Podcasts about Metzner

Charlie Metzner, Founder of the St Louis Hero Network, joins John Hancock and Chris Rongey previewing 'Brian McKenna Day' celebrating the life of the St Louis broadcaster who was killed in a car crash this spring. 'If you don't like Brian, there's probably something wrong with you,' says Metzner.

Peter is a facilitator, trainer, keynote speaker and coach who through presentations, workshops, seminars, coaching and consulting helps leaders, teams and organizations better engage and align staff to business drivers and the organization's mission. Peter helps leaders develop the self-awareness, self-mastery and interpersonal skills that enable sustainable high performance and high functioning teams. Through experiential learning and a practical down to earth style, clients learn to implement behaviors that lead to greater individual, team and organizational effectiveness. Peter's focus includes: preventing executive derailment, transformational leadership and creating high performing teams. His approach focuses on clients creating self reinforcing and sustainable positive movement leading towards personal and professional breakthroughs and sustainable organizational effectiveness. Peter is a certified Peoplemap™ Trainer. He is also Everything DISC and MBTI certified. He has served as Vice President of Client Relations and Program Development for The Leadership Trust. Before joining the Trust, he was employed by the Center for Creative Leadership, where he helped customize executive development and training programs for major businesses and corporations. Peter also taught Psychology at Vance Granville Community College. Currently Peter facilitates seminars on Leadership and High Performing Teams at UNC Chapel Hill, Duke University Medical Center and The International Coaching Federation. He has recently been the Keynote Speaker for the Georgia University System's Staff Council Conference.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.

Le 17 mars 2013, le célèbre avocat parisien, Olivier Metzner, est retrouvé mort près de son île privée dans le golfe du Morbihan. L'autopsie conclut à un suicide. Derrière lui, l'avocat ne laisse aucune explication. Pourtant, depuis 20 ans, gravite dans l'entourage d'Olivier Metzner, un dandy gigolo au parcours jonché de morts suspectes... Alexandre Despallières. La voix du crime de cet épisode est Sophie Bonnet. Au micro d'Agnès Bonfillon, la journaliste explique pourquoi elle est convaincue que cet homme à la beauté magnétique est impliqué dans le suicide de ce ponte du barreau de Paris. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Metzner, Fabian www.deutschlandfunkkultur.de, Studio 9

This episode features Cathy Coleman, Ph.D., a former dean of students at California Institute of Integral Studies, president of Kepler College, and director of IONS' EarthRise Retreat Center. We discuss her new anthology, Ralph Metzner, Explorer of Consciousness: The Life and Legacy of a Psychedelic Pioneer. Cathy was Ralph Metzner's wife of 31 years, and they worked closely together. We discuss the vast impact of Ralph Metzner's healing therapies and wisdom on colleagues, students, clients, and the fields in which he worked. Renowned as a pioneering psychologist, psychedelic elder, alchemical explorer, and shamanic teacher, the late Ralph Metzner (1936–2019) contributed profoundly to consciousness research, transpersonal psychology, and contemporary psychedelic studies across his more than 50 year career. Metzner was also an influential teacher of our host (Sam Mickey), who contributed a chapter to this wonderful volume.

Peter incorporates dream work in his highly acclaimed life, leadership coaching and training programs. He works extensively with dreams where he teaches Psychology at Vance-Granville Community College, Leadership and Innovation at Elon University as well as Peace College in Raleigh, NC. He has researched and studied dreams through the Journey Through Wholeness, Triangle Jung Society, Robert Johnson, Barry Williams, Jeremy Taylor, John Ryan Haule and others. He has written articles on Leadership and Dream work and has given key note Presentations as well as workshops on dreams to organizations such as the National Wellness Institute, Center For Creative Leadership, and the NC Association of Business Coaches. He has also facilitated classes on Dreams for the Institute for Life Coach Training. Prior to creating Dynamic Change, Inc., he has served as Vice President of Client Relations and Program Development for The Leadership Trust and was employed by the Center for Creative Leadership in Greensboro, NC. More information is on his web site at www.dynamicchangeinc.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.

Mit Helmut Metzner (FDP), dem geschäftsführenden Vorstand der Bundesstiftung Magnus Hirschfeld, sprach Cornelia Kost in der Britischen Botschaft in Berlin über die Streitkultur in der Community, über die, ihrer Meinung nach, Transfeindlichkeit der Zeitschrift SCHWULISSIMO und der Initiative Queer Nations*, seine Haltung zum Begriff "Queer", zur Situation in Großbritannien und den USA und seine Einschätzung zur Bundestagswahl. Weiterlesen →

Peter is a facilitator, trainer, keynote speaker and coach who through presentations, workshops, seminars, coaching and consulting helps leaders, teams and organizations better engage and align staff to business drivers and the organization's mission. Peter helps leaders develop the self-awareness, self-mastery and interpersonal skills that enable sustainable high performance and high functioning teams. Through experiential learning and a practical down to earth style, clients learn to implement behaviors that lead to greater individual, team and organizational effectiveness. Peter's focus includes: preventing executive derailment, transformational leadership and creating high performing teams. His approach focuses on clients creating self reinforcing and sustainable positive movement leading towards personal and professional breakthroughs and sustainable organizational effectiveness. Peter is a certified Peoplemap™ Trainer. He is also Everything DISC and MBTI certified. He has served as Vice President of Client Relations and Program Development for The Leadership Trust. Before joining the Trust, he was employed by the Center for Creative Leadership, where he helped customize executive development and training programs for major businesses and corporations. Peter also taught Psychology at Vance Granville Community College. Currently Peter facilitates seminars on Leadership and High Performing Teams at UNC Chapel Hill, Duke University Medical Center and The International Coaching Federation. He has recently been the Keynote Speaker for the Georgia University System's Staff Council Conference.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.

In this first Time WARP episode, WARP chats to Keely Waters, Kai Metzner and Jesse Hunt in a special 2024 WA Middle Distance Compilation Episode.  Keely Waters and Kai Metzner joined Dan back on the 29th July 2024 as co-hosts in Episode 042 and shared their expertise on all things middle distance.  We finish the episode with an interview with Jesse Hunt who spoke with Sinead, Matt and Dan back on the 4th March 2024 in Episode 022. Jesse Hunt is a West Aussie turning heads in the men's national 1500m scene. We discuss his early days at Karrinyup Little Athletics and John Septimus Roe, his time as a college athlete at the University of North Carolina and personal bests as a professional athlete for the OAC Oceania team.  Hope you're having a great break, and we'll see you in 2025! Reach out and connect! Instagram: @warunningpod Email: warunningpodcast@gmail.com  Strava: https://www.strava.com/clubs/WARP

My dear friend, Alan Levin, interviewed me for his podcast Crossing the Boundary. I first met Alan in a Ralph Metzner circle, and we have been dear friends for decades now, sharing many, deep transformational moments together both on and off the mat. It was an honor to be featured on his podcast and to share tales of our time together with Ralph. Alan's connection with Ralph predates mine by many years, and it was fun to journey back in time together to reminisce about one of our most important teachers.   Here's what Alan wrote in the email he sent out promoting this podcast: Carla and I were in ceremonial spaces together many times with the masterful guide, Ralph Metzner. Metzner's approach to psychedelic ceremonies included what he called “divinations,” purposeful inner journeys for opening to divine guidance and healing. He would take us through mythic realms and lead us through spiritual practices, some of which aimed to heal wounded parts of ourselves and explore our relationship to the physical, psychological and spiritual aspects of male and female consciousness.   Through her work as an integration coach and through her podcast series, Psychedelic Divas, Carla supports people in the preparation and integration of psychedelic journeys. She is passing along the legacy of Metzner's wisdom teachings. Her emphasis, as the podcast name makes clear, is on the feminine. While ultimately, we all need to balance the male/female within, the long suppression of the feminine in humanity calls for us to highlight that aspect of our nature. We need an affirmative action focus of our attention on HER for our personal benefit, and for the much-needed transformation of the collective human consciousness.   Learn more about Alan's work here: www.CrossingTheBoundary.org   Watch more episodes of Alan's YouTube series   Listen to more episodes of Alan's podcast   Check out Alan's useful handbook: Preparation for a Sacred Psychedelic Journey    Watch this episode on the Psychedelic Divas YouTube Channel    Get your Psychedelic Safety Guide Including What to Do When Things Go Wrong    Follow Psychedelic Divas on Instagram  

Charlie Metzner with St. Louis Hero Network: McGraw Show 11 - 26 - 24 by

Charlie Matzner from the St. Louis Hero Network previews Guns n' Hoses and lets YOU know how you can support local veterans heading into the holiday season.

Schön, dass du hierher gefunden hast! Wir würden es lieben, mit dir in Kontakt zu treten und dich kennenzulernen. In der Freien Christengemeinde Langwasser bist du jederzeit HERZLICH WILLKOMMEN. Bei uns wird GEMEINSCHAFT groß geschrieben und eine Kultur gelebt, in der gesundes Wachstum möglich ist. --------------------------------------------------------------------------------------- Webseite: https://fcl.church Spenden: https://fcl.church/geben Kontakt: https://fcl.church/kontakt Facebook: https://www.facebook.com/meine.fcl.ch... Instagram: https://www.instagram.com/fcl_church/ --------------------------------------------------------------------------------------- Freie Christengemeinde Langwasser Annette-Kolb-Str. 63 90471 Nürnberg

Explore the fascinating world of ritual and animism in psychology! This in-depth look covers the evolution of human consciousness, psychotic experiences, and therapeutic approaches. From James Frazer's "The Golden Bough" to Julian Jaynes' bicameral mind theory, discover how our understanding of the human psyche has evolved. Learn about the changing nature of psychosis in America and how it reflects societal shifts. Dive into the works of Jung, Edinger, and Neumann to understand the role of animism in psychological development. Perfect for psychology students, therapists, and anyone interested in the intersection of spirituality and mental health.   #PsychologyOfRitual #AnimismExplained #ConsciousnessEvolution #PsychologyOfRitual #AnimismExplained #ConsciousnessEvolution #JulianJaynes #BicameralMind #JamesFrazer #GoldenBough #PsychosisInAmerica #JungianPsychology #TherapeuticApproaches #SpiritualPsychology #MentalHealthAwareness #CollectiveTrauma #SymbolicThinking #RitualHealing   What is the Psychology of Ritual and Animism? Ritual and animism are distinct but related concepts that offer insights into the workings of the emotional and preconscious mind. While they are often associated with religious or spiritual practices, they can also be understood as psychological processes that serve important functions in human development and well-being (Edinger, 1972; Neumann, 1955). Animism can be defined as the attribution of consciousness, soul, or spirit to objects, plants, animals, and natural phenomena. From a psychological perspective, animism involves "turning down" one's cognitive functioning to "hear" the inner monologue of the world and treat it as alive. This process allows individuals to connect with the preconscious wisdom of their own psyche and the natural world (Tylor, 1871). Ritual, on the other hand, is a structured sequence of actions that are performed with the intention of achieving a specific psychological or social outcome. In depth psychology, ritual is understood as a process of projecting parts of one's psyche onto objects or actions, modifying them, and then withdrawing the projection to achieve a transformation in internal cognition (Moore & Gillette, 1990). It is important to note that animism and ritual are not merely primitive or outdated practices, but rather reflect a natural state of human consciousness that has been suppressed or "turned off" by cultural and environmental changes, rather than evolutionary ones. This natural state can still be accessed through various means, including psychosis, religious practices, and intentional ritualistic behaviors (Grof, 1975). In times of extreme stress or trauma, individuals may experience a breakdown of their normal cognitive functioning, leading to a resurgence of animistic or ritualistic thinking. This can be seen in the delusions and hallucinations associated with psychosis, which often involve a heightened sense of meaning and connection with the environment (Jaynes, 1976). Similarly, many religious and spiritual traditions incorporate practices that deliberately induce altered states of consciousness, such as meditation, chanting, or the use of psychoactive substances. These practices can help individuals access the preconscious wisdom of their own minds and connect with the living world around them (Eliade, 1959). Even in secular contexts, engaging in intentional ritualistic behaviors, such as art-making, dance, or storytelling, can serve a similar function of integrating the emotional and preconscious aspects of the psyche. By creating a safe, structured space for self-expression and exploration, these practices can promote psychological healing and growth (Turner, 1969). James Frazer and "The Golden Bough" James Frazer (1854-1941) was a Scottish anthropologist and folklorist who made significant contributions to the study of mythology, religion, and ritual. His most famous work, "The Golden Bough" (1890), was a comparative study of mythology and religion that identified common patterns and themes across cultures. Frazer's work was influenced by the concept of animism, which had been introduced by Edward Tylor (1832-1917) as a primitive form of religion. Frazer saw ritual as a means of controlling the supernatural world through sympathetic magic, which operated on the principles of homeopathic magic (the belief that like produces like) and contagious magic (the belief that things that have been in contact continue to influence each other) (Frazer, 1890). The title of Frazer's work, "The Golden Bough," was a reference to the mythical golden bough in the sacred grove at Nemi, Italy. According to the myth, the priest of the grove had to defend his position against challengers, and the successful challenger plucked the golden bough and replaced the priest. Frazer saw this story as a symbol of the cycle of death and rebirth in nature and in human society (Frazer, 1890). Frazer's work was significant in highlighting the prevalence of animistic thinking across cultures and throughout history. He observed that many cultures engaged in practices that attributed consciousness and agency to natural objects and phenomena, such as trees, rivers, and celestial bodies (Frazer, 1890). While Frazer's interpretations of these practices were shaped by the ethnocentric assumptions of his time, his work laid the foundation for later anthropological and psychological studies of animism and ritual. By identifying common patterns and themes across cultures, Frazer helped to establish the comparative study of religion as a legitimate field of inquiry. However, Frazer's work has also been criticized for its reliance on secondary sources and its lack of fieldwork, as well as for its oversimplification and overgeneralization of complex cultural phenomena. His evolutionary view of human thought, which posited a progression from magic through religion to science, has been challenged by later scholars who emphasize the coexistence and interplay of these different modes of thinking (Tylor, 1871). Despite these limitations, Frazer's work remains an important touchstone in the study of animism and ritual, and his insights continue to influence contemporary debates about the nature of religion and the evolution of human consciousness. Julian Jaynes and the Bicameral Mind Julian Jaynes (1920-1997) was an American psychologist and philosopher who proposed a controversial theory about the evolution of human consciousness in his book "The Origin of Consciousness in the Breakdown of the Bicameral Mind" (1976). Jaynes argued that the human mind had once operated in a state of bicameralism, where cognitive functions were divided between two chambers of the brain. In this state, the "speaking" right hemisphere issued commands, which were experienced as auditory hallucinations, while the "listening" left hemisphere obeyed. Jaynes proposed that the breakdown of this bicameral mind led to the development of consciousness and introspection (Jaynes, 1976). According to Jaynes, the bicameral mind was a normal and universal feature of human cognition until about 3,000 years ago, when a combination of social, environmental, and linguistic changes led to its breakdown. He argued that the development of written language, the rise of complex civilizations, and the increasing use of metaphorical language all contributed to the emergence of self-awareness and inner dialogue (Jaynes, 1976). Jaynes' theory has been criticized for its lack of direct archaeological or biological evidence, as well as for its reliance on literary interpretation rather than empirical data. Some scholars have argued that Jaynes' interpretation of ancient texts and artifacts is selective and biased, and that his theory oversimplifies the complex processes involved in the development of consciousness (Wilber, 1977). However, Jaynes' work has also been praised for its originality and its interdisciplinary approach, which draws on insights from psychology, anthropology, linguistics, and history. His theory has inspired a wide range of research and speculation about the nature of consciousness and the role of language in shaping human cognition (Huxley, 1945). From the perspective of animism and ritual, Jaynes' theory offers an interesting perspective on the experience of "hearing" the world speak. The bicameral mind can be seen as a metaphor for the animistic experience of perceiving the natural world as alive and conscious, and of receiving messages or commands from a higher power (Otto, 1917). Jaynes himself drew parallels between the bicameral experience and certain forms of religious or mystical experience, such as prophecy, possession, and divine inspiration. He argued that these experiences reflect a residual capacity for bicameral cognition, which can be triggered by certain environmental or psychological factors (Jaynes, 1976). However, Jaynes also emphasized the differences between bicameral and conscious cognition, and he argued that the development of consciousness marked a significant evolutionary shift in human history. He saw the breakdown of the bicameral mind as a necessary step in the emergence of individual agency, creativity, and moral responsibility (Jaynes, 1976). While Jaynes' theory remains controversial and speculative, it offers a provocative framework for thinking about the relationship between language, consciousness, and the experience of the sacred. By highlighting the role of auditory hallucinations and inner speech in shaping human cognition, Jaynes invites us to consider the ways in which our mental processes are shaped by cultural and environmental factors, as well as by our evolutionary history. The Changing Nature of Psychotic Experience in America Research has shown that the content and themes of psychotic experiences in America have shifted over time, reflecting the underlying insecurities and forces shaping the collective psyche. Before the Great Depression, psychotic experiences were predominantly animistic, with people hearing "spirits" tied to natural phenomena, geography, or ancestry. These experiences were mostly pleasant, even if relatively disorganized. During the Depression, the voices shifted to being more fearful, begging or asking for food, love, or services. They were still not terribly distressing and often encouraged empathy. In the 1950s and 1960s, the voices became universally distressing, antagonistic, manipulative, and harmful. Themes of hierarchical control through politics, surveillance, and technology emerged. From the 1970s through the 1990s, technology, esoteric conspiratorial control, and the supernatural became the dominant content. Surveillance, coercion, and control were central features. These changes in the nature of psychosis reflect the evolution of collective trauma and the manifestation of unintegrated preconscious elements in the American psyche. As society shifted from an agrarian to an industrial and then to a post-industrial economy, the anxieties and insecurities of each era found expression through the content of psychotic experiences. Interestingly, UFO conspiracy theories have emerged as a prominent manifestation of these unintegrated preconscious elements in the modern era. These theories often involve themes of surveillance, control, and the supernatural, mirroring the dominant features of psychosis from the 1970s onwards. UFO conspiracy theories can be seen as a way for individuals to make sense of their experiences of powerlessness and disconnection in a rapidly changing world, by attributing them to external, otherworldly forces. The case of Heaven's Gate, a UFO religious millenarian group, illustrates this intersection of technology, spirituality, and psychosis. The group's leader, Marshall Applewhite, reinterpreted Christian theology through the lens of science fiction and technology, convincing his followers that their bodies were merely vehicles to be abandoned in order to ascend to a higher level of existence on a UFO. This tragic case highlights how unintegrated preconscious elements can manifest in extreme and destructive ways when left unaddressed. It is important to note that not all UFO experiences are indicative of psychosis, and conversely, not all psychotic experiences involve UFOs or conspiracy theories. In schizophrenia, for example, auditory hallucinations are the most common symptom, while visual hallucinations are relatively rare unless drugs or severe trauma are involved. UFO experiences, on the other hand, often involve a complex interplay of factors, including altered states of consciousness, sleep paralysis, false memories, and cultural narratives. Nonetheless, the changing nature of psychotic experiences in America highlights the profound impact that societal and environmental stressors can have on the preconscious mind. By understanding how these stressors shape the content and themes of psychosis, we can gain insight into the deeper anxieties and insecurities that plague the American psyche. This understanding can inform more comprehensive and compassionate approaches to mental health treatment, which address not only the symptoms of psychosis but also the underlying social and cultural factors that contribute to its development. Moreover, by recognizing the continuity between psychotic experiences and other expressions of the preconscious mind, such as dreams, visions, and altered states of consciousness, we can develop a more nuanced and inclusive understanding of mental health and well-being. Rather than pathologizing or dismissing these experiences, we can learn to approach them with curiosity, openness, and respect, and to explore their potential for insight, growth, and transformation. Ritual as a Psychological Process The work of anthropologists Victor Turner (1920-1983) and Robert Moore (1942-2016) has shed light on the psychological dimensions of ritual and its role in personal and social transformation. Turner's concepts of liminality (the transitional state in ritual where participants are "betwixt and between") and communitas (the sense of equality and bond formed among ritual participants) highlight the transformative potential of ritual. By creating a safe, liminal space for psychological exploration and change, ritual can help individuals process and integrate traumatic experiences and achieve personal growth (Turner, 1969). Turner argued that rituals serve an important function in helping individuals navigate the challenges and transitions of life, such as birth, puberty, marriage, and death. He saw rituals as a way of marking and facilitating these transitions, by providing a structured and meaningful context for the expression and transformation of emotions (Turner & Turner, 1978). Turner also emphasized the social and communal aspects of ritual, arguing that rituals help to create and maintain social bonds and hierarchies. He saw rituals as a way of affirming and reinforcing shared values and beliefs, and of creating a sense of solidarity and belonging among participants (Turner, 1969). Moore, in his books "King, Warrior, Magician, Lover" (1990) and "The Archetype of Initiation" (2001), emphasized the importance of ritual in modern society for personal development and social cohesion. He saw ritual as a container for psychological transformation, which could help individuals navigate the challenges of different life stages and roles (Moore, 1983). Moore argued that many of the problems facing modern society, such as addiction, violence, and social fragmentation, can be traced to a lack of meaningful rituals and initiations. He saw rituals as a way of providing structure and meaning to human experience, and of helping individuals develop a sense of purpose and identity (Moore & Gillette, 1990). Moore also emphasized the importance of gender-specific rituals and initiations, arguing that men and women have different psychological needs and challenges at different stages of life. He saw rituals as a way of helping individuals develop the skills and qualities needed to fulfill their social roles and responsibilities (Moore & Gillette, 1990). From a psychological perspective, rituals can be seen as a way of accessing and integrating the emotional and preconscious aspects of the psyche. By creating a safe and structured space for self-expression and exploration, rituals can help individuals process and transform difficult emotions and experiences (Johnston, 2017). Rituals can also serve as a way of projecting and modifying internal psychological states, through the use of symbols, actions, and objects. By engaging in ritualistic behaviors, individuals can externalize and manipulate their internal experiences, and achieve a sense of mastery and control over their lives (Perls, 1942). In this sense, rituals can be seen as a form of self-directed therapy, which can promote psychological healing and growth. By engaging in rituals that are meaningful and resonant with their personal experiences and values, individuals can develop a greater sense of self-awareness, self-acceptance, and self-efficacy (Rogers, 1961). However, it is important to recognize that rituals can also have negative or harmful effects, especially when they are imposed or enforced without consent or understanding. Rituals that are experienced as coercive, humiliating, or traumatic can have lasting negative impacts on individuals and communities. Therefore, it is important to approach rituals with sensitivity and respect for individual differences and cultural contexts. Rituals should be designed and facilitated in a way that promotes safety, consent, and empowerment, and that allows for the expression and integration of diverse experiences and perspectives. Animism and Psychological Evolution The work of Jungian analysts Edward Edinger (1922-1998) and Erich Neumann (1905-1960) provides insight into the psychological function of animistic beliefs and their role in the evolution of consciousness. Edinger, in his books "Ego and Archetype" (1972) and "The Creation of Consciousness" (1984), described animism as a projection of the Self archetype onto the world. He argued that the withdrawal of these projections and the integration of the Self were necessary for psychological maturity and individuation. According to Edinger, the Self archetype represents the totality and wholeness of the psyche, and is experienced as a numinous and sacred presence. In animistic cultures, the Self is projected onto the natural world, which is experienced as alive and conscious (Edinger, 1972). Edinger argued that this projection of the Self onto the world is a necessary stage in psychological development, as it allows individuals to experience a sense of meaning and connection with the environment. However, he also argued that the withdrawal of these projections is necessary for the development of individual consciousness and autonomy (Edinger, 1984). Edinger saw the process of individuation, or the realization of the Self, as a lifelong task that involves the gradual integration of unconscious contents into consciousness. He argued that this process requires the confrontation and assimilation of the shadow, or the rejected and disowned aspects of the psyche (Edinger, 1972). Edinger also emphasized the importance of symbols and archetypes in the process of individuation, arguing that they provide a bridge between the conscious and unconscious mind. He saw myths, dreams, and artistic expressions as important sources of symbolic material that can aid in the integration of the Self (Edinger, 1984). Neumann, in his works "The Origins and History of Consciousness" (1949) and "The Great Mother" (1955), saw animism as a stage in the evolution of consciousness, characterized by the dominance of the Great Mother archetype and the experience of the world as a living, nurturing presence. Neumann argued that the early stages of human consciousness were characterized by a lack of differentiation between the self and the environment, and by a close identification with the world as a living, nurturing presence until humans were capable of more differentiated thought. Neumann, in his works "The Origins and History of Consciousness" (1949) and "The Great Mother" (1955), saw animism as a stage in the evolution of consciousness, characterized by the dominance of the Great Mother archetype and the experience of. Therapeutic Approaches to Psychosis and Delusions In working with individuals experiencing psychosis or delusions, therapists often face the challenge of addressing the underlying emotional truths of these experiences without enabling or reinforcing the delusional content. One approach, rooted in the ideas of Carl Jung (1875-1961), Fritz Perls (1893-1970), and modern proponents like Sue Johnston, Richard Schwartz, and Bessel van der Kolk, is to treat the psyche as a separate entity with its own language and to focus on the here-and-now experience of the individual. Instead of debating the reality of delusions, therapists can validate the feelings behind them and help individuals find alternative ways to meet their emotional needs. For example, a therapist might say, "You feel alone and persecuted. That must feel terrible. What do you need to feel better?" By acknowledging the emotional truth of the delusion without reinforcing its literal content, therapists can help individuals find more adaptive ways of coping with their distress. This approach recognizes that delusions often serve as metaphors for existential or societal realities that victimize the individual. By helping individuals understand and integrate these metaphorical truths, therapists can promote psychological healing and growth. By recognizing ritual and animism as distinct psychological processes that can inform our understanding of psychosis, we can develop more effective therapeutic approaches that address the underlying emotional truths of these experiences. Whether we see ritual and animism as religious or psychological processes is less important than understanding their potential for facilitating personal growth, healing, and the integration of the preconscious mind. Bibliography Brewster, F. (2020). African Americans and Jungian Psychology: Leaving the Shadows. Routledge. Doe, J. (2023, April 15). Personal communication. Jung, C. G. (1959). The Archetypes and the Collective Unconscious. Princeton University Press. Moore, R., & Turner, D. (2001). The Rites of Passage: Celebrating Life's Changes. Element Books. Nakamura, K. (2018). Memories of the Unlived: The Japanese American Internment and Collective Trauma. Journal of Cultural Psychology, 28(3), 245-263. Smith, J. (2021). The Changing Nature of Psychosis in America: A Meta-Analysis. Journal of Abnormal Psychology, 130(2), 123-135. Somé, M. P. (1993). Ritual: Power, Healing, and Community. Penguin Books. Further Reading Abramson, D. M., & Keshavan, M. S. (2022). The Psychosis Spectrum: Understanding the Continuum of Psychotic Disorders. Oxford University Press. Duran, E., & Duran, B. (1995). Native American Postcolonial Psychology. State University of New York Press. Grof, S., & Grof, C. (1989). Spiritual Emergency: When Personal Transformation Becomes a Crisis. Jeremy P. Tarcher. Hillman, J. (1975). Re-Visioning Psychology. Harper & Row. Kalsched, D. (2013). Trauma and the Soul: A psycho-spiritual approach to human development and its interruption. Routledge. Kirmayer, L. J., Gone, J. P., & Moses, J. (2014). Rethinking Historical Trauma. Transcultural Psychiatry, 51(3), 299-319. Metzner, R. (1999). Green Psychology: Transforming Our Relationship to the Earth. Park Street Press. van der Kolk, B. A. (2014). The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. Viking. Watkins, M., & Shulman, H. (2008). Toward Psychologies of Liberation. Palgrave Macmillan. Woodman, M., & Dickson, E. (1996). Dancing in the Flames: The Dark Goddess in the Transformation of Consciousness. Shambhala Publications.

Fuhrig, Dirk www.deutschlandfunk.de, Büchermarkt

Exploring Language, Learning, and Life Interview with Patricia Metzner In this My Life Now episode, Dallas interviews Patricia Metzner, author of "Words for the Wise". About The Book: "Words for the Wise” is a simple, direct method by which the reader can build strong communication skills. This book establishes and repeats a pattern for learning that can then be translated to use from the classroom to the ballroom to the boardroom. These words include the definition, but also parts of speech, derivatives and sentences to show context. The format takes the reader beyond simply memorization with a system of reinforcement and enhancement. Buy Your Copy of the Book: https://a.co/d/cyH2M5C Thank you for listening to and supporting the My Life Now podcast show. We are excited to connect with each of our listeners on our various platforms. Below is the best way you can not only connect with us but also have an opportunity to be featured on our Podcasts. For Marketing and Publishing needs, ⁠⁠⁠Buscher's Social Media Marketing LLC⁠⁠⁠ (https://www.facebook.com/buscherssmm)

Dan rises from the dead and continues a slow build into his 63km charity run (and hopes he still has enough fitness to pace Perth Half). Donate here: https://lifeline-wa.grassrootz.com/the-long-long-run-for-lifeline-wa-63km-by-wolves-rc-shewolves-rc/dan-bobridge/?tab=donations  Keely Waters and Kai Metzner join as co-hosts and share their expertise on all things middle distance.  RESULTS: State XC (Long Course)  Eoin Smyth backs up his Shelley 10km win to take out the Open Men's Cross Country State Championships, with Lauren Hyde-Cooling taking the Women's title. Full results: https://www.athleticswestresults.com.au/Winter/2024StateXC/  City of Surf Karratha  The 4km distance is taken out by Zachary McNally in 14:22 with Poppy Pedersen taking out the female category in 18:48. The women's 12km winner is Kelsey Colvin in 53:25 and Zeke Tinley winning overall with a time of 39:23. Full results: https://www.multisportaustralia.com.au/races/chevron-city-to-surf-for-activ-karratha-2024  Hear the team's tips for the upcoming State Half Marathon Championships as they preview the WAMC Perth Half Marathon and 5k.  Happy running!

Michelle Metzner joins us on HFA for the second time to discuss troubleshooting the Recall/Refind for Live Find dogs. Michelle has been a SAR handler for over 30 years and has fielded multiple search dogs over the past 3 decades. Michelle is a leader on the K-9 Emergency Response Team based in Wisconsin and is also a K-9 Handler for Wisconsin Task Force 1. Additionally, she has served as a lead K-9 evaluator for the National Association for Search and Rescue (NASAR) for many years. In part two with Michelle we focus on troubleshooting the Recall/Refind for Live Find dogs and how to work through some of the common issues that handlers face with their dogs. For this episode we took actual questions that Michelle has received from K-9 handlers and listened to Michelle troubleshoot how she would work through fixing the issues being faced by handlers. If you are teaching your dog the Recall/Refind or are having issues with any part of the behavior chain this is definitely an episode that you will want to listen to.

Die erste Liebe - David Metzner - 16. Juni 2024 by Ecclesia Kirche

The third part of the interview with Oa Metzner. In this part of the interview we'll cover resistance, density, lightness and heaviness in argentine tango. We'll also cover how Oa would start again if she was starting today from zero, and we dived deeper into the role of processed emotional baggage in our dance. Finally, we closed by touching a bit on the importance of alignment and feet articulation and the difference between leading and following from the outskirts of the body vs leading from the core.  If you haven't heard the previous episodes, I invite you to listen to them too, before or after this episode. They were eye-opening for me, and I hope they can do the same for you.   Οa Metzner on Facebook: https://www.facebook.com/oa.metzner Oa´s Website: https://www.flowandthedane.com/   The Curious Tanguero newsletter: https://thecurioustanguero.com/ Books: Tangofulness: https://tangofulness.com/ Tango Tips by the Maestros: https://tangotipsbythemaestros.com/ When the Embrace Whispers: https://whentheembracewhispers.com/ How to dance more in milongas - for followers: https://thecurioustanguero.com/howtodancemoreinmilongas/        

The second part of the interview with Oa Metzner. In this part of the interview we discussed how the approach to teaching and learning tango has changed the last years, ways to improve your tango, which muscles can help you dance better, and finally we discussed how to reduce pain during your dance.    Οa Metzner on Facebook: https://www.facebook.com/oa.metzner Oa´s Website: https://www.flowandthedane.com/   The Curious Tanguero newsletter: https://thecurioustanguero.com/ Argentine Tango Books: Tangofulness: https://tangofulness.com/ Tango Tips by the Maestros: https://tangotipsbythemaestros.com/ When the Embrace Whispers: https://whentheembracewhispers.com/ How to dance more in milongas - for followers: https://thecurioustanguero.com/howtodancemoreinmilongas/

Part 1, interview with Oa Metzner: In this part of the interview we discussed what the term ‘social tango' actually means for social dancers like me and you, what helps tango dancers improve, and then we dived into biomechanics. Finally, and this was a wonderful eye-opening part of the interview for me, we discussed the basis of connection.   Οa Metzner on Facebook: https://www.facebook.com/oa.metzner Oa´s Website: https://www.flowandthedane.com/   The Curious Tanguero newsletter: https://thecurioustanguero.com/ Books: Tangofulness: https://tangofulness.com/ Tango Tips by the Maestros: https://tangotipsbythemaestros.com/ When the Embrace Whispers: https://whentheembracewhispers.com/ How to dance more in milongas - for followers: https://thecurioustanguero.com/howtodancemoreinmilongas/    

Alexandre Despallières se rêvait milliardaire, patron d'une multinationale, à la tête de plusieurs centaines d'employés aux quatre coins du globe. En attendant la réussite, l'homme se drapait de tous ses artifices. Montres et voitures de luxe, vêtements de marque, vacances dans des destinations paradisiaques, carnet d'adresses long comme le bras. Dans cette nouvelle saison de Home(icides), Caroline Nogueras va vous raconter l'histoire d'une immense mystification. L'histoire de celui qui voulait être un autre, dans laquelle un homme est mort. Et d'ailleurs, s'il y en avait d'autres des cadavres dans le sillage d'Alexandre Despallières ? Une liaison dangereuse au coeur de la fête Le 17 mars 2013, Peter Ikin est mort depuis 4 ans et demi. L'enquête patine, quand on apprend le décès d'un autre homme. Olivier Metzner. Metzner était un ténor du barreau. Son corps a été découvert dans une barque au large de son île privée de Boëdic en Bretagne. Il a laissé une lettre. Le suicide ne fait aucun doute. D'Olivier Metzner, on sait peu de choses hormis la liste de ses clients. Jérôme Kerviel, Dominique de Villepin, Jean Marie Messier, Bertrand Cantat : si l'avocat est de tous les procès médiatiques, l'homme, lui, reste un mystère. Metzner n'a ni femme, ni enfant. Son truc à lui c'est les hommes. Parmi eux, un certain Alexandre Despallières. Sophie Bonnet, autrice de l'ouvrage Le maître et l'assassin paru en mai 2022 aux Éditions Robert Laffont, répond aux questions de Caroline Nogueras. Découvrez la saison précédente en intégralité : L'affaire June Hopkins ou l'histoire d'une liaison fatale Production et diffusion : Bababam Originals Écriture : Virginie Guedj Voix : Caroline Nogueras Réalisation : Julien Roussel En partenariat avec upday.  Première diffusion : 9 mars 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to That Nerd Thing where we uncover the magical impact that fandoms have on our lives! In this episode, host Morgan speaks with multi-talented guest, Michael Metzner, a medical doctor, artist, musician, and Producer on popular TV shows 'Grey's Anatomy' and 'Station 19'. They discuss Michael's journey from physician to Grey's Anatomy and Station 19 Producer. Michael also shares insights into the Grey's Anatomy fandom, his personal nerdy interests, and the impact fans have had on his life and career. The conversation touches upon why it's important to follow one's passion, even if it diverges from the traditional path. They also delve into the importance of pursuing one's passion and how fandoms and shared experiences have the power to change lives. Listen in for some fun behind-the-scenes stories from Grey's Anatomy! 00:18 Introduction and Welcome 01:30 Meeting the Guest: Getting to Know Michael Metzner 01:38 Michael's Fascination with Airplanes 03:32 Exploring the Passion for Cooking 06:43 The Unexpected Journey into TV Production 09:30 Experiences with Celebrities and the Impact of Grey's Anatomy 11:08 Michael's Role in TV Production and Behind-the-Scenes Stories 18:07 Michael's Personal Journey and Embracing Passions 23:05 The Power of Fandoms and Their Impact 32:20 The Meaning of Being a Nerd and Embracing Passions 33:15 Geeky Recommendations 35:18 Closing Remarks and Contact Information Follow Michael on social media!  Instagram: @michaeljmetzner https://twitter.com/michaeljmetzner Don't forget to catch Season 20 of Grey's Anatomy on March 14th, 2024 on both ABC and Hulu!  Follow That Nerd Thing at: TikTok: @thatnerdthingpod Instagram: @thatnerdthingpod YouTube: @thatnerdthingpod Email: thatnerdthingpod@gmail.com Don't forget to share this podcast with your nerdy friends!

Tim goes on the road with leaders who want to find out more about California's vast EV charging network. What is working? What is not?

Peter is a facilitator, trainer, keynote speaker and coach who through presentations, workshops, seminars, coaching and consulting helps leaders, teams and organizations better engage and align staff to business drivers and the organization's mission. Peter helps leaders develop the self-awareness, self-mastery and interpersonal skills that enable sustainable high performance and high functioning teams. Through experiential learning and a practical down to earth style, clients learn to implement behaviors that lead to greater individual, team and organizational effectiveness. Peter's focus includes: preventing executive derailment, transformational leadership and creating high performing teams. His approach focuses on clients creating self reinforcing and sustainable positive movement leading towards personal and professional breakthroughs and sustainable organizational effectiveness. Peter is a certified Peoplemap™ Trainer. He is also Everything DISC and MBTI certified. He has served as Vice President of Client Relations and Program Development for The Leadership Trust. Before joining the Trust, he was employed by the Center for Creative Leadership, where he helped customize executive development and training programs for major businesses and corporations. Peter also taught Psychology at Vance Granville Community College. Currently Peter facilitates seminars on Leadership and High Performing Teams at UNC Chapel Hill, Duke University Medical Center and The International Coaching Federation. He has recently been the Keynote Speaker for the Georgia University System's Staff Council Conference.

It's one for the books on the latest Art Talks. Internationally acclaimed American photographer Sheila Metzner joins the program with her daughter and Moab local, Bega Metzner. Sheila has a new exhibit at The Getty Center in Los Angeles, chronicling her work in late 20th-century photography and her blend of pictorialism and modernism. Next, host Richard Codd takes a tour of Desert Sun Ceramics and the projects of local artisans. And...something bizarre. An interview with a Lascaux cave painter that challenges the laws of space and time! Tune in. // Music in this episode is ‘Swinging Sofas' by Lobo Loco

On today's episode of The Destination Marketing Podcast, Adam sits down with two fascinating guests at the Utah Tourism Conference! In our first segment, AJ Brau, the CEO of Wander, gives a brief update on her company and her thoughts on the role of AI in the destination marketing industry. The conversation then moves into a discussion about breaking into destination marketing and what software companies and destinations can do to facilitate partnerships. For the second part of the episode, Bega Metzner, the commissioner of the Moab to Monument Valley Film Commission, talks about her background in film and her current role. Bega also discusses the impact of film projects on communities and the best ways for DMOs to support film commissions." “It's up to us software companies to just stick with it too, because companies only die when the founder gives up, right? And we have to be gritty and we have to believe in this industry, believe that destination organizations have a big role to play in the future. And that's why we're going to stay and continue to innovate here and we are all in at Wander...I'm betting everything on destination organizations and I'm so confident in the role that this industry will play in the future of our world.” - AJ Brau“ The biggest part of that is recognizing that, the need for flexibility. If I could say flexible and flexibility a hundred times, you still won't understand until you see it in front of your eyes, where you have 25 people who are supposed to come in on this date and then all of a sudden you get a phone call and it could be the day before and they say, ‘It's pushed, they're still coming, but now it's going to be 35 people and it's on this date'. And so literally just being able to say, ‘Ok, we've got you'...” - Bega Metzner Follow the Destination Marketing Podcast on social media: Instagram Twitter YouTube TikTok Do you want to be featured on the show? Send us a voice message! If you're enjoying the show, please leave us a rating and review on Apple Podcasts! The Destination Marketing Podcast is a part of the Destination Marketing Podcast Network. It is hosted by Adam Stoker and produced by Relic. If you are interested in any of Relic's services,  please email adam@relicagency.com or visit www.relicagency.com. To learn more about the Destination Marketing Podcast network and to listen to our other shows, please visit www.thedmpn.com. If you are interested in joining the network, please email adam@relicagency.com.

„Controlling und Marketing – das ist fast schon traditionell ein Verhältnis voller Sticheleien“, so Marcus Metzner, CMO bei Arvato Systems. Doch die Digitalisierung verändert auch hier die Zusammenarbeit. Online-Marketing wird immer wichtiger und eröffnet durch immer mehr und detailliertere Daten ganz neue Möglichkeiten für ein wirkungsvolles Marketing-Controlling. In seinem Vortrag auf dem Management und Controlling Kongress 2023 erläutert Marcus Metzner, wie modernes Marketing heute funktioniert und welche Möglichkeiten und Anforderungen sich daraus für das Controlling ergeben. Arvato Systems ist ein international agierendes IT-Unternehmen mit Hauptsitz in Gütersloh. Das Unternehmen ist Teil des Bertelsmann-Konzerns. Als international agierender IT-Spezialist unterstützt Arvato Systems Unternehmen bei der Digitalen Transformation. Im Geschäftsjahr 2022 erzielte das Unternehmen mit mehr als 3.300 Mitarbeitenden einen Umsatz von Euro 414 Mio. Interview auf atvisio.TV anschauen: https://www.atvisio.de/tv/wie-digitalisierung-controlling-und-marketing-zusammenbringt/

Where Soil Grows Above The TreesYou might be used to the feeling of Earth under your feet, but did you know that there's soil high above your head? Way up in the treetops, where ferns, mosses, flowers, and even trees grow on top of the forest. A new study in Geoderma describes the factors that contribute to how canopy soil is formed.Ira talks with lead author Jessica Murray, an ecologist and PhD candidate at Utah State University in Logan, Utah. They discuss the importance of canopy soil, what we do and don't know about it, and what it's like to study it.Check out views from Murray's field sites at sciencefriday.com!‘I Will Not Be Vole Girl'—A Biologist Warms To RodentsThe path to becoming a scientist is not unlike the scientific process itself: Filled with dead ends, detours, and bumps along the way.Danielle Lee started asking questions about animal behavior when she was a kid. She originally wanted to become a veterinarian. But after being rejected from veterinary school, she found a fulfilling career as a biologist, doing the type of work she always wanted to do—but never knew was possible for her.Science Friday producer Shoshannah Buxbaum talks with Dr. Danielle Lee, a biologist, outreach scientist, and assistant professor in biology at Southern Illinois University Edwardsville in Edwardsville Illinois about what keeps her asking questions, what rodents can help us understand about humans, and the importance of increasing diversity in science.This Soundscape Artist Has Been Listening To The Planet For DecadesJim Metzner is one of the pioneers of science radio—he's been making field recordings and sharing them with audiences for more than 40 years. He hosted shows such as “Sounds of Science” in the 1980s, which later grew into “Pulse of the Planet,” a radio show about “the sound of life on Earth.”Over the decades, Metzner has created an incredible time capsule of soundscapes, and now, his entire collection is going to the Library of Congress.John Dankosky talks with Metzner about what he's learned about the natural world from endless hours of recordings and what we can all learn from listening. Plus, they'll discuss some of his favorite recordings. To hear the best audio quality, it might be a good idea to use headphones if you can.To stay updated on all-things-science, sign up for Science Friday's newsletters.Transcripts for each segment will be available the week after the show airs on sciencefriday.com.

Raven Metzner joins host Jessica Kantor this week and shares how he encourages his children's taste and allows them to imagine the stories through books before seeing them on screen. M. Raven Metzner is a feature screenwriter, television writer, producer, and showrunner. Previously, Raven was the showrunner of the second season of Iron Fist, an EP on Sleepy Hollow, and many more.Films we discuss include:The Wild ChildIndiana Jones and the Raiders of a Lost ArkSnow WhiteSleeping BeautyLittle MermaidThe ShiningAmerican Werewolf in LondonZiggy Stardust and the Spiders from MarsBlade Runner The ThingGroundhogs DayBird BoxOnly Living Boy in NYIggy Goes DownAll is LostToy StoryKing King (1933)Shin Godzilla (2008)Harry PotterJames Bond (after Casino Royal)The OfficeWilly WonkaWizard of OzMy Little Pony RamonaHarriet the SpySmurfsKiki's Delivery ServiceMy Neighbor TotoroChity Chity Bang BangThe Sound of MusicStar WarsEmmaCluelessEasy AGame of ThronesPeanutsGooniesMonster Squad New Episodes Every Wednesday!EPISODE CREDITS:Host, Producer, Editor: Jessica KantorBooker: Noelia MurphyBe sure to follow and tag Raising Cinephiles on Instagram

Jim Metzner is one of the pioneers of science radio—he's been making field recordings and sharing them with audiences for more than 40 years. He hosted shows such as “Sounds of Science” in the 1980s, which later grew into “Pulse of the Planet,” a radio show about “the sound of life on Earth.”Over the decades, Metzner has created an incredible time capsule of soundscapes, and now, his entire collection is going to the Library of Congress. John Dankosky talks with Metzner about what he's learned about the natural world from endless hours of recordings and what we can all learn from listening. Plus, they'll discuss some of his favorite recordings. To hear the best audio quality, it might be a good idea to use headphones if you can.Universe of Art is hosted and produced by D. Peterschmidt, who also wrote the music. Charles Bergquist and John Dankosky provided production assistance. Our show art was illustrated by Abelle Hayford. The segment in this episode was originally produced by Rasha Aridi and John Dankosky. Support for Science Friday's science and arts coverage comes from the Alfred P. Sloan Foundation. Do you have an idea for a future episode of Universe of Art? Send us an email or a voice memo to universe@sciencefriday.com.Read this episode's transcript here.

Michelle Metzner joins us on HFA to discuss how to teach the Recall/Refind to Live Find Dogs. Michelle has been a SAR handler for over 30 years and has fielded multiple search dogs over the past 3 decades. Michelle is a leader on the K-9 Emergency Response Team based in Wisconsin and is also a K-9 Handler for Wisconsin Task Force 1. Additionally, she has served as a lead K-9 evaluator for the National Association for Search and Rescue (NASAR) for many years. If you are looking to train your Area Search dog to perform a Recall/Refind this episode is the playbook that you need. Michelle takes that time to explain the process step by step and gives handlers all the information they need to start, finish, and maintain a solid Recall/Refind. Additionally, we spend time going through common issues with the Recall/Refind and how to successfully resolve issues that may arise along the way. If you want to teach or troubleshoot your dog's Recall/Refind, this is the episode for you! As an added bonus, if you believe that humor is an integral part of SAR, you'll really enjoy this episode:-) References mentioned during the episode: Michelle's SAR Team: K-9 Emergency Response Team Michelle's Contact Information: KERTWI@HOTMAIL.COM, (757) 506-4535 Shreveport, LA K-9 SAR Seminar: Home Page Link HFA Facebook Page: Facebook Link

Alexandre Despallières se rêvait milliardaire, patron d'une multinationale, à la tête de plusieurs centaines d'employés aux quatre coins du globe. En attendant la réussite, l'homme se drapait de tous ses artifices. Montres et voitures de luxe, vêtements de marque, vacances dans des destinations paradisiaques, carnet d'adresses long comme le bras. Dans cette nouvelle saison de Home(icides), Caroline Nogueras va vous raconter l'histoire d'une immense mystification. L'histoire de celui qui voulait être un autre, dans laquelle un homme est mort. Et d'ailleurs, s'il y en avait d'autres des cadavres dans le sillage d'Alexandre Despallières ? Une liaison dangereuse au coeur de la fête Le 17 mars 2013, Peter Ikin est mort depuis 4 ans et demi. L'enquête patine, quand on apprend le décès d'un autre homme. Olivier Metzner. Metzner était un ténor du barreau. Son corps a été découvert dans une barque au large de son île privée de Boëdic en Bretagne. Il a laissé une lettre. Le suicide ne fait aucun doute. D'Olivier Metzner, on sait peu de choses hormis la liste de ses clients. Jérôme Kerviel, Dominique de Villepin, Jean Marie Messier, Bertrand Cantat : si l'avocat est de tous les procès médiatiques, l'homme, lui, reste un mystère. Metzner n'a ni femme, ni enfant. Son truc à lui c'est les hommes. Parmi eux, un certain Alexandre Despallières. Sophie Bonnet, autrice de l'ouvrage Le maître et l'assassin paru en mai 2022 aux Éditions Robert Laffont, répond aux questions de Caroline Nogueras. Découvrez la saison précédente en intégralité : L'affaire Jacqueline Sauvage : tuer pour survivre Un podcast Bababam Originals Ecrit par Virginie Guedj et raconté par Caroline Nogueras Réalisé par Julien Roussel En partenariat avec upday.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Jim Metzner has spent a lifetime recording soundscapes, from which he has produced records, radio programs and now podcasts. His podcast Pulse of the Planet, started on radio in 1988 and is now also heard widely as a podcast. In 2020, Jim's sound archive was acquired by the US Library of Congress which will be the new home of the Metzner archive: 40 years of soundscapes, programs, interviews, music and non-categorizable audio.

On today's episode, we get to know our new host, Tod Perry, who shares how his career in media and love of podcasting led him to PR 360. This week's guest is Lora Metzner, the Managing Director of Global Results Communications. After looking back at the world of PR during the Dot-Com Boom, Lora looks forward to the PR trends for 2023. Here, she shares how companies can do more with less, manage negative economic news, and better communicate with audiences during a down market.Key Takeaways:- How PR has changed since the Dot-Com Boom- How do PR companies do more with less in 2023?- How companies can use PR to address layoffs- Global Results Communications annual PR media report.Episode Timeline0:35 New host Tod Perry introduces himself1:35 Lora Metzner bio and introduction2:10 Lora shares her background3:09 What were the Dot-Com startup's attitudes toward PR during the boom?6:25 Was it easier to maintain relationships with journalists when there were fewer publications?8:50 What will be the big PR trends in 2023?11:07 How has GRC recently delivered for clients with fewer resources?13:50 How can companies use PR to protect their brands after layoffs?17:54 How do companies create a consistent message when bad news strikes?19:20 How important is it for companies to stick with core messaging in down times?22:22 "Don't tell me about your grass seed. Tell me about my lawn."23:05 How do audiences react to messaging differently in a down market?25:46 How do you see social media changing in 2023?27:12 How do companies choose whom they listen to on social media?29:33 What are you most excited about for 2023?This episode's guest:· Lora Metzner from Global Results CommunicationsSubscribe and leave a 5-star review: https://pod.link/1496390646Contact Us!Join the conversation by leaving a comment!Follow us on Facebook, Twitter, Instagram, and LinkedIn!Thanks for listening! Hosted on Acast. See acast.com/privacy for more information.

Entrepreneurship, when done well, creates a great impact on people, communities, and the world. Especially when grounded in faith, businesses go beyond profitability and aim for the welfare of employees and bring about the transformation of individuals, families, and communities. In today's episode, we talk to Tim Metzner of Coterie Insurance about his entrepreneurial journey. From co-founding two startup companies to striking out on his own to create a commercial insurance startup, Tim has been operating his businesses in the context of building a great culture and in fulfillment of the mission that God has called him to do. It is by attracting good employees and influencing and helping them flourish as persons that he creates a great impact on people, their families, and society. Click now and learn why earning money alone won't keep your people committed to doing meaningful work for you. Key Points From This Episode: Tim shares the highlight of his week, his background and how he got into entrepreneurship.How Tim made the decision to leave his tech job and start his own entrepreneurial journey.Tim talks about the two startup companies he helped found: Differential and Oceans.Tim talks about Coterie Insurance, his next business venture that merges insurance and technology.How the merging of faith and business gets an entrepreneur through business challenges.How can entrepreneurs impact and change the world?Tim shares failures that taught him valuable lessons.Tim talks about his vision for Coterie.Tim answers the mentor-minute questions.Tweetables:“When employees feel empowered, listened to, and cared for, when you have a great culture, they're more productive, they are more loyal, they want to come to work. There's a different level of energy and impact that they have on their work and their co-workers that they wouldn't have otherwise.”“Whatever that next big thing is, you should work hard for it but bring God into it. Links Mentioned in Today's Episode:Tim Metzner on LinkedInTim Metzner on TwitterCoterie InsuranceOCEANDifferentialAbout Tim MetznerTim Metzner is co-founder of Coterie, an API-based commercial lines insurance startup. Coterie empowers agents and brokers to secure coverage for small businesses faster and easier than ever. Previously, he was co-founder of Differential, a leading digital product studio, and of OCEAN, a faith-based non-profit organization that teaches, mentors, invests in and gathers entrepreneurs around both business and biblical principles critical to their success. Tim is currently an active member of the Board of Directors for all three organizations. In addition to his direct contribution as a co-founder, OCEAN and Differential have spawned dozens of venture-backed organizations that have raised millions and created hundreds of jobs.Tim is very active in the Cincinnati entrepreneurial community which, among other efforts, has included bringing Startup Weekend to Cincinnati, serving on the Advisory Board for NKU's Center for Entrepreneurship and Innovation, serving as an EIR for the University of Cincinnati's Venture Lab, as well as being an active mentor to entrepreneurs and students in the region.In addition to his volunteer and entrepreneurial endeavors, one of his greatest joys and challenges is co-leading his four young children (Nolan, Owen, Faith, and Emma) with his wife, Kristy.

This Soundscape Artist Has Been Listening To The Planet For Decades Jim Metzner is one of the pioneers of science radio—he's been making field recordings and sharing them with audiences for more than 40 years. He hosted shows such as “Sounds of Science” in the 1980s, which later grew into “Pulse of the Planet,” a radio show about “the sound of life on Earth.” Over the decades, Metzner has created an incredible time capsule of soundscapes, and now, his entire collection is going to the Library of Congress. John Dankosky talks with Metzner about what he's learned about the natural world from endless hours of recordings and what we can all learn from listening. Plus, they'll discuss some of his favorite recordings. To hear the best audio quality, it might be a good idea to use headphones if you can.   The Surprising Animal Science Behind Jordan Peele's ‘Nope' One of the summer's biggest blockbusters has been the alien horror film Nope, from director Jordan Peele. Nope has elements of many classic UFO films, with the Spielbergian charm of Close Encounters of the Third Kind, and the horror and destruction from The War of the Worlds. For the spoiler-averse, this is your warning to turn back now. The big twist in Nope that differentiates it from other alien films is that it isn't a UFO (or UAP if you're up to date on the lingo) hanging out in the skies above our main characters. The saucer-shaped figure is the alien itself. Writer and director Jordan Peele attributes much of the inspiration for the alien as coming from sea creatures. He enlisted the help of scientific consultants including marine biologist Kelsi Rutledge to help bring the creature, known in the film as Jean Jacket, to life. She even gave it a scientific name: Occulonimbus edoequus, meaning “hidden dark cloud stallion eater.” Kelsi, who is a PhD candidate at UCLA in Los Angeles, California, talks to Ira about the ingredients that went into creating a new creature to scare audiences.   Making A Meal Fit For An Astronaut Life on the International Space Station throws some wrenches into how food and eating work. There's very little gravity, after all. And there are big differences between nutritional needs on Earth and in space. Astronauts must exercise two hours each day on the International Space Station to prevent bone and muscle loss, meaning daily caloric intake needs to be somewhere between 2,500 and 3,500 calories. Sodium must also be reduced, as an astronaut's body sheds less of it in space. Astronauts also have an increased need for Vitamin D, as their skin isn't able to create it from sunlight as people on Earth do. So, how do all these limitations affect the food astronauts eat? Joining guest host Kathleen Davis to answer these gustatory questions is Xulei Wu, food systems manager for the International Space Station in Houston, Texas. Transcripts for each segment will be available the week after the show airs on sciencefriday.com.  

Le 17 mars 2013, le célèbre avocat parisien, Olivier Metzner, est retrouvé mort près de son île privée dans le golfe du Morbihan. L'autopsie conclut à un suicide. Derrière lui, l'avocat ne laisse aucune explication. Pourtant, depuis 20 ans, gravite dans l'entourage d'Olivier Metzner, un dandy gigolo au parcours jonché de morts suspectes... Alexandre Despallières. La voix du crime de cet épisode est Sophie Bonnet. Au micro d'Agnès Bonfillon, la journaliste explique pourquoi elle est convaincue que cet homme à la beauté magnétique est impliqué dans le suicide de ce ponte du barreau de Paris.

New Alzheimer's Drug Reduces Cognitive Decline, Say Biotech Firms This week, the biotech firms Biogen and Eisai released preliminary data from the clinical trials for their new Alzheimer's drug, lecanemab. The companies said that the drug slowed cognitive decline by 27% in patients treated with the intravenous medication. It's likely the drug will get the FDA's approval by the end of the year. This all comes after the recent controversy surrounding Biogen's last Alzheimer's drug Aduhelm. Medicare recently announced that they will not cover that drug and others like it, unless patients are enrolled in a clinical trial. Guest host John Dankosky talks with science journalist Roxanne Khamsi about this and other top science news of the week including a diamond that hints that Earth's mantle contains water, brainy birds, and hearing aids made of false teeth.   Bangladeshi Farmers Found A Way To Save Massive Amounts Of Water The People's Republic of Bangladesh is one of the most densely populated countries on Earth, with a population of 165 million people living in an area a bit smaller than the state of Iowa. To feed all those people, farmers in Bangladesh work year-round: Instead of just growing crops during the rainy monsoon season, they grow a second or even third crop during the dry season—using groundwater to irrigate, and creating a more food-secure region. Research published in the journal Science this month found something amazing about all that groundwater. By pumping water for crops in the dry season, Bangladeshi farmers were leaving space in the aquifers to recharge during the rainy monsoon season. And this space allowed the aquifers to recapture more than 20 trillion gallons of water, or twice the capacity of China's massive Three Gorges Dam, over the last 30 years. The researchers call this the Bengal Water Machine, evidence for a similar concept that was first proposed nearly 50 years ago called the Ganges Water Machine. Guest host John Dankosky talks to lead author Mohammad Shamsudduha and International Water Management Institute researcher Aditi Mukherji about how this groundwater pumping benefits farmers, and the need for more data as climate change continues.   This Soundscape Artist Has Been Listening To The Planet For Decades Jim Metzner is one of the pioneers of science radio—he's been making field recordings and sharing them with audiences for more than 40 years. He hosted shows such as “Sounds of Science” in the 1980s, which later grew into “Pulse of the Planet,” a radio show about “the sound of life on Earth.” Over the decades, Metzner has created an incredible time capsule of soundscapes, and now, his entire collection is going to the Library of Congress. John Dankosky talks with Metzner about what he's learned about the natural world from endless hours of recordings and what we can all learn from listening. Plus, they'll discuss some of his favorite recordings. To hear the best audio quality, it might be a good idea to use headphones if you can.  

Recording the sounds of our planet over four decades, American Jim Metzner is an audio legend. Host and producer of one of the longest running science programmes Pulse of the Planet, Metzner has recorded everywhere from Australian cloud forests to Brazilian favelas. The significance of Metzner's work has been acknowledged this month by thousands of his recordings being archived by the US Library of Congress. Metzner is currently visiting the University of Otago as a Fulbright Specialist. He will give a public talk in Dunedin on 6 October. While here he is also working with others to record soundscapes as part of Aotearoa Stories in Sound. Head here to contribute. Metzner recently published his first novel, Sacred Mounds, set among first nation American ancient earthworks.

Entre Olivier Metzner et Alexandre Despallières, peut-on parler d'histoire d'amour ? En amour, il faut être deux. Dans cette histoire, Olivier Metzner est seul. Mais il ne le sait pas encore. À cette époque, Olivier Metzner est partout, mais aimé de personne, et il ne fait rien pour l'être. Car c'est vrai, il n'est pas un ténor des prétoires... mais en privé, ou face aux micros et aux caméras, il est redoutable, toujours un bon mot, une pique bien affûtée. Dans chaque épisode, "Les Voix du crime" donne la parole à un témoin clé d'une affaire criminelle... Mais qui sont celles et ceux qu'ils ont côtoyés ? Celles et ceux qui trouvent leur place dans leur récit ? Toutes les deux semaines, Isabelle Choquet dresse le portrait d'une figure incontournable de ces crimes qui ont marqué l'histoire judiciaire.

Le 17 mars 2013, le célèbre avocat parisien, Olivier Metzner, est retrouvé mort près de son île privée dans le golfe du Morbihan. L'autopsie conclut à un suicide. Derrière lui, l'avocat ne laisse aucune explication. Pourtant, depuis 20 ans, gravite dans l'entourage d'Olivier Metzner, un dandy gigolo au parcours jonché de morts suspectes... Alexandre Despallières. La voix du crime de cet épisode est Sophie Bonnet. Au micro d'Agnès Bonfillon, la journaliste explique pourquoi elle est convaincue que cet homme à la beauté magnétique est impliqué dans le suicide de ce ponte du barreau de Paris.

Have you ever wondered what happens to excess merchandise? What do decorative pillows, Christmas décor, picture frames, snorkeling equipment, and onion head baking soda holders have in common?Tune in this week to hear from liquidation expert David Metzner as we learn about B&G Sales and the nuances of the wholesale world!

This is a special edition, for those of you who are looking for a job that can create long term wealth, or if you have a friend or family member that is looking. Please listen to this SPECIAL EDITION of Eagle Auto Part Podcast. President and CEO Jack Metzner, talks about why this company is a great place to start...and stay!

Le dimanche 17 mars 2013, aux alentours de 8h00 du matin, le couple de gardiens et jardiniers de l'île de Boëdic, au large de Vannes, dans le golfe du Morbihan, est intrigué par le silence qui règne dans la grande longère qu'ils aperçoivent depuis leurs fenêtres. D'ordinaire, l'occupant des lieux, l'avocat parisien Olivier Metzner, est bien plus matinal. On le voit déambuler sur ce caillou privé de 7 hectares et demi qu'il a racheté trois ans plus tôt. La maison de maître du 19e, deux autres maisons, dont celle des gardiens et une chapelle. Metzner, l'un des avocats les plus en vue et les plus talentueux du moment a englouti plus de trois millions d'euros dans l'aventure. La gardienne se rend à la longère, aucune lumière allumée. Elle pousse la porte, appelle mais ne reçoit aucun écho. La demeure est vide. Dans le salon, sur une table, trois enveloppes cachetées, posées en évidence. Un mot : "Ne me cherchez pas, je suis parti".

Tim Metzner is the co-founder and Chief Growth Officer at Coterie Insurance, a Cincinnati-based InsureTech startup simplifying the process of getting small business insurance. Founded in 2018, Coterie has now raised $70m to continue their growth. During this conversation Evan Knowles and Logan Jones discussed the Coterie story, building a great company culture, and how to foster a great startup ecosystem. Learn more about Coterie Insurance at CoterierInsurance.com Visit us at MiddleTech.com Twitter Instagram Facebook LinkedIn Evan's Twitter Logan's Twitter Middle Tech is proud to be supported by: Our presenting sponsor, KY Innovation Bolt Marketing The Johnson Law Group Render Capital

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]