Podcast appearances and mentions of Eric Berne

Was Michael Korpiun über verschiedene Arten oder Aspekte von Führung sagt.

In 1963, Eric Berne wrote a book that still sells well today: "Games People Play." It is about ridiculous, repetitive patterns that people fall into, like "I've Got You Now, You Little S.O.B.," and "Kick Me." In this episode (third in a series), I discuss several more of these self- and other-destructive games, as well as two of Dr. Berne's other insightful concepts: "Rackets" and "Stamps." You'll like it! I also provide resources (like other books on this subject, like "Born to Win" and "Scripts for Life.") This episode is #3; the first two were #227 & #229.

"(I've Got a) Wooden Leg"..."(You've Got a) Blemish"..."Kick Me"...and "Look What You Made Me Do!" These are four more Games that People Play. In the 1960s, psychologist Eric Berne noticed that some people repeat the same silly arguments &/or patterns over & over again. He called these destructive patterns "games." But even though they prevent people from having fun, solving problems, and getting along, they are common. In this episode, I cover four more, as well as get into Berne's solutions. Careful...you don't want a game to become a life-script. (This episode was recorded on Jan. 25, 2025.)

"Games People Play" is a book that explains the social and relationship games that people play. These are no-win situations that we should avoid. I cover three: "I've Got You Now, You Little $$#@!," "Ain't It Awful," and "Yes, But." I also discuss the author, Dr. Eric Berne's solutions. Even though this book is sixty years old, it still sells well because it's so flippin' good. I found it eye-opening. Enjoy!(This episode was recorded on Jan. 20, 2025.)

Intraprendere un percorso di psicoterapia è una scelta piuttosto sdoganata per le nuove generazioni. Insieme a un professionista proviamo ad affrontare il tema, cercando di capire se, come, quando e perchè può essere significativo iniziare questo cammino. Libri citati: A che gioco giochiamo, Eric Berne “Ciao!”… E poi?, Eric Berne

Welcome back to Friendship Therapy! This is the bitesize episode, where Emma discusses her therapeutic takeaways from her conversation with this week's guest, Jemima.Jemima joined us to talk about her experience of being diagnosied with dyspraxia when she was just six years old, and the impact that neurodivergence has had on her life and friendships. We heard about the remedial classes that she was put through, the hours spent throwing and catching balls in her back garden, the extra effort that she had to put in to try to fit in with the other children; all of which led her to resent her diagnosis. Later, in adulthood, Jemima found herself rejecting the idea of being 'parented' by her friends, having already spent almost her entire life being told what her limits were and what she definitely couldn't do because she is neurodivergent.In this bitesize episode, Emma returns to Eric Berne's parent, adult, child model in transactional analysis, exploring how the different facets of the parent and child ego states might be showing up in Jemima's friendships and in her own internal processes.Eric Berne's parent, adult, child theory: https://www.simplypsychology.org/transactional-analysis-eric-berne.htmlIf you'd like to apply to appear on the podcast in season two, please click the link below to fill out the form:   https://forms.gle/owsfs6DVxVdTMFo46  ---Friendship Therapy is hosted by Emma Reed Turrell, produced by Chris Sharp and Lauren Brook.--- Social media:  Emma Reed Turrell @emmareedturrellFriendship Therapy @friendshiptherapypodEmail: contact@friendshiptherapypod.co.uk

The Psychiatry game is introduced on the individual or psychotherapy level as well as how Psychiatry is promoted for the maintenance of the status quo. The Psychiatry game reinforces social hierarchies as reality (e.g., "mentally ill" versus not). Far ahead of his time, Eric Berne, MD understood the concept of “mental health” as a game or pastime. In his words, it is "based on the thesis that if only the right procedure can be found, everything will be alright."  As the patient sits on the couch, inside their heads the question is, “What am I supposed to do here?” Patients, especially novices to psychotherapy, will inevitably comply with their therapist who uses the DSM to define them in order to elaborate their self-presentations and self-understanding. The patient will talk subjectively about what it is like to be them as a solid self. This can be played using Transactional Analysis ("My Critical Parent ego state...), psychoanalysis ("Gee my Id just has a hold of my Superego," or the clinical version, "Nice use of transference!"), cognitive behavioral therapy or CBT ("Those damn negative thought loops!"), etc.  The emphasis is on subjectivity, but this comes at the expense of affect and relational intimacy with the therapist. Colloquially, the patient talks about what is going on inside their head. In the US, as individuals continue to view themselves as brands (Me, Inc) and are enclosed by Big Tech's ability to commodify them and sell them things at the same time, Psychiatry becomes the engine for negating "the world." Identity as reality is instantiated in the culture. Me me me. Self-optimization to become supreme and "win." This is in contrast with the Zen notion of no-self or no-mind (i.e., emptiness). Recorded on 6/08/2023 Visit MankatoTherapist.com for more information and to contact Andrew Archer.

Welcome back to Friendship Therapy, the podcast where psychotherapist, author and podcaster Emma Reed Turrell looks at your friendship experiences through a therapy lens. This week, Emma chats to Jemima, who reached out to Emma to talk about the impact that neurodivergence has had on her friendships.Diagnosed at just six years old, dyspraxia has affected every aspect of Jemima's life since she was a small child, from being put into remedial classes at school, to throwing and catching balls with her brother so she could be more like the other children. Jemima's family just wanted to keep her safe from a world that didn't necessarily understand her, but Jemima wanted to reject her dyspraxia diagnosis altogether. Now, as a woman in her forties, she has come to learn a lot about herself and the way she exists in the world as a neurodiverse woman with her own unique experiences in life and in friendship.In this episode, Jemima generously shares how she navigates friendship and dyspraxia. We hear about her experience of being neurodivergent in a world that doesn't always celebrate difference, struggling with burnout and feelings of rejection and abandonment, and through it all, the unwavering support, love and encouragement that her friends and family have shown her.Jemima's story reminds us that when we mess up, as we inevitably will, having grace for ourselves and for our friends can be an incredibly powerful metric of friendship.To find out more about Eric Berne's Parent, Adult, Child theory, click here:  https://www.simplypsychology.org/transactional-analysis-eric-berne.htmlInformation on dyspraxia from the NHS website: https://www.nhs.uk/conditions/developmental-coordination-disorder-dyspraxia-in-adults/Exceptional Individuals - https://exceptionalindividuals.com/Some book recommendations from Jemima:The Lion Who Wanted to Love - https://www.amazon.co.uk/Lion-Who-Wanted-Love/dp/1860399134/ref=asc_df_1860399134/?tag=googshopuk-21&linkCode=df0&hvadid=697208928393&hvpos=&hvnetw=g&hvrand=9929041182393392105&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9046002&hvtargid=pla-537898099083&psc=1&mcid=36f7310928af3f02b640a4340b0442d0&th=1&psc=1&gad_source=1Autism in Heels - https://booksplea.se/autism-in-heels-the-untold-story-of-a-female-life-on-the-spectrum-by-jennifer-cook-otoole/?setCurrencyId=1&gad_source=1&gclid=EAIaIQobChMIqanE7ZXbhgMVspVQBh3j_QLDEAQYASABEgL6MfD_BwERhinocorn Rules - https://www.theworks.co.uk/p/picture-books/rhinocorn-rules/WKS_9780008617103.html?gad_source=1&gclid=EAIaIQobChMIyLf5iZbbhgMVw4hQBh2_rAo8EAQYASABEgJYv_D_BwEIf you'd like to apply to appear on the podcast in season two, please click the link below to fill out the form:   https://forms.gle/owsfs6DVxVdTMFo46  ---Friendship Therapy is hosted by Emma Reed Turrell, produced by Chris Sharp and Lauren Brook.--- Social media:  Emma Reed Turrell @emmareedturrellFriendship Therapy @friendshiptherapypodEmail: contact@friendshiptherapypod.co.uk

Welcome back to Friendship Therapy! This is the bitesize episode, where Emma discusses her therapeutic takeaways from her conversation with this week's guest.This week, Emma met another Emma, a psychotherapist who found herself questioning her place in her childhood friendship group after becoming a mother at 19, going through a divorce in her thirties and persuing a new career as a therapist later in life.In this bitesize episode, Emma takes us through the Nursing Triad, healthy first order symbiosis and Eric Berne's Parent, Adult Child ego states theory within Transactional Analysis, and how Emma's friends played a practical and emotional co-parent role in Emma's life as she navigated becoming a mother when she was still a child herself.Emma also reflects on Emma's therapy journey, her growing curiosity and defiance against decades-old patterns, and how she found herself challenging the boundaries and renegotiating her friendships to find out if she could be accepted unconditionally.To find out more about Eric Berne's Parent, Adult, Child theory, click here:  https://www.simplypsychology.org/transactional-analysis-eric-berne.htmlIf you'd like to apply to appear on the podcast in season two, please click the link below to fill out the form:   https://forms.gle/owsfs6DVxVdTMFo46  ---Friendship Therapy is hosted by Emma Reed Turrell, produced by Chris Sharp and Lauren Brook.--- Social media:  Emma Reed Turrell @emmareedturrellFriendship Therapy @friendshiptherapypodEmail: contact@friendshiptherapypod.co.uk

Bonjour et bienvenue à toutes et à tous !Dans cet épisode, nous nous concentrons sur le driver "Fait des efforts". Ce driver pousse les individus à s'investir sans compter, à travailler dur et à persévérer, même lorsque cela semble déraisonnable. Les signes révélateurs incluent un besoin constant de prouver sa valeur et une incapacité à accepter l'échec ou l'imperfection.Ce driver peut être un puissant moteur de réussite. Il nous pousse à nous dépasser, à persévérer face aux obstacles et à nous améliorer continuellement. C'est grâce à lui que nous pouvons atteindre des sommets inespérés et surmonter les défis les plus ardus.Cependant, "Fait des efforts" peut aussi conduire au surmenage, au perfectionnisme paralysant et à une difficulté à déléguer. Pour éviter ces écueils, je vous conseille de vous fixer des limites saines, d'accepter que l'imperfection fait partie de la vie, de déléguer et de faire confiance aux autres. La pleine conscience et la relaxation sont également des pratiques bénéfiques pour contrebalancer l'intensité de ce driver.L'objectif est de trouver un équilibre qui nous permette de vivre pleinement et sereinement. Je vous encourage à réfléchir à la manière dont ce driver se manifeste dans votre vie et à partager vos questions ou suggestions pour les prochains épisodes.Je vous remercie chaleureusement pour votre écoute et votre fidélité. N'hésitez pas à me contacter via mon site internet pour un accompagnement personnalisé en gestion des relations, leadership et développement personnel. Restez à l'écoute pour de nouveaux contenus enrichissants et, ensemble, continuons à explorer les profondeurs de l'introspection.Notes de l'épisode :Autres drivers [Série Drivers] Sois Parfait ! - Parlons Introspection - épisode 22[Série Drivers] Dépêche-toi ou Fais vite – Episode 24[Série Drivers] Sois fort - Episode 26[Série Drivers] Fais plaisir – Episode 27  

Bonjour et bienvenue à toutes et à tous !Je suis Véronique, votre hôte sur le podcast "Parlons Introspection", le podcast qui vous rapproche de votre bien-être en douceur !Aujourd'hui, nous plongeons dans le "driver" spécifique "fais plaisir", en explorant ses racines dans l'enfance et comment il se manifeste à l'âge adulte. Vous découvrirez les signes pour débusquer de ce "driver", tels que la difficulté à dire non, le besoin constant d'approbation et la priorisation des besoins des autres avant les siens

Don and Andrew discuss the concept of symbiosis (not two not one), Eric Berne's book Games People Play, including the concept of psychological “hunger.” This means we are hungry for stimulation, social recognition, and structured time. Games are played in an attempt to get those psychological hungers met despite the negative payoffs. The game If It Weren't For You is introduced as a bridge to discussing Fascism as a game process. Examples are given in terms of the Ukraine war as well as other Drama Triangle roles and switches. Recorded on 5/25/2023 Visit MankatoTherapist.com for more information and to contact Andrew Archer.

Bienvenue chers lecteurs et auditrices fidèles du podcast "Parlons Introspection". Je suis Véronique, Coach Numérologue et votre guide dans le voyage fascinant de la découverte de soi.Aujourd'hui, je souhaite partager avec vous une réflexion profonde sur un concept qui nous touche tous de près : les "drivers" psychologiques. Plus précisément, nous allons plonger dans les méandres du premier driver, celui qui nous donne l'ordre "sois parfait". Qu'est-ce qu'un "Driver" en Psychologie ?Ces motivations profondes et souvent inconscientes façonnent nos comportements, nos choix et nos relations.Ils prennent racine dans notre enfance, souvent en réponse à des besoins non comblés ou à des expériences difficiles.Le concept de driver a été mis en lumière par le psychologue américain Eric Berne, père de l'analyse transactionnelle. Cette approche se penche sur nos interactions et a identifié cinq drivers principaux : "sois parfait", "dépêche-toi", "sois fort", "fais plaisir" et "fais des efforts". Le driver "sois parfait" est celui qui nous pousse à rechercher l'excellence, parfois à un niveau inatteignable.Il nous conduit à être extrêmement critiques envers nous-mêmes et envers les autres.C'est une arme à double tranchant. D'un côté, il peut nous motiver à atteindre de hauts standards de qualité et à nous améliorer constamment.De l'autre, il peut engendrer une peur paralysante de l'échec et une critique sévère qui nous empêche de reconnaître et de célébrer nos succès. L'outil de Process Communication pour mieux se comprendreDans le cadre de notre introspection, l'outil de Process Communication se révèle être un allié précieux. Développé par le psychologue américain Taibi Kahler, cet outil identifie six profils de personnalité et nous aide à améliorer notre communication, à renforcer nos relations et à mieux comprendre nos dynamiques individuelles. Il est largement utilisé dans le coaching, la gestion des conflits et le développement personnel. Je vous invite à partager vos commentaires et questions sur ce sujet pour enrichir notre communauté. Vous souhaitez un accompagnement personnalisé, prenez RDV ! Je tiens à vous remercier pour votre fidélité et votre engagement. Restez à l'écoute

Bienvenue dans ce nouvel épisode de Parlons Introspection !Aujourd'hui nous mettons l'accent sur le driver "sois fort" et ses implications dans la vie des individus. Ce driver se manifeste chez les personnes qui ont du mal à montrer leur vulnérabilité et leurs émotions, souvent à cause des normes sociétales ou familiales qui valorisent la résilience et le contrôle émotionnel. Je partage des exemples concrets pour illustrer les aspects positifs et négatifs de ce driver.

Dans cet épisode spécial, je vous partage la théorie des 4 Positions de Vie. Les positions de vie sont issues de l'Analyse Transactionnelle (AT) conceptualisée par le psychiatre Eric Berne.  Il s'agit d'une grille de lecture extrêmement simple qui permet d'identifier la manière dont on se positionne face à la vie et face aux autres.  Ces 4 positions de vie vous aideront à vous situer et, quand celà est nécéssaire, à réorienter votre attitude selon les contextes, a être plus sereine envers vous même et envers les autres mais aussi à exploiter votre plein potentiel en générant des opportunités en lien avec votre manière d'appréhender la vie. Belle écoute !

Welcome to another engaging episode of "The Relationship Maze" podcast. In today's discussion, Angela and Tom dive into the intriguing world of Transactional Analysis, particularly focusing on the Parent-Adult-Child model introduced by Eric Berne. This model helps us understand the dynamics of our communications and interactions in relationships—be they personal, professional, or casual. By examining how we often revert to childlike or parental behaviours during conversations, our hosts explore how these roles impact our relationships and how becoming more aware of these dynamics can lead to healthier and more satisfying interactions. Get ready to uncover which ego state you might be operating from and learn strategies to foster more adult-to-adult dialogues. Join us as we navigate the complexities of communication in relationships, aiming for more fulfilling connections.00:00 Improving communication with transactional analysis and resources.06:27 Rebelling against being told what to do.07:47 Adult ego state reacts logically to situations.12:24 Partner reactions triggered by past experiences quickly.15:33 Partners need to communicate like adults.18:29 Reflect on reactions and behaviors in conflicts.22:00 Balancing playful and responsible parenting dynamics.23:02 Temporary usefulness of rebellious child state.

This episode was recorded on April 27th, 2023 just following the conclusion to Series 3. Series 4 is the evolution of the concept “games fascists play.” Andrew and Don's dialogues were recorded over the course of one year. Through this relational brainstorm, Andrew began to write a manuscript titled Games Fascists Play: The Psychology of Supremacy. The book is meant as a tribute and sequel to Eric Berne's best seller Games People Play: The Psychology of Human Relationships. The result is Series 4, Games Fascists Play, which illustrates the evolution of the concept, examination of game analysis and specific psychological games, as well as articulations of fascism and the solution to gameplay: zen. Visit MankatoTherapist.com for more information and to contact Andrew Archer.  

Dans cet épisode captivant de notre podcast sur le développement personnel, nous explorons dans sa globalité l'Analyse Transactionnelle (AT), une approche psychologique puissante pour comprendre les interactions humaines et favoriser la croissance personnelle. L'analyse transactionnelle (ou AT), développée par le psychiatre Eric Berne dans les années 1950, offre un cadre conceptuel simple mais profondément révélateur pour comprendre les dynamiques sociales et psychologiques de notre monde. À travers la notion de "transactions", l'AT examine comment les individus communiquent et interagissent les uns avec les autres, en analysant les jeux psychologiques qui peuvent se produire. Dans cet épisode, je vous explique en globalité ce qu'est l'analyse transactionnelle et en quoi ces outils sont utiles pour mieux vous connaitre et connaitre ceux qui vous entourent. Vous verrez qu'il est possible de mieux comprendre vos propres schémas de comportement, ainsi que ceux des autres. Pendant deux mois, nous plongerons ensemble dans les concepts clés de l'AT (avec une playlist spécifique) notamment : Les "États du Moi" : Parent, Adulte, Enfant, qui représentent les différentes parties de notre personnalité et influencent nos interactions. Les "Transactions" : les échanges sociaux et psychologiques entre les individus, analysés selon les États du Moi. Les "Jeux Psychologiques" : des schémas récurrents et dysfonctionnels dans les interactions humaines. Les "Strokes" : les interactions positives ou négatives qui alimentent notre besoin fondamental de reconnaissance. Le "Triangle de Karpman" : un modèle illustrant les rôles de Victime, Sauveteur et Persécuteur dans les relations interpersonnelles et comment les éviter pour favoriser des interactions plus saines. À travers des exemples concrets dans mes différents épisodes, je vous montrerai comment l'analyse transactionnelle peut être utilisée pour améliorer les relations, gérer les conflits et favoriser une croissance personnelle significative. Que vous soyez novice en AT ou que vous souhaitiez approfondir vos connaissances, cette playlist regroupera tous les épisodes sur l'analyse transactionnelle et vous fournira une introduction fascinante à cet outil puissant pour le développement personnel.Pour tout savoir sur l'analyse transactionnelle : https://podcast.ausha.co/mieux-vivre/playlist/l-analyse-transactionnelleN'oubliez pas, vous êtes la première personne à pouvoir agir sur votre vie

Bienvenue dans ce nouvel épisode de "Parlons Introspection".Aujourd'hui, nous allons nous pencher sur le "driver" que l'on nomme "dépêche-toi" ou "fais vite". Préparez-vous à une exploration approfondie de ses caractéristiques, de son identification et de sa gestion, sans oublier son impact sur nos relations interpersonnelles.Le "driver" "dépêche-toi" est un concept fascinant qui se manifeste souvent par une tendance à l'urgence et à la précipitation. Ce moteur interne nous pousse à agir rapidement, parfois au détriment de la qualité ou de la réflexion. J'ai exploré en détail comment ce "driver" peut influencer notre comportement et nos interactions avec les autres.Reconnaître ce "driver" en vous est la première étape pour mieux le gérer. Il se traduit souvent par une impatience, une difficulté à ralentir et une tendance à bousculer les autres. Vous trouverez des exemples concrets pour vous aider à identifier ce "driver" dans vos propres comportements.La gestion de ce "driver" est essentielle pour trouver un équilibre dans notre vie. Il est crucial d'apprendre à reconnaître quand ce "driver" prend le dessus et comment le canaliser de manière productive.Le "driver" "dépêche-toi" peut avoir un impact significatif sur vos relations. Il peut conduire à des malentendus et à des conflits si vous imposez votre rythme aux autres sans tenir compte de leurs besoins. N'oubliez pas que l'introspection est un voyage continu et je suis ravie de vous accompagner sur ce chemin.Je vous remercie de votre présence et de votre attention.Je vous invite à écouter l'épisode complet pour une immersion plus profonde dans le sujet. À jeudi prochain pour de nouvelles aventures introspectives!

Welcome back to Best Friend Therapy and this season's opportunity for Emma to therapise our beloved guinea pig, Elizabeth Day, whilst offering some psycho-education for us all about the Transactional Analysis concept of the “Drama Triangle” - why and how we end up repeating conflict in relationships (be they personal or professional) and what we can do to change it.The Drama Triangle was developed by Stephen Karpman in the 1960's and tells us about three unhealthy roles we take on in drama - the Rescuer, the Persecutor, the Victim.Elizabeth talks about a time she adopted the role of Rescuer as a way of defending her Victim and she recognises the futile task of trying to solve someone's problems when they are not yet ready to change. She also tells us about the guilt she feels when she fails the other person and we uncover the unconscious motivations that are keeping her stuck. Listen along with an example of your own and ask yourself:If you're the Rescuer, what are your feelings and needs? If you're the Persecutor, what can't you tolerate really? If you're the Victim, what are your options to take back control? Emma explains and gives examples of how to channel more productive, constructive Adult communication using Acey Choy's “Winners Triangle”, to remove the conflict and get closer to the results you want.---The original reference for the Drama Triangle is: Karpman MD, Stephen (1968). "Fairy tales and script drama analysis". Transactional Analysis Bulletin. 26 (7): 39–43. https://www.karpmandramatriangle.com/pdf/DramaTriangle.pdf Choy, Acey (1990). The Winner's Triangle Transactional Analysis Journal 20(1):40 https://www.scribd.com/document/577707612/Winner-s-Triangle And this brilliant book by Ian Stewart and Vann Joines is a great introduction to all things TA, including Eric Berne's work on Games: https://amzn.eu/d/eZEkUmD ---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. --- Social Media: Elizabeth Day @elizabday Emma Reed Turrell @emmareedturrell Best Friend Therapy @best.friend.therapy Email: contact@bestfriendtherapy.co.uk

This episode is the first audio version of the Eric Berne Memorial articles from the Transactional Analysis Journal. We plan to publish two a year as part of our sponsorship agreement. Trudi Newton received the 2023 Eric Berne Memorial Award for her work in establishing a new metaperspective that reframes transactional analysis as positive psychology. The article cited in the nomination, which you are about to hear, read by Trudi herself, is “The Health System: Metaphor and Meaning” from the July 2007 Transactional Analysis Journal. Trudi's paper is an exhortation to all of us to engage in a kind of ongoing, ground-breaking process of theoretical evolution through practice, reflecting the spirit of the early pioneers in TA theory. You can view the diagrams that Trudi references on our website by clicking the link below: Diagrams There is also a link to Trudi's acceptance speech which can be found on YouTube: YouTube acceptance speech Link for the Transactional Analysis Journal: www.tandfonline.com-TAJ   Sponsors: The International Transactional Analysis Association (ITAA) is an individual membership organisation providing the TA Journal (TAJ) and the monthly Script newsletter with archives of both from the 1970's.   For more information about the benefits of membership please click on the link below www.itaaworld.org/itaa-membership-benefits The European Association for Transactional Analysis (EATA) has 44 member associations with more than 7550 members in 29 European countries. Its purpose is to promote knowledge and research on Transactional Analysis, to develop its theory, to ensure agreed standards of practice, and to promote cooperation in Europe in the field of Transactional Analysis. eatanews.org

Easily listen to The Science of Self in your podcast app of choice at https://bit.ly/ScienceOfSelfPodcast00:02:28 John Bolby 00:05:01 Dismissive Avoidant00:06:11 Fearful Avoidant00:15:45 Bolster Your Self Esteem00:18:09 Reconsider Your Boundaries00:18:38 Part Two reparenting Yourself00:30:31 Step Five00:33:50 Part Three transactional Analysis00:51:40 Eric Byrne's Transactional AnalysisHear it Here - https://adbl.co/3XaytgD• If we want to know who we are now and why we are that way, we need to look at what came before, i.e., our childhoods. Bowlby outlined different styles of infant attachment (secure attachment, dismissive-avoidant, and fearful-avoidant) and showed how each shaped the adult's relationship patterns. We can become aware of and take responsibility for our attachment styles as adults, in the present. Working on self-esteem and having relationships with people with secure attachment styles are ways we can mitigate our early programming. • You can also heal wounds from the past by “reparenting,” which is consciously choosing to provide yourself as an adult with everything you weren't provided with as a child. With visualization, our present-day adult goes back to engage with and heal their inner child. Become aware, conjure up the inner child, and dialogue with them, truly listening to what they say. Then commit to giving them what they need. • It's important to apply the lessons learned in real life—for example, by setting boundaries or embracing healthier habits and routines. • Eric Berne's transactional analysis is another way to understand our ingrained and stereotypical relationship patterns. Berne outlined three ego states we can occupy: parent, child, and adult. These unconscious patterns shape the “games” we play, but with conscious awareness, we can shift into a more neutral adult ego state. • It's worthwhile asking yourself what role you most often play and what games recur in your life so that you can consciously choose something different. #Bowlby #Disorganizedinsecure #DrEricBerne #FearfulAvoidant #GamesPeoplePlay #JohnBowlby #MaryAinsworth #PAC #Reparenting #RussellNewton #NewtonMG #HowtoTherapizeandHealYourself #NickTrenton #

Do things that others won't—Achieve what others can't. Join Adam Smith and Adam Mayhew, who are two guys with one mission : To empower high performers to go further, using DNA-defining nutrition, mindset mechanics, sobriety and a no-nonsense approach. During this episode Smith and Mayhew discuss "The Drama Triangle", it's a social model proposed by Stephen B. Karpman. They use real-world, everyday examples to explain why the drama triangle absolutely IS a part of your life and what you need to know about it! Here's the book Mayhew mentioned: Games People Play by Eric Berne, M.D.   Adam Smith From depressed and suicidal to the happiest and fittest he's ever been, Adam Smith's self-development journey hasn't been easy but it has been worth it. Today, he's a qualified mindset coach in neuro-linguistic programming (NLP) and a certified Time Line Therapist®. Adam has coached many high performers, using NLP to rewire his clients' thoughts and behaviours so they can destroy limiting beliefs and engineer the change needed to excel. Connect with Adam Smith: https://www.linkedin.com/in/adam-smith-high-performance-coach/ Adam Mayhew Adam Mayhew swapped burnout and binge drinking for ultra marathons, CrossFit and sobriety. A registered nutritional therapist specialising in performance nutrition, Adam supports everyone from office workers to athletes to build healthy eating habits. Using science (and never fad diets, quick fixes or gym bro culture) he helps clients target their problem areas and confidently master diet, training and lifestyle. Connect with Adam Mayhew: https://www.linkedin.com/in/adam-mayhew-nutrition-coaching/   To find out more about Smith & Mayhew: https://agameconsultancy.com/about-us/

When people think of Joe South, they generally think first of Games People Play, one of the most successful protest-related songs of the late 1960s, with its distinctive electric sitar accompaniment, played by the singer and composer himself, and a bitingly prescient lyric directed at pseudo-hippy types who "while away the hours / In their ivory towers / Till they're covered up with flowers / In the back of a black limousine."South, who has died aged 72 of heart failure, won a Grammy for that million-seller and went on to write many other fine songs, including Walk a Mile in My Shoes, Down in the Boondocks, Hush and (I Never Promised You a) Rose Garden.A member, like Eddie Hinton, Dan Penn and Troy Seals, of a generation of US southern white boys who grew up listening to rhythm and blues, South was a fine guitarist who became a popular session man, performing on a series of important records, starting with Sheila, a hit in 1962 for Tommy Roe, a fellow native of Atlanta, Georgia. In 1966 he played bass guitar on much of Bob Dylan's album Blonde on Blonde, and the following year he created the shivering, menacing bottom-string guitar licks that opened and underpinned Aretha Franklin's classic Chain of Fools.It is South's playing that gives a clue to the spontaneity of the Blonde on Blonde sessions, which often lasted late into the night. The musicians were obliged to follow Dylan wherever his songs led, resulting in the occasional mistakes and missed changes – as when South fails to spot Dylan's chord shift in the second verse of Visions of Johanna, taking half a bar to adjust under the line about the nightwatchman clicking his flashlight.South was born Joseph Souter and was given a guitar by his father at the age of 11. He built a small radio station on which he played his own songs and had modified his name when, still in his teens, he had his first minor hit in 1958 with The Purple People Eater Meets the Witch Doctor, co-written with the Big Bopper (JP Richardson) to capitalise on current novelty hits. The following year Gene Vincent recorded two of his songs, I Might Have Known and Gone Gone Gone.He had made a successful career as a session musician in Muscle Shoals and Nashville when Games People Play brought him to international attention. Its title borrowed from a successful book on transactional analysis by the psychiatrist Eric Berne, the song took an unusual approach to the social tensions of the day, more oblique and unpredictable than other Dylan-influenced protest songs which topped the charts. But when it won a Grammy for best song of 1969, his problems began."The Grammy is a little like a crown," he told Robert Hilburn of the Los Angeles Times. "After you win it, you feel like you have to defend it. In a sense, I froze. I found it hard to go back into the recording studio because I was afraid the next song wouldn't be perfect."None of South's subsequent records made the top 20, but Walk a Mile in My Shoes was recorded by Elvis Presley (and later by Bryan Ferry and Coldcut), Hush took the British progressive rock band Deep Purple into the top 5 in the US and Canada in 1968, and the lilting Rose Garden gave the country singer Lynn Anderson a worldwide hit in 1971. He also produced records by the singer Sandy Posey and the folk-rock duo Friend and Lover.

Games People Play by Eric Berne M.D. published in the 1960s and recognized as a classic work of its kind by professionals. Do you realise you, and all the people you know, play games? All the time? Sexual games, marital games, complex games that you're not even aware of as you go about your usual life? The Psychology of Human Relationships "Games People Play" by Eric Berne M.D. - Book PReview Book of the Week - BOTW - Season 6 Book 26 Buy the book on Amazon https://amzn.to/3NxNVjc GET IT. READ :) #human #relationship #psychology  FIND OUT which HUMAN NEED is driving all of your behavior http://6-human-needs.sfwalker.com/ Human Needs Psychology + Emotional Intelligence + Universal Laws of Nature = MASTER OF LIFE AWARENESS https://www.sfwalker.com/master-life-awareness --- Send in a voice message: https://podcasters.spotify.com/pod/show/sfwalker/message Support this podcast: https://podcasters.spotify.com/pod/show/sfwalker/support

This episode is about what, in transactional analysis (TA), we call "racket emotions".Transactional Analysis is a psychoanalytic method of therapy developed by the Canadian psychiatrist Eric Berne in the 1950's.I often speak about our emotions, how they interfere with our eating habits (but not only) and how to address this.Racket emotions are the ones we unconsciously use to suppress the authentic ones. It's something we learn as a child as a defence mechanism or as a way to please our parents and it can stick with us if we're not aware of it.

Today on Like It Matters Mr. Black wants to go into communication. Communication is the foundation for all relationships; whether personal or professional. Dr. Eric Berne called these interactions, 'transactions'. Dr. Berne went on to call these transactions, 'the fundamental unit of social action'. Mr. Black just returned from Monterrey, Mexico. He was hired by Nidec, brought to Mexico and taught his Leadership Awakening class to professionals who DID NOT speak his language. How does one guide a team through huge transitions and not speak their native tongue? Tune into Like It Matters Radio for an hour of power as Mr. Black lays out the case for: Everything else, is everything else. Be sure to Like and Follow us on our facebook page! Get daily inspiration from our blog www.wayofwarrior.blog Learn about our non profit work at www.likeitmatters.net/nonprofit Check out our website www.LikeItMatters.NetSee omnystudio.com/listener for privacy information.

Arising from Transactional Analysis, the idea of game-play originated by Eric Berne is the subject of this episode. In any human interaction or exchange, game-play is possible. Clare and Steve explore examples they have experienced in coaching and supervision. They refer to the social and psychological messages that lie underneath games and how our need for strokes might unconsciously draw us into games.Something to explore with your supervisor!

“According to New Testament scholar Frank Stagg and classicist Evelyn Stagg,[1] the synoptic Gospels of the canonical New Testament contain a relatively high number of references to women. Evangelical Bible scholar Gilbert Bilezikian agrees, especially by comparison with literary works of the same epoch.[2]: p.82 Neither the Staggs nor Bilezikian find any recorded instance where Jesus disgraces, belittles, reproaches, or stereotypes a woman. These writers claim that examples of the manner of Jesus are instructive for inferring his attitudes toward women and show repeatedly how he liberated and affirmed women.[1] Starr writes that of all founders of religions and religious sects, Jesus stands alone as the one who did not discriminate in some way against women. By word or deed, he never encouraged the disparagement of a woman.[3] Based on the account of Jesus' interaction with a Syrophoenician woman in Mark 7:24-30 and Matthew 15:21-28, Karen King concludes that "an unnamed Gentile woman taught Jesus that the ministry of God is not limited to particular groups and persons, but belongs to all who have faith."[4] “In psychoanalytic theory, the Jocasta complex is the incestuous sexual desire of a mother towards her son.[1] Raymond de Saussure introduced the term in 1920 by way of analogy to its logical converse in psychoanalysis, the Oedipus complex, and it may be used to cover different degrees of attachment,[2] including domineering but asexual mother loves – something perhaps particularly prevalent with an absent father. The Jocasta complex is named for Jocasta, a Greek queen who unwittingly married her son, Oedipus. The Jocasta complex is similar to the Oedipus complex, in which a child has sexual desire toward their parent(s). The term is a bit of an extrapolation since in the original story Oedipus and Jocasta were unaware that they were mother and son when they married. The usage in modern contexts involves a son with full knowledge of who his mother is. Theodor Reik saw the "Jocasta mother", with an unfulfilled adult relationship of her own and an over-concern for her child instead, as a prime source of neurosis.[3] George Devereux went further, arguing that the child's Oedipal complex was itself triggered by a pre-existing parental complex (Jocasta/Laius).[4] Eric Berne also explored the other (parental) side of the Oedipus complex, pointing to related family dramas such as "mother sleeping with daughter's boyfriend ... when the mother has no son to play Jocasta with".[5] With her feminist articulation of the Jocasta Complex[6] and Laius complex[7] Bracha L. Ettinger criticizes the classical psychoanalytic perception of Jocasta, of the maternal, the feminine, and the Oedipal/castration model in relation to the mother-child links. Atossa, in the Greek tragedy The Persians, has been seen as struggling in her dreams with a Jocasta complex.[8] Some American folk tales, like Jocasta, often feature figures expressing a maternal desire for their sons.[9]” According to The Bible, Jesus' cousin John was beheaded to death and put in prison, Herod committed incestuous marriage with his brother's wife, Herod was seduced by a striptease by Herodias' daughter, and Herod wanted infant Jesus to be a fatality via infanticide. That's Biblical organized crime. Judas was a rat and snitch according to organized crime figures. --- Send in a voice message: https://anchor.fm/antonio-myers4/message Support this podcast: https://anchor.fm/antonio-myers4/support

Rob Henderson is a writer of an excellent Substack, a founding faculty of UATX, and a recent recipient of a psychology PhD. We discuss the evolution of media, the “policy left”, noblesse oblige, the Tripartite War, the meaning crisis, Eric Berne, and transactional analysis.Timestamps:0:00 Media12:00 Tiktok22:00 “Policy left”33:00 Elites and Status Competition52:00 Noblesse Oblige58:00 Parallel Status Hierarchies1:07:00 Tripartite War1:42:00 Meaning vs. Pleasure1:55:00 Eric Berne and Transactional Analysis2:39:00 Chaos and OrderRob on Substack:Twitter:https://twitter.com/robkhendersonPieces Mentioned: Get full access to From the New World at cactus.substack.com/subscribe

Når vi ikke makter å erkjenne egne motiver, eller ikke vet hva som driver oss, spiller vi ubevisste spill for å oppnå det vi ønsker.Dr. Eric Berne (1910-1970) var en fremtredende psykiater og bestselgende forfatter. Han vokste opp i Montreal, Canada, og fikk sin MD-grad fra McGill University i 1935. Han fullførte sin psykiatriutdanning i USA og gikk deretter inn i den amerikanske hæren som psykiater.Etter krigen flyttet Berne til Carmel, California. Han fortsatte arbeidet som psykiater, men følte seg stadig mer frustrert over de psykoanalytiske tilnærmingene på den tiden. Som et resultat begynte han å utvikle en ny og revolusjonerende teori, som han kalte Transactional Analysis. I 1958 publiserte han artikkelen "Transactional Analysis: A New and Effective Method of Group Therapy" hvor han skisserte denne nye tilnærmingen.Etter å ha opprettet Transactional Analysis, fortsatte Berne å utvikle og anvende denne nye metodikken. Dette førte til at han publiserte Games People Play og grunnla International Transactional Analysis Association. Han levde et aktivt liv og fortsatte sine psykoterapeut- og skrivegjerninger frem til sin død i 1970. Han etterlot seg en bemerkelsesverdig arv, inkludert etableringen av Transactional Analysis, Games People Play og 30+ andre bøker og artikler, og grunnleggelsen av International Transactional Analyseforeningen.I dagens episode skal jeg dykke ned i boken som altså heter «Games people play». Ideen i boken er at mennesker lever sine liv ved å engasjere seg i ulike “spill”. Det er ikke snakk om sjakk eller ludo, men det er snakk om mellommenneskelige spill, eller mønstre i måten å omgås på. Det er flere grunner til at mennesker spiller “relasjonelle spill”. Noen vil unngå å konfrontere virkeligheten, noen vil unngå konfrontasjon med egne følelser, noen vil unngå en erkjennelse av sine underliggende motiver, noe spiller for å rasjonalisere egne handlinger og noen spiller for å unngå for mye ansvar i eget liv.Mellom mennesker foregår det mange forskjellige spill, men vi er sjelden bevisst disse spillene. Noen spill regulerer samværet mellom mennesker på en god måte eller motiverer oss til å yte mer, mens andre spill kan ha en destruktiv effekt, og det er de destruktive mønstrene vi kan lære mer om hos Eric Berne.Velkommen til et dypdykk i motivene som lurer i skyggen av våre handlinger.  Få tilgang til ALT ekstramateriale som medlem på SinnSyns Mentale Helsestudio via SinnSyn-appen her: https://www.webpsykologen.no/et-mentalt-helsestudio-i-lomma/ eller som Patreon-Medlem her: https://www.patreon.com/sinnsyn. For reklamefri pod og bonus-episoder kan du bli SinnSyn Pluss abonnent her https://plus.acast.com/s/sinnsyn. Hosted on Acast. See acast.com/privacy for more information.

SPIRIT ANIMALJONATHAN LIVINGSTON SEAGULL by Neil Diamond (Columbia, 1973)There were alot of self-help manuals popularized in the 70's; I remember gifting my mother the book “Your Eronneous Zones” (but that's another story)…. My acting teacher in college based her syllabus on Eric Berne's “I'm Ok, You're Ok”. But one of the biggest New Age parables making the rounds was Ex-Aviator Richard Bach's Jonathan Livingston Seagull, the story of an anthropomorphized Christ-like Seagull, who has to fly off from the pack to find his true self.It was a zeitgeist sensation, and spawned a movie with this soundtrack by the immortal Neil Diamond. Maestro Diamond is currently in the middle of a career renaissance - his biographical musical A BEAUTIFUL NOISE  is playing on The Great White Way, and although he struggles with Parkinson's he continues to work on new music. No one was bigger in the 70s, and although the 1960s Neil Diamond that I loved, the Brill Building song plugger who wrote and recorded Cherry Cherry, You Got to Me, and Solitary Man had seemingly transformed himself into a borscht belt crooner, there was no denying his powers of voice and composition, no matter how cheesy the venue (The Jazz Singer?)I chuckled ironically when I pulled this tape from the pile, anticipating mounds of Velveeta. But now, listening for the first time, I am moved to tears. (This is probably because all my youthful cynicism has given up the ghost). It's a beautiful musical meditation produced by Tom Catalano, and arranged by Lee Holdridge, and Neil's voice soars, aloft on chords of longing. Indeed, the album out-grossed the movie by 10 million dollars, and garnered the 1974 Grammy for Best Original Score, demonstrating that although the radio-controlled gliders representing the flying birds in the film might have been fake, Neil's inspiration was not. 

En el episodio de hoy hablamos de cómo reescribir nuestro guión de vida y cómo cambiar patrones que nos han sido impuestos, bajo el marco de la teoría de Análisis Transaccional de Eric Berne. Si estás estableciendo tus propósitos de nuevo año, este episodio es para ti. Gracias por estar aquí. Encuéntrame en todas las redes sociales como @nancyloaz Libros: ¿Qué dice usted después de decir hola?: La psicología del destino humano, Eric Berne Los guiones que vivimos, Claude M. Steiner El guión de vida, Martorell, J. L.

Welcome to Best Friend Therapy, where we chat about what's on our minds, to get deeper in our minds, and we've come to end of Season Two already!So we're throwing in the towel, we're giving up, we're admitting defeat - oh no, wait a minute, we're not actually quitting, we're just *talking* about quitting this week. Phew!We would never abandon our lovely listeners because quitting is a bad thing... it's an admission of failure... it's a sign of weakness. Right?Well, it turns out we're not so sure and this week we'll be exploring whether quitting gets a bad press it doesn't deserve. Whether quitting can also be an active way to end something with agency. Whether fear of the unknown keeps us doing what we know, even when that unknown could be a better job, a happier relationship or an outcome that feels right.We explore how to quit aspects of a situation if you aren't ready or able to quit altogether, and we ponder whether, if something quits you, was it even right for you in the first place? Elizabeth wrestles with how to quit therapy and Emma quits trying to save everybody else.---Elizabeth references 'Adapted Child' from Eric Berne's P-A-C model which is brilliantly explained in this text: https://www.amazon.co.uk/Today-New-Introduction-Transactional-Analysis/dp/1870244028/ref=sr_1_2?adgrpid=52680008869&gclid=Cj0KCQjw9ZGYBhCEARIsAEUXITUSzQNTHrxFAt0SFN2S32O6YIlGcfQ533iG6z_dqO5i5w2s9oBuMdYaAmnUEALw_wcB&hvadid=259035468682&hvdev=c&hvlocphy=9045783&hvnetw=g&hvqmt=e&hvrand=9682401238517000128&hvtargid=kwd-298703266987&hydadcr=3222_1824632&keywords=ta+today&qid=1661272526&sr=8-2You can listen to Eckhart Tolle on Super Soul Sundays with Oprah Winfrey here: https://podcasts.apple.com/gb/podcast/eckhart-tolle-session-the-awakening-of-consciousness/id1264843400?i=1000443295402Elizabeth Kubler Ross on the Grief Cycle: https://www.amazon.co.uk/Grief-Grieving-Finding-Meaning-Through/dp/0743263448Emma uses the Gestalt terms, 'figure' and 'field' and a great introduction to Gestalt psychotherapy can be found here: https://www.amazon.co.uk/Gestalt-Counselling-Helping-People-Change/dp/0863881335---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. To contact us, email contact@bestfriendtherapy.co.uk---Social Media:Elizabeth Day @elizabdayEmma Reed Turrell @emmareedturrellBest Friend Therapy @best.friend.therapy

In this episode we unpack Canadian psychiatrist and analyst Eric Berne's 1964 book "Games People Play." This book explores... The 6 different types of social interactions The most common games people play What intimacy is and why it is so rare Links to Reading Games People Play by Eric Berne *note* reading is not required to enjoy this episode! Host: Zach Stehura UnpackingIdeas.com Guest: Sonya @selfhelpsonya on TikTok & Instagram Theme Music: Polyenso Timestamps 00:00:00 Intro 00:04:04 The 6 Types of Interactions 00:05:59 Withdrawal 00:08:09 Procedures 00:10:13 Rituals 00:11:39 Emotional Stroking 00:14:28 Calculating how many strokes to give 00:19:21 Pastimes/Small-talk 00:20:06 Types of Small-talk 00:21:08 How a host determines the pastimes people play at a party 00:24:08 The rules for small-talk 00:27:16 Why we engage in small-talk 00:28:38 The 3 Ego States 00:29:25 The Parent Ego State 00:29:45 The Child Ego State 00:30:18 The Adult Ego State 00:31:32 Complementary Transactions 00:33:31 Crossed Transactions 00:36:00 Child-Child Transaction 00:38:04 Adult-Adult Transaction 00:38:39 The 2 Levels of of an interaction (social level & psychological level) 00:39:05 Superficial Transactions 00:39:32 Ulterior Transactions 00:39:46 Flirtatious Games 00:42:32 A Thesaurus of Games 00:42:36 "Look Ma, No Hands!" 00:47:32 "Now I've got You, You Son-of-a-Bitch!" 00:52:55 "Why Don't You, Yes But..." 00:55:25 Intimacy 00:56:00 The Uncorrupted Child 00:57:39 Operations ie. stating a need directly 01:00:36 Why Most people settle for games 01:01:53 Closing Thoughts 01:03:34 Outro

Welcome to Best Friend Therapy, where we chat about what's on our minds, to get deeper in our minds, and this week we're doing something a little bit different. We're going down the rabbit hole and we're taking you with us, as Emma therapises the hell out of Elizabeth.Using Transactional Analysis techniques, Emma takes Elizabeth on a journey of self-discovery and hopefully sets you up to do the same. Bring a question or a situation of your own and follow along, as you discover your internal voices and find your way to an Adult way of seeing things. Find out why Emma loves a game of hopscotch, and why you wouldn't want to meet Silvana down a dark alley. ---This episode is based on the work of Eric Berne, who you can find out about here: https://ericberne.comAnd you can learn more about Transactional Analysis in a brilliantly accessible text here: https://www.amazon.co.uk/Today-New-Introduction-Transactional-Analysis/dp/1870244028/ref=sr_1_2?adgrpid=52680008869&gclid=Cj0KCQjw9ZGYBhCEARIsAEUXITXUrgNprG_RpeBC-2woMc3QgCJdfhqCTO2i_dkAsPSPWv-_e4s0EBYaAi9OEALw_wcB&hvadid=259035468682&hvdev=c&hvlocphy=9045783&hvnetw=g&hvqmt=e&hvrand=3426000332817789466&hvtargid=kwd-298703266987&hydadcr=3222_1824632&keywords=ta+today&qid=1661272287&sr=8-2---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. To contact us, email contact@bestfriendtherapy.co.uk---Social Media:Elizabeth Day @elizabdayEmma Reed Turrell @emmareedturrellBest Friend Therapy @best.friend.therapy

Do you realise that you and all the people you know play games with each other – all the time? It can be sexual games with a love interest, competitive games with our friends, power games with our boss, or marital games with our spouse. Regardless of the subject matter or the setting, these games are deeply integrated into our daily lives that we become oblivious to them. Developed by Eric Berne, Games People Play is an original, wise, and witty analysis of the psychology behind human relationships through these phenomena. This week, Ashto and Jonesy delve into Berne's investigation and learn how we actively or unconsciously participate in such a competitive form of social interaction. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Welcome to Best Friend Therapy, where we chat about what's on our minds, to get deeper in our minds, and this week we're bringing you a Feelings 101 - everything you ever needed to know about what we feel, why we feel, and how feelings can be our best guides when it comes to meeting our needs.Sadness, anger, fear, joy, jealousy, envy, guilt or shame. Pick your poison. There's a feeling for every situation and an action required for every feeling. This week we join the dots to help you know what action you need to take, to feel more authentic and empowered in life.Emma explains the 'core feelings' and the needs they signal, and Elizabeth tries to disarm her with the cuteness of a baby deer.---This week we reference some previous episodes of Best Friend Therapy: Games, Competition, Imposter Syndrome from Season 1, and Jealousy from Season 2."Good Reasons for Bad Feelings" is by Randolph M. Nesse: https://www.amazon.co.uk/Good-Reasons-Bad-Feelings-Evolutionary/dp/0241291089Accessible and informative summaries of Richard Erskine's work on 'Racket Feelings', Jackie Schiff's work on 'Reparenting' and Eric Berne's 'Parent-Adult-Child' model can all be found in a fantastic book called "TA Today" by Ian Stewart and Vann Joines: https://www.amazon.co.uk/Today-New-Introduction-Transactional-Analysis/dp/1870244028And thank you Merriam-Webster for confirming the true etymology of the 'fawn' response: Middle English speakers adapted an Old English word meaning "to rejoice" to create the verb faunen, which shifted in spelling over time to become fawn. That Old English word, in turn, derives from fagan, meaning "glad." Fagan is also an ancestor of the English adjective fain, whose earliest (now obsolete) meaning is "happy" or "pleased." This fawn is not, however, related to the noun fawn, referring to a young deer. For that we can thank the Latin noun fetus, meaning "offspring." Sorry Liz.---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. To contact us, email contact@bestfriendtherapy.co.uk---Social Media:Elizabeth Day @elizabdayEmma Reed Turrell @emmareedturrellBest Friend Therapy @best.friend.therapy

“I am responsible for me and my actions. You are responsible for you and your actions.” ~ Helena What would it be like if there was more of this in the world? No more You make me [fill in the blank]… (Or less of it, at least.) More I get [fill in the blank] when… instead. Where [fill in the blank] might be angry, happy, sad, upset, elated, excited, triggered. The latter provides a space for my beloved mellanrum, i.e. Swedish for ‘the space in between'. The room to pause, sense into, act rather than react. There's a next level available too, where There is [fill in the blank] when… becomes possible. Giving even more room to disengage, or, perhaps more an opportunity to not identify so strongly to whatever wants to happen in the moment. To let there be Anger. Happiness. Sadness or Upset. Elation, Excitement, Triggering. Desire, Chock or Fear. “All emotions are players on a stage, and a story without a villain is kind of a boring story, isn't it? And if it's all villains, it's not fun either.” ~ Luke All of them welcome. All of them valid. In the appropriate context, and it's all about context! If emotions weren't vilified, or ridiculed, belittled, or even worse, shamed, would it be easier to dance with them then? Would it be easier to take responsibility for my experience, and honor my boundaries with greater ease if I simultaneously own what I feel while not identifying as what I feel? “Who do I want to be? What's the culture, what's the quality of the engagement and the connection? What do I want to foster? What do I want to see more of in the world? Yes! Be that thing.” ~ Helena Who do you want to be? Luke echoed me after my rant, repeating the question back to me… and reflecting on this our third conversation, the difference between Being and Doing makes itself known to me. ‘Who do you want to be?' is the question, not ‘What do you want to do?'. Perhaps that tankespjärn can be your companion for the day? Or maybe you'll find another one, while listening! Links: Find Luke Aymon on Twitter Spökguiden with Jacques Schultze First episode with Luke where we spoke about gaming Ain't it awful, from Eric Berne's book ‘Games people play' Buddhas by the Roadside Deep Dive with Eyal Shay, podcast episode with Rachel Clifton Tankespjärn on Patreon – join us for equally rich conversations on a monthly basis

Today, I'm talking about something very dear to my heart. It's about the chaos that we are living through and it's going to get much worse. Although many things are adding to the chaos, there are actions we can take in order to experience inner peace in the midst of the chaos. Highlights One day, when I was in meditation, I heard the following: We are going into a period of great chaos. Many people will leave the planet, and the chaos in the Middle East will get so bad that people will ask, “How could a benevolent God allow this to happen?” People are being trained to be points of light in the midst of this chaos. I knew, at that moment, that I was one of the people going through that training. There are a lot of opportunities now for us to recognize that these are chaotic times. I list some of those opportunities. Our individual response to everything that is going on is a matter of brain science. Our brains are designed to warn us of danger when the outcomes are uncertain. Uncertainty causes stress, and stress is a major cause of physical and emotional dis-ease. When you make changes and move in a positive direction, that energy affects the whole world. You get to decide how you want to be in the midst of the chaos. It's okay if you're upset about what's going on, but it helps to find a way to be okay with what is and to decide what actions you want to take. You get to decide if you're willing to learn how to develop inner peace no matter what's going on. In 1788, when the Constitution was ratified, there were only 238,000 people in the entire country. People have not been taught that they have the option of choosing how they want to feel. One of the best things you can do is to connect to people who were not just like you. Ask yourself, do I want to continue living and feeling the way I do now? I believe that there is a part of you that sees the bigger picture and will guide you to what you need to live a life that allows you to express yourself. Playing "ain't it awful" does not lead to a comfortable life. If you believe that energy matters, then take a look at the energy you are generating. You have the power to create the life you want, but it doesn't happen by just doing affirmations. Action is the key. Links To receive information about the group/community I'm putting together, go to https://ProsperityPlace.com/joinnow Books I mentioned: I'm OK, You're OK by Thomas Harris Games People Play by Eric Berne

Julie and Mike discuss the Libertarian view of aggression more fully in this look at what we mean by territory. We delve into the issue of private property when it comes to internal thoughts and motivations of a citizen. We also touch on the complexity of social games as described by the famous psychiatrist, Eric Berne.audio edited by: http://JayPrescott.com

「幸運的人被童年治癒一生，不幸的人用一生治癒童年」 18歲以前，曾經受過這些不堪痛苦的孩子們，將一輩子都活在痛苦中嗎？ 「每個人生下來都是王子，卻被父母變成青蛙。心理治療的目的，就是讓青蛙再變回王子。」（艾瑞克．伯恩（Eric Berne）） 如果小時候你的父親或者是母親沒有好好照顧你，你願不願意好好的照顧自己？ 缺乏父母保護的你，願不願意讓心中那個 「陽剛、果斷、控制、自律等等的力量」稍微大聲一點點？拒絕你不想要做的事情、離開讓你不舒服的人？ 來聽聽這個反轉人生的故事吧～～ 建議收聽：

Welcome to this episode of Best Friend Therapy, where we chat about what's on our minds, to get deeper in our minds.TW: miscarriageThis week we're talking about shoulds and oughts and why we feel compelled to live our lives by some pretty tough rules at times. Elizabeth shares times in her life when structure has helped her to feel in control and Emma explains why criticism can sometimes be tough to take. Correction: Emma did not know that Tetrapak cartons were now widely recyclable. She *should* know better.---Emma refers to personality adaptations in this episode (as distinct from disorders) and you can read more about obsessive-compulsive and passive-aggressive processes in the book 'Personality Adaptations', by Vann Joines and Iain Stewart, available from all good booksellers or at https://www.amazon.co.uk/Personality-Adaptations-Understanding-Psychotherapy-Counselling/dp/187024401X Claude Steiner's book, 'Scripts People Live', offers great insights into the behavioural templates we lay down in early life. https://www.amazon.co.uk/Scripts-People-Live-Transactional-Analysis/dp/0802132103/ref=sr_1_1?adgrpid=51732384845&gclid=EAIaIQobChMIlZWvoZXz9gIVycLtCh08vgU7EAAYAiAAEgKtePD_BwE&hvadid=259059343144&hvdev=c&hvlocphy=9045896&hvnetw=g&hvqmt=e&hvrand=17815643095787796303&hvtargid=kwd-299710077529&hydadcr=24405_1748889&keywords=scripts+people+live&qid=1648826478&sr=8-1Emma quotes Eric Berne's work on ego states and the Parent-Adult-Child model. You can find out more at https://ericberne.com.---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. To contact us, email contact@bestfriendtherapy.co.uk---Social Media:Elizabeth Day @elizabdayEmma Reed Turrell @emmareedturrellBest Friend Therapy @best.friend.therapy

Welcome to this episode of Best Friend Therapy, where we chat about what's on our minds, to get deeper in our minds.This week we're talking about games. Not Monopoly, as Elizabeth discovered, but the shortcuts we take in relationships to try and get our needs met, without even realising.Relationship games are the emotional sleight of hand we use to defend our vulnerability but they rarely get us what we want. Emma explains where games stem from and why they get in our way at work and with friends, and Elizabeth looks back on her dating past to understand that what she'd needed was clear communication, not a soulmate who could mind-read. We also discuss the likeability of cheese.---Emma quotes the work of Eric Berne in this episode. You can find out more at https://ericberne.com/games-people-play/The Drama Triangle, is a model developed by Stephen Karpman and originally featured in his article: Karpman MD, Stephen (1968). "Fairy tales and script drama analysis". Transactional Analysis Bulletin. 26 (7): 39–43. You can read more about his work at https://karpmandramatriangle.com If you're interested in the therapeutic approach of Transactional Analysis, which Emma practices, a great entry point is a book by Iain Stewart and Vann Joines called TA Today, available at all good booksellers or at https://www.amazon.co.uk/Today-New-Introduction-Transactional-Analysis/dp/1870244028---Best Friend Therapy is hosted by Elizabeth Day and Emma Reed Turrell, produced by Chris Sharp. To contact us, email contact@bestfriendtherapy.co.uk---Social Media:Elizabeth Day @elizabdayEmma Reed Turrell @emmareedturrellBest Friend Therapy @best.friend.therapy

Hoy vamos a dar un recorrido a través del Análisis Transaccional de Eric Berne donde podrás encontrar un rol psicológico armonioso y funcional.

This week's episode looks at “Tomorrow Never Knows”, the making of Revolver by the Beatles, and the influence of Timothy Leary on the burgeoning psychedelic movement. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Keep on Running" by the Spencer Davis Group. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata A few things -- I say "Fairfield" at one point when I mean "Fairchild". While Timothy Leary was imprisoned in 1970 he wasn't actually placed in the cell next to Charles Manson until 1973. Sources differ on when Geoff Emerick started at EMI, and he *may* not have worked on "Sun Arise", though I've seen enough reliable sources saying he did that I think it's likely. And I've been told that Maureen Cleave denied having an affair with Lennon -- though note that I said it was "strongly rumoured" rather than something definite. Resources As usual, a mix of all the songs excerpted in this episode is available at Mixcloud.com. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. For information on Timothy Leary I used a variety of sources including The Most Dangerous Man in America by Bill Minutaglio and Steven L. Davis; Timothy Leary: Outside Looking In by Robert Forte; The Starseed Signals by Robert Anton Wilson; and especially The Harvard Psychedelic Club by Don Lattin. I also referred to both The Tibetan Book of the Dead and to The Psychedelic Experience. Leary's much-abridged audiobook version of The Psychedelic Experience can be purchased from Folkways Records. Sadly the first mono mix of "Tomorrow Never Knows" has been out of print since it was first issued. The only way to get the second mono mix is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Revolver. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start this episode, I'd like to note that it deals with a number of subjects some listeners might find upsetting, most notably psychedelic drug use, mental illness, and suicide. I think I've dealt with those subjects fairly respectfully, but you still may want to check the transcript if you have worries about these subjects. Also, we're now entering a period of music history with the start of the psychedelic era where many of the songs we're looking at are influenced by non-mainstream religious traditions, mysticism, and also increasingly by political ideas which may seem strange with nearly sixty years' hindsight. I'd just like to emphasise that when I talk about these ideas, I'm trying as best I can to present the thinking of the people I'm talking about, in an accurate and unbiased way, rather than talking about my own beliefs. We're going to head into some strange places in some of these episodes, and my intention is neither to mock the people I'm talking about nor to endorse their ideas, but to present those ideas to you the listener so you can understand the music, the history, and the mindset of the people involved, Is that clear? Then lets' turn on, tune in, and drop out back to 1955... [Opening excerpt from The Psychedelic Experience] There is a phenomenon in many mystical traditions, which goes by many names, including the dark night of the soul and the abyss. It's an experience that happens to mystics of many types, in which they go through unimaginable pain near the beginning of their journey towards greater spiritual knowledge. That pain usually involves a mixture of internal and external events -- some terrible tragedy happens to them, giving them a new awareness of the world's pain, at the same time they're going through an intellectual crisis about their understanding of the world, and it can last several years. It's very similar to the more common experience of the mid-life crisis, except that rather than buying a sports car and leaving their spouse, mystics going through this are more likely to found a new religion. At least, those who survive the crushing despair intact. Those who come out of the experience the other end often find themselves on a totally new path, almost like they're a different person. In 1955, when Dr. Timothy Leary's dark night of the soul started, he was a respected academic psychologist, a serious scientist who had already made several substantial contributions to his field, and was considered a rising star. By 1970, he would be a confirmed mystic, sentenced to twenty years in prison, in a cell next to Charles Manson, and claiming to different people that he was the reincarnation of Gurdjieff, Aleister Crowley, and Jesus Christ. In the fifties, Leary and his wife had an open relationship, in which they were both allowed to sleep with other people, but weren't allowed to form emotional attachments to them. Unfortunately, Leary *had* formed an emotional attachment to another woman, and had started spending so much time with her that his wife was convinced he was going to leave her. On top of that, Leary was an alcoholic, and was prone to get into drunken rows with his wife. He woke up on the morning of his thirty-fifth birthday, hung over after one of those rows, to find that she had died by suicide while he slept, leaving a note saying that she knew he was going to leave her and that her life would be meaningless without him. This was only months after Leary had realised that the field he was working in, to which he had devoted his academic career, was seriously broken. Along with a colleague, Frank Barron, he published a paper on the results of clinical psychotherapy, "Changes in psychoneurotic patients with and without psychotherapy" which analysed the mental health of a group of people who had been through psychotherapy, and found that a third of them improved, a third stayed the same, and a third got worse. The problem was that there was a control group, of people with the same conditions who were put on a waiting list and told to wait the length of time that the therapy patients were being treated. A third of them improved, a third stayed the same, and a third got worse. In other words, psychotherapy as it was currently practised had no measurable effect at all on patients' health. This devastated Leary, as you might imagine. But more through inertia than anything else, he continued working in the field, and in 1957 he published what was regarded as a masterwork -- his book Interpersonal Diagnosis of Personality: A Functional Theory and Methodology for Personality Evaluation. Leary's book was a challenge to the then-dominant idea in psychology, behaviourism, which claimed that it made no sense to talk about anyone's internal thoughts or feelings -- all that mattered was what could be measured, stimuli and responses, and that in a very real sense the unmeasurable thoughts people had didn't exist at all. Behaviourism looked at every human being as a mechanical black box, like a series of levers. Leary, by contrast, analysed human interactions as games, in which people took on usual roles, but were able, if they realised this, to change the role or even the game itself. It was very similar to the work that Eric Berne was doing at the same time, and which would later be popularised in Berne's book Games People Play. Berne's work was so popular that it led to the late-sixties hit record "Games People Play" by Joe South: [Excerpt: Joe South: "Games People Play"] But in 1957, between Leary and Berne, Leary was considered the more important thinker among his peers -- though some thought of him as more of a showman, enthralled by his own ideas about how he was going to change psychology, than a scientist, and some thought that he was unfairly taking credit for the work of lesser-known but better researchers. But by 1958, the effects of the traumas Leary had gone through a couple of years earlier were at their worst. He was starting to become seriously ill -- from the descriptions, probably from something stress-related and psychosomatic -- and he took his kids off to Europe, where he was going to write the great American novel. But he rapidly ran through his money, and hadn't got very far with the novel. He was broke, and ill, and depressed, and desperate, but then in 1959 his old colleague Frank Barron, who was on holiday in the area, showed up, and the two had a conversation that changed Leary's life forever in multiple ways. The first of the conversational topics would have the more profound effect, though that wouldn't be apparent at first. Barron talked to Leary about his previous holiday, when he'd visited Mexico and taken psilocybin mushrooms. These had been used by Mexicans for centuries, but the first publication about them in English had only been in 1955 -- the same year when Leary had had other things on his mind -- and they were hardly known at all outside Mexico. Barron talked about the experience as being the most profound, revelatory, experience of his life. Leary thought his friend sounded like a madman, but he humoured him for the moment. But Barron also mentioned that another colleague was on holiday in the same area. David McClelland, head of the Harvard Center for Personality Research, had mentioned to Barron that he had just read Diagnosis of Personality and thought it a work of genius. McClelland hired Leary to work for him at Harvard, and that was where Leary met Ram Dass. [Excerpt from "The Psychedelic Experience"] Ram Dass was not the name that Dass was going by at the time -- he was going by his birth name, and only changed his name a few years later, after the events we're talking about -- but as always, on this podcast we don't use people's deadnames, though his is particularly easy to find as it's still the name on the cover of his most famous book, which we'll be talking about shortly. Dass was another psychologist at the Centre for Personality Research, and he would be Leary's closest collaborator for the next several years. The two men would become so close that at several points Leary would go travelling and leave his children in Dass' care for extended periods of time. The two were determined to revolutionise academic psychology. The start of that revolution didn't come until summer 1960. While Leary was on holiday in Cuernavaca in Mexico, a linguist and anthropologist he knew, Lothar Knauth, mentioned that one of the old women in the area collected those magic mushrooms that Barron had been talking about. Leary decided that that might be a fun thing to do on his holiday, and took a few psilocybin mushrooms. The effect was extraordinary. Leary called this, which had been intended only as a bit of fun, "the deepest religious experience of my life". [Excerpt from "The Psychedelic Experience"] He returned to Harvard after his summer holiday and started what became the Harvard Psilocybin Project. Leary and various other experimenters took controlled doses of psilocybin and wrote down their experiences, and Leary believed this would end up revolutionising psychology, giving them insights unattainable by other methods. The experimenters included lecturers, grad students, and people like authors Allen Ginsberg and William Burroughs, jazz trumpeter Maynard Ferguson, and Alan Watts, who popularised Zen Buddhism in the West. Dass didn't join the project until early 1961 -- he'd actually been on the holiday with Leary, but had arrived a few days after the mushroom experiment, and nobody had been able to get hold of the old woman who knew where to find the mushrooms, so he'd just had to deal with Leary telling him about how great it was rather than try it himself. He then spent a semester as a visiting scholar at Berkeley, so he didn't get to try his first trip until February 1961. Dass, on his first trip, first had a revelation about the nature of his own true soul, then decided at three in the morning that he needed to go and see his parents, who lived nearby, and tell them the good news. But there was several feet of snow, and so he decided he must save his parents from the snow, and shovel the path to their house. At three in the morning. Then he saw them looking out the window at him, he waved, and then started dancing around the shovel. He later said “Until that moment I was always trying to be the good boy, looking at myself through other people's eyes. What did the mothers, fathers, teachers, colleagues want me to be? That night, for the first time, I felt good inside. It was OK to be me.” The Harvard Psilocybin Project soon became the Harvard Psychedelic Project. The term "psychedelic", meaning "soul revealing", was coined by the British psychiatrist Humphrey Osmond, who had been experimenting with hallucinogens for years, and had guided Aldous Huxley on the mescaline trip described in The Doors of Perception. Osmond and Huxley had agreed that the term "psychotomimetic", in use at the time, which meant "mimicking psychosis", wasn't right -- it was too negative. They started writing letters to each other, suggesting alternative terms. Huxley came up with "phanerothyme", the Greek for "soul revealing", and wrote a little couplet to Osmond: To make this trivial world sublime Take half a gramme of phanerothyme. Osmond countered with the Latin equivalent: To fathom hell or soar angelic Just take a pinch of psychedelic Osmond also inspired Leary's most important experimental work of the early sixties. Osmond had got to know Bill W., the founder of Alcoholics Anonymous, and had introduced W. to LSD. W. had become sober after experiencing a profound spiritual awakening and a vision of white light while being treated for his alcoholism using the so-called "belladonna cure" -- a mixture of various hallucinogenic and toxic substances that was meant to cure alcoholism. When W. tried LSD, he found it replicated his previous spiritual experience and became very evangelistic about its use by alcoholics, thinking it could give them the same kind of awakening he'd had. Leary became convinced that if LSD could work on alcoholics, it could also be used to help reshape the personalities of habitual criminals and lead them away from reoffending. His idea for how to treat people was based, in part, on the ideas of transactional analysis. There is always a hierarchical relationship between a therapist and their patient, and that hierarchical relationship itself, in Leary's opinion, forced people into particular game roles and made it impossible for them to relate as equals, and thus impossible for the therapist to truly help the patient. So his idea was that there needed to be a shared bonding experience between patient and doctor. So in his prison experiments, he and the other people involved, including Ralph Metzner, one of his grad students, would take psilocybin *with* the patients. In short-term follow-ups the patients who went through this treatment process were less depressed, felt better, and were only half as likely to reoffend as normal prisoners. But critics pointed out that the prisoners had been getting a lot of individual attention and support, and there was no control group getting that support without the psychedelics. [Excerpt: The Psychedelic Experience] As the experiments progressed, though, things were becoming tense within Harvard. There was concern that some of the students who were being given psilocybin were psychologically vulnerable and were being put at real risk. There was also worry about the way that Leary and Dass were emphasising experience over analysis, which was felt to be against the whole of academia. Increasingly it looked like there was a clique forming as well, with those who had taken part in their experiments on the inside and looking down on those outside, and it looked to many people like this was turning into an actual cult. This was simply not what the Harvard psychology department was meant to be doing. And one Harvard student was out to shut them down for good, and his name was Andrew Weil. Weil is now best known as one of the leading lights in alternative health, and has made appearances on Oprah and Larry King Live, but for many years his research interest was in mind-altering chemicals -- his undergraduate thesis was on the use of nutmeg to induce different states of consciousness. At this point Weil was an undergraduate, and he and his friend Ronnie Winston had both tried to get involved in the Harvard Psilocybin Project, but had been turned down -- while they were enthusiastic about it, they were also undergraduates, and Leary and Dass had agreed with the university that they wouldn't be using undergraduates in their project, and that only graduate students, faculty, and outsiders would be involved. So Weil and Winston had started their own series of experiments, using mescaline after they'd been unable to get any psilocybin -- they'd contacted Aldous Huxley, the author of The Doors of Perception and an influence on Leary and Dass' experiments, and asked him where they could get mescaline, and he'd pointed them in the right direction. But then Winston and Dass had become friends, and Dass had given Winston some psilocybin -- not as part of his experiments, so Dass didn't think he was crossing a line, but just socially. Weil saw this as a betrayal by Winston, who stopped hanging round with him once he became close to Dass, and also as a rejection of him by Dass and Leary. If they'd give Winston psilocybin, why wouldn't they give it to him? Weil was a writer for the Harvard Crimson, Harvard's newspaper, and he wrote a series of exposes on Leary and Dass for the Crimson. He went to his former friend Winston's father and told him "Your son is getting drugs from a faculty member. If your son will admit to that charge, we'll cut out your son's name. We won't use it in the article."  Winston did admit to the charge, under pressure from his father, and was brought to tell the Dean, saying to the Dean “Yes, sir, I did, and it was the most educational experience I've had at Harvard.” Weil wrote about this for the Crimson, and the story was picked up by the national media. Weil eventually wrote about Leary and Dass for Look magazine, where he wrote “There were stories of students and others using hallucinogens for seductions, both heterosexual and homosexual.” And this seems actually to have been a big part of Weil's motivation. While Dass and Winston always said that their relationship was purely platonic, Dass was bisexual, and Weil seems to have assumed his friend had been led astray by an evil seducer. This was at a time when homophobia and biphobia were even more prevalent in society than they are now, and part of the reason Leary and Dass fell out in the late sixties is that Leary started to see Dass' sexuality as evil and perverted and something they should be trying to use LSD to cure. The experiments became a national scandal, and one of the reasons that LSD was criminalised a few years later. Dass was sacked for giving drugs to undergraduates; Leary had gone off to Mexico to get away from the stress, leaving his kids with Dass. He would be sacked for going off without permission and leaving his classes untaught. As Leary and Dass were out of Harvard, they had to look for other sources of funding. Luckily, Dass turned William Mellon Hitchcock, the heir to the Mellon oil fortune, on to acid, and he and his brother Tommy and sister Peggy gave them the run of a sixty-four room mansion, named Millbrook. When they started there, they were still trying to be academics, but over the five years they were at Millbrook it became steadily less about research and more of a hippie commune, with regular visitors and long-term residents including Alan Ginsberg, William Burroughs, and the jazz musician Maynard Ferguson, who would later get a small amount of fame with jazz-rock records like his version of "MacArthur Park": [Excerpt: Maynard Ferguson, "MacArthur Park"] It was at Millbrook that Leary, Dass, and Metzner would write the book that became The Psychedelic Experience. This book was inspired by the Bardo Thödol, a book allegedly written by Padmasambhava, the man who introduced Buddhism to Tibet in the eighth century, though no copies of it are known to have existed before the fourteenth century, when it was supposedly discovered by Karma Lingpa. Its title translates as Liberation Through Hearing During the Intermediate State, but it was translated into English under the name The Tibetan Book of the Dead, as Walter Evans-Wentz, who compiled and edited the first English translation was, like many Westerners who studied Buddhism in the early part of the twentieth century, doing so because he was an occultist and a member of the Theosophical Society, which believes the secret occult masters of the world live in Tibet, but which also considered the Egyptian Book of the Dead -- a book which bears little relationship to the Bardo Thödol, and which was written thousands of years earlier on a different continent -- to be a major religious document. So it was through that lens that Evans-Wentz was viewing the Bardo Thödol, and he renamed the book to emphasise what he perceived as its similarities. Part of the Bardo Thödol is a description of what happens to someone between death and rebirth -- the process by which the dead person becomes aware of true reality, and then either transcends it or is dragged back into it by their lesser impulses -- and a series of meditations that can be used to help with that transcendence. In the version published as The Tibetan Book of the Dead, this is accompanied by commentary from Evans-Wentz, who while he was interested in Buddhism didn't actually know that much about Tibetan Buddhism, and was looking at the text through a Theosophical lens, and mostly interpreting it using Hindu concepts. Later editions of Evans-Wentz's version added further commentary by Carl Jung, which looked at Evans-Wentz's version of the book through Jung's own lens, seeing it as a book about psychological states, not about anything more supernatural (although Jung's version of psychology was always a supernaturalist one, of course). His Westernised, psychologised, version of the book's message became part of the third edition. Metzner later said "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions. The Tibetan Buddhists talked about the three phases of experience on the “intermediate planes” ( bardos) between death and rebirth. We translated this to refer to the death and the rebirth of the ego, or ordinary personality. Stripped of the elaborate Tibetan symbolism and transposed into Western concepts, the text provided a remarkable parallel to our findings." Leary, Dass, and Metzner rewrote the book into a form that could be used to guide a reader through a psychedelic trip, through the death of their ego and its rebirth. Later, Leary would record an abridged audiobook version, and it's this that we've been hearing excerpts of during this podcast so far: [Excerpt: The Psychedelic Experience "Turn off your mind, relax, float downstream" about 04:15] When we left the Beatles, they were at the absolute height of their fame, though in retrospect the cracks had already begun to show.  Their second film had been released, and the soundtrack had contained some of their best work, but the title track, "Help!", had been a worrying insight into John Lennon's current mental state. Immediately after making the film and album, of course, they went back out touring, first a European tour, then an American one, which probably counts as the first true stadium tour. There had been other stadium shows before the Beatles 1965 tour -- we talked way back in the first episodes of the series about how Sister Rosetta Tharpe had a *wedding* that was a stadium gig. But of course there are stadiums and stadiums, and the Beatles' 1965 tour had them playing the kind of venues that no other musician, and certainly no other rock band, had ever played. Most famously, of course, there was the opening concert of the tour at Shea Stadium, where they played to an audience of fifty-five thousand people -- the largest audience a rock band had ever played for, and one which would remain a record for many years. Most of those people, of course, couldn't actually hear much of anything -- the band weren't playing through a public address system designed for music, just playing through the loudspeakers that were designed for commentating on baseball games. But even if they had been playing through the kind of modern sound systems used today, it's unlikely that the audience would have heard much due to the overwhelming noise coming from the crowd. Similarly, there were no live video feeds of the show or any of the other things that nowadays make it at least possible for the audience to have some idea what is going on on stage. The difference between this and anything that anyone had experienced before was so great that the group became overwhelmed. There's video footage of the show -- a heavily-edited version, with quite a few overdubs and rerecordings of some tracks was broadcast on TV, and it's also been shown in cinemas more recently as part of promotion for an underwhelming documentary about the Beatles' tours -- and you can see Lennon in particular becoming actually hysterical during the performance of "I'm Down", where he's playing the organ with his elbows. Sadly the audio nature of this podcast doesn't allow me to show Lennon's facial expression, but you can hear something of the exuberance in the performance. This is from what is labelled as a copy of the raw audio of the show -- the version broadcast on TV had a fair bit of additional sweetening work done on it: [Excerpt: The Beatles, "I'm Down (Live at Shea Stadium)"] After their American tour they had almost six weeks off work to write new material before going back into the studio to record their second album of the year, and one which would be a major turning point for the group. The first day of the recording sessions for this new album, Rubber Soul, started with two songs of Lennon's. The first of these was "Run For Your Life", a song Lennon never later had much good to say about, and which is widely regarded as the worst song on the album. That song was written off a line from Elvis Presley's version of "Baby Let's Play House", and while Lennon never stated this, it's likely that it was brought to mind by the Beatles having met with Elvis during their US tour. But the second song was more interesting. Starting with "Help!", Lennon had been trying to write more interesting lyrics. This had been inspired by two conversations with British journalists -- Kenneth Allsop had told Lennon that while he liked Lennon's poetry, the lyrics to his songs were banal in comparison and he found them unlistenable as a result, while Maureen Cleave, a journalist who was a close friend with Lennon, had told him that she hadn't noticed a single word in any of his lyrics with more than two syllables, so he made more of an effort with "Help!", putting in words like "independence" and "insecure". As he said in one of his last interviews, "I was insecure then, and things like that happened more than once. I never considered it before. So after that I put a few words with three syllables in, but she didn't think much of them when I played it for her, anyway.” Cleave may have been an inspiration for "Norwegian Wood (This Bird Has Flown)". There are very strong rumours that Lennon had an affair with Cleave in the mid-sixties, and if that's true it would definitely fit into a pattern. Lennon had many, many, affairs during his first marriage, both brief one-night stands and deeper emotional attachments, and those emotional attachments were generally with women who were slightly older, intellectual, somewhat exotic looking by the standards of 1960s Britain, and in the arts. Lennon later claimed to have had an affair with Eleanor Bron, the Beatles' co-star in Help!, though she always denied this, and it's fairly widely established that he did have an affair with Alma Cogan, a singer who he'd mocked during her peak of popularity in the fifties, but who would later become one of his closest friends: [Excerpt: Alma Cogan, "Why Do Fools Fall in Love?"] And "Norwegian Wood", the second song recorded for Rubber Soul, started out as a confession to one of these affairs, a way of Lennon admitting it to his wife without really admitting it. The figure in the song is a slightly aloof, distant woman, and the title refers to the taste among Bohemian British people at the time for minimalist decor made of Scandinavian pine -- something that would have been a very obvious class signifier at the time. [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] Lennon and McCartney had different stories about who wrote what in the song, and Lennon's own story seems to have changed at various times. What seems to have happened is that Lennon wrote the first couple of verses while on holiday with George Martin, and finished it off later with McCartney's help. McCartney seems to have come up with the middle eight melody -- which is in Dorian mode rather than the Mixolydian mode of the verses -- and to have come up with the twist ending, where the woman refuses to sleep with the protagonist and laughs at him, he goes to sleep in the bath rather than her bed, wakes up alone, and sets fire to the house in revenge. This in some ways makes "Norwegian Wood" the thematic centrepiece of the album that was to result, combining several of the themes its two songwriters came back to throughout the album and the single recorded alongside it. Like Lennon's "Run For Your Life" it has a misogynistic edge to it, and deals with taking revenge against a woman, but like his song "Girl", it deals with a distant, unattainable, woman, who the singer sees as above him but who has a slightly cruel edge -- the kind of girl who puts you down when friends are there,  you feel a fool, is very similar to the woman who tells you to sit down but has no chairs in her minimalist flat. A big teaser who takes you half the way there is likely to laugh at you as you crawl off to sleep in the bath while she goes off to bed alone. Meanwhile, McCartney's two most popular contributions to the album, "Michelle" and "Drive My Car", also feature unattainable women, but are essentially comedy songs -- "Michelle" is a pastiche French song which McCartney used to play as a teenager while pretending to be foreign to impress girls, dug up and finished for the album, while "Drive My Car" is a comedy song with a twist in the punchline, just like "Norwegian Wood", though "Norwegian Wood"s twist is darker. But "Norwegian Wood" is even more famous for its music than for its lyric. The basis of the song is Lennon imitating Dylan's style -- something that Dylan saw, and countered with "Fourth Time Around", a song which people have interpreted multiple ways, but one of those interpretations has always been that it's a fairly vicious parody of "Norwegian Wood": [Excerpt: Bob Dylan, "Fourth Time Around"] Certainly Lennon thought that at first, saying a few years later "I was very paranoid about that. I remember he played it to me when he was in London. He said, what do you think? I said, I don't like it. I didn't like it. I was very paranoid. I just didn't like what I felt I was feeling – I thought it was an out and out skit, you know, but it wasn't. It was great. I mean he wasn't playing any tricks on me. I was just going through the bit." But the aspect of "Norwegian Wood" that has had more comment over the years has been the sitar part, played by George Harrison: [Excerpt: The Beatles, "Norwegian Wood"] This has often been called the first sitar to be used on a rock record, and that may be the case, but it's difficult to say for sure. Indian music was very much in the air among British groups in September 1965, when the Beatles recorded the track. That spring, two records had almost simultaneously introduced Indian-influenced music into the pop charts. The first had been the Yardbirds' "Heart Full of Soul", released in June and recorded in April. In fact, the Yardbirds had actually used a sitar on their first attempt at recording the song, which if it had been released would have been an earlier example than the Beatles: [Excerpt: The Yardbirds, "Heart Full of Soul (first version)"] But in the finished recording they had replaced that with Jeff Beck playing a guitar in a way that made it sound vaguely like a sitar, rather than using a real one: [Excerpt: The Yardbirds, "Heart Full of Soul (single)"] Meanwhile, after the Yardbirds had recorded that but before they'd released it, and apparently without any discussion between the two groups, the Kinks had done something similar on their "See My Friends", which came out a few weeks after the Yardbirds record: [Excerpt: The Kinks, "See My Friends"] (Incidentally, that track is sometimes titled "See My Friend" rather than "See My Friends", but that's apparently down to a misprint on initial pressings rather than that being the intended title). As part of this general flowering of interest in Indian music, George Harrison had become fascinated with the sound of the sitar while recording scenes in Help! which featured some Indian musicians. He'd then, as we discussed in the episode on "Eight Miles High" been introduced by David Crosby on the Beatles' summer US tour to the music of Ravi Shankar. "Norwegian Wood" likely reminded Harrison of Shankar's work for a couple of reasons. The first is that the melody is very modal -- as I said before, the verses are in Mixolydian mode, while the middle eights are in Dorian -- and as we saw in the "Eight Miles High" episode Indian music is very modal. The second is that for the most part, the verse is all on one chord -- a D chord as Lennon originally played it, though in the final take it's capoed on the second fret so it sounds in E. The only time the chord changes at all is on the words "once had" in the phrase “she once had me” where for one beat each Lennon plays a C9 and a G (sounding as a D9 and A). Both these chords, in the fingering Lennon is using, feel to a guitarist more like "playing a D chord and lifting some fingers up or putting some down" rather than playing new chords, and this is a fairly common way of thinking about stuff particularly when talking about folk and folk-rock music -- you'll tend to get people talking about the "Needles and Pins" riff as being "an A chord where you twiddle your finger about on the D string" rather than changing between A, Asus2, and Asus4. So while there are chord changes, they're minimal and of a kind that can be thought of as "not really" chord changes, and so that may well have reminded Harrison of the drone that's so fundamental to Indian classical music. Either way, he brought in his sitar, and they used it on the track, both the version they cut on the first day of recording and the remake a week later which became the album track: [Excerpt: The Beatles, "Norwegian Wood (This Bird Has Flown)"] At the same time as the group were recording Rubber Soul, they were also working on two tracks that would become their next single -- released as a double A-side because the group couldn't agree which of the two to promote. Both of these songs were actual Lennon/McCartney collaborations, something that was increasingly rare at this point. One, "We Can Work it Out" was initiated by McCartney, and like many of his songs of this period was inspired by tensions in his relationship with his girlfriend Jane Asher -- two of his other songs for Rubber Soul were "I'm Looking Through You" and "You Won't See Me".  The other, "Day Tripper",  was initiated by Lennon, and had other inspirations: [Excerpt: The Beatles, "Day Tripper"] John Lennon and George Harrison's first acid trip had been in spring of 1965, around the time they were recording Help! The fullest version of how they came to try it I've read was in an interview George Harrison gave to Creem magazine in 1987, which I'll quote a bit of: "I had a dentist who invited me and John and our ex-wives to dinner, and he had this acid he'd got off the guy who ran Playboy in London. And the Playboy guy had gotten it off, you know, the people who had it in America. What's his name, Tim Leary. And this guy had never had it himself, didn't know anything about it, but he thought it was an aphrodisiac and he had this girlfriend with huge breasts. He invited us down there with our blonde wives and I think he thought he was gonna have a scene. And he put it in our coffee without telling us—he didn't take any himself. We didn't know we had it, and we'd made an arrangement earlier—after we had dinner we were gonna go to this nightclub to see some friends of ours who were playing in a band. And I was saying, "OK, let's go, we've got to go," and this guy kept saying, "No, don't go, finish your coffee. Then, 20 minutes later or something, I'm saying, "C'mon John, we'd better go now. We're gonna miss the show." And he says we shouldn't go 'cause we've had LSD." They did leave anyway, and they had an experience they later remembered as being both profound and terrifying -- nobody involved had any idea what the effects of LSD actually were, and they didn't realise it was any different from cannabis or amphetamines. Harrison later described feelings of universal love, but also utter terror -- believing himself to be in hell, and that world war III was starting. As he said later "We'd heard of it, but we never knew what it was about and it was put in our coffee maliciously. So it really wasn't us turning each other or the world or anything—we were the victims of silly people." But both men decided it was an experience they needed to have again, and one they wanted to share with their friends. Their next acid trip was the one that we talked about in the episode on "Eight Miles High", with Roger McGuinn, David Crosby, and Peter Fonda. That time Neil Aspinall and Ringo took part as well, but at this point Paul was still unsure about taking it -- he would later say that he was being told by everyone that it changed your worldview so radically you'd never be the same again, and he was understandably cautious about this. Certainly it had a profound effect on Lennon and Harrison -- Starr has never really talked in detail about his own experiences. Harrison would later talk about how prior to taking acid he had been an atheist, but his experiences on the drug gave him an unshakeable conviction in the existence of God -- something he would spend the rest of his life exploring. Lennon didn't change his opinions that drastically, but he did become very evangelistic about the effects of LSD. And "Day Tripper" started out as a dig at what he later described as weekend hippies, who took acid but didn't change the rest of their lives -- which shows a certain level of ego in a man who had at that point only taken acid twice himself -- though in collaboration with McCartney it turned into another of the rather angry songs about unavailable women they were writing at this point. The line "she's a big teaser, she took me half the way there" apparently started as "she's a prick teaser": [Excerpt: The Beatles, "Day Tripper"] In the middle of the recording of Rubber Soul, the group took a break to receive their MBEs from the Queen. Officially the group were awarded these because they had contributed so much to British exports. In actual fact, they received them because the Prime Minister, Harold Wilson, had a government with a majority of only four MPs and was thinking about calling an election to boost his majority. He represented a Liverpool constituency, and wanted to associate his Government and the Labour Party with the most popular entertainers in the UK. "Day Tripper" and "We Can Work it Out" got their TV premiere on a show recorded for Granada TV,  The Music of Lennon and McCartney, and fans of British TV trivia will be pleased to note that the harmonium Lennon plays while the group mimed "We Can Work it Out" in that show is the same one that was played in Coronation Street by Ena Sharples -- the character we heard last episode being Davy Jones' grandmother. As well as the Beatles themselves, that show included other Brian Epstein artists like Cilla Black and Billy J Kramer singing songs that Lennon and McCartney had given to them, plus Peter Sellers, the Beatles' comedy idol, performing "A Hard Day's Night" in the style of Laurence Olivier as Richard III: [Excerpt: Peter Sellers, "A Hard Day's Night"] Another performance on the show was by Peter and Gordon, performing a hit that Paul had given to them, one of his earliest songs: [Excerpt: Peter and Gordon, "A World Without Love"] Peter Asher, of Peter and Gordon, was the brother of Paul McCartney's girlfriend, the actor Jane Asher. And while the other three Beatles were living married lives in mansions in suburbia, McCartney at this point was living with the Asher family in London, and being introduced by them to a far more Bohemian, artistic, hip crowd of people than he had ever before experienced. They were introducing him to types of art and culture of which he had previously been ignorant, and while McCartney was the only Beatle so far who hadn't taken LSD, this kind of mind expansion was far more appealing to him. He was being introduced to art film, to electronic composers like Stockhausen, and to ideas about philosophy and art that he had never considered. Peter Asher was a friend of John Dunbar, who at the time was Marianne Faithfull's husband, though Faithfull had left him and taken up with Mick Jagger, and of Barry Miles, a writer, and in September 1965 the three men had formed a company, Miles, Asher and Dunbar Limited, or MAD for short, which had opened up a bookshop and art gallery, the Indica Gallery, which was one of the first places in London to sell alternative or hippie books and paraphernalia, and which also hosted art events by people like members of the Fluxus art movement. McCartney was a frequent customer, as you might imagine, and he also encouraged the other Beatles to go along, and the Indica Gallery would play an immense role in the group's history, which we'll look at in a future episode. But the first impact it had on the group was when John and Paul went to the shop in late 1965, just after the recording and release of Rubber Soul and the "Day Tripper"/"We Can Work It Out" single, and John bought a copy of The Psychedelic Experience by Leary, Dass, and Metzner. He read the book on a plane journey while going on holiday -- reportedly while taking his third acid trip -- and was inspired. When he returned, he wrote a song which became the first track to be recorded for the group's next album, Revolver: [Excerpt: The Beatles, "Tomorrow Never Knows"] The lyrics were inspired by the parts of The Psychedelic Experience which were in turn inspired by the Tibetan Book of the Dead. Now, it's important to put it this way because most people who talk about this record have apparently never read the book which inspired it. I've read many, many, books on the Beatles which claim that The Psychedelic Experience simply *is* the Tibetan Book of the Dead, slightly paraphrased. In fact, while the authors use the Tibetan Book of the Dead as a structure on which to base their book, much of the book is detailed descriptions of Leary, Dass, and Metzner's hypotheses about what is actually happening during a psychedelic trip, and their notes on the book -- in particular they provide commentaries to the commentaries, giving their view of what Carl Jung meant when he talked about it, and of Evans-Wentz's opinions, and especially of a commentary by Anagarika Govinda, a Westerner who had taken up Tibetan Buddhism seriously and become a monk and one of its most well-known exponents in the West. By the time it's been filtered through so many different viewpoints and perspectives, each rewriting and reinterpreting it to suit their own preconceived ideas, they could have started with a book on the habitat of the Canada goose and ended with much the same result. Much of this is the kind of mixture between religious syncretism and pseudoscience that will be very familiar to anyone who has encountered New Age culture in any way, statements like "The Vedic sages knew the secret; the Eleusinian Initiates knew it; the Tantrics knew it. In all their esoteric writings they whisper the message: It is possible to cut beyond ego-consciousness, to tune in on neurological processes which flash by at the speed of light, and to become aware of the enormous treasury of ancient racial knowledge welded into the nucleus of every cell in your body". This kind of viewpoint is one that has been around in one form or another since the nineteenth century religious revivals in America that led to Mormonism, Christian Science, and the New Thought. It's found today in books and documentaries like The Secret and the writings of people like Deepak Chopra, and the idea is always the same one -- people thousands of years ago had a lost wisdom that has only now been rediscovered through the miracle of modern science. This always involves a complete misrepresentation of both the lost wisdom and of the modern science. In particular, Leary, Dass, and Metzner's book freely mixes between phrases that sound vaguely scientific, like "There are no longer things and persons but only the direct flow of particles", things that are elements of Tibetan Buddhism, and references to ego games and "game-existence" which come from Leary's particular ideas of psychology as game interactions. All of this is intermingled, and so the claims that some have made that Lennon based the lyrics on the Tibetan Book of the Dead itself are very wrong. Rather the song, which he initially called "The Void", is very much based on Timothy Leary. The song itself was very influenced by Indian music. The melody line consists of only four notes -- E, G, C, and B flat, over a space of an octave: [Demonstrates] This sparse use of notes is very similar to the pentatonic scales in a lot of folk music, but that B-flat makes it the Mixolydian mode, rather than the E minor pentatonic scale our ears at first make it feel like. The B-flat also implies a harmony change -- Lennon originally sang the whole song over one chord, a C, which has the notes C, E, and G in it, but a B-flat note implies instead a chord of C7 -- this is another one of those occasions where you just put one finger down to change the chord while playing, and I suspect that's what Lennon did: [Demonstrates] Lennon's song was inspired by Indian music, but what he wanted was to replicate the psychedelic experience, and this is where McCartney came in. McCartney was, as I said earlier, listening to a lot of electronic composers as part of his general drive to broaden his mind, and in particular he had been listening to quite a bit of Karlheinz Stockhausen. Stockhausen was a composer who had studied with Olivier Messiaen in the 1940s, and had then become attached to the Groupe de Recherche de Musique Concrète along with Messiaen, Pierre Boulez, Edgard Varese and others, notably Pierre Schaeffer and Pierre Henry. These composers were interested in a specific style of music called musique concrète, a style that had been pioneered by Schaeffer. Musique concrète is music that is created from, or at least using, prerecorded sounds that have been electronically altered, rather than with live instruments. Often this would involve found sound -- music made not by instruments at all, but by combining recorded sounds of objects, like with the first major work of musique concrète, Pierre Schaeffer's Cinq études de bruits: [Excerpt: Pierre Schaeffer, "Etude aux Chemins de faire" (from Cinq études de bruits)] Early on, musique concrète composers worked in much the same way that people use turntables to create dance music today -- they would have multiple record players, playing shellac discs, and a mixing desk, and they would drop the needle on the record players to various points, play the records backwards, and so forth. One technique that Schaeffer had come up with was to create records with a closed groove, so that when the record finished, the groove would go back to the start -- the record would just keep playing the same thing over and over and over. Later, when magnetic tape had come into use, Schaeffer had discovered you could get the same effect much more easily by making an actual loop of tape, and had started making loops of tape whose beginnings were stuck to their ending -- again creating something that could keep going over and over. Stockhausen had taken up the practice of using tape loops, most notably in a piece that McCartney was a big admirer of, Gesang der Jeunglinge: [Excerpt: Karlheinz Stockhausen, "Gesang der Jeunglinge"] McCartney suggested using tape loops on Lennon's new song, and everyone was in agreement. And this is the point where George Martin really starts coming into his own as a producer for the group. Martin had always been a good producer, but his being a good producer had up to this point mostly consisted of doing little bits of tidying up and being rather hands-off. He'd scored the strings on "Yesterday", played piano parts, and made suggestions like speeding up "Please Please Me" or putting the hook of "Can't Buy Me Love" at the beginning. Important contributions, contributions that turned good songs into great records, but nothing that Tony Hatch or Norrie Paramor or whoever couldn't have done. Indeed, his biggest contribution had largely been *not* being a Hatch or Paramor, and not imposing his own songs on the group, letting their own artistic voices flourish. But at this point Martin's unique skillset came into play. Martin had specialised in comedy records before his work with the Beatles, and he had worked with Peter Sellers and Spike Milligan of the Goons, making records that required a far odder range of sounds than the normal pop record: [Excerpt: The Goons, "Unchained Melody"] The Goons' radio show had used a lot of sound effects created by the BBC Radiophonic Workshop, a department of the BBC that specialised in creating musique concrète, and Martin had also had some interactions with the Radiophonic Workshop. In particular, he had worked with Maddalena Fagandini of the Workshop on an experimental single combining looped sounds and live instruments, under the pseudonym "Ray Cathode": [Excerpt: Ray Cathode, "Time Beat"] He had also worked on a record that is if anything even more relevant to "Tomorrow Never Knows". Unfortunately, that record is by someone who has been convicted of very serious sex offences. In this case, Rolf Harris, the man in question, was so well-known in Britain before his arrest, so beloved, and so much a part of many people's childhoods, that it may actually be traumatic for people to hear his voice knowing about his crimes. So while I know that showing the slightest consideration for my listeners' feelings will lead to a barrage of comments from angry old men calling me a "woke snowflake" for daring to not want to retraumatise vulnerable listeners, I'll give a little warning before I play the first of two segments of his recordings in a minute. When I do, if you skip forward approximately ninety seconds, you'll miss that section out. Harris was an Australian all-round entertainer, known in Britain for his novelty records, like the unfortunately racist "Tie Me Kangaroo Down Sport" -- which the Beatles later recorded with him in a non-racist version for a BBC session. But he had also, in 1960, recorded and released in Australia a song he'd written based on his understanding of Aboriginal Australian religious beliefs, and backed by Aboriginal musicians on didgeridoo. And we're going to hear that clip now: [Excerpt. Rolf Harris, "Sun Arise" original] EMI, his British label, had not wanted to release that as it was, so he'd got together with George Martin and they'd put together a new version, for British release. That had included a new middle-eight, giving the song a tiny bit of harmonic movement, and Martin had replaced the didgeridoos with eight cellos, playing a drone: [Excerpt: Rolf Harris, "Sun Arise", 1962 version ] OK, we'll just wait a few seconds for anyone who skipped that to catch up... Now, there are some interesting things about that track. That is a track based on a non-Western religious belief, based around a single drone -- the version that Martin produced had a chord change for the middle eight, but the verses were still on the drone -- using the recording studio to make the singer's voice sound different, with a deep, pulsating, drum sound, and using a melody with only a handful of notes, which doesn't start on the tonic but descends to it. Sound familiar? Oh, and a young assistant engineer had worked with George Martin on that session in 1962, in what several sources say was their first session together, and all sources say was one of their first. That young assistant engineer was Geoff Emerick, who had now been promoted to the main engineer role, and was working his first Beatles session in that role on “Tomorrow Never Knows”. Emerick was young and eager to experiment, and he would become a major part of the Beatles' team for the next few years, acting as engineer on all their recordings in 1966 and 67, and returning in 1969 for their last album. To start with, the group recorded a loop of guitar and drums, heavily treated: [Excerpt: "Tomorrow Never Knows", loop] That loop was slowed down to half its speed, and played throughout: [Excerpt: "Tomorrow Never Knows", loop] Onto that the group overdubbed a second set of live drums and Lennon's vocal. Lennon wanted his voice to sound like the Dalai Lama singing from a mountaintop, or like thousands of Tibetan monks. Obviously the group weren't going to fly to Tibet and persuade monks to sing for them, so they wanted some unusual vocal effect. This was quite normal for Lennon, actually. One of the odd things about Lennon is that while he's often regarded as one of the greatest rock vocalists of all time, he always hated his own voice and wanted to change it in the studio. After the Beatles' first album there's barely a dry Lennon solo vocal anywhere on any record he ever made. Either he would be harmonising with someone else, or he'd double-track his vocal, or he'd have it drenched in reverb, or some other effect -- anything to stop it sounding quite so much like him. And Geoff Emerick had the perfect idea. There's a type of speaker called a Leslie speaker, which was originally used to give Hammond organs their swirling sound, but which can be used with other instruments as well. It has two rotating speakers inside it, a bass one and a treble one, and it's the rotation that gives the swirling sound. Ken Townsend, the electrical engineer working on the record, hooked up the speaker from Abbey Road's Hammond organ to Lennon's mic, and Lennon was ecstatic with the sound: [Excerpt: The Beatles, "Tomorrow Never Knows", take one] At least, he was ecstatic with the sound of his vocal, though he did wonder if it might be more interesting to get the same swirling effect by tying himself to a rope and being swung round the microphone The rest of the track wasn't quite working, though, and they decided to have a second attempt. But Lennon had been impressed enough by Emerick that he decided to have a chat with him about music -- his way of showing that Emerick had been accepted. He asked if Emerick had heard the new Tiny Tim record -- which shows how much attention Lennon was actually paying to music at this point. This was two years before Tim's breakthrough with "Tiptoe Through the Tulips", and his first single (unless you count a release from 1963 that was only released as a 78, in the sixties equivalent of a hipster cassette-only release), a version of "April Showers" backed with "Little Girl" -- the old folk song also known as "In the Pines" or "Where Did You Sleep Last Night?": [Excerpt: Tiny Tim, "Little Girl"] Unfortunately for Emerick, he hadn't heard the record, and rather than just say so he tried bluffing, saying "Yes, they're great". Lennon laughed at his attempt to sound like he knew what he was talking about, before explaining that Tiny Tim was a solo artist, though he did say "Nobody's really sure if it's actually a guy or some drag queen". For the second attempt, they decided to cut the whole backing track live rather than play to a loop. Lennon had had trouble staying in sync with the loop, but they had liked the thunderous sound that had been got from slowing the tape down. As Paul talked with Ringo about his drum part, suggesting a new pattern for him to play, Emerick went down into the studio from the control room and made some adjustments. He first deadened the sound of the bass drum by sticking a sweater in it -- it was actually a promotional sweater with eight arms, made when the film Help! had been provisionally titled Eight Arms to Hold You, which Mal Evans had been using as packing material. He then moved the mics much, much closer to the drums that EMI studio rules allowed -- mics can be damaged by loud noises, and EMI had very strict rules about distance, not allowing them within two feet of the drum kit. Emerick decided to risk his job by moving the mics mere inches from the drums, reasoning that he would probably have Lennon's support if he did this. He then put the drum signal through an overloaded Fairfield limiter, giving it a punchier sound than anything that had been recorded in a British studio up to that point: [Excerpt: The Beatles, "Tomorrow Never Knows", isolated drums] That wasn't the only thing they did to make the record sound different though.  As well as Emerick's idea for the Leslie speaker, Ken Townsend had his own idea of how to make Lennon's voice sound different. Lennon had often complained about the difficulty of double-tracking his voice, and so Townsend had had an idea -- if you took a normal recording, fed it to another tape machine a few milliseconds out of sync with the first, and then fed it back into the first, you could create a double-tracked effect without having to actually double-track the vocal. Townsend suggested this, and it was used for the first time on the first half of "Tomorrow Never Knows", before the Leslie speaker takes over. The technique is now known as "artificial double-tracking" or ADT, but the session actually gave rise to another term, commonly used for a similar but slightly different tape-manipulation effect that had already been used by Les Paul among others. Lennon asked how they'd got the effect and George Martin started to explain, but then realised Lennon wasn't really interested in the technical details, and said "we take the original image and we split it through a double-bifurcated sploshing flange". From that point on, Lennon referred to ADT as "flanging", and the term spread, though being applied to the other technique. (Just as a quick aside, some people have claimed other origins for the term "flanging", and they may be right, but I think this is the correct story). Over the backing track they added tambourine and organ overdubs -- with the organ changing to a B flat chord when the vocal hits the B-flat note, even though the rest of the band stays on C -- and then a series of tape loops, mostly recorded by McCartney. There's a recording that circulates which has each of these loops isolated, played first forwards and then backwards at the speed they were recorded, and then going through at the speed they were used on the record, so let's go through these. There's what people call the "seagull" sound, which is apparently McCartney laughing, very distorted: [Excerpt: Tomorrow Never Knows loop] Then there's an orchestral chord: [Excerpt: Tomorrow Never Knows loop] A mellotron on its flute setting: [Excerpt: Tomorrow Never Knows loop] And on its string setting: [Excerpt: Tomorrow Never Knows loop] And a much longer loop of sitar music supplied by George: [Excerpt: Tomorrow Never Knows loop] Each of these loops were played on a different tape machine in a different part of Abbey Road -- they commandeered the entire studio complex, and got engineers to sit with the tapes looped round pencils and wine-glasses, while the Beatles supervised Emerick and Martin in mixing the loops into a single track. They then added a loop of a tamboura drone played by George, and the result was one of the strangest records ever released by a major pop group: [Excerpt: The Beatles, "Tomorrow Never Knows"] While Paul did add some backwards guitar -- some sources say that this is a cut-up version of his solo from George's song "Taxman", but it's actually a different recording, though very much in the same style -- they decided that they were going to have a tape-loop solo rather than a guitar solo: [Excerpt: The Beatles, "Tomorrow Never Knows"] And finally, at the end, there's some tack piano playing from McCartney, inspired by the kind of joke piano parts that used to turn up on the Goon Show. This was just McCartney messing about in the studio, but it was caught on tape, and they asked for it to be included at the end of the track. It's only faintly audible on the standard mixes of the track, but there was actually an alternative mono mix which was only released on British pressings of the album pressed on the first day of its release, before George Martin changed his mind about which mix should have been used, and that has a much longer excerpt of the piano on it. I have to say that I personally like that mix more, and the extra piano at the end does a wonderful job of undercutting what could otherwise be an overly-serious track, in much the same way as the laughter at the end of "Within You, Without You", which they recorded the next year. The same goes for the title -- the track was originally called "The Void", and the tape boxes were labelled "Mark One", but Lennon decided to name the track after one of Starr's malapropisms, the same way they had with "A Hard Day's Night", to avoid the track being too pompous. [Excerpt: Beatles interview] A track like that, of course, had to end the album. Now all they needed to do was to record another thirteen tracks to go before it. But that -- and what they did afterwards, is a story for another time. [Excerpt, "Tomorrow Never Knows (alternate mono mix)" piano tag into theme music]

¿Por qué muchas veces cometemos los mismos errores que nuestras madres, padres o abuelos cuando estamos en pareja? ¿Cómo sanamos nuestro pasado para ser una mejor compañera/o de vida? ¿Qué es ser codependiente? ¿Cuáles son los riesgos para nuestra salud al ser codependientes? En "A que no te atreves" nos acompaña Gloria Noriega Gayol, directora del Instituto Mexicano de Análisis Transaccional, doctora en psicología clínica y salud mental publica y autora del libro "El guión de la codependencia en relaciones de pareja, diagnóstico y tratamiento" y ganadora del Premio en Memoria de Eric Berne 2008. Con ella descubrimos lo que podemos hacer para que nuestro matrimonio o incluso noviazgo funcione trabajando en nosotras mismas/os primero para luego desarrollar relaciones sanas al tiempo que liberamos a nuestro linaje y a las nuevas generaciones de esas situaciones dolorosas que seguimos repitiendo y no nos permiten avanzar. Síguenos en el Instagram de @aquenoteatrevescontaniachaidez

Destructive behavior takes various forms: from subtle self-sabotage and self-defeating patterns to passive hostility to severe self-destructive symptoms, violent aggression and, sometimes, evil deeds. Commonly, destructive behavior in adults bears the impetuous, impulsive quality of childish petulance or narcissistic temper tantrums. Or an infantile neediness, dependency, and dread of abandonment. Or an irresponsibility and angry refusal to be an adult: the Peter Pan syndrome, or what Jungians refer to as a puer or puella complex. The archetypal Jungian notion of the puer aeternus (male) or (female) puella aeterna--the eternal child--provides the basis for what has come in pop psychology and self-help movements (see, for example, the writings of Dr. Eric Berne, Dr. Alice Miller, or John Bradshaw) to be known as the inner child. What exactly is this so-called inner child? Does it truly exist? And why should we care? To begin with, the inner child is real. Not literally. Nor physically. But figuratively, metaphorically real. It is--like complexes in general--a psychological or phenomenological reality, and an extraordinarily powerful one at that. Indeed, most mental disorders and destructive behavior patterns are, as Freud first intimated, more or less related to this unconscious part of ourselves. We were all once children, and still have that child dwelling within us. But most adults are quite unaware of this. And this lack of conscious relatedness to our own inner child is precisely where so many behavioral, emotional and relationship difficulties stem from. Tune in and learn about this incredible experience all of us have!

Chloe Ballatore Better Relationships, Better Life with Judy Herman Episode 004: Yin and Yang of Relationships Chloe Ballatore is a Relationship & Communication Expert; and a graduate of Princeton University and the WANT Institute. She uses tools derived from Eric Berne's Transactional Analysis (author of THE GAMES PEOPLE PLAY) and Pat Allen's (of MILLIONAIRE MATCHMAKER) Androgynous Semantic Realignment. In simpler terms, this means she helps people change their lives and get the love they want by balancing their yin and yang energies. She is her own first success story and is now twenty years married. Listen to this insightful episode of Better Relationships, Better Life, full of relationship and parenting advice: Here is what to expect on this week's show: ● The ancient philosophies that serve as a foundation for Chloe's work ● A look inside Chloe's books ● The circumstances that made Chloe want to become a relationship & communication expert, and how they affected her marriage ● Impactful communication tips from Judy and Chloe that you can bring to your relationship ● Tips on raising a family in a way that breaks with generational family patterns of that you don't want to repeat Connect with Chloe: WEBSITE: https://chloesconsciousnesstraining.squarespace.com/ LINKEDIN: https://www.linkedin.com/in/chloe-ballatore-ab80755/ YOUTUBE: https://www.youtube.com/channel/UCoLqAmbtotYclh-lmebobdA INSTAGRAM: https://www.instagram.com/chloes_consciousness_training/ Learn more about your ad choices. Visit megaphone.fm/adchoices

GUESS WHO IS BACK!!!! ME!!! For real this time! I am back from moving and just taking a break and I have missed you all... I did an interview with a friend and fellow classmate of mine Jonas Bull who is a polymath: anthropologist, technologist, podcaster, ultra-runner, and terrible guitarist. His reason for being is simple: present knowledge to others in a way that makes them think. He believes that this is important - and dangerous and he inspires people to have ideas. He is the Owner of Toro Strategic, host of the Education is Painful podcast, and co-host of Noonish Sports & Tech Show. He came with a story of how he had to forgive himself and having to get rid of destructive habits, this was a powerful interview and I encourage you all to listen in! Also for all listeners please leave a 5 star written review on iTunes, it helps the podcast get more reach, I appreciate you! Jonas Bull: Instagram: https://www.instagram.com/jonasbu11/ LinkedIn: https://www.linkedin.com/in/thejonas/ Education is Painful Podcast: https://open.spotify.com/show/0mOIUcuWmj8rlaoIwjNdcS NOONISH Sports & Tech: https://podcasts.apple.com/us/podcast/noonish-sports-tech/id1558063578 Show Notes: When Jonas spoke about working with former Baltimore Ravens star, Mark Clayton, I pulled out my Lamar Jackson Funko Pop toy! Yes I was pressed and I am a proud Ravens fan! Jonas spoke on the Drama Triangle which was developed by Stephen Karpman, M.D. The triangle includes the victim, rescuer, persecutor and is a dynamic model of social interaction and conflict developed by Dr. Karpman when he was a student of Eric Berne, M.D. father of transactional analysis. (https://lindagraham-mft.net/triangle-victim-rescuer-persecutor-get/) "I have shown you in every way, by laboring like this, that you must support the weak. And remember the words of the Lord Jesus, that He said, ‘It is more blessed to give than to receive.'" Acts 20:25 New King James Version (NKJV) "Where there is no counsel, the people fall; But in the multitude of counselors there is safety." Proverbs 11:14 NKJV Story of the Prodigal Son - Luke 15:11-32 NKJV Schedule a Coaching Session with Me!: https://dwaynestaten.setmore.com/ My Social Media: The Power of Forgiveness Instagram Page: https://www.instagram.com/dwaynestaten/ **New TikTok Page!!** https://www.tiktok.com/@dwaynestaten? Leave me a Voice Message! https://anchor.fm/dwayne-staten5/message Music: Moody by Jay Someday https://soundcloud.com/jaysomeday Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/_moody Music promoted by Audio Library https://youtu.be/WJHTZpx9d2o