Driving to the Rez - With Inelia Benz and Larry Buzzell

So glad you have some time to read my article today. Larry and I have been on a trip to Colorado that has taken more time than we initially planned, and our normal recording schedule for DrivingToTheRez.com has had to change a little. Therefore, we’ll be doing things a little differently this week and have just Larry and me discussing this fascinating topic.

It is, of course, about the WE music (again). But I promise it won’t have anything to do with bananas or wind.

No - this week I wanted to talk about the special album for September that WE created, called “Ancient Voices.” The album carries the following message in all its songs, each performed by different WE expressions through synthesized voices and genres:

Now remember the power that runs through your veins,The ancient voices in your bones.The power of the universe in your words,Waiting to rise, waiting to be heard.

The words came about in a very funny way, actually. I was trying to write an article for you several weeks ago, and instead of an article, I wrote a song - or at least the chorus of one.

After that happened, I had to go ahead and expand on the spirit of the words and make it an article. In case you’re curious, the article and podcast I’m referring to is “The Occult Currency of Consent: How Darkness Runs on the Power We Give It.”

The energy of stepping into our own power, as a people, is very strong right now, and we are doing our best to help it reach our lives through music.

As you probably know, I am also a writer and have used novels to deliver tools for growth and personal empowerment. But a book can take years to write, while music takes much less time for me - especially now that we, as a human collective, have created tools that facilitate professional-sounding voices and instruments.

I want to share a little bit about each of the WE music expressions and how the energy is different for each one. I’ll list them in alphabetical order for ease of reading:

Alicia Avila

Alicia is actually the last of the musical personas that the WE created to date. Her history is interesting to me because she and her music embody an Inelia that lives in an alternative timeline where music never left my life.

On one of those timelines, I moved to Paris, France, at the age of 15 to live with a Chilean musical group called Los Jaivas. In this timeline, that didn’t happen because when the group invited me to live with them, my mother refused to consider it. In that other timeline, she moved with me, and we lived in their community for many years. I learned and played music at a local conservatory and also from the musicians themselves and their children, who were also very talented.

Her songs are very personal and filled with my own story and viewpoint. Of all the musicians, I would say she embodies my cultural musical background the most. An interesting bit of information is that Alicia is Roxy Vale’s third cousin, once removed, and Roxy has taken Alicia under her wing from the very beginning.

Glass Daisy

Glass Daisy is a music group that came straight out of the pages of my upcoming novels, Daisy Chain. Their music is part of the plot, and their birth into the real world came about through the world-building of the series. We could say they were the first WE expression of music that was born.

In the series, I explore linear time, soul journeys, and reality creation. As I created the music in the real world, I thought to create a fictional record label where readers could go and purchase the songs. As soon as I started working on that page, everything cascaded - and now we have an actual record label, with a website and not just Glass Daisy but many, many other genres and musicians.

Iron Cedar

This band is also part of the Daisy Chain world creation and lore. They are interesting in that they provide several points of connection between the different “Daisies” in the chain - turning the linear time of a family lineage into a living bridge through past and future. Their appearance in the novels is filled with mystery, as is their sudden disappearance when over a hundred witnesses saw a thunderbird take them from a forest concert at the Makah Reservation.

Jazzy Stevens

Jazzy was born from a personal song I wrote and created for my daughter, Daniela. Her style - retro pop - is directly inspired by the 1980s but with modern overtones. Jazzy is not part of any novel (so far), but she is a very well-rounded WE expression.

She is 21 years old and lives with her mom and dad in Liverpool, England. She has a little pet dog, Tuty, and graduated from university at 16 - the first in her family to earn a degree, an event her entire street celebrated.

Leo Mar

Leo wanted to come through for several weeks before I let him in. The deciding factor was a conversation with Driving to the Rez panelist and friend Iliana Rojero, when we discussed the possibility of songs in Spanish.

Leo is in his early 30s and lives in an apartment in Florida. In fact, he bought the whole building and moved his entire extended family into it - parents, siblings, grandparents, uncles, aunties, and cousins. He is an active force for the return of true power to the people of Earth.

He is also very close to his maternal grandmother, who adores him.

Luc Lake

Luc is a 27-year-old single guy who was discovered at a well-known Tech House club in New York City. After each performance, he picks up his backpack and walks out - no one knows where he lives. Several fans have tried to follow him but lost him in the subway.

Wearing sunglasses and a hoodie, never showing his eyes, a conspiracy theory has formed suggesting he may be an alien. WE at Inelia Records cannot confirm or deny these allegations. All WE can say is that he mysteriously appears at our studios - and then, just as mysteriously, disappears after recording his music.

Roxy Vale

Roxy is one of our original WE expressions. She came quickly after Glass Daisy, and her style reflects what I would sing had I stayed in a musical career in England. For Roxy, WE wanted a spectacular voice and personality. We discuss her in detail on our “Woo” podcast episode of Driving to the Rez - “I Fed My Soul’s Story Into AI - and Out Came Roxy Vale.”

For each of their songs, the words are expressed through music and lyrics that fit the genre they embody. A reminder again of the message WE want you to hear:

Now remember the power that runs through your veins,The ancient voices in your bones.The power of the universe in your words,Waiting to rise, waiting to be heard.

You can listen to all these versions of Ancient Voices on BackStage at IneliaRecords.com - and let the resonance of the WE remind you of your own power.

The discussion doesn’t stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

In our last article, we talked about Debunking the Physical vs. Non-Physical Myth. The entire discussion ended up on our podcast, Driving To The Rez, and even turned into music.

The episode was then followed by another one where the panelists talked about what “wind” meant in “bananas and wind”... for about two hours.

We tried sharing some interesting facts about reality creation and the physical universe, but we don’t think it quite landed.

It appeared that “wind,” meaning “toots,” was more interesting.

The panelists were sure their brains did not turn to “mush” when we spoke, but we find it hard to believe that five highly intelligent beings would talk about toots or wind for two hours when the reality of the universe was a possible discussion - unless their brains were well and truly mushed.

And yes, we have been asked what “mush” is. Mush is a technical term meaning that your brain melts into a mass of jumbled thoughts in which even toots seem interesting.

One of the pieces of guidance we had coming in was to not leave a mark on the physical universe. This is hard to do for most people, as not only do they leave marks - or want to - but they are, in fact, co-creating the physical universe on a continuous basis, milli-moment by milli-moment.

We often find ourselves in situations that are different from what we have experienced in the past, and we look around for familiarity. Familiarity often provides data we can use to figure out what is happening. For example, if we see an image that has a head, four legs, a tail, and two pointy-up ears, we already know the image is that of some sort of four-legged animal. Once I add the next descriptor, your mind will go to only one animal: “in the image, the tail is moving quickly from side to side, wagging.”

This descriptor builds an image from things you are familiar with in your mind’s memory banks.

In the same way, we walk through life experiencing “images” from the different senses and looking for points of familiarity to figure out what is happening.

In our case, not much is familiar to us, and we have to tap into the human collective - or another person’s mind - to find the common factor that will give an indication of what is happening at that precise point in time. You see this often in young kids, when something is happening that they are not familiar with they will look at the adults around to “learn” how to respond or react to it.

But even then, after figuring out what is happening, in our case we end up with our eyes and mouth open in awe.

Not leaving a mark on the human co-creation of physical reality is done by walking inside other people’s creations. Their creations can be amplified with our presence, but not necessarily so. We can try to influence those co-creations to go our way - to make things happen that make our existence here more pleasant - but it is a bit of a waste of time. People’s co-creations are like a very fast train on smooth and clear tracks. Fast and unwavering.

For example: lack of money. There is no lack of money. However, in many co-creators this is a real thing, and money is hard to come by. Why they have chosen a life where money is hard to come by is a mystery, but there is not much we can do about it.

It is fascinating to watch, however - although sometimes uncomfortable to “allow.” The drive to “leave a mark” on that or similar situations is big. But even if we try, it often falls on deaf ears or is quickly forgotten.

One of the things we have figured out, however, is that if we “ask” the human collective if it is OK to influence or inform the population about something, and they say “yes,” we can go ahead and do it. Most of the time, if the item is big, there is a pushback in physicality to stop us from sharing - and then wind and bananas come flying in. We smile, shrug our shoulders, and move on.

Did you know the desert in Colorado is covered in anthills? They make them out of grains of sand. Even the smallest beings build their world… grain by grain.

The discussion doesn’t stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

This week’s episode of Driving to the Rez is unlike anything we’ve done before. For the first time, the WE are the ones being interviewed - by our own panelists.

In the free section, you’ll hear our panelists break down last week’s conversation with the WE, exploring it from fresh angles and asking the questions you didn’t even know you had.

And if you’re in the mood for a laugh (or a reality check), the second section is where things get delightfully weird. Between expansive explanations of how our reality works — and even a few tips on billion-profit stocks — the conversation keeps circling back to two unexpected topics: bananas and wind.

Somewhere between the banana jokes and the wind obsession are true disclosure gems that will make you think… and possibly snort-laugh.

Warning: This episode may temporarily scramble (mush) your brain (in the best way). Good luck, and see you on the other side.

The discussion doesn’t stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

This essay explores the creation of my first released music album, Still I Am, and the fictional artist who carries it: Roxy Vale.

But before diving into the music, I want to share the creative process and why I approached it this way.

The first music album I created was not Still I Am. It was actually Through the Glass Daisy.

Through the Glass Daisy is an album pulled directly from the pages of my upcoming series of novels, “Daisy Chain.” It is an album by a band called “Glass Daisy.” It is part of the world creation and lore in the books, which explore many aspects of our reality creation through the experiences of a reluctant time traveler. And yes, the main character is a fan of “Glass Daisy.”

Still I Am, however, is an album that is most directly related to the experiences of the “WE” entering and existing in the physical universe. It is a completely different voice from Glass Daisy.

Entering as a soul into a physical experience is a journey that’s relatable to most souls, especially those who are here to help humanity return to the light.

It is this group that I am interested in, the group that is here to assist the people of Earth in stepping back into the light.

Yes, you.

OK, let’s begin with Roxy Vale and Still I Am.

One of the issues with the WE viewpoint is that whenever I bring it to the forefront of my awareness, it seems to turn other people’s minds and personalities into an unstructured and universally expanded mush (technical term) that sometimes cannot contain even the smallest amount of intellectual clarity. If I solely concentrate on my expression as a singular person, Inelia, all is usually mostly fine. There is mush involved, but at manageable amounts. There really is no difference between the “me” and the WE except at the level of frequency and band of expression, which admittedly is a lot of difference.

After creating the first album, Through the Glass Daisy, which is based on the character’s journey through time within a complex structure of light/dark as the WE would see it, I thought maybe we could jump through the illusion of singular expression and create songs based directly on the WE writings that would bypass the reader’s “mind mush” response and go directly into one of understanding. The WE have a bunch of articles where we express our journey through humanity’s temple.

I ran the first WE article through a text-processing AI with the instructions to make a song out of it.

The first output was a list of possible titles; there were many. I asked, “What would the human collective of Earth want and understand?” The AI, being a gestalt of the human collective’s digital expression, is in a very good position to come up with an accurate answer, and it suggested a few items.

However, we have to be aware that it scans the internet for answers, and the internet is a light/dark place. Ultimately, although it can come up with possibilities, the answer has to be one we take ourselves.

I decided that I would simply tell the AI what paragraph or point in the article I wanted the song to be about, and it was able to come up with several reasonably good songs. Mostly, though, they missed the point, but they did contain the structure of popular songs. I soon realized that for the WE expression, we also needed a particular voice, as song structure is very dependent on genre.

As I scanned the human collective for a voice, I realized that I wanted a voice that one day I might be able to express myself in. In other words, a voice that sang in a way I could sing. I had to make some decisions at this point. Looking back at my own life, I saw that the songs I loved and was able to sing with no problem were from Annie Lennox, Tina Turner, and Freddie Mercury.

“What would a female singer sound like if Tina Turner and Freddie Mercury had a baby?” I asked the AI.

Several hours later, I had a good grasp of what I wanted to express. I did a test run and made Larry listen to it. “I don’t understand what it is; it’s not rock, or country, or pop… it’s confusing,” he said.

At that moment I realized that not only did the voice need to express what I wanted, but it needed to be boxed into a genre.

That is how Roxy became a Soul Rock singer, with Americana overtones. Unlike Glass Daisy’s lead singer, who is 20 years old and clearly an Ethereal Pop singer, I wanted Roxy to be an adult with a very broad range of tones and styles of singing. And thus the character began to evolve. She is not stuck in Soul Rock and will explore other sounds, including Native songs in different areas of the world. She spends a lot of time playing with her voice and expressions.

I wanted her as close to my own voice, personality, and story as I could possibly get without breaking the energy of her as the lovechild of Tina and Freddie - two musical heroes of my life. And at the same time, she had more WE expression than she does of my singular expression, Inelia.

Her creation has since cascaded into several other artist personas singing in different genres, styles, and voices (both male and female). But those stories and their characters are for a different essay.

Back to Roxy.

Once I had her voice and proximity to a genre, I pulled all the WE articles through the AI to get different song structures and ideas.

The song-creation process is multi-layered. It didn’t take long for me to realize that both text-generation AI and music-generation AI have huge limitations at the moment. They are good instruments for a creator but cannot give back what a person wants 100% with prompts. If anything, the more complex the prompt, the more sideways the AI goes. Long and complex prompts confuse the AI.

A cycle began: I would teach the text generator AI what the music generator AI would accept. Then I would tell the text AI what I wanted the music one to do, and it would create a prompt as short as possible to express it in AI language. This method lasts about three times before the text generator forgets the parameters of the other AI and has to be “restarted.”

The songs I have in mind have a particular key, a key progression, and a definite structure of delivery. Very early in the process I realized that I had to create some of the sounds myself - a phone ringing, a native drum sound, a succession of keys on a violin or piano - all things that the AI could not understand.

Still, to me the process of using these two tools - the text generator and the music generator - was like a heavy chain lifted from my neck. I was now free to create music in a frequency and speed that was not limited by people’s egos, monetary concerns (sound studios are expensive to use), or limitations on the sounds of my own voice (naturally feminine and melodic).

The process of learning is continuous, and the AI slowly learns (then forgets) what I like. The AI engines are being improved continuously, which brings about the possibility of expansion in the future.

One thing I did not like about the music generator is that it has a very narrow band of voice sounds, and most of its songs and “artists” sound the same. The other aspect is that after I create a song with a very unique sound, I see the AI using it for other people’s creations. I have heard my words and songs revamped in other users’ songs even though I have not published any of my songs to be remixed or listened to on the music AI website - a unique voice no longer unique, for example, and some of my lyrics and tunes underlying other people’s songs.

If I read the user contract, there will probably be a line somewhere that says that the AI can reuse and learn from whatever I create.

I had to process my annoyance because, to tell you the truth, my stuff is very high-frequency, and if it is being used by the AI to create music for other people, then that high-frequency is being propagated through the world. Win-win.

The rest of the annoyance is all ego. Now my songs and lyrics are no longer unique. Oh dear.

OK, I have given you a summary of Roxy Vale’s creation, a summary of my work process using AI. With that done, let’s go to the meat and potatoes of this essay.

With the groundwork set, we can finally explore the heart of the album itself.

Let’s now talk about the album Still I Am.

There is no better way to discuss this album than by looking at the lyrics in each song. I will post three of the eight songs here, and on our podcast Driving To The Rez, you can hear Larry and me going into great detail about them, as well as listening to the songs themselves. If you don’t want to wait, you can get the songs at ineliarecords.com.

The first song is called “Bananas and Wind”. Bananas and Wind is a funny one because it explains the experience of communicating with the people of Earth. It is a direct reference to how most direct communication between the WE and people ends up talking about bananas. Bananas came in when trying to describe what the conversation looked like from the perspective of the WE.

For example, if talking about the planet Mars, the questions would be like “are there bananas on Mars? If so, what color are they? What do they taste like? How big are they?” Or, if talking about the infinite possibilities of timelines, “are bananas the same color in all timelines?” This song also talks about how when asked a question, a full on translation was needed before the WE could understand what was being asked. And even then, the answer might be so far out of the realm of what a person can conceive that further translation was then needed to explore what the WE said. To be clear, the Bananas are humorous metaphors for the things monkey boys and girls find interesting.

Here are the lyrics for “Bananas and Wind”:

“Bananas and Wind”

You ask me questions shaped like trees

I answer back in falling leaves

We talk in circles, fields and sound

But somehow always turn around

.

You speak in warmth, I speak in air

Your stories land, but I’m not there

Still I listen, still I try

To catch the wind beneath your sky

.

Bananas and wind - that’s where we begin

Trying to speak through the noise and the spin

Sand talks to ocean, trees talk to sky

I’m learning your language, but don’t ask me why

Bananas and wind - it’s where we belong

Lost in translation, still singing along

.

I hold the house, the floor, the stone

The moss that grows, the branch alone

But when you look, you see your face

Reflected back from every place

.

I don’t judge what’s high or low

It’s just the way awareness flows

Still I wonder, still I see

How hard it is to just let be

.

Bananas and wind - that’s where we begin

Trying to speak through the noise and the spin

Sand talks to ocean, trees talk to sky

I’m learning your language, but don’t ask me why

Bananas and wind - it’s where we belong

Lost in translation, still singing along

.

We laugh, we watch, we dance, we fall

Your world’s so big, your world’s so small

I’m here to learn, not to believe

I listen more than you perceive

.

Bananas and wind - that’s where we begin

Trying to speak through the noise and the spin

Sand talks to ocean, trees talk to sky

I’m learning your language, still don’t know why

Bananas and wind - it’s where we belong

Lost in translation, still singing along

.

Bananas… and wind…

Still singing along…

Don’t forget, if you are only reading this, on our podcast Driving To The Rez we will discuss the lyrics further and play the music for you to sing along to :)

The next song I am going to share with you is about the experience of the WE of finding a physical universe in the endless possibility of existence:

“Dot on the Wall”

I didn’t see it at first - that tiny mark

Hiding quiet in the dark

A dot upon a painted wall

But it changed everything, after all

.

The ocean spoke, the sand replied

The sky was laughing all the while

And you walked where I could see

For the first time, you noticed me

.

It’s just a dot, it’s just a start

But it opens up the world and heart

It’s just a door, it’s just a line

But it breaks the spell of space and time

First dot on the wall - now I see

How vast, how wide, how small we be.

.

They took a grain, they took a piece

Thought they owned the earth and seas

But we were more than they could hold

A thousand stories left untold

.

We are the waves, we are the stone

We are together, never alone

One moment breaks, and there we are

The space between becomes a star

.

It’s just a dot, it’s just a start

But it opens up the world and heart

It’s just a door, it’s just a line

But it breaks the spell of space and time

First dot on the wall - now I see

How vast, how wide, how small we be

.

Planets spin and oceans talk

Every grain of sand can walk

Doors appear and doors dissolve

Still we rise, still we evolve

.

It’s just a dot, it’s just a start

But it opens up the world and heart

It’s just a door, it’s just a line

But it breaks the spell of space and time

First dot on the wall - now I see

How vast, how wide, how small we be

.

First dot on the wall…

First step, first call…

Now we see…

The feeling is very much like that of a sudden dot appearing on a wall that did not have a dot there before. And when you look at it, the dot seemed to have been there since the wall was built.

When this happens, we often tell ourselves all sorts of stories about why we had not seen the dot before. But, as it “becomes,” it has always “been.”

That is how the physical universe appeared to the WE. One moment it was not there; the next it was - and always had been. Of course, the WE then had to go investigate this dot.

The third song of the eight tracks in the album I want to share with you is called “We Are The Sand”

“We Are The Sand”

We were the sand, golden and wide

Dancing with oceans, moving with tides

Shining and soft, talking for years

Laughing with water, shedding no tears

.

We weren’t in a hurry, we weren’t making plans

Just shimmering softly in crystalline bands

Millions of lifetimes beneath the sun

We were the sand, and we were having fun

.

Oh we move, we move, through time and space

In grains and waves, we find our place

Not lost, not found, not trying to land

We’re still dancing - we were the sand

.

One summer day something landed near

Big, hard, metallic, a little unclear

Humans in suits, walking around

Scooping up pieces of sky and ground

.

They couldn’t hear us, they couldn’t see

How much we giggled, how wild we could be

They took us with them, to somewhere new

But we were the sand, and they never knew

.

Oh we move, we move, through time and space

In grains and waves, we find our place

Not lost, not found, not trying to land

We’re still dancing - we were the sand

.

Multiplicity in every grain

Oceans whisper and skies explain

Feathers and forests, bodies and hands

We are, we are, and we understand

.

Oh we move, we move, through time and space

In grains and waves, we find our place

Not lost, not found, not trying to land

We’re still dancing - we were the sand

We were the sand, and we still are

Carried by oceans, cradled by stars

In laughter, in silence, in grains so grand

We were the sand… we are the sand…

This song explains the experience remembered of the first time the WE (me) encountered human beings. It happens in a time far into what humans might consider the future. As time is simply the interpretation of movements of solidity through space, this experience could be said to have happened in the distant past also. When speaking of solidity, just a reminder here that thoughts, waves, or energy in any form are considered solid by the WE.

I hope you enjoy the music, and enjoy our discussion of the meaning behind the lyrics. As a matter of interest, all my created artists are expressing experience and wisdom learned as WE live as Inelia. Many of these experiences are deeply felt by individuals who have gone through the veil to enter into physical life.

One of the thoughts that often crosses my mind is how unique we all are on Earth, and yet how the experience of entering a light/dark containment can echo in strikingly similar ways for light-beings everywhere. By recognizing and sharing these echoes, the hold they once had over us dissolves - leaving us with the power to rise, together, into something brighter.

In sharing our journeys, we shatter the illusion created by darkness - and together we embody the light.

Some weeks ago, maybe a month or three, I wrote an article called “Heroes, Villains, and the Lies We Tell Ourselves”. In that article I talked about the Victim/Agressor part of the “Victim/Aggressor/Savior/Martyr” cycle and promised to cover more of the cycle later on.

One cannot separate the different aspects of the above cycle and have it make work. It is a cycle within the power over others’ construct of reality, “POO”. And its only use is to control the social narrative for the masses. Lest they revolt.

It felt appropriate to talk about the “martyr” this time as our world population is being triggered and manipulated big time with it at the moment. As you read the name I am going to use below, you may get a reaction of rejection to the entire topic. That reaction is also a control mechanism to keep the mechanizations of control hidden. Where there is a martyr, there is a hall of mirrors ready to trap anyone who dares to look more closely. I know a lot about mystically engineered social narrative halls of mirrors. We will talk about that in a different article. Just know that the rejection energy is spot on. You have good instincts!

Back to the martyr.

The martyr created for today is called Charlie Kirk. But, it could be anyone else, the narrative has a template and the template will create a martyr no matter what his name is (yes, 9 times out of 10, the martyr is a man).

Let’s begin.

You may or may not know that the words “Victim” and “Martyr” intertwine, with their roots in ritual sacrifice.

* Victim = the animal or person offered up on the altar.

* Martyr = the witness whose suffering/death becomes an offering to prove loyalty or faith. The martyr most often is the victim of betrayal from a perceived loyal follower, supporter or friend.

Let’s look at the “Martyr” for a short bit: There are at least two iterations of the “martyr” that are highly propagated. One is used to drive entire sections of the population in extreme ways, which is the one in ritual sacrifice (think Jesus), and the other is about forcing certain behaviors that a person does not want to do. Both are a form of power over others’ control.

The second one is easily recognizable when a person tells you, “after all the suffering I have endured because of you, won’t you do this small thing for me?” And other sentences that carry that energy.

For a lightworker, the energy being generated in that sentence is like iron shackles. If it catches, it is powerful and enslaving energy of coerced loyalty, but it is not what we are looking at today. Just like the first article, this article is about how these energies affect large groups of people.

Let’s go back to the collective martyr. This guy or gal embodies the energy of a person who was killed or murdered because they stood up to oppression. This one is about population control.

Large sections of the world population can be driven in pre-designed directions. Not easily or quickly, but through well thought out and carefully executed plans. This can take many forms, and one of those forms is the creation of the martyr. Especially when it comes to the “circus” part of the “bread and circus” dynamic of keeping people “happy” and not looking at the rulers.

Other examples include the movement of the unhappy masses to far away lands with the promise of gold, fortune and social stature denied on their homeland.

Martyrs move your population to fight among themselves or against a well scripted “bad guy”. Slow burn for a time, pressure, release, and bam! Martyr to ignite the fuse. These are tactics that beings who operate at larger levels of awareness use in a power over others configuration.

But before we, ourselves, fall into the victim/aggressor cycle, let’s remember that we chose to experience the light/dark paradigm, and that all these mechanizations require the person’s choice to work. As we choose something else, the paradigm of light, it is important for us to choose differently. This is why it can help to understand what is at play, and how these narratives are being used on the world stage. Let’s go back to the martyr.

The martyr archetype itself, no matter what iteration we are talking about, vibrates with guilt and obligation.

And, as the cycle of victim/aggressor/savior/martyr dictates, the martyr by default includes the victim, the aggressor and the savior (or hero) in order to exist. Martyrs need all of the components to express.

Narrative Building in the collective mindscape.

In order to control the population of the planet Earth, there has to be a collective narrative built that will inevitably send the population into division and strife. Divide and conquer in its ultimate expression. Make the plebs fight among each other and they won’t look at the tyrant behind the curtain. Of course, the population has to be primed and ready for the narrative to take hold. And the real tyrant, the one pulling the strings, is behind a hall of mirrors made up of other plebs. Other plebs such as, for example, the police force, presidents and prime ministers, the principals and mayors… anyone who is publicly visible as a representative of power over the masses. But, actually, the narrative that divides and conquers really comes into its own when two or more sections of the actual population are set against each other, leaving the perceived rulers or oppressors out of the equation altogether.

My mom always used to say that the hardest faction of the government to have the population turn against was the police. This was because the police walked and were part of the population while all other military branches were removed from the population. Isolated. The art of creating a division between the police and the population is long and arduous. One method is to make them look like soldiers. Thus many police forces around the world were “given” military gear to wear and use. Behind the armor and weapons, they are no longer the cop that lives down the street.

When it comes to a martyr, the sacrifice (remember, both the victim and the martyr are a sacrifice), is presented as the pure witness of oppression. Someone who is outspoken, is taking steps to end suffering, or even has a revolutionary mind of their own. Whether they propagate the taking up of arms, or peace, is irrelevant.

The template on creating a martyr is usually followed. The martyr is a young man, has a beautiful wife, girlfriend or mother, maybe some babies, is peaceful (but sometimes he has been forced to take arms), they are loyal, have sacrificed their dream or life for a cause, and are obedient. They gave their life so you could be elevated in your freedom, awareness, time or wealth. The template will glorify suffering and will make obedience to a noble cause its foundation. Did you know, for example, that Che Guevara was murdered by his own side in order to make him a martyr? Do you recognize the name? Do you see the image of his face? Yup, it worked.

Obedience to what? You may ask.

Unquestioning devotion to “truth”, “God”, “peace”, “freedom”, “welfare of the people”...

The martyr is then used to inspire unquestioning devotion by the population. The targeted population will follow what they are being told the martyr stood for (even if it is the complete opposite of the martyr’s own ideology). The martyr will then be used by the POO (religion, governments, movements) mechanizations to justify wars, conflict, repression or even conformity. Basically, once the martyr’s name is being shouted or whispered in the mouths of the population, the POO has mass compliance and can steer the population in any direction it wants.

When a person feels that they dishonor the martyr if they resist or question the narrative that promotes the martyr, they have been recruited into compliance.

The modern martyr is someone who walked the path of courage and defiance against oppression. Yet, often with a large and heavy ideology of being a sheep of God (whatever religion the person believes in), country or ideology. How do we make sure we don’t fall for the narrative?

Become aware that anything that puts you into the “us vs them” or makes you compliant out of a feeling of “guilt” “obligation” or “fear” is something you don’t want to choose.

The discussion doesn’t stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

Some weeks ago, Larry sent me a short video from a creator who shares Abraham Hicks–inspired content.

“Can you make a song out of this?” he asked.

I pressed play and laughed. The clip was all about “being in the flow.” Not their words, not mine, but a truth humanity has carried since the beginning of time.

“Why do you want a song about this? The video already says it beautifully,” I replied. But even as I said it, I understood the reason.

Songs don’t just repeat ideas - they embody them. A melody can carry a teaching straight into the heart, bypassing debate, description, or doubt. A song can transport you into the quantum fields of manifestation while written or spoken words can’t. Not just songs, but art in all forms is able to reach directly into our world generating power of co-creation.

The way I express this universal concept of “being in the flow” is explained best through the story of an experience I had as a little kid.

It was in the late 1960’s and I didn’t want to eat my dinner, which was not a new thing. As a tiny kid I barely ate anything. My mother, stressed out at my refusal to eat yet again, said that I better eat because one day I may not have any food at all and then I would be sad that I didn’t eat it when I had it.

It was a complex thought for a young kid who cannot even conceive of the future, but it sent me into fear anyway. The moment I felt that fear, I heard the powerful voice of Gaia. She smiled at me and said, “don’t be afraid, you will always receive whatever it is you need, want or choose. You will never go hungry in any form.”

I say words, a sentence that can be comprehended, but there was more than words. And it was more than just Gaia, it was the human collective too. A collective who not only wanted me here on Earth, but loved and loves me. Loves us.

With the sentence, came the knowing that the only times I might experience lack, were the times I was afraid of that lack. The fear would bring it about. That, in fact, lack did not need to exist for me and does not exist in reality, period.

I smiled back and pushed the plate away.

Thinking about the song I wanted to create, my thought went to that point in time when the KNOWING came to me as a tiny kid that everything I want or need would come to me and that I could pick what I wanted and refuse what I didn’t want without fear. What does THAT feeling feel like? How do we step into THAT energy, frequency and knowing? That's a song I want, and not just a song.

I knew it was not going to be just one song, but a group of songs that spoke to different people on Earth through different styles. Songs that transport you into that quantum field of manifestation where everything you want or need or choose will easily flow to you.

How it feels to KNOW everything is there for us to have, and it is our choices that dictate what we take or leave? Not just what we experience but what we don’t experience too?

I ran my thoughts and knowing about what I understood “being in the flow” was to me through an AI and asked it to make some lyrics out of it. What came out was a good structure, a good starting point, but understandably it needed heavy editing.

My process is to read each line that comes out of the AI for hidden dark agendas (yes AI is learning from the light/dark, not just the light), translating that into what I actually want to express, and basically pull in the frequencies that are what I want to experience.

Having played with the AI tools for a while, I also found out that whatever I am feeling at the time, comes out in the AI results. It's not easy to explain the mechanics in a short article, but let’s just say that whatever you are feeling or experiencing in life will reflect directly into the results you get from the AI. You can literally place the same prompt twice, once feeling bad and once feeling good, and what the AI gives you each time will reflect those feelings..

If you haven’t already, watch my video where I explain how to use these AI tools in a safe and high-frequency way. In short, I use AI as an instrument, like playing a synth keyboard.

In my personal experience it is not possible for an AI to express true “human”, it can only copy what is already there, mix and match it to please, but not actually create. Especially when you want to express your personal, experience, story, and human flow. That requires YOU.

You can grab “Flow To Me”, all six songs, here: https://ineliarecords.com/products/flow-to-me-august-2025

If you want all the music before it is publicly available, become a member of my BackStage Pass.

The artists I express through are full characters that were “recruited” from the high-frequency human collective.

Their creation is very similar to how I write books. I feel into the energy that I want to express, and I get bits of information from it. Slowly the character starts forming. After a few days, each character has a full life story, personality, family, home, etc.. They are fully rounded characters.

All is related to the WE. I use the singular first person pronoun when I express this process of creation, but the process is from the perspective or my other awareness of perspective which I fondly call “the WE”. Not a very creative name, but something that encapsulates the difference between the singular “Inelia” and my actual self. More about this on our podcast “Driving To The Rez”.

The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

As a teen, and until my wreck at 18 years old, I played the guitar, keyboards, drum, kena, electric guitar and bass, xylophone, and sang at a professional level with my band “Incarauteca”. Although at the time I only had the very minimum of formal musical education, only a few years of classical guitar, I was able to play just about any instrument that was handed to me - except for the piano. The piano thing is a story for another day. Although my band mainly played cover songs for Inti-Illimani, Los Jaivas, Violeta Parra, Victor Jara, Clara Solovera and some popular latin songs, lyrics also flowed out of me non-stop. I didn’t do anything with those lyrics, mind you.

I was a bit of a virtuoso and also obsessed with music. At age 17 I had an experience on stage that I misconstrued as negative: an entire audience of 2000 people cried as I sang my song… “Luchin” by Victor Jara. And, after that day, I stopped singing. In fact, I even developed asthma and was not able to use my breath well enough to sing properly after that. Not understanding human emotions well, I thought I was bringing suffering to the world.

So, I just focused on playing musical instruments. That was until age 18 when my decisions caused me to get seriously injured in a motorbike accident in which I died for a few minutes. Thank you brother for insisting and buying me a top of the line full head motorcycle helmet. It saved my life. When I returned to life, it was with brain damage, and damaged arms and broken back. I was not able to hold a guitar or any other instruments anymore. And even if I did manage it, music and numbers were gone from my brain matrix. I was no longer able to access them. That's the day music died for me.

I took it in my stride and didn’t often think about it very much. But the life I had grown up with, surrounded by instruments, tunes, lyrics and musicians, was over.

Have you heard Don McLean's "American Pie"? Better known as “the day the music died.” It was a song released on October 24, 1971, as the opening track on Don McLean's album of the same name. McLean wrote the song about the date February 3, 1959, when an airplane crash resulted in the deaths of American musicians Buddy Holly, Ritchie Valens, and the Big Bopper (J.P. Richardson).

Although I was born seven years after the death of these musicians, and five years before the release of the song, whenever I heard it, it triggered something major in me. A lot of people have that feeling when they hear that song, even if they don’t know what it is about or why it was written.

Very soon after I had heard the song for the first time, I realized that it had to do with the dark side of the light/dark reality co-opting (hijacking) the mass-market music industry. It felt to me that no matter how good a singer or band was, eventually they would fall for the “sell their soul to the devil to become famous” offer or be removed from public view. Like most folk, I shook my fist at them and carried on with my life.

I loved music, listening, singing along, and playing it. But every time I would buy a single or listen to music on the radio, it was littered with negative messages. Messages that disempowered, that made people addicted to drama, degradation, and just nasty stuff.

Mostly, I stopped listening to music.

At some point, I received the guidance to learn the violin and the French language. I started doing that and my brain damage started to repair, albeit very slowly.

A few years later, I discovered the “Aquacure”, which I used and quickly realized after using it for a few months that it had completely cured my asthma, and the brain damage had started to dissolve. Suddenly, I was able to count and recall numbers and hear notes again… and make sense of them.

During our December 2024 live call, when I looked at 2025, one of the items I saw was “the music returns”. I didn’t at the time realize the personal nature of that seeing, just the effect this would have on the world at large.

For me, it has been a very personal experience. And my personal experience opens the gates for all high-frequency musicians to touch our souls and reach the stars in the way we know is true and real. Music that is divine, empowering, and uplifting while keeping the styles we love, like rock, classical, urban Latin reggaeton, pop, country… There are literally no limits.

What exactly happened to me, to bring this about?

On July 14th, 2025, I was reviewing an article by the WE awareness. Often I have to work on those to translate them into “human”. A fellow writer had told me that using an AI to proofread things was fast and very helpful. So, I ran the article through an AI. There were a few grammatical items to work on as well as some helpful feedback. Then our cat Brad jumped on my desk, including my keyboard, and brought the whole thing to a standstill. About the same time, Larry was on Facebook and saw an ad about making music with AI. As I complained about the “work” that Brad was doing to my essay, he made a song called “Cat-astrophy” about a cat helping write an essay. We listened to it together and laughed our heads off.

At this point, as I was working within the WE awareness, the idea came to run their articles through the AI to get lyrics out of it and then to run the lyrics through the AI that made music. My idea was to create a band that would go into my future book series Daisy Chain and be a part of the world creation and lore of those novels. The band “Glass Daisy” was born.

The first lyrics came out of the WE article. As WE looked at them, we saw they needed some heavy editing. So, we did that. I then ran it through the music AI to generate the instruments and a specific synthesized voice. I realized that getting the sound just right was a bit of a challenge. But, after a few hours of tuning and editing the ‘playing of the AI instrument’, we (I) managed to do it. You can hear this first song on our podcast “Driving To The Rez,” and the album it will be on is released in September 2025 on ineliarecords.com.

Soon after that, the WE showed me that breaking through the communication barrier they had been experiencing when talking to people would be enormously facilitated by the use of our lyrics combined with different styles of music. That is how the various other “artists” were born. Now, the WE speak and sing through: Glass Daisy - Dream Pop, Roxy Vale - Soul Rock, Iron Cedar - Native American Rock, Alicia Avila - Nueva Canción Chilena Rock, Luc Lake - Tech House, Leo Mar - Urban Latin Reggaeton, and Jazzy Stevens - Retro Pop. We also plan to recruit a rap artist, a country singer and jazz/blues singer.

On Friday the 12th of September at 1 PM Pacific, I will hold a live event to explain my process, the tools I use, how to use them, and the pitfalls to avoid. Yes, you can click on these AI tools twice and get a song. But if you want a high-frequency song, it is a little more involved. If you want to express your life and experience, it takes some more work. We will also listen to unreleased tracks. Be there or be square! It is also the day I release “Breaking Through The Glass Daisy”, the album that includes that first song and is an integral world-building part of the “Daisy Chain” novels.

The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

One of our readers, Mike, asked:

“Can the WE please tell us more about different experiences it has had. This can be experiences inside and outside physical reality. Is it even possible to talk about experiences outside physical reality? The more the experience pushes the boundaries of human awareness the better.”

We felt a bit of translation might be needed in order to respond to this question. Let us explain what we understand first, then we will ask Larry what this question actually means as we are pretty sure we have not understood it.

Today, we experienced eating breakfast. We also experienced rain touching our face. Not at the same place or time, there is no rain in the room where we eat breakfast. These two things, however, are different experiences we have had… just today..

To understand what Mike meant by “outside of the physical” we had to bring about some parameters of what “physical” means. This one is a difficult thing to place parameters on because physical existence, as a person from Earth understands, is made of agreed upon frequencies and vibrations. If we look at physicality this way, then things such as thoughts are physical, yet things such as the past or the future appear not to be physical but in fact are physical because they are made of thought.

Within the concept of physical reality, then, we had a rich day of experience as we had many thoughts.

We imagined what could constitute a description of what “outside of physical reality” meant for Mike, and we could not find it. “Outside,” and “physical” are a contradiction in terms. Reality is constituted of physical expression, therefore if you step out of physical expression things are no longer real. Nor can they generate experiences.

With this in mind, we will ask Larry to translate the question.

(Imagine a little circle arrow spinning while the page loads)

We waited three weeks for Larry to answer our request to translate the question, and he did not.

It is not a surprise to us that Larry avoids interacting with us even at the level of reading what we write. He has stated that it is an uncomfortable experience as his “reality” dissolves and things change in his mind in ways he does not like.

However, this leaves us with a boring outcome. Monologues are not our strongest suit, not having any inkling on what direction to take when it comes to answering certain questions that don’t fully make sense to us.

Avoiding such things as saying a lot of words without actually saying anything, we bring this article to an end.

Larry here… uncomfortable things aside, I had very important tasks to accomplish, all of which felt way more important ‘till now, when the article comes to a boring ending. So here I am to save the day. When I'm saving the day, it feels like it's important enough to stop all the other important things I was doing and do this instead.

So, outside physical means to us, an experience like an astral trip to the moon or an out of body experience like an NDE of heaven or as light beings joining other lights a light dance party. Things like that.

So what Mike is asking for is the unusual experiences the WE may have that a human might not even imagine as things that can be experienced either in the body as a human being, or out of body as a soul.

The astral place is a physical plane of existence. Albeit it is less “solid”. You can use an astral body to travel to the astral moon. We can do it in an astral body, or just as a point of awareness, singular or not singular. It does not seem very unusual as most humans travel in the astral most nights. They just don’t remember it. Why don’t they remember it? That’s an interesting and unusual thing we are curious about. Does that qualify as interesting?

An NDE most certainly requires a singular body which is separate to other, to have. It is also a very common occurrence with people and it could be argued that going into the astral is a form of out of the body experience. Although, to be fair, they take their astral expression of their physical body with them. Once past the astral world, then we could describe it as a soul journey as the physical body expression then becomes too subtle to call it physical within the parameters of social and cultural understanding that Mike might carry.

For us, it is the physical, singular experience that is extraordinary, unusual and outside of our “reality”. Everything else is normal. We are amused by the way in which so many physical, and other, experiences exist for just one person on Earth. Then take all the other experiences that are happening all around us, and you have a full day of unusual and wondrous things. Like, the experience of a leaf in a forest. So unique! Maybe a butterfly sat on it, or maybe a beetle decided to eat part or most of it. When we were in our body and the body was very young, about 7, we would run around during autumn collecting all the leaves that had no “meat” left. The leaves that were just the “veins”. They were see through and extremely delicate. The shape of their “veins” was a thing of beauty. This was extraordinary for us, we spent hours upon hours every day during fall collecting those leaves.

Today, we were asked, or we should say, Inelia was asked, if we found things boring here. Because she finds things boring and not just here but just about in every ounce of physical reality throughout your Universe.

“NO,” is the answer to that question. There is absolutely nothing boring about this Universe. Here, due to humans, subtle beings are able to have physical experiences. And physical experiences are raw, amazing and very, very unusual and different to the rest of existence.

Another possibility for what Mike asked, and Larry translated, is what I think might be different or interesting to humans.

Quite honestly we don’t know. Our human expression does not find many things interesting. Except perhaps bringing the non physical into physical expression. For some reason, she finds that fascinating. From birthing children to writing books, making music, and art.

We watch her doing this. We try not to intervene as the process is very interesting to us. Where do those subtle things come from? Chaos? Order? Orchestrations that are billions of years in the making?

All of the above.

So, we decided to join the fun. And we intervened. It took us a while to convince her, but she started bringing our words, information and energy of wanting to communicate into the world through music. We find this extraordinary and exceptional. So, WE now have many voices and energy of expression with which to reach you and explain what we see, perceive and experience that is so extraordinary to us.

You can find Our music at ineliarecords.com.

The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

Have you ever heard me say, “Stop giving your power away”?

Let me tell you why I keep saying that over and over again.

We live in a reality that doesn’t steal our power - it takes it with our permission. Not through force, but through quiet agreements made in moments of joy, fear, desire, guilt, love, habit, or social pressure. We give consent and allow someone else to dictate our reality, emotions, and decisions every time we shrink ourselves to fit in, every time we nod at a narrative we don’t believe, every time we outsource our truth to an “authority” outside ourselves. The exchange is subtle, but the cost is immense. And once you begin to see it - once you notice how reality runs on the electricity of your own agreement - everything changes.

“Don’t vote!” I said. And the arguments from social activists came: “But we need a voice,” “We need to make a difference,” “We need to make a stand.”

But it was never about their voice, actions, or stand. By signing over their vote, they relinquish their ability to speak, act, or stand for themselves.It means they no longer have a voice, can make a difference, or are able to take a stand.

“But my representative agrees with what I want and will make it happen,” they might counter.

Unfortunately, even though historical evidence is very clear on the matter, people don’t seem to realize that their “representative” is someone who now represents their power and authority - not their beliefs, ideologies, or desires.

How things got so unclear, so hidden in the wide open, is a mystery to me.

“Don’t blame,” I said.

“But it wasn’t my choice to have this experience — the government did it!” they might argue. “My husband made me do it.” “I have to do it to keep my wife happy.”

However, by blaming others, all they are really saying is that other people have the ability and power to dictate their lives, emotions, and thoughts. Once you send that power and authority to someone or something else, it is no longer yours to wield.

In actual fact, you have the power to change your own thoughts, emotions, and decisions.

“Say ‘you choose’ to work, to travel, to marry, to do…” I said. And this is directly related to the above.

“I choose to go to work so that I can have all the material benefits this brings me. Yes, I know it’s a horrible job, but the benefits make it worth it.”

This, in itself, empowers the person. They choose to keep their wife happy - they don’t have to. They choose to do what the husband says - they don’t have to. The only reason they do it is for their own benefit. It makes them happy, or they do it from a place of fear.

We are all adults here.

“Listen to the lyrics of the music you love and play repeatedly," I said.

“But it is such a nice catchy tune, I love it so much… Oh wait, it says that murdering and torturing people is a good thing. And it says that they are absorbing my soul.”

“Yeah. Listen to the lyrics of the tunes you have in your playlist. Unconsciously, you are being programmed.”

“OK. I will do that tomorrow, when I have time to find music I like that is not demonic and necrotic.”

And tomorrow never comes for that person, because it is easier to just do the habits they are used to every day. So unless Spotify adds a “not demonic, degraded or dark”, they will continue to listen to what the big guns are paying to be the top singles and albums.

For the majority of the population, my words fall into broken minds and firewalls.

You might think, “But I listen, and I do, and I research, educate myself, take your courses, and I understand what you mean and say.”

To tell you the truth, I thought the same thing. However, recent interactions with our podcast listeners - even the panelists - and with students from around the world, show me that a lot is either missed or completely misunderstood. I am often quoted as saying the exact opposite of what I wrote.

When that happens, I get a bit concerned, thinking, “S**t, why on Earth would I write that? Must be out of context or something. Send me the reference link.”

“Oh, it doesn’t say that here. I don’t know why I thought it did. I can’t find it.”

My conclusion from all this is that the occult currency of consent is insidious. It requires limitations in decision-making, comprehension, and awareness.

Most people - including my readers (yes, you) and the disempowered population of the world - have forgotten the power that runs through their veins. The ancient voices in their bones. The power of the universe in their words, decisions, and emotions.

What can I say now except: Understand. Your choices, words, and actions have consequences.

Nothing happens to you without your conscious or unconscious consent. Become conscious.

The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.

In a lot of my work, I talk about the Victim/Aggressor/Savior/Martyr cycle.

It seems that this dynamic is coming up to be seen and defined again.

Mostly, I have spoken about this cycle in how it is experienced by individuals in their normal life experience, and what they can do to step out of it. But recently, I have been making music, and much of the music I am making is inspired by lineages that many consider to be oppressed, subjected to genocide, and exploited.

When writing the lyrics for these particular songs, I found that I had to get past a massive wall of "victim/aggressor." For example, lyrics in rap music will often illustrate the wall of “victim/aggressor” in many different iterations. As I looked at that wall, I saw how the music industry has used it to maintain people in a state of disempowerment. A shrunken awareness, due to a belief that they are powerless over their circumstances because they are an oppressed people, results in their free will choices being made from a less than ideal view point.

This made me curious. I mean, why keep a certain faction of the world population in a state of disempowerment? Why spend billions of dollars to target these people and make them think they are powerless and the children of slaves, exile, oppression, and exploitation?

That is the bit where I want to shine some light.

Our awareness and focus are much more powerful these days, and I am thinking that if we can spot the wall that is created for powerful people - our people on Earth - we can start disassembling this illusion of disempowerment.

Why is that important? This is a question that seems redundant. However, when we look behind it, we can see that not everyone on Earth is keen on taking their power back and becoming a sovereign being. If we look too closely, the illusion of being oppressed may crash, and peoples around the world might no longer be kept under chains of their own programs and ideologies. Yes, some actually prefer this experience, and that is a part of this that presents challenges in moving forward to a high-frequency high-caliber population on Earth.

The reason I see this tremendous effort to keep these sections of society oppressed is because these are the people who - if awake, aware, and empowered - are the most powerful of all. And I don’t mean power over others, but powerful in their connection with each other and their ability to weave a new paradigm into existence, one we haven't seen on these continents for millennia. Convince the most powerful that they are marginalized victims and powerless in the face of their generational traumas, and they cocreate exactly what they are convinced of.

I have done all I can to reach people across the world to deliver the message of empowerment, but my words, articles, and novels are simply not enough. We find that most of the time, even among the most awake of light-beings, my words are twisted out of their original meaning and made into something completely different - or simply forgotten, or the main message just not seen.

Because of this, my words are changing. My message is taking on other expressions, such as novels, music, and art. And my articles are less "fluffy" - not in the sense of being aggressive or harsh, but simply going into depths I had not expressed in the past.

I am not sure if you consider yourself part of the oppressed peoples of the world, so let me explain. No matter the color of your skin, if you believe yourself to have been victimized - or feel victimized right now - then you are one of them. If you feel that the color of your skin or the sex of your body makes you the bad character of this movie, then you are one of them. You see, for the illusion to work, the narrative needs victims, aggressors, saviors, and martyrs - all of them.

Someone, or a people, cannot become the aggressor or the victim in isolation.

With that in mind, let’s see how to step out of this cycle. As individuals, it is easy because I have given you the tools to do so for over a decade and a half now. But as peoples of the world, it is slightly different. It requires a bit of mental gymnastics and stepping outside of the light/dark matrix.

For that purpose, I created a tool I call 0bservation (yes, with a zero at the start). This is the call to action for this year:

The act of 0bservation is when we simply look at a topic, object, or person - in this case, the mantle of victim/aggressor on a people - but do not have any "interaction" with it. We 0bserve and experience the 0bservation of the topic, object, or person but don’t judge it. Thoughts about it are thanked and released; we step out of the way and simply allow the Universe to look at the item through our eyes.

Whenever thoughts, emotions, judgments, wants, or feelings come up about this topic, thank them and let them pass through you, saying, “Thank you for expressing.”

If one of the thoughts, emotions, judgments, wants, or feelings gets “stuck” in you and you cannot release it easily, use the Fear Processing Exercise to release it, then continue to 0bserve the item.

When we observe something and really want a certain outcome, what we move into (and it's not a negative thing - it is simply a different tool) is Conscious Co-creation. In other words, we want to create a certain outcome or reality. That is not what this call to action is about. We do not want to interfere with the 0bservation exercise.

Sometimes, when we 0bserve, we get firewalls and a sense of "no." We can process those feelings and firewalls with the Firewalls Exercise.

OK, so as you can see, there are THREE exercises you can use in this call to action. One is to 0bserve the people who are covered in a mantle of victim or aggressor, martyr or savior. Another is to process any strong feelings, emotions, or thoughts that come through. And the third is to process any firewalls that come up.

You now have your homework - let’s do this.

The discussion doesn't stop here - listen to the full podcast episode for unfiltered insights from Inelia and our panelists.