”Four” & The Enneagram

Hi there. My name is Ryan and I make music under the name "Sleeping At Last" and this podcast is where I have the incredible privilege of getting to share with you how each of the songs that I'm writing get made and I get a chance to tell you why I recorded what I recorded, why I wrote what I wrote and the meaning and heart behind every lyric and every choice that I'm making in each of these songs. So really it's the how a song starts from nothing and becomes something. Technically, music is invisible, so I guess it's still kind of nothing. But anyway, I'm so excited to get to talk to you guys today because it marks the the release date or I like to consider it the birth date of my brand new song "Four". Four was of course inspired by the any gram type four and if you are unfamiliar I am currently in the middle of a project in which I am writing nine songs inspired by the nine beautifully unique any gram types. And I'm so excited to show you guys the song today and to tell you how it got made. I truly can't believe that not only are you guys kind enough to listen to my songs but that you'd be curious at all that to hear how these songs became songs. So thank you. Thank you so much for choosing to listen. If you've listened to the previous episodes in particular the the episodes that I detail the the making of my any gram type one and type two and type three songs that are currently available, you should already be familiar with my dear friend Chris Huertz who is basically this podcast resident any gram expert. I'm so honored to have him speak with us today about the any gram type fours and so Chris thank you so much for for being willing to share your insights with us again. Thanks so much for having me Ryan it's been really great being a part of these conversations and I really actually want to affirm you and what you're doing because I think what you've essentially uncovered with the process of these songs is a rewind to what the any gram was was originally sort of reclaimed for you know 102 years ago when George Grigief rediscovered let's say the any gram he rediscovered this as a process tool not a way of typing people or or profiling people and I think the process of of you telling story through song through poetry and in these gorgeous icons these these powerful artistic images are really doing something for the the tradition for the lineage of the any gram that's been missing for for quite some time so thank you man oh my goodness that is incredibly kind and absolutely means the world to me coming from you Chris so thank you thank you so much for saying that so before we dive into listening to the song I would love to have Chris give an overview of who the any gram type fours are so Chris if you don't mind it's for anybody that is unfamiliar with any gram type fours and and for anybody that is just needing a little bit of a refresher who are any gram type fours sure so folks who are dominant in type four and the any gram are maybe among the most interesting of all the nine human archetypes or human character structures the the any gram type four is sometimes called by either the any gram institute or the narrative tradition either the the individualist or the romantic and with all the love I can muster up I sometimes refer to the for as the diva these folks are just exceptional in every way and and they and they instinctively intuitively know that and and what that eventually leads to is them actually realizing that they are then the exception to all the rules so the the four has this fundamental need to be unique and and then this drive to sort of uncover their own essence they they become incredibly introspective they can be incredibly passionate they're in the most beautiful way sensitive and incidental they can be perceived as overly dramatic maybe I think they're they're sadly misunderstood sometimes and and caricatured as moody or self-absorbed maybe overreacting but there's something behind that and what's behind that is this they are in search of meaning they are in search of of significance and and their ability they're real introspective ability to be sensitive to meaning and significance and in all things is is really the beauty of the fluency of their emotional intelligence right so the four is is right there in the feeling center right and if you remember the the intelligent centers of the kilograms this is our our body our heart and our mind which are our instincts our our feelings and our thoughts and and and folks are dominant type four are right there in the feeling center and and so they they feel deeply and they curate and they cultivate these intense internal emotions that that create a new reality for themselves but it's a reality that they invite us into and and so they help us sort of understand the spectrum of our own emotions and and I sometimes joke around that I think it's probably somebody who's dominant in type four that came up with the list of feeling words right they're they're particular they're they're accurate um they they they know exactly the aesthetic of an emotion and and the edge and the nuance of it and this in this speaks to this highly developed emotional intelligence that when they can tap into um becomes almost this idealization of what the heart as as an organ of perception can be for the rest of us right so the fours um I am afraid to say um get beaten up the worst in in the books and in the materials um because they are exceptional and because they are a curiosity to us um it's pretty hard to to caricature and loophole them it's it's very hard to describe them and so if you're dominant type four you you may have had a really hard time typing yourself and that's probably because when you read the thick descriptions of of type four it doesn't feel just right or it's not exactly uh phrased in in the way that you would say and and and so you feel like it's either a little off or or you actually might feel a little bit off um the funny thing about fours is if you get a few fours together they will sort of give each other the side eye because there's only one four in a room and everybody else is sort of an imposter or they're not four enough or they mistyped as four and uh and that's you know one of the things that I think actually does make them significantly unique and exceptional their ability to be self revelatory is is unmarked I think across the inagram spectrum and and this showing of themself this this exposing of the inner drama of this emotional landscape is is one of the ways that they invite us in right and and so they are expressive there is sadly a real experience of of personal tragedy that that becomes a part of their own journey a part of their own narrative a part of their own sort of autobiographical exposing of of the depths of their heart and that that sensitivity that that supports that really becomes an invitation so beautifully said thank you so much Chris let's dive right into the song um I am equal parts thrilled and terrified to show you guys the song especially if you if you identify as a type four I've joked around that writing about the type four could warrant an entire album or an entire anthology of music it's such a beautiful and creative type I mean every type contains creativity and beauty and but the fours are really special in that way so um it was really important to me to try to pull as much of that glory and um that uh that beauty into into this song and uh so if you happen to identify as a type four I so hope that something in this song speaks to at least a little bit of your truth and to your heart and then it honors you so I humbly offer you uh this song uh which is called four um so remember how to see to the right and the songs takes place and it sustains the color of paint and divinity as if god hear the bill ♪ Oh, then I'm lost of every beautiful thing ♪ ♪ In this game of high and sick ♪ ♪ I can't help but think Lord and Mary ♪ ♪ I swallow the king ♪ ♪ Body is fashioned ♪ ♪ Out of dirt and dust ♪ ♪ For moment we'll get to be glorious ♪ ♪ Ice sculptures, the dawn in life ♪ ♪ St. Casual's bell tower in between the tides ♪ ♪ And maybe your hide and behind metaphor ♪ ♪ Maybe my heart needs to break to be sure ♪ ♪ One day I'll wear it all my stain ♪ ♪ The insignificate with the sacred name ♪ ♪ But I'll fall in love with a ghost ♪ ♪ I lost my balance when I needed a most ♪ ♪ It's waiting for groundless proof ♪ ♪ Oh, I'm not sure what it feels like true ♪ ♪ I'm stuck to the moon and shadows down here ♪ ♪ It's been forever since I came off air ♪ ♪ My sunny hand had turned in front of me to see ♪ ♪ Only poetry could even begin to try to describe it ♪ ♪ Body is fashioned ♪ ♪ Out of dirt and dust ♪ ♪ For moment we'll get to be glorious ♪ ♪ Get to be glorious ♪ ♪ Get to be glorious ♪ ♪ If we go in ♪ ♪ What if we all ready or ♪ ♪ We've been dying to become ♪ ♪ And certain light I can play this year ♪ ♪ For reflection of magnificence ♪ ♪ Hidden in you, maybe even in me ♪ - All right, I am so excited to finally gotten to share that song with you guys. I hope that you consider it a worthy addition to my any-gram songs this far. And, but before we dive in and I explain every detail of that song, every sound that you hear, the fingerprints involved, the inspiration behind the lyrics, the intent, and everything else. I wanted to have Chris give us a little bit more context. Since, as he mentioned before, if you happen to identify as a type four, it might have been a little bit of a struggle to land on that being your dominant type and, or at least recognizing that that is your dominant type. So Chris, can you speak a little bit more about the identity and the, just give us a little bit more context for who these beautiful any-gram type fours are? - So if you were to sort of get online and search any-gram type four, the sort of classical or traditional components to this type's character structure would come across in terms of this basic fear that sadly, the four doesn't think that they know who they are, right? There's this sense of being cut off from personal significance. There's this painful loss of identity. And you'll see this and how the fours relate to the identity of everyone else. It says if they can see the significance in everyone and everything around them, and they name that significance with such lucid and vivid and accurate detail. But they just, they can't see it. They can't see themselves in that same way. And so that fear, that fear of not being known, of not knowing who they are, of not knowing where to root their significance, sort of compels them into this desire to simply be who they want to be, to find their origin, to be themselves. Now when you look at the wings of somebody who's dominant in type four, the counterclockwise wing, which Michael Goldberg actually calls the shadow point, and this is for all of our types. The counterclockwise wing is the part of ourself that is sometimes rejected or repressed. Well, this is the three. And so you'll see a four with a three wing becoming incredibly driven towards expression and towards curating an aesthetic or an experience through really creative means. And that drive really is almost unstoppable when a four sort of anchors themselves and the truth of their identity and then draws from that. Now the clockwise wing, and this is true for all of us as well, Michael Goldberg would call that our ally point. And that's sort of what he says as the antidote to the places where we get stuck in our dominant type. Now for the four, this five wing is one of the most curious reaches around the circle of the integram. Because if you look at that drawing right there, at the bottom of the integram, you see that gap, that hole. And that hole right there between type four and type five is sometimes called the existential hole. And so fours who try to reach across that to the five, fives who try to reach across that to the four sometimes get stuck in these real intense feelings of angst or despair or a feeling lost. And that makes sense because types two, type three, types four are that heart center, that feeling center. And then types five, type six, type sevens are that head center. And we know this, we know that that reach from our head to our heart is sometimes the longest journey that we'll ever have to make in our human experience. To connect our mind with our feelings, to connect our emotions with our cerebral sort of intellect almost seems unnatural. And so for the four who can connect with that five, they offer us a bridge into a real amazing type of integration that helps all of us begin to have an accountable sense of clarity as it comes to not overrelying on our intellect, our thoughts, our mind, as well as some accountability to the extremes of where our heart can take us when our emotions go unchecked. I think fours are also misunderstood in their infatuation with significance. I know that a lot of my friends who are dominant type four want to align themselves. They want to borrow what they perceive to be significance from people who they think are truly authentic, who are truly luminaries, who are successful in what they do, who are the industry leaders, thought leaders, culture makers, and this infatuation or what looks like infatuation with significance is really the four trying to feel the significance within. And so it's just like us, like when we're cold and we're camping and we like a fire, we stand there with our palms towards the flames to sort of feel the heat and we clearly don't put our hands in the fire. And we realize that there's already heat within our hands and when we bring our hands back together we experience that in touch. And I think that's what happens when the fours align themselves with who they perceive to be excellent is they're wanting to sort of look in that mirror of significance to see their own significance. - So Chris touched on something that became this really vital piece of information as I was researching the type four. As I mentioned before, each of these nine songs are meant to be nine different stories of letting go, nine different redemptive stories. I didn't want to just point to the caricature or the weaknesses or the flaws of each type. I wanted to be honest about those things and at the same time display a story that would hopefully honor the healthiest and most integrated beautiful versions of each type. And so as I was researching, it kept coming up over and over this loss of identity, this story. heartache that comes from feeling like they've lost their identity. And through the significance of others and the beauty of others, they are trying to desperately reconnect to that feeling of significance. So before I started writing the lyrics to 4, I applied this rule that it needed to be filled with poetry. That needed to be the approach. I wanted to use as much imagery as possible since obviously the fours are a very aesthetic and visual type. I wanted to kind of write in a way that you could interpret almost every line in a different light. But with that key piece of information that Chris just mentioned, that loss of identity, that's where I really wanted to be as clear as I possibly could. So the final lyric of the song is this. "What if we already were, who even died to become in certain light I can't play this year, or reflection of magnificence, hidden in you, maybe I'm not right." And that's the type 4 that is finally come into the realization that the significance and beauty that they discover in others is hidden inside themselves as well. And as I said, I intended to write that as clearly as possible. That message was kind of the thing that I wanted every four to take away from from the song. And the rest of it is written in sort of a form of poetry in that it is abstract and can be read from all sorts of different points of view. So with that final line, my hope was to help the fours feel understood. And I wanted to be as clear as possible about that one particular message. So I'm going to have Chris expand on that a little bit. And to kind of speak to this, this, this ache to be understood that seems synonymous with any gram type 4s. So I was talking with this young woman Melanie that works with me. And she's dated of somebody who's dominant type 4 for years and years and years. And I said, "What do you think fours most want us to know about them?" And she sort of jokingly said that we will never really know them, but that we're still sort of invited to find them. And I think this sort of gets back to this notion that comes up a lot in the literature and material about fours is that they play these sort of hide and seek games and their relationship. That it's almost as if they're hiding part of themselves from us. And they want us to find it. But the truth is is is what perceives to be hidden or things that they close off from us is what's actually hidden from themselves. And in the seeking out that they're wanting us to sort of play into is really giving them permission to sort of enter into that self observation and that path of seeing it internally. So when you sort of look at this sort of these hide and seek games of the four, it's not that they're playing those with us. It's that what they can't seek and draw forward from themselves is what they've hidden from themselves and they just need help. And that's why connecting with them and empathy leads to that trust, which allows for sort of what is perceived to be this hide and seek game to sort of be sustowed or played out in relationship. That language and concept of hide and seek came up a lot as I was researching the type four. So I knew right away that I wanted to somehow include that. So this next line was inspired by that concept. As if God had the building of us of every beautiful thing in this game of hide and seek. I can't help but think ordinary swallow the game. And so that last line I can't help but think that ordinary has swallowed the key. I liked a few things about that one is that swallow the key is sort of this mysterious idea. So it's almost like the the fours can't quite put their finger on exactly what they're searching for. But I like that it could be read from two different perspectives. It could be read from an unhealthy perspective, which is sort of like placing blame onto the ordinary for for swallowing the key to the thing that the four is searching for. But a more healthy perspective would be that you can't help but think that ordinary has swallowed the key as in it contains the answer. And that healthier perspective was inspired by something that Chris had said where the the four begins to see beauty in the ordinary as they sort of become healthier and healthier people. So Chris was kind enough to of course share the overview of the type four and to give us a little bit more insight into exactly who the type fours are. But I wanted him to share a little bit more about the type four childhood wound and a little bit more about like the where does where does the type four begin to take shape for all of our types. There are these traditional childhood wounds that sort of help explain a little bit of of the why behind how we think act and feel as it relates to expressing ourselves in the world. Now, as we've talked about in previous episodes here, I'm pretty uncomfortable with this language childhood wounds because I actually don't think that these are real wounds. In fact, I think that we we experience as kids all nine of the traditional any a gram childhood wounds. It's just that there's one that we're more sensitive to there's one that hurts us a little bit more than the others. It's as if one is sort of pressing on that stress fracture in our soul and we react out of that right. And I don't have kids, but I do have a puppy and I'll say this my dog experiences online of the any ground childhood wounds and relationship to me, right. If if the so called childhood wound or the one is that the rules keep changing, then my poor puppy experienced that yesterday and today because yesterday it was okay for him to eat pizza crust and today I'm like, of course you can't have pizza crust. So we have to be careful when we talk about the childhood wounds. If you're a parent, you're not doing this to your kids. And I think you have to also be honest about your own experience of the any ground types childhood wounds as you relate to your own caregiver or parents and let them off the hook. My sense is they probably did their best, right. So for the four, the so called childhood wound and really, you know, one other way sorry to say this is how we experienced this disconnect from our essence or this this longing to reconnect with with the truth of our being. The childhood wound of folks are dominant type four is really a wound of abandonment. It's it's it's it's feeling left alone, it's feeling cut off and and specifically cut off from from what you perceived love to be. Now this is sometimes experienced and people who are dominant type four who think that they may have been adopted but never told because maybe they don't feel like they fit in maybe they feel like their parents really were wrong in having them or wrong in the ways that they raise them are wrong in the ways that they withheld either protective or nurturing love. And in this sense of abandonment becomes a constant theme in the life of folks are dominant type four. This abandonment becomes a cycle. The four feels pushed away and so in a lot of cases, fours find themselves pushing away the people that they actually love the most. But this pushing away is really the four sort of subtly saying, will you come towards me? Will you abandon me too? Because if if you abandon me too, that's just going to cause me to double down on this lost sense of self. They're trying to prove to themselves and to us they are abandoned and that they're fundamentally a soul that that should be abandoned. So in relationship with the four be really cautious and really careful and really aware of this that what seems to be a pushing is really quietly and probably for a lot of these folks subconsciously or unconsciously appalling. Now in the childhood of the four there was also this experience of frustration in this frustration was with both if if if you are dominant type four and you grew up with two caregivers or two parents and I know we we all didn't have that as as part of our holding environments. But there's a frustration with both the protective and the nurturing energy of our caregiver or caregivers and this is this is okay because all of our holding environments all of our childhoods were imperfect and that's what makes them beautiful. What's flawed about them is what makes them human but that caused profound frustration in the four and so that frustration then was sort of over compensated with this notion of idealization. And so the four as a frustrated idealist then idealizes what they perceive to be good. They perceive to be true and beautiful and that's what they hold out there for us to see that's what they offer and they see it with such clarity. So I've talked a little bit before about my creative process of applying rules when writing a song and I've been doing this for quite a few years now and I just find it so creatively challenging and fun to learn. lay out these musical rules that relate to, at least in some way, to the theme that I'm writing about. And for these any Graham songs, that has just been really, really, really fun because as I'm diving in deep and learning everything I possibly can about each of these types, I am finding different ways to kind of translate that information into these musical rules. So for this song before I wrote a single note, I sort of wrote out a handful of rules that I would love to share with you guys. The very first rule I've already mentioned, which is to write the lyrics in the form of poetry. And to me, that means to write them a little bit more abstractly, to see to it that each line could be read sort of on its own, but in also in relationship with the following line and the line before it. But also to just leave each line as open and it is possible, I think with any art form, it can be interpreted in many, many ways. And I really wanted to embrace that in writing these lyrics. And also as I, as a research the type four, for some reason in my head that word poetry just kept coming up because there's this mystery to it. There's this, this, this kind of hidden craft within poetry. And I just made a lot of sense for, for the any Graham type four, I feel like they themselves are this form of poetry. And so that was sort of the guiding light for writing the lyrics. The second rule also applied to the lyrics is to write as visually as I possibly could. So to, to kind of gut check every lyric with, is it visual enough? Does it give enough of a, a mental image as I'm singing these words? And so it was a really fun. I, I, I love visual lyrics anyway. I've always kind of gravitated towards that in my writing. I speak in metaphor. It was so often in my music. So it was, it was fun to just fully embrace that because as I'm writing more thematic music, I'm finding that sometimes you need to be a lot clearer in the in the language. So you sort of have to abandon certain images or metaphors in favor of making a little bit more sense with the, with the story you're trying to tell. But for the song for, I, I fully embraced the, the idea of writing as visually as I possibly could. And, and that's to honor the, this, this visual element of the, of the type four is everything I was reading kind of pointed to the aesthetics and the, and the visual nature of, of the type four. And their use of the, the mediums of art, which sort of leads to this, this third rule. And this was a, kind of an odd one and just a fun internal thing to, to think about. But I wanted to challenge myself to, to reference the, the progression of art with age. So the first reference you'll hear is paint. And that sort of points to a child finger painting. And then the second reference is blocks. So as a kid gets a little older they start creating and building with blocks. The next reference is sculpture, between ice and sandcastles was also introduced like more texture. So you get a sense of, and like a feeling when you hear those words. The next reference is fashion. So I mentioned clothing. And then that leads to photography and then that eventually leads to poetry. It was really fun to try to, a, figure out the, you know, the progression of art with age and to be also a reference as many mediums of art as I possibly could in this, in this song that hopefully honors the, the very artistic type four. Also, I wanted to ensure that the very beginning lyric and the very end lyric. So you have these bookends that, that both point to vision in some sense. So the very first line is. And then the final lyric is in certain light I completely see a reflection of magnificence hidden in you maybe even in me. So not only do I kind of reference the light being turned off at the beginning and then turned on at the, at the very end. I wanted to also just make sure that again tying into the, the visual nature of the type four that it was kind of bookended with these literal visual aspects as well. So this next rule is a little bit of a strange one. And it applies to the lyrics as well as the music. And for some reason it just kept coming up in everything I was doing. But as I was researching, I kept having this, this, this picture in my head of somebody holding a flashlight and then covering the light and then uncovering it and covering it and uncovering it. And something about that, that simple vision, it just sort of made sense of the whole song. So I drew this little picture that sort of served as like this, this map for the song. So I wanted, I wanted the first and foremost, I wanted the music to be as muted and, and almost like a, like a blanket was thrown over every single instrument from the very beginning of the song. And then as the song carries on, the, the blanket sort of gets pulled away and it gets brighter and brighter and brighter, sort of like somebody uncovering a flashlight. I was able to actually weave that, that, that image into the lyrics, which is this line. And then as, as my guest band, as I mentioned before, on each of these any gram songs, I invite friends that identify as that type to play instruments. So I'm, I'm very fortunate to have a lot of friends that, that identify as each of the nine types that happen to be incredibly talented. And I'll get to introducing some of those, those incredible players for this song in a moment. But the one note that I kept giving to each of them as I was explaining what I'm looking for in their performance was this weird flashlight idea. I'm like, um, here, so I know this is kind of weird, but I, I want the, I want the music to sound like somebody has a giant blanket over this flashlight and then they're just slowly pulling it back throughout the course of this song. So just kind of think about that. And so like on a more practical level, the, all of the brass that you hear was played by Sarah Wilkinson who I'll talk about in just a moment here. But it was, it was a little bit more understandable for her who was using a mute at the beginning of the song and then slowly pulling the mute away to kind of brighten up the horns. And that was just something that I wanted, I wanted the listener to feel more than even think about. So it's fun for me to be able to get to point this out because obviously that's such a random thing that was just was stuck in my head the entire time. So a, a, one rule that I laid out and then decided to break because let's be honest, I think the type fours, each of us have a little rule breaker in us. But I feel like the, the uniqueness of the fours would, would appreciate me, um, not adhering to every single creative rule I'm laying out, um, was to, uh, to, to make this song in the, in the timing of four four, um, obviously it's type four. So I thought four four timing is, it has to be what it is. But I kind of felt like that's like the most, uh, that's the most normal or the most popular time signature in, at least in, in, in pop music. So I, uh, I decided to abandon that idea and I would did three four. So, uh, you will hear this whole song as a waltz. And, um, that was a really fun, uh, way to kind of approach it. I feel like the intimacy in the, in the, the, the sweetness of a waltz, um, sort of, I felt like reflected the, the character of the four. So another rule that I knew well before I wrote a single note on the song was that I knew this song needed to contain a key change. Uh, and it's my first ever. I've never, I've never done a key change in a song. Uh, and that is mostly because I'm not a huge fan of them, but I love the challenge of, of, of trying to figure out how to do a key change and that I, that I actually liked. And, um, and the reason for this was because I feel like as the four experiences this massive spectrum of feeling and emotion, I felt like, um, it couldn't necessarily be fully expressed in just a single key. So I thought it gives me more notes to express with if I were to, uh, have a key change in the middle of the song. So, uh, yeah, the fours have received my very first key change in, in all of its key changingness. So another rule that I definitely broke, um, was, and it is actually kind of funny because I was really adamant about this. So it took an extra long time to, to fight against it and then to finally give into, uh, breaking this rule was, um, I didn't want to rhyme hardly at all. I wanted the lyrics, um, like I said, I wanted them to be poetic. So, and often poetry doesn't rhyme. So I, I decided that I wanted to remove as many rhymes as I possibly could. Um, but they just, it was, uh, the harder I tried to not rhyme the, the more rhymes and lyrics that felt right kept coming up. So it ended up being one of my most rhymy songs. So you hear quite a few rhymes. I tried to at least skew some of the rhymes so they're not direct rhymes that they're a little bit softer, um, but yeah, it's, uh, uh, uh, I totally broke that rule and, uh, like the idea of not rhyming in the song, but it just did not feel right. These fours apparently want to rhyme. I don't, I don't know. Hopefully, uh, hopefully that was the, uh, an okay rule to break. Not to spend too much time talking about the format that I'm writing the lyrics in, but I've always cared deeply about punctuation and I know that obviously as you're hearing the song sung, you're not necessarily thinking or noticing punctuation as much as you would if you were reading it. But it's been kind of an obsession of mine. So if you look on my website, you'll see that anywhere there are lyrics, it has full punctuation. And I spent a lot of time trying to make sure that it is truly expressing exactly what I wanted to express. And so for this song, I wanted to remove the punctuation again to kind of let the song be understood in whatever way the listener chooses to understand it. If you look at anywhere this is typed out, it should contain zero punctuation and I sort of laid out a rule that I wanted each verse to kind of be in sets of four lines to nod to the actual digit for. Probably as a way to lean into the emotional or even melancholy of the type four, I knew that the song needed to contain a lot of dissonance as a way to contrast harmony. And I do this in the lyrics as well as the music. So even that very first opening line is I'm turning out the lights to remember how to see. So you're creating the environment, the opposite of the effect that you want. And I like that because I feel like fours do that in their art and I just it was a really fun way to approach the music because even the opening chord is this very dissonant. It's notes that shouldn't go together but they somehow at least to my ear contain beauty. And so wherever I saw fit to include a little bit more dissonance than my ears usually comfortable with that's kind of the goal here is to be able to do that. So whenever you hear just a straight chord it will be more striking and more more effective in the context of more dissonant chords. And that decision is also me trying to lovingly reference a little bit of an unhealthy pattern before which is creating extremes in order to feel beauty sort of needing a crash into beauty. And Father Richard Roar mentioned at one point that a good day for a type four is has both tragedy and ecstasy. And so I thought that that would be an interesting way to kind of include that in the song is to include intentionally dissonant chords alongside the more harmonious chords. Another idea that I had in the lyrics that I wanted to express were to sort of flicker back and forth from these images that are micro and macro. So an example of the micro would be you're sitting in a single room with a light switch and you're affecting your local environment. And then the example of macro would be the reference of divinity and we get to be glorious and these kind of larger concepts as well. I like the idea of being able to kind of hold both things in the lyrics where there's incredibly intimate but also incredibly vast and I feel like the force contained both. And then that led to the decision to include a little bit of a religious vocabulary in this song that is inspired by something that Father Richard Roar said as well, which was that beauty for the type four is a religious experience. And so that led to the inclusion of some of those more religious words like glory, God, sacred and divinity. The lyric, this blurry photograph is proof of what I'm not sure but it feels like truth. That was a subtle reference to something I read from Helen Palmer that to force facts and feelings sometimes carry equal weight. And of course you better believe that I recorded all of this in the dark with the lyrics being I'm turning out the lights to remember how to see I felt like obviously I need to be feeling that as I'm singing it. So I did pay attention to making sure that my environment and my aesthetics as I'm recording this song fit the ideas that I'm singing about. So I'm going to tell you a bunch more about how this song was pieced together and the people that were so kind to lend me their talents for it and detail each of the fingerprints that were added to this song. But before we do I would love to have Chris come back and to paint a more detailed and more colorful picture of the inner workings of type force. Now when you look at the passions and fixations and the holy ideas and the virtues of each of the anyogram types and we've covered this a little bit in some of our previous conversations. But what we're looking at here is our ability to have emotional objectivity and mental clarity. So you may remember this that when we are present right we bring forward the gift of our essence and for each of the anyogram types that's called our holy idea which we sort of hold that in our head center and the virtue which is really held in our heart center. Now when I am not present my heart is reactive and my mind is overactive and that leads to what we can also sort of see in each of our anyogram types as our passion and our fixation and our passion is how we thirst to reconnect with our essence because we've been disconnected from it we've lost contact with it and our fixation is how our mind convinces our heart that that passion is actually a legitimate way of coping with this pain. And so for type four this passion is traditionally called envy and the fixation is traditionally called melancholy and so I want to I want to sort of tidy that language up here because I think these are unfortunate terms and I don't think they serve the four well nor do they do folks are dominant type for justice. The envy of the four is really the yearning of a heart that longs for something that seems more real or more significant than what they have. And so if you're dominant type four you may look at your friends relationships and you may see something in your roommates friendship with his or her best friend that you wish you had with your best friend and that creates this you know not this envy but this yearning or this longing that feels great. The longing that feels almost like an emotional starvation you may look at another friend's marriage with their partner and you may wish you had something more real like that or you may look at somebody's job satisfaction and wish you were as happy professionally as they are. That longing drives folks were dominant type for two sort of suss out and get to the edge of an experience that I'm sad to say becomes romanticized and the four is sometimes a victim of their own painful idealizing what it is they romanticize. So when they finally have that that deep soulmate that best friend they've always long for when they have that beautiful partner or that satisfying marriage that they've they've struggled to sort of nurture or when they finally have what they think is going to be that perfect job. What they realize is it's never what they hoped it could be that it's still clunky it's still human it's still tragically flawed and that's where this fixations sets in and I think it's a little bit more of the long the lines of fantasizing than melancholy that I think describes the shape or the experience of the force fixation the fantasizing is this well I'm not as happy as I thought I would be in this relationship this must not be the right person. There's just got to be someone else out there in this fantasizing then becomes this tethering that pulls the fours forward into this profound frustration of their idealization. Now when the four can center themselves on the four can breathe into the present moment when the somebody who's dominant type four can can actually be at peace with what they don't have when they can actually not be controlled by by their real deep yearning this this this pain that that is so acute in their longing and fantasizing. This holy idea of origin in this virtue of of equanimity or or balance comes forward and man that balance of the four is this incredible capacity to sit in the midst of great joy and great sorrow and and to and to hold the intention and and holding the intention what begins to happen is this notion of holy origin that I belong that I am here for a purpose that I have been created to bring forward my gift then becomes one of the ways that the four loves the world the best which is simple alignment with the truth of their own inner significance. The fours can also be misunderstood and what looks like these these with drawing into isolation pauses these experiences where they they they give over to to their emotional fluency and and sometimes it looks like they they may actually even exaggerate their own suffering and I would caution people to to, I mean, look, I'll say this, I think for is often feel bullied. And I think they feel bullied because they're routinely judged as being too or overly sensitive. And so this perception of an exaggerated type of suffering, again, is one of the ways that the fors feel alive. You know, they press into angst and pain. They press into despair as a way of interrogating its truthfulness, as well as exposing its illusions and fallacies. And when they can expose it, they're not exaggerating it. They're truth telling within it. And their ability then to bring that truth forward helps us actually experience our suffering without being overly dramatic or actually diminishing or repressing it. - So helpful. Thank you so much, Chris. So let's talk a little bit more about the intentions behind some of the decisions that I made on this song. So on a more practical level, as I was writing this song, I couldn't fully decide on the instrumentation that represented the type four. I knew that the piano needed to play a big part. The piano is sort of like the thread that ties all nine of the in-eogram songs together. It sort of represents like the DNA of just human beings throughout each of these pieces of music. But I knew right away that this song needed to include a lot of instrumentation. So I went to Twitter and I asked any type fours that are out there, what their favorite instrument is and also what instrument do they happen to play. I was just curious. And the number one result that came back was the ukulele, which I thought was kind of funny. I know a lot of people pointed it out, but for a type that is that values being different, I thought it was really funny that all of the fours equally got excited about the ukulele. And I love the ukulele, but for this song, which has a little bit of a darker undertone and kind of leaning into the idea of this, the flashlight image that I talked about earlier where things kind of have a dim muted quality to them. I didn't quite feel right about the ukulele. So I actually did work in the ukulele just as a way to honor the wonderful type fours that offered up that instrumentation as the one that they play. So you do hear a little tiny bit of the ukulele in that middle verse, which is this. But the second instrument that came out more than any other was the clarinet, and I love that. So that was the exact kind of thing that I was excited about because it was something that I don't use a lot of in my music. It's also something that I think is just really unique and it's sound. And so I was delighted when a new friend of mine named Dodie Clark wrote on Twitter and said that she played the clarinet. And if you're unfamiliar with Dodie's work, she is a brilliant singer-songwriter from the uk and just has one of the most beautiful voices. I was a little bit sad that the song didn't call for a vocal, but hopefully in future we'll be able to get to do more together. But she was sweet enough to record a clarinet arrangement that I wrote for her to play. So that became like an integral part of the instrumentation of the song. And I knew that the instrumentation needed to shift pretty quickly. So I really liked the idea of a similar verse being played on a different instrument each time it comes through or even a different passage being played. So everything's sort of trading hands so that it's almost like the four jumping around into different means of expressing their emotions. So first we hear the clarinet. [MUSIC PLAYING] And then that trades off with a choir of me, which leads to the French horn and a subtle introduction to the cello right there, and then all together. [MUSIC PLAYING] And then ending on a keyboard as well as the French horn. And I knew early on that I wanted brass. And so my friend Sarah Wilkinson identifies as a type four and is an incredible player. [MUSIC PLAYING] Which again felt like that was like the perfect instrument to follow along with this flashlight image as well as this dark and kind of epic sound that I was looking for. So all of the French horn that you hear is by Sarah Wilkinson and she is amazing. She has played on a few songs of mine now. And again, I'm so looking forward to making more music with her. And I should mention that the rule here of anybody contributing to these any gram songs is that they have to identify as that dominant type. So Dodie Clark identifies as a four and Sarah Wilkinson identifies as a four. And the next guest that played on this song is my friend Matt Nelson, who is an absolutely incredible cellist. So I was so honored to have him be a part of this song as well. [MUSIC PLAYING] And Matt's been a friend of mine. We toured together a little while ago. And so it was really fun to get to reconnect. And this is the first song we've actually worked on together. So he was kind enough to play the cello that you hear, which I feel like the cello is truly the most emotional of all instruments. That's that sort of at least in my book, it feels like it is the sound that I imagine our heart would make if it were an instrument. So something that I always love in production and try to do as often as feels natural, I never want it to be cheesy. But I love paying attention to the lyrics in a way that I can sort of underline certain words with instrumentations to sort of mirror the ideas in the words through the instrumentation. So an example of this would be when I mentioned the word ice sculptures, I introduced the brightest instrument in this song, which is the Celeste. And if you're unfamiliar with what a Celeste sounds like, this is the Celeste. [MUSIC PLAYING] It's one of my favorite instruments ever. It just sounds like the most beautiful music box in the universe. Something about that just sort of sounds like ice to me. And another example of this is when I talk about bodies being fashioned out of dirt and dust. [MUSIC PLAYING] I like the idea of these like these busy hands. So the piano sort of crescendos up. And that's another example of the lyrics sort of informing the production and vice versa. And another example is in that same section where San Castle's built tall in between the tide. So you almost get this buildup of notes and then it sort of crumbles down together as if the tide washed over it. [MUSIC PLAYING] And so I actually tried to apply this approach to adding in each of the fingerprint sounds to this song as well. If you're unfamiliar with what fingerprints are, it's one of my favorite parts about this whole Any Graham project. And basically, the idea is that I sent out invitations to my nearest and dearest, my friends and family, and invited them to record a sound on their iPhone or any version of recording. It could be as short as a second or as long as three minutes. And in some way, I would weave that sound into the fabric of the song. And so an essence sort of inviting each of my friends and family to leave their fingerprint on this song that represents their type. And I love it. It's so fun to receive these things. I'm so grateful to each of my friends that we're kind enough to send in sounds. And for the Type 4, I got lots and lots of fingerprint sounds. So I'm going to run through each of them and pull them apart so you can hear exactly what they are. But I had a lot of fun placing them in the song, in accordance to the lyrics, that best suited the type of sound that they sent in. So as opposed to the Type 3 song, I felt like the best approach for the fingerprint sounds on that song were to put them all at the exact same time so that no single sound gets more feature than the other. And so for the fourth song, I thought it would be really, really fun to creatively weave in each of these sounds into lyrics that sort of fit that particular sound. So here are the fingerprints on Type 4. So the very first sound that you hear in the song are these three little beeps. And they're actually a fingerprint that is an exception to the rule here, because the gentleman that was kind enough to send this in actually identifies as a Type 3. But I knew that I wanted the sound to actually bridge between the Type 3 and the Type 4 song, but including it at the very end of Type 3 felt kind of awkward because it sounded like it was leading into something and without the release of 4 at that point, it didn't make any sense. So I decided to attach it to the very beginning of this. And later on when the entire collection is released, it will be kind of this bridge in between the songs and it will actually be attached to the Type 3 where he belongs. But it is a really meaningful sound from Dr. Atul Guande, who is an incredible doctor, surgeon, writer, public health researcher. He recently released a book called being mortal medicine of what matters in the end. And he's just a really brilliant human being. And it was kind enough to send this sound in that just as it has so much meaning to me. And I'm so grateful that he took the time to send this to me. So those beeps are the sound of his pulse and oxygen level as read by a pulse oxometer from life box, which is a nonprofit that he co-founded about five years ago devoted to saving lives through safer surgery. He mentioned to me that most operating rooms in the world lack essential patient monitoring here in equipment. And so they were able to negotiate with manufacturers to supply a lower cost and a better design pulse oxometer, which is a continuous oxygen monitor. And so for the for the poorest hospitals in the world, they they they created this thing which slash the price basically down 80%. And they've distributed thousands of these. And basically through the incredible efforts that that he and life box are doing, they have made surgery safer for more than 15 million people. So the beeping you hear is actually the pulse and tone that reflects the moment to moment oxygen level from a tool. I love that that sound represents healing. It represents repair. And so a huge thanks to a tool for for sending that brilliant sound. And I'm just really, really honored that to include it here in in the bridging sound between the type three and the type four. And again, check out his book. It is called Being Mortal Medicine and What Matters in the End. And the next fingerprint is from my friend Christina Perry, who is an incredibly talented singer-songwriter and artist, who I'm sure you have already heard of. And if you don't think you have, you definitely have heard her music. It is brilliant. And she sent this beautiful piano slash voice improv. And it was really fun to kind of weave that texture into into the song. The next fingerprint is from my friend Sarah Wilkinson, who, as I mentioned, played the brass that you hear throughout the song. But you also sent the sound of rain and window wipers. This next sound is from Lindsay Taylor, who sent the sound of cooking on a skillet. And the next fingerprint sound is from my dear friend Jim Alman. We've been friends for a very long time, and he was sweet enough to send actually three sounds that I used in this song. One is the heartbeat of his youngest little one. The next is his oldest little one, talking as well as the creaking floor of him and his wife's beautiful vintage home. The next fingerprint is from my friend Ashton Gustafson. We got to spend a little retreat time with Father Richard Roer, and that's where we met. And so it was special that he was kind enough to send me a sound. And it is of him speaking the quote, "Beauty will save the world," which is such a perfect visual and thought for the any-gram type four. "Beauty will save the world." So the next fingerprint is from Alicia Edeganto, who is the incredible, incredible artist behind all of the artwork for my Atlus Year 2 project. So if you've seen any of the imagery, the black and white paintings that she has done, that is Alicia's work. And I'm not even saying this just because she happens to be working on my project, but she is my favorite artist of all time. I adore her work and getting to collaborate with her on this Atlus Year 2 project has been a dream come true, and I just, I truly cannot sing her praises high enough. She is based in Jakarta, Indonesia, and she has been the most wonderful person to work with. It has been one of the great delights of this entire project from the very beginning song life, which starts off this Atlus Year 2 project, all the way through these nine any-gram types. And when I started to talk to her about the themes in Atlus Year 2, and that it would eventually lead to these any-gram types, it was just so fun to get to hear her perspective. And as the brilliant artist that she is, she did a bunch of research on the any-gram. And I just feel like the way that she understands the any-gram is so evident in each piece of art. And so it's just been really special to work with her on this. She gets it, and I feel like it elevates even as I'm writing these songs, I actually keep these pieces of art in the backdrop of even my desktop on my computer to constantly just be visually inspired to write as I write each of these songs. So I cannot thank Alicia enough. She truly is a wonderful person and a wonderful artist, and her heart is just so evident in these gorgeous paintings. And once each of these nine any-gram songs are out and you've seen all the artwork, I will go into greater detail into the choices that were made behind each of these remarkable paintings. So at least it was sweet enough to send me a fingerprint sound as well. So here is her play in the harmonica. This next sound is from my friend Michael Weir, and it's one of my favorite sounds. It is him playing, well I guess it's technically an impression of him playing the trumpet, so, and I believe it's the theme to a favorite movie of his. And it was really fun to kind of layer his trumpet impression underneath the actual brass in the song, so, but here is the original recording he sent. It's pretty impressive. Michael's an author and just an all-around amazing dude. The next sound is from my friend Jamie Turkowski, who is the founder of Too Right Love On Our Arms, and he sent the sound of waves. And so I was able to weave that sound into the lyric that talks about sandcastles and the tide. And so you can hear the kind of crashing wave in that in that moment. And I sure do love me some Pacific Ocean. He happened to be in Hawaii at the moment that I asked him if he would send me a sound. And so the sound of waves was perfect. The next sound is from my friend CJ Cassiata, who sent me this quote, "We are the music makers and we are the dreamers of dreams." And the next fingerprint sound is from a dear family friend Patrice Perdue, who sent the sound of a camera shutter, which is such a perfect sound for her. She is one of the best photographers I have ever known, truly gorgeous work. And so I loved being able to weave in that camera shutter sound into the percussion of this section of the song. And it also happens to land right near the moment that I mentioned a photograph. The next fingerprint sound is from my friend Hagen Marshall, who sent this awesome sound of her chanting. She actually sent several pieces of recording so I was able to weave them together and I placed it near the word renaissance because I felt like this this chanting sort of brings to mind history. And Hagen also sent the sound of breathing, which I also used in a few different moments of the song. And I got a few sounds from my dear friend Brad Manigew, who is one of the the most brilliant and creative people I have ever met. He is not only the creator of Kid President, but he is the creator of a billion things that I just absolutely love. So he sent a few sounds actually. One was his crying children, which I was awesome. And I put that right under the lyric, maybe my heart needs to break to be sure. So I thought that was a fun way to weave that one in. And then he also sent in the sound of him buttoning up his sweater. And so I put that under the lyric about wearing your heart on your sleeve. And he also sent the sound of crayons, which I thought was a great sound, especially as I mentioned the concept of art in progression of age. The next sound is from my friend Sandra McCracken, who is a really wonderful singer-songwriter, and she sent the sound of her walking. And the next sound is an awesome sound from a friend of my name John Brown, who sent the sound of a tea kettle boiling. So you can hear that right in the kind of the crescendo of the whole song, kind of builds into it. And the next fingerprint is from a dear family friend, Rebecca Sandberg, who sent the sound of rain and thunder in Portland where she lives. And the next fingerprint is from my friend Rebecca Lyons, who sent the sound of her playing piano. It's such a beautiful piece of music, so I was able to kind of pull it apart and kind of manipulate it into a little bit of like a loop that plays. And I just really love how it turned out. The next fingerprint sound is from any gram author Ian Cron, who sent the sound of crickets. This next fingerprint is from my friend John Sowers who sent the sound of his kids. And the next sound is from my dear friend Jeremy Cowart who is an incredible photographer and sent the sound of his kids playing and I love it, it's such a sweet sound. The next sound is from my friend and super talented singer-songwriter Andy Zipf. He sent the sound of harmonica, guitar and voice. I was able to take each of those elements and sort of layering them into the song. It's such a cool fingerprint sound. And the next sound is another amazing singer-songwriter. She goes by the name Flurry and she sent the sound of Rain and Nashville. The next sound is from my friend Adrian Blie who sent the sound of her sweet little daughter. This next fingerprint is from my friend Kelly Reed who sent the sound of bird singing. And the next sound is from my friend Shannon Percer who is an actress and she sent this beautiful sound of her writing the words I want to understand myself. I thought that's such a beautiful sentiment and the perfect four sound. And the next fingerprint is from my dear friend Ryan Hammer who has been a friend for many, many, many years now. He sent the sound of his cat. Which is obviously perfect for the cover art of the song featuring a cat. The next sound is from my friend Alice Investorfeld who sent the sound of her washing machine. And she said that it's a very comforting sound to her. So I loved that. I cut it up and kind of created a little melody out of it. And then the last sound is a sound by my dear friend Bob Davidson's daughter Grace Davidson who sent the sound of her yellow bike. So it's her kind of pedaling on her yellow bicycle. Which I think in itself is a really great four image. So a huge thanks to each of those wonderful friends who sent those awesome sound representations of themselves. As I said at the beginning of talking about fingerprints, it's my favorite part of this project because it's really the only opportunity I've ever had to get to include a tiny piece of the people that I love so much into into the work I'm doing. So it means a great deal. Thank you so much to each of them for lending me these little fingerprints. So type two, type three and type four are part of the heart intelligence center with the release of this type four song that concludes the heart intelligence center of my any Graham songs. And as a fun way to kind of connect each one, I made sure that the word heart appears in each of the lyrics of those three songs. So on two, and then in three, and then of course in this song four. So that was just a fun way to kind of tie in the intelligence center into the lyrics. So for those of us that are not dominant in type four, I wanted to welcome back Chris Euritz to give us a little bit of insight into how to better love and come alongside these incredible type fours that we are so privileged to get to do life with. And directly after that, Chris will speak directly to the type fours that are listening and he has some really, really beautiful words to share with you. Alright, so if you have close friends, if you have family members, if there's people in your community, social circles or if your partner is a four. Like we've said earlier, because they're right there in the feeling center connections and comparisons will be profoundly important to them. The four social style is a detaching and withdrawing, but look, this detaching, this stepping back, this moving away from us is really an attempt to have this need to be seen met and so meet that with as much affection as you can well up. I would say specifically in your relationships with folks who are dominant type fours never, never judge them or cast them as overly or too sensitive. Their sensitivity is their fluency, their emotional stickiness and their ability to read and to describe and to translate emotions is really one of their, their unique contributions in this color wheel of human character structure. I think it's also important to know as you relate to folks who are dominant type four that they are strongly driven by their values and so to recognize those values actually is what will help build respect with them. And that respect will go a long way when things get tough, that respect will go a long, long, long way when they get stuck and what may feel like the too muchness of their pain or their angst, their despair or distress. I think you also need to validate that strong sense of emotionality that is their strength. You'll see that they especially sort of fuel these drives for connections and comparisons by identifying with your story. Now sometimes it all seems frustrated because a lot of times folks who are dominant type four will put themselves into your story. You'll be telling something about your childhood and they'll say, oh yeah, my childhood, you'll be talking about your work and they'll say, oh yeah, my work. And what they're really trying to do is to find hinges for authentic connections to validate your significance and hoping that it will echo back theirs. Fours need to have a strong sense of independence over their perception of their own inner power and so this is one of the ways that they sometimes come across as sort of a loof, sort of isolated. But that sense of validating their power really is a sense of seeing their truth and giving them the power to own that truth. And finally I'd say this, it's important to really lead with empathy as a way of validating that you understand for really, really needs to know that they're understood. And when they believe that they're understood, the emotional connections that they'll make that goes so deep in friendship and in love will really be, I think, remarkable. Just the sheer profound ways of bringing their hearts into yours. That is so beautiful and helpful. And if you don't mind speaking directly to those dominant in type fours and then we'll listen to the song one more time in its entirety and then I will close this thing out. So if you happen to identify as a type four, here is some words of affirmation and encouragement to you and your literal magnificent self. So if you're dominant type four, here's a few affirmations. Here's maybe a few ways to just own the beauty of what is fabulous and significant about you. And the first, I think, is obvious for all of us, but especially for fours, I think for you to accept yourself with compassion is the validation that your flaws are beautiful. What is missing is actually the invitation to be met, to be held, to be seen. That compassion will really, I think, foster and facilitate the self acceptance, which once you can receive that and own that the acceptance you give everyone else becomes the safe place that we all want to live in. Secondly, I would say this, find gratitude for both the joy as well as the sorrow for the extreme happiness that you will delight when you see the beauty in something simple, as well as the profound experiences of pain that you sometimes may feel you need to hold onto to fuel your creativity or to feel alive. Find the gratitude in the extremes because that's the virtue of your type, this equanimity of emotional balance, which allows you to see what is and not be controlled, but to hold these extremes as true gifts. So if you're dominant type four, learning to practice contentment is a form of maturity and really in contentment. What you lay down is this notion of envy, this yearning and longing, this starving that's fueled by fantasizing. And so your contentment being satisfied with the mundane will really, really ground your sense of self. If you're dominant type four, I very practically encourage my friends to ritualize the ordinary, to find beauty in the things that seem to lack anything. thing significant about them, right? And so for example this year, what I've tried to do and sort of the tradition of Buddhist mindfulness is every time I pick up a cup of coffee, I look into this coffee and I'm reminded that there was soil that held the plant, that there was rain, that watered it, and there was sunlight that fed it. And so in every sip of coffee, we can connect the earth to the sea, which brings forward our rain into the sky or the atmosphere of the heavens. And so if you're dominant type four, you will see that you'll see that beauty in the mundane and in ritualizing the ordinary, you'll find your own sense of self hidden behind that. And finally, if you're dominant in type four, I really think your invitation and nurture and nourish your spiritualality, the way to best support your inner work, which can be your meditation practices, your mindfulness techniques, or even your contemplative ways of going in word, this simply resting and solitude. If fours are these frustrated idealists, then you deserve to rest. And if you really are yearning to be seen so that your significance can be validated, you know this that until you can see your own significance and validate your own sense of self, that we will never be able to do that for you. And so resting and solitude really is just entering into that inner space to find what's good, true and beautiful. That's always been good, true and beautiful there. That's always been waiting for you there. And that once you can connect with it is what you will offer the world. A huge thanks again to Chris for sharing all of that with us. And we're going to listen to the song one last time. And gosh, I just had so much fun writing this song. The type fours are truly some of my absolute favorite people in the universe and to have the opportunity to hopefully sing some justice or to honor them through this song. Just means a whole lot to me. So again, if you identify as a type four, I so hope that this song contains even just a speck of your truth in it. And I hope that it honors you. And I hope that you know that you are absolutely beautiful. So here is four in its entirety. I'll turn it out the lights to remember how to see it. As if God is the building of us of every beautiful thing in this game of hide and seek. I can't help but think ordinary as well of the king. And I hope that this song contains even just a speck of your truth in this game of every beautiful thing in this game of hide and seek. And I hope that this song contains even just a speck of your truth in this game of hide and seek. Thank you so much for listening. I truly feel like it is such a gift to get to get to speak with you guys. Thank you for listening to the song. It is available everywhere that music is, Spotify, all that sort of stuff. And a huge thanks to Chris for lending us his time. Please go buy Chris's book. It's called The Sacred Enneagram by Chris Hewarts. And I'm already at heart at work on my Enneagram Type 5 song. And I can't wait to share it with you guys really, really soon. Have a really beautiful day. I hope that wherever you are, you are getting some really warm and beautiful spring weather. I love you guys. I'm really, really pumped to get to keep making this podcast. Thank you for listening. And so looking forward to speaking soon.