December 23, 2021 - EyeClarity Podcast
Joshua Townshend-Zellner has been involved in the entertainment industry for all of his adult life and has coupled his protocols with work in the yogic, shamanic, and esoteric worlds creating a nature-based approach to the creative process and storytelling.  He has worked with amazing writers, actors, performing artists, and many creatives.  Today, he talks about these aspects of the creative process: Perception. Being Present. & Awareness, as well as takes Q&A.  He can be reached at his website: https://www.joshuatownshend.com or through his social channels: Instagram | Facebook | TikTok
Joshua is one of the many amazing speakers joining me for my upcoming Whole Health Summit. Enjoy the show. If you want more, sign up for my newsletter at: www.drsamberne.com.
SUMMARY KEYWORDS
people, work, create, joshua, question, creativity, person, perception, awareness, feelings, moment, thoughts, sam, townsend, book, result, creative, line, talking, summit
00:05
Hey everybody, it’s Dr. Sam and I want to welcome you to another AI clarity podcast. So as part of our Summit Series, as you know, I’m putting on my second annual health summit, which will be January 14 to the 16th 2022. We have one of our featured speakers today, and he’s an amazing human being. I’m so excited that we could book him. His name is Joshua Townsend Zellner. And let me give you a little background about Joshua. He’s been involved in the entertainment industry for all of his adult life. And he has coupled that work with things like yoga and shamanic healing, esoteric worlds. And I’ve taken some of his workshops, and he’s very nature based very holistic, especially in the creative process and storytelling. So I want to bring him on Joshua, it is great to have you on the program. How are you today? How’s it going?
01:09
I’m doing great. And thank you so much for the invitation. Sam is such a delight to see you.
01:14
Yeah, likewise. So there’s so many areas we can go. And by the way, we’ve got some great questions from followers. So we’ll get to those in a few minutes. But I know that you have worked with some incredible writers, actors performing artists, creatives. And there’s something that you talk about, and I’d like you to expand on it if you would. And it’s related to the creative process perception, being present, and awareness. So why don’t we open that door? And give us a view and your perspective on these things?
01:53
Wow, those are three great words. I really appreciate that. Thank you. And what I’m realizing in that moment is, you know, awareness, right?
02:00
Hmm. Yeah.
02:02
So I’ll take that for all just take that one word, awareness. Awareness is everything in terms of, of conscious creation. So right now I’m having the awareness that my head is turned slightly to the right. It’s not, it’s not straight, right. And that creates like a situation like, I can hear myself, I can hear myself listening more. As opposed to when I’m when my head is like straight like this, then I feel more balanced and more like, yes, how can I help you? But here I have, like an, I have an opportunity, from a sentiment perspective, to actually have like, more curiosity, more leaning in, tell me more, you know, even even my year goes forward a little bit, you know, and that’s so interesting to me, because awareness, awareness and perception are coupled at the at the highest level. Do you notice that do or?
02:58
Oh, yeah. So I mean, it’s all about awareness for me and listening and, you know, gestures and posture and somebody walks in. And I watched their, their gesturing and their posturing, and it tells me everything about them. And I would imagine, you know, in your clients, you know, how do you how do you tune into people, you know, they’re, they’re seeking help in their story or their performance? And they go, you know, I want to work with this guy. How do you know how do you do that? What is what are some cues and signals that you’re, you’re observing
03:38
that I’m looking for? Yeah, what is completely unique, right? So it’s, it’s so really depends upon what’s in front of me what I’m what I’m perceiving. And it’s very interesting, almost a third word, you you asked about awareness, perception, and most the third one, I want to make sure that we don’t leave anything out.
03:54
Being present, being present present, a perception being present. Yeah,
03:59
yeah, I feel like I feel like being present is the foundation to the awareness and the perception. So if we want to look like, like a triangle, or Sure, part of it, do you just have done that you’re in right now that sustains everything?
04:10
That’s a lot a lot of triangles behind me. Yeah. So
04:13
the presence would be on the baseline and then awareness and perception. Points, um, because perception is very interesting in relationship to what you’re talking about, which is the thing of perception actually creates story. Mm hmm. Perception actually creates the story. So I can have I can have, I can have a fixed perception, and that will give me a very fixed story perspective. And the more fluid and the more open, the more allowing the more more possibilities I have more spaciousness to create a richer, richer, more textured, expansive story, more nuanced. Otherwise, what happens? If I have a sixth thing? Then we’re basically in the land of white hats and black hats. Guys, and there’s no nuance. There’s no possible Yeah. Right.
05:16
Sure. And I know you talk about something that you that you speak about. I’ve watched you in your workshops, and even on your podcasts. By the way, Joshua’s got a Well, I had a podcast notes on your notes, and then I think you have a new podcast. Is that Is that right? Yeah. Tell us about that one.
05:39
Well, we’re gearing it up. We’re getting it. We’re, it’s, it’s still in development. We’re about four weeks from launching it, we’ll be launching the January 7. And that one’s going to be for anyone who’s involved in in awareness practices, people want to be more creative. It’s basically like a three to five minute pitstop. You can do in audio and escape. Get some in screen technology today.
06:09
Sorry. Oh, wow, we look forward to that. I know you’re working hard on it. And we look forward to, to seeing it and hearing it. So we’re here with Joshua Townsend Zellner, he’s a, I don’t know, he’s an amazing facilitator, teacher and helps people light up their creative process through his own teaching process. And that word process. So one of the things I would love to hear from you is the difference between process over results, you know, I know people come to you and they got a script, and they got to get, you know, get it to HBO or wherever they’re going. And you kind of reframe it in a really beautiful way. Can you talk about that process over results,
06:58
I feel like the best way to to make that land for most people is when you go to a restaurant. So when you go to the restaurant, you go to the restaurant, you order what you order, and your meal gets delivered, and it’s in front of you. And that’s the result. What you see on the plate is the result of someone else’s creative process, and you’re going to enjoy that result, you’re going to consume it, oh my god, this was the best. And if you’re a foodie, or if you if you want to recreate that or you want to you know, do your own thing in the kitchen, and you’re gonna want to know how they did it. And it’s completely okay to be a person who shows up at a restaurant goes, oh my god, this is the best food, enjoyed the results. You know, like someone who goes to the theater, someone who watches a film, they watch the result. And they did they don’t know why it’s great. They just know they love it. Then if you’re in the creative process, you need to know how you make that meal. And that’s what that’s what we do here. We go into like, Okay, what was the processes that gave us the results? Some people just think I just want that result. I don’t you know, I have no interest in the process of how you get there. And I’m like, Well, okay, you can you can be spoon fed the result once or twice, you know what I mean? But it’s not going to be sustaining. You can’t run your own restaurant, you can’t recreate the meal. And that’s sure that’s the difference. And then and then on top of that, I you know, you know, I love food. I love kale, I love cacao, anything that starts with letter C. And then and so, um, what happens is is like, if you were to give someone who’d made 1000, salads, 1000, kale salads, five ingredients they would make and they could make an amazing kale salad. And if and if someone had never tasted a kale salad, you know what a kale salad wasn’t given the same time ingredients, it wouldn’t come out the same. Because those are that first person is has curated a process of making that sound. And that is all the difference. Is that is that a clear way of seeing Oh,
09:14
yes. I mean, I just think about the people out there that, you know, come to you. They’re, you know, they’re actors, or they’re comedians or, you know, they’re writers. And here, they come to you with a project. And you’re like, Well, wait a minute, you know, let’s step back. And, you know, I’ve read many of your testimonials and you’ve shared some great success stories. This is a one maybe case history somebody that you’ve taken from point A to point B in their creative process. He’d like to share share, because I know my listeners would love to know okay, well, we know this guy’s got some great stuff. What What has he done what what’s How’s he helped people?
10:02
So what’s going on? What’s happening?
10:04
What’s, what’s happening? Where’s the magic? We know, it’s magical. But give us give us a start to finish before and after.
10:14
Sure, yeah, there’s been a I’ve worked with a lot of people and one someone I feel very comfortable talking about, because we’ve talked about me talking about our process is an author named Laura Davis. And she wrote, recently called the burning light of two stars, it’s available now it’s out, people are loving it, it’s great reviews. Um, so I came into that project with her after she’d been working on it for about eight years on her own, not entirely on our own, but you know, working with different people, but eight years in. And so for a year and a half, we went through her book, and developed story. Now story is very different than writing because Laura Davis is an amazing writer. She’s a New York Times bestselling author, she’s written seven or eight books, she’s incredibly prolific, an amazing writer, like I have no notes for her as a writer, zero. When it comes to story, we need to develop the story we need to make me to tease it, we need to go for depth of entry, we need to do a deep dive, and there’s a lot of female words you can use to talk about it. But basically, it’s slowing everything down, and digging deep into the essence of the story. Because when you do short term and long term narrative, it has a very different feeling. So what I mean by that is, if I’m doing an essay, that’s three to five pages, I’m not going to get lost in the weeds, because it’s only three to five pages. It might do a book like Lord David Davis Does 350 pages, and I have to have a very clear through line on what that story is about, what am I really trying to drive home? What’s connecting all of the dots. So there’s that aspect, which is the overriding part that the people in the audience that leaders need to experience, then there’s the nuance work, this is the part that I feel like your audiences can be more akin to, which is when you go for depth of entry, when you go to carve out what’s actually hap what’s actually happening in the scene, not the perception of one of the characters, not the perception of the other character, but the actuality of the emotional truth of the moment. And you can open up those layers. Not only do you get a riveting scene, but most of the time, you’ll get some sort of emotional tramp emotional healing or emotional transformation in that work. And one of the things that Lord Davis told me after our work together for a year and a half was that she actually felt like her, she was actually able to perceive that there’s that word again. She was able to perceive her relationship with her mother in a completely different way. And she felt some kind of healing or transformation in the houses.
13:13
That’s fantastic.
13:15
And so yeah, that’s you really change the past. You can’t change that.
13:19
Yeah, sure. Sure. And this is, this is so exciting that you blend all these different aspects, you’re actually facilitating a healing. And this creative expression comes out. And that’s kind of what you know what I’m asking for in terms of our summit and in your presentation. Because it’s so healing working with you, you’re able to help people access things that even somebody like Laura, who’s an amazing New York Times bestseller, and here it is, you were able to launch her in a way that there’s no way she could have done that on her own. And that’s the kind of stuff that you do with, you know, artists and creatives. And so it’s really cool. Really cool.
14:10
Yeah, it’s very interesting, very interesting, very layered work. You know? It’s endless. Yeah,
14:17
of course. Yeah. Right. Which brings me to your fans, we have a number of questions that I want to get to. And so I’m going to take this first question. This is from a playwright. I’m not going to say his name, his initials are LS he’s from Chicago. And here’s his question to you why do you use a quiz to help people access more freedom in their creativity using the elements?
14:48
Great question. Always good to ask a good 4k 4k. Okay, so we we Human beings are born of nature, like we are nature itself, we are an extension of nature. And nature is everywhere. And so since, since that’s the baseline of the of all creation, why not use that as our template, that’s, instead of me having my own personal ideas or, you know, the Stanislavski method or some sort of externally imposed methodology, why not go direct, why not go for the tapping the source. So, the source is, is that, you know, everyone will agree that we’re 60 to 70%. Water. That’s what we’re made out of. And there’s air all around us, if we don’t have air, oxygen, we don’t survive, we all need to have fire, we need to have fire in our belly, we need to have fire in, in the warmth of our house need to have fire. And of course, earth, you know, without a prenup that Earth is the ultimate place. So those are the four basic foundation. So within that everyone’s going to be creating from, from one predominantly from one of those elements. And what we want to do is we want to tap in, we want to tap into your strength. So whatever you feel to be your dominant birth element, your I call it a creative element. And we want to say yes to that, and really nurture it, and make sure it’s present throughout the process of whatever we’re working on. Because that’s, that speaks to us as an artist. So that’s the why. And then, you know, if you go to the other side, that, so you’re going to have, there’s four of them was actually five, but I work with four in this process. So there’s going to be one that’s dominant, even if it’s 4951. And then the other ones are gonna be, you know, a little less. And then the, the one that’s that’s least activated, is is an interesting one to work with, as well to make sure that it’s present in the project, to whatever degree that means to be okay, because it’s the one that you’re not engaging as much. So that’s interesting. That’s how I work with those.
17:17
Okay, that’s great. And you have this, what’s your website?
17:22
Oh, it is your It’s my name. Yeah. So yeah, I took a lot of creativity with that. I’m like, Okay, so, yeah, Joshua Townsend, and Townsend is spelled Old English with an H. So sh end. So Joshua townsend.com. And then from there, you can, you know, you can link to all the social media.
17:43
And it is a phenomenal website. I know you’ve worked on it, and I highly recommend everyone go to it. Check it out. There’s a lot of information really cool things. So alright, let’s take another question. This is TJ. He’s a comedian from New York. And his question is, what are the steps to help me become more authentic in my performance?
18:11
Wow, go TJ, authentic in your performance as a stand up. One of the things that you’re going to notice is the people that you resonate with the most in terms of stand ups are people that you self identify as being real? You know, gone, gone are the days? No, I’m not sure that’s 100%. But, but most of the people that do you know, stick, you know, like, take my wife, please. You know, the many young men’s the people that used to just do one liners, there, it’s not as popular anymore. And the reason why is because we as culturally, are hungry for authenticity, for real points of view to bring in to bring in the truth. And the court jester. Going back in history, the court jester was always the the person in the in the court of the king that could tell the truth. But it’s always veiled through humor. And you see that in Shakespeare plays, and you see that throughout history, and you even see it in the silent movies where Charlie Chaplin or someone like that could tell the truth, the emotional truth of the moment he wouldn’t get killed for, you know, like, with a policeman, but a regular person. Anyway, so, so authenticity. So, so it’s so important to be authentic. It’s so important, what was the word he used? What word did TJ use?
19:43
Authentic and more in his performance? What are the steps? Would it become more authentic? And so one of them?
19:51
Yeah. If you want to be if you want to be authentic to yourself, and you want to break it down into steps, then what you would need to do is do The first question is, who am I? Who am I? Who am I really, and am bringing that forward. So it’s not like you’re trying to imitate another kind of comedian, you’re really being authentic to who you are your background, your point of view your thoughts and feelings. Because comedy is very personal in that way. And you’re, you’re gonna want to double down on that. And then and then getting clear on on what do I want? Because what do I want? As a human being? What do I want as a human being maps to who you are in your audience? So if I’m telling jokes about if I’m telling jokes as a 20 year old about going out on first dates, that’s going to be authentic. Like, what do I want? But if I’m a 50 year old, talking about going out on first dates, that’s that’s like, insane. It’s like, wait a minute, you’re 15? How can you be going out on first dates? It doesn’t it doesn’t track. So sure, it needs to be connected to the state of hook, who am I, the I Am state and connected to 41. And the last one is developing your own unique point of view. Now everyone has everyone has you want to do is you want to be able to identify your your point of view, and then make it into make it into statements that give a sense of conflict. Like I love. Let’s see, let’s see, I love I love girls, but I hate going out on dates, that that inherently is a conflict. So and you want to look for conflict, because conflict is at the root of comedy.
21:52
Wow, that’s fabulous. All right. Let’s take another question. This is from a BK. She’s a nonfiction writer lives in Seattle. I just published my memoir, and I’m and my book agent wants me to read this book on Audible. And I’m really scared to do it. How do I come across the best way in terms of reading it?
22:24
Okay, so the first thing is she’s from Seattle. Right? So the first thing is to go? Yes. One of those places they have up there and get a really good cup of hot chocolate. Yes, that’s vital. Yeah. Very good up there. Yeah, very good. Hot chocolate up in Seattle. Um, it’s so much fun. So yeah, so first of all, she’s absolutely right. If you’re gonna, if you’re gonna write your own book on any level, you got to turn it into an audible book. There’s no question about that. And there’s no question that, that people want to hear the author’s voice. I mean, it’s just like, I mean, why wouldn’t you write, you know, you don’t want to hear some train to spoon you know, with an English, you want it again, it goes back to authenticity you want, you know, you want it. And also the person who wrote it has a very intimate relationship with those words. And that has both a plus and minus. So But overall, ultimately, if you can work with it, it is a plus. So what I mean by that is, is if I write the material, and I’m so close to it, that I can’t see it anymore, right? Can’t see the forest for the trees, then sometimes what happens is you kind of railroad, the narrative down a certain line. So you want to be able to back up, see it from a larger perspective and have fun with it. And she want to know, what are the first steps on getting real with it. The first thing is, do not, do not read it left to right. And do not practice it in your head, practicing things in your head is death. Because if that’s not how it’s going to get executed, and then you kind of create this thing in your head and then you can’t ever replicate it and you get frustrated because it goes on and on. So what you really want to do is and this is going to sound fun, is that you’re going to want to have it printed out in thoughts. We, as human beings do not speak in sentences. We as human beings thinkin, oh, it’s just like now, like I don’t have a script right now. Right? You don’t have a script right now. So what happened? How does language come up and out of us? Well, we have thoughts and feelings and then something you know creates a concern, and then we want to share and then we have these word packs. bits that we throw out. Sound good? And that someone else hears and they go, oh, yeah, that sounds right. But I don’t think of it, what I just said, as a sentence, and when and when you start listening for this, and it’s so interesting. Let me see if I can replicate it without having it. Um, and so in the beginning of the summer, Sam and I went to the forest, and we had a really good time. So you can tell that there was a line break on we, because I took a pause, because my eyes had to go from the end of the sentence, ending of the sentence, but a human being goes, Sam and I went to the forest and lake and we had a really good time, you know, we never wanted the sun to set. That’s a thought. Yeah. So so what you what you need to do is since you’ve just been hammering it as an author, to create this beautiful sentence or whatever, unfortunately, you need to dismantle that. And one of the ways to dismantle it is to write everything in thoughts, and throw away all of the punctuation.
26:10
Oh, my God. Isn’t that interesting? Yeah, yeah, that is that a solid gold? What you say there? So I know that that’s gonna really help her because I know her. And that’s going to be I actually, I hope she calls you and works with you. Because I think you could take her her book to the next level. So thank you for that. And she thanks you. Okay, let’s go on to the next question. This is I see he’s an actor from LA. He’s from from your, your town. I’ve been trying to break into the acting community here. I’ve been following you. And I read this on your blog, create, release, and relax. Can you explain how these could help my acting?
27:00
Well, first of all, his initials were fantastic IC, which is just just goes great. Yeah. With your program.
27:07
Exactly. That’s why I chose
27:09
him. Yes. And maybe his name is Ian. Um, okay, I see. So, create, release, relax. It’s at the foundation of every creative process, it’s at the, it’s at the foundation of all of nature, is that the foundation of how we all exist on this planet. So we create something like in let me take it down to its base, we create something in inhale. You know what I mean? That’s an inhale, you know, and then you have to release the inhale, which then becomes an exhale. And then you have to relax, meaning there’s a little moment between your next exhale and inhale. So it’s the same thing. When you’re on stage, you need to create something, you need to create a line, you know, you’re gonna create your line of dialogue, you’re gonna create a certain moment, you’re gonna throw out an improv sentence or something. So I’ve created something. Let’s say I create an angry moment of Get out of my house, right? So I create this anger. So that’s the first part I create a state of being, and then I release it saying, Get out of my house, I never want to see you again. And in that moment, from a creative perspective, I need to I need to relax. So I can perceive what the actors with the other actor is going to do. In that moment, in relationship to what I just did, see, what happens is, is if you don’t if you don’t go into an inner state of relaxation, and you’re gonna say, well, the character is not relaxed. And granted, sometimes sometimes people get so livid, they get so upset, they all you work with us all the time, they get tunnel vision, right? The possibilities of what’s possible, what’s next. You know, it doesn’t count anymore. But the artist, the artist needs to be in a state of creation. So the artist needs to be able to stay present, to be able to see what the other actors doing in that real time moment and respond accordingly according to the other characters reality. And if I don’t do that, if I just do what we did in rehearsal, then it’s just repetitive. It’s just like, it’s just like, like, the other person is not listening. You’re not listening to the person is not listening just goes down this really weird place. And then you’re like, well, well, they weren’t really listening check to each other role. I don’t understand why this happened. Because because the engagement so so if and then I have to go back to create in some communities. So it’s up to you Foundation have it. It’s it’s, it’s it’s a very nuanced it’s a very nuanced thing to use the performance and, and yet it’s vital. And then you can also look at it like, this is where actors need to do it a lot. actors need to do it when they go to auditions. When I go to an audition, I create it. I releasing room and when I leave that room, it’s like Viacom ghosts. Why not? Just have a great day, and truly let it go. That’s a great place to practice creating a nice relax.
30:40
Mm hmm. Well, I hope he calls you because I think I think there’s a lot you could help him with. And he’s local. So I’ll encourage that. Yeah. So we’re here with Joshua Townsend Zellner. He’s one of our featured speakers at my upcoming holistic health summit. And we have one last question. This is from DSX. He’s a filmmaker, he actually lives in Hawaii. And he says, I’m thinking about doing some sessions with you, I know I need to bring my body into my writing, what would be one exercise or practice? You would recommend for me to start doing this more?
31:21
My body, yes, my body lies over the ocean. Soon. Yeah, he’s, he’s on the other land of Hawaii. So state of being is the first thing that comes up, because the state of being lives in our body. And so getting, engaging, engaging a specific state of being, and what I mean by a state of being as to how the character thinks and feels, and let it permeate the entire body. And then always create from, from that perspective, always create when you’re in a state of being, don’t, don’t just sit down and write, don’t just sit down and rehearse your lines. That will do little to nothing for you. It’s akin to basically what we were trained to do growing up in grade school. And how much do you remember if anything of importance from grade school? You know what I mean? It’s just, it’s just hammering? Yeah. Yeah. Well, what was that? What was that thought, Sam?
32:30
Well, that thought was, is that it just stays like a mental exercise or something that’s wrote, and, you know, in the creative eye, for me, I’ve never accessed. You know, if I’m shooting a video blog, I got to do a body centered practice for a while, and then something clicks. And that’s why I put this question in, because, you know, this guy is a filmmaker, that’s what he does for a living. And now he’s talking about his body, you know, which is interesting.
33:05
It’s, it’s vital, it’s vital, as a filmmaker, because what you’re capturing on film is, is, is a sensation. It’s it’s a feeling, you know, filmmakers live in the land of images, and impressions, sights and sounds, which is no different than a writer. You know, we all live in different worlds. Some people are visual artists, or sculpt words, some people sell clay. But what I was interested in Sam was this was was this intersection between healing and creativity. Because I feel like that’s, that’s, that’s, I feel like well, definitely. Definitely, in the, in the medical, you know, allopathic medical world, there’s no creativity, it’s like, you know, here are these rules, you know, follow these three things, and call me in the morning, right? Or next week or next month. And don’t forget to bill insurance. But, you know, it’s very much systematized and to bring in this thing of, of creativity, as a part of your healing process. Wow. You know, cuz I know, I know, I know, you’re down that road. What’s your feeling about that?
34:39
Well, it’s an alchemical process, and there is a level of uncertainty or unknown, and the more open you can receive, and be in that alchemical, unknowing, or not knowing Then the body can heal. And if you’re given some prescribed, say synthetically made drug or you know something that is already been choreographed or scripted, it might get rid of the symptoms, but then the problem is gonna resurface and another expression and there you go. But as a as a money making model allopathic medicine, it’s a great model, you know, oh, my glasses don’t work anymore. Yeah, we’ll come back and we’ll make them stronger, you know, I get to sell you another pair. And, you know, so it’s a great business model for the CPA, but for what we’re talking about, which is growth and expansion and transformation and transcendence. I think that the creativity piece, and I, I’ve seen how you have brought that in, through your different practices nature based. And the some of the other things that shamanic practices and body centered things that that you offer. So it’s why it’s why it’s, in some ways, it’s a parallel universe. We’re really doing the same thing, but we’re just maybe naming it differently. And I want people to be exposed to you. Because I don’t even think they’re thinking about that. And most people are wounded in their creativity. I had a lady that she said to me, I got a D and art in first grade. I was like, what? How do you give a first grader A D, in here, she’s 55 years old. And you know, she’s walking around with a D on her report card still. So I’m going to be sending her to you. And, you know, it happens all the time. So, again, it’s it’s that intersection. And we talked about it, you know, you and I talked about a lot off camera, but you know, I wanted to introduce my community to you, because I feel that there, there are so many people out there that could get into their creativity, and they went to music school, you know, or they went to art school. And so they are in this box, that they’re they’re prisoners of their schooling. And I think one of the things that you really bring out is improvisation, you know, you want to get into that improvisational spirit and you create a safe environment for people to do that. So, you know, it’s why I brought you on, and I feel you have this many other things. But this is one thing that you have to offer. So Well, there you go.
37:59
Thank you. Well, first of all, for that lady, I would I would say I would have given her a D plus. So there’s no but that that is the problem that that is the essential problem is that you, you bring in something, just the creative arts. And you’re introduced to it most of the time in school, because you’re in school, you have to be graded, which is now a result, which you’ve actually taken away, which is full circle in our conversation today. You’ve taken away the process, because now people are not interested in the process. They’re interested in what Greenbay got. She doesn’t remember how much work she created that that year, she only remembers the D. And it’s an It’s insanity. The other thing that you brought up that really gets me excited. Is you said that doctors give prescriptions, right. Right. And part of descriptions is a script. Yes. You talked about a script. It’s like, you know, you have to be on script, right? And that’s actually you’re absolutely right. The script gives you the hard form that you cannot break out. And yeah, we we culturally speaking, we as artists as humanitarians, we need to be able to, I call it call it something but you want to be able to break break the glass of the moment that’s what I call it the last of the moment, which is which is the pre prescribed way it should go. And I also say make it go another way. Like make your life go another way make your interaction with the person on the other side of the counter go another way don’t let it move down the way Oh, you know, I was here yesterday and I didn’t get a refund and I’m you know what I mean? Like so another way like wow, you know, you have such a great smile. Can you use this for me? Thanks. Huh? Another way break or break the script, which is part of your thing which is the prescription which I love. Yes,
40:03
yes. Well, we are coming down to the end of our show today. So Joshua, how can people connect with you? How can they find your amazing content and start working with you? Yeah, so
40:17
it all starts with Joshua townsend.com TOWNSEND with an H, there is a free quiz on the website that you can tap into a little more about your creativity, find out which creative element you are, which, which of the four, and it’s self diagnose. And if you don’t agree with it, you can always take the test again, because it’s quick, it’s free. It’s, um, and then, um, you know, it’s really about conscious creation, right, Sam, I mean, that’s what we’re here to do. We’re here to create our lives, or art, or projects, or whatever it is. And so, don’t you know, start by you know, contact me, of course, immediately, but start right away. It’s like, start becoming more aware of your thoughts and your feelings, your state of being, making sure that you’re tapping into your own creative state of being that you want to create from, and, and get off this, you know, it’s almost like a junkie, we’re all we’re all addicted to the linear line. You know what I mean? And get off the line. It’s like a coat light. And people talk about lines of coke. Lines of coke are addictive. Yes. But so is having a prescribed life that you’re so habitually addicted to that you cannot not do check that out. Like, what behaviors can you not not do? What behaviors are you so locked into our point of view how you think and feel you’re so locked into the you’re so invested in that you’re not willing to give it up, even though it’s hurting you. And we all have those. And it’s it’s time for us to start breaking open these things and living living in the moment, you know, moment to moment. And now as my awareness, you know, continues, I noticed that I’m coming full circle that my head’s leaning to the right. Again, just like how we started our session. My whole my whole body’s listening to Sam, what’s what’s going on with you? What thoughts and feelings?
42:17
What’s going on gratitude and to be continued? That’s, that’s what’s going on. So I think we’re gonna end it here. And ladies and gentlemen, that’s a wrap. Thank you so much, Josh, for for being on and look forward to our future.
42:37
I can’t wait to be on the summit. That’s what I’m looking for. Yeah,
42:40
it’ll be great to have you on the summit and beyond. So thanks so much for your generosity today. And Alright, folks. See ya.
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