Karen Jones Meadows is a Producer, a Playwright and Screenwriter, an Actress, a Visual Artist, and a Practical Psychic. Karen utilizes her many healing gifts and talents, which include clairvoyance, clairaudience, clairsentience, and clair-empathic abilities to provide guidance for individuals, families, businesses, spiritual centers, civic and community organizations, and social gatherings.
IN THIS EPISODE, YOU’LL HEAR ABOUT THINGS LIKE:
- Karen wrote, acts in and tours internationally with the award – winning play she wrote called Harriet’s Return, which is based on the life of Harriet Tubman.
- How Karen overcame stuttering as a child.
- Many of us often sit in death and stay closed to the rebirth that leads to change.
- Dramas in our lives are supposed to help us grow, not keep us stuck in the drama.
SOME QUESTIONS IRENE ASKS KAREN:
- What inspired you to become a Practical Psychic?
- What are your three guided “Alters That Alter” and how do they help people?
- How did a woman and a French horn teach you to trust the messages you were receiving?
Listen to the podcast here
Karen Marie Jones Meadows: Practical Psychic And Visual Artist/Actress
My interview in this episode is with Karen Jones Meadows, who is a producer, playwright and screenwriter, actress, visual artist, and practical psychic. Karen utilizes her many healing gifts and talents which include clairvoyance, clairaudience, clairsentience, and clair-empathic abilities to provide guidance for individuals, families, businesses, spiritual centers, civic and community organizations, and social gatherings.
Karen, welcome to the show. It is my pleasure to share with our readers that I had my own insightful and helpful session with you. Let’s begin our interview with this question. You wrote, acted, and toured internationally with your award-winning play called Harriet’s Return, based on the legendary life of Harriet Tubman. What inspired you to also become a practical psychic? How do you, as a practical psychic, guide individuals, organizations, and businesses?
First of all, thank you so much for inviting me to be here. I’m thrilled. I had psychic abilities, which I didn’t know that’s what they were when I was young, and it evolved after I’d been working as a theater professional. I had a reading with an astrologist, and she looked at my chart and said, “I’m going to speak to you in astrology because you can do this. You’ve done this in past lives.”
I do believe in past lives. I know. I started doing that, and they don’t interfere because my writing and my psychic work are tied in together. It’s intuitive. I didn’t break makeup and go, “I think I’ll write a play about Harry.” That’s not how it happened. I can give a little background about that. Also, it is my knowing that Harriet Tubman also had strong psych abilities that she followed because that’s how she did all those things that she could do.
How did you know she had psychic abilities?
I’ll tell you a couple of things. One, I felt it, but she would pass out. People attribute that to being hit in the head when she was young, but she would go in, and she had complete trust in God. She would listen and know what to do, and she would take the action that she was guided to do. That’s psychic ability. We all have it. Some people cultivate it more than others, and some have it by degree.
There’s Einstein, and then there’s me in science. It’s not the same, but I could do it. She had that. There’s a woman, her name is Dr. Bertha Maxwell. I started writing plays prior to Harriet’s Return. She said, “I always write about various kinds of freedom.” She did a paper about me and said that I write about various kinds of freedoms, and then Harriet is like the ultimate freedom because she’s the most celebrated conductor on the Underground Railroad.
Could you say that again, please? Because some of our people, believe it or not, may not know who Harriet Tubman was. What is she uber-famous for?
She’s uber-famous for being the most celebrated Underground Railroad conductor. Enslaved people would escape and go through what’s called the Underground Railroad, which was a network of people who would hide them and help them get to where they needed to go. Harriet freed herself and then went back nineteen times and freed other people and took them North.
Eventually, they had to go to Canada because of the Fugitive Slave Act here, where we couldn’t stay in the United States. We’d have to get out of the United States. There was no safe place. That’s what she’s most known for. My play chronicles her. I start with the current because many people don’t care about history. I start now in a restaurant, and she gets triggered back, and we go through her whole life from 6 to 93.
She didn’t even stop then after she stopped the Underground Railroad participation. She fought, was a spy, and led battles during the Civil War. She went on to own property, which couldn’t happen for women or African descendants people. She did all kinds of amazing things. She’s incredible. This where the spiritual components come in, and it’s obvious in this particular piece is people release old energy. This country is bombarded, not just with the enslavement of Africans, but if you look at the Native American published, look at the immigrants who come here from wherever no one came here and skipped through the tulips. It didn’t happen.
This energy gets released. Like I do psychic work intentionally when I’m working one-on-one with people, I’m a conduit and a vessel for this to happen. I don’t have to be conscious of it because it’s my spirit that takes over. It’s interesting because it’s very active. I’m running and carrying on for two hours. Somebody said, “Karen, I need you to run around for two hours. Go run around your court log for two hours, go do this, go do that,” it couldn’t happen. My physiological being changes. I turn into a six-year-old. I turn into a 93-year-old. I’m able to do that. It’s very fascinating.
That’s because the spirit takes over it. When we follow our guidance, we turn into the being that’s living in us. When we pay attention to it, it does the living. It’s just so hard to live in that. It’s hard to trust it because we see ourselves. I won’t call it a limitation. It’s a process of allowing that gives us the ability to release more and more, but it’s not in one day. It’s a process, as I said.
I love doing the reading. I was doing the plays, that play, and others, but I’m going to call it a gift of immediate help because the plays help people, but you have to have it set up. You need actors. You need directors. This is one-on-one. Somebody calls and says, “Karen, could you help me with this?” It’s immediate, and I love that. I love that it’s another thing that I can do. It’s another possibility to be of service.
You’re a service en masse in a way with what you do to help people release grief and trauma during the play. You also help them on an individual basis when they seek you out.
That’s a perfect description. I’ve started doing visual art, and the same things came in. I say come in because they just did, and they do. We all can do that. We stop it, though. The strongest teacher I’ve ever had was John Randolph Price, and he has a book called Angels Within Us. There are several books. There’s one called The Jesus Code, too, that I like a lot. He talks about how to connect with this and that it’s not a secret. It’s a secret to us because we don’t know, but if we tell people, we’ll know. The process and the doing of it is where people run into difficulty. It’s work. You learn to cook. You don’t just walk in and hope it works out.
You got to work it a little bit. It’s the same thing with this. What I and other intuitives, psychics, healers, and coaches do is help people along the path so they have easier access. Something about my readings that are different is that it’s always both sets of guides. It’s not just one-sided. They always have exercises. They always have something for people to do. No one walks away and says, “Good luck with that. I hope that works out nicely.” No, they always have things for them to do. It’s up to the person. I used to teach school. I used to say, “I can teach you, but you have to learn.” It’s like that.
What was the first indication? Didn’t you receive the first indication that you were psychic when you were very young in the Bronx? Talk about that.
I’m from the Bronx. My uncle, we called him Uncle Rat. His name was Ratford. He hated it. He, my father, another uncle, and cousins were going to North Carolina. That’s where my father was from. I’d never been excited. We’re going across the Chesapeake Bay Bridge. I was fourteen. I said, “Uncle Rat, the tire’s going to go flat.” He’s like, “I’ve been driving for 35 years. I know when it will be flat.” It then went boom. Everybody turns and looks at me. I did not make it flat. I just knew it was coming.
You just knew it was coming.
I knew it was there, but I also knew to keep my mouth shut. They don’t like to know so much.
How old were you at that time?
I was fourteen then. Prior to that, I went to Girl Scout camp, and I didn’t want to go swimming. I’m African American. At that time, we all pressed our hair, and it was straight. If you go swimming, it’s not going to be, and afros we’re not in style. I didn’t want that experience. I said, “I don’t want to go swimming.”
There was a counselor. She stayed with me. She said, “I’m a witch, and I think you are too.” I said, “Really?” She said, “Yes, I’m a good witch.” She talked about the civil league, the good witches in London, and this, that, and the other. She said, “I’ll initiate you.” I’m like, “Cool.” We went to the little tent, and I lay on my cot, and I don’t even know what she said or what she did. I don’t remember her name, but I still can see her. I did that. After that, when I prayed, I prayed to God, and I prayed to a civil league because I don’t know who covers what and I want to make sure you get this. I have to say that I didn’t get it either way, but that’s alright.
Isn’t it in The Wizard of Oz? They have the good witch and the bad witch.
Yes, the good witch and the bad witch. From seven years old, I’ll say this. I knew that there was something missing if there’s all this natural order, the moon’s going to come up, the sun’s going to happen, there are seasons, and people haphazardly do stuff, then they die, and good luck, and you hope you don’t burn. It didn’t make any sense.
Once, I heard that there’s something called karma and spirit and that you have got it. It was instant for me to go, “That makes sense.” That’s why some people are afraid of some things and not others, and you have a tendency to want to do something. We’re all different for a reason because our souls are at different places, and we have different interests.
I’ve learned that too. Karen, you are deeply aware that a person’s spiritual essence disappears when that person dies. I want to share with our audience that I experienced this phenomenon when my husband died next to me in a tragic car accident. Could you please describe a person’s spiritual essence as you see it? Is that essence, but it’s also known as a person’s aura?
For me, they’re two different things. The essence is what animates us. I can’t make my heartbeat. I don’t know what the liver’s doing and how it’s pulsing. I don’t know any of that. Some thoughts can come in, and you don’t want them, but they’re there. The spiritual essence is the all-knowing, the wholeness. It’s what we all are connected by the same thing.
I love the way this was explained to me one time. If you take a canvas, it’s completely white, and then you put the circles, the canvas is the common denominator. The circles are the individual areas within it. That’s what we are. We’re all one part of this whole energy, force field, the universe, or whatever you want to call it. As individuals, we have these little worlds that are microcosms of the big picture, but we have these unique experiences as these individuals within this wholeness.
Our spirit is connected to the wholeness and always knows what’s going on. That’s why when you check-in, you can find out ahead of time that this is going to happen or the synchronicities that go on because they know how to set things up. I’ve had so many times when I’m strong-willed like, “I’m doing this. It’s what I want to do by God.” Knock yourself out. It’s not going to happen because it’s not in my best interest. This is important too. People who are on what I would call the spiritual path, where there’s at least an inquiry if not a full examination to the best of their ability, keep searching and searching.
Once you get on that, you can’t get off. It’s like being on a Ferris wheel that never ends. You get to make different stops, and you get to grow. It depends upon you. That, to me, is a spiritual essence. Sometimes when I read for people who are trying to connect more deeply with their own essence, I tell them, “Right before you wake up, see yourself filled with this energy. Sometimes it can be like golden light, it can be purple, it can be white, it can be whatever, but it’s dazzling. Breathe that up so that it fills you and then pushes you forward, out past your physical being.”
It’s taking over from the inside out, and practice that. That helps you to connect with this energy, this force field, this reality, all-knowing best interest at heart. It doesn’t mean that everything’s going to go perfectly every day because we have lessons to give, and I’ll get to that in a second, but it certainly fills you and gives you a sense of connectedness, wholeness, oneness, and power that is different. Personal power, not power over others, but personal power and well-being. I started to say we have these lessons, and I know we do. I do astrology as well too.
I am an astrologer, but that’s not what I focus on. When I do readings, I like to get people’s astrological charts because there are some themes that are recurring themes. We have something called the north node. That’s what we’ve come in to do. Most of us are highly resistant to it, including me, but you don’t even know you’re resistant. You’re trying to cooperate. It’s like, “What is this?”
We have something called the solar eclipse and the lunar eclipse. One, the solar eclipse is what we naturally teach people whether we’re conscious of it or not. Mine is in Leo. I teach people how to accept love. It doesn’t mean that I’d be that great at it. Sometimes you have to cultivate your own, but by default, I teach them that. What I came in to learn is detachment. I can be attached in a big way. That’s Aquarius. I’ve got the humanitarian thing going in, and there are aspects of it. That’s all to say those things are consistent themes and recurrences in each person’s life, whatever theirs is. Usually, we have to work through it if we choose to. My great incentive is I don’t want to come back and do it again.
I’m with you. I say “Listen, I don’t want these same turkeys back.”
I want to get it right.
Is it an Aquarian thing to detach?
Yes, Aquarians generally are detached.
I’m an Aquarian, so you’re an Aquarian also?
Humanitarian. They care about the wholeness. I’m like water gone wild. I’m with five clinics in Scorpio with Cancer rising. I’m like an emotional nightmare. That doesn’t mean they can’t love. I know some who are very loving and kind, but it’s not this effusive can’t let go. They can generally let go where I’m wrapped around the heels, going, “We could fix this. Come back.” It’s not just in relationships. It’s anything.
In that detachment is freedom. If I said I’m a playwright, I’ve got to go playwright. I will not write screenplays. I will not act. I will not do psychic work. That’s detachment. Make some space for more. It is an energy that helps you to participate more fully in the joys and freedoms of life if you let go of what you already have.
Now you taught me something that I had no idea. Thank you, Karen. I’m an Aquarian, and I happen to be pretty good at detaching with love. Now you put the pieces together for me. Thank you so much. Let’s continue with this question. I must say that this is a fun interview. I’m learning so much myself. It’s great. During readings, you are able to connect with elementals, angels, divas, conscious ancestors, and entities of the light who help interpret what a spirit wants your client to know and do, thereby helping your client connect with his or her own inner guidance. Please define each of these and explain because I am sure many people reading this say, “What in the world is an elemental?”
Some people think they’re mystical, like the unicorns, the elves, gnomes, and rocks, the mineral family. When I start reading, I call in different entities of the light. I added conscious ancestors because every ancestor does not have a clue. Just because they’re ancestors doesn’t mean they know everything. I make sure that they’re conscious.
That’s a good way to put it because they take their personalities across to the other side and their level of growth. Some of them go on. They still have a lot of healing to do over there.
We have our own guides. We have our guardian angels if you believe that. I use all the different terminologies partly because not everybody believes in everything, and I want to cover it. I’ve had some interesting experiences, which I’ll go quickly, but this ties into what you do. When my mother was transitioning, she went from plateau to, “I’m out of here.” It was so fast. It was a Wednesday night, and I recognized she was not bouncing back from this.
I called someone who reads for me sometimes and is great, but his specialty is transitioning. I said, “I want to know how to help her.” Now that I’ve gotten over the grief of the moment, what I want to do is help her. He said, “You’re going to see a blue light and an orange light.” I won’t go through all of it. When I went in later on, there was this angel. “I’m Gabe,” is what he said. He was up there, and he was blue, nothing like what an angel looks like.
Did he have wings?
He did not have wings, more like scaly reptilian looking, but not scary reptilian looking.
How did you know he was an angel?
I always ask, and that’s important. When you’re talking to a psychic or any, if you can’t ask questions, you have the wrong person. You need to be able to ask anything. He said that humans are confused about what we do, how we look, and all that. He stayed there, and then this orange light came up. Down on her bed is another angel.
We were using that terminology because it’s something familiar that helps us to grasp it. I’m not a medium. I don’t consider myself to be a medium per se, but I can go over, and I have done it and come back. The people come, so you could recognize them. You don’t spend 45 minutes trying to figure out what it is or who it is. You get a sense so that there’s familiarity and you don’t have to work so hard in the, “Do I believe it? Don’t I believe it?”
A friend passed not so long ago pretty suddenly, and her sister was concerned about where she was and how because it was so sudden. I said, “I’m not sure. I’ll try.” I didn’t try when I was talking to her. I waited the next morning. I went, I tried, and she came in. She told me some things to say to her. I said, “I’m not going to say anything to her because she’s distraught. I need a word that lets her know that it’s you. If you can’t give me that, I’m not talking to her about it.” I needed to trust it. As I said, I can do it, but it’s not my strong point. I’m careful what I’m doing. She told me, “Brownie.”
Like a brownie that you eat?
Exactly. I said, “I’m going to tell her the word first. If she gets it, I’ll tell her the rest. If she doesn’t, I don’t know who you are. Good luck.” I talked to her and said, “I went over and got her.” I told her that I made her give me a word, and I said, “Brownie.” She said, “On Friday, this thing happened. I’m not going to go over all of it, but this thing happened. I’m talking to this woman about brownies.” She probably told her sister because she told her sister that day. I could tell her the rest of it. That trust factor is so important. I’ll just end there.
The elementals and divas all help because I don’t know, when I’m reading, who is going to help with what. I always say they. Most real intuitives and psychics who are healing people, working with people, and guiding people will tell me something. I tell the person and say, “Does that make sense to you? Does that resonate?” My only job is to keep interpreting. They’re never wrong, ever. I’ll say, “You had this traumatic thing when you were a child. It happened. You were six, and you were on a bike.” I keep going, and they go, “That’s right.” It’s not front and center. Our guides know. Sometimes it’s to pull it up because it’s not great and sometimes it’s to pull it up because it is great.
Our guides know everything that’s going on with us. They helped us plan our lives and all of that too.
That essence you were talking about is our life. When they tap into the essence, and you’re tapping into the essence, it is tied up. Staying there is the hard part.
I understand that the entities of the light would be master’s guides, guardian angels, and conscious ancestors would be our ancestors who are more evolved, can give us information, and are aware of our path. What is a diva, and what is an elemental?
I’ve heard and read different things. They’re real. Unicorns were real, but people were freaking out about them. They back up, so you don’t see them anymore.
Unicorns are real? That’s something everyone’s just learning now on the show. It exists on the other side.
Also, gnomes and elves. We interact with these energies all the time. We interact with beings and people that are on the planet. I’m doing Harriet, and I love doing it. It’s a lot of work. It’s two hours. It’s solid, and it’s a call to action at the end too. People are cheering for themselves and others when they come out. That’s part of the spiritual healing that happens.
At the end of the play, I’m happy because they’re up and cheering, and I’m bowing, and it’s all cool. I love that part. I’m doing the show, and in this theater, there was someone. Her name is Virginia. She would open the door for me after I took my bows and went off. She’d go, “Great job.” I took one bow. I have three, depending on what else they’re doing, but I have three or more.
I did one and got the heck off the stage. I couldn’t get off that stage fast enough. I turned around. I was hysterical. I was crying. I must have looked crazy because Virginia said nothing. She opened the door and moved out of my way like, “I don’t know what that is, but I don’t want to get part of it.” She got the heck away from me. In the green room, which is where you go adjacent to the dressing room, was a ballet bar. I hung over that bar, and it was like people, energy, ancestors, or whoever was coming up off of me.
I was crying. I was weak. I knew I’d be okay, but this was very strange and different, never happened before, and hasn’t happened since, which I am very grateful for, but somehow, I had taken on these energies of the people. Before I go on, I call in Harriet. I call in my ancestors and anybody that could be of the light because I’m doing service when I perform. I don’t know if I went too far or what, but they all came.
It sounds like you opened a portal to the other side as these people you were talking about in the story came through.
They came through, but so did the ancestors of the people in the audience because that’s coming off. Later on, this woman named Dolores taught me how to go on the other side. I hadn’t seen her in years. I’ve only seen her three times in my life. This was the third, the last time I saw her. I came back out after the audience was gone. I came out, and she waited for me because we had to pack up on all that jazz.
She said, “I’m going to talk to you.” She said, “I can’t tell you how many people were on the stage with you.” I’m talking about spirit people, not having a lifetime right now people. She said, “I thought you were going to crash into each other. You never did. It was amazing.” I told her what had happened to me in the back. It is a gift that was spirit wisdom in knowing I could take it, I can help me release this energy beyond what I thought I was ordinarily doing when I do the show regularly. It’s being open. It’s being a conduit and a vessel. I only do light work. I’m clear. I do not go in any direction that is harmful to me or others, never.
I would imagine that that’s a good thing for people to know because if they’re contemplating having a session with you, you’re not going to let in anything funky, scary, or negative for them. You’re only going to bring them positive information that can help them. It takes away a lot of fear. What are your three guided Altars that Alter, and how do they help people?
Altars that Alter came about because I was having a major freakout moment. I was having a very bad day, and I was angry. I was going, “Spirit, I work, I’ve done this, I’ve been doing this since I was 23 years old.” I’ve been on the path, not necessarily reading, and this is happening. I’m sure it had to do with some kind of financial setback because that’s usually what would make me lose my mind. It was gone. I heard, “We want you to build an altar.” I’m like, “An altar? I don’t need an altar.” Maybe a contract got canceled, stuck, or something like that. I’m beginning to remember a little, but it doesn’t matter. They said, “Make an altar.” I said, “All right.” I made one, and they told me how to do it.
I like it tiered. I have several, but I have one on a bookcase, the major one. The first level is if the rest of the planet falls off, and if your family goes away, they say, “Who are you? What do you care about?” That’s all you put on that top tier. If you’re a teacher and you hate teaching, you wouldn’t put students up there.
Let’s say you’re 65, and you want to be a ballerina. You put a ballerina figurine on there and say, “I want to be a ballerina.” The only thing you have to do is have a current picture of yourself. It can’t be when you thought you were adorable at eight. It needs to be right now whether you think you’re fabulous or not fabulous. The purpose of it is the only person that can make these things happen on this altar is you. That’s why that picture is there. I hate yoga, and I had yoga cards on there because I knew it was good for me, but I never did yoga. It didn’t belong there. It was what’s good for you.
I should have said some exercises that I like should have been up there, but that’s okay. You learn. Sometimes I have a picture of my son because it’s a priority at that time. You’re putting your priorities. Sometimes I have a figure. I have a stone couple. It’s a sculpture and I love it. Sometimes that’s up there because that’s the priority. Sometimes it’s things about writing are there. Sometimes it’s cotton candy because I want to go out and play. Your top level is you. The second tier is you in your current world. That’s where you work. That’s your family. That’s whatever is important to you right now.
It’s more like your present moment.
It’s your present moment, but only what you want. If your family’s there and you hate your Uncle Ted, you don’t put Uncle Ted there. You put things that feed your soul, your intention, and your present moment. As you said, fulfilling desires. That’s all that goes there. You can do these side by side. There’s a third and next to each other. I have a long window cell, and I’ve got one there, too, with a third going across. The bottom tier is how the world impacts you and how you impact the world. I love to travel, so I have a part of a basket. It’s from South Carolina from the Gullah Islands because they make these special baskets, and they’re beautiful.
Baskets are everywhere in the world. I put that there to say every place I go, I want to look at the baskets there, how they’re made, what they use them for, and the beauty of them or the functionality. I have a charm that I got in Kenya. It is a spiritual charm. That spirituality is everywhere, so other people’s spirituality impacts me. I love learning about different cultures and all of that. I have a pair of Halloween glasses because I love Halloween. I love parties. I love fun. It’s to remind me I like the world fun, and seeing the world is fun.
You build this altar with just you, no matter what anybody else says or thinks. The second tier is you in your world and how you want to function. This is always how you want to function. The bottom one is how the world impacts you and how you want to impact the world. My scripts are down there sometimes. I put a script down there.
If you must suffer, which most of us need a moment, then you get a bag or a box. I have a little box. You can write things like, “I want to stop being jealous. I want to lose weight,” things that are changing but not necessarily supportive of who you are now. They give you a pang, I’ll put it that way. You put that in the box. You don’t put that out.
It’s like the vision board, but it’s a private vision board and it’s going in the box.
It’s interactive too. Once a week, you take out one of these. You can sit with it. When you get it healed, you can burn it, get rid of it, and tear it away, whatever. You don’t focus on what you don’t want. You focus on what you do want, and it’s interactive. That’s the big thing. It’s not an altar where you walk by and reflect. You are always changing. You add, subtract, whatever. Anyhow, they knew what they were talking about. The Altars that Alter are great. I’ve done them for individuals. I have one woman who did hers in her bathroom. I have somebody who has in the fireplace. There are people who will get some shelves and get us to do them there.
It doesn’t have to be obvious. You don’t have to explain it to anyone. Some are neat and tidy, and some are chaotic and crazy because if that’s who you are, that’s what you should do. It does help you to focus. It’s a tool for focusing and for reminding, especially reminding with that picture that you are the only person who can do this. It helps with not depending on other people, yet we are interactive. We’re interdependent, but not hardcore dependent. If I want to be a ballerina, I’m not going to probably find five million people who think that’s a great idea at 65. Go and start the ballerina. Find out who else wants to be a ballerina or get your thing around your living room. Whatever makes you happy. It’s for you.
That’s fascinating. If a person comes to you for a session, you can guide them about making their altar.
I help them build it. I can go to them, or we can do it by Zoom. I also do a reading with it.
That’s cool. They help someone to the spiritual path. They have not only physical reminders but also energetic reminders that you’ve given them.
It is a spiritual reminder. Remember it came to me when my mom was trying to tell them what I wanted. They were like, “Knock yourself out. Here’s what you want to do.” I listened. That’s the big thing. We have to listen. That’s what I want everyone to get that we’re constantly being guided. It’s the listening. Sometimes we can’t hear it, or we hear it but we don’t want to, or we’re not ready. We have a whole printout of why not. Just allow it. That’s why the things that can help support the process and reinforce the guidance are so important.
I have another question for you. Even though we are all always having deaths and rebirths, many of us often sit in death and stay close to the rebirth that leads to change. You claim that this is against the natural order of life. Please explain this profound concept to our audience. It’s very close to the heart of the mission of the show. Go for it.
There are a couple of things. I didn’t finish with the angel in my mother’s room. The one that was up high was Gabriel. He said, “I’m going to leave. I have other places to go.” They say you always have your angel with you. Apparently not because he left, but he said, “This one’s down the bottom, you’re good.” He came to give me the message and I took it.
His name is Brother Francis. It said, “You’ll see an orange light and a blue light.” I’m thinking light. I wasn’t thinking of angel, but they came in as angels. You had to go with the flow. Here’s something with death, rebirth, and attachment. My father passed in 2004. I had his ashes, and I grieved. It was bad. About a year and a half later, he said clearly, “For God’s sake, take my ashes outside. You’re driving me crazy.” I had his ashes in the house. I have a big planter. I put it in there and got a pink fairy duster. It’s unique to New Mexico. It’s a hardy desert plant that can live. I put that on top of it and I buried him. I never cried again. I was aggravating him. He’s been driving me crazy.
I had levels of guilt. He had Alzheimer’s, and I didn’t know how to help him. I did the best I could. Most of us grieve. We will find a reason why the death is your fault or why we need to suffer. I’ll put it that way. Once I took his ashes outside, I never cried again. It was clear. It was so funny. We have lots of deaths and rebirths. We have breakups. We have job changes. The alter came out of what is now a contract gone bad. I was upset about it, but I was attached to that contract gone bad.
I didn’t say, “You live in a world with how many billion people. How many more contracts are there?” I didn’t just skip to the next contract. I suffered through that process. Rebirth from a spiritual standpoint is like, “Don’t do that. Do this next.” That’s not to say you ignore your emotions and your mentor. When I was growing up, we had a workbook called Think-and-Do Book. We have to read a paragraph and answer these questions. This is elementary school, and it popped into my head. It said, “Think and do Karen, not think and think.” It said, “Think and do. Would you do it?”
It’s like that, the moving on. That’s not to say there isn’t grief there, but the stoppage. I do this workshop and I’m going to add to it called Drama as a Healing Art. I know that the dramas in our lives are supposed to inform us, not stop us. They usually stop us. They can stop you for a minute, but they shouldn’t stop you that you can’t get back up. We all have made different things. Some people bounce back more easily than others. That has to do with the composition.
I got to stop you right here because so many people we know are so immersed in the dramas in their lives. Everything is a big deal. They stay stuck. There’s no one listening that doesn’t know someone who even enjoys the drama in their lives. These people are missing the message or missing the idea that they’re supposed to learn from that drama and grow from it.
I’m going to give you an interesting example. I grew up with New Yorkers. I used to go to the theater. My parents would take me even when I was very young to the Marionette puppets and all that stuff because New York offers all of that. I was a stutterer. I still am. I was in fourth grade. I seriously stuttered. It was a nightmare.
You stuttered? You’re an actress and everything. That’s amazing.
I’m about to tell you how amazing happened. We have to read in rows. You got a paragraph, and it was my turn. The kids were like, “Let’s kill us all now. I don’t want to hear this.” We all had to do plays. I went to a school where every class did a play. She said, “You’re going to be the announcer. You’re going to be the first person they see.” I’m like, “No, not going to happen.” I asked my father. My father wrote a letter, begging. The teacher said, “I don’t care who writes a letter. You’re doing it.” I studied and practiced. My parents bought me this beautiful white dress. It had lavender flowers and a sash. My hair was done. I was terrified of going to get up in front of masses of people as far as I was concerned and announcing the play.
I was terrified that I would stutter, and they would laugh at me because they’ve done it regularly. I got up and I still remember the beginning, “Good morning, Mr. Mitchell, Mrs. Moyle, teachers, parents, and friends.” That’s how it started. I don’t remember the rest of it, but I remember that much. After they clapped, my life launched. I didn’t have a direct route to theater arts, but I had a direct route to not caring if I ever stuttered again. That’s a drama. I’m telling you that because it’s a drama across the board, but also the drama of being forced to face my biggest fear, which was being laughed at, embarrassing myself in front of the entire school, and I came out on the other side.
I help people come out on the other side. The drama of healing as a healing art is always fun because it’s got theater components to it. There’s visual art and performance. The other thing you get to do is write. We can always take our personality of so-called defects, or dramas and give them to Cindy Sullivan and make her a character who then takes care of the problem, and we can get it by default.
All writers know that when you write something creative, you’re healing some aspect of yourself. Something in you is going forward. My first play in New York, my uncle came up to me after and said, “It’s not nice to write about your aunt.” I had no idea that there were aspects of my aunt in the lead character. I would’ve never and didn’t see it, but I see it now as soon as he said that. He loved it. It wasn’t obvious, but it was obvious to him.
It was obvious to him because he knew.
She was not in my mind. The conscious in us and the unconscious can give us lots of healing effects if we allow it. We have to allow. Allowing is the big word.
You’ve got a workshop called Drama as a Healing Art. Do you have other workshops like that and with other titles? You have various levels of healing and you’re going to be releasing a book soon. Do you want to give us a little bit of information about all these great things? Where are your workshops held? Are they online?
I’m developing one online now and intend to launch it in May. I will have that. The workshops that I do are Marry Yourself First, which I love. That came out of drama. I was engaged.
I love that call, Marry Yourself First.
It doesn’t mean kicking your husband or wife through the curb, but it means marrying yourself first. In that process, you learn a lot about yourself because most of what we want from somebody else, we need to have ourselves and own ourselves, and if it’s not there, fix it yourself. You can do it simultaneously while in a relationship. That was born out of drama. I had major drama around that one. I have a nice wedding ring. I literally married myself, got a ceremony, and I help people. It was great. It had all the spontaneous things attached to it. It was cool. I do something called a treasure hunt.
In the workshops, do some of the people who want to marry themselves? Can they do that with all of you and have a ceremony?
Absolutely. You can do a ceremony when you’re by yourself or you can do a ceremony where you invite people to the wedding. I had this ring, and I had this design. I had a rehearsal dinner. I went to dinner the night before and I sat across. It was so divine. I was at this bar, not a liquor bar, but a dinner bar. A couple came and sat next to me who could not have been more in love with each other. It wasn’t possible. I’m sitting there absorbing this while I’m getting ready to marry myself with a heterosexual couple across. I’m going, “Cool.” I was supposed to get a massage after, and I got the massage first.
During the massage, they said, “We want you to get a second wedding band.” I’m like, “No, I don’t think so.” They’re like, “You do.” After I had the dinner, I wasn’t going to do it because I don’t need a second. I went into this little jewelry store called Ooh! Aah! and got a simple gold wedding band. I wear that on the other hand sometimes. It’s got some diamonds and gold and an imperial topaz.
The other one, if I lost it swimming, I wouldn’t kill myself. This one I would. They knew what they were talking about, and I did it. I had a ring for each hand, or I could take the one-off or whatever. I thought I had a ceremony, including jumping the broom, which is an African American thing to do, except I didn’t have a broom. I realized after, I dropped the mop. I had a brand-new mop and I dropped the mop. I decorated it. I had a wedding bed. I did everything. I have pictures. I’ll show them.
I would imagine that this ceremony of marrying yourself is also about learning self-love.
There’s a book, and I can’t think of the name. It talked about when wedding bands were first in the world, it was for marrying yourself with spirit, marrying your personality, and who you are. That’s what the wedding band was for, initially.
It’s accepting yourself, also.
Accepting yourself as you are. I take myself on dates. “I want to marry somebody who wants to take me out.” How about you take you out? You know how to do that. It is being kind to yourself and saying nice things to yourself. Here’s a real quick thing that people can do if they’re not nice to themselves. I learned this from The Science of Mind. You get a rubber band, and sometimes I say a bracelet if you don’t want to hurt yourself. Every time you say something not kind like, “I can’t believe you do that,” or, “You’re so stupid,” you pop it. You give a little pop. If you pop that enough, you will remember to be kind to yourself. It’s a little exercise that works and celebrating the small things.
Another workshop I do is a Treasure Hunt, and people are welcome to do this. I love doing it with people and in groups. Families are cool to work with. I have a list. I can send that to you, or you can see it on my website. I have 50 things there. You pick ten and then you get a bag or a container if you’re doing it in the group. You can take it there or you can do it right in front and assemble it. That represents ten of these things. I’m going to use the one that I used the most because I did it with this one group. She came in and she had a mixer.
She had a big blender. She had all this stuff in the blender, and one of her words was mind. She said, “This is my mind. It’s all in there, but it’s all jumbled up.” I thought, “That is so cool.” Another person had a picture of a family reunion. Her whole family was there. It was called your ideal family because that’s one of the things, your ideal family, your chosen family. She had your ideal family. She superimposed her face on everybody else’s pictures. “That’s my ideal family. They’re all me. They do what I want.”
There are a lot of people who would like that.
All of this is fun, but it gets to the core. The other one that is important that I do is What Am I Tolerating? All of us tolerate some things, and I love doing this one. You can do it alone or you can do it with me or others. It’s got levels. I’ll start with what I can remember off the top of my head. If you’re tolerating your closet being packed with all kinds of junk and you’re embarrassed, you’re tolerating it if you have an emotional reaction to it.
Some people don’t care about junk in their closet. It’s fine, then you’re not tolerating that. It’s what you are tolerating, like people, places, and things. You’re tolerating a job that you hate. The inquiry keeps you asking why, “Because I need the money. Why? Because I want to live inside. Why is this your only option?” You keep going until you’re either not tolerating it or you come to a solution of how to not tolerate that but move into something that does support and feed you.
They sound helpful.
What are the various levels of readings that you do, Karen?
Particularly during this time, I’ve added some things because so many people need and want help. I want to make sure that people are able to do that. The first here is a reading that I do where you ask one question. I’ve called it What’s Your Biggest Drama? It’s the one drama. I do those first and then I can do a reading that’s one hour long.
The last one is roughly an hour and a half, but we go longer. Those are the tiers for the readings. I have an annual, which is usually somebody who’s been with me. I have people who’ve been with me for many years. They may pay an annual amount that is much less than if they had to pay all the time. I have something that I call The Anchoring where I’m helping you to anchor your spiritual consciousness. Basically, you won’t need me. You might want to come in sometimes, but you can hear more. I help people to get to that connection and stay there. Those are some of what I do.
The other thing I’m thinking about is you do a workshop called Drama as a Healing Art. You’ve now made it into a book.
I’m going to come out with the book. I started it a while ago. I’m an extroverted introvert. I love this. Thinking about it, I did all the prep. I said, “It’s a reading. See it like a reading. You’re good. I know I can do a reading. I know I can perform on stage.” There are 70 or more exercises. Some have multiple activities attached to them. It can be for an individual, a family, a spiritual center, or a community. Anybody can do it. I also teach how to produce, if you want, a play out of it or a dinner theater activity. People who don’t sing can sing.
It’s going to be fun. I have to have fun. I used to have a sign over my desk in front of my window where my desk was that said, “Why do I do these great parties? It is because I’m a party animal.” I can find a way to have a party I am going to. I want eventually to have this so that we come together in retreats as a part of this. Now, I’m going to do an online and a book. You can jump around. It’s not going to be, “You have to do it in this particular order.” You could find what resonates for you and do it.
When the book comes out, let us know, and we’ll let all of our readers know about it. Be sure to let the show know. We’ll be glad to. I’m sure people will be curious about hearing what they can get from the workshop. They’re going to be very interested in what they can get from the book also. Tell us your touching story about a woman and a French horn.
I started reading in 1986. I had to learn to trust. I was into reading. I’m not skeptical, but if something came that sounded weird, I didn’t want to say it. I’m reading for this woman who is easily 80. They tell me to tell her to play the French horn. I’m not telling her to play the French horn. They were like, “Tell her to play the French horn.” I’m like, “I’m not telling her to play the French horn.” I’m having this dialogue and finally go, “They wanted you to play the French horn.” She jumped up, ran to her closet, got her French horn, and took it out.
From then on, whatever they tell me, it is to get the interpretation until the person gets it. I can’t say that I never go, “Are you sure?” I deliver it and it’s never wrong. It’s not me, it’s them. They said, “You keep saying they, who’s they?” I don’t know who they are. I just know that they show up when I need them and when the person needs them, and they work.
That’s quite a validation for her. Now that everyone has heard all about you and is interested in getting a session, seeing your play, and everything, how do they connect with you, Karen?
My name is Karen Jones Meadows. That’s my website www.KarenJonesMeadows.com. If you go there, there’s a link to the psychic reading page. I have other pages, but there’s a link to that. My email is KJMOnPurpose@CS.com. My phone number is (505) 867 0857. I like to talk to first-time people a few minutes prior to our session. It is not to get a lot of information. I just want to talk to them so that I want to make sure they’re a person, and I get birth information and then read.
I don’t need a lot of information because I’m not a fortune teller. That’s not what I do. I connect you with your guides, so you get the most important information you need to know now. When I read, I start with what your spirit wants you to know first, and then we go to the questions. I don’t have to do that, but that’s always how it’s done because people want that. What we think is important and what your spirit thinks is important isn’t necessarily the same thing off the top. It’s not that you’re not important, but you need to know those things.
I also record it and send it to you so that you have it. It’s hard to hear and retain while in process. Sometimes I’ll say, “I’ll get back to that,” and I won’t because I lift up out of my body when I read. I’m not fully grounded. I have you take notes so you can say, “Remember, what you said to get back to? I don’t know what that is to do it.” We do that. You can always ask questions. It’s not a one-sided conversation. We can talk.
It is great because I found that too. I was able to ask you questions and then hold the session, and something popped up and I wanted to know. You were wonderful about that. Do you send a CD or a download?
I sent a download. I do a Dropbox. You were the only one who has that link to that reading. You could download it and listen to it forever.
Another big question is what is your tip for finding joy in life from all your experiences, gifts, and abilities? What does it for Karen in the world of joy?
Feeling loved and sharing love. I mean it in a euphoric way. It’s flourishing. It’s a sense of growth, beauty, and harmony. I’m from the Bronx, so I was not a nature girl until I moved out here and I live in the middle of nature. If flourishing for you is not nature, then that’s not joy. I love the beach. I love romance. I’m an incurable romantic. I try to get cured. I’ve tried a lot of times, but I’m not going to be because I love it.
That’s part of love.
When you feel loved, you feel secure, and you can do things you didn’t think you could do because there’s extra energy. That’s how I know the universe is made of love. We want that. People seek that. Not always in the best way because we don’t have the know-how necessarily, but in the bottom line, people just want to express and feel love. That’s joy.
Karen, thank you so much from my heart for this enlightening interview. I’m sure many of our readers are now looking forward to seeing you and your play, Harriet’s Return, when it comes to their town, including me, reading your upcoming book, Drama As A Healing Art, and having a reading filled with wise guidance. Here’s a reminder, everyone. Make sure to follow us and like us on social at @IreneSWeinberg on Instagram, Facebook, and Twitter. Thanks again for joining us. As I like to say, to be continued, many blessings, and bye for now.
- Karen Jones Meadows’s Website
- John Randolph Price’s Angels Within Us referenced in this episode
- John Randolph Price’s The Jesus Code referenced in this episode
- Helen M. Robinson’s Think-and-Do Book referenced in this episode
- Ernest Holmes’s The Science of Mind referenced in this episode