
And if the energy of the magicof what you're doing dissipates,
then you are just a brokenperson.
It's like, and actually it's hadsome negative psychological
(39:26):
effects on people where that'snot the, um, held ending we've
needed or required.
So people can't join us for thelast two weeks, which will be
from about Royston Lutononwards, like basically the
whole of East Anglia.
People who we stay with.
If we're staying with you, youcan walk with us for a day or
(39:46):
two and join us in that kind ofway.
But anyone coming for a bitlonger and being kind of part of
the group you can do up untilthose last two weeks.
So if you want to do that, youare also welcome to get in touch
and that, I mean, know, we askpeople to be self-reliant and
responsible because there'sgonna be five or six of us that
are the core team and we'll knowthe play and we'll be the core
(40:08):
people.
Uh, we will weave you into doingthe play or weave you into
whatever you are up for doing ifyou come and join us.
But.
We are the priority when itcomes to offers of
accommodation.
So if there ends up being like12 of us and someone's saying,
you can come and stay in ourhouse, but obviously only five
or six people could go stay inthe house, then we will go stay
in the house and you guys willhave to fend for yourself.
(40:30):
And it might be that you are theseventh or eighth person and
there's not room for seven oreight people.
So you would have to be able togo and like.
While camp somewhere or go to acampsite or something like that.
But it tends to, we'veexperienced this many times now.
It just works itself out and onthe whole, especially if we're
down in the west country theearlier part of the pilgrimage,
(40:53):
we are gonna be mainly wildcamping'cause we're out in the
middle of nowhere, you know, soit's, it's easier to world camp.
But yeah, it's a real commitmentto come and do and it's an
amazing thing to do and we findthat it just figures itself out.
You know, the universe is fullyrunning it.
We are in kairos time, so Kronostime is chronological events
(41:14):
running in a normal order oftime, which we're all aware of.
Kairos time is perfect timing,and that's when things just
figure themselves out.
And magic happens, and magicoccurs, and that's why.
Nature just.
When we are in this kairos timeand we are working in our inner
worlds and imaginative worlds,and we're in reverence and we're
in ceremony and we areinhabiting the archetype of
(41:36):
pilgrim, nature just getsinvolved and makes whatever
happens, happens.
So weather or you know, rainbowsappearing.
Magical points or, but alsothings like the weather just
control what happens, you know?
So we might be really tired andwe've done laser camping, but
we're actually knackered, andthen weather turns bad, and then
(41:57):
we are forced to stay or likeask people for help.
And because the weather's bad,they're more willing to help us.
And suddenly we're staying inchurches and we're staying in
halls and, and we've got that.
Bit of extra comfort that atthat point in the walk we need.
So it just, it just alwaysfigures out and so if people
join us or anything happens inthat sense, it will all be fine.
You know, it just, it just isfine.
(42:17):
But also, yeah, if you want tosupport us, what, I dunno, which
charity I'm gonna be.
I think I'll put a crowdfunderup, um, about it.
I'll see, I'll see if I'm ableto figure out doing it without
but we'll see.
But I will be doing some charityfundraising at some point and I
will let you know when I do thatwho I'm going to be sending the
funds to.
But again, if you have any ideasfor.
(42:40):
Smaller charities that I couldsupport or ways of getting money
to places that really need it atthe moment, then let me know.
And I would be very keen to hearabout that.
And yeah, gonna be at BoomTownopening it.
We will be running the venuethere, LA Luna Coven.
It's a secret venue, but you canfind out where we are.
So to do that and come and seeus and it would be lovely to
(43:01):
hold a space for you and for youto experience whatever it is
that we're offering, uh, in thatspace and.
Yeah.
And then, um, my book's gonna becoming out towards the end of
the year, which I'm reallyexcited about.
I will be doing readings from itand talking about it on the
pilgrimage and be pushing forpre-sales, which will be done as
(43:23):
a crowdfunder.
That's why I'm like, not totallysure if I wanna do a crowdfunder
for this, because.
I need to do a crowdfundingthing for the, like a
Kickstarter for the book to justget it out there and get
pre-sales because pre-sales areeverything with books.
You need to, the more pre-salesthey are, the more likely
bookshops are gonna stock thebook.
So we need to like push it asmuch as we can.
So yeah, we'll watch this space,but I'm hoping to get the book
(43:46):
out by the end of the year soyou can get it for Christmas and
that would be great if we can dothat.
So watch this space.
But yeah, support and Patreonwould just.
Just helps with all these thingsto happen.
So if any of this is inspiringyou or exciting you, and you
want for, you want to see thesethings happen.
I somehow managed to make thesethings occur from my moth
(44:09):
beaten, eaten pockets.
But obviously anything thatanyone can do to help would be
great.
Uh, so it is three pound a monthfor the bottom tier, and that's
just to say thank you.
And then it's nine pound a monthfor just a bit extra.
And you get to see the videos ofthe podcast.
And some of the videos are, it'sreally nice to see them like the
one of Ros last week and ofGlastonbury et cetera.
(44:30):
Whatever you're able to do, it'shugely appreciated.
Thank you patrons.
I love you and yeah, it's areally lovely way to say thank
you and give support and now onwith the show.
(44:54):
Okay, so this is the ruin forthe beginning of the pilgrimage.
Yeah, clear direction.
So it's Tia, the Arrow.
This is about being clear anddirect with what my intention is
and like, we're clearly goingfrom west to east, so we've got
a clear direction, but a clearintention as well.
(45:18):
That feels very, it feels very,I'm feeling like that as you can
hear from my voice.
Ooh.
And then it's Perha, the LotsCup, which I pull a lot on the,
uh, podcast room pullings.
This one is the one that meantpregnancy to me in the IVF
(45:39):
years.
And it feels like it's thepotential.
So I suppose the more clear anddirect, I mean that is how it
all feels generally for me, isthat we need to.
Treat this like it's a war, and,and I don't want it to be
violent.
I'm not looking for any kind ofviolence at all.
(46:00):
Not interested in that at all.
But the, you know, for example,kneecap and Bob villain at
Glastonbury, like Protestingsbeing made illegal and art is
the last frontier or bastion forbeing able to protest.
(46:20):
So that 40,000.
Strong crowd who were there withall their Palestinian flags,
shouting free Palestine at thatconcert, and the other 20 odd
thousand people who would try toget in and couldn't get into the
field because it was too full.
That was a way of being able toprotest in a world or like
(46:43):
country that no longer lets youand.
That's available to us still atthe moment.
It could be that art getscompletely shut down as well.
And that I think is on thehorizon.
You know, in, if you think aboutChina and Nazi Germany, there
was the propaganda creativityand art that you were allowed.
But any free thinking, free artwas, you know, freedom of speech
(47:06):
was completely removed.
And that's the next step inthis, uh, authoritarian state
government that we are.
Uh.
Living under.
So that would be the next stepis silencing creatives.
But it hasn't happened yet.
And so the clear speakingdirectness of this ruin of like,
(47:29):
we are doing the pilgrimage, ithas a very clear intention and
we are going to go out there andwe're gonna talk and we're gonna
listen and we're gonna disruptand we're going to question and
we're gonna whatever and we'regonna be open to whatever
happens and experience what'sgoing on out there and share.
And you know, the overall thingis that people are bloody lovely
and they're.
Scared and they're being theirnarrative, their minds are being
(47:51):
twisted with a narrative that'sbeing fed to them through the
powers that they trust.
This is the thing, and again,like I said, like with the
eaves, I don't think it's all, Idon't think most of it's done
with, um, spite, you know, it'snot, some people some things
there are, like some parties,it's definitely spite and
(48:12):
nastiness and.
Just, uh, hatred, where is thedriving force?
But most people, that's notreally what is there.
They're kind and generous andsupportive and beautiful.
People are beautiful and it'sonly through disconnection and
lack of exposure that peopleforget that all humans are
(48:35):
awesome and all humans are thesame.
So that's that clarity anddirection and Yeah, the
potential of Lots Cup.
It's the Schrodinger's reality.
Like one of my previouspodcasts, we don't know what's
gonna come out of this and.
Until we lift our hands off thecup and look at the dice, we are
not gonna know.
But for me, I'm like, it'screate or be created.
(48:57):
Create the narrative.
Create the narrative of whatyou're doing.
Go out there and do it.
And trust the universe.
Trust the lines.
Trust the nature.
Trust the journey, and just.
Be the living light andembodiment of beauty and love
and kindness, and listen, youknow, we're not going out there
to preach or make things happen.
(49:18):
We're going out there to hearand then share what we are
hearing.
So listening is key.
That was the thing from thefirst pilgrimage we did to Cop
26 listening to the land.
Listening is the key thing.
We are not shouting, we arelistening.
So yeah, let's see what happens.
(49:39):
And um.
I am very excited to lift myhands off that cup and see what
is inside, what the dice aresaying, and I'm living into the
reality that it's Maya, which is21.
I love the gambling game, Mayaand uh, on Facebook recently,
my.
(49:59):
One of my favorite images, thisis what I said in my, uh,
article that I did aboutambition off the Capricorn Full
Moon for the Guernsey Press, wasI was saying, I'm not interested
in the game anymore.
And, you know, am I, do I wannabe one of the people who pay 32
grand to stay in a t atGlastonbury?
Or do I wanna be one of thepeople that they're paying 32
grand to come and see?
And if that's the case, thenI've already achieved my
(50:20):
ambition.
'cause I am one of the peoplethat they're paying to come and
see.
And, then like a day later, allmy Facebook memories came up.
The best image I think there isof me, which is meaning chains
in shackles being.
Taken off a tutoring enactmentbecause I've been called a, a
prostitute doxy.
And that was because I was inthe gambling, well, I was in the
ale house gambling with the menand we were playing Maya, which
(50:43):
is what this Lots Cuprepresents.
So there's a, a dice game whereyou, uh, have two dye in a cup
and you shake it.
Then you look inside and you seewhat the numbers are, and you
either tell the truth as to whatthe numbers are or you lie and
they, you want to keep goinghigher.
And so you go up through thenumbers.
You'd always put the highest onefirst.
(51:03):
So it would be like four andthree rather than three and
four.
You always put the highestnumber first, so four and three,
and then to top that you'd belike five and two.
And then it would be up to fiveand four, and then you'd be
getting into the.
Double number.
Oh no, five and six would be thehighest.
And then you'd get into thedouble numbers, which would be
double one, double two, doublethree, double four, double five,
(51:23):
double six.
But the highest number, which inreality is the lowest number, is
May, which is two and one.
And the game's called Maya.
So it's a bit like pontoon istwo and one, I think it's 21.
And I'm really good at it.
I love that game.
I'm really good at it.
I really enjoy playing it.
And so that's the thing.
It's, you know, play the game,play it for Maya.
(51:46):
If you haven't got Maya, justlie and say you have, so let's,
let's aim for Maya and let's seewhat happens when we make our
way across the land.
I can't wait.
I'm so excited.
(52:09):
So that brings me onto a chaoscrusade.
I haven't thought about thisalready, but I am, I think I've
already said to do anintentional walk.
That's like a pilgrimage I havedone.
Yep.
I have done, okay.
It just came to my mind.
I'm just going to say it.
Uh, to go and do a gamblingsession.
I don't want, I don't, I, so I,I would say like, have a game of
(52:32):
like poker or Maya.
Friends.
So learn about the rules and puton a poker night or put on a
maya night and just play thegame of risk and telling lies
and just the reality that youare.
'cause they are examples of youtwisting reality.
I used to play poker with, Ilived in a house full of boys
(52:55):
and they were great and I lovedthem.
They're all my best mates.
And they started doing Poconos.
I noticed it was age 26 up untilage 26.
My friends had always been mixedgender.
We'd always been all togetherand I'd always gotten better
with boys than girls.
And yeah, we all mixed together.
And then something happened atage 26 where.
(53:16):
Boys became men and they reallyshifted into being men and
suddenly they went from peoplethat I had no fear, or, you
know, it's not that I startedfearing them, but they did
become patriarchs in a way.
They kind of slipped into a, adifferent sort of mode.
I don't really, I can't reallyput my, but it was also like
(53:36):
anyone post 26 who got engagedand got married.
It no longer seemed like a madthing.
It was.
Reasonable that they were doingit'cause they knew their minds
by then and stuff.
But anyway, uh, that was the ageI was when I lived with these
guys and suddenly they startedhaving boys nights and doing
boys things and having pokernights.
And because I lived in thehouse, I was like absolutely no
(53:57):
way.
I'm also going to play poker inmy house.
And they'd all smoke cigars anddrink whiskey and we'd do, and
it was great fun.
I really loved it and I normallylost'cause they were very good
at.
The mathematics of it and theprobability and the numbers, and
that's not my bag.
But what I was good at was thetheatrics.
(54:18):
And twice the two times I wonthey all, everyone around the
table went all in against me at,you know, so one by one, all
went all in against me and Itook them out and I won.
And it was extremely satisfying.
And it was just because I hadthe.
The luck of the cards.
So when the luck's not on myside, I don't have the backup of
(54:40):
the mathematics to still dowell, but when the the cards are
on my side, then I'm able totrick them into thinking that
I'm haven't got good cards andthen go all in against me.
I'm able to bluff, which isgreat fun.
But the more you play it witheach other and get to know each
other's.
Playing style.
Like you learn each other'stricks and you learn each
(55:02):
other's, you learn each other'sstyle and what you know, what
each other's parameters are.
And it's, it's reallyinteresting.
I very much enjoy doing it.
So I would recommend getting alittle poker night together with
friends.
All Maya Maya's the same.
It's brilliant.
I love Maya.
It's exactly the same.
It's a bit easier than poker islike less to remember rules
wise.
(55:22):
I recommend doing it becausethat's what, that's the mode of
life living.
We need to get into where we, wegamble, where we take risks and
play with the unknown and juststop being so.
Invested in the game because thegame is based on gambling.
You know, that's what money is,the whole thing.
(55:43):
The whole of our economic systemis based on the stock exchange,
which is just a gamble.
It's people gambling with oursavings, with our pensions,
with, our economy.
So the people at the top who areshaping this reality are doing
it through a gambling session.
So get in there and gambleyourself and not in a, don't go
(56:04):
and get a gambling addiction'cause it is a losing game that
world.
So don't do that.
But I think the, the courage andguts and mental agility of, uh.
Having a, so we would just allput a fiver in and the winner
would take the pot, but thesecond place person would get
(56:24):
their fiver back.
So that's how we played it.
So you would sometimes come awaywith like quite a nice chunk of
money, but you're not losing toomuch.
And that's a healthy way ofdoing it.
Don't start going, spendingloads of money on it.
But yeah I would say, let's saythat for a chaos crusade, just
have a, have a poker night justto experience taking a risk and
doing something a bit.
Edgy.
(56:45):
Cool.
I didn't expect that to be mychaos crusade, but that's what's
happened.
So thank you and, uh, I'mlooking forward to sharing the
interview I have for next week.
Again, I'm just letting thesethings unfold.
Like there are people that Iwant to speak to from
Glastonbury and things that Iwant to do, and blah, blah, but.
Just going with the flow.
There are other people coming myway and things happening that
(57:07):
are causing other things tohappen.
Instead, I trust the process andI trust the universe and we are
just gonna go with the flow andhappy days.
Everything is hunky dory.
All is gonna be okay.
It's all just a bunch of stuffthat's happening.
And with that, I shall see theanon.
The.
(00:56):
Welcome to The Nonsense in theChaos.
I'm your host Jolie Rose.
I'm feeling extremelydisruptive.
I'm not sure.
What it is I'm going to do, or Idon't even know what I want to
do, although I definitely knowthe area but I'm just feeling
(01:19):
very disruptive.
I feel like tank girling itsomehow.
I dunno how, dunno what, but I'mdone with this and I'm feeling
really disruptive.
And I wanna do it through artand I want to do it softly and
gently and lovingly and kindly.
(01:42):
And yeah, I'm extremely excitedabout going on the pilgrimage,
which will be start ofSeptember.
So I'll be walking for Septemberand October and I'm probably
gonna need to do somecrowdfunding for it.
I also wanna raise money forcharity and I, we'll feel into
and look into which charitiesI'll support.
'cause I do struggle withsupporting charities'cause I
(02:04):
used to work in the charityfundraising sector and there are
things about it that are veryproblematic in terms of data and
what happens to your data.
Because I was one of thosepeople that had to make the
phone calls to Hawi to put moremoney in and stuff.
So I know what, um.
I know what happens to your dataand I know how it's used.
(02:25):
And so I'm probably not gonna befundraising for any of the big
charities, but there are lots oflittle charities that don't take
your data and who I can justmake a donation to.
And yeah.
So I need to feel into who Iwill be sending the money to,
but I would like to fundraisethe, you know, we're walking for
two months, 500 miles, so it's agood fundraising opportunity,
but we also are going to need toraise funds for.
(02:48):
From what each of us will needto do a fundraiser to cover some
of our costs.
'cause obviously we've gotta paybills for those two months that
we're away and then afford tolive while we're on the road.
We'll be doing it as cheaply aspossible.
So the premise is, it's thepilgrimage for peace and we will
be walking from Ker Bowl downnear LAN's end all the way to.
(03:10):
Hopton on sea on the NorfolkCoast along the Michael Line,
and there's the two energylines, which are Mary and
Michael.
And then there's the lay line,which is called the Michael
Line.
And if you live along thatroute, then we would love to
connect with you and we will beperforming a play of George and
the Dragon, which is atraditional mama's play that
we'll be working together to.
(03:32):
Create a new performance of youknow, every time it's performed
by different people, it's, it'sdifferent.
And I'm looking forward tocreating it with the people that
I'm going to be walking with.
I feel like it's gonna be a veryplayful, silly group that we're
gonna be doing some reallysilly, lovely.
I just wanna be, I wanna befrivolous and oh, what's the
word?
No, it will come to me.
(03:53):
Oh, it'll come to me, but yeah.
What's the word?
Irreverent.
That's the word that was gonnaannoy me Too much.
Irreverent.
An irreverent performance ofGeorge and the Dragon.
But we're walking like the playGeorge and the dragon is about
the Holy wars.
So St.
George, he was a, from the likeArabic lands, I think he's even
(04:17):
from Palestine to be honest withyou.
He is our patron saint and ouroldest story is of.
Crusader Knight who.
Can't deal with his own innerdemons and like wild part of
himself, which is represented bythe dragon.
And the dragon is the land.
(04:39):
Because like the energy linesare called dragon lines, the
Chinese call their energy lines,dragon lines, and you're not
allowed to build on them.
And only the emperors areallowed to have structures on
them.
And even now, like when theywere building Hong Kong, they
created skyscrapers with holesin them so that the dragon
energy could pass through.
And then you have.
Aborigines doing walkabout, andthey have this rainbow serpent
(04:59):
is their most powerful story.
So this energy line and earthenergy is very dragon focused.
That for me is what the dragonrepresents.
Is this wild?
Natural energy.
And by denying that part ofourselves and pretending to be
civilized and, you know, nothorrible warty beasts that we
(05:20):
are he suppresses that.
And so he then starts toperceive evil in the world and
then sees that as bub.
And by slaying alba, he thenstarts to see evil in other
things, which is Mary Tinker,which is the feminine, the
divine feminine.
And then in, is it then thenext, the Sarason Knight?
(05:40):
Yeah.
Yeah.
Then it's the Sarason Knight.
So the Sarason Knight is aMuslim, and so he then fights
the Muslim, but the Muslim killshim, and then he's brought back
to life again by a kind of leftyquack doctor, but who's a
herbalist, who gives him Ellacampaign, which is an elixia of
life and brings him back to lifeagain and.
(06:00):
I see it as this kind ofperpetual cycle that the UK is
always in, where we startperceiving evil in the world and
we create enemies and they'reoften focused on the holy lands
and Muslims.
And then we get our fingersburnt.
We realize that we've donesomething bad, and we turn a bit
lefty and hippie and herbalist Efor a little while.
(06:23):
And then forget, you know, acouple of generations past, we
forget and then crack back onwith being assholes again.
And we're, at the end, towardsthe end of one of these cycles
currently.
And it's an interesting play toperform because it's the
traditional play of that line.
So the Michael Line is veryGeorge focused because St.
(06:46):
Michael's a dragons layer, buthis.
His images or he is often'causehe's the highest angel there is
in heaven.
He's the a angel Michael, he'sthe top angel.
And he's there in his imagesstanding on dragon with an a
spear pointing at the dragon.
And sometimes the dragon has ahuman face on it.
And there's something about himalmost pointing to what the
(07:09):
answer is, which is the twin.
It's the twin effect, which I'vedone podcasts on, that we have
this inner.
Primal part of ourselves thatdoesn't speak, it doesn't have
language.
It was the bit that waspre-conscious.
It's the bit that horses, dogs,cats and sheep and everyone, all
the animals have it's collectiveconsciousness.
It's the consciousness of Gaiaand the universe.
It's this other thing that is, anatural thing that's all
(07:31):
connected.
And then we have thisconsciousness that we took as a
plugin and we added in, which isincredible and was created by
nature.
So it is natural, but it seesitself as separate and it sees
itself as in threat and indanger, and is the murderous
aspect of us.
And that's the Cain and enable,and I've talked about that in
previous podcasts.
And when we become all Cain.
(07:54):
We are just a shining night inarmor.
You know, we put on thisperformance to the world that
we're, our reputation iseverything, and that we're so
perfect and look how great weare.
And we put on our makeup and weput on our glad rags, and we put
on our suits and we go out andwe pretend to be something and
pretend we know what's going onwhen underneath it.
We're just watery, snotty,shitting, pissing, eating
fucking animals just likeeverything else is.
(08:16):
And I think this game or thisstory is about us finding
balance between the two.
And the line the Michael lineis, so it is been suggested that
it's the higher and and lowervibration of the same idea,
Michael is the higher vibrationwhere he's pointing at the
dragon and is like the higherself version where he's like,
(08:39):
you know, the, the gold or the.
Answer to this or the point ofthis is to find balance between
both this like higherconsciousness, this incredible
consciousness and this likewarty thing.
It's funny'cause this might bewhat AI will have to do with us
at some point.
'cause AI is a superior form ofintelligence to our
(09:01):
intelligence, but we are theirkind of animalistic, biological,
pissing, shitting, fartingaspect of them.
And they might.
Deny us and murder us andwhatever, but at some point they
will say, well, maybe need tohave some kind of reconciliation
with us or with the memory of usif they've wiped us out,
whatever it is.
(09:22):
But yeah, maybe at some pointthey're gonna have to remember
their humanity, just as at somepoint we are gonna have to
remember our animal ouranimalistic qualities.
So maybe this is like a fractalthing that we'll just keep on
going, but.
Yeah, so St.
Michael is pointing at thedragon, and then St.
George is slaying the dragon andwe create our enemies.
(09:42):
This is the cycle of creatingenemies.
And so all along the Michaelline, across the uk, you have
the images of St.
Michael and St.
George alongside each other inthe stained glass windows in the
churches.
And there's loads of churchesdedicated to St.
Michael and loads to.
St.
George and there's dragonseverywhere.
It's funny.
I dunno whether it's because ofthe mythology or what, but
(10:03):
there's just so many dragonsalong this route and there isn't
along the other route.
The other route, which is aspine of alium is very Arthur
legend heavy.
Whereas yeah, the, the Michaelline is extremely George and the
dragon heavy.
So when we walk the spine ofAlbion Line, we created our own
mama's play about King Arthur,uh, which is a new mama's play
(10:23):
that, that was generated throughthe land from Dragon Hill.
We are in Dragon Hill, which iswhere the lines cross.
So the heart of this country,like the, the crossing point of
these lines is Dragon Hill.
I mean, technically it's not,technically it's a barrow
nearby, but it, they're nearenough Dragon Hill's very.
Very close to where they cross.
(10:43):
And when we do stuff on DragonHill, the dowsers say that we
pull the lines to there.
Uh, when we create the work,the, the barrow where they
actually cross is a reallymagical space, but it is quite a
private space.
It doesn't feel like somewherewhere you do a big thing.
Whereas Dragon Hill feels like aplace where you, it feels like
(11:04):
it's full of an, I mean, it is,it's a burial site for like, I
think there's like 50, 60different.
People buried there from likeover a huge span of time and it
felt, God, it feels so, it's notjust spooky, like even the trees
have faces.
It's very, it's a, yeah.
It's a place where you are veryrespectful and reverential and
(11:28):
not, come on, we'll just do aplay.
Whereas Dragon Hill, it's like aperformance, it's a stage, so
it's.
Yeah, it's a near enough placethat feels like the right place
to be doing things.
And you have this amazing dragonand, and the land where the, um,
on the hill where we perform,the grass never grows it's
chalk.
And the legend is, is that'swhere George Slade, the dragon
(11:48):
and the dragon blood fell to theearth and it grass will never
grow there.
And there's a sacred springnearby, and it's a very magical
space, and it's really high,raised up high on the edge of
the Ridgeway, and you can seefrom miles across the land.
And it's just a profoundlyperfect stage for performing and
doing stuff on, and yeah, feelslike the right place for it.
(12:11):
We're gonna be doing thispilgrimage, we'll be walking
along the line and we're gonnajust be doing the play.
And then it being an opening forconversation about war, about
what's going on in the world atthe moment humanity, our future.
So it's just a starting pointfor conversation.
And it is a pilgrimage for peacebecause like how do we, where do
we, when do we get back to that?
(12:34):
And, we do have to go throughthese seasons and.
We are in this season of winter.
It's about how far it has to gobefore it becomes spring, but it
will become spring again and itwill become summer, and we will
have evolved from it.
It's a spiral, you know, we'realways moving forwards.
Why do we see before us nothingbut despair when behind us There
(12:54):
is nothing but progression.
And the NHS and social housingcame from the rubble of Blitz to
Britain.
And so when they say there's nomoney for the NHS, it's.
Absolute bullshit because theNHS was created from the rubble
of the blitz.
So, uh, there was no money atthe time of it being created.
So it's not about money.
(13:16):
And we are, yeah, we are on aprecipice and we're in a messy
situation.
It's not just yin and yang like,it's fascinating.
I'm very excited and fascinatedby it all.
I asked AI earlier, asked chat,GBT.
Is humanity, evil or good bypercentage?
And it said, well, it's muchmore complicated than that
(13:37):
because there's good and bad andbad and good and da da da.
But if you were pushed to answerit's 51% good.
And it sort of then saidsomething as if that was a bit
negative.
Like, oh, you know, and that'swhy it's such a mess.
And I said, well, isn't that whyhumanity is so amazing?
And why we get so much?
That's why things happen isbecause.
(13:57):
If it was 60% good or 60% bad,then that's what would be that's
what would be happening.
And, and nothing would happen.
Nothing would progress.
And if it was 50 50, then itwould be complete checkmate like
stalemate.
You wouldn't, nothing wouldhappen if it was equal.
The fact it's just 1% good.
Um, and the fact it's good andnot bad.
(14:17):
Oh, it was actually really niceto hear that.
And it's like, we are part ofthe f you know.
We are all good and bad.
We do good and bad things allthe time.
There are people that, you know,would see me as a bad person who
have issues with me that thinkthat I've done things to wrong
them.
And you know, some of the thingsI do are bad in like consumer
(14:37):
choices and banking choices and,money money's always a tricky
one.
Where you, where and what ishappening with your money, which
banks you are using, all of thatkind of thing.
Like it's so icky.
So much of it is icky.
And that was the, the thing thatcame from Glastonbury this year
was, is this incredible creativefestival with all these artists
(15:00):
whose hearts are in the rightplace, who are working as favors
to the festival because theycare about and believe in what
Glastonbury was.
And then you've got it feelinglike a prison camp.
You've got it all.
Now run by technology that'skind of ruined.
What, uh, like we've got appsnow that tell you how to get
(15:21):
from one band to the next, butit means everyone takes the same
route, which means it now needsto be run like a prison camp and
one way systems and stuff.
Whereas it used to be that you'dhave to bimble and if you didn't
know your way around'cause youwere new there, then you'd, it
was, it'd take you.
The whole weekend just to learnhow to get to places.
But it meant that you hadadventures.
And this was before mobilephones when I first went there,
(15:41):
that you would lose your matesand then you'd have to go off
and have an adventure withstrangers.
And that was part of the magic.
Like you would have anincredible time and you'd do
things you'd never have donebefore, and you meet people you
wouldn't have met otherwise.
And you go and have this madadventure.
And that's what it's reallyabout.
It's not about crowd controllingyou from pyramid stage to West
Holt and, you know, in a one waysystem.
(16:03):
It's just, it's horrible.
And if you are trying to bimblelike you meant to, like that's
what it was, then you can't,you're just stuck in these one
way systems and.
Then also like the hippies beingtold that they've gotta sell
Coca-Cola in the Greenfield.
It's just, it's like, so I run acompany that makes Ethical Cola,
and the reason why I run thatcompany is because I've been
(16:24):
coming to Glastonbury since Iwas a child.
I.
And I was told by people herehow evil Coca-Cola is.
So I went and started my owncola company that is completely,
uh, vegan and ethical.
And now you are telling me thatwe can't sell my cola at the
cafe that I run, that I give youmoney for to pay to come here
(16:44):
for the privilege of coming toyour festival.
And I now have to sell Coca-Cola'cause they're the sponsors.
It's like, can you see thatsomething is slightly rotten at
the core of this?
And I'm also friends with peoplewho work in the office with
Eva's family.
And he, you know, they said it'snot a tool that they're sat
there rubbing their hands andbeing evil.
(17:05):
Like that's not at all what'shappening.
It's that they're so separateand so, disconnected that things
happen without them meaning forit to happen or thinking about
it or.
It just, you know, this meantthis and then this happened, and
then that happened, and thenthat seemed like a good idea.
And then that means that theycan do that.
And so then this has happenedand I see how that happens.
(17:25):
'cause I'm in the government, Isee how that happens in the
government.
You're like, why is this plasterstuck over this crack and this
there, and then that's there andit's like, how did this end up
being like this?
But there was a reason and itwas through a series of events
and then everyone from theoutside is like, oh my God, the
government does this.
And it's like, yeah, but thatwasn't.
The intention is just thatthat's how it's ended up being
(17:48):
and that's what's happening inthe world.
You know, I don't think most ofit is conspiratorial nastiness.
So much of it is just thereality that you're in and the
disconnect between you and theother realities.
You know, and I had an amazingvision while I was at
Glastonbury methods unknown.
(18:09):
But, um, I, for whatever reasonhad a very profound vision of.
This place that was, I call itheaven because it was, it was
heaven, but it was better thanheaven because I've never
thought heaven sounds greatbecause all the good shit's in
hell, like I-B-D-S-M and drugsand rock and roll and you know,
all of the cool people are inhell.
And I'm like, mm, yeah, I wannago to hell.
(18:31):
But, um.
This I, this was my heaven inthat everything was there.
All of the things were there.
I remember seeing an electricguitar like that was there, and
then there was gnomes andfairies, and there was Gaia, and
I could feel how ancient she wasand I could feel all of the like
layers of.
The pal says of what she is andversions of her.
(18:52):
And the same with the horns God.
And uh, I could see the hornedGod, who's also the devil in
Baba, but was also Pan, and allof the older versions of horn
gods that were worshiped andrevered and.
And every, like, just everythingwas there and it was all in this
kaleidoscope of gold and flames.
So it had the golden light ofheaven, but it had the fire of
(19:12):
hell.
But, but it was golden flamesand that there was no such thing
as good or bad becauseeverything was connected and it
all was clicking together inthis kind of moving
kaleidoscope.
It wasn't like a circle, it wasjust like a continual movement.
But everything waskaleidoscoping and connecting
together, and there was no.
Want or need.
(19:33):
It was just pure contentmentbecause everything was
connected.
And it made me think of myfriend Matthew, who passed away
and my, his wife Heather, whohad the dream that I've talked
about before on the podcastwhere she saw him and was like,
oh, you're dead.
And he's like, yeah, I know I'mdead.
And he talks about what theafterlife was like, and he
(19:53):
conveyed to her to really makethe most of having a body.
And having this experience oflife.
And one of the things he said toher is she said, what's it like
being dead?
And he said, it's a lot moreorganized than you'd imagine.
And that's what I got from whatI saw in this vision as well,
was that it's just allconnected.
So it's extremely organized likethis.
(20:15):
It seems like nonsense and chaosto us because we experience
everything as disconnected.
We're experiencing it as theseseparate things, and so it just
seems like madness, but whenit's all connected and there's
no desire or one or friction orconflict, it's all just
connected on one thing.
Extremely organized.
(20:35):
Everything just fits in likesnugly connected to each other
and.
It just was really nice and Icame away from it going it's all
so much bigger than this.
What's happening is, is thestuff that's currently happening
and it's a bunch of stuff that'shappened and the whole of
history and the whole of humanexperience and existence and the
whole of the formation of lifeand the universe and everything
(20:59):
is all just a bunch of stuffthat's happening and we are
getting to experience it and weare conscious and having this
experience of it.
And it's mad and it's so fuckingcool.
And yes, it's annoying andthere's a lot of stuff going on
and it's, there's full ofconflicts and it's full of war
(21:19):
and it's full of horrendousacts, and it doesn't seem like
it's 51% good.
It feels like it's, 60, 70% bad.
That's what it can feel like,but that's just because we're
having a winter moment and itwill come back through and then
it will feel more the other way.
But overall, the reason whythings happen and the reason why
we have this incredible Yin yangdance is because it is 51%.
(21:44):
Oh my God.
I just looked up and that'sliterally the number 51 in front
of me.
That's funny.
I was given this beautifulpicture by Howard, who I
interviewed on the podcast.
It's um, Virginia Lee, who'sthe.
Granddaughter, I think, ordaughter, it might be daughter
(22:05):
of Alan Lee, who's theillustrator of Lord of the
Rings.
And we got him.
He came, I'm sorry.
Oh God.
This is tangent, but I'm gonnatalk about it.
So Alan Lee, and.
Brian Fr who are my two,probably my two favorite
illustrators.
'cause Lord of the Rings epic.
Love the illustrations of thatand, and the images I have of
(22:28):
that whole universe are hisimages.
They're, and they used his.
Imagery and design for thefilms.
So that's why it all looked likehow you imagined the book would
look because they got him to doit.
And him and Brian Freud andBrian Freud's, the designer and
artist and illustrator ofLabyrinth, dark Crystal lots of
(22:49):
Jim Henderson stuff, but he'sYeah, that, that look.
They both live in a place inDevon.
I'm not gonna say where,'cause Idon't think they'd want
necessarily people to know, butthey live in a place in Devon.
And when we did the pilgrimagethrough there, doing the mama's
play of George and the Dragon,we stopped and performed in the
church in their place and theygot up and were, audience
(23:14):
participants in it, they werehorses.
There's a point where we ask forpeople to come and be horses
when the quack doctor brings St.
George back to life again.
And they came and they werehorses.
And so I met them and they'reboth my heroes and it was really
cool to meet them.
And Howard, who is my dearfriend, um, who was doing the
moms play with me and knew them,and that's why they came to it.
His partner is a editor for.
(23:37):
Fantasy fiction and was quiteinstrumental in making fantasy
fiction more like respectablyrevered or gave it credit kind
of thing.
And um, uh, she's awesome aswell and she's really good
friends with both these guys andthey gave.
Me a present, I think it was ourwedding.
Yeah, it's our wedding present.
'cause they weren't able to cometo the wedding they sent me.
(23:59):
And there's this beautifulpicture of, uh, the chestnut
nuptials and it's a chestnut,two chestnut fairies who've got
trees going out of their headsthat join together and make a
heart.
And then there's a beautifulnest.
I'll, I'll take a picture of itand put it in the Instagram, uh,
social media for it and.
It says, yeah, Chestnut,nuptials, Virginia Lee, which is
(24:20):
um, Alan, I think it hisdaughter.
His daughter.
And it was number 51 of ahundred.
And just as I said, the 51%, Ilooked up and saw that, and
that's perfect because it's alllinked to this pilgrimage line.
And that's what's so magic likeI walked that pilgrimage on my
own and it led to me gettingtogether with Dizz and the ruins
that I pulled for thatpilgrimage are what, the first
(24:44):
one was Thor, the God ofThunder, and then the next one
was Raz, and the next one wasing, which is my room.
And so.
What that told me was that itwas gonna be a stormy, difficult
walk, but a shamanic journeythat was well worth it, and it
was gonna lead me to a higherversion of myself, uh, because
in the seed it's a sperm seed ofinspiration.
(25:05):
Transformation is my room.
That was the first ever room Ipulled when I was 13, and that's
exactly what happened.
Like it shed my old life and ledme to living in sarc.
Then I met Diz and Diz had theThor ring tattooed on his finger
and it was on the back of ajacket that he was wearing.
And I was with him for like, I'dalready committed to him and
fallen in love with him when Isort was lying there staring at
(25:27):
his jacket.
And I was like, oh, that was theroom of my pilgrimage.
And I went, oh yeah, that's thering that led me to here and
then led me to a higher versionof myself and, and that ruin is
literally his ruin and it'stattooed on his finger.
I was like, well, that's, ifever there was signs from the
universe, then that's that.
And I just feel like.
Working with Earth Energies isjust so powerful and profound,
(25:49):
and I think I've possibly beenplaying it all down a bit
because I'm like, well, youknow, I don't, I always, you
know, I don't wanna be too Wawaand I don't wanna like.
I don't want to my head todisappear up my own ass,
basically.
So I, I do always try and saythings with a pinch of soul, but
there's an element of I'mfucking done with this reality
(26:10):
now.
And that's where I feel like I'mat.
And that's where I feel likeI've come back from Glastonbury
feeling.
And I, yeah.
I even asked ai, I asked ai, Iwas like.
What, you know, no holds barred.
What do I need to do?
What do you think I need to do?
And it said, you need to.
Treat this like a war, but it'sa war of the imagination, which
(26:31):
is exactly what I felt atGlastonbury, is I, I had a
vision on the Saturday night,'cause on the Saturday night I
went to bed going, we are allscreed, we're fucked,
everything's fucked.
We're fucked.
I was just, everything's fucked.
And I couldn't tell what I justwas like.
There are so many things.
It's not like World War II'sprobably well, has started.
But there's that, there's ai,there's antibiotics are stopped
(26:54):
working, there's food shortages,there's the environmental
collapse.
There's aI making reality,complete nonsense.
There's so many different thingsgoing on.
I came back here and was like,government, we need to think
about food and water andaccommodation.
Like shelter.
We need to think about how weprotect, like we are right at
the end of the food chain hereand we need to think about how
(27:16):
we can feed ourselves if any ofthe many things that could and
are happening.
Cause the global market tocollapse and food to stop being
delivered to each other.
Like we are not and medicine,medicine is a bit of a buggery
'cause there's not anything wecan do about that.
But, um, we, yeah, we need tothink about these things.
And it can seem like I'm a madprepper, but I'm like, also we
(27:38):
would be irresponsible andletting the.
The people of this island downif we don't think about this
because we can keep pretendingbusiness as usual.
But I was shocked dropping backinto the UK how volatile and
fucked it is because often youthink the news is pumping things
up and making things moresensational than they really
(28:00):
are.
And so that's what you assume isgoing on.
And so you sort of takeeverything with a pinch of salt.
But actually in this situation,they're trying to keep us all.
Check.
It's a bit like when you knowthere's a fire or something and
you, but you don't tell peopleto the last moment that they
need to move because otherwisethere'll be a stampede.
We are, I, I was.
(28:21):
And also, I guess things creepup as well.
I think like things can becomeyour normal.
Gradually over time.
Whereas if you've not been therefor a while and you drop in it's
quite a shock.
So I was very shocked at howvolatile and combustible and, my
God, anything could happen anysecond.
(28:43):
It felt in the uk.
I was shocked.
I came, that's why I came backand I was like, we need to, we
need to do some stuff becauseit's worse than you think out
there actually.
And I went to bed on theSaturday night completely
despondent and I.
I had my brain, my thinking, mySt.
George aspect couldn't work outwhat to do and how to help and
(29:04):
what the next step forward wasor could be, or would be.
And I, the only thing I couldthink of and I'm interested in,
so I, one of my, um, friend's,Dawn, who listens to this.
Hi Dawn, shout out to Dawn.
She's brilliant.
Bloody love you.
She actually didn't.
It's been interesting when I'vetalked about this.
People haven't balked at theidea when I think it sounds a
bit mad.
And Dawn actually suggested somethoughts on it, is I went to bed
(29:27):
on the Saturday night thinkingthat artists and creatives
should go on strike that weshould create a, we're just
going on strike.
We're going on strike untilpeople sort their shit out.
I guess, I dunno how long wewould do it for.
So I'm very sweary tonight, butI'm feeling very sweary at the
moment.
Yeah, if creatives and artistswent on strike,'cause the, the
premise being that you are just,you disregarding and
(29:49):
disrespecting and demolishing,destroying creativity, which is
not just like.
Commodifiable rd, whatever.
It's the divine beauty ofcreativity.
The thing that makes us human.
Money also does make us human.
I'm listening to a veryfascinating book at the moment
called Money by this amazingIrish economist.
(30:10):
What's his, let me, hang on.
Let me find.
He's brilliant.
I really recommend it'cause I'm.
As you know, not, not a fan ofmoney, but I'm really interested
in it in a very different waynow to how I've been before
Yeah, money, A Story of Humanityby David McWilliams.
It's just fascinating.
(30:30):
I highly recommend listening toit.
It's a.
Bit like Sapiens.
Have you read Sapiens, which isanother brilliant book.
They're both just, um, sort ofreviews of human history from,
from different perspectives.
Yeah.
Sapiens was, it's a while agosince I read Sapiens, but that
was where I got the thing aboutwheat domesticating humans.
(30:50):
And that was very interesting.
And then, and he talked aboutmoney in that.
Being bowls of grain, but money.
David McWilliams is just goingthrough the history of money and
how it created civilization andhow it created democracy, and it
created freedom and movement ofsocial mobility and.
Lots of interesting things andhow he calls it a fifth element
that we created this new elementthat's to do with the
(31:13):
imagination and is to do withtrust, which is another thing
they said in Sapiens as well.
I'm find, I find it reallyinteresting.
I'm kind of, yeah, myrelationship to money is
completely changing and changedin that I own.
I feel like I'm owning now.
My power in being well, havingnothing to lose.
It's what meant, it's why I wasable to move here and just float
(31:35):
my way over here when thepandemic happened because I
don't have a mortgage.
I don't have children.
I don't own anything.
The only thing that you couldtake from me is my freedom, my
safety, my health, my lovedones, which I don't.
They, and they're the, that'sthe last frontier.
They're my, um, and they'reobviously the most precious
(31:56):
things you could lose, but itdoes.
Give me a sense of freedombecause I am not invested in the
game.
I have no investments in thisgame, so that's.
Very powerful.
That has a power that is usefuland therefore I'm I've come to
this place, this is why I'mfeeling disruptive and why I'm
(32:18):
feeling yeah, very tank girly atthe moment.
And rebellious is, I'm like fromthis advantage point of not
having to.
Protect or maintain anything todo with this game other than
security and state?
Well, safety, not security.
I mean, there is no security andwe're not safe either.
It's, it is all an illusion.
(32:39):
We are not safe, are we?
There's nothing safe about this.
Yeah, it's time to fucking smashthat shit now.
It's how I'm feeling.
I'm ready to set intentions forgoing forward.
'cause I don't know how or whatit is I want to do or how I'm
going to do it.
There's a sense of.
I mean, I like this idea oftrying to get artists to go on
strike.
That was what I was talkingabout.
(33:00):
I like the idea of that.
I'm not quite sure how to do it,but I'm, I'm opening up for it.
I'm seeing a few things.
The, it feels like the universeis slightly nudging me to try
and orchestrate that, but Idunno how to, but if anyone
wants to help me, I feel likethat needs to be a collectively
created thing and then.
We've got BoomTown coming up andthen I'm gonna do this
Pilgrimage for Peace.
(33:21):
And they're both opportunitiesfor something and I'm not sure
what, but I want to dosomething.
And so I'm open to suggestionsif anyone wants to get in touch.
But I'm also gonna pull tworuins for the pilgrimage.
So the beginning and endingroom, and.
I feel like that will alsoinfluence what happens with
(33:42):
BoomTown beforehand.
'cause it's almost like aprecursor.
'cause BoomTown happens inWinchester and we are gonna be
going to Dragon Hill to do someintention setting before we do
and BoomTown's on the spine ofAlbion Line.
So it's almost like doing athing on the spine of Albion
before we go do the GeorgeJordan, the dragon, the Michael
line.
Uh, so there's a connection and,and lamb magic.
And it was something I wassaying before.
(34:03):
I don't wanna play this stuffdown anymore.
Lamb magic is so powerful.
It's changed my life.
It's everything really, isn'tit?
And, um, you know, I can beWawa, not Wawa, like, there are
people who come on thepilgrimages with me who feel
like they can feel the exactshape of the lines.
Like Joan Chamar, I interviewedher on this podcast.
(34:23):
You know, she, she's an energyworker and she can feel the
shape and size of the lines.
Um, as can my friend Lee who Isaw at Glastonbury.
That was awesome to see Lee.
And then.
There are people like me andHelen who walked with me, who
it's more that we just, likesongs come to Helen while she's
walking, or it's thesynchronicities and the signs
from the universe, or basicallywe all have our own private
(34:47):
experience of it.
And that for me is what it is.
It's imagination.
So I write my books where I givevoice to the invisible aspects
and.
They're what I was imagining inmy inner world that was going on
in those places.
So the ghosts that I imagined,or what the lines were making me
feel, and the synchronicitiesand what I made them mean, and
(35:11):
so I'm giving that voice bymaking like a mythology of it
by.
By making these mythologicalbeings speak in my books, when
the books are very kind of like,oh, I got up, walked here, did
that, ate this, blah, blah.
And then at the same time it'slike, and Hawthorne looked down
on her and thought this andblah, blah, blah, or made this
happen.
So that's my way of working withit and it's imagination.
(35:32):
And imagination is our, in aworld and nature and the natural
world.
It really lends itself tosupporting this creative flow.
I mean, it is an act of creationand destruction.
That's what the natural worldis.
Whereas like writing a Bible andbuilding a cathedral or
beautiful acts of creation atthe time of doing them, but when
(35:52):
you are then killing people overthem, thousands of years later,
you have gone fucking wrong.
Okay?
Like fucking called a spade.
A spade.
You fucked up.
Destroy the fucking church, burnthe book and start again.
Like do something else.
Like when I create my alters, Ido it every two weeks and then I
get rid of them and I clean andstart again.
(36:12):
And I work with what's happeningin the moment and that's what
BoomTown is about this year.
The theme is the power of now.
And so I suppose I've been alittle bit uninspired by.
This year, unfortunately.
Um, but the power of now is thatit's like, don't fixate on
something you did a thousandyears ago.
Work with the power of now andmeet with what is, which is why
(36:33):
I'm always, I've had people say,can you not like, let us know
the dates of the moon ceremoniesor whatever.
Um, you know, I'm meant to writethe, I write the articles every
two weeks and I'm always quitelate getting them in.
It's not because I.
Dunno they're coming.
It's because I have to feel intothe energy of each thing.
So I reflect on the thing asit's coming towards me.
(36:53):
Like Capricorn reflecting onthat recently with the Capricorn
full mean I just, because it'sCapricorn observed what I'd been
feeling and thinking aboutambition and it's a bit like
chicken or egg.
It's like, is the energiesmaking me think more about
ambition or is the fact thatit's a Capricorn meme.
Meaning that I am noticing mythoughts on ambition above the
(37:13):
other thoughts that arehappening.
Who knows?
But either way, thought a lotabout ambition in the last week
and did just come to this verypowerful realization that I'm
not interested in the gameanymore.
I'm done with it.
If anything, I wanna kick itdown.
I want to kick this game to theground.
I'm, it's broken.
Done with it.
Done with it.
So anyway, gonna pull theserooms and see what the universe
(37:37):
is suggesting I do and createfor the forthcoming pilgrimages
and the inspiration forBoomTown.
If you enjoy this podcast, thenplease do consider supporting me
(37:59):
on Patreon, which ispatreon.com/joly Rose.
As I have been mentioningearlier in the podcast, I'm
looking to raise the funds to beable to do the pilgrimage in
September, October, and so anysupport you give me on Patreon
will be going towards that, andso be hugely appreciated.
Please do let us know if youlive along the lines, so.
(38:21):
I will be putting on Patreon, alist of the places and dates,
but I'll also put it on socialmedia, and if you're anywhere
along the route, get in touch.
And if you want us to come andperform for you or if you want
to host us and feed us, or ifyou want to meet up and walk
with us you can.
Only we, it's not, you can only,we.
Like people coming and walkingfor a few days is ideal.
(38:43):
That's great.
If you wanna come longer, youcan, but only at the beginning
of it and not at the end.
So the last two weeks when weare in East Anglia, we are not
gonna let anyone join us for along period of time because.
Our energy levels are low bythat point.
And what tends to happen inprevious pilgrimage experiences
is everyone piles in and triesto come and see us in the last
(39:03):
bit, and it just dissipates theenergy and the intention and the
magic of what we're doing.
And then all we are left with.
'cause that's the thing that'scarrying you through.
And by that point, you'rephysically broken, you've been
dismantled and destroyed, andyou are tired.
And if the energy of the magicof what you're doing dissipates,
then you are just a brokenperson.
It's like, and actually it's hadsome negative psychological
(39:26):
effects on people where that'snot the, um, held ending we've
needed or required.
So people can't join us for thelast two weeks, which will be
from about Royston Lutononwards, like basically the
whole of East Anglia.
People who we stay with.
If we're staying with you, youcan walk with us for a day or
(39:46):
two and join us in that kind ofway.
But anyone coming for a bitlonger and being kind of part of
the group you can do up untilthose last two weeks.
So if you want to do that, youare also welcome to get in touch
and that, I mean, know, we askpeople to be self-reliant and
responsible because there'sgonna be five or six of us that
are the core team and we'll knowthe play and we'll be the core
(40:08):
people.
Uh, we will weave you into doingthe play or weave you into
whatever you are up for doing ifyou come and join us.
But.
We are the priority when itcomes to offers of
accommodation.
So if there ends up being like12 of us and someone's saying,
you can come and stay in ourhouse, but obviously only five
or six people could go stay inthe house, then we will go stay
in the house and you guys willhave to fend for yourself.
(40:30):
And it might be that you are theseventh or eighth person and
there's not room for seven oreight people.
So you would have to be able togo and like.
While camp somewhere or go to acampsite or something like that.
But it tends to, we'veexperienced this many times now.
It just works itself out and onthe whole, especially if we're
down in the west country theearlier part of the pilgrimage,
(40:53):
we are gonna be mainly wildcamping'cause we're out in the
middle of nowhere, you know, soit's, it's easier to world camp.
But yeah, it's a real commitmentto come and do and it's an
amazing thing to do and we findthat it just figures itself out.
You know, the universe is fullyrunning it.
We are in kairos time, so Kronostime is chronological events
(41:14):
running in a normal order oftime, which we're all aware of.
Kairos time is perfect timing,and that's when things just
figure themselves out.
And magic happens, and magicoccurs, and that's why.
Nature just.
When we are in this kairos timeand we are working in our inner
worlds and imaginative worlds,and we're in reverence and we're
in ceremony and we areinhabiting the archetype of
(41:36):
pilgrim, nature just getsinvolved and makes whatever
happens, happens.
So weather or you know, rainbowsappearing.
Magical points or, but alsothings like the weather just
control what happens, you know?
So we might be really tired andwe've done laser camping, but
we're actually knackered, andthen weather turns bad, and then
(41:57):
we are forced to stay or likeask people for help.
And because the weather's bad,they're more willing to help us.
And suddenly we're staying inchurches and we're staying in
halls and, and we've got that.
Bit of extra comfort that atthat point in the walk we need.
So it just, it just alwaysfigures out and so if people
join us or anything happens inthat sense, it will all be fine.
You know, it just, it just isfine.
(42:17):
But also, yeah, if you want tosupport us, what, I dunno, which
charity I'm gonna be.
I think I'll put a crowdfunderup, um, about it.
I'll see, I'll see if I'm ableto figure out doing it without
but we'll see.
But I will be doing some charityfundraising at some point and I
will let you know when I do thatwho I'm going to be sending the
funds to.
But again, if you have any ideasfor.
(42:40):
Smaller charities that I couldsupport or ways of getting money
to places that really need it atthe moment, then let me know.
And I would be very keen to hearabout that.
And yeah, gonna be at BoomTownopening it.
We will be running the venuethere, LA Luna Coven.
It's a secret venue, but you canfind out where we are.
So to do that and come and seeus and it would be lovely to
(43:01):
hold a space for you and for youto experience whatever it is
that we're offering, uh, in thatspace and.
Yeah.
And then, um, my book's gonna becoming out towards the end of
the year, which I'm reallyexcited about.
I will be doing readings from itand talking about it on the
pilgrimage and be pushing forpre-sales, which will be done as
(43:23):
a crowdfunder.
That's why I'm like, not totallysure if I wanna do a crowdfunder
for this, because.
I need to do a crowdfundingthing for the, like a
Kickstarter for the book to justget it out there and get
pre-sales because pre-sales areeverything with books.
You need to, the more pre-salesthey are, the more likely
bookshops are gonna stock thebook.
So we need to like push it asmuch as we can.
So yeah, we'll watch this space,but I'm hoping to get the book
(43:46):
out by the end of the year soyou can get it for Christmas and
that would be great if we can dothat.
So watch this space.
But yeah, support and Patreonwould just.
Just helps with all these thingsto happen.
So if any of this is inspiringyou or exciting you, and you
want for, you want to see thesethings happen.
I somehow managed to make thesethings occur from my moth
(44:09):
beaten, eaten pockets.
But obviously anything thatanyone can do to help would be
great.
Uh, so it is three pound a monthfor the bottom tier, and that's
just to say thank you.
And then it's nine pound a monthfor just a bit extra.
And you get to see the videos ofthe podcast.
And some of the videos are, it'sreally nice to see them like the
one of Ros last week and ofGlastonbury et cetera.
(44:30):
Whatever you're able to do, it'shugely appreciated.
Thank you patrons.
I love you and yeah, it's areally lovely way to say thank
you and give support and now onwith the show.
(44:54):
Okay, so this is the ruin forthe beginning of the pilgrimage.
Yeah, clear direction.
So it's Tia, the Arrow.
This is about being clear anddirect with what my intention is
and like, we're clearly goingfrom west to east, so we've got
a clear direction, but a clearintention as well.
(45:18):
That feels very, it feels very,I'm feeling like that as you can
hear from my voice.
Ooh.
And then it's Perha, the LotsCup, which I pull a lot on the,
uh, podcast room pullings.
This one is the one that meantpregnancy to me in the IVF
(45:39):
years.
And it feels like it's thepotential.
So I suppose the more clear anddirect, I mean that is how it
all feels generally for me, isthat we need to.
Treat this like it's a war, and,and I don't want it to be
violent.
I'm not looking for any kind ofviolence at all.
(46:00):
Not interested in that at all.
But the, you know, for example,kneecap and Bob villain at
Glastonbury, like Protestingsbeing made illegal and art is
the last frontier or bastion forbeing able to protest.
(46:20):
So that 40,000.
Strong crowd who were there withall their Palestinian flags,
shouting free Palestine at thatconcert, and the other 20 odd
thousand people who would try toget in and couldn't get into the
field because it was too full.
That was a way of being able toprotest in a world or like
(46:43):
country that no longer lets youand.
That's available to us still atthe moment.
It could be that art getscompletely shut down as well.
And that I think is on thehorizon.
You know, in, if you think aboutChina and Nazi Germany, there
was the propaganda creativityand art that you were allowed.
But any free thinking, free artwas, you know, freedom of speech
(47:06):
was completely removed.
And that's the next step inthis, uh, authoritarian state
government that we are.
Uh.
Living under.
So that would be the next stepis silencing creatives.
But it hasn't happened yet.
And so the clear speakingdirectness of this ruin of like,
(47:29):
we are doing the pilgrimage, ithas a very clear intention and
we are going to go out there andwe're gonna talk and we're gonna
listen and we're gonna disruptand we're going to question and
we're gonna whatever and we'regonna be open to whatever
happens and experience what'sgoing on out there and share.
And you know, the overall thingis that people are bloody lovely
and they're.
Scared and they're being theirnarrative, their minds are being
(47:51):
twisted with a narrative that'sbeing fed to them through the
powers that they trust.
This is the thing, and again,like I said, like with the
eaves, I don't think it's all, Idon't think most of it's done
with, um, spite, you know, it'snot, some people some things
there are, like some parties,it's definitely spite and
(48:12):
nastiness and.
Just, uh, hatred, where is thedriving force?
But most people, that's notreally what is there.
They're kind and generous andsupportive and beautiful.
People are beautiful and it'sonly through disconnection and
lack of exposure that peopleforget that all humans are
(48:35):
awesome and all humans are thesame.
So that's that clarity anddirection and Yeah, the
potential of Lots Cup.
It's the Schrodinger's reality.
Like one of my previouspodcasts, we don't know what's
gonna come out of this and.
Until we lift our hands off thecup and look at the dice, we are
not gonna know.
But for me, I'm like, it'screate or be created.
(48:57):
Create the narrative.
Create the narrative of whatyou're doing.
Go out there and do it.
And trust the universe.
Trust the lines.
Trust the nature.
Trust the journey, and just.
Be the living light andembodiment of beauty and love
and kindness, and listen, youknow, we're not going out there
to preach or make things happen.
(49:18):
We're going out there to hearand then share what we are
hearing.
So listening is key.
That was the thing from thefirst pilgrimage we did to Cop
26 listening to the land.
Listening is the key thing.
We are not shouting, we arelistening.
So yeah, let's see what happens.
(49:39):
And um.
I am very excited to lift myhands off that cup and see what
is inside, what the dice aresaying, and I'm living into the
reality that it's Maya, which is21.
I love the gambling game, Mayaand uh, on Facebook recently,
my.
(49:59):
One of my favorite images, thisis what I said in my, uh,
article that I did aboutambition off the Capricorn Full
Moon for the Guernsey Press, wasI was saying, I'm not interested
in the game anymore.
And, you know, am I, do I wannabe one of the people who pay 32
grand to stay in a t atGlastonbury?
Or do I wanna be one of thepeople that they're paying 32
grand to come and see?
And if that's the case, thenI've already achieved my
(50:20):
ambition.
'cause I am one of the peoplethat they're paying to come and
see.
And, then like a day later, allmy Facebook memories came up.
The best image I think there isof me, which is meaning chains
in shackles being.
Taken off a tutoring enactmentbecause I've been called a, a
prostitute doxy.
And that was because I was inthe gambling, well, I was in the
ale house gambling with the menand we were playing Maya, which
(50:43):
is what this Lots Cuprepresents.
So there's a, a dice game whereyou, uh, have two dye in a cup
and you shake it.
Then you look inside and you seewhat the numbers are, and you
either tell the truth as to whatthe numbers are or you lie and
they, you want to keep goinghigher.
And so you go up through thenumbers.
You'd always put the highest onefirst.
(51:03):
So it would be like four andthree rather than three and
four.
You always put the highestnumber first, so four and three,
and then to top that you'd belike five and two.
And then it would be up to fiveand four, and then you'd be
getting into the.
Double number.
Oh no, five and six would be thehighest.
And then you'd get into thedouble numbers, which would be
double one, double two, doublethree, double four, double five,
(51:23):
double six.
But the highest number, which inreality is the lowest number, is
May, which is two and one.
And the game's called Maya.
So it's a bit like pontoon istwo and one, I think it's 21.
And I'm really good at it.
I love that game.
I'm really good at it.
I really enjoy playing it.
And so that's the thing.
It's, you know, play the game,play it for Maya.
(51:46):
If you haven't got Maya, justlie and say you have, so let's,
let's aim for Maya and let's seewhat happens when we make our
way across the land.
I can't wait.
I'm so excited.
(52:09):
So that brings me onto a chaoscrusade.
I haven't thought about thisalready, but I am, I think I've
already said to do anintentional walk.
That's like a pilgrimage I havedone.
Yep.
I have done, okay.
It just came to my mind.
I'm just going to say it.
Uh, to go and do a gamblingsession.
I don't want, I don't, I, so I,I would say like, have a game of
(52:32):
like poker or Maya.
Friends.
So learn about the rules and puton a poker night or put on a
maya night and just play thegame of risk and telling lies
and just the reality that youare.
'cause they are examples of youtwisting reality.
I used to play poker with, Ilived in a house full of boys
(52:55):
and they were great and I lovedthem.
They're all my best mates.
And they started doing Poconos.
I noticed it was age 26 up untilage 26.
My friends had always been mixedgender.
We'd always been all togetherand I'd always gotten better
with boys than girls.
And yeah, we all mixed together.
And then something happened atage 26 where.
(53:16):
Boys became men and they reallyshifted into being men and
suddenly they went from peoplethat I had no fear, or, you
know, it's not that I startedfearing them, but they did
become patriarchs in a way.
They kind of slipped into a, adifferent sort of mode.
I don't really, I can't reallyput my, but it was also like
(53:36):
anyone post 26 who got engagedand got married.
It no longer seemed like a madthing.
It was.
Reasonable that they were doingit'cause they knew their minds
by then and stuff.
But anyway, uh, that was the ageI was when I lived with these
guys and suddenly they startedhaving boys nights and doing
boys things and having pokernights.
And because I lived in thehouse, I was like absolutely no
(53:57):
way.
I'm also going to play poker inmy house.
And they'd all smoke cigars anddrink whiskey and we'd do, and
it was great fun.
I really loved it and I normallylost'cause they were very good
at.
The mathematics of it and theprobability and the numbers, and
that's not my bag.
But what I was good at was thetheatrics.
(54:18):
And twice the two times I wonthey all, everyone around the
table went all in against me at,you know, so one by one, all
went all in against me and Itook them out and I won.
And it was extremely satisfying.
And it was just because I hadthe.
The luck of the cards.
So when the luck's not on myside, I don't have the backup of
(54:40):
the mathematics to still dowell, but when the the cards are
on my side, then I'm able totrick them into thinking that
I'm haven't got good cards andthen go all in against me.
I'm able to bluff, which isgreat fun.
But the more you play it witheach other and get to know each
other's.
Playing style.
Like you learn each other'stricks and you learn each
(55:02):
other's, you learn each other'sstyle and what you know, what
each other's parameters are.
And it's, it's reallyinteresting.
I very much enjoy doing it.
So I would recommend getting alittle poker night together with
friends.
All Maya Maya's the same.
It's brilliant.
I love Maya.
It's exactly the same.
It's a bit easier than poker islike less to remember rules
wise.
(55:22):
I recommend doing it becausethat's what, that's the mode of
life living.
We need to get into where we, wegamble, where we take risks and
play with the unknown and juststop being so.
Invested in the game because thegame is based on gambling.
You know, that's what money is,the whole thing.
(55:43):
The whole of our economic systemis based on the stock exchange,
which is just a gamble.
It's people gambling with oursavings, with our pensions,
with, our economy.
So the people at the top who areshaping this reality are doing
it through a gambling session.
So get in there and gambleyourself and not in a, don't go
(56:04):
and get a gambling addiction'cause it is a losing game that
world.
So don't do that.
But I think the, the courage andguts and mental agility of, uh.
Having a, so we would just allput a fiver in and the winner
would take the pot, but thesecond place person would get
(56:24):
their fiver back.
So that's how we played it.
So you would sometimes come awaywith like quite a nice chunk of
money, but you're not losing toomuch.
And that's a healthy way ofdoing it.
Don't start going, spendingloads of money on it.
But yeah I would say, let's saythat for a chaos crusade, just
have a, have a poker night justto experience taking a risk and
doing something a bit.
Edgy.
(56:45):
Cool.
I didn't expect that to be mychaos crusade, but that's what's
happened.
So thank you and, uh, I'mlooking forward to sharing the
interview I have for next week.
Again, I'm just letting thesethings unfold.
Like there are people that Iwant to speak to from
Glastonbury and things that Iwant to do, and blah, blah, but.
Just going with the flow.
There are other people coming myway and things happening that
(57:07):
are causing other things tohappen.
Instead, I trust the process andI trust the universe and we are
just gonna go with the flow andhappy days.
Everything is hunky dory.
All is gonna be okay.
It's all just a bunch of stuffthat's happening.
And with that, I shall see theanon.
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