 Welcome to Dare to Dream. This is Debbie Daschinger, and today's show features Bob Young, an author, musician, and golfer who's been featured in media and press for impacting people through his music, words, and wisdom. He's all about mind, golf, and metaphysics. Bob is the brother to musician Neil Young. The Dare to Dream podcast won the COV Award for best radio and podcast show. WELP Magazine, listed Dare to Dream, is one of the top 20 best podcasts to listen to this year. It's high-ranking self-improvement and Apple Podcasts, nominated for two People's Choice Podcasts Awards, and a Webby Award. The show is sponsored by Dr. Dane here in Access Consciousness. I thank them for the beautiful energy work they do out in the world. If you'd like to take one of their classes or become a facilitator, go to Dr. Dane here, H-E-E-R dot com, or Access Consciousness dot com. I'm Debbie Daschinger. I'm a media visibility specialist, and I help you to take your book from the inception of its idea to the completion and publish. I am a book writing coach. I also take author's books to a guaranteed international best-selling status, and I do all the heavy lifting for you. And finally, I show you how to be interviewed on radio and podcasts and get massive results. I am about to do a free webinar to show you how to be your own publicist, and you can join me by signing up at DebbieDaschinger.com slash gift. It's D-E-B-B-I-D-A-C-H-I-N-G-E-R dot com slash gift. My guest today, Bob Young, was born in Toronto, Ontario, Canada. In 1942, he was a member of the Canadian Professional Golfers Association for nearly three decades, and first met Mo Norman in the early 1960s. Like Norman, Robert Raglan Young has always been intrigued by metaphysics and has had access to the leading trans mediums. Young's brother is Neil Young, the internationally recognized singer-songwriter. Bob is the author of Mind Golf, the Trouble Genius of Mo Norman, published by Simon and Schuster. And to learn more, go to his website, bobyounggolf.com. And with that, I welcome the amazing Bob Young to the Dare to Dream Show. It's so great to have you here today. Well, thank you for the invitation, I'm glad to be here. I'm very excited. And before we get into, there's so many pieces to who you are, which is amazing to me and deep and wonderful. And so there's golf, which we'll definitely get into and there's music a little bit we'll get into and definitely your foray into metaphysics. And let's just start growing up. So what an interesting family you had and also for you being the brother of Neil Young, did you and Neil grow up in a household that was filled with music and golf? There was a lot of music. We lived in a little village in Ontario called Omimi, O-M-E-M-E-E. And I think it's an Indian word that means wild pigeon. That's something to do with it. At any rate, we moved there in 1948. I was six, Neil was three and a half and he's three and a half years younger than I am. And we went to school there and a little place, 425 or 30 people. My father wrote, he was writing fiction, selling articles to Sports Illustrated to Saturday Evening Post. He eventually wrote and had published 35 or 40 books and was around. Yeah, the sports columnist at the Toronto Globe and Mail which is a national newspaper to this day. And also the editorial columnist for quite a while. And in some instances, it was their lead writer. At any rate, we lived in the little village and we grew up there. My mother played all sorts of kinds of music right back into the 20s and all those, when the blues first started showing up. So Neil and I both, we heard all that stuff. I was listening to some of it this afternoon as a matter of fact, all those old black characters, you know, that somebody picks up an instrument and blasts something into it and everybody else picks up on it. And it's very spontaneous. So it's alive is what it actually is. It's good to listen to it. So we heard all that. My mother played at Billie Holiday, everything that came along. We heard about it and our family friends were writers who became nationally known in Canada as the years went by. So that was the atmosphere that Neil and I grew up in. And we could, as a kid, I remember driving around in the car, we could get on the car radio wheeling West Virginia. So we heard all the country music way back there in the 50s when I was, you know, 10, 11, 12 years old. And Neil heard all that stuff too. But that was it. That was life in our household, but my mother played every kind of music you think of, including a lot of classical music. As a matter of fact, some of this stuff that Crazy Horse does and it has over the years, when they can, they get into a place playing live, especially where they just, they rock out. Something happens, they just keep playing. Those, a lot of that are classical music lines, not a lot of people hear it that way, but that's what it is. And I think that's where it comes from. I love that reference by the way. And I really resonate with you. I grew up in an incredibly musical family, interestingly enough with a grandfather who was a great music teacher and inventor. And he went everywhere and he must have also written as many books as you're talking about your dad did, which is very impressive, right? You know, from writing a book, it's very impressive from beginning to what you're doing right now, being interviewed about it. Not an easy journey, but for those who are called to it, huge. But I think those through lines really influence your life. This idea of music and music almost being a filter through what you hear experience things and being such a powerful reference point too. Well, we had, there was that. Other people in our family, my uncle, my father's brother was a brilliant musician. And I remember standing offstage at a show, Neil did someplace, and I think it was in a place called Massey Hall in Toronto. My uncle Bob was standing there watching this and he was really good. And Neil always said to me, if he'd come along 15 or 20 years later, he would have been a superstar player and his daughters could sing with anybody. One of them was actually could have done Major League Opera but the three of them together were as good a vocal trio as any female vocalist that we ever heard. And there my dad's mother was a musician also and my aunt, her daughter, my aunt Dorsey. And it was there. I never thought about it much at the time just because of that was in our family. And my mother's side, my mother played music was a different, her family was different in that regard. They weren't full of musicians, but my father's side of the family are full of musicians. And it's probably still there. My sister, Astrid, is the same. She's got her records right now. I got an email from her the other day saying, let's make a record. That's so cool. She wants to play with your band or what she's doing. She's doing her own deal. She did an album that was out in Europe years ago that did very well. And, but this one, Eddie Kramer who worked with the Rolling Stones is involved in this thing. They sent me one song a few days where I listened to it and I thought, wow. Good. There's a professional production that has everything that you would expect somebody who's done the kind of work that Eddie Kramer's done is it's there. The musicianship is there. The production of it is there. The whole thing is very professional and not forced. There's a lot of stuff on the radio that sounds to me like it's contrived. And I turn it off, right? Look for a different station. It's like, I don't know what it is. I don't know what it is. I don't want to think about it. I like to hear a little more spontaneous. And, you know, so that's what I looked for. And, So it's in your blood. It's in your family. I love this. And so you have this book, Mind Golf. Man, if it had been around, when did I start playing? Yeah, well, 13 to 16 years ago. But it's been a minute. But if it had been around, it probably would have made a huge difference. So I want to talk about that because let me start by saying this, Bob, and tell me your thoughts. I always felt like the game of golf is the most like life that anything is. And how me, I showed up on the course, how I dealt with when I had a bad blow and my ball did not go where I wanted or I got into trouble. Like every moment on the golf course, you're being present, how you play, how you are, are you resilient, how you reappropriate yourself to get where you rather go, your interaction with others, your manners, like, and how you can create something on the golf course, right, which you call magic in your book. I've always felt it was the most like life. What are your thoughts about that? Well, the way you live has a lot to do with your state of mind. In your state of mind, when you're playing upper echelon competitive golf or any kind of a higher, high level golf, but upper echelon international competitive golf is a good example. And to do that and do it successfully, your state of mind has to be under control. Those guys that are out there now, they all know that. And how they go about establishing that state of mind is an interesting, I'll talk to some of them, maybe as the months go by, as I get interested in what I've written. And since they're always interested in trying to figure out how Mo Norman made the golf ball go where he wanted it to go, the way he wanted it to get there. There's information in this book that those kind of characters will pick up on and then they will try it. Doesn't change, I'm not saying change your grip, do this, do that, or anything else. Here's a mental concept. This is mentioned in that book someplace, but it's worth mentioning it again. Jimmy Merck. Jimmy Merck scores in the low 90s. I talked to him on the phone one day and he said something to me. And I said, look at the next time you go out and play, put the ball in front of you exactly at the destination point you choose and then look up in the air until you sense where the apex of the flight is where the ball goes into free fall. It has to get there before it can wind up where you want it to get to. And you'll feel it in your solar plexus. That's where it'll register. Keep the feeling, keep that energy. And it'll show you the flight, it'll show you the image of the shot to be. And just do that and then try to hit the thing. Don't stand there and think about it for very long. And he went out and he called me and what happened was he went out the next time he played golf, he did that. And he made four birdies and he shot 80 which was 12, 14 shots under the, you know, that's a huge difference. Now I talked to him about a month and a half ago in Florida, I saw him and he said, I haven't done that well since, not that good. I said, well, don't think about it. It's pretty simple. Don't. You mentioned that in your book. So you say that Moe, when it's his turn to take a shot, it looks like he doesn't even think about it or strategize. He literally walks up, he hits the shot, but that ball does very well and accurately. But you say that actually Moe had a method for delivering this direct hit. So what was he doing when you're mentioning the apex but was he actually in the background, you know, watching while somebody else was taking a shot or what was he doing so that when he walked up, he was ready to go? All he did was he looked at wherever his ball was and where he wanted it to go. His process was your first impression is the right one. That's what gave him the feel for the shot and he hit the ball and that didn't take him long but that's what he was doing. What I did, somewhere in that book I said, and I think it's at the beginning of a chapter, late in the last few chapters of the book. I said, one day on the practice when we were hitting balls, I said, Moe, what's right in your mind before you hit the shot? And he said, looked at me for a little few seconds and he finally said, you have to make the chosen line of aim, which meant that he had to create in his mind what he wanted the ball to do. That's what he was doing. So I listened to that and I thought about it and I thought, you had to make the chosen line of aim, fine. Most people say, well, you visualize the shot. How precisely do you do, how do you create a visualization? That's what I finally came to think about and I thought, okay, so I put the ball in my mind at the destination point. Then I looked up in the air to where it would have to begin as descent to go into free fall because it occurred to me for it to get to where I wanted it to be, it's gonna fly through the air and then it's gonna descend. So the real target is the apex. The ball has to get to that point before it can wind up where you want it to be. You know, you're describing something called the law of reversibility. I don't know if you realize that, but there is a real law, you can look it up of reversibility. And that's actually how I learned how to create dreams. So it used to be very frustrating to me. And then I learned exactly what you're saying to go to the creation of the dream and then what's the next step, the next step, the next step until it got me to where I am today. So I knew what I needed to execute to become that or have that. And so you're saying with this golf method that he knew, you knew, by virtue of working with him for so many decades, that you would visualize where you wanted it to go and then bring it back in your mind to the apex before it was, you know, to make that arc. And so were you actually then aiming for the apex? I was, what I did was once I established the apex, this all happens very quickly in a few seconds, I could put the ball precisely where I wanted it to be in my mind. So I would take my perception of the energy of the ball sitting on the ground in front of me. And in my mind, I would put it where I wanted to be next. Then I look up in the air and locate the apex and then my eyes would come back along the line from the apex to where I was standing. And I inhaled the shot mentally. And what basically I eventually did was I would do that. And as my eyes came back to where I was standing, my head would turn slightly to the right of a straight line at the ground or at the ball. And as soon as my head was far enough to my right that I could turn without my neck muscles impeding the revolving action of my body motion, it was as simple. I just did that. And I would see where the sweet spot in the club had to go in order to pick the ball up as it was going by and sling it into the flight line. I didn't hit the ball. One thing Mo Norman said to me from time to time was don't put no fears on it. In other words, don't attack the ball with your hands. What you're really doing is creating the controlled motion that uses the principles of centrifugal force. So it's not an attack. It's a revolving action constitutive wind up and release. And eventually what I did was this. I would see the whole shot and I knew where the sweet spot of the club was. When you bounce the ball on it, you can find it. It's not heard to locate it. I'd see the shot. I put the ball at the destination point, locate the apex. I'd see the whole thing in my mind. But I'd also sense the end of the orbit of the motion where the sweet spot finished in my finish. When I landed in front of the ball, I was balanced for the end of the swing. And I simply turned away from the end of the physical motion and let it happen. I didn't force anything. And when I started doing that, the contact with the ball became so precise that the sound of the shot thickened like the ball was wet or something. What it actually was, I realized later was, when I created the image of the shot to be, I had a feeling for it and I kept it in my mind. I didn't release it. I set it up mentally so that in my mind, when the sweet spot picks up the ball, the energy of this image I've created is automatically released into the equation. So that led to something else that Mo and I talked about because I could see it. Once that was refined enough, I could see the air get hotter in the flight line. It would glow. It wasn't pure white, but it was definitely not the normal color of the air. And I showed it to him. I explained it to him and he could see it too because he was doing it without thinking of it the way I was. Once I explained what I just said to you to him, the whole thing got easier for him. And he told me that. He said, I've never, and I put it in that book. He said, it's never been easier and it's loose as a boost. All my life wrong. He said, and I said, no, you're not wrong. You never thought of it this way, but neither did I. But the point I'm making here is that now, what I just said to you, I have the mental process involved in this. I have it's more refined now than it was last summer. And my vision is slightly impaired because it's a little blurry. However, I go out into the practice for a way. I can, I know where I want to hit the ball to. So I'm, now that the weather is decent here in Ontario finally, I can go out there and I can do what I just described to you. And I can, if I miss it, it goes in the straight line. I don't, even if I don't hit it flush, it still goes in the right direction only because of what I know. So what I'm interested in doing is increasing the flow of energy so that the physics of the situation changes. In other words, the mental energy that is involved in creating the concept of the shot to be can alter. It has an exterior influence. The flight of the ball is eased through the air. I noticed that plane in a wind when I could do this initially. I noticed that the ball, the wind didn't seem to affect the ball anywhere near as much as it had previously. And the only difference was is what I hadn't figured out mentally. And most shots were the same. When he hit the ball, the wind very seldom even disturbed it. So what about, what if you get into a dirt bunker? I mean, maybe you never get into one, but what if you did? I mean, you know, there's some people get in there and they just start swinging endlessly, which is insane. But I love that you use the word magic through the book. How do you successfully get it back on the course? Well, out of a sand trap? Yeah. Well, hitting a ball out of a sand trap by the green, you have to, you know, you get a sense of the texture of the sand but because you're walking, you're standing in it. But also sometimes like the height, like, you know, you're depressed into something and the green is somewhere up here. Yeah, you have to look at it. I just, you can open the face of the club. You can hit the ball higher because of that. There's a lot of variables. The amount of sand you move is a constant variable and it can change from one shot to another. My thought on sand shots, frankly, is when I get anywhere in a sand trap, I'm trying to hold the ball out of the sand trap because that defines the objective absolutely. Where do I want this ball to go in the cup? Now there's a question. How does it, where does it have to go to get there? That will come into your mind the same way the apex shows you the location of the ball has to get to before it starts to sin. This is the same. There's no differences. With you must have a really good look before you descend into the dirt. Well, you see it because you're standing there. You look at it, well, there's a pin over there. Here's the sand trap. There's a big mountain in front of you. You got to pop it up in the air and have it come down in a certain place in order to accommodate whatever the, the geography of the green is so that the ball winds up where you want it to go. I mean, sometimes very difficult and sometimes it isn't. But, you know, if you're just some, somebody who paid $150 or whatever they charge in the PGA tour to go to a golf tournament and you, you know, you're, you, you play and you shoot 90 when you play golf or whatever. You go out and you watch these guys and there's the ball and there's the target. They hit the thing from the spectator's point of view. It is magic. They're not magicians on a stage, but if, if nobody had ever heard of the game of golf and a magician walked out on a stage with a golf club and said, this is a golf club. That's the golf ball. I'm going to hit it from there onto that little carpet 200 yards away and then do it. The people would look at that and say, that's magical. So the energy that's, the energies that's involved in getting the ball to go from wherever it is to where you want it to be next is it is magical. Yes, 100%. There's that. And then what you said a few minutes ago about creating a dream intrigues me. What I do, and I'm not sure this is what you were talking about but it went through my mind as I was listening to you. If I want something to manifest, I take this energy that I can tune to and I hold it as the energy of intention. The intention is that energy engenders the design of the manifestation that I want to see. Now that could be anything. If I'm a painter, it could be an image I want to put on a canvas. If it's a, if I'm on a golf course, it's the flight of the ball. If I'm playing the piano, it's where is this music going next? I see where I want it to go, I feel it. And you feel these things too. So it's the, have you ever read any of the St. Germain's books from the St. Germain Foundation? No. Are you familiar with it? No, I mean, I'm aware of St. Germain but I haven't read the books, no. Well, he has a series of 18 books and one of them is called the magic, the IM Discourses. And the magic presence and the discussion within those books has to do with energy. It has to do with the kind of thing we're talking about here. And, but it's very concise. St. Germain, according to those writings was incarnate for several hundred years and became an ascended being who was involved in all sorts of things that apparently are transpiring here and there on this planet. We'll see where it goes. But it's, the books are full of the kind of information you would probably find interesting and informative. You'd learn something from it. But when you say dare to dream, when I form something and hold this energy in my mind as the energy of intent, in a sense that could be a dream. Something that I want to have manifest. And for instance, I mean, we're talking about golf. I can say, I'm 81 years old, fortunately for me. I'm still agile. I'm not dying of anything weird. And I can go out there and hit golf balls, make a full revolution with my body. I will be interested to see what I can do just out of academic curiosity. But because of what I'm discussing with you that has to do with energy, I will be very interested to see how what I know now affects the parameters of what I could accomplish before. I was- What do you mean by that? How what you know now would affect the parameters between that? What I know now about the acquisition and direction of energy. What I do, I think it's, and it's mentioned somewhere in this book briefly. I imagine another being within my skin that occupies the same feet, legs, torso, neck, head, brain structure, senses of touch, taste, smell, hearing and eyesight and consciousness. And that body, the etheric body, it's referred to I think in Eastern philosophies, is to recall the body that moves with ease. Now I encountered that decades ago, so I learned how to do that. Then I gradually learned how to use it. I thought it was interesting. So for some reason, I just followed my nose through that. But then I realized, I remember talking to Mo Norman about this. When I did that, I felt later on my feet and the colors around me got brighter and I noticed an alteration in my vision and because of the energy that I had tapped into. And then when I gradually assimilated that, and started using it when I was playing golf and it just made it easier to do what I was trying to do. Now I know a lot more about that flow of energy. So when the physical body that I just described that is the etheric body, that's what I called it, when that body breathes in and then out, when your physical body breathes in and then exhales, the etheric body breathes in its world as a very big place. It has more to do with the universality than anything else because that's what it is. The etheric body is the body that moves with ease and you feel it. So it's a very artist sink into this when they're playing a lot. I remember my brother telling me one time, we were talking about this and he said, you know, we played this show somewhere and I looked down and I had floated right up off the stage. I was five or six inches above the stage. And as soon as I noticed it, then I was back on the stage again. But we were talking about what I'm talking with you about more or less. And that's what he said. And I can see that because my body felt lighter. It was lighter. There was no question in my mind. It was just a different, it's accessible. How beautiful. Have you been into metaphysics since you were a kid or did something happen that opened you up to transmediums and energy and metaphysics? What was that? I always knew that there was more. What happened to me to go right back to the root cause was when I was in my early 20s, I had a grand moleplated seizure. And then the medication that was prescribed to me what the hell was that stuff called? Dylantin sodium. It deadened me. And I mean, it stopped any seizures from happening, but it stopped a lot of other things from happening. My view of it was it sort of moved me about a step away from direct participation in life is what I thought. I came to that conclusion later. But I was about 25 years old and we were in Carmel, California. And I was a member of the Canadian PGA then. I went out to Pebble Beach Golf Club, which was very quiet in those days. And the golf course, there was a nice guy. And I used their practice fairway. They let me play the golf course. I remember being on the practice fairway hitting balls after this epileptic seizure and I was taking that medication. And it didn't matter what I did. I couldn't get connected to the shot that I wanted to hit. I knew that whatever was going on with my timing and my physical motion was out of filter someplace. And I was standing there thinking about it. I thought, what is going on here? And this little voice spoke in my head and said, stop taking that medication and eat these foods. And they were very simple. I still eat them to this day. So I did that. And within two weeks, my mental physical agility returned and it got stronger as time went by. And I've never forgotten that. I thought that's a very interesting situation. That was when I was about 25. So I stopped taking the medication and I never told anybody that I did it. My brother did the same thing as a matter of fact. He had an epileptic seizure when he was with Buffalo Springfield. And he took the medication and he stopped taking it. Neither of us take any of the medication now. And the reason, my reason is I gradually understood that energy accumulates in your psyche and your mind and your life for whatever reason and anything that creates stress. And I gradually came to the understanding that the accumulation of things that had grown in my existence needed, eventually would manifest an expression of some kind. In my case, it was an epileptic seizure. When I figured out where that energy, how it assembled and how it manifested, then I could control it. And one day when I was 30 years old, I had, I now have, I was reading all the Carol Carles tests and his books. I was in a little coach house in Toronto in Ontario and I had a piano. I went and bought one. I'd never had one before. But within three weeks, I could play all over the keyboard. I had no idea why I knew how to do it, but it just happened. And I was thinking about these things that are reflected in Carlos Casano's writings and also what I was thinking anyhow. And I hit a chord on the piano and a bolt of energy went through the top of my head to the base of my spine and it altered me. Sounds like a Kundalini experience. What it was described to me, I thought I'd stayed conscious during an epileptic seizure because what I was thinking about was what I was just talking about. And I thought when that happened, I thought, I wonder if I just, the thought that went through my mind when I hit this chord in the piano was, I wonder if that's why I had epilepsy. And I hit this chord and then bang, there was this huge bolt of energy went through the top of my head, my crown chakra to the base of my spine and knocked me off the piano bench onto the floor. And I could feel this ball of energy revolving around in my body and eventually it went into my mind. It's impossible to describe what I was shown. However, I can say one thing, the mind is a very big place. That I have no problem saying it's large. And the human race is wandering around thinking or recognizing the idea that God or the one power, the one presence, whatever you want to call it, created man in its own image. Fine, but what is that? What is its image? That's a good question. And a duplicate of itself apparently. It's an interesting, the whole conversation can get in some respects very deep. On the other hand, it's not all that deep. It's something that can be discussed. But Bob, what happened when, so you hit this chord and you feel something from the crown chakra all the way to your root chakra, like a bolt of lightning go through you, you feel like you're thrown off the piano bench and did anything change? Did you have sudden insights, gifts? What occurred? Well, one thing that I was able to do was control lucid dreaming, exactly. And I could do that, it was easy for me. And I used it. It was also, I could tap into that energy that those individuals described in Custon as books were talking about. I could feel it. Now I get, I understand where it comes from. I understand a lot more about it than I did when that first happened. This is amazing because this is, you're becoming obvious to me anyway. This is your gift in this life. And what an amazing gift to be able to understand energy, be intimate with energy. I don't like to use the word manipulate because you're not doing that. It's not in a negative way, but an extremely creator way. You are using energy to create, to intend, whether it's through how you are playing the game of golf, how you are a musician, how you are living your life. I'm sure if we went down this path, you would start to name all the ways in your life you access harness energy to become what it is you want it to become. I mean, and this is so powerful. This is actually for me the conversation. And I think it's so beautiful that you've had these experiences that kept revealing in different ways to you through different things you do in life, how you can use this. What, why do you think that is? Do you have any sense of why you, why this gift or what this relationship is that you have with energy? I think it was, have you ever heard the expression twin ray? Yes. I think that, I mean, that what that means for anybody listening to this who doesn't, has never heard that expression before. When a human, when a soul is created, they're two, two twin, they're in their twin rays. They're created in the same moment. And that energy is, it stays there. Eventually the twin rays will find each other in an incarnation someplace. That power that created me, I think, planted at the same time, whatever it is that we're talking about here because I have access and it is unusual. I know that. And then it doesn't get any less unusual as the days go by. So I'm not, you know, I'm watching, I'm a spectator and a participant at the same time. And it's, you know, my, what I'm focused on right now, maybe a little more than I was, is the creation in my world of what I wish to have manifest. I'm very cautious, I'm careful with it. I set up the intent in my mind. I know that that generates the manifestation of what I wish to have manifest, but I don't push at it. I'm watching how it occurs on its own and as that transpires, then I'll refine the way I use that power. But that is what it is. That power, you feel it. Everybody feels energy in their body, but do they know where it comes from? Not really. What I did, I mean, I mentioned that I, I connected the etheric body within my physical body. When I do that, I then tune with the heart, flame and center of the planet Earth, its world and what's called its electronic body, which is the energy that is what it is. I'm sorry, do you mean the Earth's electronic body? Yes. So what you're referring to, okay. So in that sense, I see the Earth as a living entity. Absolutely. And then also I do the same thing with the heart, flame and center of the physical sun, its world and its electronic body and thus its source. Now the source of the sun or any sun in any solar system is the one power, the one presence also known as God. It is also referred to as a great central sun or the universal substance. In my vision of what is going on at the center, there is the God presence the divine being whose heart, flame is the primal power, the love star from which everything that exists was conceived of, made manifest and is sustained. And the energy that radiates out of that center, that God center is irradiated 360 degrees in phase perpetually. And that's what sustains the existence of the universe. I see that and I see it in my mind but the way I started to see it was simply by what I just described, I can tune with the heart, flame and center of this planet through the uteric body and do the same thing with the physical sun. And because I'm doing it mentally, you start to see what comes into your mind. So with regard to the sun, it's pretty obvious you can tune to this, what is the power of the sun? What created that? What's its source? Well, the source is obviously more powerful than the sun because it created the sun. But that power is the same power that created me and you and everybody else. It has to be. This is called quantum leap thinking. Yes, I think it is and being quantum leap being. I mean, this is an amazing way to be like we learn aspects of this, you know and I know the tribe out there watching and listening understands. But I like it because it sounds to me like you're living. I mean this in a different way. So I want to say living in a matrix but I don't mean like the movie where you have to go, get unplugged and all this. I mean, you have created or you're able to see the matrix of what is and ascertain this is what I want but this is what's here but this is if I put the energy there this is what will manifest and I mean, there's a lot of beauty and artistry in that and creativity but also how to potency, you know I think that's really what we're all after at some level if we are all creators. And, you know, here you are, you know for people don't know, you also you mentioned piano you also are a songwriter. You've got a song on YouTube. You mentioned you have more and you just did it. You know, you just like something came up for you and you wrote down these words and also you went home and went, oh, I can play this on guitar and this was not your forte, right? So this is pretty incredible stuff. We have more songs, more songs. It's interesting, it is. I mean, I find it interesting also but it's effortless. There's no effort involved in it. It's like the association with my twin Ray is effortless love. I have actually met that individual. Really? Yeah, she passed into spirit about two or three years ago but there's still a connection. I can still communicate but we never knew that when we actually met each other except we both knew that there was something special about it and that's what it is. I have discovered from some of these other individuals with whom I can communicate, have explained it to me and it's fine, there'll be more to that frankly. But what I'm really doing is following what I just explained to you. When I say, you know, you tune into the electronic body the heart flamin' center of the physical sun and thus it's source. By recognizing that you obviously are connected to whatever created it. That's, it's not far removed. In fact, it's not removed as part of it. So I see that. I see the flow of, in my mind I see the flow of energy that I can feel. I know that this energy that I feel emanates from the source that created the sun in the solar system and this planet and the other planets and the rest of what you see out there. The vastness of the universe. So have you had experiences? So we, I know you mentioned Lucid Dreaming. I know you mentioned remote viewing or automatic writing and I know you mentioned that you've been to trans channels, trans mediums. So do you have any gifts along these lines? Well, I'm able to, as a result of following Paramahansa Yogananda's suggestion, I can, and I do this in the morning before anything interrupts my peace of mind and I can tune into that state of mind that I was talking about and deepen it. And because of the association through that state of mind with the spirit world that associate in the ascended world with Paramahansa Yogananda as an ascended being who created the self realization fellowship which is right there where you live. That's a fact. That's where it is at any rate. It's beautiful. Yeah, well, that flow of energy is you feel it. When I go through my perception of the sun, it's energy back to its source. I know that the energy that's in my body that I feel emanates from that source. It's the same source. And what it emanates, to put a description on it is an eternal radiation of pure white crystalline liquid electronic light substance that cannot be requalified by human feeling and is invincible to human creation. So I recognize that. I know that that is the energy that flows through my crown chakra through my brain structure and is the energy that and into my nervous system and simultaneously through the physical universe, the sun, the planet, my spine. And it joins. There's a junction point where that energy which comes from the same source joins within me and you and everybody else where the brain structure in the spine actually are joined. I mean, you can acknowledge that that is what happens. The energy that flows through your spine, just start watching it, you'll start to feel it. But very few people, even if they feel an electrical charge in their body, they don't have the faintest idea where it came from because they don't and some do. Now, I one way or another stumbled across all this stuff but I've been doing it for so long that what I'm doing right now is increasing the flow. My dream is great. I create the intent in my mind. My intent right now is union with the Ascended Master's octave of perfection. That energy, once you do what I'm doing, it has to be delivered. It can never be denied, but you have to get there somehow. Now, most people feel something but they don't know where it came from. They don't know what to do about it. They don't know how to understand it. And the books like the ones in the Saint Germain Foundation's library will assist people in understanding that. Carlos Casaneda's books are headed in that direction. They're not as deep as the ones in the Saint Germain Foundation, but it's just in some respects, it's the two things. It's very adventurous. Yeah, you're right. I mean, it's an adventure. I look at all of that stuff and I look at what's going on in the affairs of the human race of this planet. I have all sorts of thoughts about where this is going because it's not a pretty picture. And there are other, I mean, historically, look around. What happened in Atlantis to cause it to go under the ocean? Look at you. I love that I have a professional golfer who wrote this amazing book that are gonna help so many people about golf. And like, there's this whole other just beautiful side of you that is so deep. And I'm really moved by who you are. And yes, exactly. Well, it is said that we are the reincarnation of Lemuria. We are the reincarnation of Atlantis because we effed up and our soul said, give me another chance to get this right. And we are a polarized global humanity. It's an interesting time. I think there's tremendous good right now. I certainly live in that world where I think there's so much good and so many amazing gifted people coming forward, the abilities and the possibilities. And when I see younger people and I'm so blessed to be able to spend time with people in their 20s and 30s, their mindset, I think they're built for this and the way they interpret life and relationship and the things they reject that we built and that our forebearers built too that our paradigms don't work anymore, businesses that don't work anymore, that are not sustainable and not kind to the planet or other people. There's a lot of crazy, but there's also a lot of good. I believe this to my core. And I'm a pioneer for the good. Well, it's a good objective as to further things that are positive. There is a huge amount of contrary energy floating around these days. Duality, yeah. One of my questions, frankly, to the ascended world, the spirit world has given their involvement in what goes on here. How did it come about that the concept of money and time was allowed to do what it has done? And I stumbled across that one day months ago in one of these sessions through my medium friend, Diane Marshall. I said, something like, is there a planet somewhere where the society is using money and time that runs the right way as opposed to what's going on here? The response to that was, there is no other place that uses the concept of money and time except this planet. And that as the decades roll by, the things there will be very serious alterations. And one of those alterations will cause the concept of money and time to become a memory. Now, the businesses don't work, but they're essentially based on, ultimately on greed and power. When you take a good look at it, that doesn't mean everybody involved in them is greedy and trying to get controlling power over other people. However, the driving force of, for instance, the military industrial complex is an interesting thing to look at. I mean, there's oil, banking, transportation and pharmaceutical interests involved in that. And the oil is the energy, the banking thing allows pretty well everything to move along on the bankers dime. And transportation interests can build everything from automobiles, trucks to ships and airplanes, war equipment, and then there is the intelligence community. And there are people who foment war as a method of creating business. This is not 12 upon by very many. And I mean, I'm supposed, if I were to walk out in a big station, start saying this and attracting a lot of attention, some of those people would be looking for a way to get rid of me. Yeah, but I know a lot of stages where you would be welcome. Probably, yeah, I understand that, but I'm looking at this thing. And I think personally, the planet Earth is a very powerful place. Look at it, there isn't anything that people need that isn't here. The way the place is run is ridiculous. It doesn't work. Yeah, that's what's true. Is there anything that disagrees with that? Nobody. Yeah. Everything people need is here. We have the technology now. We have everything you need. Everything people need can be developed and distributed equitably. And the human race on this planet could be looking at the kind of things that interest you. How do you raise humanity up so that it ascends into the state of mind that has something to do with what the creative power that created this planet had in mind when the place was created. Look at this planet. Look at the other planets in our solar system. There's nothing like this place. Nobody that we know of has ever found a planet anywhere that's like this one. I've been told there is the odd one, but nevertheless, where? I can't see them. And I don't know anybody who's been there. However, here we are. This place is unique. It is unique. You're unique. Bob, I wanna ask you this. I just wanna try to get a few things in right at the end. And I hate that it's ending. First of all, at a left field, but do you have a favorite golf course? And if so, what is it? Why? Well, there's some good ones. Pebble Beach in California in the Monterey Peninsula is one of them. There is the course in Los Angeles, Riviera Country Club, which I played years ago. I thought it was wonderful. Ben Hogan loved the place at anyhow, at any rate. That and Pebble Beach, there's a course in Toronto, which may be a little out of, I'd have to go and play it again now called St. George's. That's excellent. And there's one that I have, there are others. I mean, I've never played St. Andrews in England. This is Scotland. But there's one in Ireland called Royal Port Rush that I've heard about since I was 16 or 17 from people who came from Port Rush. Royal Mac, Roy McElroy, who's a famous player there on the international stage. That's where he played. And so did David Faraday, that's where he came from. I'd like to say to my brother one day, I said, the next time you tour that part of the world, I'm going with you and we're going to Port Rush and play that golf course because I've heard about it. I want to see it. That's it. I mean, Pebble Beach is, it's Pebble Beach. It's right there in the ocean. I played it a lot. What a beautiful place. What a beautiful place. What a great golf course. And Riviera is different, but it's, you know, it's great. Yeah, I've seen tournaments at Riviera. Pretty awesome. You can get very close to the golfers. So wonderful experience. By the way, my brother David is a musician and composer and his music has been and still is played on TV for the masters and also for PGA broadcasts. Really? That's good. That's good. So when you watch, you're hearing David Daschinger's music. All right. I met a guy in Florida whose job with the PGA tour broadcast was to create sound effects. I forgot his name, but I thought, where do you do this from? He said, I just do it from home on my computer. And I said, you know, something I was listening. I know something about wildlife from playing a lot of different golf courses. While I hear a bird out there that doesn't come from that part of the world. He says, yeah, I'd stick them in there just to see if anybody will notice everyone. Oh my God, hilarious. I never knew. I had no idea they added sound effects. Well, I guess so. Let's hear a few birds tweeting here. Okay. Well, Bob Young, this is Dare to Dream. What are you next, Dare to Dream? What are your future dreams and goals? Well, I'm going to, I have another book in mind and the marketing of this book is basically it is doing interviews like this one with you. I'll just keep doing all of those. There's a little bit of business stuff I have to pay attention to with regard to that. And, but I have another book in mind that'll be a vast meals management company to protect the title. I think once I start writing it, that does it, but it'll be called Cosmic Golf. Cosmic Golf and the Golden Stroke. Beautiful, great title. Oh my God. I like it too. And tell me, so Mind Golf, your book about life golf and the metaphysical connection. Also Moe Norman's mechanics, plus your perception of the mental construct of ball striking. Where can people get your book? Where can people find out more about you? BobYoungGolf.com. My suggestion is you go to that website, BobYoungGolf.com. And you can buy the printed book from that site. They'll send it to you. My suggestion, frankly, is you like to read, sit by the fireplace and read a book, get the printed book, but get the audio book. And the reason I say that, and it's better in my view, and since I wrote the book, I can say this. The audio book is alive in a way that a printed book can't be. The printed book word has a lot of power. So does the spoken word. In this audio book, I listened to the whole thing once from one end to the other. And I thought, all right, this actually is good. And I'm not gonna dwell on it, but it's clear. And it's the people in the recording business that I know have told me that because of the quality of my voice, it carries a certain compelling tone and that that's very useful in this audio book. And the audio book, when you buy it, you get online, I think it's $12.99 is the price. You pay the thing online and you push a button and the thing shows up in your computer immediately. Wow, the audio book. The audio book is, the audio book business is- It's amazing, isn't it? I love it. I'm huge on that. I still read, I still read books, but I also am huge in the audibles. I just buy a year subscription. I get a ton of credits and I work my way voraciously through books. And I agree with you. There is something about hearing a narrator, read the words and like your mind becomes a movie and you're just so deeply in there, it comes to life. Here's a thought. I know you're gonna wind this thing up. You look in my book, I think it's in the third chapter. You'll find it in there. It says notabene, which is a Latin phrase that means note well. Then there is four or five pages in the printed book and whatever it takes me to speak in the audio book where I'm describing a legal situation that I was in. And that is going to be exposed. And when you read it, you'll get the idea. The exposure of it in my mind, I have the energy of intent to cause something to come about over the exposure of what transpired that is mentioned in those few pages. And that is in your terminal, a dream, but it is an intended manifestation that will happen. It isn't something that's very large. I like the mystery. That's beautiful. Take a look at those few pages. What it is saying essentially is that the legal proceeding I was involved in was totally corrupt. And it is all in the public record. And it was ignored by the deans of the administration of justice and the jurisdiction within which it occurred. But it is all going to come back out into the public view. And the way it'll do it is simply from what you're talking about. You dare to set something up in your mind and let it come to be. And that is what that will do. It's the same thing I'm doing when I want to get a golf ball to go from one place to another, except in this instance, it's something else that I want to go from one place to another with. But there's no difference in the mechanics of it. The intention is the objective. The intention in the golf ball is to have it arrive where you want it to be. Mo and I talked about this one day we're playing and I hit a shot at Spruce Creek Golf Club. And I saw the shot lit up in my mind. And I said, Mo, that could go in the hole. That was maybe 140, 145 or a shot. And it in fact landed in the cup that I was in my mind. That's where I was trying to hit it to. And then it happened. I always figured you can do it with a putter. The target's right there. Now the ball's not flying through the air. Man, that must have been amazing to watch. When you go to the golf course the next time, look from slightly beyond the hole, back to where you were standing and then hit the ball. Don't stand there and stare at it for two minutes or something. Look from beyond the hole, back to where you are. And then you'll see what has to happen to get it from where it is to where you want it to be next. Give that a shot. I will. Thank you so much. Thank you for coming on the show today. You are a delight. Well, it was great to talk to you too. Maybe we can. I end, thank you. Robert Raglan. Young. Amazing. Amazing. And I end today's show with this quote from Bruce Crampton. Golf is a compromise between what your ego wants you to do, what experience tells you to do, and what your nerves let you do. Subscribe to this number one transformation conversation, The Weekly Dare to Dream with Debbie Daschinger. Leave a comment and share. I read them all. Next week on the show, I am so excited. The amazing Joy Baker is here. This woman, I don't know what planet she's from. She's an extraordinary healer and here's what's amazing. She's gonna be working in real time with Dare to Dream listeners, offering you healing. She's an intuitive energy healer, specializing in energetic emotional release, plus healing generational trauma and pain. This is gonna be off the hook and amazing. Thank you so much for joining us today. Remember to create all your dreams into your reality and truly golf is so much like life, how you approach it and much like what Bob said, what your intention is and where you see the energy and allow it to become just that. So you create what it is you prefer.