September 30, 2025 • 44 mins
🚨 LIFE-CHANGING REVELATION: After 61 years of studying human behavior and voice, Arthur Joseph reveals the two greatest fears that are secretly destroying your potential - and most people don't even know they have them.
In this explosive conversation, you'll discover:
- The two fears that control 99% of human behavior.
- Why claiming your greatness terrifies you more than failure.
- How your voice reveals your deepest limitations (and how to break them).
- The shocking truth about why you seek approval instead of authenticity.
- How 33 Pro Football Hall of Fame athletes transformed through voice work.
This isn't just about speaking better. This is about claiming who you really are.
🎯 READY TO CLAIM YOUR GREATNESS?
Join the Dream, Build, Write It Challenge - discover your authentic voice and story: https://www.dreambuildwriteit.com
🗣️ TRANSFORM YOUR VOICE, TRANSFORM YOUR LIFE:
Visit Arthur Joseph's Vocal Awareness: https://vocalawareness.com
Get the "New Form of Mastery Journal" and 168-Hour Matrix.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Show a minute.
I'm interrupting.
Even at the beginning of yourshow, I'm so arrogant and rude, apparently.
Welcome to the show.
Tired of the hype about livingthe dream?
It's time for truth.
This is the place for tools,power and real talk so you can create
the life you dream and deserveyour ultimate life.
(00:28):
Subscribe, share, create.
You have infinite power.
Power.
Hello there and welcome toyour ultimate life, the podcast Committed,
dedicated to helping youcreate a life of purpose, prosperity
and joy by serving with gifts,talents and life experience.
Today I have a special guest,Arthur Joseph, who's going to teach
(00:50):
us all kinds of cool stuffabout energy, about voice, and more
that I don't even know.
Welcome to the show, Arthur.
Well, thank you for having me.
Kellen.
How are you, sir?
I'm just outrageous.
I'm grateful to be here withyou and glad to be a little vehicle
to help you spread yourmessage in the world.
And I for you as well.
(01:10):
I know your goal.
Mine is being to world, to voice.
Yours is to reach 300 million people.
So we're both on the samepath, man.
We are exactly on the same path.
And I love being here with you.
So I'm going to.
I'm interrupting.
Even at the beginning of yourshow, I. I'm so arrogant and rude.
Apparently I just do this.
But I haven't missed a day ofmeditation or prayer in 58 years.
(01:34):
And I share that becausedecades ago when I was inducted into
Transcendental meditation, Iwent to a lecture by the Maharishi
Mahesh Yogi who created tm.
And I heard him say that hewanted to have a billion meditators
on the planet to shift thevibration of the planet.
(01:57):
You and I have similar goals.
We want to help shift theenergy, the vibration of the planet
through the integrity of thework we've been blessed to do.
Mine through voice and byvibration and energy through breath,
and yours in your form, byinviting people on and all the other
amazing things you do to helppeople change their lives.
So I just wanted to share thatwe're on a cool path.
(02:19):
I love that.
And that's perfect, because myfirst question that I want you to
continue to expound on, andyou've already partly answered it,
is I'm always curious becauseso many people live unintentionally
and you don't.
And so when you think aboutthis, how does Arthur and I don't
want you to be modest.
I want you to just describehow does Arthur intentionally add
(02:43):
good to the world.
By using the gifts that Godhas Given me, there is no option.
One of the things I say toclients all the time, this is all
about you.
But it has absolutely nothingto do with you.
It's a calling.
I have a principle in vocalawareness called surrender, serve
(03:08):
and soar.
Surrender literally means toyield or to give back.
Surrender.
It's a French word.
Serve and then soar.
S O A R.
I love that.
And so I tell my clients, myresponsibility is not to you, it's
to God.
On the work, the capital W work.
(03:28):
Sometimes you may get scabsnear your elbows as I lovingly drag
you kicking and screaming, butit's about the work.
And when we know we've beencalled, you've been called, we don't
get to hang up and say, sorry,wrong number.
It's not about us.
It's not surrender, serve and soar.
It's interesting, you know,the threes.
(03:50):
My three words are love,create, serve.
And so those are the pillarsof my foundation.
And yours are surrender, serveand soar.
And service always gets inthere somewhere.
So that's spectacular.
How did you come to a placewhere you knew either a little or
a lot, or gradually more?
Describe a little bit how yougot to knowing this was your calling.
(04:16):
When I was four, we all haveour origin stories and often they
can be quite harrowing.
Mine was rather harrowing andI never had a father.
And at four, my amazingmother, who's one of my two heroes
in life, my bride being theother, dragged me into an accordion
(04:38):
studio.
Her hand was literally on myright wrist dragging me over the
threshold.
And I was totally resistant.
Sat me in an accordion, put athree quarter size accordion in my
lap, and I.
Sure, I've dramatized it overthe years, but I felt morphed.
I knew at 4 that music was my life.
Fortunately, I didn't become acockroach like Greg or Samsa, but
(04:58):
I became music.
So one thing leads to another.
I auditioned for choir in thesixth grade.
Teacher wouldn't let me be inthe choir because I couldn't sing
America the Beautiful on pitch.
Seventh grade, meet Mrs.
Grill.
And she had her high tones andshe let me in her choir.
So I knew at seven thatsinging was my musical path.
(05:22):
At 15, one of God's gifts tome, whom I did, in part, dedicated
my first book.
Two years ago, Mrs. JuliaKinsa was my first singing teacher
and she was in her mid-70s andI was 15.
And in my lessons, Kel and Idid this.
I'm not exaggerating.
Stop.
No, I don't want to do it like that.
I hear it this way, manicallyclamping my hands to my ears like
(05:46):
some bizarre reason.
And she allowed this crazybehavior from a 15 year old kid because
she intuited something Ididn't yet know.
I hear vocal sound differentlythan any other human being I've ever
met on the planet.
When I hear a voice, I hear you.
When you see me perhapsperiodically doing this during our
time without even askingpermission, you'll notice that it
(06:08):
calms you and you'll noticethat your breathing becomes a little
slower, a little deeper.
And because I'm speaking withyour unconscious.
And so her lack of dogmahelped me create new form.
Vocal awareness is trademarked.
It's copyrighted globally.
Various principles fromempowerment through voice to visceral
language to sing your heart out.
(06:32):
I get to own.
And I share that because.
And I love your thoughtful inquiry.
I got more holes in me thanSwiss cheese.
Don't we all?
For the faint of heart, manand God gave me this work to literally
(06:57):
help me save my own life.
And so I knew very early thework came to me.
I started teaching.
This is my 61st year of teaching.
And it came to me.
I began teaching at 18, and itwasn't what it was is today, of course.
But by my early 20s, my sevenrituals, everything was sort of canonized.
(07:19):
It was there, it just came.
And it took me years tounderstand it.
But then I took a master's in voice.
I'm a classical singer.
Before I do all this other stuff.
And an important story foryour listeners.
(07:42):
My bride is my life.
We've been together for 57 years.
Stop.
Stop right there.
Awesome accomplishment.
Hats off.
Amazing.
So many, so few make a choiceto create depth and power and longevity
and meaning and partnership ina relationship.
And so I have to honor thatjust with all my heart, because you
(08:06):
have chosen to make thatsacrifice, that work, that partnership
and create that beauty, thatmasterpiece together.
Go on.
Thank you for your kindnessand your acknowledgment, which then
interrupts my narrativebecause I have to share something
else.
You just used one of the mostimportant words in vocal awareness.
Choice.
(08:27):
I teach in this work, Kellen,that every single thing in life revolves
only around two things.
To choose to do something orto choose not to never matters are
seemingly daunting.
How scary.
All that matters is, does thatchoice empower me or disempower me?
(08:48):
And since I teach empowermentthrough voice, I want us to make
empowering choices because wereach adulthood and we think this
is us, but it ain't not even.
And so I'm always teaching.
We are not our behaviors.
You mean I have a choice inhow I behave?
(09:08):
Well, let me tell you.
And so this work is abouthelping us discover whom we're truly
capable of being.
Back decades ago, when I beganteaching Tony Robbins, I would say
to.
To Tony, you cannot empower people.
That's arrogant.
We can only help them empower themselves.
(09:30):
That's your life path.
That's my life path.
And so the story that I wasabout to share.
I had feet of clay.
Until my mid-20s, I'd beenteaching vocal awareness part time
and performing.
I had a nightclub act, etc,etc, and auditioned for various opera
(09:53):
companies and things like that.
I'd actually wanted to be acantor at one point, but my wife
isn't Jewish and so theywouldn't admit me to the university
because I said I'd never finda synagogue.
One thing if my bride hadconverted, but she didn't.
So we raised this very Heinz57 family spiritually, ethnically,
(10:14):
religiously, every which way.
And.
And so I got fired from mylast straight job.
And it was as though God weresaying to me, well, if you don't
have enough courage to dothis, I'll get your butt kicked out
and make you have to do it.
But I still had feet of playso severely.
We were on food stamps, we hada small house and one child at the
(10:39):
time.
And I sat in the living roomone night, my bride and our youngest
and our eldest son were in theback bedroom.
And as we were sitting in thefront of the fireplace, saying to
me that my bride was onlyintellectually supportive of me doing
vocal awareness full time, notemotionally supportive.
(11:01):
I knew as I was saying this Iwas scapegoating her because she
was there for me a thousand percent.
I wasn't there for myself.
The next day I put an ad inthe Cal State Northridge newspaper,
the Matador, because it was free.
It was the only advertisingI've ever done.
And I got a student offeringone free introductory lesson who
(11:21):
became like family forprobably 20 years.
And I impacted her life in asubstantial way and she ours.
And I have seven rituals invocal Awareness.
The sixth one, Kellen, is pay attention.
Deeper listening.
I've always had what I referto to further address the question
(11:44):
you asked me initially, what Icall a knowing.
I hear it, I know it.
But because I don't want thiswork to be the wrenching of some
neurotic voice teacher, Ireally drill down.
I've studied this workscientifically, philosophically,
Spiritually, psychologically.
I've studied it in voicescience with some of the greatest
(12:04):
where science is literally onthe planet.
And so it's grounded in craft.
It's not just grounded in myneuroses and my sense of omniscience.
And so this knowing helped mecarve out this new way.
(12:29):
Because when you give me yourvoice, Kellen, you give me you.
I say to I teach a greatnumber of elite athletes.
I've got 33 students on thePro Football hall of Fame alone,
and gold medalists and Olympicmen basketball and blah, blah, blah.
And I say to an athlete in thefirst lesson that you bring the gift
(12:52):
to your sport or the talent.
They don't all have a gift,but they all have a talent.
But someone literally teachesyou every single thing you do, everything
from how to dribble, to throw,to the most sophisticated.
Without that training, theirtalent is wasted.
But Kellen, who teaches us tobe us, as I said a moment ago, we
(13:17):
reach adulthood and we thinkthis is it.
Because there isn't a matrixfor helping us be us.
So in my sixth ritual, payattention Deeper listening.
It teaches how to listendeeply to this conversation between
source and self, capital Sself that only we are privy to.
(13:39):
I have this wonderful newprogram I created in January, begin
my 61st year of teachingcalled A New form of Mastery Journal.
My image of it was it's anonline program right now, but I'm
also going to be creating ahard copy.
But it works very nicely online.
It's a journal.
And my premise for it was whatJulia Cameron did decades ago with
(14:03):
the Artist way.
Everything takes place in thebook, everything takes place in this
journal.
So it becomes like youraccountability partner.
You create your vision, yourgoals with timeline.
We all have goals, but notwith a timeline.
My favorite two questions aredo what by when?
(14:24):
And of course, you have tohave details and the when has to
be specific.
Otherwise, just a weird.
Anyway, keep going.
And.
And then there's.
And this is really important.
I'm sure you do something similar.
And it's also really lame.
There's 365 pages for each dayof the year with a quote, one of
(14:47):
my quotes, a poem, somethingto inspire on each page.
It's called 168 Hour Journal Matrix.
168 hours is 7 times 24.
How do I spend a week?
And so we quantify it.
Everything goes in there, Everything.
(15:10):
Because the most importantcommodity in life, as you know, is
time.
Of course, you never get it again.
So it's an exercise in how dowe structure time?
And because I discovered yearsago that, you know, we go through
school, we're startingkindergarten or preschool or whatever,
high school, college maybe.
(15:31):
And through all these years,we have a singular identity.
We're a student, doesn'tmatter, have a job or whatever.
We're still a student.
And we have somebody to tellus what to do for 15, 18 years or
more.
A parent, a teacher, acounselor, a professor.
Then all of a sudden wegraduate and we get kicked out of
(15:51):
the womb.
And now there's nobody to tellus what to do.
So the single greatestdeterrent to living life on our terms
is there's no one to tell uswhat to do.
So we have to learn to tell ourselves.
If we have a boss and it'sfive o' clock and it's time to go
home, we start to get out fromour desk, can't go in an emergency,
(16:13):
sit back down, they'll pay you overtime.
But we got to get this done.
We have no choice.
But if we are building our owndreams, it's five o'.
Clock, I'm fried.
I'll do this tomorrow.
We can't, because we're inservice to the work, in this work
and in your work, I'm sure.
(16:34):
So then, when I spoke a momentago about the concept of a brand,
look at that beautiful spaceyou've created behind you.
And I'm sure you have anelegant website, and people spend
thousands, tens of thousandsor more on their websites and color
(16:56):
palette and font and brand andblah, blah, blah.
But then they get up in frontof it and they sound like, you know,
Pee Wee Herman or somethinglike that.
And not that there wasanything wrong.
He had a bountiful career.
But the point is, they do notreflect the brand that I'm looking
at on my iPad or my laptop.
And so I introduce people tothe reality that a voice is a brand
(17:19):
and an opinion created instantaneously.
You don't get a second chanceto make that first impression.
So if I say, kellen, you're areally nice human being, thank you
so much for allowing me to beon your show today.
Kellen, you're a really nicehuman being.
Thank you for allowing me tobe on your show today.
Now, we know the first one isbogus, but we don't necessarily,
(17:42):
in that instant know why mypitch was higher.
I spoke too fast, which mademe disingenuous.
But didn't occur to you in the moment.
All that you got was, I was inauthentic.
The second one, it didn'toccur to you that I slowed down,
I breathed, my pitch was lower.
All you got was, I was more genuine.
And so perception beingreality, which one do I want to leave
(18:05):
my audience with?
Then there is.
You want to leave youraudience with the truth.
And if the truth is you careabout them.
Yeah, go ahead, tell me thatsame sentence.
See the last word, truth,underlined, and see a period.
What you want to leave themwith is the truth.
(18:26):
Now, do you feel and hear that difference?
Of course, yes.
And that's how I would love toknow you.
Because you're so grounded inwhat you do.
You say it organically.
But there's an important piecein vocal awareness called visceral
language, which I justintroduced in that one moment.
I'm a singer, I look at musicand tells me everything to do.
(18:47):
How fast, how slow, how loud,how soft, whatever.
But we just got words, man.
They don't tell us, Jack.
They're just words.
So visceral language enablesus to convey the emotion of those
words.
So I just had you underlinethe word truth, circle the period
or the full stop at the end,and now it sounds like it meant something
(19:09):
rather than just hearing a phrase.
And that was really beautifulthe way you just did that.
Thank you.
I have a question I want toback up.
Don't forget where you are.
Put a comma there.
But said something a bit ago.
Or don't.
It'll come back around.
You said these things came toyou, and I think it was seven.
Yeah.
May I interrupt again?
(19:31):
Yes.
You remember where you are?
Yes.
Keep.
Start over, please.
But maintain eye contact.
By the way, to your audience,I'm not just being my normal, rude,
arrogant self, but Kellen gaveme permission for me to play inside.
I did.
So the question I had for youis, earlier, you talked about seven
habits coming to you.
(19:52):
Now, let me interrupt.
Do you hear your pitches different?
Of course, yes.
Because when we make eyecontact, it changes the sound of
a voice.
And because you're such anintegral man, and because you have
this rather beautifulinstrument, I wanted to bring this
to your attention.
And because you're also sopassionate and want to help, you're
(20:13):
going a mile a minute.
And so I want to just capturethat for a second so the audience
could experience.
My God, listen to the power ofthis man.
We can gather our thoughtsanywhere we want, but I don't want
us talking up there.
We do it because that's our behavior.
But earlier I said we're notour behavior.
That's just what we do.
And so here I just gave you alittle trick.
(20:34):
So please, I won't interruptagain, sir.
Thank you.
No, it's okay.
Thank you.
Because one of the things Ilove to do is I love to have the
guest, you in this case, share the.
Not talk about, but share thetruth of the thing that they are.
And that's what you're doing.
So I did give you permission,and I appreciate that.
(20:55):
So let's go to the sevenhabits rituals.
I did Stephen Covey, he hadthe seven habits.
Yeah, yeah, I want you to talkabout that.
Coming to.
Because every person hasgifts, talents that we were all given.
We have a mission, we have a purpose.
Many never find it or claim it.
(21:15):
And when you had those talkabout this seven rituals that came
to you, how did that feel?
How did you recognize them?
That's a lovely thought.
Talk about that a bit over the decades.
I remember once I was workingwith one of my corporate clients
in his Office, a Fortune 100 company.
(21:38):
And this was back in the daysof these huge computers sitting behind
him.
And here was this desk and Isitting over here in a chair by the
window, and a thought wascoming and I interrupted everything
we were doing.
I said, would you please turnaround and write this and type this
in your computer?
Because I knew somethingimportant was coming and if I didn't
get it down, I would lose itmany times in earlier decades.
(22:00):
Student is recording our lesson.
Something is emerging.
I say, would you please, whenyou record your lesson and listen
back, would you please writethis down for me again?
These moments need to be captured.
It's part of the.
Frankly, it's part of the giftof the deeper listening.
I end all my seminars with this.
(22:21):
I've never done this literallyin a podcast before, but it seems
appropriate to do so here.
I'm in my studio in Encino,California, today, and on my studio
wall near one of my pianos isa cover of an insight from an article
I was reading in questmagazine in 1980.
(22:44):
It's on my wall because thisthought emerged about 10 o' clock
one night when I was readingthe magazine.
And it wouldn't go away untilit made me get up and write it down.
And the only paper was themagazine, which was framed on my
studio wall today.
It said, voice is the onlyartistic experience which is both
finite and infinite at thesame time.
It is fallible and fragile,gone in an instant, unseen, only
(23:07):
felt, remember from the past,even a long moment ago, anticipated,
sensing its future even as thepresent is just occurring.
It's temporal, visceral, organic.
Such a complex simple andbeguiling transcendent state.
That's what emerged.
About 10 o' clock 1 night Ibegan reflecting on this thought
(23:31):
and it took me two or threeyears to get to the nub of this.
One of the opportunities.
I was at a voice institutewith some of the greatest scientists
in the world and I was alittle nervous to share this with
them because it's a little out there.
But he confirmed it from ascientific perspective too.
(23:51):
Especially when I said, youcan substitute other words for the
word voice.
Life is the only artisticexperience which is both finite and
infinite at the same time.
Or love.
It is fallible and fragile,gone in an instant, only felt.
And I came to understand theparadigm of my work which integrate
(24:13):
life and love through thepower of our voice so that we can
all live as sovereignly, asconsciously aware as possible.
So there are these moments inmy life when I.
This knowing just made me listen.
The sixth ritual.
Pay attention.
Deeper listening.
(24:33):
People talk about awareness.
People talk about, speak about consciousness.
I don't.
I speak about conscious awareness.
For me it's a 360 intra and interpersonally.
I am always tuned in and it can't.
Years ago I have a picture onmy wall of the great artist Fred
(24:54):
Astaire, whom I had theprivilege of meeting when he was
in his 80s.
I was up at his house teachinghis wife.
And to see this octogenarianshuffle and bedroom slippers was
so sensual.
And the metaphor was for methat Fredister wasn't somebody, a
dancer when he danced.
His body was an instrument.
Walking in the room, he was a dancer.
(25:16):
You and I are on a life pathof service, integrity, integration,
have the same root source.
They meet wholeness.
We're human beings too, so wescrew up all the time as well.
At least in my case.
Of course.
Of course, of course.
But because of the integritywe have to serve and get back on
(25:40):
our path.
Otherwise we're disingenuous.
And in this world there's somany coaches and we're so hungry
and thirsty and needy.
We may be dying of thirst inthe Gobi Desert, but it's only a
mirage.
But we're going to try todrink from it anyway because everybody
can put a shingle on their door.
But what are thequalifications for doing so?
(26:04):
Meeting somebody who has those standards.
I have these standards andthese qualifications.
So you see in that momentright there, where'd Arthur go?
Out for ham and cheese?
Where is he?
(26:24):
Why is he taking so long?
But I'm teaching a breath.
Space has value.
A song Without a rest is notthe same piece of music.
Space gives me thinking time,but everybody else feels thinking
time with ums and us and youknows and I means and I likes and
all this wasted stuff.
I breathe instead.
(26:46):
You know, my experience ofthat space was interesting because
as you had that space, Ididn't experience anything except
integration and connection.
I experienced an energetic,swirling, coming to coalesce at a
(27:09):
thought.
That was my visceralexperience of that space.
What a nice thing.
Nobody's ever said that.
That's really intuitive.
I need to share an importantthought about this work.
I teach mastery.
One of my themes is vocalawareness, Communication, mastery.
(27:30):
Another one of the trademarkedelements, mastery.
In every other discipline,whether it be the martial arts performance,
sport, there is an off switch.
One is literally only inmastery in their skill set.
Then they leave that skill setand they just get to hang out and
(27:51):
be normal.
In vocal awareness, there isno off switch.
We live in this state.
If I, for example, asked youto sit up straight, please, Kellen,
sit at attention and you notice.
(28:12):
You hold your breath.
Relax.
That's what we all do when wepresent ourselves because we're being
judged subliminally, we'reseeking approval.
Now, Kellen, if we take thisgolden thread from 3 inches below
our navel, take it in yourright or left hand, please, and we're
going to slowly pull thisgolden thread right up through the
(28:34):
top of my crown chakra,embodying myself as an amazing man
of stature.
Stop.
The first thing your body hasalready done is inhale.
You noticed it.
Of course you did.
Do it again.
But when you sat andpresented, you held your breath.
When you claim your stature,the body's impulse is to inhale deeper,
(28:58):
Taller, taller.
Pulling this golden threadright up to the middle of your crown
chakra, straight up.
And we're pulling from ourobliques, not from our neck and shoulders.
Taller.
Fully extend your elbow.
Chin up an inch.
Neck and shoulders loose.
(29:18):
Feeling connection to source.
The first of our seven ritualsis to say thank you.
Arm down.
And now keep feeling that tether.
Keep feeling it.
And notice how your chest ismore open, your core is more engaged.
Because everything in vocalawareness is physiologically connected.
(29:39):
Or I'm blowing smoke.
I asked you to put yourself instature, in the body.
Inhaled.
Chest opens, core engages.
Your space is internally andexternally quieter.
And that's the first elementof what I call a mastery moment.
Every artist or athlete that Iknow has a ritual before they compete
or perform, and it always hasa spiritual element.
(30:04):
So here you already feelStatus changed.
This is connected to a reallyimportant process in vocal awareness.
Every one of these greatathletes and artists, they're hubristic
in their skill set.
They're not hoping their coachor their teammates approve.
(30:25):
It's ludicrous.
That artist on the stage, ofcourse, wants to be loved and stroked.
That's the ego mind.
But the moment my mind crossesthe footlights and I'm screwed, I
can't do that.
I'm not serving my art.
I'm stuck out there.
So they are totally hubristic.
Without hubris, one cannotembody mastery.
(30:48):
But out here, we get all thesemixed messages.
Oh, don't act like that.
What will people think?
Oh, you shouldn't say that.
You sound arrogant.
So if I say, kellen, vocalawareness is extraordinary work,
it can help you change yourlife in moments.
Stupid and arrogant.
Kellen, vocal awareness isextraordinary work.
It can help you change yourlife in moments.
(31:10):
It's not.
It's my truth.
So helping us embody our self.
Vocal awareness is a veryhubristic work.
Not an arrogant one, but anempowering one because it teaches
us how to claim ourbirthright, our sovereignty.
And accompanied with that isan exercise called.
(31:30):
Which is in that journal,choosing my vocal and presentational
Persona.
The root of that word Personameans through the sound.
One's identity is largelyconveyed through the sound of a voice
and an opinion, instantaneousas we know.
(31:51):
So you answer the firstquestion, how do I believe I'm presently
perceived?
And so the second question,how would I ideally like to be known?
And then these questions areaccompanied by a drawing that reflects
the first image and a drawingthat reflects the second.
And it raises that interestingnotion once again.
(32:13):
You mean I have a choice?
Darn tootin.
So all of this infrastructure,again, one of my most important paradigms
is structure does not impinge,it liberates.
Freedom without direction is chaos.
We create these implicitstructures to enable us to empower.
(32:36):
To claim.
I just finished a two and ahalf month mastermind.
The first time I'd done anexclusive mastermind for anyone,
it was for a group I hadtaught at Tony's Leadership Academy
a couple of months ago.
And I wanted to try it outbecause these people, they're really
devoted to improving, butmeanwhile they still live with the
(32:57):
revolving door.
They don't.
It's the same stuff wearing ahole in the carpet.
And this one mature womanseemed to be in her 50s or so.
Shared we have all my seminarsand webinars end with something called
Closing Ceremony whereeverybody embodies the work and shares
something about that they wantto share, but in vocal awareness,
(33:19):
with our conscious lovingbreath and with stature.
And she shared to this group,all in virtual, that over the course
of this two and a half months,she discovered the trauma of her
infancy, not her childhood,her infancy.
And she shared it so elegantlyin conscious awareness, in the work.
(33:45):
And to have the courage toshare that, the opportunity to make
that discovery, that was huge.
One of the most moving thingsall my decades of teaching.
You're a nice man.
I just go on.
I don't come for air.
You're just very gracious.
Well, so why do you supposeyou used an interesting word describing
(34:10):
that process, embodiment.
And there are so many, as yousaid, people hang a shingle and they
present themselves as leaders,teachers or whatever, but there are
so few who do what you said.
Because vocal awareness, asyou said, has no off switch.
(34:30):
Who you're being is who you're being.
And why do you think it is sodifficult and so rare for people
to truly be the product oftheir product, who embody viscerally
the truth of who they are andwhat they're trying to teach?
(34:52):
Because when they teach it,you know, they're talking about that
thing over there.
And when they are, it, youknow, the words, the cadence, the
power, the transmission all changes.
Why is that so rare?
You probably heard the stupidstatistic that sociologists have
been imparting for probablyfour or five generations.
(35:14):
The greatest fear in societyis public speaking.
I've heard that, sure.
Totally bogus.
The greatest fear in societyare actually two fears.
Fear of abandonment andownership of my own greatness.
Claiming who I am and notbeing afraid of what you think of
me while I'm being myself is terrifying.
(35:39):
Okay, all of us, to lesser orgreater degrees, are victims of trauma.
This journey ain't for thefaint of heart.
No, it's not.
And frankly, over 40 to 50%very severe trauma.
So none of us got anywhere inlife unscathed.
It's not necessarily felt safe.
And we never learned how to be.
(36:00):
We only learned how to present.
We learned how to.
To seek reward, approval,whatever, but not to claim.
It's only when we're given theopportunity through having a prodigious
talent of some sort that'srecognized, or this innate drive
that is rare to go after it.
(36:22):
And then the world beats apath to our door.
But mere mortals, quote,unquote, we don't get this.
We get all the pushback, weget the fears, the confusions, etc.
Which is why one of My visionsis to have this giant platform because
the vision has been fordecades to change the world through
(36:43):
voice.
The goal has been for decadesto help all those I work with to
achieve their ownenlightenment and enjoy their own
empowerment.
It's critically important tome because we're living in the most
dangerous time on our globesince 1932.
And.
(37:04):
More dangerous than.
Because now everythingproliferates within hours and we
have the waters controlled bysome terrifying demagogues.
And we have, I'll say it, wehave one in this country, America,
right now, who's testing thewaters of authoritarianism.
(37:26):
And it's not just him, butit's the sycophants who bend the
knee that perpetuate this.
And this is how democracies crumble.
This is how we lose human rights.
Now, I don't want to get onsome political soapbox.
That's not my point.
But this is empowerment to voice.
I want us to not let anybodytake our power from us because we
(37:49):
hand it to them on a silverplatter almost every day anyway.
We do.
We do.
We don't make those choices.
Right.
I remember years ago who JackWelch was the chairman of ge and
he was considered at the timewhen his book came out, probably
the greatest corporate leaderin America or the world.
But meanwhile, we heard talesof how he would behave at meetings.
(38:13):
You could see the veins popout on his neck.
But yet.
So it's okay to debase anotherhuman being or to scream at them
or make them feel smallbecause you're sitting at the end
table, the chair at the end ofthe table.
That shouldn't be acceptable,but it is.
And so I want us to be able tostand for ourselves.
There are schools of broughtup presentational training, say,
(38:37):
bond with your audience.
What a bunch of garbage.
What if you got one point ofview and somebody else has another?
I can't please you both.
So I have to be me.
I have to risk that, notstrive to be liked.
You sat up at attention, youheld your breath.
That's just instinctively,intuitively what happens because,
(39:00):
oh, I hope that's okay.
And for women, it's even lessof a safe playing field and for other
segments of our society.
And so, you know, in my lastbook, I was going to have a chapter
called For Women Only, but I.
In the writing process, no, Idon't want to do that at this point
(39:23):
because when I travel all overthe world and I teach and whatever
my books been, books have beenin different languages and I've observed
that we all.
This is Part of the human condition.
I've only had one or twopeople in all of these decades who
show no fear about claimingtheir power.
One of them literally wasArnold Schwarzenegger.
And I only mentioned the namefor obvious reasons, because nothing
(39:44):
would stop this man because hehad such self belief, has such self
belief and.
And then a couple of otherslike this.
But most of us terrifies us.
We have schools of thoughtthat say, speak to the last row of
(40:04):
the house.
So what if I'm doing a webinaror seminar and you're way out there?
I've just raised pitch now.
I've diminished the power ofwho I am.
So now I don't want to reachthe last row of the house.
I just want to talk to youhere and see what Joel would learn
in the work.
Seeing the edge and arc ofsound, not trying to go there.
It only serves in source.
(40:28):
You know something I know.
I know that there is literally.
And because of the.
The vast texture andexperience that you have an endless
amount of teaching, what Iwant now is I want to be able to
help people follow you.
(40:50):
So I need you to tell me wherethey can do that.
People will have heard it.
They will have seen you workwith me.
They will have experimentedwith your instructions, with the
thread and breathing.
And I want you to give uswhere to go to learn more about Arthur,
to learn to learn more aboutyour vocal teaching and the power
(41:12):
of making the choice to claimyour voice.
Where do we find more of you?
Tell me about your website andall of the stuff you have.
Vocalawareness.com is my website.
If anybody wants to write tome, they can write to supportawareness.com
and Hennessys answerseverything and sends what's appropriate
(41:34):
to me.
I know.
This is airing September 30th,and in a couple of weeks, I'm doing
a public mastermind group.
And if anybody wants to bepart of it, I'll speak with Henesis
about this tomorrow.
I'll create a discount couponcode for people who come from this
podcast, and I'll tellHannesis and she'll figure it out,
(41:57):
because I'm the chromandumenof technology.
And have you heard of Kajabi?
I have heard of Kajabi.
In fact, we used to use it.
We're using something elsenow, but I do know what that is.
Again, I don't even know whatit is, but I did a keynote for them
the other day, and I'mspeaking to these people that, you
(42:19):
know, like, look, chain looks bad.
As a dog because I'm reallypretty limited and I'm a great typist,
but that's as far as it goes.
So we have these wonderfulonline courses.
We have wonderful books.
It's actually for those ofyour viewers.
Listeners in Latin Americawill be bilingual September 30th.
(42:41):
Good on you and excited about that.
So.
And I will also have Hennessesput together a little bundle that
includes one of my books,maybe in a new form of mastery journal
just for the Kellen Fluekiger people.
(43:02):
And if anybody wants anything,because I would love to be of service
to.
You, Sir Arthur, you are a delight.
You have enlightened me andthe audience.
And the work that you'redoing, giving people both permission,
encouragement, and the toolsto find, to claim and to make a difference
(43:26):
with their voice is amazing.
Thanks for being with me today.
Thanks for your kindness andfor asking such insightful questions.
God bless you, sir.
Thank you.
I want to encourage all of youto listen more than once.
I say that often on episodes,but this one, especially Arthur,
has shared from his deepexperience, his passion, and his
(43:48):
true desire to help you withthe tools, the power and the permission
to create your ultimate life.
Open your heart.
And this time around, righthere, right now, your opportunity
(44:08):
for massive growth is right infront of you.
Every episode gives youpractical tips and practices that
will change everything.
If you want to know more, goto kellenfluekegermedia.com if you
want more free tools, go here.
You're UltimateLife CA Subscribe.
(44:31):
Share.
Show a minute.
I'm interrupting.
Even at the beginning of yourshow, I'm so arrogant and rude, apparently.
Welcome to the show.
Tired of the hype about livingthe dream?
It's time for truth.
This is the place for tools,power and real talk so you can create
the life you dream and deserveyour ultimate life.
(00:28):
Subscribe, share, create.
You have infinite power.
Power.
Hello there and welcome toyour ultimate life, the podcast Committed,
dedicated to helping youcreate a life of purpose, prosperity
and joy by serving with gifts,talents and life experience.
Today I have a special guest,Arthur Joseph, who's going to teach
(00:50):
us all kinds of cool stuffabout energy, about voice, and more
that I don't even know.
Welcome to the show, Arthur.
Well, thank you for having me.
Kellen.
How are you, sir?
I'm just outrageous.
I'm grateful to be here withyou and glad to be a little vehicle
to help you spread yourmessage in the world.
And I for you as well.
(01:10):
I know your goal.
Mine is being to world, to voice.
Yours is to reach 300 million people.
So we're both on the samepath, man.
We are exactly on the same path.
And I love being here with you.
So I'm going to.
I'm interrupting.
Even at the beginning of yourshow, I. I'm so arrogant and rude.
Apparently I just do this.
But I haven't missed a day ofmeditation or prayer in 58 years.
(01:34):
And I share that becausedecades ago when I was inducted into
Transcendental meditation, Iwent to a lecture by the Maharishi
Mahesh Yogi who created tm.
And I heard him say that hewanted to have a billion meditators
on the planet to shift thevibration of the planet.
(01:57):
You and I have similar goals.
We want to help shift theenergy, the vibration of the planet
through the integrity of thework we've been blessed to do.
Mine through voice and byvibration and energy through breath,
and yours in your form, byinviting people on and all the other
amazing things you do to helppeople change their lives.
So I just wanted to share thatwe're on a cool path.
(02:19):
I love that.
And that's perfect, because myfirst question that I want you to
continue to expound on, andyou've already partly answered it,
is I'm always curious becauseso many people live unintentionally
and you don't.
And so when you think aboutthis, how does Arthur and I don't
want you to be modest.
I want you to just describehow does Arthur intentionally add
(02:43):
good to the world.
By using the gifts that Godhas Given me, there is no option.
One of the things I say toclients all the time, this is all
about you.
But it has absolutely nothingto do with you.
It's a calling.
I have a principle in vocalawareness called surrender, serve
(03:08):
and soar.
Surrender literally means toyield or to give back.
Surrender.
It's a French word.
Serve and then soar.
S O A R.
I love that.
And so I tell my clients, myresponsibility is not to you, it's
to God.
On the work, the capital W work.
(03:28):
Sometimes you may get scabsnear your elbows as I lovingly drag
you kicking and screaming, butit's about the work.
And when we know we've beencalled, you've been called, we don't
get to hang up and say, sorry,wrong number.
It's not about us.
It's not surrender, serve and soar.
It's interesting, you know,the threes.
(03:50):
My three words are love,create, serve.
And so those are the pillarsof my foundation.
And yours are surrender, serveand soar.
And service always gets inthere somewhere.
So that's spectacular.
How did you come to a placewhere you knew either a little or
a lot, or gradually more?
Describe a little bit how yougot to knowing this was your calling.
(04:16):
When I was four, we all haveour origin stories and often they
can be quite harrowing.
Mine was rather harrowing andI never had a father.
And at four, my amazingmother, who's one of my two heroes
in life, my bride being theother, dragged me into an accordion
(04:38):
studio.
Her hand was literally on myright wrist dragging me over the
threshold.
And I was totally resistant.
Sat me in an accordion, put athree quarter size accordion in my
lap, and I.
Sure, I've dramatized it overthe years, but I felt morphed.
I knew at 4 that music was my life.
Fortunately, I didn't become acockroach like Greg or Samsa, but
(04:58):
I became music.
So one thing leads to another.
I auditioned for choir in thesixth grade.
Teacher wouldn't let me be inthe choir because I couldn't sing
America the Beautiful on pitch.
Seventh grade, meet Mrs.
Grill.
And she had her high tones andshe let me in her choir.
So I knew at seven thatsinging was my musical path.
(05:22):
At 15, one of God's gifts tome, whom I did, in part, dedicated
my first book.
Two years ago, Mrs. JuliaKinsa was my first singing teacher
and she was in her mid-70s andI was 15.
And in my lessons, Kel and Idid this.
I'm not exaggerating.
Stop.
No, I don't want to do it like that.
I hear it this way, manicallyclamping my hands to my ears like
(05:46):
some bizarre reason.
And she allowed this crazybehavior from a 15 year old kid because
she intuited something Ididn't yet know.
I hear vocal sound differentlythan any other human being I've ever
met on the planet.
When I hear a voice, I hear you.
When you see me perhapsperiodically doing this during our
time without even askingpermission, you'll notice that it
(06:08):
calms you and you'll noticethat your breathing becomes a little
slower, a little deeper.
And because I'm speaking withyour unconscious.
And so her lack of dogmahelped me create new form.
Vocal awareness is trademarked.
It's copyrighted globally.
Various principles fromempowerment through voice to visceral
language to sing your heart out.
(06:32):
I get to own.
And I share that because.
And I love your thoughtful inquiry.
I got more holes in me thanSwiss cheese.
Don't we all?
For the faint of heart, manand God gave me this work to literally
(06:57):
help me save my own life.
And so I knew very early thework came to me.
I started teaching.
This is my 61st year of teaching.
And it came to me.
I began teaching at 18, and itwasn't what it was is today, of course.
But by my early 20s, my sevenrituals, everything was sort of canonized.
(07:19):
It was there, it just came.
And it took me years tounderstand it.
But then I took a master's in voice.
I'm a classical singer.
Before I do all this other stuff.
And an important story foryour listeners.
(07:42):
My bride is my life.
We've been together for 57 years.
Stop.
Stop right there.
Awesome accomplishment.
Hats off.
Amazing.
So many, so few make a choiceto create depth and power and longevity
and meaning and partnership ina relationship.
And so I have to honor thatjust with all my heart, because you
(08:06):
have chosen to make thatsacrifice, that work, that partnership
and create that beauty, thatmasterpiece together.
Go on.
Thank you for your kindnessand your acknowledgment, which then
interrupts my narrativebecause I have to share something
else.
You just used one of the mostimportant words in vocal awareness.
Choice.
(08:27):
I teach in this work, Kellen,that every single thing in life revolves
only around two things.
To choose to do something orto choose not to never matters are
seemingly daunting.
How scary.
All that matters is, does thatchoice empower me or disempower me?
(08:48):
And since I teach empowermentthrough voice, I want us to make
empowering choices because wereach adulthood and we think this
is us, but it ain't not even.
And so I'm always teaching.
We are not our behaviors.
You mean I have a choice inhow I behave?
(09:08):
Well, let me tell you.
And so this work is abouthelping us discover whom we're truly
capable of being.
Back decades ago, when I beganteaching Tony Robbins, I would say
to.
To Tony, you cannot empower people.
That's arrogant.
We can only help them empower themselves.
(09:30):
That's your life path.
That's my life path.
And so the story that I wasabout to share.
I had feet of clay.
Until my mid-20s, I'd beenteaching vocal awareness part time
and performing.
I had a nightclub act, etc,etc, and auditioned for various opera
(09:53):
companies and things like that.
I'd actually wanted to be acantor at one point, but my wife
isn't Jewish and so theywouldn't admit me to the university
because I said I'd never finda synagogue.
One thing if my bride hadconverted, but she didn't.
So we raised this very Heinz57 family spiritually, ethnically,
(10:14):
religiously, every which way.
And.
And so I got fired from mylast straight job.
And it was as though God weresaying to me, well, if you don't
have enough courage to dothis, I'll get your butt kicked out
and make you have to do it.
But I still had feet of playso severely.
We were on food stamps, we hada small house and one child at the
(10:39):
time.
And I sat in the living roomone night, my bride and our youngest
and our eldest son were in theback bedroom.
And as we were sitting in thefront of the fireplace, saying to
me that my bride was onlyintellectually supportive of me doing
vocal awareness full time, notemotionally supportive.
(11:01):
I knew as I was saying this Iwas scapegoating her because she
was there for me a thousand percent.
I wasn't there for myself.
The next day I put an ad inthe Cal State Northridge newspaper,
the Matador, because it was free.
It was the only advertisingI've ever done.
And I got a student offeringone free introductory lesson who
(11:21):
became like family forprobably 20 years.
And I impacted her life in asubstantial way and she ours.
And I have seven rituals invocal Awareness.
The sixth one, Kellen, is pay attention.
Deeper listening.
I've always had what I referto to further address the question
(11:44):
you asked me initially, what Icall a knowing.
I hear it, I know it.
But because I don't want thiswork to be the wrenching of some
neurotic voice teacher, Ireally drill down.
I've studied this workscientifically, philosophically,
Spiritually, psychologically.
I've studied it in voicescience with some of the greatest
(12:04):
where science is literally onthe planet.
And so it's grounded in craft.
It's not just grounded in myneuroses and my sense of omniscience.
And so this knowing helped mecarve out this new way.
(12:29):
Because when you give me yourvoice, Kellen, you give me you.
I say to I teach a greatnumber of elite athletes.
I've got 33 students on thePro Football hall of Fame alone,
and gold medalists and Olympicmen basketball and blah, blah, blah.
And I say to an athlete in thefirst lesson that you bring the gift
(12:52):
to your sport or the talent.
They don't all have a gift,but they all have a talent.
But someone literally teachesyou every single thing you do, everything
from how to dribble, to throw,to the most sophisticated.
Without that training, theirtalent is wasted.
But Kellen, who teaches us tobe us, as I said a moment ago, we
(13:17):
reach adulthood and we thinkthis is it.
Because there isn't a matrixfor helping us be us.
So in my sixth ritual, payattention Deeper listening.
It teaches how to listendeeply to this conversation between
source and self, capital Sself that only we are privy to.
(13:39):
I have this wonderful newprogram I created in January, begin
my 61st year of teachingcalled A New form of Mastery Journal.
My image of it was it's anonline program right now, but I'm
also going to be creating ahard copy.
But it works very nicely online.
It's a journal.
And my premise for it was whatJulia Cameron did decades ago with
(14:03):
the Artist way.
Everything takes place in thebook, everything takes place in this
journal.
So it becomes like youraccountability partner.
You create your vision, yourgoals with timeline.
We all have goals, but notwith a timeline.
My favorite two questions aredo what by when?
(14:24):
And of course, you have tohave details and the when has to
be specific.
Otherwise, just a weird.
Anyway, keep going.
And.
And then there's.
And this is really important.
I'm sure you do something similar.
And it's also really lame.
There's 365 pages for each dayof the year with a quote, one of
(14:47):
my quotes, a poem, somethingto inspire on each page.
It's called 168 Hour Journal Matrix.
168 hours is 7 times 24.
How do I spend a week?
And so we quantify it.
Everything goes in there, Everything.
(15:10):
Because the most importantcommodity in life, as you know, is
time.
Of course, you never get it again.
So it's an exercise in how dowe structure time?
And because I discovered yearsago that, you know, we go through
school, we're startingkindergarten or preschool or whatever,
high school, college maybe.
(15:31):
And through all these years,we have a singular identity.
We're a student, doesn'tmatter, have a job or whatever.
We're still a student.
And we have somebody to tellus what to do for 15, 18 years or
more.
A parent, a teacher, acounselor, a professor.
Then all of a sudden wegraduate and we get kicked out of
(15:51):
the womb.
And now there's nobody to tellus what to do.
So the single greatestdeterrent to living life on our terms
is there's no one to tell uswhat to do.
So we have to learn to tell ourselves.
If we have a boss and it'sfive o' clock and it's time to go
home, we start to get out fromour desk, can't go in an emergency,
(16:13):
sit back down, they'll pay you overtime.
But we got to get this done.
We have no choice.
But if we are building our owndreams, it's five o'.
Clock, I'm fried.
I'll do this tomorrow.
We can't, because we're inservice to the work, in this work
and in your work, I'm sure.
(16:34):
So then, when I spoke a momentago about the concept of a brand,
look at that beautiful spaceyou've created behind you.
And I'm sure you have anelegant website, and people spend
thousands, tens of thousandsor more on their websites and color
(16:56):
palette and font and brand andblah, blah, blah.
But then they get up in frontof it and they sound like, you know,
Pee Wee Herman or somethinglike that.
And not that there wasanything wrong.
He had a bountiful career.
But the point is, they do notreflect the brand that I'm looking
at on my iPad or my laptop.
And so I introduce people tothe reality that a voice is a brand
(17:19):
and an opinion created instantaneously.
You don't get a second chanceto make that first impression.
So if I say, kellen, you're areally nice human being, thank you
so much for allowing me to beon your show today.
Kellen, you're a really nicehuman being.
Thank you for allowing me tobe on your show today.
Now, we know the first one isbogus, but we don't necessarily,
(17:42):
in that instant know why mypitch was higher.
I spoke too fast, which mademe disingenuous.
But didn't occur to you in the moment.
All that you got was, I was inauthentic.
The second one, it didn'toccur to you that I slowed down,
I breathed, my pitch was lower.
All you got was, I was more genuine.
And so perception beingreality, which one do I want to leave
(18:05):
my audience with?
Then there is.
You want to leave youraudience with the truth.
And if the truth is you careabout them.
Yeah, go ahead, tell me thatsame sentence.
See the last word, truth,underlined, and see a period.
What you want to leave themwith is the truth.
(18:26):
Now, do you feel and hear that difference?
Of course, yes.
And that's how I would love toknow you.
Because you're so grounded inwhat you do.
You say it organically.
But there's an important piecein vocal awareness called visceral
language, which I justintroduced in that one moment.
I'm a singer, I look at musicand tells me everything to do.
(18:47):
How fast, how slow, how loud,how soft, whatever.
But we just got words, man.
They don't tell us, Jack.
They're just words.
So visceral language enablesus to convey the emotion of those
words.
So I just had you underlinethe word truth, circle the period
or the full stop at the end,and now it sounds like it meant something
(19:09):
rather than just hearing a phrase.
And that was really beautifulthe way you just did that.
Thank you.
I have a question I want toback up.
Don't forget where you are.
Put a comma there.
But said something a bit ago.
Or don't.
It'll come back around.
You said these things came toyou, and I think it was seven.
Yeah.
May I interrupt again?
(19:31):
Yes.
You remember where you are?
Yes.
Keep.
Start over, please.
But maintain eye contact.
By the way, to your audience,I'm not just being my normal, rude,
arrogant self, but Kellen gaveme permission for me to play inside.
I did.
So the question I had for youis, earlier, you talked about seven
habits coming to you.
(19:52):
Now, let me interrupt.
Do you hear your pitches different?
Of course, yes.
Because when we make eyecontact, it changes the sound of
a voice.
And because you're such anintegral man, and because you have
this rather beautifulinstrument, I wanted to bring this
to your attention.
And because you're also sopassionate and want to help, you're
(20:13):
going a mile a minute.
And so I want to just capturethat for a second so the audience
could experience.
My God, listen to the power ofthis man.
We can gather our thoughtsanywhere we want, but I don't want
us talking up there.
We do it because that's our behavior.
But earlier I said we're notour behavior.
That's just what we do.
And so here I just gave you alittle trick.
(20:34):
So please, I won't interruptagain, sir.
Thank you.
No, it's okay.
Thank you.
Because one of the things Ilove to do is I love to have the
guest, you in this case, share the.
Not talk about, but share thetruth of the thing that they are.
And that's what you're doing.
So I did give you permission,and I appreciate that.
(20:55):
So let's go to the sevenhabits rituals.
I did Stephen Covey, he hadthe seven habits.
Yeah, yeah, I want you to talkabout that.
Coming to.
Because every person hasgifts, talents that we were all given.
We have a mission, we have a purpose.
Many never find it or claim it.
(21:15):
And when you had those talkabout this seven rituals that came
to you, how did that feel?
How did you recognize them?
That's a lovely thought.
Talk about that a bit over the decades.
I remember once I was workingwith one of my corporate clients
in his Office, a Fortune 100 company.
(21:38):
And this was back in the daysof these huge computers sitting behind
him.
And here was this desk and Isitting over here in a chair by the
window, and a thought wascoming and I interrupted everything
we were doing.
I said, would you please turnaround and write this and type this
in your computer?
Because I knew somethingimportant was coming and if I didn't
get it down, I would lose itmany times in earlier decades.
(22:00):
Student is recording our lesson.
Something is emerging.
I say, would you please, whenyou record your lesson and listen
back, would you please writethis down for me again?
These moments need to be captured.
It's part of the.
Frankly, it's part of the giftof the deeper listening.
I end all my seminars with this.
(22:21):
I've never done this literallyin a podcast before, but it seems
appropriate to do so here.
I'm in my studio in Encino,California, today, and on my studio
wall near one of my pianos isa cover of an insight from an article
I was reading in questmagazine in 1980.
(22:44):
It's on my wall because thisthought emerged about 10 o' clock
one night when I was readingthe magazine.
And it wouldn't go away untilit made me get up and write it down.
And the only paper was themagazine, which was framed on my
studio wall today.
It said, voice is the onlyartistic experience which is both
finite and infinite at thesame time.
It is fallible and fragile,gone in an instant, unseen, only
(23:07):
felt, remember from the past,even a long moment ago, anticipated,
sensing its future even as thepresent is just occurring.
It's temporal, visceral, organic.
Such a complex simple andbeguiling transcendent state.
That's what emerged.
About 10 o' clock 1 night Ibegan reflecting on this thought
(23:31):
and it took me two or threeyears to get to the nub of this.
One of the opportunities.
I was at a voice institutewith some of the greatest scientists
in the world and I was alittle nervous to share this with
them because it's a little out there.
But he confirmed it from ascientific perspective too.
(23:51):
Especially when I said, youcan substitute other words for the
word voice.
Life is the only artisticexperience which is both finite and
infinite at the same time.
Or love.
It is fallible and fragile,gone in an instant, only felt.
And I came to understand theparadigm of my work which integrate
(24:13):
life and love through thepower of our voice so that we can
all live as sovereignly, asconsciously aware as possible.
So there are these moments inmy life when I.
This knowing just made me listen.
The sixth ritual.
Pay attention.
Deeper listening.
(24:33):
People talk about awareness.
People talk about, speak about consciousness.
I don't.
I speak about conscious awareness.
For me it's a 360 intra and interpersonally.
I am always tuned in and it can't.
Years ago I have a picture onmy wall of the great artist Fred
(24:54):
Astaire, whom I had theprivilege of meeting when he was
in his 80s.
I was up at his house teachinghis wife.
And to see this octogenarianshuffle and bedroom slippers was
so sensual.
And the metaphor was for methat Fredister wasn't somebody, a
dancer when he danced.
His body was an instrument.
Walking in the room, he was a dancer.
(25:16):
You and I are on a life pathof service, integrity, integration,
have the same root source.
They meet wholeness.
We're human beings too, so wescrew up all the time as well.
At least in my case.
Of course.
Of course, of course.
But because of the integritywe have to serve and get back on
(25:40):
our path.
Otherwise we're disingenuous.
And in this world there's somany coaches and we're so hungry
and thirsty and needy.
We may be dying of thirst inthe Gobi Desert, but it's only a
mirage.
But we're going to try todrink from it anyway because everybody
can put a shingle on their door.
But what are thequalifications for doing so?
(26:04):
Meeting somebody who has those standards.
I have these standards andthese qualifications.
So you see in that momentright there, where'd Arthur go?
Out for ham and cheese?
Where is he?
(26:24):
Why is he taking so long?
But I'm teaching a breath.
Space has value.
A song Without a rest is notthe same piece of music.
Space gives me thinking time,but everybody else feels thinking
time with ums and us and youknows and I means and I likes and
all this wasted stuff.
I breathe instead.
(26:46):
You know, my experience ofthat space was interesting because
as you had that space, Ididn't experience anything except
integration and connection.
I experienced an energetic,swirling, coming to coalesce at a
(27:09):
thought.
That was my visceralexperience of that space.
What a nice thing.
Nobody's ever said that.
That's really intuitive.
I need to share an importantthought about this work.
I teach mastery.
One of my themes is vocalawareness, Communication, mastery.
(27:30):
Another one of the trademarkedelements, mastery.
In every other discipline,whether it be the martial arts performance,
sport, there is an off switch.
One is literally only inmastery in their skill set.
Then they leave that skill setand they just get to hang out and
(27:51):
be normal.
In vocal awareness, there isno off switch.
We live in this state.
If I, for example, asked youto sit up straight, please, Kellen,
sit at attention and you notice.
(28:12):
You hold your breath.
Relax.
That's what we all do when wepresent ourselves because we're being
judged subliminally, we'reseeking approval.
Now, Kellen, if we take thisgolden thread from 3 inches below
our navel, take it in yourright or left hand, please, and we're
going to slowly pull thisgolden thread right up through the
(28:34):
top of my crown chakra,embodying myself as an amazing man
of stature.
Stop.
The first thing your body hasalready done is inhale.
You noticed it.
Of course you did.
Do it again.
But when you sat andpresented, you held your breath.
When you claim your stature,the body's impulse is to inhale deeper,
(28:58):
Taller, taller.
Pulling this golden threadright up to the middle of your crown
chakra, straight up.
And we're pulling from ourobliques, not from our neck and shoulders.
Taller.
Fully extend your elbow.
Chin up an inch.
Neck and shoulders loose.
(29:18):
Feeling connection to source.
The first of our seven ritualsis to say thank you.
Arm down.
And now keep feeling that tether.
Keep feeling it.
And notice how your chest ismore open, your core is more engaged.
Because everything in vocalawareness is physiologically connected.
(29:39):
Or I'm blowing smoke.
I asked you to put yourself instature, in the body.
Inhaled.
Chest opens, core engages.
Your space is internally andexternally quieter.
And that's the first elementof what I call a mastery moment.
Every artist or athlete that Iknow has a ritual before they compete
or perform, and it always hasa spiritual element.
(30:04):
So here you already feelStatus changed.
This is connected to a reallyimportant process in vocal awareness.
Every one of these greatathletes and artists, they're hubristic
in their skill set.
They're not hoping their coachor their teammates approve.
(30:25):
It's ludicrous.
That artist on the stage, ofcourse, wants to be loved and stroked.
That's the ego mind.
But the moment my mind crossesthe footlights and I'm screwed, I
can't do that.
I'm not serving my art.
I'm stuck out there.
So they are totally hubristic.
Without hubris, one cannotembody mastery.
(30:48):
But out here, we get all thesemixed messages.
Oh, don't act like that.
What will people think?
Oh, you shouldn't say that.
You sound arrogant.
So if I say, kellen, vocalawareness is extraordinary work,
it can help you change yourlife in moments.
Stupid and arrogant.
Kellen, vocal awareness isextraordinary work.
It can help you change yourlife in moments.
(31:10):
It's not.
It's my truth.
So helping us embody our self.
Vocal awareness is a veryhubristic work.
Not an arrogant one, but anempowering one because it teaches
us how to claim ourbirthright, our sovereignty.
And accompanied with that isan exercise called.
(31:30):
Which is in that journal,choosing my vocal and presentational
Persona.
The root of that word Personameans through the sound.
One's identity is largelyconveyed through the sound of a voice
and an opinion, instantaneousas we know.
(31:51):
So you answer the firstquestion, how do I believe I'm presently
perceived?
And so the second question,how would I ideally like to be known?
And then these questions areaccompanied by a drawing that reflects
the first image and a drawingthat reflects the second.
And it raises that interestingnotion once again.
(32:13):
You mean I have a choice?
Darn tootin.
So all of this infrastructure,again, one of my most important paradigms
is structure does not impinge,it liberates.
Freedom without direction is chaos.
We create these implicitstructures to enable us to empower.
(32:36):
To claim.
I just finished a two and ahalf month mastermind.
The first time I'd done anexclusive mastermind for anyone,
it was for a group I hadtaught at Tony's Leadership Academy
a couple of months ago.
And I wanted to try it outbecause these people, they're really
devoted to improving, butmeanwhile they still live with the
(32:57):
revolving door.
They don't.
It's the same stuff wearing ahole in the carpet.
And this one mature womanseemed to be in her 50s or so.
Shared we have all my seminarsand webinars end with something called
Closing Ceremony whereeverybody embodies the work and shares
something about that they wantto share, but in vocal awareness,
(33:19):
with our conscious lovingbreath and with stature.
And she shared to this group,all in virtual, that over the course
of this two and a half months,she discovered the trauma of her
infancy, not her childhood,her infancy.
And she shared it so elegantlyin conscious awareness, in the work.
(33:45):
And to have the courage toshare that, the opportunity to make
that discovery, that was huge.
One of the most moving thingsall my decades of teaching.
You're a nice man.
I just go on.
I don't come for air.
You're just very gracious.
Well, so why do you supposeyou used an interesting word describing
(34:10):
that process, embodiment.
And there are so many, as yousaid, people hang a shingle and they
present themselves as leaders,teachers or whatever, but there are
so few who do what you said.
Because vocal awareness, asyou said, has no off switch.
(34:30):
Who you're being is who you're being.
And why do you think it is sodifficult and so rare for people
to truly be the product oftheir product, who embody viscerally
the truth of who they are andwhat they're trying to teach?
(34:52):
Because when they teach it,you know, they're talking about that
thing over there.
And when they are, it, youknow, the words, the cadence, the
power, the transmission all changes.
Why is that so rare?
You probably heard the stupidstatistic that sociologists have
been imparting for probablyfour or five generations.
(35:14):
The greatest fear in societyis public speaking.
I've heard that, sure.
Totally bogus.
The greatest fear in societyare actually two fears.
Fear of abandonment andownership of my own greatness.
Claiming who I am and notbeing afraid of what you think of
me while I'm being myself is terrifying.
(35:39):
Okay, all of us, to lesser orgreater degrees, are victims of trauma.
This journey ain't for thefaint of heart.
No, it's not.
And frankly, over 40 to 50%very severe trauma.
So none of us got anywhere inlife unscathed.
It's not necessarily felt safe.
And we never learned how to be.
(36:00):
We only learned how to present.
We learned how to.
To seek reward, approval,whatever, but not to claim.
It's only when we're given theopportunity through having a prodigious
talent of some sort that'srecognized, or this innate drive
that is rare to go after it.
(36:22):
And then the world beats apath to our door.
But mere mortals, quote,unquote, we don't get this.
We get all the pushback, weget the fears, the confusions, etc.
Which is why one of My visionsis to have this giant platform because
the vision has been fordecades to change the world through
(36:43):
voice.
The goal has been for decadesto help all those I work with to
achieve their ownenlightenment and enjoy their own
empowerment.
It's critically important tome because we're living in the most
dangerous time on our globesince 1932.
And.
(37:04):
More dangerous than.
Because now everythingproliferates within hours and we
have the waters controlled bysome terrifying demagogues.
And we have, I'll say it, wehave one in this country, America,
right now, who's testing thewaters of authoritarianism.
(37:26):
And it's not just him, butit's the sycophants who bend the
knee that perpetuate this.
And this is how democracies crumble.
This is how we lose human rights.
Now, I don't want to get onsome political soapbox.
That's not my point.
But this is empowerment to voice.
I want us to not let anybodytake our power from us because we
(37:49):
hand it to them on a silverplatter almost every day anyway.
We do.
We do.
We don't make those choices.
Right.
I remember years ago who JackWelch was the chairman of ge and
he was considered at the timewhen his book came out, probably
the greatest corporate leaderin America or the world.
But meanwhile, we heard talesof how he would behave at meetings.
(38:13):
You could see the veins popout on his neck.
But yet.
So it's okay to debase anotherhuman being or to scream at them
or make them feel smallbecause you're sitting at the end
table, the chair at the end ofthe table.
That shouldn't be acceptable,but it is.
And so I want us to be able tostand for ourselves.
There are schools of broughtup presentational training, say,
(38:37):
bond with your audience.
What a bunch of garbage.
What if you got one point ofview and somebody else has another?
I can't please you both.
So I have to be me.
I have to risk that, notstrive to be liked.
You sat up at attention, youheld your breath.
That's just instinctively,intuitively what happens because,
(39:00):
oh, I hope that's okay.
And for women, it's even lessof a safe playing field and for other
segments of our society.
And so, you know, in my lastbook, I was going to have a chapter
called For Women Only, but I.
In the writing process, no, Idon't want to do that at this point
(39:23):
because when I travel all overthe world and I teach and whatever
my books been, books have beenin different languages and I've observed
that we all.
This is Part of the human condition.
I've only had one or twopeople in all of these decades who
show no fear about claimingtheir power.
One of them literally wasArnold Schwarzenegger.
And I only mentioned the namefor obvious reasons, because nothing
(39:44):
would stop this man because hehad such self belief, has such self
belief and.
And then a couple of otherslike this.
But most of us terrifies us.
We have schools of thoughtthat say, speak to the last row of
(40:04):
the house.
So what if I'm doing a webinaror seminar and you're way out there?
I've just raised pitch now.
I've diminished the power ofwho I am.
So now I don't want to reachthe last row of the house.
I just want to talk to youhere and see what Joel would learn
in the work.
Seeing the edge and arc ofsound, not trying to go there.
It only serves in source.
(40:28):
You know something I know.
I know that there is literally.
And because of the.
The vast texture andexperience that you have an endless
amount of teaching, what Iwant now is I want to be able to
help people follow you.
(40:50):
So I need you to tell me wherethey can do that.
People will have heard it.
They will have seen you workwith me.
They will have experimentedwith your instructions, with the
thread and breathing.
And I want you to give uswhere to go to learn more about Arthur,
to learn to learn more aboutyour vocal teaching and the power
(41:12):
of making the choice to claimyour voice.
Where do we find more of you?
Tell me about your website andall of the stuff you have.
Vocalawareness.com is my website.
If anybody wants to write tome, they can write to supportawareness.com
and Hennessys answerseverything and sends what's appropriate
(41:34):
to me.
I know.
This is airing September 30th,and in a couple of weeks, I'm doing
a public mastermind group.
And if anybody wants to bepart of it, I'll speak with Henesis
about this tomorrow.
I'll create a discount couponcode for people who come from this
podcast, and I'll tellHannesis and she'll figure it out,
(41:57):
because I'm the chromandumenof technology.
And have you heard of Kajabi?
I have heard of Kajabi.
In fact, we used to use it.
We're using something elsenow, but I do know what that is.
Again, I don't even know whatit is, but I did a keynote for them
the other day, and I'mspeaking to these people that, you
(42:19):
know, like, look, chain looks bad.
As a dog because I'm reallypretty limited and I'm a great typist,
but that's as far as it goes.
So we have these wonderfulonline courses.
We have wonderful books.
It's actually for those ofyour viewers.
Listeners in Latin Americawill be bilingual September 30th.
(42:41):
Good on you and excited about that.
So.
And I will also have Hennessesput together a little bundle that
includes one of my books,maybe in a new form of mastery journal
just for the Kellen Fluekiger people.
(43:02):
And if anybody wants anything,because I would love to be of service
to.
You, Sir Arthur, you are a delight.
You have enlightened me andthe audience.
And the work that you'redoing, giving people both permission,
encouragement, and the toolsto find, to claim and to make a difference
(43:26):
with their voice is amazing.
Thanks for being with me today.
Thanks for your kindness andfor asking such insightful questions.
God bless you, sir.
Thank you.
I want to encourage all of youto listen more than once.
I say that often on episodes,but this one, especially Arthur,
has shared from his deepexperience, his passion, and his
(43:48):
true desire to help you withthe tools, the power and the permission
to create your ultimate life.
Open your heart.
And this time around, righthere, right now, your opportunity
(44:08):
for massive growth is right infront of you.
Every episode gives youpractical tips and practices that
will change everything.
If you want to know more, goto kellenfluekegermedia.com if you
want more free tools, go here.
You're UltimateLife CA Subscribe.
(44:31):
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