Tina Powers Beginnings Show

Watch the Trailer »

This “Beginnings” is a compelling live TV show featuring engaging exchanges with Lee Carroll’s esoteric pals, like Tina Powers, who makes a living as a professional evidential medium. He interviews her about her life stories – their Beginnings.

You’ll enjoy candid conversations and playful banter between Lee and Tina. Hear about the remarkable experiences they’ve had, complete with family and childhood photos!

Enjoy this FREE 90-minute Episode

You'll discover secrets and stories you've never heard before, and personal histories you couldn't have known about. This is essentially a talk show with Lee and his friends. There is no channeling, just casual conversation where anything goes. Filmed in front of a live studio audience in Marina Del Rey, California, this 90-minute Beginnings show explores Tina Power's very interesting background. WATCH FOR FREE.

Reporting From the Other Side

Tina Powers is a former news anchor and reporter who now works as a professional medium and receives psychic messages. As she laughingly says: “It’s reporting for the other side.” Sensitive since childhood, Tina felt the presence of people who had crossed over but the intuitive information became a much more powerful force after she made the decision to leave the harsh reality of television news. Tina lectures on intuition and holds private sessions with clients at the world-renowned Miraval Resort in Arizona.

Her clientele is a veritable “who’s who” of people from all walks of life from business leaders to celebrities who span the globe. Her warmth, infectious laugh, and incredible ability to help people connect with a higher vibration enable them to lead happier lives. You can watch the video above or continue reading as the transcription of this special Beginnings episode is outlined below.

Lee Carroll: Welcome to another Beginnings. This is going to be a special show. I'm already laughing. It's just going to be one of those. This is a show with Tina Powers.

If you have never heard of her, I'm going to give you an introduction in just a moment, but let me give you this. I see dead people. What movie? Audience, what movie was that from?

Audience: Sixth Sense.

Lee Carroll: The Sixth Sense, that's right. Well, it isn't that way, and she'd be the first to tell you it isn't that way, but I have never had the opportunity to interview anyone that does this for a living and does it well. And I want to introduce her by giving you just two excerpts, and I'm going to have to read my notes here, of course, because I don't have it memorized.

These things are on her website, which is tinapowers.com, but let's go first with something, you may have remembered Real Housewives New Jersey, Kathy.

Oh, sorry, I want to say Wakile. It's Kathy Wakile, I take these naps occasionally. It's a thing about a trip, and that's all right. So, you understand what happens here. I've got a quote from Kathy.

What happened is that Tina went and did readings for about 11 of these people. Kathy was one of them from Real Housewives. Listen to this, the first night with the medium, Tina Powers, was so unbelievable. We were both very skeptical about how mediums and talking to people in the afterlife would work.

However, we're open-minded, and we decided to see what would happen. You can imagine our surprise when Tina started to mention things that no one even knew about, and that brings me to this. We have validation, and that's the reason I'm even talking to her. When you start to have validation and people say, "You couldn't have known that and whatever," this is when I get interested.

This next piece I want to read you is from the Wall Street Journal. Now, you don't imagine that those reporting for the Wall Street Journal would be really heavy on psychics and mediums, what their attitude might be. You're right, and they go in skeptical. Here's an article; I'm going to tell you this is an article called Medium Wellness which is a play on words, but Peter Garfield, now let me show you. I love this description.

"Miss Powers, a perky blonde, wrote a book entitled Reporting From The Other Side gave me goosebumps." And I love this, "My goosebumps never lie." That's what he says right here. "She told me my future partner was in Colombia. Several weeks later, I met Adriana in Colombia, and we indeed felt a deep connection.

Though I'm not tempted to return to any psychic for future guidance so far, they seem to be right on this one." I would think that's pretty positive, especially for the Wall Street Journal. And when you get this kind of reaction and you find these kinds of validations, that's what really gets me interested and one of the reasons that I'm sitting here. I want to introduce you to Tina, and then we're going to get into her childhood and move on to some of the things that happened. Ladies and gentlemen, Tina Powers.

Tina Powers: Oh Perky.

Lee Carroll: Tina.

Tina Powers: Perky, upset about the perky there.

Lee Carroll: Perky, perky, are you still perky?

Tina Powers: Well, I guess I am sort of perky, but you get in the Wall Street Journal, and you're so excited, and I'm perky.

Lee Carroll: I have in my little book, this is my little book.

Tina Powers: Yeah, your little book.

Lee Carroll: You wouldn't believe what I have here.

Tina Powers: What?

Lee Carroll: Well, that's what you're going to find out. That's why you won't believe it.

Tina Powers: I'm so excited.

Lee Carroll: Because I have little things that we found out.

Tina Powers: Okay.

Lee Carroll: Okay, your interview is going to be with the three stages. We're going to go through childhood, we're going to TV and radio, and then we're going to go right into what you do for a living now, which is talking to dead people.

Tina Powers: Right.

Lee Carroll: All right, like so many of the guests before, you were born and at a very early age, and you were Violet. If you got a photo for us, you're born in Saint Joseph Hospital. Now, this photo, that's not a picture when you're born. That's a little older.

Tina Powers: That's a little older. I grew into my ears, I think.

Lee Carroll: That's right, photo number two, please. You grew up in Catholic school when we have photos. Now, tell me about this man.

Tina Powers: Oh, that's Monsignor Fuller, and I'm about five years old there. I was brought up in a Catholic household. Sometimes, I used to hide under the bed because I just didn't want to be quiet for an hour in church and my father.

Lee Carroll: Wait a minute, there was a bed in church?

Tina Powers: In my room before I went to church.

Lee Carroll: Okay.

Tina Powers: Okay, my father was just a little worried. At a young age, I used to say to him, although I would go to church, I would say, "I think you can dial directly." That didn't go over very well. This Monsignor Fuller was a very progressive priest, and he was marrying people in the church that had been divorced. He was very much for gay rights, and he was way ahead of his time, I was very fortunate.

He told my father that he wasn't worried about my soul and that we worked together. I saw him before he passed, and I also was fortunate enough to see him. He got a large award in Arizona, and I was at his dinner. He looked at me, he said, "Tina, you know what, you never tell anyone what to do. You just help guide them to their own answers." He's very special.

Lee Carroll: Very progressive guy.

Tina Powers: Mm-hmm (affirmative), very.

Lee Carroll: Let's look at photo three. You told me over the phone, we had a pre-interview that you were a pensive kid. But more than that, when you were little, it just started, and you saw people in the room. Did you tell your parents what happened? You can tell the audience, right.

Tina Powers: Well, most certainly, I felt people watching me sometimes. I know that sounds crazy, but I was a super-sensitive child. And for some reason, at night, they would always come.

I think because everything's so quiet, people are calmed down, and there's full-on attention there. I would see the outline of a little boy or a little girl coming very fast, and then I learned later it's clairsentience, clear feeling. And I would feel all these energies around me. I would run to my parent's room, "There are people in the room." They would be like, "You're a drama queen..." "Yes, I could be, but there are people in the room."

Lee Carroll: Were they always in the room?

Tina Powers: I always felt them, always and sometimes. I wasn't afraid, but a lot of times, I was because I couldn't see them with my human eyes many times. I could just feel them or hear them, and then occasionally, I could see them.

Lee Carroll: Were you pretty well talked out of that? I mean, did it occur to you when you got into junior high school, high school? Was that still happening, or was it gone?

Tina Powers: It was talked out of me, but I was super sensitive and didn't realize I was an empath at that time and could feel other people's emotions. Would wear them, but I wasn't seeing like I was. It's like amnesia came in—Mm-hmm (affirmative).

Lee Carroll: I have a picture of your family. That's photo four.

Tina Powers: That one's a little disarming.

Lee Carroll: Yeah, and you would get that photo. Keep that on the screen for just a moment.

Tina Powers: Okay, okay, so I cut my own hair in this one.

Lee Carroll: You cut your own hair?

Tina Powers: Yeah, I did.

Lee Carroll: Which one are you? I'm sorry, I'm sorry.

Tina Powers: Lower left.

Lee Carroll: Lower left of it. Tina, before we do anything more in this picture, I want to go and tell everybody that I object to vertical shots like.

Tina Powers: That we're all squeaked and above.

Lee Carroll: Yeah. I mean, everybody looks like they're trying to get through a slot.

Tina Powers: Well, it does.

Lee Carroll: And have you ever been to a vertical movie, and I tell.

Tina Powers: No, I haven't.

Lee Carroll: It's like social media has this on. This is what happened today, can you go back to that? I would like to see that family again. Yes, okay, here we are. You said you did your own hair, how can we tell that?

Tina Powers: Well, it was at the time of Farrah Fawcett, and somehow, I used to carry my scissors to school with me.

Lee Carroll: Somehow?

Tina Powers: In the girl's bathroom, they would line up, and I must have been a hairdresser in another lifetime. I somehow knew that if you cut at an angle, you could flip it back like Farrah.

Lee Carroll: Very good.

Tina Powers: Yeah, until I cut somebody's hair way too short, all the way off and-

Lee Carroll: Oh, that's why you carried scissors.

Tina Powers: The scissors were taken away.

Lee Carroll: Yeah, all right. Okay, we're done with the photos for a while.

Tina Powers: Okay.

Lee Carroll: I want to talk about when you got a little older. You told me this, and we're going to go for it in high school, you wanted to go into theater, drama-

Tina Powers: Absolutely.

Lee Carroll: Thespianism.

Tina Powers: I loved theater. Yeah, I had an aunt named Anne. She was very important to me, and she had been in theater. Then my grandparents, well, my great-grandparents were vaudevillians and singers and dancers. And I always grew up around the living room.

Everybody played an instrument, and I had a blast, so I loved live performance. Of course, my dad wasn't too keen on it, but there was important times in high school and in college, but I did a lot of theater, and I enjoyed it.

Lee Carroll: It's like we're here with the musicians who are good in high school and their parents say get a real job,

Tina Powers: Exactly.

Lee Carroll: Because they say that's not going to last. Well, their father did something like that when you went to college.

Tina Powers: Well, you know what, he said, "Don't do drama because that's not secure, so why don't you go into radio or television and go get a degree in communication?" I thought, "Well, all right, I guess that's safe." Until I got a job in that and I'm out looking in the desert of a search and rescue for people missing in hostage situations. I said, "You know what, I don't think this is what my dad had as an idea of secure." I think I was safer probably on the stage than I was out there.

Lee Carroll: In the way, this all works when you're talking about broadcast and all. At that point in time, do you have any visions of where you would be in the future? Even back then, did you see yourself perhaps even in fantasy as an anchor?

Tina Powers: I did, I did on the University campus of Arizona where Gary Shorts, he's a friend of yours as well.

Lee Carroll: Yeah, that's right.

Tina Powers: Investigates afterlife, PBS is located, KOAT. I had a lot of classes that were different things on camera. I would visualize myself behind the anchor desk, but I was doing that in college, which was really interesting. Just naturally, I was doing that, and then...

Lee Carroll: I want to tell you something.

Tina Powers: What are you going to tell me?

Lee Carroll: This is live television.

Tina Powers: It is live.

Lee Carroll: Yeah, your microphone is pointed over there.

Tina Powers: Okay, so we're going to put it back up this way?

Lee Carroll: Yeah.

Tina Powers: Okay, thank you.

Lee Carroll: That has been great.

Tina Powers: All right.

Lee Carroll: Thank you very much.

Tina Powers: But it might slide down again.

Lee Carroll: I'll tell you.

Tina Powers: Just let me know.

Lee Carroll: I've been watching it-

Tina Powers: Just let me know.

Lee Carroll: Very carefully

Tina Powers: Because audio.

Lee Carroll: Yes, I'm an audio engineer, right? It wasn't one time that I've talked to watch microphones.

Tina Powers: Just let me know.

Lee Carroll: When you get into broadcast, even minor, you've got to pay your dues?

Tina Powers: Oh, yes.

Lee Carroll: As I understand it, you're a creative writer. I know you are, and that led to journalism and all that. And you landed a job writing then for others who would then either be on the air or not, but you were just like you did that for a long time.

Tina Powers: I did when they had typewriters, and people were smoking in the newsroom, and it was mostly all men. There weren't that many women there. I remember my first time, I think it was a car accident and terrible, but they handed me a script. I'm at the typewriter, they go get it done in 30 seconds, and we got to get it on the air. I had five people around me at that time going, "Hurry up," and I'm just sitting there going, "Am I going to be able to do this?" But...

Lee Carroll: Can I ask you as a creative writer? How do you deal with two men shot back at 6:00?

Tina Powers: I know.

Lee Carroll: And what do you do with that story that's created?

Tina Powers: You know what, I always tried to infuse a little bit of feeling in something that I was writing, but really it's pretty dull. It's like, "And on the south side, there's been a car accident; details are sketchy. We'll get back to you when we know more at 6:00."

Lee Carroll: And how many years did you do it?

Tina Powers: I did this for 11 years.

Lee Carroll: Eleven years.

Tina Powers: But I did start off as an assistant to the assistant's assistant.

Lee Carroll: That's encouraging, right. Okay, was there any pushback that you were a woman at that time?

Tina Powers: There was, and I ended up producing as well. I used to produce for this lovely man named Hank Hubbard, and he'd come up to me. And he was in his 70s, and I was 23.

Of course, he must have not been happy about me being there, "You know Tina, I have less stories than Sue Green." I said, "Well, how many less?" He goes, "I'm counting them, and so you better fix it." Anyways, I learned a lot really fast. I know, it was fascinating.

Lee Carroll: What station were you working for?

Tina Powers: It was KOLD.

Lee Carroll: Okay.

Tina Powers: Yeah, in Tucson, Arizona, CBS affiliate.

Lee Carroll: Yep.

Tina Powers: Mm-hmm (affirmative).

Lee Carroll: Something happened. I think it was in '84. It has to do with a heart transplant.

Tina Powers: Well, you know what, right before I got into television, I had gotten an internship in radio in college, and it was at a country station and...

Lee Carroll: You say that again.

Tina Powers: Country station.

Lee Carroll: Country, okay.

Tina Powers: Country.

Lee Carroll: Country.

Tina Powers: Well, you do it like country.

Lee Carroll: I'm not country, I can't say it.

Tina Powers: Country, country.

Lee Carroll: Okay, fine. All right, all right. Oop, did you snort? Did you snort?

Tina Powers: I did, I did. It happens.

Lee Carroll: Ladies and gentlemen, she snorts.

Tina Powers: Snorting.

Lee Carroll: I just want to say this officially; we now know. Let's give her a hand. Yeah, yeah, yeah, I'm sorry.

Tina Powers: Well, no.

Lee Carroll: You're going to beat me up after this.

Tina Powers: No, I'm not, I love it. You know what, sometimes they're two snorts.

Lee Carroll: Two.

Tina Powers: I know, I'm warning.

Lee Carroll: I mean we're going to stop the show if you do two.

Tina Powers: I'm warning you.

Lee Carroll: Alright, oh, you did one another one. That's great, oh you see. Okay, so back to the heart transplant.

Tina Powers: Yes, so it was at the time where they had pagers, and I really didn't know what I was doing. You learn on the spot, you can sit in a classroom, and they can tell you all about radio and television. I'm like, "Until they throw you out in the field, you either sink or swim, right?"

Lee Carroll: Yeah, yeah.

Tina Powers: But there was a man that was having an artificial heart transplant. It was one of the first ones at the university medical center. I just remember having to call in the story on a payphone, but I also have this feeling that this man's life is in peril at the moment.

All these people can think about is their story and how it's affecting them without really tuning in to what was happening for this man. It was a unique time, but I used the payphone to call in my story.

Lee Carroll: Was there anything about that story that you remember in addition to that, or just that was significant?

Tina Powers: I just always remember his name. I remember the moment, and I want to say there was just a part of me that was being very silent during it. Yeah, mm-hmm (affirmative). Maybe a knowing.

Lee Carroll: Breaking into broadcasting doesn't happen just because you put in your time. And because I'm a little familiar with how it works. If you do get a break, there's always the push back from management who has an idea of what they wanted. Instead of the break that you got right by the other people that have been hovering that would like to have had the break, by those who just don't like you because you look nice.

Tina Powers: Oh, uh-huh (affirmative).

Lee Carroll: There's a lot of this going on, but something happened. In fact, there's a couple of things, and I want you to take your time. I'm going to give you a couple words, Robert Redford.

Tina Powers: Oh my, Robert Redford. Okay, so I'm about 24 in the newsroom. There was nobody there at the moment. It was nighttime, and they couldn't get a hold of the reporter on staff that night. And they said, "Robert Redford's coming to town, and there's a press conference, and he's stumping for Congressman Mo Udall."

Robert Redford was green; before that was hip and cool. So, he was really into that. Because there was nobody else to send, they said, "Well, you're going," and then everybody just prays you'll come back with something, right?

I went, and Robert Redford was so kind. He did an interview with me. I'm sure that he knew that I didn't know what I was talking about, but that's a real pro-

Lee Carroll: Yeah, it is.

Tina Powers: A really kind person will always take a moment because they'll remember that they were there at one point in time. But that was my first press conference—Mm-hmm (affirmative).

Lee Carroll: Did you know at that time when you were doing it that might have been a watershed moment? Were you aware of what happened most of the time?

Tina Powers: Yes, I was aware on some level, and then I was in awe a bit. Then it did come to me that, gosh, everybody's accessible in the world in some way. Because I think when you see movie stars like that, you're younger, you don't know that gosh, you could end up right next to them.

Lee Carroll: You were thrown into the fray a couple of times, and we're going to talk about that. There was a call for a drug kingpin case.

Tina Powers: Oh, yes.

Lee Carroll: What about that one? What happened?

Tina Powers: Well, at that time, I was also an assignment editor, which was a really fun job, not...

Lee Carroll: What does that person do?

Tina Powers: That person sends out crews is listening to police scanners in case something breaks. If another station gets something over on you, everyone's mad at you. They probably won't talk to you for about a week if you miss a story. I was working as an assignments editor, and also doing a little bit of reporting. And all of a sudden, a verdict came down for this big drug kingpin, and it had been probably a year-long trial.

I think that the reporter that was on it was hungover and didn't answer his pager. All of a sudden, they said, "We don't have anybody to send; the verdict's going. You've got to go live at 5:00 and here." And they handed me the whole file of the year of everything."

I'm driving out there in a live truck going, "I'm going to die. I'm going to die on live there." I get out there, and you know what, my guides actually talk to me. And they just told me inside my mind really loudly; they said, "Keep it simple." I ran up to the courtroom because it was about 4:30. I had to go live in a half an hour.

I only knew who the kingpin was, I didn't know who the family was. I didn't know who, and I'm just standing there in the courtroom trying to, in a moment just figure it out. And somebody from a competing station, I'll never forget, his name Sal Quijada took mercy on me. I said, "Sal, I don't know who anyone is." And he introduced me, and he said, "Over here, over here, over here." I got the interviews, and I lived again.

Lee Carroll: That's unusual that somebody from a competing station-

Tina Powers: It is.

Lee Carroll: Would do that.

Tina Powers: He was very kind, and he really did take mercy.

Lee Carroll: There was a lot of, I would say, synchronicity things that probably happened to you all in a row there.

Tina Powers: It certainly did.

Lee Carroll: Pretty soon, you found yourself on-air doing something that nobody wanted to do. So, let me just tell the audience for a moment. In broadcast, you may not be aware there are some rules that have to do with community service.

If you're going to have a broadcasting license and you're going to have a station on the air anywhere in the United States, a certain portion has to be donated to community service. You're going to have to find on-air talent that will do stories, will do things and this is a job that no one wants, especially the current news anchors.

Tina Powers: It's demeaning; they say, "No, let the kid do it. Well, let's try them out or something." So, you find yourself doing those. I have a half an hour show.

Lee Carroll: Half an hour on-camera.

Tina Powers: And nobody wants to watch.

Lee Carroll: Do you remember any of them were about?

Tina Powers: You know what, I ended up because I produced it, I did the hunger bank.

Lee Carroll: The hunger bank.

Tina Powers: Yeah, there was a hunger bank raising food for people in the community. I did a lot of community, and I did the gem show. Tucson has the largest gem show in the world.

Lee Carroll: It absolutely does.

Tina Powers: It's unbelievable, people from Egypt, Ethiopia, and Brazil. You go at the end, though, because they don't want to take those big boulders back.

Lee Carroll: Yeah, your mom almost named you Crystal.

Tina Powers: She said she almost named me Crystal. I would have been Crystal Powers and I would have been taken seriously.

Lee Carroll: Crystal Powers, especially at the gem show, you have crystal powers. Yeah, that's right. See, I knew that. Okay, now you're on the air.

Tina Powers: Now, I'm on the air.

Lee Carroll: Did they put these in strange times?

Tina Powers: Of course, they did when nobody was watching. Probably 3 a.m. at the infomercial, because they were required to do it.

Lee Carroll: Because they're required to do it.

Tina Powers: And then they started to gain a little bit of traction, which was nice and people were starting to watch a little bit more. So, it got a better time slot, but I think ultimately, everything led up to teaching me how to produce a show, how to be on a show, and how to interview.

Lee Carroll: Let me just because I know how this works. When you're an anchor and stuff, your job is you've got producers. You've got writers, and you got teleprompter, you got all of these things that help you. And basically, your job is then to report based upon whatever's going on and what they tell you to do.

But in community, you got to be your own producer and your own writer. You got to decide what the show is about. You got to make it last long enough. You give yourself your own prompts on camera, everything.

Tina Powers: It's so true and nobody cares. Just get it on the air.

Lee Carroll: Did you have any indication anyone was watching? I'm sorry, I shouldn't have asked. That was not kind.

Tina Powers: There were maybe three people.

Lee Carroll: Three people.

Tina Powers: Three people.

Lee Carroll: Three people were watching. Alright, now, here's the good part. This led to you being selected as an anchor-

Tina Powers: It did.

Lee Carroll: Whatever it was that got you in front of the camera at a better time.

Tina Powers: Right.

Lee Carroll: I want you to tell me how that happens. First of all, they have to wait for somebody to die or somebody to leave or whatever. Because you're not just going to be an anchor, that's an extra anchor, "We'd like to invite Crystal Powers, an extra anchor tonight." So, what happened that would allow you to be into that elite group all of a sudden?

Tina Powers: You know what, somebody got promoted. I ended up on the morning show doing cut-ins. I was....

Lee Carroll: What's a cut-in?

Tina Powers: A cut-in is like a 15-minute broadcast in between the national show. It was like the CBS this morning, so then it was the local news in between. Then nobody cared about that either because I'd show up about 2 a.m. I'd write all my own stuff and had the most wonderful security guard there that couldn't hear very well.

That was like yelling the whole time where I was at that time. I'm like, "I'm going to die." Then I was live at 5:00 and probably did it all the way through 10:00. But to answer your question, somebody got moved forward. So, that's where I started, and then I'm not sure what happened, but I ended up with a weekend anchor position.

Lee Carroll: Wow.

Tina Powers: And then from there, it went to the noon and 6:00.

Lee Carroll: I want everybody to see them, this is picture number five, Violet, and this is the logo for KOLD. Do you find it odd that this, what KOLD in Tucson, Arizona, one of the hottest places in the Midwest?

Tina Powers: Yeah, it is a little ridiculous.

Lee Carroll: Yeah, did they ever play on words, or did they even know it?

Tina Powers: I think that they knew that they were doing that. They thought maybe it would garner attention, but then I realized it has the word old in it as well.

Lee Carroll: Now, it's still around, of course.

Tina Powers: Yes.

Lee Carroll: A couple of other pictures, I got one here of you. It was a poster of you. Let's go to the next one, which would be picture six. Yeah, there you are, when about was this? Do you remember? And you were Tina Naughton at that time.

Tina Powers: Yes, so my maiden name is Naughton.

Lee Carroll: Naughton.

Tina Powers: Top of the Mornin - Irish.

Lee Carroll: Irish, yes, right.

Tina Powers: So, this was probably right around '92 or so.

Lee Carroll: Okay.

Tina Powers: Mm-hmm (affirmative), '92, '93.

Lee Carroll: Let's go to the next one, picture seven. This is just a different take on the same thing, and we're getting there. Unless we already showed seven and I wasn't paying attention. There we go, right, was this in the same timeframe?

Tina Powers: That's a bad haircut and...

Lee Carroll: Did you do this hair yourself? Did you carry around scissors and do this one?

Tina Powers: No, this one, I don't know what I was thinking right then.

Lee Carroll: Okay, now, anybody who spends time with live television, I mean it's just like you saw me when I did (laughing). It's like things happen.

Tina Powers: They do.

Lee Carroll: You blank out.

Tina Powers: Right.

Lee Carroll: Sometimes people pull tricks.

Tina Powers: Right, you never know.

Lee Carroll: Things like that. I happen to know some things, and I want to give you some words.

Tina Powers: Okay.

Lee Carroll: I want you to tell the story, leave nothing out.

Tina Powers: Nothing?

Lee Carroll: Nothing.

Tina Powers: All right.

Lee Carroll: Okay, first story… Teleprompter.

Tina Powers: Oh.

Lee Carroll: Tell people what a teleprompter is.

Tina Powers: So, a teleprompter is in the cameras where you read the news. The teleprompter are the words that go most people know that and long ago, it used to be sweet Louie would be running the teleprompter in the morning for me or on the weekends. And one time, Louie, I don't know where he went, out to lunch or something. All of a sudden, Louie's just looking around and stops, and I'm on live air, right?

Lee Carroll: Now, what you're telling me is that.

Tina Powers: So then I realized I had not kept everything in my pick.

Lee Carroll: What's happening is that what you've been reading and looking very intelligent freezes?

Tina Powers: Oh yeah, so you have a moment there.

Lee Carroll: And there's no new words.

Tina Powers: Well, there's nothing there, and Louie's standing next to the camera, out to lunch. I'm like, "Louie, Louie."

Lee Carroll: What do you do?

Tina Powers: Eventually, I looked down, and I started to go through my notes, and then I just started to read. I don't even know where I was.

Lee Carroll: The phone book.

Tina Powers: Yeah, and somehow I got through. It was ugly, and then I ran to the bathroom. Then sweet Louie ran, and he said, "Miss Tina, I'm so sorry." And he was...

Lee Carroll: He didn't follow you in the bathroom, didn't he?

Tina Powers: No, he was outside the bathroom.

Lee Carroll: Okay, that's good. It's from checking.

Tina Powers: No, he was outside the door.

Lee Carroll: Just checking, alright, okay, good.

Tina Powers: Outside the door.

Lee Carroll: Outside the door.

Tina Powers: Promise.

Lee Carroll: Alright. I think people have told me that they expect this. They have things that they can do. I mean, if that ever happens, they have something they can pick up and read. It's intelligent.

Tina Powers: Well, I learned right then that it was really important to keep up with your pages, because anything could happen.

Lee Carroll: That's right.

Tina Powers: That and one time when I was doing a speech and the mayor was next to me. It was for the USS Arizona and celebrating that, wind came by and took my notes, yeah.

Lee Carroll: Were you live?

Tina Powers: And I didn't number my pages.

Lee Carroll: You were live?

Tina Powers: Yeah.

Lee Carroll: Of course!

Tina Powers: Then I told everyone they could sit down and that people ran up to me and said, "No, no, no." It took a lot of the survivors a long time just to have... Anyways, live stuff, I learned to number my pages also.

Lee Carroll: Yeah, I number my pages here for the same reason.

Tina Powers: Yeah, because-

Lee Carroll: A gust of wind-

Tina Powers: I didn't know where I was.

Lee Carroll: Can come up and blow them away. I had no idea what I was doing next, so I have more.

Tina Powers: Okay.

Lee Carroll: Okay, you had a dog during this time.

Tina Powers: Mm-hmm (affirmative).

Lee Carroll: Now, most broadcasters would leave their dog at home.

Tina Powers: Most would.

Lee Carroll: You didn't.

Tina Powers: No.

Lee Carroll: You want to talk about that?

Tina Powers: Well, people were nicer with Poncho around. So, I would bring Poncho with me, a big golden retriever. He was wonderful and everybody, even though they were so stressed out, would all of a sudden be quite different. Even if they were yelling, then they'd stop and pet the dog.

I learned right then, I'm like, "This is great." I put Poncho in the bathroom while I went on air, and somehow, he got out. I'm talking about Iran and the war in Iran, and all of a sudden, I hear awoo, awoo. I start crying because I can't believe this is happening.

Lee Carroll: Because you're on live air.

Tina Powers: I'm on live air.

Lee Carroll: Hearing your dog in the back and you're talking about Iran.

Tina Powers: And my dog's outside the studio so loud that it... Yeah, so I got in a lot of trouble, and Poncho couldn't come anymore. I thought that was a big mistake.

Lee Carroll: They told you not to bring Poncho?

Tina Powers: No, The head of engineering, he said, "Tina..." because I left the dog food bowl in the newsroom. He's like, "Tina this isn't working." And I said, "Well, I don't know how Poncho got out, but everybody's a lot happier with him around."

Lee Carroll: Do you think anybody let him out?

Tina Powers: Probably.

Lee Carroll: I think so too.

Tina Powers: Yeah, I think you're right.

Lee Carroll: I think, let's right now, the two of us are like...

Tina Powers: Should we tune in?

Lee Carroll: Yes, he was let out, right? I won't tell you who. You can find that out. Okay, fine, okay… We all know, especially here in Los Angeles, about O.J. Simpson and the trial-

Tina Powers: Yes

Lee Carroll: And all that happened. You were assigned to that, and something happened.

Tina Powers: I was, a lot of things happened. Well, first of all, when I got here for the trial, all the networks had built these platforms. Each one was higher than the next. It's the same shot of the court building, it was just like this.

I mean, I had to climb a ladder to go stand on this thing that was really rocky and do my live shot, and it was quite wild. It was a circus, but there was also a time when... and you know and I know that you don't do mouth exercises on the air with a hot camera, with a camera that's on, but...

Lee Carroll: Show us a mouth exercise, so everybody knows.

Tina Powers: It's like, you're like raaaa..

Lee Carroll: I see.

Tina Powers: Yeah. What happened was I was not speaking really well. I can't believe I just did that.

Lee Carroll: I can make you do things. Yeah, your mic has slipped again, but I just...

Tina Powers: I'll turn it.

Lee Carroll: I try not to.

Tina Powers: I think it's the shirt.

Lee Carroll: It could be, there you go, there you go.

Tina Powers: Alright, alright.

Lee Carroll: Very good, oops.

Tina Powers: Stay.

Lee Carroll: I say stay, stay.

Tina Powers: Stay.

Lee Carroll: Stay.

Tina Powers: Stay.

Lee Carroll: Alright.

Tina Powers: So, what happened was there's something called a package that I threw to. When you write a story, and then they put video to it, they call it a news package. It might be a minute 30, might be two minutes. I threw the package and my mouth wasn't working right. So, I started to do mouth exercises, and all of a sudden, the cameraman's eyes kept getting bigger and bigger and bigger.

I realized I was live on air. They thought I was having a compulsion or that there was something really wrong. People started calling the station. I thought I'm going to get fired because what happened was, you know, when people can't believe what's happening, so they don't get you off?

Lee Carroll: Yeah, you bet.

Tina Powers: They just kept it. They're like, "Oh my God, oh my God."

Lee Carroll: It's like, "What is she doing?"

Tina Powers: And then they just left it up there.

Lee Carroll: Yeah.

Tina Powers: I asked the anchor at the moment. I said afterwards, "Was that that bad?" She's crying, she goes, "Mm-hmm (affirmative)." I'm like, "Great, and I'm going to..." y eah.

Lee Carroll: I would love to have had a clip of that, but they didn't keep those things.

Tina Powers: Some they kept, some they didn't. I think I wanted to forget it, but it would be funny now.

Lee Carroll: It would be funny now.

Tina Powers: Oh, yeah.

Lee Carroll: Yeah, there are times when there are things you cannot say anymore. I looked at my notes when we began, and I could not say the last name of that very popular star.

Tina Powers: Right.

Lee Carroll: I'm quite sure you had those, and I actually know of one. Are you having any trouble saying amending sign codes?

Tina Powers: I'm having huge problems with that.

Lee Carroll: Right.

Tina Powers: And nightmares.

Lee Carroll: So, tell us what happened.

Tina Powers: I got sent to the lovely city council beat. Yeah, that was always fun.

Lee Carroll: I see.

Tina Powers: It was like wonk, wonk, wonk, wonk, wonk, wonk. I got sent, and I'm supposed to be amending small businesses. Okay, they're sign codes, so they wanted to put signs outside of their business, but they were arguing over the size. So, I still can't do it.

They come to some sort of realization, and I run out to my live shot. I go, "We're live at the city council. They've just amended the sign comb. They've just amended the side cone. They've just..." the cameraman fell on the ground.

He's just, "This is over," and I said, "Just come back to me later in the newscast because I cannot speak right now." I thought I was going to get fired again.

Lee Carroll: I have something to tell you.

Tina Powers: What?

Lee Carroll: We actually got a hold of a clip. We're going to try to play it and see whether it works, and we're going to play it until it works.

Tina Powers: Okay, alright, okay.

Lee Carroll: We're going to play it, and you can tell us all about this. Do you have that Violet? Can we play this clip?

Tina Powers: Violent crimes are being committed by teenagers. Some of the crimes are so horrendous that ju, the Ju-ju-Ju-ju, that the juvenile court system can't deal with them, so they're sent to adult court. Okay, more and more teenagers are committing violent crimes. Once I get it right, I'm going to do a funny one. Okay, six.

Lee Carroll: There's a couple of things there that I want. We're going to play the clip again because I've watched this. I love this clip, I think about the 14th time.

Tina Powers: It's a great source of entertainment.

Lee Carroll: I said get over it. I love this clip, and there's a couple of things you have to see. Number one, did you see what the number it was? Say six, right? So, this wasn't a good day.

Tina Powers: No, it really wasn't.

Lee Carroll: This was right.

Tina Powers: No.

Lee Carroll: The other thing is you said, "When we're all done, I'll do something funny." Can we watch it? Violet, can you play it one more time? Here we go.

Tina Powers: Violent crimes are being committed by teenagers. Some of the crimes are so horrendous that ju, the Ju-ju-Ju-ju, that the juvenile court system can't deal with them, so they're sent to adult court. Okay, more and more teenagers are committing violent crimes. Once I get it right, I'm going to do a funny one. Okay, six.

Lee Carroll: I don't know anything about that. What was going on? What happened? When was that? Do you remember?

Tina Powers: I think that was a juvenile court. We had limited time inside somebody's courtroom to do it really quickly. I obviously was having trouble speaking that day, but yeah, I fell.

Lee Carroll: Yeah, I know you fell. I think that's one of the funniest things I've seen in a long time, and then you can explain this because I have no idea. I got this line here that somehow, someway announced on the air with you there that at a certain place in town, they were looking for a partial eyebrow that belonged to you.

Tina Powers: Now, this is radio because I ended up on the radio, but we can go forward with this one.

Lee Carroll: No, I want you to tell. We skip around, okay.

Tina Powers: The eyebrow thing is good.

Lee Carroll: Okay, fine.

Tina Powers: Yeah.

Lee Carroll: Tell us.

Tina Powers: So, I used to do a morning broadcast, a morning show and I got.

Lee Carroll: It's okay, we'll wait while you laugh. It's okay.

Tina Powers: I got my eyebrows waxed and...

Lee Carroll: Now, is it normal you'd get your eyebrows waxed for a radio show? I'm just taking a look at the consciousness here.

Tina Powers: You just never know.

Lee Carroll: You never know.

Tina Powers: No, they weren't doing live streaming then.

Lee Carroll: Okay, okay, alright.

Tina Powers: However, I was just trying to keep myself together.

Lee Carroll: Alright, good, good.

Tina Powers: Part of it and the guys, I remember he's over me, and I'm like, "Oh, this isn't good. He's having a shaky hand while waxing." He tore my eyebrow off.

Lee Carroll: I'm sorry, we shouldn't laugh, right, ladies? Don't laugh at that. No, okay.

Tina Powers: I go back to the station, and Royce, who was my co-anchor, then looks at me like, because I tried to draw it in. And he's very astute, and he goes, "What happened to your eyebrow?" I said, "The guy took it off."

So, then he announced on air live that if anybody saw my eyebrow on River and Oracle, would they please bring it in.

Lee Carroll: River and Oracle.

Tina Powers: Yes.

Lee Carroll: Alright, very good.

Tina Powers: I must have lost it there.

Lee Carroll: That's great.

Tina Powers: Yeah.

Lee Carroll: Of all the things so far, that's the best. I love the eyebrow story. Now, we're still in broadcast. We're not yet seeing dead people.

Tina Powers: Okay, no.

Lee Carroll: I don't think.

Tina Powers: No.

Lee Carroll: Okay.

Tina Powers: We still feel them occasionally, but we don't see them.

Lee Carroll: You don't see them, this is a big question. When you progress in broadcasting, especially as a news anchor; you go through the journal, you go through writing, and then you hit a radio thing. And then you finally... and then the pinnacle is live at 5:00, and there you are.

Tina Powers: Right.

Lee Carroll: You're going to go backwards into radio.

Tina Powers: I know.

Lee Carroll: And to most of your colleagues, they probably thought you were demoted or whatever.

Tina Powers: They're like, "Huh."

Lee Carroll: But this is a great story. I want you to take your time and tell it because it has to do with something that happened that you reported something very dramatic, and there's an integrity issue.

Tina Powers: Yes.

Lee Carroll: Because it was so heartfelt that something happened.

Tina Powers: Yes, I was never one of those reporters that was like, "Ah, I can't wait for something terrible to happen so that I can go out and report it." There were those that were just waiting for it. It's called welcome to death, doom and destruction, right? On this particular day, I was sent out to a drive-by shooting of a little boy, he was 13 years old.

We were there before anyone else. The police were there and then Channel 13 and myself and the photographer. I witnessed the father come on the scene and that raw emotion. I think we all have those moments in our lives. When I knew the job was to roll on this raw emotion and I asked myself, "What am I doing here? I was embarrassed."

I thought to myself, "What am I doing to help anything here? I'm just perpetuating a really horrible moment and giving it to the gang." They thought it was gang related people's attention. I ended up, I think at that point, I crossed over more to counseling or maybe grief counseling.

I ended up talking with the father, and I said to him, "Everybody's going to be here, and everybody's going to ask you questions, and I'm so sorry. And I don't even have words for this, but..." We started talking, and he said, "If I talk to you in this moment," he said, "I want you to keep your word that you will not follow me around."

I think he was a teacher for me in that moment, a big teacher and so was the child in the other world. I said, "Absolutely." I said, "Tell me about your son, tell me what he loves because I like to talk about them in the present," because just because you're out of the physical doesn't mean that you're not here. You're still consciousness, about what he loves." We did a story on feeling because I didn't want it to be that statistical kind of writing that we were talking about earlier.

After that, I went back to the station, and they said, "We're sending you back out." And I said, "No, I can't go." At that point, I grew three heads. She's like, "What do you mean you can't go?" I said, "Well, I gave the man my word that I wouldn't follow him around."

In that moment, my integrity, it was wonderful to be able to say no and not be in fear. Because when you're really in integrity, there's no fear. And I didn't know what would happen next, but certainly, I wasn't the most popular person there. It's like when a bunch of people stop. When somebody stops drinking and all these people don't, and they're like, "Come over here."

All of a sudden, they looked at me like I was crazy. And that was the moment when everything really changed, and I started to call radio stations. I'm like, "This is going to happen to me, so I'm going to take control of it."

Lee Carroll: Mm-hmm (affirmative). I love that story, thank you. Now you find yourself in radio, so you call radio stations. Was this back to the country station or...

Tina Powers: Well, interestingly enough, Clear Channel had acquired like five of the radio stations, including the one that I started out in college. This was KHIT 107.5, it was...

Lee Carroll: You remember that all your life?

Tina Powers: I know.

Lee Carroll: Your last dying breath.

Tina Powers: I know.

Lee Carroll: 107.5

Tina Powers: It was a 70s radio station, which I love '70s music. I had to crawl in there again and be funny about 5 a.m., but everybody in the news station was like, "Oh poor Tina, poor Tina. She's really gone-”

Lee Carroll: She's lost it.

Tina Powers: She's gone downtown.

Lee Carroll: Now, she's gone back to radio or to radio.

Tina Powers: Yeah, so we feel sorry for her. But I have this inner knowing that there are no demotions. That we are creating our own life, and I was no longer happy in that news world.

Lee Carroll: You said it was five in the morning. Really?

Tina Powers: Well, actually I was supposed to be there at 4:00.

Lee Carroll: Okay, that's for makeup for the radio and to make sure your eyebrows were out.

Tina Powers: No, wait.

Lee Carroll: Right.

Tina Powers: Now, he used to say I look like a roadie from Lynyrd Skynyrd that I don't even know. I don't even know how I came in.

Lee Carroll: That's impossible.

Tina Powers: Yeah, with a bathrobe and slippers, I don't know how I made it.

Lee Carroll: Okay, Richard Simmons.

Tina Powers: Richard Simmons.

Lee Carroll: And something had happened.

Tina Powers: Well, I'd gotten sent to radio. They called it boot camp in New Orleans. So, all the radio hosts around the country got sent to this boot camp, and that was interesting because New Orleans isn't exactly. I mean everybody.

Lee Carroll: It snorted, I'm sorry.

Tina Powers: Oh no, Richard Simmons ends up being the main person there. That's the keynote, but the cool thing about Richard Simmons was that he was trying to help really overweight people behind the mic who forgot about their bodies and forgot about. Because he had been overweight.

He was actually very lovely, but everybody had had a little bit too much and the next day were doing exercises with him in his dolphin shorts. I was so sure he was coming to me to go on stage as he's coming straight at me. I'm like, "No, don't pull me on there, no, no." And of course, he went to the gentleman behind me because he wasn't interested in me.

Lee Carroll: No, of course.

Tina Powers: Went on stage.

Lee Carroll: Right, of course.

Tina Powers: Yeah, yeah, it was all good.

Lee Carroll: But you found yourself getting up really early a lot.

Tina Powers: Oh.

Lee Carroll: Tell me about the phone call.

Tina Powers: Oh.

Lee Carroll: I know about the phone call.

Tina Powers: My biggest worry in having a morning show or having to be up consistently was that I would miss my time slot, or I would oversleep. I had two clocks set sometimes. On this particular morning, I got this phone call from Royce, my co-host. He says to me, "Tina, where are you?" And I'm like, "I'm sleeping." He goes, "You were supposed to be here two hours ago."

Lee Carroll: Oh.

Tina Powers: Yeah, and then I just started to freak out a little bit, and then it occurred to me I said, "You're not worried about me, you're now calling me two hours later, and you're not worried..." So, we go this whole thing, and then he says, "You're live on the air."

Lee Carroll: Ooh, so, they called you live on the air to wake you up to tell you were late?

Tina Powers: Uh-huh (affirmative), uh-huh (affirmative), yeah.

Lee Carroll: That's sweet.

Tina Powers: Oh yeah, that played for like a long time.

Lee Carroll: A long time.

Tina Powers: Yeah, so everybody, I would show up places, they'd be like, "You know, you were late." I'm like, "I know, I overslept. The electricity went out seriously."

Lee Carroll: I see, I have a battery in my clock, but it didn't just... okay.

Tina Powers: Mine was plugged in.

Lee Carroll: Yours was plugged in. We go from all of this, we turn a page, and the reason you're here truly is to talk about a gift. It's a return, in my opinion, to the sample of what you experienced as a child, the thing that you were talked out of. There has to be an interim bridge that would get you from that radio show and all the things we've heard about, as good as you were doing those things.

Integrity starts to slip in, and you start to have certain kinds of feelings. I like what you said on how this is helping anybody when you went from the TV to the radio and all. I know you moved to Indiana, perhaps you at that stage. You want to tell us what the transition period was and then perhaps what happened next.

Tina Powers: Well, when I did get out of the news, I started feeling because I think I had walked around like this for 11 years with my shoulders like this. Even though radio was more extemporaneous and fun for me, and I would get off at 10 in the morning, so I started to go to.
It's when the big box like Barnes and Noble was there. I'd read everything on near-death, afterlife, psychic, anything. Anybody knew where to find me because I...

Lee Carroll: Why? Did anybody say, "What are you doing reading that stuff"?

Tina Powers: They just thought I was really strange, a lot of people. I would always say, "I'm very interested in the mystical and finding out as much as I can." And I know and I knew from a young age, there was so much more than what was happening just in front of me.

I was on this search. From that point, I think about what we focus on, right? It's like quantum physics, and it starts to come in more and more and more.

Lee Carroll: I agree, I agree.

Tina Powers: I started to go to workshops, and I actually ended up at the Artist's Way Workshop. Do you know about Julia Cameron?

Lee Carroll: I do.

Tina Powers: I ended up helping her for a while. In the opening there, one of the things is my grandfather came to me when I was in New Mexico, and he had passed over. My grandfather was a physician, didn't believe in anything, and would always call it hocus pocus.
He shows up, first of all, in my dream and he looks younger, he looks happier, he gives me a big hug, it's amazing.

I had all these wonderful things happen, and then my first teacher showed up in New Mexico, giving me a tarot reading. And I thought, "Oh, that's not good because I was brought up, that might not be a good thing."

Lee Carroll: Correct.

Tina Powers: When she worked, she said, "Tina, these are just archetypes, these are just energies, these are what you can work with and create your life." So, I started to get fascinated. Well, I ended up having to move to Indiana at a certain point, and outside of Indianapolis is a place called Camp Chesterfield. And it's a spiritualist place that Houdini used to go to.

There's Lily Dale in New York also, and I didn't even know what a medium was. And they had all mediums there and clairvoyance. So, I ended up going there and going to a church there. So, I'm in the church, and they're talking to dead people. I'm like, "This is my kind of church."

Lee Carroll: Alright, I think the audience loves it.

Tina Powers: I know, they're standing on, and it's called the platform reading. I didn't know what that was, and I'm going, "This is fascinating because the people were validating, the names were coming through, it was fascinating." They also did a demonstration of psychometry, which is reading a ring or reading an object that belonged to somebody.

I put my ring in a basket at the church, and it got picked, but the people precious to me were getting all these wonderful messages. Mine, she picks up the ring, she looks at it, she's like, "You're going to school." I'm like, "Whoop ding dong, I'm going to school? I mean like that's my message?"

Lee Carroll: Now, this is psychometry, right?

Tina Powers: Yes.

Lee Carroll: This would be touching an object and...okay.

Tina Powers: Using that as a touchpoint for a reading. So, my only message was, you're going to school. I thought, okay, well, at the end of the service, they said, "We're having a 2-week seminary here, and people are learning about a clairvoyant, all sorts of things." And I said, "Oh, I guess I'm going to school."

I stayed there, and the people I was with at the time, they were like, "Tina, you've got nerve." So, I just stayed, and I learned, and it was pretty fascinating.

Lee Carroll: Let me ask you a question. You had the gift to begin with. What did the school do?

Tina Powers: I think the school helped me because all of a sudden, they said, "Stand up in front of the group and leave your ego at the door about being right or wrong." And I had a great teacher who said, "For as right as you can be, don't be afraid to be wrong and give whatever message is coming in, just let it flow."

That was my first time getting up in front of anybody, being exposed to it, and helping give me confidence that what I was receiving was being validated. I remember somebody named Art came through, and I didn't know if it was an art piece or somebody named Art. I just heard the name Art and it ended up being the teacher's husband in the other world. She was really instrumental in helping bring it out of me.

Lee Carroll: And next?

Tina Powers: And then next from there, you mean? Am I...

Lee Carroll: Yeah, now you're in Indiana, you've gone to the courses, you've gone to school, you've read books.

Tina Powers: Ah.

Lee Carroll: You told me at some point, I may have it out of order, so you tell me what there's next.

Tina Powers: Right, right.

Lee Carroll: You were sitting with a friend, and suddenly her deceased son came in.

Tina Powers: Well, there were a couple of things that happened. Yes, well, what happened is, is I'm sitting with a friend and I said, "I think dead people are talking to me." And she said, "Yeah, right. Now, woo-hoo." And then all of a sudden, I had the name Phillip, they were being very... And then she just freaked out, and she said...

Lee Carroll: She sat up on that one, yeah, yeah.

Tina Powers: Yeah, she said, "My best friend's son just passed; his name was Phillip." She said, "Would you please talk to Philip's mom?" I got really afraid because she was in Philadelphia and I was in Tucson. Then I had some really great mentoring where somebody said, "Let the light work through you.

It's all about your intention. What are you intending? Are you intending goodness and healing? Even if you get something wrong, that's okay." I sat there. I was scared to death.

This son told me clairaudiently, and he said, "I hate the ugly orange shag carpeting my mom has." Now I'm like, "Okay, now I'm flipping out. Am I really going to say this to somebody?"

Tina Powers: But I also know if you preface something with love and I just said, "Listen, this is an odd thing, but I'm just going to say it," and I did. I said, "He hates the ugly orange egg carpeting," and it got silent. Then she said I'm standing on it.

Lee Carroll: Yeah.

Tina Powers: He told me to rip it out all the time, and there was no way it...

Lee Carroll: That's a watershed moment for both of you. She knew-

Tina Powers: Yes.

Lee Carroll: You were real.

Tina Powers: Yes.

Lee Carroll: You knew you were real. Self-doubt, talk to me about it.

Tina Powers: Self-doubt?

Lee Carroll: Yeah.

Tina Powers: Oh gosh, there have been periods where I actually sat at the bottom of the shower and cried because I said, "I don't know if I can do this." I remember somebody sent me to a party to do corporate readings for people, and I said, "You know, I think this is a more serious thing. I don't know that people will like this, unless they sign up for it." They said, "Oh no, please. They're all managers, and they know what you do, let's do this."

I end up reading, and this one gentleman is just being unbelievably mean, really mean. And those of us that are empathic and sensitive, I mean it can take a toll if we're...

Lee Carroll: Oh, yeah.

Tina Powers: Yeah, I left there just feeling awful like I'd done this horrible thing, and why is this happening. I'm like, "I don't know if I'm going to do this," and the doubt crept in. Tell you this, though.

A year later, I pull into the parking lot of this place and the GM runs up to me, "Tina, you know that guy that was at the boyfriend of the one that was at the party?" I said, "How could I forget?". He said, "He was under an alias. He spent time in prison 22 years we found out for murder," but I had to wait a year and have faith, and that it was okay if I was wrong too, but that was an amazing moment.

Lee Carroll: You go from all of this, not necessarily today, but there was again an interim where I'll say you put out your shingle, or you said this is what I do.

Tina Powers: Just people started calling. Then when they started calling, I remember having three readings a week, and I thought, "I don't know if I can do this." I have like two weeks, and I don't know, because it's like being tested. When you do this work, you're being unconsciously tested, but you sign up for it, and I realize that something else is working through me. But all of a sudden, it just took off in a place called Miraval and ended up calling me.

Lee Carroll: So, Miraval is where actually, among the facts you work for yourselves, that's one of the places you're. What kind of a place is that?

Tina Powers: It's a mindful wellness center, and it's really well known. And sometimes, I call it Hogwarts for adults.

Lee Carroll: Oh, they're not going to like that, Tina. I know they're not going to like that one.

Tina Powers: I know, they're probably not going to like that.

Lee Carroll: That's right, that's okay.

Tina Powers: It's an amazing spa, though, and the land is beautiful. There are sound healers there, and there's an amazing horse whisperer equine therapist. He doesn't like it when I call him a horse whisperer named Wyatt Webb, or you can get a massage. There are many things that you can do there, but they first called and they said, "Will you do talks here? Will you talk to dead people in front of people?"

I was like, "No, that could be very humiliating, number one. Number two, what if it doesn't work? What if..."And then I've always gone from if I'm really afraid of something, I want to get over that. So, I want to walk into it. I realized just let it work through me. The worst thing that would happen, I would die of embarrassment, but not really die.

Tina Powers: When I stood out in faith, my guide showed up, their people showed up, and I just delivered the messages.

Lee Carroll: Would you say that the more you did, it was like exercising? The better it got, the more intuition, or is that not true? Is it just a talent that happens, or do you fit yourself into it and feel better?

Tina Powers: I don't know that I'll ever be fully used to it because I never know what's going to happen, but I do get more comfortable with standing in that moment. And I think it's something that we all have. We can all paint, but we might not all do that for a living. I am more comfortable than I used to be, for sure. I've had every kind of client under the sun.

I mean, sometimes they've shown up, and they're like...I'll say something, and they'll go, "Could be." After a while, I'm like, "Well, it either is, or it isn't," but I learned how to handle it in a better way, where if somebody really wasn't getting what they needed, I was like, "This doesn't have to be work. We don't have to do. There's somebody better for you."

Lee Carroll: The whole thing, the whole idea of what you're doing, comes with, I would say a persona-based upon the movies. You've got a seance going, a bell rings.

Tina Powers: Right.

Lee Carroll: You put on a shawl, all of these kinds of things that we've seen are that.

Tina Powers: Right, that it's scaring them, right?

Lee Carroll: It's actually quite scary, and then this fraught with questions I would ask.

Tina Powers: Sure.

Lee Carroll: Number one, it sounds to me like it's like talking to dead people on demand. I mean that's one thing because you make an appointment with somebody.

Tina Powers: You are right.

Lee Carroll: Then here comes a dead person.

Tina Powers: You make it, and then their person comes in the other. It's a green world, I mean a green room in another world.

Lee Carroll: Alright, so that's one thing. Actually, they'll show up?

Tina Powers: Right.

Lee Carroll: Okay, because of this. Do you ever have a situation where they show up, and I'll call it like dead people Tourette's? Well, they're just walking along the street and "Getaway," a kind of thing like that. I don't know any of these things, or do you turn it on and off? Is it always with you? You ever get in the shower, this kind of thing.

Tina Powers: Well, you know what when it first started? It would happen all night long because they were out of their body. They were talking to me all night long, and I was so tired that I was finally at this Camp Chesterfield because it was starting to happen. I didn't know what it was. I'll never forget this medium.

She was in her '80s, and she's smoking her cigarette. And I remember thinking, "Well, that's not very spiritual." And like, "Oh Tina, that was just a habit," but I remember looking at her going, "Oh, this is the spiritual," and she goes, "Honey, just because they're knocking on the door doesn't mean you got to let them in."

Lee Carroll: Ah.

Tina Powers: She said, "You have to have boundaries on this side and with the other world." So, it was really fascinating and learning that. Then I learned I did an on and off button. I played with things in my head, and then I told them that well. I had emergency hours.

I wasn't available all night anymore. I would be certain. I had a schedule, and then I was doing readings all day, and that's all. Then they became very respectful of that.

Lee Carroll: What's your feeling about what, who you're talking to? Is it the essence of their soul? Is it the fact that they had a lifetime here, and they're talking about that lifetime? Even though we learned that reincarnation, they may be off to another lifetime, and it gets complicated.

Tina Powers: It's very complicated, and I always say I'm learning something new everyday. I'm always growing, but what I found is that the soul essence always seems to be available on some level. When they're telling me a name, maybe that would make sense to somebody. They would show me a picture that would I feel that I'm talking to the soul essence of that individual that was connected to the one here.

I even had an interesting thing once where this gentleman, Frenchman, didn't believe in any of this. And I didn't realize my job was at stake at one point because when somebody doesn't have the thought form that they're open to this, I get it. We're sitting there, and all of a sudden, he's like, "Hmm, no. Hmm."

People can block it off too, but all of a sudden, I heard Billie Jean, and I went do... I just learned to ask. I said, "I know this sounds really silly, but do you know Michael Jackson," and he started crying. He said he had that Michael called him every night at 3 a.m., and he played the father role. There were just amazing things that happened like that, and so here we are.

Lee Carroll: Celebrities, you don't have to say who they are, anything else. Do you have them come to you?

Tina Powers: Yes.

Lee Carroll: Okay.

Tina Powers: Yes.

Lee Carroll: And it works for you?

Tina Powers: It does, it does because I think on every level, even if somebody's well known, everybody just wants to be seen validated. And we all have the same human interactions, I think.

Lee Carroll: Because you work at a wellness spa, there's all kinds of clients who may want to.

Tina Powers: Get.

Lee Carroll: Come and get a facelift and talk to their dead grandmother. Not facelift, facial.

Tina Powers: Well-

Lee Carroll: Yeah.

Tina Powers: They could be doing facelifts. I don't know, I mean no.

Lee Carroll: Question, let's talk about inappropriate requests or something. Somebody may say, "Okay, I've hired you. I want you to talk to Grace." And Grace comes in and says, "Okay, I got Grace," or maybe that's not the way it works, but what they're asking, they say, "Okay Grace, where'd you bury the cash?"

Tina Powers: Oh, oh, I have that stuff happened.

Lee Carroll: You have had that?

Tina Powers: Oh yeah, oh yeah.

Lee Carroll: Alright, talk about it. I want you to talk about the unusual ones.

Tina Powers: Oh my goodness, well, I've had where's my ring? Where...

Lee Carroll: Do you get an answer?

Tina Powers: Every once in a while, I do, but I say, "You know what, the minute that people get so specific and they hold on to it so hard, that sometimes the channels get tighter." And it's because they want it so bad that I just have to say, "Let's just relax, let's relax into it and see what happens, or what visual to tap..."

Lee Carroll: You call it a channel. Is that your idea? It's a space that tightens up or loosens in the communication?

Tina Powers: Well, I feel it within myself that when somebody I'm sitting with is really like they want the one answer, but they're not relaxing and allowing things to come in, that it can contract. The minute that we start going, "Oh, thank you," or we open up the channels more. Yeah, in a way, but it just feels; I mean, of course, it's vast. It's just that I would be the filter, so I can fill my part tighten.

Lee Carroll: There's got to be some that are so heartwarming for you. I think of the mothers who've lost their children and may just want so much to just hear something from them that validates the fact that they're still around and when they see their mom and all like that. Do you have any of those that you can remember that you wept as well?

Tina Powers: You know what, I worked, and I still do work with a group called Helping Parents Heal, and my good friend Mark Ireland and Elizabeth Boisson both co-founded this together. And it's gone global, and streaming for the soul also is there and carries their event as well. And it's an amazing energy to be in.

I do remember once a woman was there. Her son had been actually murdered, and some things came through that were at least validating, but most of all, even though there were specifics, it was more about that he was okay.

It was more about that she knew that it was him speaking and that she could have her face just shifted a little bit, and some healing came in because the big fear is well, there isn't a bigger picture, or where are they, or they're... I remember he showed me him hiking, and that was a beautiful thing because she said, "Yeah, that's where it all happened, actually."

Lee Carroll: Have the police ever contacted you?

Tina Powers: They have.

Lee Carroll: Mm-hmm (affirmative).

Tina Powers: They have.

Lee Carroll: Were you ever able to help them? I know you couldn't mention the cases or anything else like that, but...

Tina Powers: Every once in a while, it's happened with missing people.

Lee Carroll: Oh, yeah.

Tina Powers: Recently, it did happen that I was contacted not by police but by some others, but it felt really, it was more sensationalized. I felt like it wasn't really my place at that time. But early on, yes, I assisted a little bit, but it isn't usually where I work.

Lee Carroll: I was going to say this just in talking to you, and we've never really sat like this and interviewed one another. We had a phone call or two. I sense a tremendous love and benevolence in everything you're doing. Do you see yourself in that role?

Tina Powers: Well, I certainly hope so because I try to do everything from the heart and go back to that place of love because in that moment, then everything's pretty much okay.

Lee Carroll: Some people will listen to this. It'll ring a bell for them, and they'll say, "You know, I think I might have some gift like this or not, and I don't know." Tina, tell me, what should I do.

Tina Powers: You know what, I think that all of us have gifts. We were born with them. Some of us feel more than others; some of us can see. And we don't even realize that if you have the burning bush, that can happen every so often that you see, but it's more internal.

Clairvoyance can be inside the mind, so people think that they're not really seeing, and they are seeing and hearing and sensing. I think that we were all born with an inner compass and that we have different channels that are stronger than the others. I mean, I was afraid when I was younger. I think a wonderful thing to do is ask for the divine right teacher to show up if you're ready, somebody to help mentor you.

Lee Carroll: We teach the same thing to look for the synchronicity that somebody will be brought to you and the timing; that's great to hear. So, that would be a good first step.

Tina Powers: Also, when sometimes they were appearing in front of me, I asked the spirits to show a light behind them, so I knew it was benevolent. I asked for a blue light behind them so that I would know. What was happening was I think I was being triggered into past lifetimes, where maybe people had shown up at night and things didn't end up too well. I was really on edge because I couldn't tell sometimes if somebody was real or not.

Lee Carroll: So, you can ask spirit for a fleece, I mean by that. Show me this.

Tina Powers: A request.

Lee Carroll: Yeah, a request.

Tina Powers: Yeah, exactly.

Lee Carroll: Right, we teach the same thing.

Tina Powers: Uh-huh (affirmative), yep.

Lee Carroll: Yeah, and to me, and I love this, it means that spirits are listening.

Tina Powers: Yes.

Lee Carroll: And we're not alone in this, and there's help.

Tina Powers: Right, there's always help, and we have to remember-

Lee Carroll: Help to get it right.

Tina Powers: To ask for it, though because I think so often, we forget to ask. We carry our whole loads on our back and-

Lee Carroll: Oh, that's right.

Tina Powers: Then even I do it sometimes. And I'm like, "Oh God, I'm walking around like I am in the newsroom again. Why'd I forget to ask my guides for help?"

Lee Carroll: It's so human.

Tina Powers: Isn't it?

Lee Carroll: Here's a question, and thank you for snorting. Here's a question. Do you ever still see dead people in your room at night?

Tina Powers: You know what, I hear them more than I see them. Yeah, which is really interesting. I will say to you occasionally one time, and I was in Costa Rica. I woke up, and I loved telling the story because I think it was a guide over me. And they were all in white, and they were lit up from within, but they looked a lot like Bill Murray, and I remember looking up.

Lee Carroll: It was Groundhog Day.

Tina Powers: I'm like, "God, he looks like Bill Murray." It was just that moment, but right over my head, looking out from the headboard, protecting me.

Lee Carroll: Protecting.

Tina Powers: That's what it felt like.

Lee Carroll: Oh, I love it.

Tina Powers: But I had a moment just a little bit of fear because I think sometimes when paranormal things happen, or they'd happen out of the blue, our human response is like, "What's happening? I'm out of control." And certainly, with channeling, you really have to let go.

Lee Carroll: I learned that one. Oh, it took a long time.

Tina Powers: Yeah, I'm still learning.

Lee Carroll: Yeah, you are an artist, and most people would not know this. If it's all right, there are lots of wonderful paintings on your website, which is tinapowers.com, and that I want to show some paintings Violet, or do you have a painting we can go? We've got maybe just a few of these to show.
This is a landscape, and you don't just do landscapes. I don't know why I was necessarily attracted to this one. For those of you watching this, we're actually looking at a monitor. So, we can look at this together.

Tina Powers: So, that is outside of my teacher's home, and I believe that's the Catalina mountains. The wonderful thing about Tucson is it's surrounded by these beautiful mountain ranges.

Lee Carroll: Oh, yeah.

Tina Powers: I have a great painting teacher who lived in Persia. She says she's Persian and was a photojournalist and ended up being a high fashion photographer. She always said, "You have to have passion."

She's watching, but it's true, you have to have something passionate and not to be afraid. She does a lot of things on art and fear because how people paint or do things sometimes shows if you're making yourself smaller or if you're free to do the bigger strokes.

Lee Carroll: Music is like that as well and compositions.

Tina Powers: Mm-hmm (affirmative), mm-hmm (affirmative).

Lee Carroll: Let's do another one of my favorites. I went, and I selected just four out of all. So, let's do another one. I want you to talk about it.

Tina Powers: Ah, we were studying the Dutch masters and the light. Interestingly enough, I was just in the Netherlands and thought when I painted this, Amsterdam was not in my... I mean, it was years before then, so it was just fascinating. I'd always been drawn like just looking at pictures, but the light in the dark and learning about the values and how when you put dark with light, it pops the light.

Lee Carroll: I've got one for you that's different.

Tina Powers: Okay.

Lee Carroll: Okay, let's get the next one here. Okay, leave this on the screen for a moment. This is a portrait. Obviously, a beautiful woman, and I want you to tell me something that you can find in me.

You said that as you paint these, that they change. You may start with one and end up with another. So, what's that about?

Tina Powers: Well, I have to tell you what's interesting about this one. This is the first portrait that I did, and this is actually Jennifer Garner. I always did it from a picture of her.
As I paint, sometimes it starts turning into somebody else, and other images come in. It's almost like the essence shifts and changes. And I've had clouds, and faces come through. It's been very interesting.

Lee Carroll: We got one more.

Tina Powers: Okay.

Lee Carroll: So, just to show that you're a lot of diversity, here we are with birds, lovebirds, all kinds of birds.

Tina Powers: I have a bird.

Lee Carroll: Okay, and did you paint this from a picture, or from your mind, or can you remember?

Tina Powers: You know what, I'm trying to remember this one. I think that was actually from a picture.

Lee Carroll: Okay.

Tina Powers: It was from a picture, but then you try to make it your own.

Lee Carroll: What's the medium? I didn't see it.

Tina Powers: Oil.

Lee Carroll: Oil, okay.

Tina Powers: Oil and the great thing about oil is when you mess up, you just go over it with something else.

Lee Carroll: Oh, is that right?

Tina Powers: Oh yeah, it's so great, and it's fabulous.

Lee Carroll: It's just not like live television at all, no.

Tina Powers: No, exactly.

Lee Carroll: No, no it isn't. So, did you paint when you were smaller?

Tina Powers: You know what, I did do art, and I did do writing. And I also remember in seventh grade, my mother would put things in the fair, and I got a little ribbon, but I lost it somewhere along the way.
When I went back to the Artist's Way with Julia, she has you go back to what did you love to do before that other world in life stepped in. And it was creativity. I felt I never thought that I would sell paintings, or I didn't do it for that. I did it for the expression.

Lee Carroll: You remain a writer, and now you can expand because you got two books. The one book that we've discussed tells us about the two books so that we're...

Tina Powers: One book is called The Land of Imagination, and it's about a queen who actually gets really negative and she forgets how to be happy again. And what happens is this little girl who's a maid wants to be an actress. I don't know who that little girl might be.

Lee Carroll: Does she snort?

Tina Powers: She snorts on the side.

Lee Carroll: Alright.

Tina Powers: So, it's a story about this butterfly that's the intuition that comes to the little girl and says, "Remember who you are." And then there's a dragon as they go into the woods about the deeper self that don't let anybody else tell you who you are, you know who you are.

Then they end up helping change because the queen back to a positive state of mind because I think it happens where people get hypnotized. They get negative, and they don't even realize they did it. And then you can wake up out of it just like that. So, we went into the school system with that with...

Lee Carroll: Alright, so, is this a children's book then?

Tina Powers: This is a children's book, but it's for adults I think.

Lee Carroll: Yeah, I would like it.

Tina Powers: Every children's book is for adults as well.

Lee Carroll: Yeah.

Tina Powers: Then the other one is Reporting For The Other Side.

Lee Carroll: Reporting For The Other Side, what's in it? Is it like your story like we're...

Tina Powers: Exactly like we've gone over tonight. My guides gave me the name Reporting For The Other Side.

Lee Carroll: Okay, that's great.

Tina Powers: I know there'll be a new addition coming out of that and a repackaging, but it's just the story from the newsroom to the spiritual realm and the journey of that.

Lee Carroll: You've got another book happening, don't you?

Tina Powers: I do.

Lee Carroll: Okay.

Tina Powers: I do.

Lee Carroll: Want to tell me what it might be.

Tina Powers: Well, you know what, I think that it's because that one was written, I think in 208. This new one is more about I want to say some of the interesting things that have happened about expanding consciousness more. About things that I've learned along the way, and perhaps the hope would be helping people wake up more into their own gifts and talents.

Lee Carroll: Yeah, awesome.

Tina Powers: Mm-hmm (affirmative).

Lee Carroll: Okay, I do this with every guest because we're closing the book. The question is to anybody who's listening to the audience, what message... This may be a difficult thing. What message would you have, in general, who you are, what you've been through, and all for everybody here?

Tina Powers: I think listen to yourself. I think that there are so many voices that come at us and tell us what we should be doing and who we are. Also when we ask for a sign, so you ask for a sign if you're on the right path, start trusting it, instead of going, "Oh, was that really real?" We say thank you, and it opens up for more to come, believing in synchronicity, but I think my biggest hope is that people wake up into a happier state within themselves.

Therefore, when people are in that state, I mean all of us are at such a higher level and participating and expanding in the world to help create the environment and the planet the way that I think it's supposed to be.

Lee Carroll: And we can do that.

Tina Powers: I believe so.

Lee Carroll: This is personal; I just thought of it. I was just going to close, but for 30 years, I've been touching the other side of the veil. That's what I do, and every single time I go there, every single time from the very first time until a moment ago when we channeled here in another show, I saw benevolence, I saw love.

Tina Powers: Yes.

Lee Carroll: There was never a time when there was strife, fear, anything like that. And I can say till my dying day that's the way it's going to be. You touch the other side all the time, the souls that are there. Is there anything like that that you can say you've seen?

Tina Powers: The biggest thing that I felt is the love, and also the forgiveness from the souls that I've spoken with. Because while we're here, I mean we're learning and we're so hard on ourselves, and we're hard so on other people.

So many times in the other world, forgiveness, being back in our heart and also, it gets me a little bit emotional because once we forgive and we pull all that hurt that I've seen so many clients all of a sudden go, "Oh, so she really didn't mean to keep me out of the will."

Lee Carroll: That's so great.

Tina Powers: This is what happened. Somebody else changed it. We might not like what happened while we were on the earth with somebody. But when we can let go of it and know that it's a learning.

Lee Carroll: That's profound.

Tina Powers: Then we have a whole higher perspective of it, and I think...

Lee Carroll: That's great.

Tina Powers: But in the end, really it's all the love. I think all the rest are just details.

Lee Carroll: Awesome Tina, this was everything I wanted it to be.

Tina Powers: Me too.

Lee Carroll: This was so great, and I thank you so much for being part of our show and sharing so deeply everything that you're doing for the planet. Ladies and gentlemen, thank you for being with us for Beginnings. Until the next time, thank you.

Tina Powers: Thank you, Lee. Thank you.

Lee Carroll: This is Beginnings. Thank you, Tina Powers. Very much.


4 thoughts on “Tina Powers Beginnings Show”

  1. YaY WoW I so enjoyed, and learned from Tina and Lee, helping me to be ongoing self accepting, self forgiving, self loving, and to inspire not just others bus also myself too. Reminding myself that we can forget what we have already learned; to love ourself and love others, oh and yes; we are one 🙂 Thank you for intelligently constructing a valuable portrait of Tina’s life journey so far to enhance others understanding about mediums and their magnificent, benevolent, loving light works and how it can happen for some mediums.

Leave a Comment

Your email address will not be published. Required fields are marked *

Scroll to Top