The Healing Power of Singing Bowls & Mantra

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0:51 Denise welcome. It's great to be here. Hey, I am so excited about this. I've had a chance to read your website and Ashley, download some of your music, your mantras and so forth, and I have to tell you and let the audience know that the minute I started listening to them, it was just like, oh man, this is amazing. And I I meditate, I try to meditate every day, one way or the other. And usually if I'm doing a walking meditation, I listen to music and special you know whatever for meditation, and yours. Just struck me so strong. It was just amazing. So I downloaded everything I could find anyway, So get started here. I'd love for you the audience, to share with the audience your story what you don't go back as far as you need to go back, but what brought you to this point.

1:42 Where you're doing what you're doing now. And is that what you always did or is this a journey that you went on that brought you to this point. Oh that's a big question. I know you what you said about my music, it's I do hope that it gives people opportunity needed to exhale. I tried to keep spacious, spaciousness in that, and oh that warms my heart. You know. I think I consider myself right now a sound explorer. I've worn the label of opera singer, voice teacher, sound healing practitioner, singing bowl person. But it did start at a very young age exploring the sounds of nature. Really, I grew up close to a river and whenever I could get to the ocean. I remember I was a very shy child, and I would sing to the ocean.

2:34 I would sing with the river, and that is where I would manifest my dreams in my heart. And it changed a little bit when I started singing for others, because others, particularly my early music teachers, didn't think I had any talent, said not to bother auditioning for the high school choir, you wouldn't make it. And I there was something in my heart that just pushed through. And the beauty is that a person who took me on as their voice student took me under her wing and I started to find my voice. Now as a voice teacher, I learned that I just didn't have access to my full range. When I tried, I would just crack and it would be pretty bad sound. But she believed in me, my parents believed in me, and somehow I ended up on the opera stage, getting to music degrees and just a lot of discipline, a lot of finding my breath, finding my voice, and honestly not to discourage others on the path of singing. But I didn't really feel like I settled into a technique where I could just sing easily until grad school really, so it was a long journey for me to find my singing voice.

3:48 Wow, where did you go to grad school? I went to you and see Greensboro? Okay? Cool? Yeah? Cool? So you sang opera as a child, as you say, as a child, you were kind of told you couldn't say very well. Yeah. And I have a memory of being in fifth grade and I was one of three students in study hall when I heard the whole class practicing choir music down the hall, and it was bewildering to me, like why can't I be in there singing? And I honestly have no answer to that. But and then in middle school, my middle school teacher just I just remember perse slips, you know, as a child, and then you enhance the memory now as an adult. But perselip sing, you have no talent. Don't find anything else to do. And honestly, once I started singing, even my voice teacher, who I not the person who first took me under her wing, but a second one who helped me get into undergraduate school Westminster Choir College in Princeton, he said, if you can do anything else, do it, because the profession is so difficult. And I did find it is difficult. It did eventually steel my heart for singing for a time, but that was a whole nother journey of finding why I really need to sing, Not so much to be in front of others, particularly as a very shy person, battling stage fright with every performance, but what is really truly trying to express? And I think I'm still finding that.

5:19 At least at this point in time. As you as you went through that process, and I know that you said that at some point in time you kind of hit the perfect storm you were singing and so forth, but at some point in time it really hits you hard. Can you kind of share what the audience said journey? Sure, yeah, the perfect storm. So it was I would consider it at the height of my opera career, where I really had the chance to step into the regional houses start to do. I would say, for me, a little bit more exposure, more pressure on myself to really step into my fullest potential. But at that same time, I was losing my husband to a sudden divorce and my father's I had struggled with alcoholism all his life, hid it very well. My mom hid it very well from me as well. Trying to protect me, but the alcoholism was really masking mental illness. So when he was sober, the mental illness started to come out. And so as I was trying to pursue my career, my marriage was falling apart, and my dad's mental illness was becoming more focused on me in a sense, almost desperate to have anyone to hold on to. And I couldn't. I just couldn't do it. I bombed one of my biggest auditions at Lyric Opera Chicago. I shouldn't even have done it, but I did it, still trying to manifest my dream, and I just went back to zero. Really, I haven't

6:50 said this to anyone, but I was in hiding for a little bit, trying to find clarity. I didn't have any given all that I had to my husband's career, so I just left and I sat and made my very first CD, which I've pulled from the markets. But all I had was love. I didn't. I lost my father, I lost my husband, I lost my career, all that I identified with a wife, a husband, an opera singer, you know. And I still had my rock, my mom, for a few more years, and then she died suddenly of a fast moving cancer. So that just really had me shift to who am I? Why am I here? Which I think we all have our own, our own journey, and I fell into mantra. Really. I had read a book called Eat, Pray, Love. I don't know if you all remember that, Elizabeth Gilbert, and there was something in me that said she had gone to an ashram. And I didn't know what an ashram was. Thought, oh, interesting, it sounded very healing. I think I'll explore that. It's what all recovering opera singers should do, go to an ashram and find their voice, find their breath. And there happened to be one in Upstate New York, and I went.

8:08 And when I was at that ashram, I for the first time my life, wanted to be invisible. I didn't tell anybody my name. It was a strange place to be. I couldn't. I didn't know who I was, So if they asked what I did, I just said, I really don't want to talk about that right now. And I was sort of just a being figuring out. We practiced yoga, we practiced meditation for me the very first time, formal meditation, and it was silent meditation for a half hour, which if anyone's tried that for the first time, it can be devastated. Have you tried it? Not easy? Not easy? Not easy. So it's like, Okay, I've put myself in my own personal hell. Here where am I supposed to go?

8:54 And then at the end of the dreadful half hour of silent meditation, we started to chant. And that was my first introduction to chanting, mostly in Sanskrit, and it blew my mind because from the opera perspective, anything you sang in a different language, you had to have the translation working in your head at all times, so you knew exactly what you were singing. And here I wasn't given opportunity to know what I was singing about. Who was I singing to? And why? Why were all these people around me singing with such bliss? It blew my mind and eventually shut my mind down and opened my heart.

9:34 And then I started to sing again, just for the love of singing, like I did when I was singing with the river and the ocean. Wow, and it was remarkable. And then I started to tap dabble in classical singing again, and I went home, turned off my TV and started to pursue my own personal meditation practice. I got my very first singing bowl, which is somewhere around here, and the singing bowl, I would just rub it and it was the only thing that would quiet my mind during that difficult time because when I got back from the Austroo, my dad did pass away, and he passed away alone, and that was a whole another thing for me to heal and process.

10:15 So did you do any other journeys? It seems like as I read that you may have gone on different another journey. Yes, I went on many journeys. One of them which I maybe you're referring to what I wrote my book about, perhaps journey to Sunyata Mountains, Monsoons and Magic. That's the name of my book. I named it that Sunyata because a lot of people are unfamiliar with that term. I don't, and it's about my real life pilgrimage to Nepal that I went with my first sound healing teacher, and it ended up being not so much a learning experience about the singing bowls and the culture of Nepal, but more of a life life challenging experience for me and all of us at the end. So I wrote about it in fiction because some of what happened not even my husband believed, and I thought, okay, well if he doesn't believe it, I might as well write about it in fiction.

11:13 And I also didn't have any answers of what really happened to me energetically spiritually, So as I wrote it in fiction and the main character Ali and the other characters came through, I was able to have a healing journey and writing it and sharing it with others creating answers well. And since it was just strictly fiction and it really didn't happen to you, what were those things? Do you dare be transparent about that? Sure? Well, you know, I did say it's a novel based on a true story. What I found with my readers, particularly those who know me, they want everything that they read to be completely true. And I've found that to be difficult because it is. There's a little bit of fantasy in there. But so on the first thing that happened to me, First of all, I suggest if you're going on a pilgrimage or a retreat that the intention of purification is a big one, and be careful what you wish for. And so it was at a time I had just lost my mother. No, actually it was a few years after, and I wanted to be healed of my fears in my pain, so I chose purification.

12:29 And at some point in the journey, about halfway through, we had a shamanic journey in a small village in Nepal. And it wasn't so much about the shamanic journey, a few incidents that happened before, but this ritual was standing on a skull and spinning. That's all we knew. And if you spun, you would connect to the Shaman's teacher and you would receive a message. And I don't even know. That's all we knew. And I thought, oh, this sounds like fun. Let's try it. And it was truly an honor to be able to step on this skull. Now, the skull is a tortoises shell. I don't want to lose your listeners to. Not a human, not a human skull, Not a human skull.

13:12 It's a tortoise shell, a big giant tortoises shell. And we didn't know that as either. And it represents the incarnation of the Shaman's Teacher, which is the highest incarnation you can attain, so it's quite an honor. And so it was filled with rice and flowers and water and sacred sense, and the shaman would chant and play sacred instrument and you would step in and you would crouch. So having a yoga practice was very helpful to try and balance. And there's my teacher and a few others on the side to help you. We will wobble, but don't fall down. And several of us did spin and I spent. I spun a lot, and it was really interesting.

13:52 I felt an energy just go. And then I started to spin and I was spinning and I get very ill. I have car sickness and I can't do certain rides. I wasn't sick. It was really just interesting. I was I'm spinning, and then when the music stopped, I just flung off, flew off, and I was fine. There was something I call the village cough, and that whole room was having a cough. And it could be because the way they cook, they cook with burning wood fire. But I was starting to get that cough and it just felt like almost a choke. And by there was by the end of the night, I started to feel something come in and it was a choking, and it became a feeling of life or death for me, and I started started to become weak. And this is Denise speaking not so much Alley in the book. Somehow that happened.

14:50 It became from fiction to nonfiction. And in that night I started to have visualizations and it was a battle in my head of light and dark, and every time I tried to envision the light, I started to choke. And the voice being my instrument and that which I knew, I knew that that was not right, and so I called help eventually, and my teacher came, others came and they helped me work through this. And it was strange because as a choking increase the sensation, I threw up three times, and not food, just the energy that I can't couldn't stomach. And then I felt better, like the choking stopped, the battle of light and dark ceased, and I went into a peaceful state. And that journey had me feel very weak and complete in a sense. I felt like there was a purification that happened. Now as I reflect back on it, it was my own fears rising and it was a choice. Well, I let my own fears and my own disappointments and my grief choke me.

16:03 Or will I start fresh release it. I physically throw it up, get rid of it, and step new. And in that moment, I remember it was being It was very dark, there was no electricity, very hot. I was alone. It was nighttime, some night, some midnight or so, and I said, I'm at peace, I can go now. Isn't it amazing? It just it floors me the experience that people have that, And it's all different for different people, but for you to be on that retreat and to literally be healed from all of those negative aspects that were I'm sure sort of subconscious and so forth that came up, it just amazes me. I'm just curious what led you to the singing bowls?

16:50 The singing bowls. There was somewhere in my journey, I think at that first ash from where I heard the first singing bowl and I mentioned that I purchased one as soon as I could find one when I got home, and because that settled me, I found a piece when I sang with it, and I would do a simple home o and I would calm I wasn't performing. I wasn't trying to please others with my voice. I was just sitting with my own breath, my own voice, and a bowl. And then when I learned that there's a technique to work with many bulls, and specifically a sound healing technique from Nepal, the teacher who the man who became my teacher, my first teacher, did a session at a yoga studio happened to be right in the town I was living. And he called it a sound healing concert, and I thought, well, that's interesting. I'm a performer. I wonder what this concert is with singing bulls. What is this?

17:52 And so I went and he had a whole bunch, maybe fifty singing bowls, and I got close to the bulls. I led down and disappeared for an hour for that concert. And after I experienced that, I felt another personal healing. And this is before the big Nepal journey. Thought, wow, I have no idea what I'm healed from, but I feel lighter, I feel great. What is this? And I'm naturally a teacher. How can I learn this and share this with others. I couldn't help my father, but maybe if I had known this at that time, it might have helped him, maybe I can help others. And so eventually I was able to study this tradition from Nepal and combine all the other aspects of healing energy work vocal technique with this. So the transition from the opera stage to the singing bowls sort of blew my family's mind, like are you crazy? What are you doing? I also had some several trips to India and was able to experience Sacred Mantra and find a few teachers there to settle into the healing power of.

18:59 Sound, you know, And it's amazing to me. I've shared the story before, and I have to be careful. I hope my son doesn't get too upset with me. But one of my sons and his wife were out of the country and she was pregnant and ready to deliver in the hospital, and it was a country that doesn't quite have the same medical coverage that we do in the US, and between the one time they checked her and an hour later, because they only checked her on the hour, yeah, I know, the baby died oh internally, internally, and that created such an emotional loss. And I remember one or two years later talking to my son, and you know, him confiding in me the emotion that he still felt, the loss that he felt. And I happened to be a part of a networking group and one of the ladies does the bulls the sables, and so she said, hey, I'm doing a I'm doing a healing one up in this little area where it's kind of in a cave. There's a body of water. So you come and you just lay in the water and then I'm going to do the sables. And so I called my son and I said, hey, you want to go with me? And he goes sure, not expecting anything. Well, we got there, we got into the water, the bulls were starting to work and she had multiple balls going.

20:17 And afterwards, my son looks at me and he says, Dad, I'm healed. I'm healed from that trauma. And I thought to myself, it's so amazing that, you know, there's so many of us. I think everyone experiences some type of pain, sorrow, challenges, loss, all of those type of things in our lives, and so often we don't know how to heal from those and it can cause all sorts of issues down. The road if we don't. And you know, we talk. About meditation, we talk about all of these type of things. Singing bls I love. I haven't used them a lot, but I listened to singing bles as I'm doing my walking meditation, and it's just amazing to me that here are these elements of healing that we never even thought about. And you know, as we consider the Eastern healing processes so often in the West, we look at that and kind of look down on it and don't realize that there's.

21:17 Such value in that. So what is it about the. Singing bowls that heals, especially as you're using multiple ones? Thank you for sharing that story. There is a coming to presence and as you ring a bowl, it brings us to the present moment. And sometimes being in the present moment brings back those traumas, those painful situations, and it's too much to handle, and we just say okay, no, not now, and keep going. But there's something about the singing bowls where, particularly if you're working with several, can sort of blow the mind and invite you to be in the present, and then you can view the imprints of these traumas, not be them, you them, breathe through them, and see that you're still here. You're still here. In a sense, you're even more whole because of what you've been through. You still have your breath and can you find your breath? So it's in a sense it gives us opportunity to find the quality of breath and be in the moment. There's also the sound technology for the I'm looking down here because I have some balls down here, the particularly the hand hammered bulls. I've found that there's a fundamental sound when they're balanced, when they're the bigger bulls some you might see behind me, bigger balls. When you invite the sound, there's the fundamental sound, lower sound, and if it's a balanced bowl, the fifth is there as well. And every bowl has a harmonic structure, that

22:49 mathematical frequency that never changes, that mathematical pattern. And there's something about being embraced by the resonance of those bulls, settling into the fundamental of who we are, yeah yeah, yeah, and remembering who we are, this unique vibrational print that we are. Okay, where to be here? What is our how can we behole in this moment? And we get that hug of even just one bowl. Well, and do you find that by using multiple balls, because I know that as I look at the sulfagio frequencies with meditation music, that there are different frequencies that handle different things. Do you find that we're using the multiple balls that you're able some people respond to a particular bowl frequency and others to respond that's entirely different.

23:38 Definitely. Yeah, we all hear so differently as well. Yeah, I'm in the classic pattern. There's a bowl for each of the seven main chakras or energy centers within the circle of fifth in the Himalayan tuning, it's within the circle of fifth be E A, D G, c F for the musicians out there. Yeah, and so that tuning in my experience isn't as important as again, having those difference of bulls. And for me, when I'm offering this sound, I listen to see which bowl is sounding different. I know my bulls, I know their base sound, which one is saying a little something. So it's been about learning the language of sound. And okay, so that bowl is really sounding, it's the heart bowl. For example. Let's explore this is all happening in my head. Let's explore and see what's happening here. Sometimes I put the larger bowl on a body and rub it and listen for is the fundamental there or is it screaming? Is it screaming a different pitch through breath as the nervous system starts to settle as sometimes we talk it through. Sometimes there's a good cry that fundamental balance is with the fifth again, and maybe that other bowl that was screaming starts to balance.

24:57 So there's something that I can't measure yet that also happens with working with different bowls. I don't know if you've answered your question, but it's fact he does. And how does an individual. Tap into that personal healing power with working with sacred sounds, with those self directed sacred sounds? How do they do that? Because obviously where you are, they can't all get to you. And we'll talk about how they can at least reach you later on, But how does an individual work in helping to heal themselves through these sounds. Well, the fortunate thing is we are our own singing bowl. And how is that? Can you guess?

25:37 Well, you know, we talked about if if you're singing, And by the way, just so you know, my dad was a classical voice teacher at Northwestern University and oh yeah, yeah, and he. Was at that time. He's gone now but nationally known and so some fun stories. And I love classical voice. Cannot do it, none of the kids can do it, but boy, he had some incredible singers that. He were Oh that's amazing. Wow. So you do you have do you have an instrument? Not anymore? Like I was sharing with you, We won't get into that right now, but you know, there are some people that really do have an instrument. And I used to sing when I was going through dental school. I sang professionally with a group, So yeah, I used to sing.

26:25 But there's a lot of people that can't really even carry a tune, or there are people at some point in time that they're not able to sing anymore. Whatever happens with the vocal cords goes away. Well, and it's the for me. It's about inviting everyone to embrace their voice, whether they want to be a professional singer or can be a professional singer or not. We're all using this instrument as a tool of communication, and it's helpful to keep it healthy as best we can. And there are vocal techniques to help you connect to your breath. The breath voice connection. But there's also the mind connection as well. So the way I work, I pull from the yoga KOSHA's the shes, the layers and call them the vocal layers. So we have the physical.

27:21 Like I said, we're all a walking singing bowl and that can be accessed through a hum. Anyone can learn to hum. Yes, whether you consider yourself tone deaf or not. Honestly, tone deaf doesn't really exist. There's like a mini percentage of people who truly can't get that brain voice tone connection. So we can all. In fact, let's all take a hum. Do you mind? You know, I go ahead and hum, And also I want you to before we do that, I want you to do the bulls. And like I told the audience when we first started, you have some incredible things that you can get on you know, appletoons and so forth. But you've got this one with what about seven different shorter pieces where you're singing, and you have the balls that you're playing and I downloaded that and it's incredible.

28:12 But show the audience what you're talking about here. Let's let them experience what that is. Okay, So I'll put my sound on and if you don't mind. Yeah, okay, okay, let me know if. The sound cuts off. Okay, So, so there's that fundamental pitch, and I invite your listeners to sit tall if they can, so you can access sort of that full length of breath. The practice is if you have a singing bowl to follow the sound as it dies away. But we're working on becoming our own singing bowl. So there are three types of hums. We're going to just work on one today for a moment. Just the lips touching, the teeth are not touching or crossed, and the jaws free. And you might think in awe behind that hum. I'm sure your dad may have done this, But a good old fashioned is technique is a chewitch gumball. To try to loose intentions of around for.

29:26 Just a second, you need to humble a little bit louder. I can definitely hear the bulls, but I can't hear your humming as much. So if you could hump just a little bit louder for the audience, that would help about that. Sure, absolutely, Okay, here we go is a better. So what I did to increase my volume was to energize my air, not to push through the voice, but to energize the air. So the idea is that you take a deep, deeper breath. But when I talking about humming as your own personal singing bowl, it's quiet. I think that's why I was doing that, because you're tuning your nervous system. You're tapping in through the vagal network and several other things, a tuning into your own nervous system.

30:16 But I'll offer a brief mantra inviting us to tap into the truth of this moment for you, inviting our own wisdom to shine through. If you want to hum feel free, you might soften your eyes unless you're driving. Can you hear that? Aasatomasot come. Tamasoma joint de comimrh chundy in a sense inviting the inhale to clear static, the exhal to be in the present moment.

31:24 And again, whether you consider yourself a singer or not, what voice is expressing through you? We have our voice, our physical instrument, then we have all of those mental voices. And if you'd like, doctor Doug, come off of the musician's sound. Okay back again. Yeah, yeah, that's just so. Like I said, When you do that and you're singing along with the singing bones. It's just amazing to me, and I was able to hear. It's interesting how as you have that one you know, let's say it's a c ord, it comes up a fifth so you can hear the fifth in addition, And I find when I listen to, you know, a classical singer, an opera singer, it's amazing when you hear them singing and realize that sometimes.

32:20 You're hearing this much higher tone and you go, how on earth are they. Getting up there? And it's like they're not, you know, they're singing this note. But because of that additional thing that happens, you hear this higher note, which is just to me amazing. And you know, as you think about that, and as I think about that, what is it for a person? How can they literally experience as you say, I can hum, Yeah, I can. You know that type of thing, which I think is fantastic. The mantras I find for me as I've listened to Somethadic mantras, I don't understand them. And sometimes it's like, well, if I don't understand they mean, why would I even try to repeat them? And if I'm praying to Hindu God, I'm not comfortable with that. So tell me about the mantras that you use, and what's the value of the mantras that go along with the humming or the singing the mantras and the bulls.

33:21 Yeah, that's a great question, and I'll say, yes, we all can hum first before I answer your question. And it's a very basic technique, but it's also the most advanced that we can return to, which I think is wonderful because it's here for everyone right now. But as you sit and play with the hum, just even a hum, it becomes the most advanced technique because you get into a deep listening space and it becomes more. When I moved into mantra, as I mentioned, it blew my mind of who am I chanting to. There was an altar with all the saints' deities. Everyone was a included who could be included on this altar, which I loved from my specific tradition as well. And mantra means to be free from, So you have manas, which is the mind try to be free from. So on its purest level, it's to be free from. And it is tapping through different sound technology, particularly in Sanskrit, Sanskrit and encases the essence of a sound and an energy in cases that essence.

34:31 So when you're working with mantra, there is often a deity involved, and some people like to have that picture, need that visual to connect. There is the power of the language Sanskrit, and then there's the essence, the essence of it. So this mantra, as far as I know, there's no deity linked with it. It's the essence of stepping into the wisdom divine knowing yes. And so I do when I'm offering a presentation like this or with others, I try to find those mantras that are not threatening to different traditions. But what I've found in my study, and I suspect you have too, that we meet in that essence of divine love. So even for example, the mahamantra Hari Krishna Hari Krishna Krishna Krishna hariy horiy the Krishna mantra linked with Krishna, but the essence above that doesn't mean I'm worshiping Krishna. I am stepping into the divine love, the balance of feminine masculine dance. And so for me, that essence is where I meet the mantra.

35:53 I respect the tradition and I meet others there. Does that help an? It does? And what comes to my mind in Christianity is becoming one with and you know, it fascinates me. I actually did a study and I don't know how this supplies, but it just came to my mind. I did a study. I thought, you know what, I want to go back to the most ancient historical information we have about the gods that are worshiped, and I will want to look at the Hebrew, the Hindu, and the Chinese. And what triggered me was because I saw a video on the Chinese. And what was fascinating to me is that two thousand BCE, the twenty five hundred BCE, right at the very beginning in the Hebrew, there was l an ashera male and female.

36:45 You go into the Hindu and I don't remember their names, and you would know who they are, but you have that male and female god and goddess. And you go to the Chinese, which really fascinated me. Exactly the same thing, just different names. And so as you talk about that, what came to my mind immediately was, you know, as we're seeking to become one with recognizing that we have that within ourselves and we're just trying to discover it and release it and become it. That it doesn't matter who you're praying to or what name you're using. It really goes back to the same deity. Yes, yes, yes, and that one with I approached the healing work, creating the sacred space for others to self heal by seeing their wholeness, our wholeness one with in this moment.

37:40 So do you work with clients. Do you work with clients and help them to heal or how does that work or is it mainly just getting your music out there and your chance and so forth. Yes, I do work with clients one on one here in this space surrounded by the bulls. COVID showed me that I can do this online. I have all this sound fancy sound equipment. Well I'm going to say you have to have those stuff you have. Yes, yes, and I do the best I can. I am not a technical person, but I'm fairly pleased with the way the sound goes through online. So there are individual online sessions. Also, I do a lot of teachings.

38:25 I do a lot of workshops retreats. So this work what I learned as I stepped into it. It was mostly personal healing work. Now I am stepping more into the music as I start to figure out how do I emerge my opera training and virtuosic training with Mantra. And so that's what I've been exploring and putting these these CDs out. And I think the CDs, they're not even CDs anymore. Right, So any and we're actually running out of a time. But any real short story of someone you worked with where you saw this dramatic healing take place. A short story is someone came in with a persistent sinus infection, terrible, terrible pain, couldn't get rid of it, and she had one sound session and left free and completely free. Now, in that case, I say that it was an energetic holding on to something that was manifesting in that clogged crown. But so that's a neat, easy, quick boom. I wish it was like that for everyone.

39:26 Another one was like, I don't know if you have time for a second one, that's fine, real quick, real quick, we do I cancer survivor came into the yoga studio where I was teaching, and she was sunken. She could hardly speak. She certainly couldn't make eye contact, and through some of the restorative yoga practice and she came to my sound meditations about six months later. She was standing tall, she was speaking, making eye contact, and about a year later she came to me and said, you gave me my breath back. That is wonderful. How do people find you? They find me through my website sound awakenings dot com and Instagram sound Awakenings.

40:11 Now I'm aware of two albums that you put together with your mantras. What are the names of those that they can find on any app for music on any app? Yeah, Light of Compassion and Heartstrings of the Infinite. Oh wonderful. And for those that want to enter meditate more than five minutes, you can just play through the whole thing, can't you. Absolutely? Yeah, In the days of having an album in your hand, heart Strings of the Infinite has a certain a certain pattern that takes you through. So you can listen on band camp to keep it in the order rather than the Spotify shuffle exactly. That's great. Well, so what would be a final message that you'd like to share with the audience as we close?

40:54 Your voice matters. You can connect to it through your breath. And it's not just our physical voice, it's what is feeding our physical voice, our mental imprints. And the way we can get through to our wisdom voice is to take a nice in hell and give that home, a lallaby to yourself, your nervous system, and a nice deep breath. Denise, thank you so much, thank you, it's been wonderful. And folks, you know what, Sometimes we talk about things that may seem to you so strange, but I'm here to tell you that this process that the niece is talking about, I have seen it ill people and myself.

41:40 As I listened to that through meditation, I find such a sense of peace and stillness in my own life. So please, please please at least get on listen to those albums, and then if you need some help, give her contact call and see what you can do. So Denise, thank you. So much, Thank you so much. Thanks everyone, and folks. Thanks for listening. Hope you've enjoyed it. Look forward to having you join us again soon. This is doctor Doug saying, no mista