WEBVTT - Tamara Beatty on Finding and Freeing Your Authentic Voice 0:00:00.080 --> 0:00:02.400 Holy Human with Leanne Rhymes is a production of I 0:00:02.560 --> 0:00:12.160 Heart Radio. Hello, my loves, and welcome to this episode 0:00:12.160 --> 0:00:14.760 of Holy Human. I cannot believe this is the last 0:00:14.800 --> 0:00:18.680 episode of our second season. It is flown by yet again, 0:00:19.040 --> 0:00:21.600 and I am so grateful for the time we've gotten 0:00:21.600 --> 0:00:25.840 to spin together and all these incredibly expansive conversations we've had. 0:00:26.560 --> 0:00:29.960 Today's episode is really a full circle of so much 0:00:29.960 --> 0:00:33.560 of the ground we've covered because it intersects so many 0:00:33.560 --> 0:00:39.600 of the topics we've been exploring, from acceptance to love, fear, boundaries, 0:00:39.640 --> 0:00:44.639 and ultimately accessing one's true self. The topic we are 0:00:44.640 --> 0:00:46.760 going to be exploring today is very close to my 0:00:46.800 --> 0:00:50.720 heart because we are talking about the voice. I wrote 0:00:50.760 --> 0:00:53.560 a blog recently for my blog, Soul of Everley, and 0:00:53.640 --> 0:00:55.560 if you don't know it, go check it out at 0:00:55.560 --> 0:00:58.280 soul of Everley dot com and sign up for our 0:00:58.320 --> 0:01:01.280 newsletter because that's the best way to stay in touch 0:01:01.320 --> 0:01:04.880 and receive my Leada's musings outside of the podcast. But 0:01:05.120 --> 0:01:07.720 the blog was about an experience that I recently had 0:01:07.760 --> 0:01:10.840 with my voice and with performing, and even though the 0:01:10.920 --> 0:01:14.920 situation was unique to me, so many people wrote in 0:01:15.000 --> 0:01:17.760 saying how much they resonated with what I was sharing, 0:01:18.480 --> 0:01:21.240 so it got me thinking of how I could share 0:01:21.360 --> 0:01:24.720 even more of all the ah ha moments, because there 0:01:24.720 --> 0:01:27.280 have been many that I've been having since working with 0:01:27.319 --> 0:01:29.560 my voice in the capacity in which I am now, 0:01:30.400 --> 0:01:32.520 and to do that, I thought I would bring on 0:01:32.560 --> 0:01:36.200 a very special guest my voice and I call her 0:01:36.200 --> 0:01:38.720 my voice slash life coach because that's basically what she is, 0:01:39.000 --> 0:01:42.679 Tamara Beatie. I first connected with Tamara during my time 0:01:42.800 --> 0:01:45.960 on the Mass Singer. As a vocal coach, Tamara has 0:01:46.000 --> 0:01:48.840 worked to not only heal, but to reveal some of 0:01:48.880 --> 0:01:52.440 the most powerful and beautiful voice as possible. She has 0:01:52.480 --> 0:01:55.640 an extensive resume I could definitely rattle off, but honestly, 0:01:55.720 --> 0:01:59.120 her depth and gifts go far beyond any of her accolades. 0:02:00.040 --> 0:02:04.480 Tamara's coaching style is incredibly unique and flows much deeper 0:02:04.480 --> 0:02:07.720 than the work that we do with my actual vocal courts. 0:02:07.760 --> 0:02:11.320 She is intuitive, she's patient, she's curious, and she is 0:02:11.360 --> 0:02:15.200 a powerful healer. I have never actually worked alongside a 0:02:15.240 --> 0:02:19.400 vocal coach in this way because I honestly haven't trusted 0:02:19.480 --> 0:02:21.480 anyone in the way that I trust her, and I 0:02:21.520 --> 0:02:24.760 think that says a lot about Tamara. What's really been 0:02:24.919 --> 0:02:27.600 incredibly eye opening is how much the work we do 0:02:27.720 --> 0:02:32.040 together has overlapped with all the areas of exploration I've 0:02:32.080 --> 0:02:35.880 been dedicating this podcast too, and I realized that the 0:02:35.960 --> 0:02:38.200 lessons I've learned from her and the progress that I've 0:02:38.200 --> 0:02:41.519 made run deep to the core of finding our individual 0:02:41.639 --> 0:02:45.640 voices and connecting with our true selves. I hope that 0:02:45.680 --> 0:02:49.440 you find healing and liberation and our conversation and begin 0:02:49.520 --> 0:02:53.360 to explore ways in which you can reveal your own 0:02:53.400 --> 0:02:56.920 powerful voice. And with that, I welcome you to this 0:02:56.960 --> 0:03:20.480 episode of Holy Human. Odd YEA yeah, Tamara, thank you 0:03:20.720 --> 0:03:23.600 for coming on Holy Human. This is such an interesting 0:03:23.680 --> 0:03:25.000 thing for me because you and I just saw each 0:03:25.000 --> 0:03:29.600 other yesterday. I feel like I have had conversations on 0:03:29.680 --> 0:03:33.200 this podcast with people that I've had intimate relationships with, 0:03:33.520 --> 0:03:36.240 but I find I am finding that this is probably 0:03:36.320 --> 0:03:40.040 the most intimate relationship that I've had with another that's 0:03:40.080 --> 0:03:45.000 on this podcast. And I never expected anyone to be 0:03:45.080 --> 0:03:47.640 in this position with me, actually to have this kind 0:03:47.640 --> 0:03:52.080 of relationship, and I'm I'm super grateful that you are 0:03:52.120 --> 0:03:55.200 in my life and the work that we do together 0:03:55.440 --> 0:03:58.760 is I don't even know how to describe it. We 0:03:58.880 --> 0:04:03.440 sometimes get to my voice voice. Sometimes we were working 0:04:03.440 --> 0:04:05.280 on my voice a lot at this moment, like just 0:04:05.320 --> 0:04:07.720 building stamina because I have been going, you know, have 0:04:07.800 --> 0:04:09.640 gone back out on the road, and so I've needed 0:04:09.680 --> 0:04:11.520 that after having a year and a half off. But 0:04:11.960 --> 0:04:13.560 I feel like there's so much work that we do 0:04:13.680 --> 0:04:16.640 before the voice and just to give people kind of 0:04:16.680 --> 0:04:18.279 a bit of a background. Like you and I met 0:04:18.320 --> 0:04:21.200 on the Mass Singer and I actually ended up with 0:04:21.360 --> 0:04:25.400 you because I had lost my voice during filming and 0:04:25.440 --> 0:04:28.279 I was on steroids and I everybody kept telling me, 0:04:28.320 --> 0:04:30.640 there's this wonderful woman and she has all these tricks, 0:04:30.680 --> 0:04:33.480 and I'm like, sure she does. I've been around long 0:04:33.560 --> 0:04:35.560 enough to feel like I know every trick in the book, 0:04:35.920 --> 0:04:39.479 and sure enough, my intuition just guided me to go 0:04:39.600 --> 0:04:41.359 see you. And I'm glad that I had lost my 0:04:41.440 --> 0:04:43.200 voice at that moment, because I don't think I would 0:04:43.240 --> 0:04:46.360 have walked into your room and your space and unless 0:04:46.400 --> 0:04:49.760 I had. So with all that said, I would love 0:04:49.800 --> 0:04:54.040 to hear first off, what you experienced of me when 0:04:55.080 --> 0:04:57.560 when we first met, because I know for myself, I 0:04:57.640 --> 0:04:59.680 was very hard headed. I didn't want to think about 0:04:59.680 --> 0:05:01.880 singing it was like the last thing I felt like 0:05:01.920 --> 0:05:04.520 if I thought about it, then it would I would 0:05:04.600 --> 0:05:09.320 lose what I innately had, And so I'm just wondering 0:05:09.320 --> 0:05:12.560 what your experience and all of that. One. Well, first 0:05:12.600 --> 0:05:14.600 of all, my goodness, thank you so much. What an 0:05:14.640 --> 0:05:18.840 amazing um compliments. I really appreciate that. For me, when 0:05:18.839 --> 0:05:21.680 I work with somebody, I just feel so privileged that 0:05:21.720 --> 0:05:25.120 they're trusting me, because, like you say, the voices really 0:05:25.160 --> 0:05:27.440 a lot more than just this physical instrument that we're 0:05:27.440 --> 0:05:29.960 working with. It's all the stuff behind it, everything that 0:05:30.000 --> 0:05:32.080 we've been through, and it's a little bit like we 0:05:32.120 --> 0:05:34.640 want to keep that space safe. So I'm always really 0:05:34.640 --> 0:05:38.119 appreciative when somebody takes a leap and says, okay, let's 0:05:38.360 --> 0:05:41.440 try this, because it's not just their livelihood, it's also 0:05:42.400 --> 0:05:46.280 everything that makes them them. So thank you. Firstly, thanks 0:05:46.320 --> 0:05:49.800 so much. Of course, Well, when we first met, all 0:05:49.839 --> 0:05:53.080 I knew was that you were just looking to get 0:05:53.080 --> 0:05:55.240 your voice feeling a little bit better for a performance. 0:05:55.560 --> 0:05:57.279 That's all I knew, you know, That's all I thought 0:05:57.320 --> 0:05:59.200 it was too. I was like, she can help me maybe, 0:05:59.240 --> 0:06:02.520 but yeah, and then when we connected. You know, it's 0:06:02.560 --> 0:06:06.640 really common for people even to have had experiences where 0:06:06.720 --> 0:06:09.560 they've seen somebody, or they just have this idea that 0:06:09.680 --> 0:06:13.120 what they're doing is being changed, or they have to 0:06:13.960 --> 0:06:16.320 insert a whole bunch of extra effort and that takes 0:06:16.360 --> 0:06:18.719 them out of the performance. And I understand that that 0:06:18.760 --> 0:06:22.920 makes sense to me. But essentially when we connected, I mean, 0:06:22.920 --> 0:06:26.279 the very first thing I noticed was just in your 0:06:26.839 --> 0:06:29.200 voice in general, I just felt like you were even 0:06:29.200 --> 0:06:31.120 though you might have felt guarded in one way, you 0:06:31.160 --> 0:06:35.800 were very vulnerable. That's interesting you were. You did allow 0:06:35.880 --> 0:06:40.279 me space too, to kind of come in and ask questions, 0:06:40.320 --> 0:06:42.960 and I was aware that there was a spot that 0:06:43.000 --> 0:06:45.360 we could go to, but I just was like, that's 0:06:45.360 --> 0:06:47.360 where we'll go to, and we'll just kind of keep 0:06:47.680 --> 0:06:50.800 going there, keep listening. The voice is more powerful than 0:06:50.920 --> 0:06:54.440 anything we're thinking. So it's sharing a lot of the 0:06:54.480 --> 0:06:56.440 way we're living, a lot of the way that we're 0:06:57.480 --> 0:07:00.400 doing our life, the blocks we hold, how we thrive. 0:07:00.600 --> 0:07:03.120 So basically my job is just to listen to the 0:07:03.240 --> 0:07:06.320 voice and then try and and bring it back to 0:07:06.320 --> 0:07:08.279 you in a way where you feel like it feels 0:07:08.279 --> 0:07:11.240 more like you. One of the most interesting pieces for 0:07:11.360 --> 0:07:14.280 me was how you went and through my body first, 0:07:14.400 --> 0:07:18.520 like it was really important. I could tell my musculature, 0:07:18.640 --> 0:07:21.440 like everything felt really tight. I've had a lot of 0:07:21.680 --> 0:07:24.880 dental surgeries over the past, you know, eight years, and 0:07:25.280 --> 0:07:28.480 I feel like my jaw was had constant tension. The 0:07:28.520 --> 0:07:32.200 muscles in my neck were constantly tight. And instead of 0:07:32.240 --> 0:07:35.400 going toward my voice first, you started it on the body, 0:07:35.440 --> 0:07:42.080 and I was just wondering how the body informs our voice. Okay, 0:07:42.120 --> 0:07:46.480 so this body is absolutely incredible. It is our voice, 0:07:46.520 --> 0:07:49.640 our voices, our body. It's a mechanism of our body. 0:07:49.640 --> 0:07:52.280 We sometimes forget that because we're using it to express, 0:07:52.360 --> 0:07:56.520 but it's actually a mechanism inside the body. And if 0:07:56.840 --> 0:08:00.920 we are experiencing tension of any sort, that kind of 0:08:01.000 --> 0:08:03.520 signals to the brain. You know, there's tension through the 0:08:03.560 --> 0:08:05.520 nervous system, it signals it to the brain and then 0:08:05.520 --> 0:08:07.480 the brain kind of comes back out and you know, 0:08:07.480 --> 0:08:09.720 it might send some hormones, it might send some adrenaline, 0:08:09.720 --> 0:08:12.560 and might send things like that. But essentially this tension 0:08:12.640 --> 0:08:18.480 has to be kept somewhere. So where does this tension go. Well, 0:08:18.560 --> 0:08:21.240 sometimes for singers, it it goes into the areas that 0:08:21.280 --> 0:08:26.280 affect our voice. And so when we've got these extra 0:08:26.440 --> 0:08:29.480 muscles that have been recruited to help us sing or speak. 0:08:29.520 --> 0:08:32.640 It could be for a speaker. We essentially can start 0:08:32.640 --> 0:08:36.480 building a habit that creates a habit way of speaking 0:08:36.559 --> 0:08:41.320 or singing or phone maating that is physiological. It's it's 0:08:41.320 --> 0:08:44.800 in the body. And even though you know, the signals 0:08:44.800 --> 0:08:46.880 go back to our brain and the brain says, you know, 0:08:47.400 --> 0:08:49.920 I'm tight. Oh no, something's bad, it's happening. I have 0:08:50.000 --> 0:08:52.600 to worry. I don't want this to happen. Essentially, it 0:08:52.640 --> 0:08:54.959 comes back down to the body that this worry is 0:08:55.000 --> 0:08:58.880 expressed or mirrored intension, and this tension has to lie somewhere. 0:08:58.920 --> 0:09:02.720 So being able to have your body loose, you know, 0:09:02.960 --> 0:09:07.199 your diaphragm not tensed, kind of not in a state 0:09:07.280 --> 0:09:12.640 of sympathetic reaction whereas fight flight or freeze, to try 0:09:12.679 --> 0:09:14.680 and get it out of that into that parasympathetic mode, 0:09:14.679 --> 0:09:16.920 it really really really helps the voice to sort of 0:09:17.360 --> 0:09:21.079 begin to mirror those qualities of relaxation and calm and ease. 0:09:21.559 --> 0:09:24.960 M I get so many things I can say about this. Um. Yes, 0:09:25.280 --> 0:09:27.679 getting into my body first and relaxing some of those 0:09:27.760 --> 0:09:32.320 muscles gave me a It made things start to feel 0:09:32.400 --> 0:09:34.920 a bit easier. I know that there's been so many 0:09:34.920 --> 0:09:36.560 things that have opened up for me around this work 0:09:36.600 --> 0:09:39.760 with you, and one of the biggest pieces there's you know, 0:09:39.800 --> 0:09:42.360 there's been different misconceptions, things that have been told to 0:09:42.360 --> 0:09:44.400 me about the voice in the past that you've totally 0:09:44.480 --> 0:09:48.080 like blown open for me. But one of the biggest 0:09:48.120 --> 0:09:52.319 things of pieces of awareness for me has been how 0:09:52.360 --> 0:09:57.400 hard I try at so many things. And I think 0:09:57.400 --> 0:09:59.360 a lot of people can relate to this, you know. 0:09:59.840 --> 0:10:01.720 I In fact, I just heard one of my um 0:10:01.760 --> 0:10:04.080 one of my therapists I have many, one of them, 0:10:04.520 --> 0:10:06.800 one of them today was saying how much drama we 0:10:06.840 --> 0:10:08.960 cause in our adult lives in order to feel like 0:10:09.000 --> 0:10:12.520 we're living a life worth living or doing something. You know, 0:10:12.840 --> 0:10:14.880 we're causing the drama in order to feel like we're 0:10:15.280 --> 0:10:18.240 doing enough. And that totally made sense to me because 0:10:18.240 --> 0:10:22.680 we've been talking about this of how I, with my voice, 0:10:22.960 --> 0:10:26.680 especially make it harder than it is in order to 0:10:26.760 --> 0:10:30.400 feel like I'm doing something more than I need to 0:10:30.440 --> 0:10:33.200 do in order to be who I think I have 0:10:33.400 --> 0:10:36.480 to be. And I know that plays over into so 0:10:36.520 --> 0:10:39.560 many different parts of my life of how we're making 0:10:39.559 --> 0:10:42.560 things more complicated than they have to be and that's 0:10:42.559 --> 0:10:45.120 been a major lesson, one of the big aha moments. 0:10:45.120 --> 0:10:47.679 And I feel like for me, my voice is such 0:10:47.679 --> 0:10:50.280 a huge catalyst for change because what I'm learning is 0:10:50.280 --> 0:10:53.600 if I can see and experience the lesson within my voice, 0:10:53.640 --> 0:10:55.640 not just see it, but actually like feel it and 0:10:55.679 --> 0:10:58.920 experience it, it trickles out into all the other areas 0:10:58.920 --> 0:11:02.320 of my life. So that's been one of the big 0:11:02.360 --> 0:11:07.080 factors for me, is bringing ease into the body and 0:11:07.120 --> 0:11:10.000 the voice. And it's still it's a layering piece for 0:11:10.080 --> 0:11:12.840 me because I'm noticing there. I can feel so at ease, 0:11:12.880 --> 0:11:16.120 and then all of a sudden have triggers on stage 0:11:16.400 --> 0:11:18.320 that all of a sudden make my muscles tense up. 0:11:18.600 --> 0:11:21.240 I know, yesterday I was performing and I text you 0:11:21.280 --> 0:11:23.520 after and I was like, I had this voice in 0:11:23.520 --> 0:11:25.120 my head that was like, I don't want to do this. 0:11:25.679 --> 0:11:29.000 I don't want to do this. My muscle started tensing up. 0:11:29.080 --> 0:11:31.520 And Daryl, my sweet friend Daryl, and I were just 0:11:31.520 --> 0:11:33.840 talking about this. I actually something I didn't tell you. 0:11:33.880 --> 0:11:35.719 I went out into the hall, I said I need 0:11:35.720 --> 0:11:41.160 a break, and I went and screamed I know, which you, 0:11:41.400 --> 0:11:43.240 which was one of the things that has been told 0:11:43.520 --> 0:11:45.360 my whole life to me. I was actually taken to 0:11:45.400 --> 0:11:47.480 the doctor because I wanted to be a cheerleader and 0:11:47.480 --> 0:11:51.000 I was told, like, you can't scream because you will 0:11:51.080 --> 0:11:54.760 ruin your voice as a singer. And so yesterday was 0:11:54.800 --> 0:11:56.600 such a breakthrough for me, and I was like, there's 0:11:56.640 --> 0:11:58.880 this child inside of me right now that does not 0:11:59.040 --> 0:12:01.120 want to do this, and I need to go let 0:12:01.120 --> 0:12:03.240 it have its moment. I need to let myself have 0:12:03.320 --> 0:12:05.440 my moment. So I screamed, and I went right back 0:12:05.440 --> 0:12:12.400 and sang breakthrough. Yea, yea. But I I just wonder 0:12:12.760 --> 0:12:15.320 you say that you can you can tell all of 0:12:15.360 --> 0:12:19.000 these things about someone through their voice. I would love 0:12:19.080 --> 0:12:22.520 to you to expand upon that a bit. And we've 0:12:22.559 --> 0:12:25.760 talked about how the body plays a role in our physiology, 0:12:25.800 --> 0:12:29.920 but like, what else can you tell about someone through 0:12:29.960 --> 0:12:33.200 their voice? Like does trauma? Obviously trauma shows up through 0:12:33.240 --> 0:12:36.199 the voice. I'll let you kind of go there. Absolutely, 0:12:36.240 --> 0:12:38.640 you brought up so many amazing things. I'll just touch 0:12:38.679 --> 0:12:42.000 a tiny bit on them, like we absolutely kind of 0:12:42.040 --> 0:12:44.680 exert a lot more effort in many things in life, 0:12:44.679 --> 0:12:46.680 Like maybe I'm even brushing my teeth and I'm brushing 0:12:46.720 --> 0:12:48.640 them like fervently and I can just like brush them. 0:12:48.720 --> 0:12:50.760 I don't have to kind of really go crazy at it. 0:12:51.520 --> 0:12:53.360 But it's the same thing we you know, at the 0:12:53.360 --> 0:12:56.200 same playing piano or something, I might exert more effort 0:12:56.480 --> 0:12:58.360 um in parts of my body that I don't need. 0:12:58.400 --> 0:13:01.080 And it's the same with singing. It is true in 0:13:01.200 --> 0:13:04.480 singing that we do need as the voice, you know, 0:13:04.520 --> 0:13:07.240 a sense and pitch to recruit different muscles. And the 0:13:07.280 --> 0:13:10.440 ones we want to recruit are the ones that allow 0:13:10.559 --> 0:13:12.720 that voice to basically think of it as a rubber 0:13:12.760 --> 0:13:16.000 band like lengthen and not length. And I mean it's 0:13:16.040 --> 0:13:18.720 not exactly like that, but the idea of you know, 0:13:18.840 --> 0:13:23.200 we have to have that um mass, stretch or be 0:13:23.240 --> 0:13:25.080 in a position where if I was to like pluck 0:13:25.120 --> 0:13:27.600 it like a string, it would be higher because it's 0:13:27.600 --> 0:13:31.240 more taught, right, and so our voice. We want to 0:13:31.280 --> 0:13:33.560 recruit those muscles. But the muscles we don't want to 0:13:33.600 --> 0:13:37.079 recruit are the ones that are used for you know, swallowing. Well, 0:13:37.080 --> 0:13:39.480 it's not accurate, but the idea of hilaris we don't 0:13:39.480 --> 0:13:41.040 want to recruit that too much. We don't want to 0:13:41.080 --> 0:13:43.839 recruit the ventricular fold too much. We don't want to 0:13:43.840 --> 0:13:46.560 recruit lots of other neck muscles and things like that. 0:13:46.640 --> 0:13:50.320 So we tend to recruit those things because it's easier 0:13:51.320 --> 0:13:54.520 to go the way of I'm not gonna worry about 0:13:54.520 --> 0:13:57.320 my airflow. I'm going to use my muscle tension, my 0:13:57.320 --> 0:14:00.000 ability to close my vocal cords or use my muscle 0:14:00.160 --> 0:14:03.160 in order to make sound, because it's more efficient in 0:14:03.200 --> 0:14:05.880 the way that it's easier. But the most efficient way 0:14:05.880 --> 0:14:09.240 to sing is actually to synchronize that airflow as well 0:14:09.280 --> 0:14:12.400 as the approximation or the adduction or they're bringing together 0:14:12.400 --> 0:14:14.760 of your vocal courts. So it's like a dance. You're 0:14:14.800 --> 0:14:19.040 trying to navigate this dance. And when we have a 0:14:19.120 --> 0:14:21.960 dance to navigate that's not all our own doing, we 0:14:22.040 --> 0:14:23.680 tend to want to be like, nope, I'll do it, 0:14:23.800 --> 0:14:26.600 you know, and and sort of take over as opposed 0:14:26.640 --> 0:14:30.040 to like there's a force in its own self to 0:14:30.080 --> 0:14:32.720 be able to propel, almost like a gravitational pull of 0:14:32.760 --> 0:14:34.840 the voice. And if you can learn to go with 0:14:34.880 --> 0:14:38.840 that gravitational pull, you don't have to use as much effort. 0:14:38.880 --> 0:14:41.960 But of course, if we're very competitive, if we have 0:14:42.040 --> 0:14:45.240 kind of perfectionistic tendencies, things like this all of these 0:14:45.280 --> 0:14:48.840 things kind of serve our identity in that way to 0:14:48.920 --> 0:14:51.440 be able to do something and see the outcome of 0:14:51.480 --> 0:14:55.360 it and feel the outcome of it. So, coming back 0:14:55.400 --> 0:14:57.840 to your question, how can you tell a bit about 0:14:58.040 --> 0:15:00.800 how someone maybe lives their life through how they're using 0:15:00.800 --> 0:15:04.320 their voice? One of those things is that like how 0:15:04.400 --> 0:15:08.680 much of the person is trying to present themselves versus 0:15:09.080 --> 0:15:13.640 allow themselves. So you can hear when I'm presenting something, 0:15:13.800 --> 0:15:16.680 you can hear that I'm carefully presenting it for you 0:15:16.720 --> 0:15:19.640 instead of just sort of letting it come out. So 0:15:19.680 --> 0:15:23.120 that presenting would show me that that's an area you 0:15:23.160 --> 0:15:25.640 don't you don't want to lose control of that. You 0:15:25.680 --> 0:15:28.840 want to make sure that there's certain things. Or perhaps 0:15:28.920 --> 0:15:33.640 if somebody has had um some trauma for example, um, 0:15:34.080 --> 0:15:37.600 let's say some sort of a sexual violation, it could 0:15:37.640 --> 0:15:40.160 be it could be you know, somebody has witnessed a crime. 0:15:40.280 --> 0:15:43.360 Even you know, there's this sense of like when you 0:15:43.880 --> 0:15:47.240 have that trauma, what happens in the body, Well, you're breathing, 0:15:47.240 --> 0:15:50.280 shallows and it almost stops. Your body goes into that 0:15:50.320 --> 0:15:53.120 sympathetic nervous system and it goes into fight or flight. 0:15:53.240 --> 0:15:56.600 Oftentimes this is the freeze mode. And you can hear 0:15:56.680 --> 0:16:01.200 that freeze mode before somebody begins to seeing or speak. 0:16:02.480 --> 0:16:05.400 So when somebody comes in, they don't really know that 0:16:05.440 --> 0:16:09.560 they're really showing you so much about their life, what 0:16:09.640 --> 0:16:14.920 they think is important to block, how important their voice is, 0:16:15.080 --> 0:16:17.440 their identity that's tied in with their voice, and we 0:16:17.480 --> 0:16:20.480 create all these projections on our voice. So it's so 0:16:20.560 --> 0:16:22.960 much more when we have a voice problem than up 0:16:23.280 --> 0:16:25.800 my voice is hurt. It's like, oh no, I'm gonna 0:16:25.800 --> 0:16:30.280 lose my my ability to share and receive love. I'm 0:16:30.280 --> 0:16:32.760 going to lose my livelihood. I'm going to lose That's 0:16:32.800 --> 0:16:37.480 what we're sad and worried about. And that worry creates 0:16:37.520 --> 0:16:41.200 a state in the body, and that state must be 0:16:42.200 --> 0:16:47.720 experienced and expressed in some way. And I think that 0:16:48.880 --> 0:16:50.920 the thing that you said that was really interesting when 0:16:50.960 --> 0:16:53.800 you went out in the hall and you screen and 0:16:53.800 --> 0:16:57.120 you're like a you know, when you think of that, 0:16:57.120 --> 0:17:01.080 that's really a catharsis. That's a st ang emotional feeling 0:17:01.880 --> 0:17:03.560 that wants to come out. It's like if you want 0:17:03.600 --> 0:17:08.639 to cry but you hold it in, and you really 0:17:08.680 --> 0:17:10.960 really want to cry, but you just you hold it in. 0:17:11.200 --> 0:17:16.399 Where do you experience that feeling? I mean in my throat, right, 0:17:16.480 --> 0:17:19.640 It's not in your tear dect, it's not in your eyeballs, right, 0:17:20.280 --> 0:17:24.360 it's it's in our throat. And that's because that holding 0:17:24.400 --> 0:17:29.080 back of a catharsis or a natural reaction to something 0:17:29.080 --> 0:17:30.800 which you know, if you think about how we lived 0:17:30.800 --> 0:17:34.040 as children. Sometimes we've been in environments or you know, 0:17:34.119 --> 0:17:38.600 the industry itself, of the music industry kind of does 0:17:39.400 --> 0:17:43.360 not allow us to just always express ourselves in that way. 0:17:43.400 --> 0:17:46.919 So that energy has to go somewhere, and it almost 0:17:46.960 --> 0:17:50.560 always goes into our body. It goes into our body 0:17:50.560 --> 0:17:52.800 into muscular tension, and over a period of years, that 0:17:52.880 --> 0:17:57.760 muscular tension starts to come out in many different forms. 0:17:57.800 --> 0:18:00.960 One of the forms can be of So that's why 0:18:01.000 --> 0:18:12.479 it's so powerful. And on that powerful note, we are 0:18:12.480 --> 0:18:14.400 going to take a quick break, but we'll be right back. 0:18:23.840 --> 0:18:26.520 Welcome back, my loves. We are talking with a wonderful 0:18:26.600 --> 0:18:30.000 Tamarra Beaute about the energy and power behind connecting with 0:18:30.040 --> 0:18:34.840 our true voice. It's such a powerful form of transformation, 0:18:34.920 --> 0:18:38.040 like catalyst for it. Absolutely, it's so interesting to me 0:18:38.080 --> 0:18:41.160 because I've been praised for the control of my voice. 0:18:41.600 --> 0:18:44.199 It's like musicians and some singers are praised for the 0:18:44.240 --> 0:18:46.880 control of their voice. And it's such a mind fuck 0:18:47.000 --> 0:18:52.199 because it's like, yes, and well, first off, do you 0:18:52.240 --> 0:18:55.480 even want that much control of your voice? What am 0:18:55.520 --> 0:19:00.680 I missing if I'm always controlling it? That's what I'm 0:19:00.720 --> 0:19:03.520 That's what I find myself asking. It's so we live 0:19:03.560 --> 0:19:05.919 in this world of duality. I'm I want to go 0:19:06.000 --> 0:19:09.119 here because I you sent me, Well, we had a 0:19:09.200 --> 0:19:12.920 conversation and you ended up finding this book that was 0:19:13.000 --> 0:19:15.679 with you where you were, and you opened it to 0:19:16.880 --> 0:19:19.240 a page that had a ticket that was stuck in 0:19:19.240 --> 0:19:23.159 the book. And the book is called Effortless Mastery, and 0:19:23.400 --> 0:19:25.320 I wanted to read what the top of the page 0:19:25.359 --> 0:19:28.800 said because it's stuck with me. Um, As you improvised 0:19:28.840 --> 0:19:32.520 from an expanded consciousness, you discover that, in fact, there 0:19:32.520 --> 0:19:37.000 are no wrong notes. Appropriateness and correctness are products of 0:19:37.040 --> 0:19:40.240 the mind trying to live within those imaginary guidelines in 0:19:40.280 --> 0:19:44.239 him its flow. And so for me, like there are 0:19:44.359 --> 0:19:47.639 right and wrong notes, like that's what I've been told. 0:19:47.800 --> 0:19:49.800 I mean, there are quote unquote right and wrong ways 0:19:49.840 --> 0:19:51.840 to do things. I guess within the linear world that 0:19:51.880 --> 0:19:54.880 we live in, if I'm going to sing a certain song, 0:19:54.920 --> 0:19:58.159 there are notes to hit to create that song. But 0:19:58.240 --> 0:20:02.480 what I start starting to ask myself within this duality 0:20:02.480 --> 0:20:04.239 of like good and bad and right or wrong? Like 0:20:04.359 --> 0:20:06.760 what is in between? What am I missing by only 0:20:06.840 --> 0:20:09.560 hitting those notes? Like what am I missing that I 0:20:09.560 --> 0:20:15.480 could be creating or drawing from that? Those dualistic ways 0:20:15.480 --> 0:20:20.280 of thinking are what's it keeping me from? Absolutely You're 0:20:20.280 --> 0:20:23.959 bringing up so many amazing, you know, ways of thinking, 0:20:24.040 --> 0:20:29.120 because the question is is what is control? What's what's control? 0:20:29.240 --> 0:20:33.440 Is control being able to you know, guide something into 0:20:33.520 --> 0:20:36.440 a specific set of parameters that you have created. Like 0:20:36.800 --> 0:20:38.360 when you say it's the right note of the wrong 0:20:38.400 --> 0:20:41.159 note for the song, I mean you could say, I mean, 0:20:41.200 --> 0:20:42.840 if you kind of want to go off a little bit, 0:20:42.880 --> 0:20:46.239 you could say, well, that's it with that harmonization of 0:20:46.240 --> 0:20:50.280 that chord. But if you harmonize it differently, put different 0:20:50.320 --> 0:20:53.360 notes you know in your base or you kind of 0:20:54.040 --> 0:20:56.560 you have a different sense of tonality than is it 0:20:56.600 --> 0:20:59.480 is it a wrong note? So it's like when we're 0:20:59.520 --> 0:21:02.439 creating songs for the radio, we've got more formulas, and 0:21:02.480 --> 0:21:04.760 that formula there's a little bit more like this is 0:21:05.200 --> 0:21:07.800 right and wrong because this is what we're conditioned to. 0:21:07.880 --> 0:21:10.080 But if you really look at the expansiveness of music 0:21:10.119 --> 0:21:14.240 and sound, you know, sound is you're never singing one note. 0:21:14.400 --> 0:21:17.440 That note you're singing has harmonics, there's always these other 0:21:17.520 --> 0:21:20.040 notes on it, So you're never just hitting a C 0:21:20.400 --> 0:21:22.359 or just a B or a B flat. You're hitting 0:21:22.920 --> 0:21:25.440 you know, a series of other notes if you've got 0:21:25.800 --> 0:21:29.359 great resonance. So in one way, if you think of music, 0:21:29.560 --> 0:21:32.280 not in the industry's point of view, and you think 0:21:32.280 --> 0:21:37.520 of it as sound and communication, you know, really, is 0:21:37.800 --> 0:21:41.240 it really a wrong note? Not not necessarily so that 0:21:41.400 --> 0:21:43.400 if you kind of blow it up like that, then 0:21:43.440 --> 0:21:46.200 you can sort of think that way and and right 0:21:46.280 --> 0:21:48.640 or wrong? Whose constraints are using when we're using those 0:21:48.680 --> 0:21:52.119 confines and things. So you know, again, if we're singing 0:21:52.160 --> 0:21:54.840 for industry stuff, we do have to play by certain 0:21:54.920 --> 0:21:58.480 rules and we've got certain confines that we're we're going in. 0:21:58.600 --> 0:22:03.720 But for me, the question is, is somebody who here, 0:22:03.760 --> 0:22:05.840 I'll say it like this. The other day, somebody said 0:22:06.520 --> 0:22:08.919 that they were kayaking, and then somebody was really good 0:22:08.960 --> 0:22:13.080 at kayaking said kayaking is a downhill sport. You know, 0:22:13.280 --> 0:22:15.080 it's like you're going down, it's just down the river. 0:22:15.560 --> 0:22:20.000 And immediately I thought singing is a downhill sport. It's 0:22:20.040 --> 0:22:22.680