Hello, this is Debbie Daschinger. Welcome to Dear to Dream. This show won the COV Award for Best Radio Podcast Show. WELP Magazine listed it as one of the top 20 best podcasts to listen to this year. It's high ranking self-improvement podcast on Apple Podcasts and nominated for two people's choice podcast awards and a Webby Award. Today's show is going to feature Kirby Seed. Kirby has traveled the world gathering, collecting crystals and artifacts. Kirby developed the light labyrinth and holotope in collaboration with artists from the San Francisco Exploratorium and engineers from Apple. We'll be talking about all of that and way more a little bit later. This show is sponsored by Dr. Dane here and Access Consciousness. They do beautiful energy work out into the world and you can join them from anywhere, including online. Go to Dr. Dane here, H-E-E-R dot com and Access Consciousness dot com. I'm Debbie Daschinger and I'm a media visibility expert and specifically my clients are spiritual messengers. I help you write your book and take it from the idea of your book to the published version of your book. I've also got a company that guarantees your book will become an international bestseller and I do all the heavy lifting for the author. And finally, I teach you how to be interviewed on radio and podcasts and get massive results and visibility. For those of you who are very interested in this, go to my website and sign up.  Go to Debbie Daschinger dot com slash gift and you will find out about the webinar as soon as it rolls out. That's D-E-B-B-I-D-A-C-H-I-N-G-E-R dot com slash gift. So yes, my guest today is Kirby Seed, the guardian of Goliath, the crystal skull. Kirby is dedicated to building relationships between the crystal mineral kingdom and the evolution of human consciousness. For over 30 years, Kirby has traveled the world gathering crystals and artifacts. He leads crystal workshops and designs tools for healing and shamanic practices. He is also the director of ancient technologies, a business dedicated to the advancement of resonant light, combining natural quartz crystals with colored light to create profound transcendent states of awareness. He has a BA in psychology and a master's certification in intuition medicine. And you can learn more at seedcrystals.com that spelled S-E-I-D crystals.com. And with that, I welcome the amazing Kirby to dare to dream. It's so great to have you. Thank you, Debbie. Good to be here. Thanks. Yeah, I'll get into how we met. Because I think it's very kismet that we're together right now. And that you're going to deliver what you're going to deliver today, but suffice it to say so the audience knows before we share a little later. That it was your brilliance that arrested me that we had this call, because I was in search of something. And since you're a usual crystal hall, I found somebody on the other end like this is your genius. There is no doubt you were born to do this. So I want to start with the word crystal. And everybody in the audience, they get it, right? What a crystal is most of them have them wear them, etc. use them for meditation. It's kind of interesting word because it's derived from the ancient Greek. Krustalos. And it means ice. And it also means rock crystal, right? The word krusos is icy cold frost. And with that in mind, the inception of that amazing word, where did the idea of using crystals to heal and transform begin? I think the ancients discovered rocks, minerals, fossils and crystals as, you know, they always regarded the earth as sacred, life giving. And these are rarefied forms of the earth. And they found that there was a magic to them. It was not really understood, but they created all types of rituals around crystals and minerals. And they found that they had properties that would heal that would bring knowledge that there were quartz crystals, for example, one of their main attributes is they hold them in energy. And the ancients found that if they meditated with these crystals, they would have impressions of the earth, of geology, of their own ancestry. They would have visions of the future. They would go into these quartz crystals and psychically and attune to their ancestral realms. These are the memory chips of the earth and of our planet. And the ancients knew how to, they discovered how to tap into them through plant medicines as well. And that was, you know, one avenue. And something happened, this synergy between crystals and humans. And we have been companions since the beginning of time, helping each other. I love that. I mean, that's beautiful. That's like talking about the evolution of wolves and how they got domesticated in ancient times. And now they are our best friends. So they say, our dogs, I've got three of them here. And you're talking about crystals in the same way. And I'm amazed when you talk about the fact that the ancients would sit down and have this intimacy, this download about Pachamama, about the earth, about their lineage. And were they doing this sober? Or, because you did mention plant medicine, or did they have to imbibe something to get there? They, I believe they discovered it just naturally through their normal consciousness and through everyday activities. They were attracted to different colors of different minerals and they created paints. The colors had different feeling states to it. So red would mean something to them or blue would mean something to them. And they would use these as a creative process. Naturally, when they were doing teacher plants, they would be around crystals and the crystals would then open up a communication with the crystal kingdom to the person doing the shamanic journey. And then all kinds of possibilities would open up. Okay, so that's awesome. Because I know I'll be drinking ayahuasca for sure before the end of the year. And I will definitely take some crystals. I've always seen people who had them in their space during the ceremony but I would enter it in a whole different way after hearing what you're sharing to open up to the possibility for that for the crystal to also communicate with me. When you're doing the sacred ceremony with the teacher plants, yes, bring your favorite crystals with you, bring a lot of crystals with you, you never know which one is going to stand up and go, Oh, Debbie, it's time for us to work right now and you will know. Put that crystal on your chest, forehead on your body, perhaps a place where you feel like your body needs healing. They'll help ground you, they'll help transmute and transform the energies that you are processing, they aid you in whatever you're doing on your shamanic journey. Take your favorite crystals and see which ones, what'll happen is you have crystals and what'll begin to reveal itself or some of them, someone will be your journey crystals. Someone will be your protector crystals will be linked to your higher self crystal if you want to talk with your higher self or a particular lineage. So different crystals will reveal their different functions to you as you work with them more and more. Yes, and folks I just want to tell you who are listening. I really enjoy this and enjoy the audio, but you will also want to go to youtube.com slash Debbie dashing or Spotify, where the video is, because both Kirby and I will be holding things up from time to time and they'll be exquisite but also the visual is a big part of this so join us there too. I want to show people this because this is a work of art, I got it from you, and I had a love affair immediately so first of all, I'm in doctor, and I'm not promoting.  I was really lost about that I knew I had friends who are those things or I interview people on my show who are those things but I didn't feel I was at all, and it took years for this to unfold. And the shaman thing is big I think it's old ancient for me so I did sign up with Dr view though, and I am in the six month program we've got only six weeks to go wow, because it's beautiful. And one of the first things they said in the list of all the things we got to get was a local crystal. And they made it really clear the importance, you know, don't just get one like don't go on.  And I couldn't believe the personal in depth beautiful questions you asked me that you said we're going to go into this crystal. I'd like to ask you a little bit about that and also just so people know because I was kind of funny as like, I have really tiny hands and I do have really tiny hands, I may wear big rings but I'm tiny hands. And I was so concerned to have something big, and you never even met me and how you did this is beyond me, but look at this. This is perfect. Is this gorgeous, like, perfect in my hand. And 13 sided. This is natural. Yes. So, talk about this and why you asked the questions you did in order to create this and how this is my crystal or anybody who comes to you there crystal. Well, first of all, it's called a Vogel crystal after Marcel Vogel Marcel was a scientist with IBM healer teacher metaphysician, very Renaissance man, he had patents on the first liquid crystal display screens. And his last patent before he passed away was he fasted in courts, put them in tubes, and passed wine through the tubes, and it aged the wine much faster and much smoother there are some wineries up in northern California that still use his technology. You know, his claim to fame with regard to what we're doing is he discovered the correct angles to cut quartz to maximize the piezoelectric potential or the energy that is generated from the courts. For example, here's a natural quartz crystal. And it's all Vogel crystals are cut along the c axis or the direction of growth so that's very important that it's not cut this way or this way or angle. It maximizes the, the energetic growth pattern of the crystal. And so they're all cut like that and they're very specific degrees 52 degrees, give or take, maybe a half degree at the base. It's the, the, the angle of the great pyramids are at, and there's some something very synergistic and magical about, you know that particular angle. In the tip, there's a lot more flexibility in terms of the different angles to cut depending if you're doing something more like psychic surgery very fine, fine work, high detail work or more broad, bigger energetic movement, this kind of thing so that the end tip may vary in terms of its angle, but it's the Rolls Royce of cutting crystals, and it's taking the natural piezoelectric characteristics of the courts and maximizing it in a form that that gives that gives the best expression to that. Now, one of the attributes of courts as I mentioned before is it stores information and energy. It's, it's just holding the courts it will begin recording its resonance with you it'll begin blending itself with you, and you it. And so what we do when we cut a vocal crystal for somebody, particularly a natural crystal. We do laboratory grown crystals to but because it's hard to find natural crystal that's flawless and it gets expensive. So not everyone can get one, but we do have natural crystal as well. And so what we do is we do an information gathering process from the person we're cutting the crystal for their birthday. Their birthplace their astrological sign their lineage if they have if they work with different of different unseen friends. Maybe it's their ancestors maybe it's a relative that's passive they still work with. Maybe it's an ET or something someone from the future. So we gather this information. We also gather their intentions how do you want to use this crystal for the four ones they have a very specific process of extraction which is very similar to an exorcism where you're extracting energy from a person that basically isn't there it's all adaptive energy and it's, it's can be anything from very traumatic to other entities that that leech on to you to just every day stuff that gunk from our, you know, commercial society that gets stuck to you, and you clean that out by by having the crystal, putting that stuff in the crystal, and then releasing it.  And that takes a lot of wear and tear on our bodies to do that. So the crystal is a very elegant way of, of initiating that process. And it's no wear and tear on your body the crystal loves working with us. The next thing is is is crystal consciousness and human consciousness is more partners were co creators on this planet without crystals. We wouldn't have our, our industrial age we wouldn't have our information age, and they're definitely partners in the next wave of the age So, as we, as we begin to allow that relationship to happen more than just a technological advancement. That's very true. It's very true because without rose quartz, there wouldn't be radio, which is where I started originally right and radio waves came through rose quartz, etc. So, yeah, this is amazing and when you talk about that. So I've done these extractions you're referring to. And I love that you described it as a maladaptive energy. And when it's removed it gets taken into the crystal, and we put it back in its pouch until and, you know, it's a good thing to do. I'm not going to watch after the session with the client, but this gets cleaned.  And so I want to talk to you about cleaning it and I want to also talk to you about pointing, because we're taught to be very careful not to point this at us or the client once something has come inside. Can you address that? And like now, was it okay if I do it? And what is the, they've taught us how to clean. I want to be clear, but I'd really like to hear your version. Okay, it's very important to clean and clear crystals when you first receive them. I do something called a welcoming ceremony, so I'm holding the crystal, I'm touching it, I'm talking to it. Crystals respond to vibration, they respond to touch, they respond to intention and thought, subtle and gross ways of just connecting with the crystal. So it's building a relationship, it's building a conduit between you and the crystal. And then you want to clear and clean the crystal. Now, crystal basically responds to our intention. So clearing a crystal, you create a ritual. Rituals are just basically a way of focusing our minds, taking all the chatter away and being able to focus on an intent and a thought. And in this case, the intent is to clear the crystal. So I tell people when they say, how do you clear a crystal? Well, there are infinite ways to clear a crystal, but your main ingredient is your intention to do so. I would go into meditation. Now the four wins and other people have very specific protocols on how to clear a crystal, especially for their extraction process and that. But I basically tell people go into a meditative space, connect with their crystal. And when they're in this altered state, their guides, their counselors, their higher self, whatever you want to call it, ask for a method, a means to clear the crystal that really works for you. So you may be primarily a visual person. So maybe light is something really works for your senses in terms of extending that intention. And so you may want to work with the energy of light, the sunlight, you may want to imagine pearlescent white lights and gold light passing through the crystal clearing. But for other people. I think the four ones they use something with with fire. Yes, though, they'll use that fire, the light of fire to clear and clean the crystal as well. So the other thing is to use an at least one or more elements. If you're using water. You can soak it in in a in a bowl with purified water, maybe put other like sand or or salts or something that energies. And then you just ask for the crystal to be cleared and cleaned. So there's any number of ways, I would go into your own meditative space and get the instructions, but it requires a ritualized intention, and at least one element.  And ask intuitively, is this is this enough. You could do something as simple as covering it with a sacred cloth and asking the crystal to be to be cleaned. And you will know when that crystal is clean and clear your guide your guides will have done that. And, and so there's, again, there's many ways, and it's founded on intention, and at least one element or more. How did you come to connect with Dr. Alberto Vio though because you've been working with him and his shamanic students for a really long time supplying the crystals. What was that the inception of your relationship. Oh my god that's a good question that was been so long it's been over 20 years. I just think one of his students connected us. And one thing led to another. I remember in 2006. I was having dinner with Alberto and Marcella, and they were telling me, you know, this is the that the financial crisis around that time and they said, Kirby, you know, about 600 students a year go through my program. I would really like for them to have a vocal tool, but not all of them can afford a really expensive, you know, $800,000, even more crystal. What can we do about this. And so what I did was I sourced laboratory grown crystal. Now, in, in laboratory grown crystal there are different degrees of quality. And the most is, is basically a type of glass, and the problem with glass is the internal structure, the molecular structure of the silicon dioxide is amorphous that means there's no structure to it it's it's like random it's like water that has just been, you know, frozen, but there's And because, and because there's no piezoelectric molecular structure to it. It doesn't generate a piece of electricity. It doesn't, it doesn't have all the attributes like storing information energy and things like that it needs that structure that silicon dioxide. There are very high quality laboratory grown crystals that I have access to as well, and we try to test the quality of the courts it's basically industrial, you know, for for electronics grade courts. And I think that it does have that structure to it. The difference though is that because courts holds information and energy. The laboratory grown courts is usually not more than a few years old so it's like a, it's like a blank slate. There's positives and negatives negatives to that the natural crystal. So for example is around 90 to 100 million years old, on average, Madagascar, the fields of courts there can be up to 200 million years old is very very old courts and there's different qualities related to that. So when you get a natural piece of course, it's really great for doing all kinds of things. What, for example, like channeling or speaking with the unseen because this course has characteristics from the earth that give it that give it this. And it's a record keeper of sorts of this type of thing, whereas a brand new laboratory grown crystal. It's like handing you a hard drive without any programs in it. The positive thing about that is sometimes you don't want anything in it. You want to program the crystal yourself. So it gets programmed by just you using it just being in proximity to you, just you having a bond, and then specifically using it or, or just having it, you know, near you.  And, and it won't have anything else in it. So there, those are pros and cons for for both both ways. You always your path. Did you know from the time you were young. I am a gem and mineral guy and I'm going to create products and tools and facilitate individuals and sessions and groups and invent. Or is this something that just surprised you in its reveal. It surprised me and it didn't I. People ask me, you know, how did you get into this. And I basically my father worked for an international construction company. Whenever he went to South America or Saudi Arabia or Africa building, you know, on dam projects or pipelines or, you know, constructing all kinds of structures, he would bring back to me fossils and crystals and minerals from all parts of the world and I as a 268 10 year old child was fascinated, and I had this collection.  My God they come out of the earth they're just, what, what is that happen that's like, it's, how does it happen. And, and so, in my late 20s, I had done a lot of jobs that I was thinking I, I'm kind of lost I don't know quite what to do. I love traveling. And I looked at my crystal collection I said, that's what I wanted to buy and sell crystals. And I, you know, I started doing that at in my in my late 20s so I kind of consider myself a late bloomer, in terms of all this as well, even though I've been collecting all my life. Right, right guy right path. One of the things you sent to me was this guidebook about the exploration of the light labyrinth. Talk about what is the light labyrinth project and how can people experience it what is the experience. My commitment, as you have stated before, very succinctly is my commitment is connecting the crystal mineral kingdom with the human kingdom. And I'm always exploring different ways to do that. In the late 1990s, I met through a teacher of mine. Randall fonts he was a light artist at the exploratory and I became fascinated with his study and research as an as a as a scientist and an artist with light. And I said to him, Randall, let me bring bring some really big crystals into your light laboratory and let's light them up and let's see what it does. So, we, we did that. And, for example, this, this big skull back here says Goliath, 36 pound Brazilian courts skull. That box is the culmination of all our research. And it has seven colored LEDs, very bright. And what we did was, you know, I asked all these healers teachers, light therapists shamans and artists, what do you want in a light tool what do you want to do with your research. And we put them all in, in a computer program, and with a remote control. And, and that's, that's how that evolved. When Randall saw a really big crystal skull and crystal he brought to his laboratory exploratorium. And when he lit it up he said, Oh my God, I finally found the object I was meant to light, because, because, because light needs an object to reflect from. And when you light the crystal you're activating the silicon dioxide, you're, you're, you're allowing the viewer to go into an altered state so that they can see and relate to the information that's in the crystal that's unique for them. And we, the light frequencies that we use are based on neural feedback patterns and color. And so, when we're strobing the, the color frequencies into the crystal it's activating the crystal. And it's putting the viewer into person alpha, then a delta, excuse me theta, then a delta state of consciousness and even gamma as well. This sort of hyper awareness is beginning to emerge the state of meditation is altered state being to merge and from from this expanded perception that's generated from the light frequencies and the colors. And one can. Once now operating out of out of a sense of our psychic intuition you might say, and we can perceive things that we can't in normal consciousness, and the crystal then reveals itself to different people in different ways, whatever is relevant to them. It could be, it could be an unseen friend an ancestor, it could be a vision of the future, it could be something that they want to resolve. It could be how to manifest something. It could be one. We had a Vietnam vet. He would come to my house once a month, because he had lost his legs, and he was constantly on pain medication. And when he was in front of the this big crystal ball in these light frequencies, he would totally not feel any pain. Wow. That would last for probably about an hour after a session, but he would want to come every month just to sit in front of this frequencies and these crystals and and feel no pain. And that was his, you know, that was this thing. So understandable.  I believe it's mirrored and then there's a round piece in the very middle that emits light, and you can do different types so you're really making me think so some of them can be very slow. I don't use my fingers for those who are watching changing lights and various colors, then there is actually one that is more strobe light and then goes very quickly. And I like the gypsum. I would also like a crystal because of how it allows the light to go through it and sometimes is fractal and it's quite beautiful. It's important. The light frequency with what the recipients receive. Is there something to the color of light and the frequency of light that's important in this. Absolutely every part of this is important to the experience of the viewer and has an impact color for example I would I do sessions with people and we just sit in front of crystal colored light crystal colored light. We go through the chakras, you know we go through the different colors, we bathe in these colors. And by the way, whenever I'm tired in the middle of the afternoon, I will just bathe for five minutes in orange, orange light through the crystal. And I will feel like I had an hour of coffee. It's very warming and energizing and activating and it retunes and retones my nervous system somehow orange light does that. So, we'll sit in front of the crystal and I'll play different colors or different patterns, and I'll ask the last people what what's coming up for them. So I'll give you an example, every color has, let's say a light side to it and a shadow side to it. For example, red. It's one of the most provocative colors people sort of either love red or really have an aversion to read people who love red say things like, I feel alive, I feel like I can feel my body I feel like I, I feel confidence. I mean, in Asian culture is is lucky and fortunate and in this. People who dislike red say things like it's anger, it's blood, it's violence, it's negative power. Okay, now, red is red. So, it's just, it's just projection. It's whatever you attribute to it. There's a tendency on you. And wherever you're at, where you're at it's going to be accentuated and reflected from this color. Now, say, I feel a negativity of fear with red, for example, then we start playing with other colors. Maybe I'll add some blue and maybe I'll add some purple and just enough for them to go, Oh, okay, that that feels nice. I feel so we're working with their energy field with color. And when they feel a sense of integration I feel a sense of, Oh, I feel fine now. Then we sort of back off on that blue back off on that purple. Maybe maybe back off in the green a little bit if I've added green I'll experiment with them to see what what's going to give them a sense of balance and ground in this at first, and then back off in that, and slowly, their relationship to red begins to transform begins to heal.   Okay, that's, that's amazing.  And I love that because it just takes it occupies space for all of us wherever our triggers are our wounds. When these things repeat in patterns or show themselves that it really takes us out of the present and re injures us right and it's a reaction to something that in this present moment isn't actually there. So it's great you can neutralize it. And my labyrinth it combines the crystals it combines the lighting programs and it's this journey through the color and the beauty. Sometimes it is strobing sequence sequences that are projected. And is it projected into ancient court crystals and if so is the ancient part important is there is that where the wisdom is that can come out for us. And basically all crystals in geologic time are ancient relative to our existence as humans. So it's all ancient. And, and there's also a morphogenic connection between all crystals so you go into one crystal and you can teleport your consciousness into other crystals as well. So, so there's this whole oceanic field, which once you once you get into the crystal crystals at that level. We're using three vectors of consciousness, the consciousness of of ancient quartz crystals, the consciousness of light, and the con and human consciousness, and we find that when we align these three things just right. When something happens there's there's a aha moment there's an epiphany there's, it's hard to describe it's like, Oh, wow, is an awakening. And that's what we're kind of aiming for always. And I'm always adjusting the color or the frequency, or even bringing a different crystal in, or trying to adjust the, the attitude or the way or the, or try this perception or try this imagery, or the viewer to make this these adjustments so that we find that that point of epiphany I would say, you know, it's in your store seed crystals that's in the East Bay and San Francisco, California, is that correct. That's right and I'm in San Pablo, which is a little north of Berkeley, Oakland, yes. And so people who are wanting to see you your crystals have one of these experiences, would they come to your store or set something up. Yes they would, they would call me and we would just set up an appointment, and I could connect them with crystals I can show them the holotope and light labyrinth. So all kinds of fun things we can do here, but this is my home and and so it's kind of by appointment only so yeah. Okay, excellent. Good to know. And so holotope. So that's geometric artwork, and it said that it allows a viewer to perceive multi dimensions, which I think is amazing. When I watched your video on your website. To me it looked like sacred geometry. It's it look like things I've seen while drinking ayahuasca. Yes, there's something very sympathetic about those psychotropic spaces and high level of complex complex geometries. So, in this corner to to the to the right here is a picture of the holotope. In the other room we have a canvas that is almost the size of the whole wall with projector screens on it. And it's comprised of two images the first image is a mandala, which is the geometry that you are mentioning. And it's called the eight gossip holotope in particle physics and math, the eight is used to describe the potential location of the elementary particles in an atom, and all atoms. This eight dimensional object that represents atomic structure as we know it. And what Randall did was he colored each of the eight dimensions, painstakingly different colors. And then as we are projecting colored light onto the pigments, the reflection of colored light against colored pigments, give complimentary colors, give rise to new colors, give rise to intensities and glowing. Sometimes it just neutralizes and goes dark. So we have these different dimensions popping in and out. And as the viewer looks at this image. The mind begins to comprehend multi dimension very quickly, which is what a lot of what you know meditation and altered states is about going into back into that sense of a multi dimensional state of awareness, where we come from. And back to a less less of a sense of limitation. And in those states we can exercise new perceptions we can release things we can program for new new possibilities we can ask for visions. We can talk to the unseen on different levels as many things we can do. Once we're in that state. Most, most meditations. Most meditations are really about getting there. And we're just now starting to go well once you're there what do you do. You know, so. And it's an eyes open meditation both the light labyrinth and the holotopia eyes open meditation. And what we're doing in that sense is we're inviting the conscious waking rational mind into the dream time into the altered state. Additionally, lots of meditative practices is about blocking or distracting the, the ego mind, so that you can, you know, get into the subconscious and unconscious levels. So we have, we've done that now for so there's a critical mass of people now who have matured their conscious waking rational minds to the point where now we can integrate that into the dream time the subconscious and unconscious and it's very important because the the the physical mind has something very precious even though it's the weakest in terms of capacity of what it can what it can do and comprehend. I think cognitive psychology says we can only hold seven plus or seven plus or minus two bits of information our conscious mind at one time.  But we're, but what the conscious mind has is is free will and choice, we can focus. Okay, so we bring that sense of free will and choice, which is probably our greatest gifts, God giving gifts into the dream time into the subconscious and unconscious and do our work. Basically speaking is to is to release negative things trauma, heal, and, and then find a new vision transform back into a vision of new possibilities and, you know, wonderful love. Yeah, that's a great way to put it I like that so much. That's why the healing journey is really important. And I've experienced a lot of what you're saying and it's also never ending, I will say, I'm so curious why I listened to you talk Kirby, going to throw in an unfair question at you but here you go.  And if so, what is the most profound experience you have had either with a holotope with the light labyrinth or with any kind of crystal and tell us about it. Okay, I've probably done a good 3538 years using plant medicines under a shaman teacher who has who passed away probably about five or six years ago so I really haven't seriously done that work since since then but I did probably 35 years of that. When you asked me that the first, the first thing that came up for me was in that context was using Ibogaine. Oh wow you did it. Oh, this is a good answer okay. Now I had all my crystals around me and everything. So what happened was, I was in this room by myself with with the shaman who's holding space, and suddenly I heard this knock on the door, really boom boom boom.  And then I hear the, the windows start to rumble.  What is going on here.  And he goes, Oh, good. Basically, what he said was, Kirby, you are experiencing being being born. And the, the different phases of I don't know if you studied stand graph the different there are different phases of the birth process. And in the first phase you're in heaven you're one with mother, you're all your needs are taken care of everything. You're happy everything's great you're in paradise, and then, and then what happens is is there's mother starts to have contractions.  And then the third stage, you're active, you know, you'll be actually being pushed out of the womb. And so you're going from paradise into this sense of, Oh, God, what did I do. I must be bad and wrong. I must be negative ego forms at that point. Basically, in dealing with the trauma of being pushed out of the womb being rejected by mother. You feel like it's this is over. This it's it. I'm dead. I'm going into non existence. I am being killed and mothers killing me and what what I do psychologically is I say, What, what did I do wrong. What did I do wrong to me. So I assign blame and shame to myself. So Victor was telling me, that's the point where this is happening. So he said, Now it's really important that I stay conscious and go through this and find out what I did. What I said, the thoughts beliefs, the attitudes, like original wound coming out of the womb wound coming out of the and he said it's important to stay with it.   And, and this is birth, and it is an act of love. So he so staying conscious and present through that trauma. You know, reframes that whole experience. And he said this is great because we spend so much of our time and energy blocking that trauma tremendous amounts of energy our whole lives are organized around it. I had no idea how much until until we resolve it. And then it's like, just things just get easier, you know, a lot easier. Was it resolved because of your experience. Well, I would say, I would say yes. I absolutely got through it and had all kinds of insights I just all kinds of insights as to why this, you know what I said then and, and the circumstances of my life now and and connecting like that. So absolutely, absolutely. I, it's absolutely. Yes. So I just want to say this preface this so the audience can understand those who don't understand because I'm sure some of you out there have done this I will gain. But I, it's often used by addicts and it's one of it's a miracle it can be a miraculous cure for people who have for instance a drug addiction or an alcohol addiction that with all their best intentions they have tried everything and nothing has worked. Now the thing about Ibogaine is that it's at least 24 to 32 hours straight through mama Mia. So that's the only reason why I've never done it because I've always thought what if I want to get out. And I'm an hour six or eight, and it's like, dear God I've got, I replicate these eight hours, three more times like I don't know about that like what is, what is that incredibly extensive period like and I assume this really long almost two day experience was way more than just not I don't want to make it just but you understand that just that experience with the rebirth there must have been way more that occurred for you in that time frame. Yeah, usually, usually there's some big issues that get come up, and then however you deal with. 30% and then the next time you go in and another 10% or 15% until until within flips, but the last half of the whole journey really is about resolution, how you take, how you take what just happened and integrate it. And it's important because people that's when people want to come out. That's when they want to go, Oh, I survived I'm going to go party now, like bring up the margaritas no no no no no. Stay in because those these precious moments of insight help you integrate that experience. So, so that's one thing. Yes, it's, it's, it's a, it's a good 2024 hour, and you're peaking for probably 12 hours, whereas the other plant medicines that usually are, you know, four to six hours LSD can be eight hours this kind of thing. And but you know when you're in it when you're in the middle of it it's an eternity, whether it's so it's it's definitely a marathon, and there are definitely techniques that the shaman uses to keep your psycho activity going and doing things like, for some reason, in the case of I will gain marijuana is very sympathetic and supportive and so starting to kind of like come down. You can, you can make the journey a little bit longer or keep, keep that level up with a little bit of a tincture of marijuana, that kind of thing it's really nice with that, but these shaman's know about all these different, the alchemy of these different plant medicines and things like that so. What a story thank you so much for going to stories like that with plant medicines. My main connection with the stones came from. I mean, I wouldn't say my main but when I really got into what the stones are and the skulls and these artifacts and power objects. I could see them at many different levels during the height and experiences of plant medicines. So I totally encourage people to get who to get into the crystals and minerals with with the plant medicines. You know, I don't know the plant medicines, they're not for the. I want to say the faint of heart, you know it's a it's a it's a pretty heroic journey. And if you're going to do it, because it's, it's not about having nice God fairy trips and seeing, you know, trade trails and recreational stuff. It really is about, ultimately it's about ego death and, and, and deconstructing the negative ego. Yeah. That means death vine. So it is the death of the ego it's also also the death of issues you've been carrying around in this lifetime or any other that present powerful powerful stuff. And I'll just give you a very quick story, because of being, and I, let me just preface this like, this is like one of those medical disclaimers, it's not for everybody. You know, unless you're called to it, pass. But if you're called to it, you know, right grandmother I have plant medicine whatever the plant is taps you and goes like this and, and it's beautiful to have a calling like that I haven't I've drunk many many times and that I didn't drink for a year and a half. And being in the shaman school, I literally out of nowhere felt the tap. And it said, while you're in school, I want you to come sit with me. Now, I went into this experience this was two or three weekends ago. And I thought, oh yeah, I'm going to get all these shamanistic downloads and that's the intention. I was so ready for that and here's what's amazing. And it was for a different purpose. And so I hours least you talked about a hero's journey was a shero's journey. I was getting so much information about my mother. Clean clean clean clean clean the relationship atone for this do that I mean it was, and I kept asking it, please I get it I'm sorry I'm done. My grandmother was like, you're not hours. And I literally had a call over the shaman said, Oh my God, how can I get this to resolve. And he was expressing to me, you have to somehow have it owned inside of you. So that this will, like an earnest pass. And you know what I let go, I totally surrendered at that moment and said, then this will be what it'll be. I'm in it for the ride as long as the duration. And here's what's so beautiful. And I don't want to make this a bummer but you know, here's what's beautiful. My mom's health took this huge turn a week and a half later. Nobody could have foresaw on that. And she ended up in the hospital. And literally on Saturday, this past Saturday got moved to hospice. My mother is dying. Right. And no one could have predicted this so quickly. But the moment she landed in the hospital and I started hearing things from the doctors, I went, Oh my goodness. And now of course I know for sure. Thank you so much grandmother ayahuasca for the love and the kindness you had in preparing me in saying I need to pull you for a few hours, and just this subject let's clean you up so you are ready, and it was telling me, your mom's time is coming. And so here I went in thinking yeah, I'm going to get these shaman downloads. And she was saying, I love you so much, and you are fulfilling your destiny in this program so keep going. But we got some work to do. And thank God, because I can show up in this moment, so mindfully, and as the healer and the leader, I'm being prepared to be I get to be that right now, and help another human being. On the other side and a wish in a way I wish somebody would for me when it's my time. That's beautiful. That is so beautiful. And by releasing yourself, you've released her to be the being the person on her journey. So she's not holding on to you as a daughter, necessarily so much to some degree yes, but, but she's not having to. She's got permission to let go on a whole other level she's may not even be aware of, you know, so that she can have her peaceful death and go to the next place. Yeah. Yeah, I got chills when you said that that's really beautiful. I think that those identities get dropped, and I get to be the personification of something I think is very old in me and being reawakened this shaman, whatever this is that I'm, I'm in right now and will continue to be in. And she gets to be just a beautiful soul on a journey, and that's ending for this moment, and gets reconnected. Yeah. Absolutely. This is a crazy question, but, and I hope I'm the first who's ever asked you. So Kirby if you could ever have just one crystal out of all and I know you must have a love affair with so many, for so many reasons. But if I said you can only have one crystal Kirby what would it be and why. Wow, they won't hold it against you. On the one hand, there's probably a good hundred crystals that I could say that to about if I just had this one. And it is because they are all interconnected. So, they're just different interfaces for the for this field of of crystal existence that and any one of those I can tap into so I can take something as big as Goliath. Or something, you know, something as, you know, small as this, and I could be happy with that. I could just be happy with that that would be enough. So, it's actually one of my teachers said that's one reason why I'm actually good at in this business is because I don't necessarily fall in love with everything I know I know people in this business that oh I got to have this I got to have this and then they end up doing stuff because you got to let it go. I what gives me a thrill is when I, when I've connected somebody with a crystal and it feels right for them. And that's, that's where my, that's my words juicy for me, you know. So, um, so, yes, I could literally there's there's probably like 20 crystals. I think one. You'd be surprised how few crystals I say are mine.  I love that. Can we meet Goliath is that okay to take him off of the stand and have him be introduced to us, because I do want to talk about the crystal skulls. And while you get them I'm just going to pattern so if I understand this correctly there's 13 rare crystal skulls, they're in private, they're in public locations collections summer, like yours ish almost actual human size and fine detail and then others. I'll show you the one I just got. I'm like, like crazy about this I may may make it one of my kuyas, but this is dragons blood and Jasper. It's very cool I just got him and I wanted to bring him on to honor you and Goliath. And others are smaller and less refined and I think they all originate from Mexico and Central America. And so I just want you to tell us about where, where they carved 10s of thousands of years ago in mess so American civilization. Are they actually from an extraterrestrial race that has, I've heard this a lot of wisdom and information in it. Talk about these master crystal skulls and any knowledge about them. Okay, I'm going to get something where I can elevate him so you can see him. Goliath. Because he's so heavy. Goliath is was big. Anyway, that's a great name for him. And so I have to say he has to be elevated if he's Goliath. See. And I think Kirby even offers master crystal skull sessions. So this is for real people setting up appointments with him. See. Oh, he's huge. He is huge. Yeah. So, I mean, there was a lot of, there was a lot in that question. Boy, what do I start I have worked with a lot of the so called ancient crystal skulls. And there is controversy what is an ancient crystal skull, because all crystal itself is ancient. So then it becomes when was the carving done. And is that ancient. And my friend and teacher mentor Nick no Sereno. You know, taught me a lot about crystal skulls he developed something called psychic archaeology back in the 60s and 70s. This was before remote viewing is was called remote viewing he was doing remote viewing but he was looking for artifacts all over the world. And he discovered a Chonorah in Guero, Mexico, which is a, which is a Chonorah is an ancient crystal skull that he, he found there that's that's famous in the parlance of crystal skulls now. And he basically said that that there are three things that primarily make a power object, and particularly a crystal skull. One is, and probably the most important is the crystal itself. Some crystals are teacher crystals, their speakers, they, they, they are, they exist as ambassadors from the crystal kingdom to the mineral kingdom. Oftentimes, we call the skull consciousness, because of the interface between the two forms of life human human and crystal. So we have these teacher crystals that are not only recording crystals recording, recording massive parts of information from the world, even, even galactically, and then and store it that you can pop that then then you can use as an oracle to, to consult and download and, and, and, you know, as a teacher crystal skulls and match as a master skull. So there's the crystal itself. So to find a crystal like that is extraordinary. There's also the fact that, like I said before crystals are morphogenic so you can always use a crystal to tap into that master crystal skull as well. You know there's, there's some protocols that we, you know we have in, but generally that is a possibility. So the person who carved the skull, that person, invite into the carving. They were channeling something from their own resources of higher self and unseen friends, and are the artistry. They bring in the culture of the day, and they're putting that into the carving, the crystal skull. When that person is doing this in a sacred ceremonious way. That that is put into the crystal skull as well. So, not just a production carver just, you know, trying to survive and make something but but an artist and a shaman who is putting that into the carving itself so that's second level. That's the crystal to is the carver. Third, and probably, probably the most important is the person using the skull, you know you can make an amazing power object out of a pencil. If you had enough time and energy to focus your attention long enough to make that point, the physical point in our reality a reference for all these things that we're talking about. So, having said that, how the user is using this. Are they are they following protocols of clearing and cleaning and respecting are they addressing this as a companion are they addressing this as a teacher, as a, are they co creating with with this object. And there are some ancient crystal skulls that there is a whole lineage that this crystal skull has been for many families and people and shamans and ended down in generations. But that doesn't mean the person getting a brand new crystal skull now can't begin that process and activate that process now and make it a power object. So these things have have an influence, in particular, but but there's nothing that that can't say that anything can't eventually be a master crystal for you. You know, so, can we see Goliath space. You turn him around. Yes. Yes. You asked about the 13 crystal skulls. Yes. There's a mythology that during Atlantean times, the destruction of Atlantis. There were 13 crystal skulls that went out in the different directions of earth as Atlantis was being destroyed as the receptacle for the knowledge and wisdom of that culture and that age. It had galactic information it has, it had information from priests and priestesses, all kinds of spiritual and technological information was downloaded into those crystals, and the mythology says that at a certain time. When we're ready to remember who we are and where we came from, and where we're going and take responsibility for that, that these crystal skulls would rise and and create a resonant field. You know, back into back into those times. And then the idea is like, okay. And we are very close to highly being highly technological being at points, tipping points of destroying ourselves in our environment, just like the Atlantean mythologies at that time. And our opportunity this time is to not destroy ourselves, but to go forward and integrate and elevate and ascend. Yes. So, so that's the mythology around the 12 crystal skulls, or 13 crystal skull, it was actually 12 skulls that had different themes, and the 13th was the master crystal skull of all of these. Whether these actually exist physically. Interesting question. I have to say, I don't know, for sure. But on the other levels on the, on the higher levels they absolutely exist. In some ways if they existed physically, it would be problematic because then who would own them and who would, you know, what are they worth and you know they, they would, they could start a war over who owns them kind of thing. It's good that we have access to those skulls and their information, but we don't necessarily have them in physicality. There are a lot of people who claim that they have one of those or, you know, or not. And again, because of the morphogenic and holographic nature of crystal. You could say I'm tapping into the master crystal skull and I'm thinking this is my this is the first that crystal skull. Maybe, maybe not, you know, but for you that's your reality and that's what you're tapping into and God bless you for it, you know, is there something to the inclusions because it looks like he the life has a lot of inclusions in him. What talk about what all those are. Yes, the inclusions. Here we go. Every fracture, every veil, every inclusion inside the courts represents an event that happened during the course of growth of the courts. So when you have really clear courts, Wallace courts like the Vogels, those courts grew environments that were very stable and peaceful very little happened. But when you have inclusions, you have earthquakes plate tectonic shifts. The, the holes shifting you have all kinds of geologic and even potentially other other events happening that are recorded in these inclusions they're they're like information plates they're like they're like little bits of memory. So when you focus in on one and you go into it in an altered state or shamanically, you will get information about that particular time and place.  So these aren't art. These aren't flaws they are, they are markings of different events. They're plates, if you will have a fascinating lifetime. Very cool. How did Goliath come to you how did you and Goliath connect how did he come to be in your keep, or you and his. Yeah, you know, I found Goliath. In the Tucson gym and mineral show I have some friends are and they had carved by Goliath size skulls, and immediately Goliath just called to me.  It was funny because I first I couldn't accept that Oh, I can't keep this you know I have to sell it I it's not I can't you know I can't afford to keep it, you know, and every time it was I was close to selling Goliath. It just never happened. Yes, never happened Goliath did not want to leave. I started working with with, I get a lot of incredible skulls, but incredible crystals here, some huge crystals, crystals for the light. And master, just absolute master teacher crystals and Goliath has always wanted to work with them. And Goliath has worked a lot with the Mitchell hedges skull with genre, some with max. These are famous crystals, ancient crystal skulls, and been to many events, including Bashar, and, and this is my recorded recording witness skull this skull wants to go to important events and be with it with other master crystals and crystal skulls. And, and so this is my touchdown back into those. Those crystals as well I love this so you are definitely connected. And I love the fact that he is the major arcana, he is the one when the other crystals come through that. But if only we could understand most of what was going on between them, and what the tutelage is and, and the assistance he's giving or the information that they exchange. I think that's mind blowing. And when you say Bashar.  I love him he's been on the show. And now you're mentioning Bashar know you actually work with tons of transformational leaders that everybody their names would know what. So Daryl anchor slash Bashar what have you done with him. What is Goliath done with him. Well, um, I've known. I wanted, I wanted to get into the ET stuff, probably about 1520 years ago, I really, and I kept running into a lot of fear, fear, you know just scary like oh it's, you know. Anyway, and I was telling a channel friend of mine this and she goes oh why'd you check out Bashar. And I did, and I found Bashar to be positive and loving and and dispelling of any, you know, negativity or fear or any of that kind of and I just love Bashar. I just got to know Daryl and April his business partner I know I know Erica his wife as well but April his business partner, and, and sponsored and puts on all the Bashar events. And I would come to all the events and bring big crystals and the light labyrinth and they would be next, most of the Bashar events that you see will have big crystals next to Bashar while they're channeling. And on the one hand it's a beautiful, you know it's a beautiful thing but it's also creating a resonance. When I first brought the light labyrinth to Daryl at his home to do a reading. One of the things Bashar, he came after the reading he came he came out of the reading and he told me that Bashar says that the crystal light, the crystal through the light is very sympathetic and close to it's a primitive version of their spacecraft. That, that there's something about crystal and light that that their space had had to do with their spacecraft, and that it then created a sense of home for them. So, he said, you know, I when I channel I'd like to have these, you know around me because it just feel has it makes Bashar feel a little more at home. And that's what they told me. So, from then on they began having the crystals next to Daryl while he's channeling and most of his events. Then when I brought the holotope to show Daryl and in April. Bashar did a reading on the holotope and. Oh, it was an it was amazing basically said, all it takes is 15 minutes and you can go into a deep, deep meditative state, your neural pathways that are crystallized in in in normal consciousness become more liquid and and flexible. And then he does a download he does his, his guided meditation, and that's going into a field now a brain field where where you're more receptive. And then he can plant those seeds of the workshop. And then after 15 minutes you come back into normal consciousness, and those seeds have been planted. So, you know, so probably for a good 15 years the holotope was at the end of all his workshops. With COVID though they couldn't they couldn't do it, you know, be so they've been doing other things although now that we have the ability to film the holotope in, you know, in a much higher resolution week. April has asked us to create a version that they can use at their, at their channelings at the end of the channelings now. So, I know he's going to be in Sedona in September. Are you going to be there. I'm not be there because I'm going to be there the week after that for a crystal skull conference I'm speaking at a crystal skull conference. Yeah, in Sedona, don't know. Yes. So tell people what where when I if you if you it's the weekend of the 17th of November 1718 19th 19th, and it's if you go to portals of ascension. It'll have I know them, of course. Yeah, um, Okay, Alan Stein Steinfeld. Yes, Alan's been on the show he's a buddy. Absolutely. Isn't this Neil Guar portals of ascension. Okay, and this is in Sedona in November. Okay, awesome. Oh my god. Okay, I hope this is on your website. Yes, it is. Okay, seed crystals.com SC ID. Oh, so many questions. So first of all, I totally resonate. I love this with your head on Goliath. That's great. It's a great snapshot and mean talk about the UFO I totally get it by the way because I had a shift. Mine was about four four and a half years ago that's not a long time ago. And I went from kind of a somebody who tolerated the conversation, but kind of was an eye roller in my own head. Yeah, and that corner got turned so quickly because you know when the divine says it's time it's time. And when I entered it I started having people on the show that I'd seen on television and like pretty big I started with people on the show, worldwide renowned. And they channeled extra terrestrials much as like what you're talking about Kirby. And my questions back then I cannot believe but they were exactly where I was at which was very fear based. About meeting them that them landing what would happen, all sorts of stuff but it had to be what it was. And I think when your soul is open to that truth. And that conversation, the divine is so kind so like in your case boom, there's Bashar and quickly you realize, this is not only scared not only not scary, but this is phenomenal information that's and very funny, but really deep coming from him and I've had so much the same experience with Daryl and with Vedic a cool off and with Jamie Price and Nora Harold and I mean I could just go on and on these tremendous brilliant people out there who are Lisa Royal Holt, who are conduits for this massive information and I'm very grateful. I just came back from contact in the desert, my first time there. And they had crystal skulls there and it was a beautiful weekend. So I, this is a perfect segue into I noticed on your website. You also have alien skulls, alien heads I guess I'd need to call them alien head skulls that you sell. Talk about what is the difference what galaxy, if any galaxy, are they from tell us about them. The sort of standard alien skull is really taken from the, you know, the grays, you know that, you know that that whole, you know, race and Bashar has a very positive spin on what that whole thing is about I we don't need to get into it that that here. But as you know, just dipping your toe into this there's many races, many galaxies, a lot of stuff going on to try to make sense of it is mind boggling.  This is Chris appraise. And it's a elongated skull. So I make a lot of variations of elongated skulls. And the elongated skulls represent hybrid humans. As you probably know we are, we have alien deal DNA in us already. And the elongated skull represents represents that that human and and and alien hominids are coming together and interpreting and creating something new, a new race. And people work with those work with these elongated alien heads skulls. And do they get some of what you've defined earlier about the downloads or the, you know, different information and wisdom. Yes, there is there is people who get those are more interested in the more galactic type of connections as well. Yes, absolutely. 100%. Yeah, they are us. Our inception was not on the earth, although we probably most of us spent many lifetimes here but our multitude of lifetimes have often been on other planets, or as other life forms or energy forms, etc. And Dolores Cannon knows this or has studied galactic information, especially now there's so much beautiful information or had a galactic reading of their soul and Akashic galactic reading it's powerful stuff. And it really levels the playing field, you know it's not they and them and us, it's we like I am that you are this and you may be an advanced version of me. We're getting ourselves ready for that information about who we are where we come from and where we're going. Absolutely. I want you to tell the story because I love this we, we very briefly started this you started sharing before we started the show just with me but I want to open this up. So we're here right now. And besides the fact that I had this conversation with you I'm like, Okay, this guy is amazing. But it was our very first conversation that really arrested me. Like in a beautiful way for somebody who shopped for crystals and this and that but this was my conversation with you was unlike anything I'd ever had before. So from your perspective, I get the notes from class I need to get this this I'm running around buying books and all sorts of stuff. And then you're on the list and I called you. Yes, take it from there. So you called me early in the morning, I was actually still in bed just waking up. Now normally I wouldn't even pick up the phone but something prompted me to I don't I don't I didn't know you prior to this and this wasn't that long ago I a few months ago, and I never you know never heard of you I, I, and we had started having this conversation. For some reason normally I would have been groggy and stumbling over my words. Suddenly this clarity just hit me and I just started talking to you like we've been talking today about crystals and vocal tools and how to use them and, and how to download the difference between, you know, natural and lab and all this, all this kind of stuff. I was surprised the clarity that my contact with you initiated. Oh, it's it surprised me you said I was very articulate and all that but what I was surprised. That was coming out of me to you because that doesn't that doesn't usually happen either so that's something very special so when you asked me to, to speak and be interviewed on the show immediately I said, Yeah, sure, let's see where this is going going. So, I'm so tickle that you even remembered me because I know just through Alberto's course alone like he said 600 students come through I'm certainly not the only one and then the other work you do. And who knows maybe I'm a master crystal skull in human form. Well, you've been doing this for how many years creating space for people to express themselves and be a receptacle for that and drawing that out of them so there was something already happening synergistically there. And I, you know, and after this I got to say, Oh, you're killing me Kirby, like I have to figure a way to get to San Francisco and making a point with you because this is so beyond. And I feel like the doors you open. We all love this stuff. I mean I'm surrounded by crystals and geodes right now. Period. And we all love this stuff and we wear this stuff and we work with it as best we can. But I feel like this is such an important time where the precipice galactically earthbound wise mother earth wise humanity wise we have choices and even whether we make those choices or not there's a lot energetically happening to us very rapidly physically emotionally etc. And these tools you're talking about. These are portals that you're saying these are pathways to open up. I feel what's next. Somebody like you as a lamp holder that you're holding the torch the light for us to walk on the path and gather these tools to help ourselves and to serve humanity. It feels very profound to me when you share like this. I figure I got to get up to San Francisco and have this in person experience with you. Hope you do and I hope you do soon. It would be wonderful. I, I do private sessions but it's not my thing. I don't hang out shingle. Usually, I'm more of a researcher so we create new lighting effects and algorithms and I want to test them so I invite people over and, you know, and, you know, I have friends and stuff and we and people come over and and I get to, to do this, and I guess my position really is looking for people for people to use these tools. And I would love to offer them and train them for people make them available. And that's more my place than actually doing sessions and that kind of thing. So two final questions. Yes, first riffing off of what you just said. During this very interesting time of ascension 5D and all this stuff and galactic awareness and you know Bashar has said, get ready, because starting 2024 this is going to be, we are going to start having. We've had them right throughout our entire human existence we've had connection with UFOs and other beings, however, with all the strangeness the government has been around disclosure and so forth that you know this is that's going away and real contact is going to start to begin very out in the open so in preparation for that and the ascension we're going through, and all the clearing and cleaning, we need to be doing so that we are the people we k our souls agree to come here to be right now. Are there, is there one crystal or a couple of crystals you might recommend or gems whatever that we could work with that would really help us right now. I would put it into your intentional field to look for, look for an earthkeeper crystal, a crystal that would keep you grounded in these times of change, and also keep you on point and not yet buy into fear, not buy into all kinds of speculations of whatever that to be able to tolerate the ambiguity of our times and still be grounded with an open mind. So I would call that a good earthkeeper crystal, it may be a skull it may be a point, it may be a sphere. But to find find a crystal that you resonate with and ask, can you be my earthkeeper crystal and you'll get an answer, you know, it may be something you already have. You know. That would be that would be my answer just just be open to looking with that intention, it will, it will pop up there will be probably 10 crystals that raised their hands and go me me me me. Beautiful so an earthkeeper crystal and ask it so you have that connection and validity that yes indeed that is the one that wants to pose. Not pose that's a terrible word but actually function. Yes, for you at this time like that. And Kirby, this is dare to dream. What are you next dare to dream what are your future dreams and goals. Oh, it's, it's funny because I can barely hold on to my seat and, and that's all I'm kind of trying to do now there's so much going on we started a new website my my wife Hillary is beautifully created these two new websites, and in doing then these videos which which we can share to a wider amount of people. Now, we're just started at, we're just starting a social media campaign. So we're just launching this this thing, and I'm personally, I would just like to see this grow. I would like to see this grow, and I would like to. I just, we just want to be of service and see these tools get used. And that's really, that's really it. That's, that's really it I, I, you know, I have my parents living with me. And I love it because it completes the circle of life for me. You know, and I just, I feel fulfilled right now because of that. And in my wife Hillary's here, and we have four kiddies and all the, the lives here just feel very harmonious and fulfilling for me. I would, I would love to see our. The construction of our political and, and economic systems be soft enough landing for people to make easier transitions. You know, and I would like I would love to see that and I think by healing ourselves and using tools like this and there's so many. You, you interview somebody who is has something to offer in that level, and I, I just would like to see that continue and to reach a critical mass, it won't take that many people doesn't have to be everybody. Thank you so much Kirby seed for coming on dare to dream and thank you for stepping into your mission with such a passion, and such a unique way of offering this to all of us for our healing and for our path. Thank you so much for the opportunity. All right. We show with this poem called unfold your own myth by roomie. But don't be satisfied with stories how things have gone with others unfold your own myth without complicated explanation. So everyone will understand the passage we have opened you. We'll dive to this number one transformation conversation the weekly dear to dream podcast with Debbie dashing her like and leave a comment. I read them all. And next week on the show is going to be the amazing doctor Sharon Martin who's going to be here to share Monica healing techniques to overcome health challenges. Thanks for joining us today and remember, if your message your business your being is ready to be seen and heard on podcasts on radio on media, and you would like to learn how to be an interview guest, not just get booked. I can teach you that, but how to be amazing. Once you get booked on the show and what to do after the entire system. Join me go to Debbie dashing her calm slash gift. And you can come to my free webinar let me teach you for an hour and give you all the information you need to go be the brilliance you came here to be. Thank you so much for joining us today on the show.


Hello, everybody, and welcome to another hobby-cheating video.  That means it's time to crack into this box and have fun painting something. Let's get into it. When I got this big, awesome box full of minis, the first thing that jumped out at me was the terminators. I think terminators are some of the coolest space marines, maybe the only cool ones. But they're pretty awesome. The problem was traditional terminators, hmmm, how do we say this nicely? Well, that fig was really showing its age. However, with the resculpt, their new proportions and the look of them is awesome. It appeals to the classic design while not basically looking derpy anymore, and I think they're great. So today, we're going to paint up one of those terminators in the Ultramarine's colors, but we're not just going to paint it up straight, no. In the video that released for the release of 10th, these guys were in the middle of a fierce battle with the Tiernids. So we want to show a survivor. We're going full Grimdark. We're going to paint up one of these Ultramarine terminators, and we're going to make him grim and gritty and grimdark. So let's head over to the desk and let's have some fun. All right, so here we've got our new terminator. He's just been primed basically gray black. Just dark color is an easy place to start. I did leave the head not glued in. I'm going to pull it out later. And we're going to start with just some prokril bright ivory, but any ivory color, any bright white will work. You want it to be a little warm. Don't use just like a normal dead cool cold white, because we want a little warmth in life in that blue. And then we've got a cheap makeup brush. I always use cheap makeup brushes for my sort of dry brushing type activities. It just makes it easier, but we're not going to do a traditional dry brush. We're still going to get it in there, wipe off some of the paint like we always do. But instead of dry brushing it, we're going to basically stipple him. And so as you can see, I'm just going to stab him repeatedly like this. Now we'll go into hurry up mode here because there's a lot of this guy. So sorry if it's very shaky. But I focus my way around the miniature and I'm paying a lot more attention to the top and the upward facing flat surfaces than anywhere else. But when you do this, as opposed to the dry brush, it creates a sort of texture to the miniature. There's a sort of stippled, dappled texture to it. And that's actually very helpful to us.  Now we're going to go ahead and get into turning him blue. And here I'm just going to use a sermon blue contrast paint plus a little medium. When I'm using contrast paints, I actually like to work with the medium quite a bit. And here we're going to work three to one. So this is nine drops of the medium to three drops of the sermon blue contrast paint. And the reason we're going to do that is because we want this to be thin and we want to be able to just build it up. And you'll see here as it goes on, it's actually fairly weak. But that's advantageous to us because now the upper parts of the miniature we just can put less onto and they'll be naturally highlighted. It will help reinforce this sort of pseudo zenithal or slap choppy type scheme that we've already done. And you see how when because I was doing that stippling and you've got some of that texture, that's going to aid our grim dark work later by making him look the armor look a little rougher, a little more worn, a little more battle damage, dusty, dirty, crusty goodness. So we just make our way around, you know, base coating the miniature with this blue. I am being very careful though. As you can see, I'm using a big brush. One of the another trick to using contrast paints is use a bigger brush. This is a big size six brush and I'm making sure to sweep with that large brush. Don't use a little thin brush or something like this sweeping around. If I see any type of pooling occurring, I immediately sweep back over, spread that paint out and sweep it over there. I want a nice, even thin application of it. And by applying it multiple times, I then reinforce the color and we move it out of the pastel blue into a more solid blue. And it's very quick to make your way around the miniature like this. And you don't really have to be careful. I'm kind of avoiding the areas that are going to be white as sort of best I can just to keep my life a little easier. But you know, things like the chest eagle, the Aquila and stuff like that, I'm not worrying about at all. I then go back for one more thin quick coat in effectively the shadow areas. And this is just quickly getting some real saturation. Basically one coat per, you know, sort of ratio of the thinner. So in this case three makes it so we get a nice solid blue. But then only in those shadow colors or the lower tones is where we see that. Now this Pilar Glacier is like a really bright blue and it's super weak. All I'm doing with this is hitting all of the highlight areas of it. So this is like the tops, the shoulders, the outstretched pads, the back of his little Terminator backpack and all that kind of stuff with this. And really this is just a sort of smooth out and hide some of the texture and things like that we had from the from the rough undercoat. It's still there. It just minimizes it and makes it look a little more in scale. Now we're just going to turn all the other things, the colors they are. At this point, the armor is the big show, right? That's where we're going to focus most of our attention is where people look. It's where we're going to do a lot of work later. So for stuff like these other details, we just want to get them done, get them base coated because we're going to be doing other things later. So here I do have some moisture in the brush. I'm not working just straight with a contrast paint. I make sure to dip the brush in water first and then go into the contrast paint. That will make it a little more thin and so it flows a little more into the recesses and stays a little off of the highlights and really aids the sort of overall contrast. But where the blue will really start to pop is once you get all of these various other elements toned and you stop having this sort of zenithal. So, you know, this is the the black carapace in between the armor and the tubes and gun and stuff like that.  My final step here is just to make sure that I'm getting all the things that are meant to be white, like these little insignias and such that are on the terminators are meant to be white in the art. So you'll notice that deep parts are still black because of the way we stippled on. So they're already naturally shaded, but we are going to reinforce them later. But I just want to you may want to make sure we turn them white. We want them to be nice and clean because those areas will really show later if they're not sort of that clean white application. I am going to go ahead and apply the metals as well. Here I'm using Vallejo metal color pale burnt metal. It has just a slight yellow brown tone to it. But really, we just want things to the metal things to be metal. We're going to turn the Aquila gold, of course. This is Vallejo metal color gold, plus a little bit of green stuff, world antique gold pigment, just to make it more rich. And I'm not really too worried about shading or anything like that at this point because we're going to handle all that very easily with one fun step in just a few minutes. But really, these final things are just get all your colors on and you want to use brighter colors than you normally would. So like ball red is pretty bright for a purity seal. But in this case, it's exactly the right thing, given what our next step is going to be. So work the gold, make it very bright. You want the white to be very bright. You want the blue to be a little more bright than it would normally be. When you're going to work with this ultra dark scheme, you want to start or sorry, this ultra grim dark scheme, you want to start really bright. And that's because now we're going to get out the streaking grime. So streaking grime, this is from AK Interactive.  You want to make sure you shake the living bejesers out of this bottle before you use it.  Just gloop it on. No, do not hold back. Do not be worried. Do not worry about pooling. We're just gloop. Just the gloopiest of gloops. And I'm just coating him absolutely completely with this stuff. Remember the key when you're using this streaking grime is you don't want to spend a lot of time on anything but really getting everything base coated because it's going to universally tint the whole figure. If you invest a lot of time into initial highlights and stuff like that, really what's going to end up happening is you blow all those out with the grime. Remember also that the streaking grime will affect very bright areas, say like the things you paint white, a lot more strongly than it will any other color. So you'll need to either spend extra time cleaning that up or maybe touch them up just a little bit quickly with some of your original tone. But that's where the white spirits are your friend. All the detailing, the grit, the scratches, and the scratches, we're going to put that on after we do the grime. So I let it sit there for 10 maybe 15 minutes at most. And here I have my little makeup triangle sponges and my little makeup eye sponges. You can order these things in bulk from like Amazon or get them at the dollar store or whatever. And I'm starting with them just dry. They're nice. They're soft.  And you see I just wipe the bulk of this away. There is no white spirits. There's no nothing on this. This is just a dry makeup sponge. And if you can, you want to wipe in the direction you'd like the streaks to go. So like if I can, I try to wipe down or something like that. But it's not always really possible or feasible on these little 32 mil models. But you want to be always rotating the sponge. Don't wipe dirt over dirt. So rotate the sponge around, a sponge around, use all the sides of it and just start wiping the bulk of that grime away. Then I'm coming in with a little one and using that to then clean up the other areas where the big sponge triangle couldn't really reach. This gives me a little more precise application of the individual wiping. And again, this stage is really about the initial cleanup. Now I put a few drops of white spirit into one side of the makeup sponge and then press and squeeze it so it kind of soaks in. Then on the areas that are white, I'm going to use the white, sort of the white spirit side directly and then wipe away the liquid with the dry side. So I wipe with the wet and then wipe with the dry. Wipe with the wet and then wipe with the dry. And by rotating back and forth like that, you can restore a lot of especially those white colors back to where they were. And that's just letting me get that so that that those all those deep recesses still keep that grim gritty darkness. Now we've got a little sponge.  I like to use clamp pack sponges or something like that, but you can use anything you want. And I have a little bit of that original ivory. And I'm just going to there I had a little too much, but don't worry if you mess up, it's cool. We're just going to do some simple sponge weathering.  You will not get a lot off. You don't want to get a lot off if you drag it along edges. That can be a good way to go like I was doing there. And the white dust represents those very surface level chips in the army or in the armor where it's scratched away. Some of the blue paint color cover, but has got down to effectively what for in world would be the primer. It also just looks very naturally like dust scratches and things like that or build up. Then we take Rhinox Hide and we repeat the exact same process, but we go a little harder on this one. The Rhinox Hide, we can use it on the metal. We can use it all over him. And we want to focus these chips down into the areas where he'd be more likely to be scratched. The ends of his arms, the lower parts of his feet, his legs, things where he would naturally has these walking kick rocks and stuff like that. If when applying it, you get a little too much white in an area, you get like a big white chunk and it looks weird. You can always just come back in with a brush and the Rhinox Hide, take a chip out of the center of that with the Rhinox Hide, just a little quick touch and it will look perfect. It'll look like a deep chip in the paint, but then showing a little bit of primer around it. You can also just tippy tap it along the edges of the armor to make it look like those kinds of chips along the edge. But by using both the white and then the dark Rhinox Hide Brown, you get to a really organic looking set of scratches of varying depths that feels like this guy's really been in battle and hasn't had a chance to replace his armor or clean things up. Now it's just time for some final details. I added with a little bit of that black contrast paint. I capped in some little dots and scritches for purity seal. I take some of the Pilar Glacier and run it over the little power sword to give that the sense of a little bit of blue energy and vibration. I don't like going over the top with power swords. I feel like they still would or vibro blades, like they'd still look like normal sort of weapons. But of course, now we got to do the base and we were to keep it simple. We want to make a whole army of these guys. This is a big box with a lot of figs. So we just drop some super glue on, then we take our sand mix. This is just a mix of a bunch of different sized grits of sand and then let it dry. Then I'm going to take some Rhinox Hide. Again, I'm working in like five different paints here. We want a scheme that's easy, that doesn't use 50 different paints. We want to keep things simple and fun. One of the things we can do within Rhinox Hide once we got it on there is you can thin that Rhinox Hide way down and use it like a wash, especially on the feet and the lower parts of the miniature. And it'll look like the same dirt of the earth itself he's walking on is kind of collected in there. It makes it look like these guys have all the different layers in this guy's armor would completely collect dirt like crazy. Since I had that Rhinox Hide wet on my palette, I mixed a little bit in with the Ivory I had had on my palette from earlier. This whole paint job took maybe an hour, probably a little baby a little longer with the drying time, but the actual painting time was maybe an hour. Then we go to some pigment. This is our favorite iron earth red pigment and I'm just going to smoosh it down into the dirt. It works really well over a dark pigment, over a dark paint like this. And I'm going into different colors of pigment, but like the combination of some reds, some yellows, some oranges, some browns, and I work up onto the feet of the miniature, really smooshing and squishing it in there. I want that pigment to be like very much part of the miniature itself. He is not just walking on this. He's not clean. This is a guy who's seen some things. It's a rough fight. And by kind of working that pigment up and around there, we show that he's part of the miniature. We show that he's part of the world he's living in. Final step and this is pretty completely optional is just some light edge highlighting. We're not going crazy. This is again meant to be fast and fun, but like all these black elements that are just black, we come in with just a gray and we're going to just hit the edges of like the top of the belt and I'm mostly focusing on the upward facing lines. So the top of the gun, wherever there's like a line that's facing up, we trace those kinds of things, the top of the belt, the little upward facing ridges and the black carapace and so on. We can do the same with a light blue. This is just literally mixing the contrast paint with some of that same ivory and then just tippy tapping along the edge. I'm not trying to edge highlight. I'm using this tippy tappy staccato application of it because it should feel chipped and worn and weathered just like everything else on this guy, but it still shows that he's exists and the light is real. Final step of course, the best step, the most rewarding step, we get out our favorite Abaddon Black. The only purpose of that paint is for base rims and here it is and we just get a nice smooth layer of that Abaddon Black and this gritty, grim, dark space marine is ready to go. So there you go. He's all finished. I think he came out looking pretty awesome. He looks grim. He looks gritty. He looks battle worn. I really love painting up stuff like this. This is the kind of thing I could easily do a whole force in. You could batch paint like this. This guy did not take a long time to do and I think he'll look great on the table, especially with a whole squad, a whole force that has clearly seen the worst part of this war. So I hope you enjoyed this. If you did, hey, give it a like. Subscribe for additional hobby cheating in the future. Remember, we have new videos here every Saturday. If you've got any questions, drop those down in the comments below. If you'd like to support the channel, you can do so through the Patreon down below. That's focused on review and feedback and taking your next step on your hobby journey. As always though, I thank you so much for watching this one and we'll see you next time.