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Michael Teachings
Masterclass

   with Shepherd Hoodwin

 
                                           
 
 
    (Part One)

 


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By Shepherd Hoodwin
Transcribed by Megan Haddock
July 12, 2009

Click here for the PDF of charts that accompany this workshop.


This is an edited, rewritten transcript of Part One of a two-part workshop Shepherd Hoodwin conducted on BlogTalkRadio.com. The second part was on September 13, 2009.

In it, Shepherd discusses several Michael Reading charts of both Michael students and celebrities, most of which he channeled. The students were on the air to discuss their charts with Shepherd. Be sure to download the accompanying PDF, which contains forty-three charts and photographs of the subjects. Not every chart was discussed in the workshop, and the charts that were discussed live were not all done in the alphabetical order of the PDF. However, they have been arranged in order for this transcript.

Most of the students are members of the Michael teachings Yahoo group. Go to this link if you wish to join:

http://groups.yahoo.com/group/MichaelTeachings


 

Michael Teachings Masterclass - Part One
 

DAVE GREGG: Welcome to Michael Teachings Radio. Tonight, Shepherd Hoodwin joins us for a special Michael Teachings workshop on soul and personality profiles. If you're new to the Michael teachings, www.MichaelTeachings.com  has a host of articles and pertinent information. If you're interested in Shepherd's work, you can find his website at Summerjoy.com.

SHEPHERD: Good evening! Be sure to download the PDF, which has forty-three Michael Reading charts on it along with pictures of each person, so that you can follow along. It is a mix of celebrity charts and those of members of our Michael student community, some of whom are present and are going to talk with us about their charts. I chose the celebrity charts from among those I've channeled because I was reasonably sure that they were at least mostly correct and that there was something interesting to say about them. We're going to go through those in alphabetical order, although they are not entirely in order on the recording, since some students phoned in out of order.



BELLA ABZUG (Chart 1)

Bella Abzug was a formidable, pioneering feminist congresswoman from New York. She was a sage. What is remarkable about her chart is that not only was she an "honorary warrior" (both warrior essence twin and primary casting), but *all* her casting was warrior, and her four main overleaves were in the king position, so she was just about as much on the action axis as a sage could be. If you knew these teachings, it would have been easy to mistake her for a warrior.

As we progress through this workshop, we'll explore in detail what the various terms mean, but I'll summarize here:

Each of us is one of seven soul types, called our "role." Abzug was a sage, or communicator, soul.

We are each in a group of seven souls called a "cadence." Abzug was in a group of seven sages, in the third, or warrior, position. Three is the warrior number (for reasons we'll explore later). Her cadence was, in turn, third in its group of seven cadences, called a "greater cadence." Her greater cadence was, in turn, also third in its string of however many greater cadences. Furthermore, her whole spiritual family of about a thousand souls, called an "entity," was third in its group of seven entities, called a "cadre." She was a sage, but then her influences were warrior, warrior, warrior, warrior, and warrior. This configuration is highly unusual. If you were a spark of the Tao planning to be a sentient soul on a planet, and you said, "I want to experience almost being a warrior in every way except not actually being a warrior," this is how you would do it.

She also had very high male energy--eighty-one percent. It is likely that Abzug had been male much more often than female; her male/female energy ratio alone suggests that, but her warrior and king influences reinforce that. Pioneering feminists are often those who have been male more often; they're not used to being second-class citizens, so they've often been potent in demanding rights for women when they come into the female body.

Abzug was a very blunt person. Bluntness is a characteristic of the highly focused action axis, which includes warrior and king souls. Those two soul types have just one input, or psychic receiver, so they put all their eggs in one basket, so to speak--they are strong, penetrating and directed. (Scholar souls also have one input, but they are assimilative in nature rather than active, so their focus is less pronounced.)

Among her overleaves, or personality traits, the goal of dominance and aggression mode are two of the strongest. She was a strong woman who made waves; she wasn't afraid to stand up and talk (being a sage) and fight (warrior influences) for what she believed in. In the earlier days of feminism, that was exactly what was needed, so she was the right person for the job.

DAVE: As I look at her photo, she reminds me of a girl I knew in college who possessed notable sage traits, but there was an earthy sense about her, and she was very physical. She would crack a joke with that sage twinkle in her eyes, and then put an exclamation point on it by punching you in the arm.

SHEPHERD: Abzug was in the moving center, so she reacted to stimuli with action (movement of her whole body), adding to her earthiness.

In addition, her body type influences were venusian, martial, and jovial, in that order. Venusian and jovial are passive, and martial is active. Both venusian and martial are on the action axis. How can venusian, a passive body type, be on the action axis? It's a little confusing that we talk about the action axis, and then active and passive body types--they describe different things. Passive body types tend to be calmer and larger, putting on weight more easily. Each axis (other than the neutral assimilation axis, which has just one body type) has one passive and one active body type. The passive action-axis body type, venusian, is still very physical--it's all about sensual enjoyment (Venus was the goddess of love). It's in line (on the same side of the same axis) with the physical center (which was originally called the sexual center). Her secondary type, martial, is known to be explosive, so it's easier to see the action-axis influence on it.

The seven roles are divided into the solid and fluid roles, based on their frequency, or speed of vibration. The solid roles are low frequency (earthy): warrior, king, and scholar. The fluid roles include both those in the middle frequency (neither earthy nor ethereal): server and sage, and those that are high frequency: priest and artisan. Abzug was a sage, so she was mid-frequency in role, but everything else on her chart pulled her down toward a more earthy low-frequency feeling, so she felt solid. A sage with high-frequency secondary qualities, such as artisan and priest, looks and feels different.



MARJORIE (Chart 2)

Marjorie is a server with a discarnate priest essence twin. Your essence twin is your twin soul or twin flame; when your essence twin is discarnate (not in a physical body right now), it's almost like it's living within you, so you get an especially high amount of bleedthrough of secondary traits from that role (if it's different from your own). However, server and priest are on the same axis, so they're not so different from each other. However, having energies from both inspiration-axis roles gives you the whole range of inspiration, from the most ordinal to the most cardinal. Servers inspire people through doing tangible work, helping people in grassroots, down-to-earth, specific, physical (ordinal) ways. Priests want to help people with their spiritual and mental health, the bigger picture of their lives (cardinal). Servers seek the common good; priests, the higher good. You run the gamut.

Your primary casting is three, which resonates with the role of warrior, but the next number, your secondary casting, is six/ priest; your tertiary casting is two/artisan. So your warrior influence is not intense, but it makes you a better strategist and more industrious: good at rolling up your sleeves, ploughing in, and getting the job done. It complements your server high endurance with productivity and efficiency.

MARJORIE: I tend to stand up for people who can't stand up for themselves, taking a stand politically or ethically. Is that warrior casting? Is there a negative pole to that?

SHEPHERD: Warrior casting is part of that. It's not the same as being a warrior (warriors are famously fierce and protective) but there are parallels. Combined with the server thrust of serving the common good (democracy, helping individuals with the mundane needs that everyone shares, etc.) warrior casting could look the way you describe. Everything has a positive and negative pole, but maybe the negative pole of priest, "zeal," is most relevant here--it can be preachy and shrill, getting carried away.

You also have three priest overleaves: growth, passion, and the chief obstacle of arrogance (a fear of being judged). They underline your priest bleedthrough.

Being fourth-level old somewhat balances your warrior casting in the sense that old souls tend to become more laid-back, like an older person moving toward retirement. Generally, old souls are not quite as active in the world, yet some retired people are still very active, so you can't generalize too much.

MARJORIE: The stereotype of the old soul is someone who's so laid-back that she can't ever quite get anything together, somebody who has a lot of plans but never gets them off the ground because she's too calm and passive. I feel that's true about me, and I'm wondering if it's the old soul thing, or if there is any other part of my chart that contributes to that.

SHEPHERD: That's the main chart influence relative to that. Old souls are not motivated to do things just to collect a paycheck (unless maybe other people are counting on you). Old souls get in gear when they have something to do that's in alignment with their mission. I suspect that what's slowing you down is that you're not yet quite focused on your mission.

MARJORIE: That makes a lot of sense. In my early life, I felt very productive and goal-oriented. I didn't identify with the old soul stereotype; I was focused on different things spiritually and ethically. Now, however, having completed my midlife monad (the period generally in the mid-thirties when the soul releases false conditioning and begins its life task) I'm very much what you're describing: it's about an internal measure of success, not society's. It's about spiritual ethics, something very different than what I thought about when I was younger.

SHEPHERD: You have had to make space for your spiritual awakening, which is hard to do when you're working so hard. For those of you who don't know Marjorie, she has an M.D., but she's not currently practicing medicine; she's making jewelry. It seems like you're taking a break to find yourself; then, once you feel like you've got that well under hand, you may take off again in a focused way toward the next phase of your mission.

MARJORIE: I hope so. I would like that.

SHEPHERD: How laid-back or even lazy a soul becomes as it moves into the old soul cycle depends, in part, on his role.

Warriors and kings are totally about action from beginning to end; for them, to do is to be. It's not until the late end of the old soul cycle that warriors and kings start to be what is, for them, mellow. Even then, they would probably seem less so than, say, a mature artisan.

On the other hand, artisans and sages have the most number of inputs, or psychic receivers. That makes them the most sensitive, creative, and delicate of the roles. Therefore, they tend to most manifest the old soul easygoing nature. Old artisans are especially famous for leaving behind them a trail of unfinished projects when they haven't developed sufficient self-discipline (which doesn't come easily to artisans and sages).

Servers, priests, and scholars fall into the middle of this spectrum. Also, you're in the middle of the old cycle, at fourth level, so you're still likely to be relative productive at this point.



JULIE ANDREWS (Chart 3)

Julie Andrews is an old priest. She's a very warm, compassionate, and beloved person. She has quite soft overleaves, according to what I channeled: acceptance, spiritualist, and passion; she's also moving centered.

One thing that interests me about Andrews is martyrdom as her chief obstacle. She lost her singing voice, and the final blow was a botched surgery--that sounds like martyrdom, which creates and attracts victimizing situations (so as to prove their belief that they're victimized).

Her husband, Blake Edwards, wanted to direct a stage version of "Victor Victoria." She had starred in the movie version when she was quite a bit younger. Now, in her middle sixties, she was doing a very demanding Broadway show eight times a week. Most opera singers do only two or three performances a week, so that they can rest their voice. Doing "My Fair Lady" when she was twenty was very challenging. After each week of "Victor Victoria" at sixty-six, they practically had to carry her out on a stretcher.

My sense is that, with martyrdom, her belief that she needs to suffer in order to earn her worth contributed to her not asserting herself and saying no, and it cost her her voice. Broadway stars are expected to step up to the plate and deliver, although some stars do negotiate a deal to have understudies do one or two performances a week. My thought is that, under the circumstances, she might have alternated with another star.

Martyrdom is a warrior-position overleaf--it's about *doing* the seemingly selfless action. However, it's relatively easy for priests to fall for that particular illusion, since priests are always seeking to serve the higher good. I'm sure that her actions seemed positive to her, sacrificing herself so that the show could go on. Also, with a goal of acceptance, it can be very hard to say no. In addition, spiritualist and passion underline her priest tendencies both positively and negatively, perhaps causing her to disregard her throat problems until it was too late. Spiritualists tend to wear rose-colored glasses, and passion tends to make people jump in without restraint. (Her role in "Mary Poppins" suggests the opposite mode, reserve, but, although she may slide there, it's a mistake to confuse actors with the roles they play.)

When she's spoken of her ordeal in interviews, she's emphasized all the good things that came out of it for her, such as roles she might not have done otherwise. She's tried to make the best of it, in typical priest/spiritualist/acceptance fashion. However, if she could also examine her self-worth issues, that might be useful to her.

DAVE: Her expression just radiates compassion.

SHEPHERD: Absolutely. Look at her eyes. Eyes are the best marker of a priest.

The full name of "role" is "essence role." Your essence is your soul, the essence of you, the deepest part of you. Your role is what kind of soul you are. Your casting is how you manifest your soul, its flavor or "tilt," what you tend to do with it; that is also part of your core self. Layered over your own essence energy is that of your essence twin, which is something external to you. If your essence twin has a different role, that role's energy blends with that of your own. Your next layer is your personality, which includes your overleaves, imprinting, and so forth. Next is your body, which includes your body type, genetics, etc.

So the deepest layer of who you are is your essence or soul, and your eyes are the windows of your soul. Looking at the eyes (and how essence manifests through facial expressions) is the best way to validate role. Priest energy is typically the easiest to spot in the eyes: their focused, hot energy is unmistakeable.

The positive pole of the priest is "compassion"; the negative pole is "zeal," which is where they get carried away, don't check their facts, or force things on others. The negative side of the priest also can be treacly and guilt-tripping, either for themselves or others, because they see the higher good, but don't feel that they or others are measuring up. However, to me, Andrews is a beautiful manifestation of the high expression of the caring, selfless priest.

DAVE: Indeed, and I'd add that I'm sold on acceptance as her goal. You can hear it in her voice. At least from my experience, people in acceptance tend to modulate their voice in a way that's unassuming, never strident, with an accommodating feel to it.

SHEPHERD: I call it the "nice-guy" goal. People in acceptance not only need others to like them, but are also learning how to live in the world and get along with other people. It's about saying yes, so it's hard to say no, which, again, fits with her accepting doing eight difficult shows a week when she was sixty-six years old. Learning to say no is balancing for those of us with a goal of acceptance.

DAVE: You can also see her king primary casting in the mastery that comes through in her career as a performer and in her life overall.

SHEPHERD: She's a consummate professional. She always shows up knowing her lines and being prepared. Directors know they can count on her; that's a positive expression of king casting. King casting doesn't give one the energy or feeling of a king; in fact, king casting is the most ordinal casting position out of the seven. With casting numbers, ordinality and cardinality are reversed. (We'll discuss that in more detail later.) On the other hand, king is the most cardinal role; when you're a king, you are imposing, influential, potent, and compressed--your energy is intense. King casting is king-like in flavor, but it manifests in your approach to the details of things rather than the big picture. It's oriented in excellence and perfectionism in the smallest things you do. Incidentally, the king role is the rarest--only four percent of the population; however, the casting numbers are roughly equal, so about fourteen percent of people have king casting.



MICHELLE (Chart 4)

Michelle's chart was channeled by Nancy Gordon. Michelle is also a priest, but with a scholar essence twin. I find that to be a common pairing. Both priests and warriors like to twin with scholars because their neutral energy absorbs some of their intensity. Warriors are the most intense role in an earthy, grounded way; they have a cool, steely, penetrating look in their eyes. Priests have the most intensity in a hot, high-frequency way. They both make good partners with scholars, who are right in the middle and can absorb some of their excess energy.

Your neutral scholar essence twin energy may not jump out at others, but it should show up in your life quite a bit. For example, you might be a big reader and collector of books, particularly about spiritual things, since you are a priest.

MICHELLE: You got it.

SHEPHERD: You have warrior casting. Priests and warriors are true opposites--they are as different as night and day. When someone is a priest but with warrior casting and/or a warrior essence twin bleeding through a lot, it can make it hard to guess what their role is because they feel like they're somewhere in the middle. Neither their priest nor warrior energies dominate a great deal. If you pick up the primary role influences, you still might have a hard time deciding whether they're a priest/warrior or a warrior/priest. The other instance in which I have trouble figuring out people's role is when they turn out to be a scholar but have diverse other influences. In addition to her priest/warrior dichotomy, Michelle also has a scholar essence twin, making her even harder to read.

MICHELLE: Could you clarify frequency?

SHEPHERD: Frequency is the speed of vibration of the soul on a scale of 1 to 100; yours is 58, which is mid-range. Surprisingly, the average frequency is not 50, but in the 40s, because it's harder to relate to the physical body when you have a high frequency. People with very high frequencies tend not to fit in very well; they can be oddballs. There are examples on some of the other charts in the PDF, such as the next one, Leonard Bernstein, who clocked in at 91, which was easy to see. George Gershwin's was at 82, and Robin Williams' is at 83. High frequency doesn't necessarily make one hyper--Oprah Winfrey is calm but airy at 72--but it can. Anyone in the middle ground, 40 to 60, is going to feel pretty comfortable getting along with others in that regard.

Some channels get this number as a combination of the role's frequency and the person's individual frequency; I get it as a separate reading. I don't know how it comes through Nancy. On the role level, priest is high frequency and scholar is low. (Warrior is also low, but casting is not very relevant to frequency.) Averaging priest and scholar, you're in the upper middle, and you also have an upper-middle frequency for your actual individual vibration.

A low frequency person may feel quieter, steadier, or slower. High-frequency types may be dreamy, ethereal, buzzy, or talkative--it can manifest in different ways. Since yours is average, it's not going to stick out all that much.



LEONARD BERNSTEIN (Chart 5)

The original channeling by Sarah Chambers (fictionalized as "Jessica Lansing" in the Michael books by Chelsea Quinn Yarbro) in the 1970s was that Bernstein was a priest. I got him as a sage. He was a poster child for passion mode, especially when he was conducting; his passion was to the nth degree, and passion is the priest mode. In addition, he had emotional centering, which is also inspirational (and handy for musicians). Probably no Michael student would dispute emotional center, since it's so obvious. However, he was known to sometimes be crass socially with people, making rude jokes and saying things for shock value, which is something that a sage is more likely to do than a priest. I certainly don't want to limit any of you priests out there who want to make rude jokes from time to time. With any overleaves, it's up to you to decide what you think is correct.

Looking at his eyes in the PDF photos, I see more sage expressiveness than priest warmth and compassion. Artisan essence twin bleedthrough shows up more on the young picture, in its softness. Warrior casting might have added strength to his conducting, along with his goal of dominance--he certainly took over wherever he was.



SUSAN BOYLE (Chart 6)

Susan Boyle's photo is of a stereotypical scholar. Sometimes, scholars are hard to pinpoint because they are neutral, and other stronger influences in the chart stand out; you have to study them closely to figure them out. However, the neutrality of Boyle's face plus her jovial body type show up strongly. Scholar neutrality can manifest as frumpiness. Her discarnate sage essence twin bleedthrough also shows up somewhat: there's a little sassiness coming through.

She has king and server casting, plus two king overleaves: aggression and impatience. The combination of king and server casting almost cancel one another out, but king influence may show up in her as a certain self-possession.



JULIAN (Chart 7)

JULIAN: I've been wondering about the emotional center, intellectual part, and how that manifests.

SHEPHERD: Emotional centering is a "natural overleaf" for the inspiration axis roles, server and priest. If you look down the chart in a straight line, you'll see that the emotional and higher emotional centers are in the same column as server and priest. Priests and servers like to go by their emotions: inspiration is an experience of feeling; it's not primarily intellectual, although something intellectual might trigger a feeling of inspiration.

Julian, you are a priest who, in addition to being in the emotional center, also has the priest attitude, spiritualist, and the priest chief obstacle of arrogance. Multiple inspiration traits reinforce one another, so they come across more strongly, and you do the emotional center and spiritualist attitude in a more intense way.

Intellectual part means that your emotional reactions tend to be embodied intellectually. This particular combination of centering, intellectual part of emotional center, is renowned for being especially good at reading other people.

As a priest, you already have great empathy--you can feel what others are feeling; that's built in to being a priest, part of the positive pole of compassion. Emotions are the carrier of substance; they tell us what's going on: No matter how hard we rationalize an emotion intellectually, the emotion is still there. For example, if you're angry, you're angry. Being emotionally centered, you're more in your emotions, and you can feel other people's emotions. Because the intellectual part is your secondary centering, you can articulate intellectually what you feel emotionally, your own feelings or other people's.

In the PDF photo, you can see in Julian the same kind of very warm eyes that you see in all the other priests.

In general, this is a soft chart. The goal of acceptance and spiritualist attitude are among the softest overleaves, so there's a real gentleness here. The only harsh element is the chief obstacle of arrogance, which has an edge to it because it is cardinal. However, it would depend on how and how strongly you manifest it. It can be subtle; for example, it can manifest as shyness. On the other hand, it can be prickly to other people whom you feel are invading your space.

JULIAN: Can you elaborate on the fear of judgement.

SHEPHERD: Those who have arrogance often had parents or other people around who made fun of them or criticized them mercilessly--verbal abuse. Many gay people have arrogance because of having been made fun of so much as a child. One gay stereotype is the tart-tongued queen, which is a form of arrogance; it is used in self-defense.

Some parents and teachers criticize everything their children or students do, and rarely give praise, leaving the impression that no matter how good something is, it could be better. This criticism is internalized, so that people in arrogance grow up being hard on themselves; they're self-conscious because they're monitoring everything they do--they want to do everything right so that nothing can be criticized. However, that stops the natural flow of life, leading to making more mistakes because of the self-consciousness.



ELLEN BURSTYN (Chart 8)

Ellen Burstyn, a film actress, is another priest. She was the star of a beautiful movie about a spiritual healer called "Resurrection." Many healers are priests. In her photos, you can see much warmth and caring coming through her eyes.

She has recently written a book about her battles with addiction. Anyone, with any chief obstacle, can have struggles with addiction, but the stereotypical chief obstacle (AKA "chief feature") that goes along with addiction is self-destruction, which is what I got for her.

Self-destruction is defined as a fear of losing control. It often originates from a childhood in which things are chaotic all the time and the child doesn't feel like there is anything to hang on to. Children crave structure, something dependable. As a reaction to the lack of that, a child may continually try to set up some kind of discipline, but it keeps falling apart, because establishing that is not the child's job and is beyond her capability. As an adult, there continues to be a lot of pain and a feeling of life being out of control. Trying to dull the pain can lead to substance abuse, which perpetuates the cycle of losing control, and then trying to re-establish it. It's a self-karmic struggle, learning to develop control that comes from inner balance rather than just trying to impose discipline on yourself. That's something that she has written about.

The goal of discrimination comes through with Burstyn. Discrimination is discerning; it sifts and weighs things in order to find out what's the best about them. Sometimes you can see it as a squint in the eyes.



HILLARY CLINTON (Chart 9)

Hillary Clinton's is probably the all-time most controversial celebrity chart in the Michael community, so this will be interesting to discuss. Again, it's up to you to decide what you think is correct. Some celebrities are so obvious that virtually no one disagrees. No one, for example, disagrees that her husband, Bill Clinton, is a sage, because there is simply nothing else he could be--he is so stereotypical. And there is virtually no disagreement about Barack Obama being a priest; it's self-evident.

The reason some people's role is self-evident is because the overleaves and/or imprinting (how our parents taught us to be) are pretty congruous--they mostly say pretty much the same thing. However, people with influences that pull in contrary directions can be harder to read. I believe that is the case with Clinton. By her account, her father was a tough, masculine man, and he was her primary imprinter.

Your essence is the core part of you--it is not what you were imprinted to be, or your overleaves, but who you really are underneath it all. The best way to figure that out is by studying a person's eyes and facial expressions. If someone handed me the photo of Clinton in the PDF and I didn't know anything about her, I would immediately guess that she's an artisan. You see in the photo an adorable, soft, and pretty artisan face. There have been some photos of her on the web that were downright goofy. However, when she put herself in the public eye, she constrained herself quite a bit, trying to change her self-presentation to be able to win elections or help her husband's campaigns. You don't always get the real person when you see a politician (or actor).

It's similar with Obama: it's obvious that he's being very careful not to be misconstrued, so, like many in his position, he walks on eggshells. Being truly frank would often get him into trouble that he'd rather avoid. Your survival instinct goes into high gear when you're in the public eye.

Some people think that Clinton is a warrior. I did get her as having a warrior essence twin, although not with a lot of bleedthrough. Sarah Chambers and one of the Yarbro channels said scholar; I got scholar casting. Casting has more to do with how you act than who you are, and Clinton certainly acts at times like a very intelligent, nerdy scholar, even if she doesn't feel or look like one. However, another of the Yarbro channels said artisan; I suspect that that was the first channeling, and first channelings have the best crack of being correct if done by a channel who is good at overleaves. My initial channeling, before I had been much exposed to Clinton, was sage, and sage also has its supporters as being her role, but it is obvious to me now that that is not correct. So we have four major contenders for Clinton's role, out of seven. My article about the problems of "Channeling Michael Information More Than Once" is here:

http://www.michaelteachings.com/channeling-more-than-once.html

Another good argument for Clinton being an artisan is that Bill is obviously a sage, and sages and artisans mate with each other more frequently than with other roles.

As far as her other overleaves, I'm less confident. I got self-destruction as her chief obstacle. I have a sense of her always trying to hold herself and things together, being a control freak, but that could be wrong.

DAVE: We often see her playing the political game where she noticeably postures in a masculine way, which leads people to think she's a warrior, but I think it's more posturing than anything else.

SHEPHERD: Higher male energy can be confused with the warrior role. In warriors and kings, there is an earthy feeling. High male energy is goal-oriented. I channeled that she has slightly higher male energy, not extreme, so that would not be the main factor, which, again, I think is imprinting.

Clinton places her speaking voice quite low, and then she often gets sore throats. I get the impression that she's pushing it down to sound more authoritative so that people will take her seriously, and she might be mimicking her authoritative father in that.

One thing that argues against artisan for her is that a lot of artisan females love to decorate themselves; they're very much into their hair, clothes, make-up, and such; she was always the smart girl with glasses, more the scholar archetype. Again, I did get scholar casting for her.

It's a complicated chart, she's a complicated person, and you can decide for yourself.



PATRICK DEMPSEY (Chart 10)

Patrick Dempsey is a star of "Grey's Anatomy," a priest with a discarnate artisan essence twin and sage casting. One thing he does well with his character is be quite charming (artisan and sage), but in a low-key, dignified way (priest). In the positive pole, priest males often strike me as having a natural, contained dignity; Richard Gere is another example. Sages, by contrast, are more the clown. Since both secondary influences are from the two expression-axis roles, he does go into a playful, jokester mode, as well. So he is an expressive priest, which helps explain him going in to acting (although any role can do any career).

With a goal of dominance and power mode, he's also formidable, although in a softer-spoken way, with his emotional center and spiritualist, which are softening influences. He's self-protected with his chief obstacle of arrogance, so he's not quite as much out there.



JOHNNY DEPP (Chart 11)

My comments on Johnny Depp could be controversial, because most of us in the Michael students community think of him as an artisan; I got warrior/artisan. It's like Bella Abzug's chart where she was a sage, but everything else was warrior. I got Depp as a warrior, but not only with a discarnate artisan essence twin bleeding through, but triple artisan casting, which is rare.

It's easy to assume that he is an artisan because he's so creative and good as an actor. He also has a vulnerable quality about him, which I would explain as him being sixth-level mature. It is infamous for being the most difficult level of any soul age, because there can be a lot of karmic payback, and the mature soul cycle is intense and dramatic about interpersonal relationships to begin with. Not everyone at sixth mature has a rough time, but many look like they've been through the wringer, and he does. If you're a warrior who's been through the wringer, it can break your spirit a little bit, making you softer, more open and considerate of other people, and less of a steamroller. On Depp's chart, his warrior essence is the only really strong element, although it is the most central one. If you look at his photos in the PDF, you can see the woundedness and weariness of sixth-level mature, but there is also the penetrating, flinty don't-mess-with-me glint of the warrior.

When somebody is not an artisan but he has an artisan essence twin and artisan primary casting, I call that being an "honorary artisan" because of the double influence. Depp has it quadrupled because three of his casting numbers are artisan, so it is easy to mistake him for an artisan. He also has higher female energy, adding to the impression of vulnerability, which is part of feminine receptivity.



SAM SHEPHERD (Chart 37)

Sam Shepherd is another warrior/artisan whom I thought was an artisan before I did his chart.

DAVE: Since so many people look at Depp's puppy-dog eyes and naturally assume artisan, could you validate him as a warrior by looking at his brand of acting, which tends to be very physical? When he steps into his characters, he physicalizes his gestures and mannerisms in a grand style. It's action-oriented, like you would expect in a warrior. I think of Harrison Ford as another example of a warrior actor who embodies the physical side of acting.

SHEPHERD: I agree, although there are artisans who are also gifted athletes (not quite what you're saying here, but related). Heath Ledger was clearly an artisan, but he was also very physical--he loved to do his own stunts, for instance. He was moving centered and had a hundred percent active body type (saturnian/martial), so those were also factors.

In sports, you see a lot of both artisans and warriors. Artisans are more interested in the craft and skill required; warriors are more drawn to the challenge and excitement of competition.

DAVE: I would think that baseball would attract a lot of artisans.

SHEPHERD: Yes, it is a more skill-oriented game.

DAVE: As opposed to something like football, which involves more brute force.



CLINT EASTWOOD (Chart 12)

We have the reverse scenario with Clint Eastwood, whom many think is a warrior, yet seems to be an artisan/warrior. Yarbro got him as a seventh-level mature artisan, yet he plays make-my-day tough-guy warrior roles. He is an "honorary warrior," but he doesn't have a lot of essence twin bleedthrough, since his essence twin is incarnate, busy with her own life. However, he also has warrior casting, as well as high male energy (seventy-three percent, so he's been male more often), a goal of dominance, moving center, and impatience. Still, if you look at his eyes in the bottom photo, you can see an essential softness.



VICTORIA (Chart 13)

Victoria is priest idealist in growth, which has a lot of fire, but with caution mode putting on the brakes, especially with its negative pole of "phobia." The positive pole is "deliberation"--you make choices consciously and carefully; they're well-reasoned. Sometimes, a soul who has tended to jump into things impulsively may choose caution mode in order to slow things down and try to get a handle on that. Caution is on the same axis as intellectual center. (In Victoria's upper photo in the PDF, you can see the caution mode.)

Phobia freezes you so that you can't act, which can be a real problem. There is a fear of making the wrong decision, so you don't make any decision at all. That can be aggravated by arrogance, the fear of being judged. In the negative pole of "zeal," priests may do things because they feel inspired, without thinking them through, which can lead to being burned at the stake or some such thing. Caution and arrogance may be geared toward avoiding those kind of outcomes in the future.

You probably slide to power mode, because they're partners on the same axis; power broadcasts authority.

Victoria has sage primary casting, and initially believed that she was a sage. However, her secondary casting is also priest, plus three inspiration-axis overleaves, so her priest energy is strong.



DIANE (Chart 14)

Diane is another priest, but in aggression mode along with impatience, martial body type, and realist. These are all king overleaves. You also have emotional center and growth, which are server and priest overleaves, respectively.

DIANE: Aggression mode makes for a rough go. I have a funny video from my childhood in which I was playing out in the snow. We lived in Brooklyn, New York. I rolled up a massive snowball and threw it into the face of a boy who lived next door to me whom I played with. Then I realized I hurt him, so I went over to brush it off. It's a common theme for me where I feel like I'm always so aggressive, and then I feel very badly about it.

SHEPHERD: Because you're a priest and you want to heal people.

DIANE: Yes.

SHEPHERD: It's one-stop shopping! Go to Diane: she'll both injure and heal you. :)

DIANE: So, so what, if anything, can be done to work with that?

SHEPHERD: Aggression is one of the hard overleaves. I have a friend who is a scholar and it was the bane of her existence: she'd get tired, maybe her blood sugar would drop, and she'd lose control over herself, fly off the handle, and become belligerent; "belligerence" is the negative pole of aggression. On the other hand, people are always saying what a dynamic person she is; the positive pole is "dynamism." The good thing about aggression mode is it gives you a lot of energy for action, so you can get many things done at once. The opposite mode is perseverance, which is doing one thing at a time, seeing it through like a bulldog on a mailman's leg who just doesn't let it go.

You also have a martial body type, which also tends to be explosive, and impatience, which quickly gets testy. So it's not just aggression mode, but a whole possible domino effect of one negative pole leading to another, with the chief obstacle egging it all on; if you get strung out, you could go to pieces and explode. One tip is to get plenty of exercise so that you release that pent up energy from your system, and do whatever else you need to in order to feel centered and calm, including getting enough rest.

As an honorary scholar, you would tend to be a big reader, but especially about spiritual topics, since you're a priest.

DIANE: Very true.

SHEPHERD: And you have a lot of books?

Diane: A lot of books.

SHEPHERD: Scholar energy tends to collect books.

Your secondary casting is sage, and that is the third strongest influence after priest and scholar, so you are a communicator. You're also in a sage-position entity. That gives you a better ability to laugh at yourself and life, and communicate well your inspirations.

 



CYNTHIA (Chart 15)

Cindy is a scholar with a sage essence twin and sage primary casting; you are an honorary sage because you have two strong secondaries of that role. Your casting is the order in which you were cast from the Tao, and, by the same token, where you are within larger groupings. It's like your address. Your primary casting is sage because five is the sage number, and you're fifth in your cadence, which is your immediate group of seven scholars.

Let's make an analogy with your mailing address. The first part of it is the street number, which is the exact place you are on that street. Then there's the street itself, then city, county, state, country, planet, solar system, galaxy, and so forth. Similarly, as a soul, we each have a specific location within the whole. The most important position is within your local group, which is called a "cadence"--it is simply seven souls, normally all of the same role. You number off one through seven; again, you're in the fifth position. Why is five the sage number? Sages are the fifth most ordinal (which is the same thing as saying the third most cardinal, counting from the other side). It's also the fifth most populous of the seven roles, so it all fits together

In your pea pod of seven scholars, you're the one who does your scholar thing in the most sage-like manner. You *are* a scholar, but the things you're most interested in to study or work with are in the sage domain of communication, which includes the media and story-telling.

Your currently discarnate task companion gives you a spirit guide who is complimentary to you and can guide you from the spirit world in ways that are going to help you get that done. Since your TC is an artisan, that guidance is particularly creative and inventive.

CYNTHIA: I'm a pretty easygoing person except for my chief obstacle, stubbornness, so I'd assumed that I'm an old soul rather than third-level mature.

SHEPHERD: It is a low-key chart: flow, observation, and spiritualist. Even stubbornness, which says, "I'm not going anywhere unless I want to." isn't generally overtly dramatic. Scholar, flow, observation, and stubbornness are all neutral. There are no hard edges on this chart. Also, you have high female energy. Even though scholars tend to like the male body, since many cultures don't let females read and scholars usually love to read, your high female energy suggests that you have been female more often. That's a softer, less goal-oriented energy, whereas high male energy is more career oriented.

However, third-level mature suggests that your lessons right now involve working hard to understand relationships and your own relationship with yourself. Does that fit for you?

CYNTHIA: Yes.

SHEPHERD: In the Michael teachings, soul age is the trait that has been the most misunderstood and overrated in terms of importance, because people falsely equate it with spiritual advancement. In fact, there have been some advanced spiritual teachers, like some of the Indian gurus, who are baby and young, just as there are young people who are wise, easy to get along with, kind, and compassionate. On the other hand, there are some old people who don't seem to have learned anything from their long life, and it's the same with soul age. Soul age does tell you what lessons you're working on; mature soul lessons center around the inner world and one-on-one relationships; old soul lessons are about becoming more philosophical and detached from the physical plane.



RICHARD GERE (Chart 16)

Coincidentally, we have had a lot of priests so far, and Richard Gere is another one. Some people see Gere as a warrior. I channeled that he has a warrior essence twin and king casting, so he has a prominent action-axis side to him, yet his strongest traits are high-frequency: dignity, class, and refinement, rather than earthy drive. He's also in a six/priest-position entity in what through me is called Cadre Three, and through a number of channels is called Cadre One. That whole entity has a reputation of reserve and gentility (the joke is that they're the members of the cadre you can send to a PTA meeting, since the cadre as a whole tends to be rather brash). On the other hand, with power mode, he comes on strong, and impatience brings out his king casting.



GEORGE GERSHWIN (Chart 17)

George Gershwin was a sage/honorary king. You can see the king influence in the shape of his face; there was a regal quality to him. He was more self-possessed than the typical sage, and his mastery orientation is self-evident. In Yarbro, Michael talked about how some male sages (superficially) resemble kings anyway.

Gershwin was mostly self-taught. He didn't go to conservatory, although when he became successful later on, he did take some private lessons. He started out very young on Tin Pan Alley, which was the center of popular music in the United States in the early part of the twentieth century. His family was poor, and he worked hard to achieve success as a songwriter. Michael told me is that in a previous lifetime, he had been given everything on a silver platter, but squandered his opportunities. Therefore, for the Gershwin lifetime, he decided that it would be interesting to set a timer, so to speak--know that he was going to have an abbreviated life and try and make the most of it, cramming as much as he could into it. He died tragically of a brain tumor at the age of thirty-eight. He worked incredibly hard in his creativity from his teens through his thirties, completed "Porgy and Bess," and then dropped dead. He had had bad headaches for a while, but his doctors told him it was psychosomatic; no one figured it out until just shortly before his death. He chose a strongly mercurial body type, which tends to be wound up and nervous, and goes fast. Mercurials have oval faces and compact, lithe bodies. His music is mercurial, too, full of rhythm and excitement; it's wound up and propels forward. Toward the end of his life, he started losing interest in music and also became an accomplished oil painter (he had always been an art collector). So he actually finished what he wanted to do a little ahead of schedule, and did it all in thirty-eight years. He had passion mode and emotional centering, like Leonard Bernstein.

DAVE: He also had a goal of flow, which breaks the stereotype that it can't be in the public eye.

SHEPHERD: The goal of flow can manifest as someone doing a little of this and a little of that like, flowing like a river that bends here and there. He wrote popular music, then "Rhapsody in Blue" and other concert pieces, then a folk opera ("Porgy and Bess"), while continuing to write Broadway and film scores. He also had a radio show during the Depression to make extra money, in addition to his painting. He didn't do just one thing and take it to its zenith.

His very high frequency of eighty-two means that he burned through his lifetimes faster, with more intensity, than the average person, even without a mercurial body type. It's a different kind of experience of the physical plane when you vibrate so quickly.

As seventh-level old, he had a somewhat otherworldly quality about him, and some friends also described him at his memorial as both an old soul and childlike. He seemed above the fray, uninvolved with and even mystified by the dramas around him, yet he could be rather helpless, relying on his scholar brother Ira to protect him. "Childlike" can describe sages and artisans, and, especially at the old soul age, there can be difficulty coping with the material needs of physical existence.



SEA (Chart 18)

Sea is an artisan, a gifted writer, director, and poet, among other things. Sea, you have an incarnate priest essence twin; there isn't a lot of bleedthrough, but you are still attracted to priestly, spiritual things. You have king primary and server secondary casting, so you have an attention to excellence in details, plus a desire that your creations serve the common good. You have soft overleaves: acceptance, idealist, and observation mode, in addition to intellectual center/emotional part. Those are identical to my overleaves; I have to compliment you on your taste!

SEA: Maybe that's why we're connected.

SHEPHERD: You're sixth-level mature, stereotypically a tough time for the soul. You might feel like you're getting bonged over the head all the time.

SEA: Can you look at a chart and say when it all gets easier?

SHEPHERD: The charts aren't predictive. However, you could ask Michael where you are within sixth mature. Sixth levels tend to take a lot of lifetimes, so it does make a difference whether you're at the beginning, middle, or end of it.

Good advice for anyone at sixth level, particularly sixth-level mature, is to stay up to date on processing your life. That could include journaling or working with a therapist, or it could just be working out things while taking walks, for example You don't want to get behind on processing what is coming at you, because sixth, which is the priest level, is busy, like the priest goal of growth, and new things keep coming at you.

Six also implies the priest idea of harmonization; in this case, it's harmonizing your whole mature soul experience and tying up loose ends. If your sixth level includes paying back some karmas to other people, the best way to handle it is to be gracious and just accept whatever life brings your way. The way to get through anything better is to become more conscious. If you're conscious that you might be repaying a karmic debt, you can be philosophical about it and choose not to react in kind. You can choose to greet negativity from others with kindness and love. As you keep doing that, eventually the opposition runs out of snowballs to throw at you, and starts building a snowman with you.

That fits with our goal of acceptance, which means that we have set up lifetimes in which there's going to be a lot of things that happen to us in which our choice is to like it or lump it: complain and be miserable, or find peace and, ultimately, agape--unconditional love. So whatever happens, work with it and make peace with it.

SEA: It's funny you say that because a couple of hours ago, I got a ticket for rolling through a stop sign by a very rigid skinhead cop. I was gracious at first. Then I ended up not being gracious. Now you're saying to be gracious. Ah, shit.

SHEPHERD: You described on your blog how much you love to speed, so maybe this is the universe saying that it's not your time to die, so slow down and obey the rules. Artisans and sages don't like to follow other people's rules very much. We like to make up our own, and then change them on a daily basis.

SEA: I know. I just made that statement about not liking the law. Isn't that hilarious?

SHEPHERD: Coming to a complete stop can seem like an unnecessarily rigid and even silly rule to artisans and sages when it's obviously safe not to. Warriors and servers, for example, tend to have more patience with and appreciation for rules. However, discipline balances artisans and sages, because we tend to be more chaotic; it's also what comes hardest to us. For the solid roles of warrior, king, and scholar, discipline can be a pleasure, even an obsession, whereas the spontaneity that comes so easily to artisans and sages can be hard. So whatever our strengths are, we have to reach out to the opposites in order to become balanced. Both discipline and spontaneity can be overdone, but for the artisan, a degree of discipline is beneficial. Coming to a complete stop even though there's no logical reason for it, when you can see perfectly well that there's no one who's going to be crossing the street, could be balancing for you. So you might just go ahead and do it for the experience of the discipline.

SEA: Ugh, you're killing me here. It's a funny metaphor, because way up where I live in Topanga, it's like the top of the world with nobody there, but there's this cop lying in wait.

SHEPHERD: Maybe he's your soul mate and you should ask him out.

SEA: No, this guy was…no no no no. It's over between us, definitely over between us. It ain't gonna happen. Well, something might happen in court, but it ain't gonna be pretty, I'll tell you that.

SHEPHERD: If you go court and he doesn't show up, they throw it out.

SEA: Should I do that, Shepherd?

SHEPHERD: Challenge the ticket, go to court, and hope he doesn't show up. If he does show up, see it as sign from the universe and ask him out. Either way, you win.

SEA: Okay, I'm just ignoring that….Is there anything in my chart that points me toward a way to manifest my career goals?

SHEPHERD: Your king casting is helpful in this. Artisans can be chaotic people because you have five inputs, so there's a lot coming in at you psychically at all times. It's the most vulnerable role. I would say that artisan is the hardest role to be in this world, along with king, for a different reason. Despite what Mel Brooks said ("It's good to be the king!") it's actually hard to be a king because there are so few opportunities to actually use your king muscles, be in charge and lead, yet you feel so much expected of you in that regard. However, when you put those two energies together in a positive way, it helps focus some of your artisan creativity toward the completion of your tasks in an excellent manner.

SEA: My ultimate desire is to direct my own films.

SHEPHERD: Being a king-cast artisan is perfect for directing.

SEA: I've been directing in theatre my whole life, but switching to film has me stumped.

SHEPHERD: As you know, it's very hard to break into those high-level careers for anyone; I would just suggest that you keep plugging away at it.

SEA: How can I get my idealist attitude to work for me in a positive rather than airy-fairy way?

SHEPHERD: I've been thinking about my own life as an idealist. I've had to work hard on this one: I was naïve when I was younger, and did a lot of ungrounded things in "abstraction," the negative pole of idealist. Michael's standard recommendation is the "hands-across" technique, in which you slide to the opposite overleaf, skeptic, in this case. Its positive pole is "investigation," so you examine things, working for practicality and common sense. On the plus side, being an idealist means that you're optimistic, bounce back, and believe that you can have the "impossible dream"; that keeps you coming back to the table.

SEA: Oh, it's so fun. I recommend everyone avoid sixth level.

SHEPHERD: Yes, just skip over it into seventh. That's a great idea.

SEA: You said that this is a very busy life, yet I'm going through a lot of periods of time where I can't get the work that I want, or any work at all.

SHEPHERD: What the soul views as being karmically busy is not the same thing as employment. The question for you has always been, "Do I take a job I don't like just to make enough money, but then not be able to do my art, or do I hold out for the job that I really want, and then maybe risk not having any money?" This is a perennial problem for artisans and sages, because there's not always an opportunity to do what we really want to do, create and perform, especially in the higher arts. Artisans can always get work in the practical crafts; artisans are naturally good at building, plumbing, electrical, repairs--anything with your hands--but the higher arts are always harder to get paid for. Far be it from me to tell you how to answer that question, but you've done both: you've worked at jobs you didn't like but got a paycheck, and you've been creative but unemployed and have gotten into debt. Now you get to decide which is worse, at least until your career breaks through.



AL GORE (Chart 19)

Al Gore's is another controversial chart. Even the Yarbro channels disagreed among themselves about it. The original word from them was scholar, but they later said server (slave, in their terminology), and, studying his eyes, I now agree. I got him as an honorary scholar, and scholar is probably still the most popular view of him. My first (faulty) chart for him said king, which another also channel got, as well (I wasn't very familiar with him at the time, and was not the first channel accessing the information). Still another channel got priest. I see a classically soft, warm, doe-like server quality in his eyes, rather than a king or priest's piercing quality or a scholar's neutrality. Had I really looked at his eyes in the beginning, I would not have been misled. Also, he has a server's humble, unassuming nature.

Interestingly, something similar occurred with John Kerry, the next losing Democratic Presidential nominee: Originally, the word from the Yarbro group was that he's an artisan, which I bought into for a while, but they revised that to server, which also makes more sense for him.

Gore does look like he could be a scholar in terms of his wonkiness. Wonks are people who love the fine points of policy; it's a scholarly thing, but it's also a serverly thing because servers are often found among bureaucrats, the people who keep the world running--they take care of the basics.

There really isn't anything in him that I see as being king-like. He does have the king mode, aggression mode. The most unusual and striking thing on his chart is having ninety-one percent male energy, which is very high. However, we think of server as a more feminine role, so it's not manifested as super-macho. Instead, it shows up as him working non-stop--he travels all the time doing climate change teaching: work, work, work, which is what high male energy people do; he works aggressively, dynamically, because of his mode, and for the common good, since he's a server.

Both Gore and Kerry, with their high ordinality, had a lot of trouble presenting themselves well publicly--neither are very charismatic. It was said of Hillary Clinton, an artisan, which is also ordinal, that she comes off much better in private than in public, whereas sages, priests, and kings, being cardinal, shine in public. So in his campaign for President, Gore came across as not very interesting, and that hurt him politically.



KATHY GRIFFIN (Chart 20)

Kathy Griffin's is a fun chart to explore. I had assumed at first that she's a sage because she's a comic. Then I started to think that she's warrior/sage (warrior with sage essence twin), as I assume Joan Rivers is, for example, because she's so blunt. However, ultimately, a sense of humor is a human trait, not just a sage trait. That is a speciality of sages, but any role can be a comedian, and we do have comedians of all roles.

For example, Chelsea Quinn Yarbro said that Jon Stewart is a scholar. I had also assumed Stewart to be a sage, so I balked at first, but then I started studying him, looking at his style, and it made sense to me. Another example: Garrison Keillor is a server. I had originally assumed Keillor to be a scholar because of his detached demeanor (I channeled that he has a scholar essence twin). However, that could also be due to him being an old soul, and/or the common reticence of the ordinal roles in public. The moral here with overleaves is: Assume nothing. To master this material, we must observe people carefully beyond the surface. Many Michael students find that their first guess as to someone's role often turns out to actually be her casting and/or essence twin role.

To my surprise, I got Griffin as a fifth-level young scholar/honorary warrior with secondary sage casting. She has a show called "My Life on the D List." Her shtick is about pretending to be a minor celebrity (not even on the B or C List) trying to make it as a major celebrity (the A list). One could easily see her as a scholar studying young soul fame both by having the experience, and stepping back from it, observing and commenting on it. She seems to simultaneously want fame and money, while skewering the absurdities and excesses of them.

Fifth level is the sage level; it's the possibly eccentric level of our growth where we play with things and take them in a new direction. We also focus on communication. According to Yarbro, humanity currently averages fifth-level young. Some of the other channels are saying that the average planetary age is one to three levels older. However, what has been particularly remarkable about the last fifty years? Communication: technology, media, the internet, and so forth. Fifty years ago, there might have had one to three television stations; now, we might have hundreds.

The first Michael channeling in the 1970s said that humanity was fifth-young then, and suggested that evolution through the soul ages is a slow process. It's true that our spiritual evolution is accelerating, and our movement toward a mature-soul world is casting a large shadow over everything. In addition, it's likely that the U.S. is now at sixth-level young rather than fifth. However, we can also see much of the Third World just beginning the young-soul game, so my guess is that humanity is still averaging fifth-level. If Griffin is personally at fifth-level young, she's at the exact place that the average human being is. She's like a journalist reporting from the front, providing a hilarious commentary on what people do to try to get famous, which we see now more than ever before. The young soul cycle is about mastering the outer world (success). It stands to reason that the fifth (sage) level would highlight fame, or, at least, notoriety, since sages tend to love (and need) the spotlight in order to do their job of expressing themselves and communicating.

I almost didn't include Griffin in this workshop because I wasn't sure that scholar was correct. Then Dave commented on how deadpan her delivery is: she delivers the punch line with no expression on her face at all; she's like a board, and that could fit for scholar.

Then I asked someone who actually knew her (they were in the Groundlings comedy troupe together) and also knows the Michael teachings. She said, "Kathy Griffin is kind of like Switzerland, which is how I always think of scholars. 'It's nothing personal: it's the information,' and she just delivers it." Though she makes fun of celebrities and has honorary scholar bluntness, I never feel that there's anything mean about it. It's almost like a four-year-old saying a naughty word and then giggling.



OSCAR HAMMERSTEIN II (Chart 21)

The next celebrity chart is the lyricist Oscar Hammerstein. Rodgers and Hammerstein wrote the great musicals of the golden age, and Hammerstein also wrote the pioneering 1927 musical "Show Boat." Hammerstein was a scholar with king casting, as is his protégé, Stephen Sondheim, who is currently our greatest living musical theatre writer. Hammerstein was a deliberate, plodding type of person, which reflected his caution mode. He also had a strong saturnian body type; if you describe someone as being "saturnine," you mean that he's plodding; that quality can come with the saturnian body type.

Rodgers, an artisan, was a fountain of melody: he'd just sit down to the piano, and creativity flowed endlessly, whereas Hammerstein had to work hard for everything he came up with.

Sondheim, who also collaborated with Richard Rodgers after Hammerstein died, on a musical called "Do I Hear a Waltz," famously said that Richard Rodgers was a man of unlimited talent but limited soul (he could be petty and small-minded) whereas Hammerstein was a man of limited talent but unlimited soul. Hammerstein was kindly, cared about social issues, and stood up for what was right. Although he wrote poetically about matters of the heart, he was a placid, unemotional person. Being a scholar in the physical part of the intellectual center, it would not have been easy for him to react emotionally.



JAYESON (Chart 22)

Jayeson is a member of an entity (spiritual family) renowned for being strong. It is not only first in its cadre (seven entities) but the cadre itself is first in its cadre group (twelve cadres, AKA "energy ring"), so this is the first entity of eight-four. Its members tend to lead the way, jumping in first. Many Michael channels are in that entity (I'm in the one next door to it).

In addition, Jayeson is a king soul. Kings are the quintessential leaders. He also has the king overleaves of realist, moving center, and impatience. However, two traits put on the brakes: sixth-level mature, and, especially, caution mode.

JAYESON: It's funny you mention that, because I was just thinking today how much I dislike caution mode. I know that everything is here for a reason, and everything's fine, but at a really deep level, something in me just bridles against that part of my personality.

SHEPHERD: The chief obstacle of impatience is all about bridling. In addition, you're in the physical part of the moving center, so both your primary and secondary reactions come from your body--you want to react with action. It's rare for both centers to be on the same axis. Furthermore, as a realist, the king attitude, you want to be able to say, "Hey, it's good to be the king!" However, sometimes king energy does need to be bridled.

JAYESON: Absolutely. I was wondering why, at sixth level, I would choose a goal of growth with caution mode.

SHEPHERD: That combination is abrading, but even abrading overleaves are chosen, in order to balance opposites. It's not easy. Your goal of growth means you seek new experiences, but in caution, with deliberation, so you carefully seek new experiences. As a king, you are inherently powerful and concentrated in your energy, so if you aren't careful, you can be a steamroller--you could charge into every situation and try to take over. With caution, you are trying to use your king energy more consciously in this lifetime.

You are an accomplished martial artist.

JAYESON: I'm still a student, but I've been one for a few decades.

SHEPHERD: That helps you develop mastery of your king power by teaching you to interact in a more conscious way.

JAYESON: That's right. Studying and teaching martial arts has been a real grounding for me. My goal of growth continually drives me to learn more and never think that I've got it. The further I get in to it, the more it grounds me, but I'm never there.

SHEPHERD: Martial arts are about the lessons of caution mode, in that you are supposed to pay attention rather than plowing through without thinking.

JAYESON: Absolutely. I think that those, at every level, who get involved in a discipline like dance or martial arts at some point plow ahead, but if they stay with it, they realize that doesn't work, that it's self-destructive.

SHEPHERD: Being in the physical part of the moving center also fits with martial arts: the focus of your king mastery is through your body.

JAYESON: That's doubly interesting because, throughout my life, I've had a number of life-threatening injuries and accidents, so my body is quite a challenge to keep going at times.

SHEPHERD: That might relate to being sixth-level mature: you might have paid back some karmas through your body. Isn't that an interesting challenge, to be centered in your body so strongly, to seek mastery in that, but keep having it be injured? Having been able to continue with the martial arts all these years when you've had injuries sounds like something a king would do to develop more mastery.

What's most interesting about your chart, Jayeson, is a very high frequency--ninety. That's probably in the top percent or two of the population. You can sense Jayeson's high frequency as softness in his photos.

One of the things I like about the fact that frequency comes through me separately from the role's frequency is that a high frequency priest is not going to stand out so much, because priests are already a high-frequency role. However, king is a low-frequency role, so it's particularly meaningful in your chart. How does that impact you?

JAYESON: I feel it almost like the presence of the infinite soul, that I have a connection with that or have a mission around that somehow at a very deep level. When I think about it, I get almost an energy tremor around my body; I'm not sure what it is, but I think, "Oh, maybe in a couple thousand years when the infinite soul comes back to earth, I'll be chosen to be replaced."

SHEPHERD: You're really good with long-term planning. :)

JAYESON: At the same time, it doesn't mean anything. It's not a big fixation for me. I also have a lot of talents around healing and knowing things; I wonder if that's the high frequency.

SHEPHERD: Michael said, regarding your frequency: "It is highly unusual, especially for a king, but it provides access to higher realms for someone who would otherwise find that difficult."

The low-frequency roles, warrior, king, and scholar, are more connected to earthy things--they are more sexual and physical; they tend not to be so intuitive. JP Van Hulle, one of the foremost Michael channels, is a warrior, and she said that warrior channels like to go out (become more unconscious, channel in a deeper trance) because it's hard on them to connect with those high frequencies. Whereas I, being a mid-high frequency sage, like higher energies, and being in my body is harder for me.

However, you are a king with a very high frequency, which is almost a contradiction in terms, and that give you some access you wouldn't have otherwise, but also some problems you wouldn't have otherwise. You reach for the higher things, yet you're trying to bring them down into this very physical, kingly, masterful existence: you are a bridge between the higher and physical realms.



Click here for Part Two of the workshop.

 

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