<iframe src="https://drive.google.com/file/d/1YlXoUI2E_m1mYPA1bSSE2-HKR4rqXPdZ/preview" width="100%" height="80" allow="autoplay"></iframe> Sāṃśī Pūdhi Jūśīng Pēdhok Chau-ri-ra-mi-chi Nye-de-yem-padi Sangye-shin-do Miteuai Virukunanta Singajukansho Satsang with Mooji Satsang with Mooji "Valaya, Chodam soggy with the meditation. So, we are very squishy close together and it's very hot and it's very uncomfortable and just forget all that. One most important thing. Please, once you get seated, get yourself very comfortable, but then don't move. It's going to disturb you. It's going to disturb other people. So, get yourself into a comfortable position where you can keep your back totally and you can stay still for a good 10 minutes. It's not that difficult. Then close your eyes and focus your mind at the tip of your nose and watch the air as it flows out and then back into your body. So then yesterday and today we are going to be talking about little Nada Yoga. So we'll do a small meditation exercise. First focus your mind on any external sounds that you hear, sounds you can hear in the room. you are just a passive listener and you're letting the sound wash over you anything that comes to your ears Thank you. Then certain mental images will come to mind as you hear a particular sound like, Oh, that's the air conditioner. Oh, that's someone breathing next to me. But try not to focus on the images. Try just to let the sound come by itself. Now try to focus on a subtler sound, maybe the sound of your breathing. Let the grosser sounds of the outer world fade away and focus inside. Just focus on the sound. Let the body breathe itself. Become the passive observer. Now take yourself deeper within to a subtler space. You can feel the beat of your heart. Try then to hear the sound of it. Thank you. Okay. Okay. You can open your eyes. I think we need to switch. I think we should. Yeah? So that was a great example of meditation on inner sound. Just a taste of what it could be like as you've got your mind deeper and deeper and more and more subtle. It's hard in this room to be able to hear the beating of your heart, but, you know, if you went into a deep retreat, for instance, in a really quiet place, like, I don't know, in the middle of the desert, then you'd be able to start to hear your inner body singing to you. you know, first you'd start with your heartbeat, and then you would start to listen for the movements within your channels. And the mind can get very subtle very fast, and you can get into a very deep state of meditative concentration. And that state of concentration is necessary if we want to see emptiness directly. Can we shift a little bit so she can sit with her partner? Just shift this way a little bit. You should sit together. You and Jimmy. Just push this way a little bit. Okay. Some announcements. Do you want to do anything? I didn't say. Do you want to do anything? Yeah, sure. Is this really not working? Should we tell him to turn it off? She says... that the reason this is making weird noises is because someone's cell phone is giving it feedback, and I don't quite understand that, but if we could all just turn them off, maybe it would be nice, because we don't want them ringing anyway. So let's try it and see if it still does that buzzy thing. So while I'm here, there's this beautiful new chanting kirtan CD, by Mercedes Valera that I wanted to announce to you. She's been working so hard. It's been for like, I don't know, over a year to get all this stuff like completely done and produced and perfect. And the picture is like Diamond Mountain at its best, this beautiful rainbow thing. And there's, yeah, it's really, really beautiful. So check it out. Yeah. and then there's this can I do this one? then there's this really sexy picture I don't know if you guys caught there last class but there's these beautiful dakini women six of them teaching a series by women for women this one is called Klesha Killers and it's sort of James Bond as you know Or what do you call those? Charlie's Angels, right? It's like Charlie's Angels. And Using Buddhist Wisdom to End Mental Afflictions, December 1st, 2nd, 8th, and 9th at the Three Jewels. Okay? Okay. Just some more. There's a nice class going on at Lucky Lotus in Brooklyn. Okay. It doesn't say, but... And Lama Murud is teaching on November 22nd and 23rd. Is that the weekend? Yeah. Okay. The weekend at Lucky Lotus and it's about a joyful effort from the Bodhicaryavatar, which is a beautiful, beautiful chapter. Rinpoche made us memorize it and it's very beautiful. So you should catch that and you'll just have time to do that after Thousand Angels of the Heaven of Bliss at, is that in Three Jewels? Yeah. Yeah, that's in Manhattan. The same weekends except 12 to 5 p.m. And that's a very beautiful meditation practice based on Jetson Kappa whose paintings you will see outside. and outside here there are some posters that are, they're in exhibits starting now, and that's half the posters, and then half of them will be going up in the next week, and some paintings from Tibet, sorry, photographs, and we'll be telling you more throughout the week, but basically it's a very rare set of 15 paintings that His Highness' family had in their private chapel in the Potala Palace. Then when the palace was bombed in 1959, the family had to decide in like 10 minutes what to run with. And they took these 15 paintings, and they ran with the paintings, and they carried them over the Himalayas on their backs. And then they were donated to a temple in New Jersey, where they languished for, I don't know, 40 years. And so we found them, and we found the original manuscript. and we made a book about them. And so next, a week from this Saturday, about 10 days from tonight, there'll be an exhibit, a book exhibition and release party. So we'd like to invite you all to come. If you haven't RSVP'd yet, you have to do it now because I think it's going to be full. So you have to talk to, where's Shami and Christine? Yeah, these two guys. Is that the orange thing? is that the theme? Raise it again. Raise your hand again. Yeah. Oh, okay. I don't know, that's so their mothers won't lose them, but they... That would be us. But talk to them. If you'd like to come, bring a friend. You're welcome to come. It'll be a really wild party. We'll be releasing a very beautiful art book about Jetson Kapur. So this, we asked that Lama Marut and his friends Venable Ningbo and Mercedes teach his practice on the coming weekend so you should try to get to that and then Chelsea Bailey, where is she? Yeah, Chelsea's teaching Guide to the Bodhisattva's Way of Life also the exchange of self and others at Union Theological Seminary on Wednesday the 3rd of December and Wednesday the 10th of December right? so if you can make that those flyers are all outside I think so those are all Master Shantideva is amazing and if you can he's a great yogi in himself and if you can make it I think it's His line is his favorite subject so if you can make it to that it's good we'll start she told me I have to read this verse One who follows the sacred sound is a vessel fit for ultimate meditation. It brings the hearts of the lords of yoga. We're on reading 10, course 3. sometimes says Course 7 anyway Hatha Yoga of Padivaka 3 did you find it? okay it brings the hearts of the lords of yoga to grow forth ever higher and it brings on that one bliss which is beyond all words a bliss that is only fully known by our protector our teacher it's verse chapter 4 verse 81 it says reading Tano you should have got it yesterday, I think. No, today. Today, okay. So they're talking about samadhi, a certain kind of samadhi. It's based on nada. That's the question about nada, right? No. Yes. All right. There's three kinds of samadhi you can get from nada, okay? sound. Can you still hear the little crackly notes? No. Listen closer. There's a noise under it. Wait, you have to be really quiet. There's a noise under it. there's this thing if you ask people to listen to a noise like if you're in a restaurant and everyone's too loud say, God, did you hear that? and then they all say, what? and you say, listen and then they get really quiet and then you say, no, listen harder but what happens when you're staying when you tell people to listen to something they get quiet they get totally quiet and that's one of the purposes of Nauda Yoga right? is to get quiet so it works do it to your own mind say can you hear the air conditioner? can you hear the person in the back crackling their pages? can you hear someone clearing their throat? and then you go like that so fight noise. One level of Nata Yoga, sound practice, right? The practice of sacred sound. Don't fight noises. A garbage truck comes outside, say, I can hear the garbage truck. That was on 6th Street. We used to have this garbage truck at 6 a.m. So listen, don't fight the garbage truck. Listen to the garbage truck. And then see if you can hear the guys talking. And then see if you can hear the rustle of the plastic. And then see if you can hear the tin can getting bent. And then see if you can hear the guy scratching his cheek. And then go deeper and deeper like that. Use the noise. Use the sound. And that's one kind of samadhi that you can get from Nara Yoga. So that's one kind of Nara Yoga that you can do. And it works. If you're having trouble getting deep in your meditation, then go from louder sounds to softer sounds. And then go inside. And if you're careful, you can hear the breath brushing past the hairs in your nostrils. And then you can hear the, what do you call it? Your, the drum, what do you call it? Eardrum. You can hear the eardrum pulsing to the beat of your blood. And then finally you can hear the blood pulsing to your veins. And you have to get, so go from the outside sounds, go finer and finer and finer. Something like that. That's just the way to get to concentration through sound. Then there's a second kind of nana yoga. And that's what we're going to be talking about in the text. But as... Is that getting to this? That's later. That's what I'm asking. Okay. I'm supposed to do that later. We'll do that later. But it's like this. As your practice gets better, and as your winds start to move into the center channel, Sushumna, or Uma in Tibetan, you start to hear weird sounds. And I wouldn't say they're in your body. The text says Dehe in your body, but it's not like that. It's like, it's like suddenly when somebody slams a door, and there's this whoomp, or when there's a sonic boom and there's a whoomp, or like that. But it's in your consciousness. Your winds are shifting radically in the central channel. And it starts out with big sounds, like you think someone just slammed a door. And it's not the noise of the slam. It's the concussion of the slam. It feels like a concussion. and then and then in the scriptures they struggle to try to express what those sounds are like and you just have to experience but it feels like a concussion of some kind like a death charge going on somewhere and you sense it in your body you sense it in your consciousness and then we'll talk about how it changes but that's another kind of nada practice that means you're you're going deeper into nada practice then there's a very beautiful not a practice. You can do when you're sad or something. And they call it angel whispers. You know? And you sit in a Starbucks or you sit on the bus or you sit at home and you you think to yourself, I'm really sad right now and I wish I could get some message from my Lama right now. You know? I wish my Lama would send me some message right now. And then you just listen. And there'll be a click somewhere, or there'll be a little piece of a song. We did it. Where were we? We were in Puerto Vallarta. I don't know. Someone had just sent us a beautiful song, like a really weird, beautiful song. Like, what was it? It was Gabriel. My angel Gabriel. It was James and Lizette's... James and Lizette's CD. Last mixtape. So we're about to go into retreat at Vallarta. We're feeling lonely for America. And we're sitting up in a third-floor restaurant, and a car parks downstairs. The guy turns on my angel Gabriel. Full volume. And it floats up to the restaurant, you know? And you're just listening for a message, you know? And it's a very... How do you say? it lifts your spirits you see whenever you're feeling down or you're not quite sure about your life or things aren't so clear in your life, things are hard in your life and then you just say I want a message from my lama and that's a nada practice that's one of the highest nada practices and they don't talk about it in this text but you just sit quietly and you listen and then there'll be a message if it's from her, it will probably be late. Like, you might have to wait 10 minutes. But something will come. Something very beautiful will come. And it makes you happy. So this is not a yoga. And you can get those three different kinds of samadhi, right? So one samadhi is just concentration. The first one. right? The second one is the kind of you keep up those inner percussion sounds concussion sounds it means you're close to seeing emptiness actually it happens before you see emptiness and then the third one is maybe even higher and it it's a kind of samadhi on focusing on the world as being something divine and you don't take anything as normal so you can use your ears for that for all three and you get three different kinds of samadhi or concentration and they all have different power for different times you need different times I think one leads to the other leads to the other you can't have the concussion sounds in your body if you don't have single point of concentration already you won't see emptiness or take things as divine you won't understand that things can be divine until you understand emptiness deeply. So these are progressive samadhis of nada. Okay? Of sound. Sacred sound. Am I supposed to use this one? You can add hands. Verse 82. I don't know. I like to read the verses. I like to read the verses. I've come to the state where nothing moves. So, first of all, the key word here is muni. Do you guys know what muni means? Silent one or quiet. In Tibetan, it came into Tibetan as tupa, which doesn't, it's not a literal translation. It means able one. And it's a word for Lord Buddha. but if you wanted a literal translation of the Tibetan it would be like or something like that someone who doesn't speak so we're going to talk about what it means to keep your mind unmoving and then come to the state where nothing moves on one level it's keeping your mind in a state of single pointed concentration on the object you know I can hear you guys meditating when I say focus your mind at the tip of your nose and watch the air as it comes out and everybody has heard it like a billion times before and they're all like oh yeah and it's like oh this is just a preliminary to the meditation and I don't really have to concentrate that much I'm just going to like wander, let my mind kind of wander while my eyes are closed. And that's not the point, you know. Like the point of closing your eyes and putting your mind to the tip of your nose is to get your mind on a different level, you know, to focus, to learn how to focus your mind on a single point. That's why there's a single point there, you know, and you try and get your mind on a sharper and sharper point, you know. First, it's like the whole, both nostrils, you know, and you're visualizing both of them. and there's this air coming out, and then as you get subtler and subtler, as your mind draws to a tighter and tighter point, you get a tighter and tighter point of concentration. Maybe you have to decide, like am I going to do the left side or the right side? Like which point am I going to do? But say there's like this one tiny point, and your mind is just there, unmoving, totally still, and then something is happening, like breath is flowing out and in, but you're just like centered on this one single point while it's happening. And it's this beautiful kind of food for your mind, a single point of concentration. You know, the way that our society is today, we're so frenetic all the time. Like ADD is just so rampant, you know, with the web and everything. And everybody's like this, this, this. It started with the music videos and now it's like the internet and it's like everything. So much stimulus all the time. So much different stimulus. It's like your mind can never just really sink into one single point and it tires you out. It's exhausting. And to just let your mind for like five minutes focus on one single point at the tip of your nose is such a rejuvenation for your brain. And it makes everything that you do in your life, if you can get to that stage of single-pointed concentration, everything that you do in your life will be much more interesting. You will be able to apply that single-pointed concentration to everything you do. Like, I don't know, if you're going to school and you're writing a term paper, you could sit down and write the whole thing in a couple hours, because you can focus your mind, you know? Or if you're at work and you're trying to figure out a certain job, like, I don't know, the Xerox machine broke, and you're the one people come to ask because you can focus your mind on a single task and you can get it done. You know, you can just figure out the problem right away. And it's useful for anything. It's useful for anything and it makes your life much more joyful. Because it's that food that your mind needs so desperately that our society doesn't really understand, it doesn't give to our mind and our bodies, right? So that's one meaning of unmoving. And at the beginning, you know, when you're trying to reach a state of single-pointed concentration, you might do, like, drastic outer means. Like they have these little mudras where you like close all your senses and stuff like that. So one of the biggest distractions to single-pointed concentration is all the doors of your senses. You know, it's like I'm hearing the noise of the air conditioner, and so therefore I can't concentrate on my heart, right? Because it's a distraction. Or I'm smelling like those McDonald's French fries, and I can't concentrate on my heart. And so you block them out by whatever means necessary externally, like you move out to the desert, and you go into a really still place with a really quiet room, and you're able to get away from your senses. Then later, once your mind is trained in it, as soon as you sit down on your cushion, as soon as you close your eyes, you will be able to get to that point of single-pointed concentration. No matter where you are, you could be in the middle of, I don't know, you could be on a subway in New York City and just be careful not to miss your stop because you will, no, you can sit down, close your eyes, and immediately be in a state of single-pointed concentration, no matter what is around you, because you will be able to shut out the doors of your outer senses at will, Because you all have trained your mind to go to one point and one point alone. But at the beginning, when you're still training, like this verse says, you have to use external means. And that's what retreats are for. If you're interested in getting to a deep state of meditation, you might want to think about doing some kind of retreat. Maybe it's just a couple days. Maybe it's just one day alone in a cabin by yourself. But it's something, it's a very interesting experience what happens in that single day alone in a cabin by yourself. What your mind can do, you know, when you give it the opportunity to be quiet and get to a single point. It's very beautiful. So think about it. So then there's a second meaning of keeping the mind unmoving. or keeping the mind in a state where nothing moves. And this is when the winds in the two side channels have emptied out and everything has come into the central channel. Then there is a certain kind of, a different kind of unmoving, a different kind of, a balanced state. And we would say it's balanced between two different extremes. The two side channels force us to see our world as self-existent. They force us to see the world as really out there from its own side. Like, there's something behind that door whether you're here or not. You know, this pure yoga place exists whether you're in it or not. Like, something that's telling you that it's not coming from a seed within your heart. Something that's telling you that it's not a projection. All of those thoughts are riding on the winds of the two side channels. So when we push the wings into the center, we reach this beautiful state of balance. Now the two side channels can pull us off one cliff or another cliff. Right? The first cliff is everything exists out there that has nothing to do with me. It's like, oh, it's starting again. Should I switch? I was just talking about it. She says, I don't think it's you. And I'm like, well, I'm just in the middle of saying that it's all me. Of course it's me. And it's you. And so I was trying to think of a good example of trying to describe to you the difference between these two extremes. I thought to talk about partners because we're supposed to be talking about partners in this class anyway. So, maybe someone, thinking of a partner, for instance, as a self-existent, out there from their own side, right? Is one extreme. What does that mean? It's like someone out there who makes you feel good all the time. Right? Like, yes, this is a person that I want to be with. They're my partner because they make me feel good. True or false? She says, in the beginning they do. Well, this is what we have to talk about, okay? That's the crux of the matter, right? Okay, so the reason why we don't like this extreme is because it doesn't work. Okay? We start grasping onto things, onto objects, onto people, because we think they are causing us some kind of feeling, some kind of good feeling, right? Like, there's this partner out there who makes me feel good. And so we want to grasp onto them and hold them. We think that this partner has that quality out there on their own of making us feel good. Right? We think it exists like within them. Like this ability to make us feel good. And so we latch on to them. We're like, no. But see, that doesn't work because what happens, as Nicole says, is that something starts to change. And then one day they wake up and they're really grumpy and they don't make you feel good. And then you're disappointed. Then you're like, oh my God, this partner stuff doesn't work at all. Like, I thought they were supposed to make me feel good all the time. Now they're making me feel bad. And like, what do I do? Like, I don't believe in this partnership stuff anymore. I forget it. Like, obviously, they don't have making me feel good. You know, they don't have that ability. To make me feel good. Obviously they don't have it. Because they're not doing it right now. Right? So then we reject partnerships completely. Like I don't want a partner. Because they don't make me feel good. Or because I can't control. When they're going to make me feel good. And when they're not going to make me feel good. Because it's not coming from them. Right? But this is the other extreme. It's a. Someone who has heard something about emptiness. Like, oh, the partner doesn't have that making me feel good quality inside of them. Because the partner is empty, the partner is blank, right? But it's a misinterpretation of emptiness. Like, because they don't have feeling good, me feeling good, making me feel good in them, then they don't work at all, right? Then partnerships don't work at all, and I might as well just not have a partner. That's going to the other extreme. So you see there are two extremes One is latching on to something Because you think it has a quality in and of itself A partner that makes you feel good That will always do so In and of themselves, right? The other is totally rejecting that object Because you think it doesn't work Because you think it can't function at all Right? Because you've heard something about emptiness And you're like, God, this whole world is an illusion and just partners are illusion and it's just an image in my mind and therefore I can't rely on them and I don't want a partner, right? Is that true? Is that true? What's the middle way in between these two extremes? Between grasping onto an external object because you think it will make you feel good and rejecting that object completely because you think it has no power to make you feel good. What's the middle way between those two? Yeah. Why did the partner make you feel good? Because you made somebody else feel good. Right? So, yes, they have no nature of their own. Yes, there's a person in front of you who could make you feel good, who could make you feel bad, but you have all the power in the world to decide what's going to happen in the future. You have all the power in the world Create a partner that will always make you feel good. Am I losing you? Am I losing you? No. They're sleeping. They're caught in here. So how would we go about doing that? How do we plant the seeds for a perfect partner? Be one or try to be one. Try to be one, says Nicole. Right? Try to be one. That's a good way. Understand, first of all, that this partner is coming from you. And all their qualities are coming from you. What they see, what you feel from them is coming from you. And then understand how you are creating that. Like, how am I creating these seeds to see this partner? And how can I change that if it's something that I don't like into something that I do like? So that I can have the perfect partner in front of me all the time. And this is another way of staying unmoving in between two extremes. that your two extremes, that your two side channels force you to think, force you to go to. Like when the winds are no longer in the two side channels, we are no longer falling off of one cliff or another cliff. We are no longer either grasping onto objects or rejecting them completely. We're somewhere in the middle. We're in a place of perfect understanding of karma and emptiness, where we know how to create our world. We know it's a projection and we know it works. we know how it works okay well you have two verses We can use the verse. Okay. In the verses, I mean, some verses we don't have to read. I'll tell you what it says. There will be different stages in the inner sounds that I mentioned. And again, I hesitate to say inner, because when they happen, they don't feel like inner. It feels like the whole room just went through a sonic boom, and you look around, and no one else is like looking around. And it's like that. So that's a very gross one. And then they get one more subtle. So he attempts in the verses to give you the sounds, what it sounds like to him, as three stages of the winds entering your central channel. The whole purpose of yoga, the whole purpose of the asanas, was to get winds into the central channel. And we'll talk more and more about it as we go. But you have a channel running down in front of your spine of light. Inside the channel runs a very fine, subtle, physical substance that looks like light, subtle light, but it's prana. And then linked to the prana are your thoughts. So if you want to find a place where mind and body meet, it's the prana, it's the edge of the prana, where the thoughts are riding on the prana. So the goal of a yogi, the goal of yoga, is to bring all the prana into the sushume, into the central channel. Why we'll talk about later, but one of the things that happens if you get the winds in there, is that you see emptiness. If you see emptiness, then within a short time you will become an enlightened being who can stand on countless planets. Like that. It's for sure after you see emptiness. Just a short time after that. And that's the goal of yoga. That's the whole goal of yoga. Luckily, there's like certain sounds that come in your head when you're getting close. So here's what he says the sounds are. First, like a kettle drum. or thunder in the clouds. I would say sonic boom, okay? In the second stage, second step, midway, you start to hear like a belly drum. Belly drum means like a small drum that you play near your belly. A conch horn or a peeling bell. Then as you get closer to seeing emptiness, inner sounds like tiny bells, flute or a lute. In Tibetan, these three stages have a specific name. Say, Shuk, Ne, Tim, Tim, Shuk, Ne, Tim, Tim. These are not the four of the stars that we talked about yesterday. So forget that. By the way, one correction on yesterday that you should know, those of you who care. when the nectar is coming down the central channel you feel four blisses the first three are definitely not the direct perception of emptiness the fourth one is considered the direct perception of emptiness then four come back up and there are some schools that say all four of the ascending ones are the direct perception of emptiness so yesterday we were on ascending avastas and some schools would say all four are direct perceptions Some schools would say only the last of the four, when you go from the throne to the tip of the head, are direct. So you have to debate it. I think the Hatha Yoga Pradivhika got it mixed up, and the descending are the four avastas, and the first three of those are intellectual, and the last one is direct, and then all four ascending are direct. That's my opinion. Okay, but anyway, here we go. shuk means that central, that prana just started to enter the central channel and that's when you get very gross inner sounds like sonic boom sounds then ne means that now the the winds are stable, staying in the central channel and then you start to hear what he calls, he would say like bells or conch horns. And then tim means the inner wind is dissolving into the central channel. And then you get like a tinkling of a bell or something like that. It's what he would say. In the Tibetan yogic tradition, there are signs. You know, we hear about these three steps all the time. wind starting to come into the central channel wind starting to settle there and then wind starting to dissolve there and then we're always trying to figure out am I getting close or not you know what does it feel like like if I don't hear a little bell does that mean I'm not getting there you know like what is there anything else can you give me any other signs and there are some beautiful signs in scripture that relate to your breathing so I wanted to talk about them a sign that the wind is just beginning to enter the central channel is that your breathing is very soft and gentle equal in duration and volume coming in and out equal in duration and volume from the left and right nostrils so you can check it out sometime you also know that in your yoga I mean, if it's jerky, if the breathing is jerky or jagged, that means you're having some kind of negative emotions, you're fighting the pose, your winds are definitely not in your central channel. And you can tell while you're doing yoga. That's why your yoga teacher is always trying to get you to breathe smoothly as you do yoga and match the movement to the exhales and the inhales. but if you reach a state where the breath is very smooth very gentle and very equal left, right, in, out you can say the winds are starting to enter the central channel at this point for example you would easily hear the hairs in your nose when you're meditating you would easily hear that. And then it would stop. The noise would stop because the breath would get so slow that it wouldn't move the hairs in your nose anymore. So if you want another sign, it would be that the whistle of the breath through your nose as you meditate deeply would be gone because the breath is so smooth and so calm that the hairs aren't even moving anymore. That's a sign. second stage ne right the winds are staying in the central channel then your breath will just stop kevala kumbhaka in the yoga literature kevala means spontaneous kumbhaka means a capsule but you're not trying to do it anymore it just happened like you're sitting in a library you're reading a book you did some nana practice you heard some subtle sounds inside your head somehow and then you're just quiet and five minutes later you realize you have not breathed for five minutes because you had no desire to breathe it didn't occur to you to breathe you just stopped breathing and the body was fine because the body's not running on breath. The body's running on karma. So, it'll just come to you someday and it'll get longer and longer. You'll realize you didn't breathe for a minute. And then you'll realize you didn't breathe for two minutes. And then you'll be sitting there and you realize, I can't remember what's the last breath I took. I remember sitting down in the library, I remember pulling up the chair, I must have taken a breath, and now I've just been here and I don't know how long it's been and I haven't breathed. while I've been here. And you'll just, it's a very beautiful experience. So you notice you're not holding your breath, right? So nowadays all these yogis are like, watch, I can hold my breath for, I had a yogi teacher, he had a stopwatch. He said, watch this, you know, and I'm like, click, and he's like, you know, and then he's turning red, then he's turning blue, you know, and I'm like, you know, That's not Kri Kevla. That's not it. The winds enter your channels, which is what all the twists and the back bends and the forward bends, that's what they're for. And then suddenly when it's in there, you don't have to breathe anymore. At all. Then finally, the final step, Tim, when the winds dissolve, is you go into what we call dissolution or laya, it's similar to what happens to you as you die. You go so totally inside that you are left in the clear light, like we said yesterday, like water, very clear water. If you've ever been to a really, really clear mountain stream, and at first you don't see the stream, right? You just see the stones on the bottom of the stream. And you don't see the water until you see ripples or something. And then you realize there's water there. In Hawaii, we used to surf in Hawaii, and it was really nasty because we don't know how far the reef is down. It could be six inches, it could be six feet down below you, and you can't tell because the water is just perfectly clear. So it's like that. You reach a point where the experience is of like water. And then you go into the direct perception of emptiness. So those are the signs with your breath and your mind that accompany the nada or the inner sounds that he's been describing. But if you start to get them, you know you're close. And it's very nice. It's very exciting. It'll just be like somebody snapped their fingers close to your head or somebody slammed the door but there was no door. Like that. or there's a sonic boom and there is no sonic boom, like that. And then you know that the winds are coming in. It's very exciting. It feels like the earth just went like, like, you know, like that. Okay. Do you want to ask the same thing to touch me? Give me your hands. It's very funny when we're talking about Dada Yoga and we've got all this sound stuff happening. Seems very appropriate to me. Okay, so I like reading the verses. So, verse 84. Verse 84. When you first start the practice of listening, you hear all sorts of obvious sounds, but then as your practice becomes more and more developed, you hear more and more subtle ones. So, this in Tibetan is a practice called Shira Ki Nampa Chen. Say Shira. Shira Ki Nampa Chen. And this is, it's like relativity of meditation, of your meditation object. and it means as you develop increasing states of concentration, your mind is able to focus on more and more subtle objects. So like today we started out with the air conditioner and then we focused on the breath of the people next to us and then we focused on our own breath and then we started to focus on our heart and you're getting subtler and subtler in your object and you can see even in just one meditation that as you focused on a subtler and subtler object, your mind started to get more and more quiet and more and more subtle, right? Did you find that? Yes, some people found it. Some people, maybe they weren't paying attention. But it's true. I promise. But there's a great danger in this meditation, And I think it's very relevant to yoga schools in general. When they say, oh, I'm going to do Nata practice, that they leave it at that. That they leave it at listening for subtler and subtler objects and then never getting to the true meaning behind it. And there was a yogi in Tibet in the early days, and he was this guy who lived in a cave, and he had this really great meditation practice. And he had these big, long dreadlocks, and he was trying to get into a subtler and subtler state of meditation. So he was using something like this Nata practice. And at first he focused on the twinkling sound of the water near his cave, And then he focused on the bugs inside the cave. And then he focused on his own body. And then he started to get subtler and subtler and subtler. And as you get subtler and subtler in your meditation level, in your concentration level, you start to go into these levels of meditation called the form realm levels of meditation. Where you're actually leaving the desire realm behind. You know, we're in something called the desire realm. which is like internet, food, and sex. I don't know. Actually, in Ted Zet and scriptures, they only do the latter two. But I think I'll throw in the internet there too. But I mean, it's like, we are led by these really basic desires of ours. You know? And as you get into a subtler and subtler state of meditation, you start to drop away from those desires start to drop away. Like you're no longer interested in gross things like food. Like it doesn't even appeal to you in the slightest. You look at food and it's like, I, you know, I have to eat because I'm going to, you know, I'm going to pass out if I don't. But this, it's no longer fun for you. Like, it's just because you're on such a, like a higher level, a higher meditative level, that you are getting your pleasure from subtler and subtler ways. Right? You're getting your desires met meditatively. Right? You get into these subtler and subtler realms of meditation. Your mind gets higher and higher, higher and higher, away from this desire, gross body, away from these gross desires. And, you know, this yogi practiced in the cave for years and years, and he got up to the very, very highest level that you could get of this meditation. It's a level called Sitsi. And it's like the peak of existence is what they call it. And, you know, he was, his mind was so amazing. Like, he had such depth of concentration. Like, he could go anywhere with his mind. But the problem was, he wasn't using it for much. Right? He was getting to these levels of concentration, and then he was just sitting there in them. And the one bad thing, and you won't think it's a bad thing, but it's a bad thing, is that as you get higher and higher in your levels of concentration, meditation starts to feel better and better. It's just blissful. It's totally blissful. It's like, oh my God, what do you want to do tonight? It's Saturday night. I want to meditate. You know, like, you don't want to go out. You don't want to do anything. You want to sit by yourself alone in your house and meditate. Leave me alone. I got to reach my form realm level. It's like an addiction or something. You know, it's like, I got to get to this level of meditation. And the problem with that is that you get so caught up in the pleasure of the meditation in the moment that you don't use your meditation for anything. You know, meditation is just like a tool. It's like anything else. It's not an end by itself. Like, you don't do meditation for meditation's sake. You do meditation so you can see emptiness directly. So that you can get out of this wheel of pain. Because we're all suffering. You know, like... You are suffering. Your family is suffering. Everyone around you in this room, if they're not holy angels, is suffering. And you need to stop that. And meditation is a tool where you use, you take it and you use it to stop pain. But there's a danger. When it's so damn pleasant, sometimes you just don't feel like using it to stop pain. You just want to sit in the pleasure of it. So this guy, his name was Udrakha. And I know some of you have heard this story already. But he got to this really, really high level of meditation. Then he came out one day, and he discovered that rats had been eating his dreadlocks while he was meditating. He didn't notice because he was so high in his meditation that he was beyond his body and everything like that. But he got angry at the rats. Just a moment of anger. Like, God, you know, why'd you have to eat my dreadlocks? And it wasn't a big amount of anger. It was just, but he lost everything in that moment. Like, that one moment of anger, it was like, all those years and years of meditation did not get rid of his anger one little bit. Like, he came down, he had just as much anger as he did when he started. And then he got angry, and then he couldn't reach his meditation levels anymore. And then it was over. It's like he had this perfect chance because he had this karma of being able to get to this really deep state of meditation. And it doesn't last forever. You know, it's a karma like everything else. Like you, you develop a certain karma to reach these levels of meditation. And if you don't use it, it will burn out. And then you won't be able to reach that level anymore. And your chance will have gone. You know, and that's the story. I mean, that's, this is like the typical. It's in so many Tibetan texts, I can't even tell you the name of this yogi. Because it's a warning for us. Like, when you're doing Nadi Yoga practice, you can't just reach subtler and subtler levels of noise inside your inner body and then stay there. Because it's like, you're just going in one plane, like to a subtler and subtler level, but you're staying in the same level of reality, you know? you have to actually pierce through to a different level of reality. Like, you have to use whatever meditation practice you're doing to understand the true nature of reality. Right? That's the point. To get to ultimate reality. Like, what is this sound that I'm listening to? What is its true nature of the sound that I'm listening to? And even if it's a gross sound, you know, you're listening, you're meditating, and you hear someone talking outside. right? And they say a word. Like, I don't know. Give me a word they say. Someone said cookie, someone said love. Two very different mental images. Maybe they said both. Cookie Love. I don't know. It must be Gashem Michael. So, say they said the word love, okay? And you heard this word, and it has a certain meaning for you, and it calls up a certain mental image to you. Like, you say the word love, and immediately something pops to mind, right? So you think the sound that carried the word has some kind of meaning within it, right? But it doesn't really, you know? Like we hear words all the time. Like you're hearing me speak right now. And you think that the sound that you hear, like the words, they are passing like decibels. like they're passing from my lips to your ears and somehow imbuing some kind of meaning to your mind that wasn't there before like i'm giving you something i'm giving you some kind of knowledge is that happening no way no way um you just proved your life yeah yeah i mean you heard me right you know you understood my question and you answered accordingly so aren't i communicating with you and don't like people communicate and isn't you know isn't there a power in words and where is the power in words you know and all of this stuff could be happening during your not a practice like you hear the word love and you're like and you've a mental image is called to your mind and you're like where did that mental image come from did it come from the word did it come from the sound that i heard outside No, it didn't Like You're hearing sounds and decibels And your mind is piecing them together You know, you hear the lul and the uh And the buh and the uh You don't hear the uh, right? La la buh Okay, so You hear split seconds of decibels, right? And then your mind takes them and it makes them into a word. And then your mind takes that word and it places meaning on top of it. And it's like labels upon labels that your mind is placing on these sounds. And they're just sounds. There's nothing, there's no meaning behind it in and of itself. There's no meaning out there. It's all your mind. Every single word you ever hear is your mind placing a meaning on just a series of random decibels. And this is the kind of thing that you need to do when you're doing something like Nara Yoga. You're starting to break down sound itself. Like, what is my mind actually hearing? Can my mind even be hearing the lull of the love? Like I said, your ear can't hear love. Your ear can't hear the word love. Your ear hears decibels. The mind creates, takes those decibels, puts it together, makes the word love in your mind. Like, the ear never hears that word. Can't hear that word. By the time the buh happens, the buh is gone. Right? The mind has to be putting it together. Because they're not in the same place at the same time. Right? By the time the V happens, the L is gone. So, you have to be doing L, uh, L. Right? So the mind is doing it. The mind gathers the information. The mind overlays a meaning on top of it. You can start to, any object of meditation that you have, eventually, once you've reached a state of deep enough concentration, you should turn it around and start to focus on the emptiness of it. Right? And, you know, Nadi Yoga is a perfect, perfect way to do that because your mind gets into such a beautiful deep state just by starting to listen. You know, like Geshe Michael said, when you just like listen, you just start to... You get quieter and quieter. And that's the level of meditation that you need in order to start focusing on emptiness. Yeah? I guess your Michael says we have to take a break now. So this brings me to a very important subject, which is especially for classes 9 and 10 of the last course, we haven't been covering everything that's on the homework, if you noticed. So thus comes the very important role of your teaching assistants in this class. Right? They get the masters. They go over with you all the stuff that we didn't cover in the class. So it's really in your interest to go to these little mini classes with your teaching assistants because you get the rest of the information that we haven't been able to cover in this class. And then, what? Which is not really kind of a plan. But anyway. And, you know, the masters are the way that we would ideally be teaching this. Okay? So we would ideally have been teaching the last, every single thing that we have said to you the last two nights in the last course. Right? So when you teach your students, you can follow the masters. Right? And not the masters. Or a little bit of old. I don't know. But in any case, if you want the information, like if you get a homework and you realize that we haven't covered it in class, you know who to go to for the answers. And we're more than happy to have you guys totally cheat on your homework and talk amongst yourselves because that's also a learning process. How many people do it? Oh, by the way, how many people actually got together with other people and did their homework? That's pretty good, guys. You know, more of you could be doing it, though. I'm a lot easier here than I am at Diamond Mountain. Right? Right. Okay. So with that being said, we are going to skip the rest of the last course. There's a few more questions that we didn't get to cover. In the interest of time and getting to the new stuff, we're going to go right on to class one of course four. So here we are. we're in chapter 3 we're right in the middle of chapter 3 and at the beginning of chapter 3 which is all about what we said yesterday chapter 3 is all about mudra right at the beginning of the chapter 3 Master Swat Marama says the central channel, our Shushumna comes the pathway of prana. And the goddess at the base of our spine, who is sleeping, is aroused, right? And is forced to move upwards through our central channel. And that's the whole point of the third chapter, is to get the energy that's lying at our base to go upwards in our body. So, we covered five different mudras in the last course. We covered mahamudra, right? We covered mahabandha. And those of you who were in the last course, you should be going over, oh, what was that? Like, oh, this guy, he's sticking his leg out and he's holding his toe. And there's some kind of lock there. And what about that was making the energy shoot up your central channel, basically? Because it's all about that. Like, what about these different mudras? And what's the difference between a mudra and a pose? Because, you know, people call mahamudra an asana, right? What's the difference between that and just a normal yoga pose? Like, why is this in the third chapter, in the asanas, or in the first chapter? And what makes it so much more intense that you have to have so much preparation to do it? You have to be starting to think about this. So we have Mahamudra. We have Mahabandha. We have Mahaveda. We have Kechari Mudra. Do you remember this particular Kechari? There's two different kinds of kecharis that we covered in the Hatha Yoga Pradipaka. This particular one was putting the tongue back in the back of the throat, right? And catching the fall of nectar as it falls from the tip of the head. Then the last one we covered in the last course was Uriyanabhadha. So, the first one in this course is Mulabandha. And you know how much I love to read the verse. There's three different verses here of Mulabandha. I'm just going to read the English in the interest of time. Press hard against your vagina place with the sole of your foot and constrict your anus. then draw up the wind of elimination. This is what we call the root lock, or mula bandha. Bandha, it's a root in Sanskrit. Bandha, which means to bind. You get the word bind, or bound, or band, or bundle, or bandana, or all these different things. Yogis also use the expression root lock to describe any very forceful contraction used to make the downward-moving wind of illumination move upwards instead. And that's a very important verse. Last one. Press the sole of your foot firmly into your anus and constrict the inner wind forcibly. If you continue this over and over, than the racing wind, Samirana will begin to travel upwards. So there's two different techniques that Master Swatma Rama mentions for Mula Bandha. One, put your heel into what we call the perineum in yoga today. And the second one is put the heel of your foot right at your anus. So, he's giving you two different techniques for pushing at the muladhara chakra and forcing the energy to rise up from the base of your spine through the central channel. So, first what we have to talk about is, where's the perineum? No, no, it's like a technical thing. And this class is sort of like theory, but also technique as well. And I think it would be remiss if we didn't talk about it because some people don't know. So in the male, it's between the penis and the scrotum, right, in that area. No? No? Anus and the scrotum, sorry. All right, I don't know these things. See, that's why we have to teach together. I know what it means. In the female body, it's very easy. There's a big hole there. You can't miss it. The male is a little different. I don't know. Anyway. So. In the female body, it's at your vagina, but a couple inches up and back, right? But it's at that location, right? In either case, in either the male or the female, it's a couple inches inside the body, right? For the female, it's much easier to imagine or picture, because you can actually go inside the body and almost like touch it there, you know? But in the male body, you have to visualize it. Or you have to press something like your heel against it in order to find the Muladhara chakra, right? So, that's where the Muladhara chakra is. And there are different ways of creating a bandha or a bind in that area that will push up the lower wind, the downward moving wind, the apana vayu, up through the body. One of them is to use something like the heel and press it against that area, the perineum. And like stimulate or force the wind through just like direct contact or direct pressure. Force the wind up. And you could do that with very easy poses like Siddhasana. You know, Siddhasana, you're supposed to be sitting with one heel directly at the perineum. And then the other heel is above it, right? But in the second verse, he says, when he describes Mula Bandha, he says, any forceful constriction that makes the Upana Vayu flow upwards from the lower regions of the body is considered a Mula Bandha. Which means that if you took full lotus as well, you know, This is constricting the Upana Vayu that flows through the legs. You know, most of the time, we've got a lot of downward flowing wind flowing all through the lower part of our body. And a lot of energy is kind of wasted down there. You know, it's just moving stagnantly through the legs. And you use the practice of Padmasana or Vajrasana, as they call it in Tibetan, to push the Upana Vayu up back through the legs and back up the body. Right? So in that sense, you could even call Padmasana a Mula Bandha. Right? You could call an inversion a Mula Bandha. Because it's reversing the Upana Vayu in a forceful way. Right? So, that second verse becomes really crucial for us. When we're talking, like, what is Mula Bandha? Do you have to be constricting your anus really hard, you know, in order to get it, you know? And a lot of people teach it that way. And Master Swat Marama is like, no, that's not what it's about. It's about reversing the flow of the Upana Vayu upwards, you know? And you don't have to look like this when you do it, you know? And you don't have to be constricting anything, you know? Well, you're constricting the legs, or you're upside down. you're reversing the flow of prana you could even be in a position, in an asana position where you are actually stretching to your full extent because that sometimes, like if you're doing some kind of hanuman asana for instance that reverses the flow of prana upwards you know so then mulabandha becomes much more interesting to you as yogis You know, it becomes this practice of really focusing on what's happening with your downward moving wind. And how is it reversing upwards? And then you're already, you're doing the same thing that you were doing with Nata Yoga, but with the inner winds in your body. You're starting to listen. You know, like you lean forward a little bit and you listen to what's happening to the flow of my prana. in the lower half of my body? Is it moving upwards? Right? And that's the beginning of your Mula Bandha. So, there are a couple, I don't know, very helpful exercises where you could learn where the Mula Dara Chakra is exactly, which is very helpful for learning Mulabandha. Because once you feel the Muladhara chakra, it's like a crucial point in the body where you can feel the inner winds more when they are drawn there. And it's a crucial point in the body where the inner winds... Every single chakra is a crucial point in the body where the inner winds have a chance to enter the central channel. The muladhara chakra is the first door of that. So it becomes really important to know exactly where it is in your own body. There are, like, constrictions that you can do of the area of the perineum and maybe the lower part of the anal whatever, walls. If you constrict the upper part of the anus, you're no longer working with the muladhara chakra. You're working with the swadhisthana chakra. So, like, there's a difference there between the bottom and the top of the anus. Like when you're constricting it, it has to be the perineum and the bottom part of the anus, which will trigger a sensation in the perineum about an inch and a half into the body. And if you work on just visualizing where it is and then trying to constrict it a little bit, like everybody can do it now like while we're talking you don't even have to close your eyes it's like you know you're sitting here nobody even has to know you can just sit and pretend to be listening and um like it's you know where the perennium is now thanks to Gesh Michael and myself and um you know go an inch and a half up you know inside of the body and then try and constrict that area Using the muscles of the perineum and then the lower part of the anus. And then see if there's like a tingle, like a twinge there that's different than the rest, you know? That tells you that's a crucial point. A crucial point is like a crossroads, you know, where a lot of different things cross in one place. And you feel it there and you're like, oh, lots of things are happening in that point. You know, that's a crucial point. And that's what it should feel like. You know? Okay, so that's the... That's... You can work on it at home. And that's the Muladhara chakra. And that's what we are trying to trigger. Like, it's the first door we're trying to trigger as we bring the Upana Vayu flowing down, like backwards from the lower regions of our body up. Right? It's the first entranceway to the central channel. Hello, hello. Yeah? No? You want to borrow my? Yeah. Oh, it's good. Sorry. They keep talking about I thought we should do an I thought we should do an Ipana-bayo review. Okay? For myself, really. so these winds the five winds the Vayu, right? so in Tibetan they're all called Lung which is confusing because Sanskrit names are different Prana is different from Vayu, right? so we talk about the general prana of the body the general inner wind of the body which in Tibetan is Lung and Chinese I guess Qi and Japanese Qi so anyway what makes a Vayu different from a Prana? Prana is moving through the body. People tell you, oh, watch your Prana during the asanas, or try to move Prana during the asanas. How does a Vayu differ from a Prana? Because in Tibetan they have the same name, it's very confusing. And then one of the Vayus is called Prana Vayu, which is even more confusing. So Prana means the general inner wind flowing to your body. It's not mental, it's physical, but it's as subtle as light. When you have to pee-pee, the prana of the body gathers at the lower part of the body and pushes out the urine. You see? And then it becomes the apanabaya. The general prana of the body gathers at the lower part of your body And it performs the function of elimination. And then it becomes a Pana Vayu. So it's not like there's an Pana Vayu that stays down there all the time. When you need to eliminate things from the body, the Prana of the body is sent down to the lower part of the abdominal cavity, and then it pushes out the urine. So think of the five vayus as the general prana of your body gathering at a location where it can do its thing that you need right there. And not that there's a vayu that lives down there or something like that. Apana vayu. Appa means out or away. P changes to V, changes to W in English. So, Appa means, Awah means away. And it means, it's the source of the word away, or off. And An means to flower, to breathe. We see it in the animus in Latin, or animated, or anime. Meaning breathing, live. So, Appa Ana, you can think of it as like Appa Ana. And then when two A's bump into each other in Sanskrit, you get... APANA APANA meaning flowing out in Tibetan they call it TORSAL TORSAL TORSAL means downhill going down cell means eliminates or clears out of the body they call APANA APANA they call TORSAL TORSAL means send stuff down out of the body And in Tibetan tantric literature, it's defined as having four functions. It either releases or retains urine, feces, menses, or semen. Those four substances. So its job is to either hold them when it's necessary, and to release them when it's necessary. So that's what the Upanavaya does. In Tibet, it's like unbelievable. In the scriptures, which come from the yoga tradition of India, but were better preserved because of the Himalayas. In India, you were writing things, copying texts, and they rotted, and they're still rotting. Okay, we'll talk about it. But in Tibet, you carved it. And then you can leave butter outside in Tibet. It will last for four years, outside on your kitchen counter, because it's so high, and it's so cold that it just stays there. So the texts just stay there. The texts we use are from the 17th century. They were carved in the 1600s in Derge. And you can still run a carving off the blocks. We just ran a carving off the blocks. And they're the same as they were the day they were carved. You see, there's no bacteria like that. So anyway, beautiful descriptions. Upana Vayu, when it runs through a channel, gives it a yellowish tint. So you can picture it as landing a yellowish tint. That's connected to the element of earth. So you can think of the element of earth as being located in the lower part of your body. In the Tibetan scriptures they say that the classical location, when an apana vayu wants to happen, is at the sangne. Sangne means secret place. And you can think of it on the level of the sexual organ. I like that. Sometimes they call it... Well, that's another story. We'll get into that. But related to the element of earth, yellow color, and therefore related to a certain enlightened being called Ratnakara. Ratnakara. Which means the source of jewels. Which is the earth, you see? And this particular energy, enlightened energy, is related to being generous. giving things to people, sharing things with people. It could be teachings, it could be material things, it could be love. What's the other one? Protection. Protection, which is like equanimity. So, when you think of this value, when you think of this wind, in a perfected being, it's helping them to give. give away things, be generous. So like that. That's the ultimate. So, its movement is constantly down. Why? Because of the triple knot at the heart. There's a grunti or a knot at the heart. The channels, the side channels circle around the central channel three times at the heart. Some Tibetan texts say six times. Why? Two channels. Two channels three times. Right? So, it's a very hard knot at the heart. And then the wind cannot rise. So it's always down. It's always moving down. You see? It has a counterpart on the opposite side of the body, which is pranavaya. Say pranavaya. The Tibetan is soplung. Soplung? Soplung. Soplung means life. Lung means wind. life wind. So don't confuse this prana with prana in general in the body. Now we're talking about one of the five inner winds, which is located at the heart, traditionally at the heart, prana virus. You read lots of weird things in people make up a lot of things. I mean, in the ancient scriptures, the function of prana virus is two. One Sometimes it's called song zingilum, which means it holds the life force at the heart. It keeps you from dying. It holds life at the heart. And then it works when you want to taste something, hear something, the organs of sense, it sends the winds to the organs of sense. It's the director of the winds that sends prana to gather at a location like the eyeball. Your prana vayu is operating right now by sending extra winds through channels that relate to the eyeball and then sends information back to the mind. And your prana vayu is working that way right now. That's what your prana vayu is doing right now. It's sending a lot of prana to your eyes. And then they are transmitting knowledge back to your heart, you see, where the mind is. so that's the traditional function of pranavaya those two functions a yogi seeks to unite them a yogi seeks to reverse the downward clearing wind and to bring down the pranavaya what happens then? why do you do that? all of the practices we're going to cover now for the next few days they're all focusing on how can I lock the lower part of my body and force my apana up? How can I force it up? How can I reverse that wind? All of the practices we're going to be doing, even partner practice, the goal of it is to reverse the flow of the downward wind, downward moving wind. Why? You don't get to find out. That's the mechanics, okay? You want to force this wind back up. All of these practices in the third chapter, the seals, the mudras are for that. Why you'd want to do that? What's the benefit of it? You have to tune in tomorrow. Maybe we'll cover it tomorrow. Did I say... No, no. Oh. The color of the pranavayu is white. It's related to the element of water. And the enlightened energy at the heart, the enlightened energy connected with the pranavaya is what we call akshobhya, or it's a special angel or deity. And it's very interesting because akshobhya rules two spiritual principles. One is, you can't get enlightened without a partner. And the second one is you have to see them as an angel, as a deity, as divine. You need to practice with a partner and you must see them as divine. These are the two principles of Akshobir. You can think of that energy as being the Pranavaius energy. So what happens when they join? What happens when they meet? We'll do that tomorrow. Same bad time, same bad channel. Okay. So we'll do an offering of thanks for these holy teachings coming down through the lineage to our precious ears, and then give it all away. Satsang with Mooji Siddhartha Siddhartha. could we to all our show. Thank you. Thank you.