1999-05-18-Upbeat and Open

Session

Dialogue

GORMAN: Gorman here. How is everybody? Rachel: Good! Gorman, this is Leah and Evangel. I’m not sure you’ve met them.

GORMAN: I have been around Leah. We have not gotten to be what you’d call close, but we will, perhaps, in eternity. And Evangel, I am certain that you and I also will become friends.

I am a secondary midwayer. I have been assigned, actually, to work with a selection of individuals who are putting forth product. Our work is the same as the work that you know from Tomas and other Teachers, but in our effort, we are focusing more closely on the reflection of spirituality in a material sense.

Remember, all of you, that I am regarded as a material being, andalthough the ability to perceive my presence has not yet been developed in your superconsciousness, it will – if not you here, at least you humans will in due time recognize us in our immediacy to you in your work in the realm.

And so we are just simply getting started, having accomplished our feat of engaging you in a rapport with spirit reality to the extent that you are comfortable, and sonow that you are comfortable, we are going to work; and, whereas the Teachers are teaching you how to be teachers, we are teaching you how to be producers

Remember that you are animal-origin beings and thus pleasure seekers, and somewhere in your text it says that as pleasure seekers, you should seek to be producers as well as consumers, so to speak, and so we’re focusing on the process of being productive. Of course, there are many other units of mortals also being assisted. Some consciously, most unconsciously, but this is the one I am at, and I would like to proceed, even though you are not inherently in attendance, in order to participate in what we might call a boardroom conference. You might find yourself compatible with our agenda, and perhaps later, if there is time, energy and inclination, it will be possible to engage a Teacher in a question in the format you are most accustomed to. But for now, I'd like to turn our attention to the project. Let's hear it for the project

Group: Yea, Project! GORMAN: And for the workers! Group: Yea, Workers!

GORMAN: I am a great believer in slaps on the back. Praise is a great motivator. “Good job!” I see a number of effective efforts already and am looking forward to yet more and Iam looking forward to the outpourings and manifestations of your offerings -- yourante -- with far less trepidation than I am perceiving from you at this point. There is a difference between being conscientious and being paralyzedby fear. There is a range of spontaneity that is necessary in order foryou to maintain the buoyancy of spirit that will keep your product aloft.The attitude, Angus, that you portrayed in terms of an upbeat angle forbroadcasting would be also pertinent for your publications, beginning with the "Fruits of the Spirit."

Rachel, you have not gotten out your coloring book and crayons.

Rachel: [Laughter]

GORMAN: You are expecting a Master’s degree in art in order for you to portray your ideal of the vine …?

Rachel: You’re right.

GORMAN: … and the fruit thereof? Be quick, spontaneous, less perfectionistic. We are seeking an idea and not a copy-ready final product.

Angus: I wanted to ask you what you thought about the progress we’ve made on the Fruits. You’ve made a comment already about perhaps applying an upbeat element to it.

GORMAN: To yourselves! Angus: Okay.

GORMAN: The work is important. Don’t take yourselves so seriously. It is the work that is important, but as you overburden yourself with a sense of seriousness and responsibility, you pull upon the shoulders of the product and it sags. Allow yourself the luxury of standing back and observing it in appropriate, detached appreciation for what it is doing, as if it were a piece of music.

You remember having been compared to a symphony. I will compare your effort here now to a song, and you are the conductor of this song that is being written in conjunction with your Teacher. You need to make sure that this song rhymes, that it is a catchy tune, that it has enough sentimentality and emotional appeal to hold the interest of the human heart, and enough stimulation for the spirit that it is invigorated without being overwhelmed. ] Pick a tenor. What kind of song is it that you are writing? Is it a lullaby? Is it a country western tune? Is it a love song? A ballad? Or what? And determine its tenor. Does that make sense?

Rachel: It makes perfect sense. We should all agree on what kind of orchestra we’re making here, what kind of song.

GORMAN: Indeed. What kind of music are we making, and how many people can we get interested in it, because the more the merrier. Remember the concept of the broader base. Rogers & Hammerstein, is it? The Beatles? The Mormon Tabernacle Choir? The McGuire Sisters? Well, this is something that I will let you play with.

And don’t become so literal-minded as to begin trying to make Tomas’ words rhyme, but understand that you are creating a song, and it needs to have a certain harmony, a certain meter. Ups and downs. A place to begin, a place to pause, a place to spin and a place to slow down, and yet feel like you want to keep on dancing.

Angus: Okay.

GORMAN This will perhaps give you an additional nudge in your next series of applications toward presenting the manifestation of your relationship with divinity as you understand it.

But I am going to ask that when you find those questions from Keren, you bring them to me so I can, with you, respond. I am honored to be included on your staff directory. I hope they don’t want a photograph.

Group: [Laughter]

Rachel: Well, they won’t get one.

Angus: We’d have a scoop, if we did!

GORMAN: In time, my son, you will be able to see us readily enough. I am going to step out for a breath of fresh air.

Angus: Watch out for the lightening.

GORMAN: I shall! I am not afraid, however, of getting wet.

Rachel: Thanks Gorman. That was a good lesson. We shall remain upbeat and take a chance.

GORMAN: Good. I’ll see you later