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Hosted by Simon Scott
Hosted by Simon Scott
7 episodes with Simon Scott
4 episodes with Simon Scott
3 episodes with Simon Scott
3 episodes with Simon Scott
2 episodes with Simon Scott
2 episodes with Simon Scott
2 episodes with Simon Scott
In this episode Jordan James and Simon Scott chat about one of the worlds most famous and loved tv shows, the Simpsons. Why do we relate to this cartoon family so much and how does the show serve as a medium to explain and represent Autism and ADHD people? Plus we discuss why the titular family aren't the only autistic-coded characters in Springfield who reflect and resonate with the experiences of neurodivergent audiences.Here's what we cover in this episode:Through character analysis, particularly of Bart Simpson, we delve into the neurodivergent traits of Bart Simpson, exploring how his character could reflect the experiences of the show's creators.How Ralph and Martin could be viewed as 'high and low functioning' characters yet we relate to both of them!We discuss the complexities of Bart's intelligence and struggles with traditional education, as well as the similarities between Bart and his father, Homer.The discussion also touches on Maggie's representation of nonverbal autism and the broader themes of mental health and family dynamics within The Simpsons.We discuss the complexities of autism representation in media, the significance of non-speaking individuals on tv, and the unique dynamics of characters like Maggie and Marge Simpson.SUPPORT US THROUGH OUR SPONSERS:Work with Ashley Bentley at Integrative Coaching, Breathwork & Hypnotherapy to break free from old patterns and start living with more clarity, confidence, and connection - https://bit.ly/ashleyndeGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Follow NDE on social media:Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent Experience & Jordan's Facebook pageYouTube: @TheNeurodivergentExperienceTikTok: @neurodivergentexperienceIf you have ever enjoyed any of these episodes, could we please ask that you consider leaving a short a review on Apple Podcasts or Spotify? It takes less than a minute and makes a huge difference in helping to spread the word about the show. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode of The Neurodivergent Experience, hosts Jordan James and Simon Scott, are joined by Jordan's autistic daughter Sophie. Sophie recalls her experiences as a diagnosed women at university interacting with friends, colleagues and lecturers who are yet to recognise or accept they are neurodivergent. We explore how important it is to self-identify rather than self-diagnose, the shocking rates of misdiagnosis for autistic and ADHD women, and the unique challenges faced by women in understanding and accepting their neurodivergent identities.We share personal stories, discuss societal perceptions, and advocate for a more nuanced understanding of autism and ADHD.Sophie gives her perspective on the impact of societal rhetoric on perceptions of autism and ADHD, the challenges faced in educational settings regarding accommodations, and the stigma surrounding self-disclosure of neurodivergent identities. The conversation emphasizes the need for understanding and acceptance of neurodiversity in both personal and professional contexts, highlighting the importance of creating supportive environments for neurodivergent individuals. This weeks Hot Topic is the dating show 'Love on the Spectrum'. We express our thoughts and feelings about the infantilization and sexualization of participants, the editing choices that misrepresent the spectrum of autism, the lack of diverse representation and the importance of showcasing a broader range of Neurodivergent experiences in media.SUPPORT US THROUGH OUR SPONSERS:Work with Ashley Bentley at Integrative Coaching, Breathwork & Hypnotherapy to break free from old patterns and start living with more clarity, confidence, and connection - https://bit.ly/ashleyndeGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceFollow NDE on social media:Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperienceIf you have ever enjoyed any of these episodes, could we please ask that you consider leaving a short a review on Apple Podcasts or Spotify? It takes less than a minute and makes a huge difference in helping to spread the word about the show. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode, Simon Scott and Jordan James share and discuss three hot topics about Autism and ADHD as they celebrate Autism Acceptance Month.They critique a recent article in The Independent that reflects on the themes of the last episodes hot topic around Bella Ramsey being diagnosed Autistic. The articles author dismisses self diagnosis as 'armchair diagnoses', bashes social media advocating as misinformation and brands the act of suggesting to someone they may be neurodivergent as a rude and unacceptable thing to do. Simon and Jordan emphasize the importance of understanding and celebrating neurodivergence while addressing the harmful narratives perpetuated by ill informed media outlets and share personal experiences and insights on navigating conversations about neurodivergence, celebrating neurodiversity and the positive aspects of being autistic. The article: https://www.independent.co.uk/life-style/bella-ramsey-autism-adhd-diagnosis-tiktok-neurodivergence-b2723125.html#comments-areaThe second Hot Topic explores the cultural significance of the custom NBA sneakers campaign that is raising money and awareness in relation to autism acceptance month. They discuss the impact of custom sneakers designed to support the autism community and the importance of broader awareness campaigns: https://www.nba.com/jazz/news/custom-sneaker-campaign-organized-by-utah-jazz-coach-to-benefit-autism-acceptance-efforts-returns-for-second-seasonThe conversation shifts to the controversial changes proposed by NHS England regarding the Right to Choose, highlighting the challenges faced by neurodivergent individuals in accessing timely diagnoses and support.SUPPORT US THROUGH OUR SPONSERS:Work with Ashley Bentley at Integrative Coaching, Breathwork & Hypnotherapy to break free from old patterns and start living with more clarity, confidence, and connection - https://bit.ly/ashleyndeGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceFollow NDE on social media:Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperienceIf you have ever enjoyed any of these episodes, could we please ask that you consider leaving a short a review on Apple Podcasts or Spotify? It takes less than a minute and makes a huge difference in helping to spread the word about the show. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
An episode that explores the impact of My Chemical Romance through an autistic and neurodivergent perspective. Matt, Angela, and our sound engineer Simon Scott break down how the band's emotional intensity, justice themes, and outsider energy have made them a lasting icon within the autistic community.Here's what's in store for today's episode: * Today, we're taking a deep dive into My Chemical Romance and exploring how they reflect and embody elements of the autistic experience.* Our podcast producer, sound engineer, and behind-the-scenes magic man, Simon Scott, steps in front of the mic today to talk about his special interest.* We kick things off with the ultimate lore deep dive—tracing the butterfly effect from 9/11 all the way to Ellen DeGeneres getting canceled (yes, it is connected to My Chemical Romance, and yes, it makes sense… eventually).* After witnessing the Twin Towers fall from the Hudson River on 9/11, Gerard Way felt a deep urge to create something bigger than himself—something that could connect people through shared emotion and purpose. Out of that moment, My Chemical Romance was born.* We then dive into how bottom-up processing and autistic hyper-empathy may have influenced Gerard's decision—how taking in overwhelming sensory and emotional details of the moment could have sparked a need to respond in a deeply personal, creative, and connective way.* The band went on to write, produce, perform, and publish their entire first album within a week—a hyperfixation-fueled feat that no neurotypical could realistically pull off with the same intensity, focus, and urgency.* Their albums are deeply narrative, with each one following characters that symbolically represent the band members themselves. The first two albums build a layered universe that culminates in their third release—Welcome to the Black Parade—widely regarded as their magnum opus and a defining moment in emo and alternative music history.* We unpack the imagery in the “I'm Not Okay (I Promise)” music video and how it resonates with many autistic traits—highlighting themes of social rejection, masking, sensory overwhelm, and the desperate need to be understood in a world that constantly misunderstands you.* Next, we explore themes of justice sensitivity woven throughout MCR's lyrics—a trait commonly linked to the autistic experience—and how the so-called “autistic accent” subtly shapes the cadence, rhythm, and emotional delivery of their songs, adding layers of urgency, vulnerability, and authenticity.* Our hosts and Simon dive into the rich subculture that's emerged from the band's work—a world built by and for the outcasts, the overly emotional, the neurodivergent, and those who never quite fit in. MCR didn't just create music—they created a movement, a safe haven, and a language for people who feel everything too much.* Finally, we dive into expectation sensitivity, unpack the reasons behind the band's 8-year hiatus, and reflect on their powerful return—why their message hits harder than ever in today's world and why we still need MCR now more than ever.“I'd rather be a creature of the night than just some old dude.” - Gerard Way“I disappoint a lot of people. They expect me to be one way. If I spend a minute with them, they end up saying, ‘Oh, you're actually just a really nice person. They hate me when they catch me out of my makeup.” - Gerard Way“Neurotypical people tend to do things for power, prestige, and profit. He's not doing it because he wants to maintain the My Chemical Romance empire. He's not doing it because he wants to be famous. He's not doing it because he wants all the money. He has a story to tell. He has a reason for doing the thing.” - MattDid you enjoy this episode? We took a deep dive into the world of My Chemical Romance and how their music, message, and aesthetic embody key aspects of the autistic experience. From the butterfly effect of 9/11 to the cancellation of Ellen (yes, really), we trace the band's origins, explore autistic hyper-empathy and justice sensitivity in their lyrics, and analyze how the “autistic accent” shows up in their sound. Plus, we break down the iconic “I'm Not Okay” music video and the subculture that's made MCR a safe haven for neurodivergent weirdos everywhere. Join the convo with #AutisticCultureCatch!Show Notes:My Chemical Romance on Wikipedia - https://en.wikipedia.org/wiki/My_Chemical_RomanceBlack Parade in Musical Order - Neurodivergent Experience -Na Na Na Music Video: Welcome to the Black Parade Music Video: Related Episodes:Chess is AutisticFreddie Mercury is AutisticFollow us on InstagramFind us on Apple Podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPJoin Matt's Autistic Connections Facebook GroupLearn more about Angela at AngelaKingdon.com Angela's social media: Twitter and TikTokOur Autism-affirming merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe
In this engaging conversation, Simon Scott and Jordan James explore various themes including neurotypical interactions, the transition to full-time podcasting and the thought-provoking show 'Severance'. They delve into the concept of 'innies' and 'outies' as a metaphor for the duality of self in the context of neurodivergence. They discuss the impact of past experiences on character building, the struggles of commuting and travel, and the weight of everyday responsibilities we wish our 'Innies' could do for us.This weeks Hot Topic covers Actor and Last of Us Star Bella Ramsey being diagnosed as Autistic after a neuro-affirming crew member spotted the signs: https://www.the-independent.com/life-style/bella-ramsey-autistic-signs-the-last-of-us-b2723641.htmlSUPPORT OUR SPONSERS:Work with Ashley Bentley at Integrative Coaching, Breathwork & Hypnotherapy to break free from old patterns and start living with more clarity, confidence, and connection - https://bit.ly/ashleyndeGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceFollow NDE on social media:Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperienceIf you have ever enjoyed any of these episodes, could we please ask that you consider leaving a short a review on Apple Podcasts or Spotify? It takes less than a minute and makes a huge difference in helping to spread the word about the show. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this conversation Jordan James and Simon Scott, speak with resident therapist Ashley Bentley about the the impact of RSD (Rejection Sensitive Dysphoria) on mental health, nervous system regulation and self-soothing techniques to manage anxiety and overwhelming feelings. They discuss the importance of visual stimuli in creating a comforting environment, the inner critic stemming from childhood trauma, the complexities of adult responsibilities and the disconnect between empathy and rejection sensitivity dysphoria (RSD) and the tools available for managing anxiety and self-doubt. This weeks Hot Topic discuss the misinformation surrounding vaccines and autism, emphasizing the importance of education and advocacy for neurodiversity. The conversation highlights the need to debunk myths and promote a better understanding of autism, while also celebrating the contributions of neurodivergent individuals.Guest: Ashley Bentley: Hypnotherapist, Coach & Breathwork Practitioner, Integrative Coaching, Breathwork & HypnotherapyEmail: integrativeiom@gmail.comWeb: https://www.integrativeiom.co.ukFacebook: https://www.facebook.com/IntegrativeIOMInstagram: https://www.instagram.com/integrativeiom/Youtube: https://www.youtube.com/@integrativehypnotherapyInsight Timer: https://insighttimer.com/AshleyBentleyWork with Ashley Bentley at Integrative Coaching, Breathwork & Hypnotherapy to break free from old patterns and start living with more clarity, confidence, and connection - https://bit.ly/ashleyndeSPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this engaging conversation, Jordan James and Simon Scott explore the themes of self-care, stress management, and the psychology behind collecting and purchasing items. They share personal experiences with financial management and the impact of obsessions on their lives, particularly in relation to their neurodivergent experiences. They explore the themes of nostalgia, how childhood experiences shape adult behaviours, the impact of having disposable income on purchasing habits, and the connection to one's inner child. The dialogue highlights the complexities of interests and obsessions, emphasizing the emotional satisfaction derived from indulging in passions and the societal influences that drive consumer behaviour. This weeks Hot Topic covers The Standard's article 'Daydreaming, social awkwardness: Has the internet diagnosed you with autism or ADHD?' Read it here: https://www.standard.co.uk/lifestyle/autism-adhd-diagnosis-test-surge-tiktok-b1207881.htmlSPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this conversation, Simon Scott and Jordan James talk to Chris Ash, an autistic student at the University of Exeter, exploring the challenges and experiences of navigating university life as neurodivergent individuals. They discuss the impact of chaotic living environments, the importance of self-awareness, and the fears associated with transitioning into the challenges of navigating adult life. The speakers share personal anecdotes about their experiences with stress, independence, and lifestyle adjustments, including food habits during university life.This weeks Hot Topic is the controversial statements made by President Trump regarding autism and the impact of misinformation on the public perception of Neurodivergent people.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this engaging conversation, Jordan James, Simon Scott, and Ashley Bentley explore the importance of embracing one's inner child, particularly for neurodivergent individuals. They discuss personal experiences, the healing power of connecting with the inner child, and the role of hypnotherapy in this process. The conversation delves into the impact of synaptic pruning on mental health, the dangers of silencing the inner child, and practical steps to foster creativity and self-acceptance. Ashley shares insights on how to navigate shame and the significance of allowing the inner child to express itself freely and the importance of finding community and embracing individuality. They discuss the challenges of adult responsibilities while nurturing the inner child, emphasizing the need to build resilience in children and empower them through imagination.This weeks Hot Topic focuses on Bill Gates' recent acknowledgment of neurodivergence, underscoring the importance of awareness and acceptance in society.Guest: Ashley Bentley: Hypnotherapist, Coach & Breathwork Practitioner, Integrative Coaching, Breathwork & HypnotherapyEmail: integrativeiom@gmail.comWeb: https://www.integrativeiom.co.ukFacebook: https://www.facebook.com/IntegrativeIOMInstagram: https://www.instagram.com/integrativeiom/Youtube: https://www.youtube.com/@integrativehypnotherapyInsight Timer: https://insighttimer.com/AshleyBentleySPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode, Jordan James and Simon Scott discuss their personal journeys with accepting their neurodivergence. They share their experiences with pain, positivity, and the challenges of navigating societal perceptions of autism and ADHD. They discuss the impact of societal expectations on individuals with disabilities, the importance of recognizing and addressing internalized ableism, and the journey towards self-love and acceptance. The conversation also touches on the challenges of communication, the significance of open discussions about neurodivergence, and the human experience in the context of sports, particularly focusing on Luka Doncic's recent trade to the LA Lakers in the NBA.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode, Jordan James and Simon Scott reconnect for Season 2, sharing their personal journeys of growth, mental health, and the neurodivergent experience. They discuss the importance of focusing on what can be controlled, the challenges of moving house, and reflections on their Christmas experiences. They discuss Simon's journey of unmasking his neurodivergence, the impact of supportive friendships, and the empowerment that comes from embracing one's true self. The conversation also touches on the societal implications of neurodivergence, culminating in a hot topic discussion about Elon Musk and the misuse of neurodivergence as an excuse for behaviour.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Society's perspective on autism has shifted, but there is still work to be done to combat misinformation and stigma.In this episode, Jordan James and Simon Scott interview Steve Silberman, the author of NeuroTribes. They discuss the impact of Silberman's book on the neurodivergent community and the importance of embracing neurodiversity. They delve into the history of autism and the misconceptions surrounding Hans Asperger, the legacy of autism, the shift in society's perspective on autism and the importance of finding support within the neurodivergent community. Silberman shares his perspective on the medical model of autism and we explore the impact of the book 'NeuroTribes' in creating advocates for neurodiversity, the concept of the autism spectrum, the need for more frequent and dedicated opportunities for autistic children to engage in their special interests, as these interests can lead to meaningful and successful lives.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
This is episode #6 of the Neurodivergent Experience, re-released while were on Hiatus. We Will be back with NEW episodes in FebruaryMeltdowns can be overwhelming and uncontrollable experiences, often triggered by sensory overload or unexpected events. In this episode of The Neurodivergent Experience, Jordan James and Simon Scott share what meltdowns feel like from a neurodivergent perspective. They cover the causes and effects of meltdowns, the importance of self-care and coping mechanisms - such as stimming and finding ways to recharge - the challenges of social anxiety and the power of communication.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In our final episode of the year and our first season, hosts Jordan James and Simon Scott reflect on their experiences and growth throughout 2024, discussing starting a podcast, personal achievements, family dynamics, and the challenges they faced as neurodivergent individuals. We encapsulate a year of significant personal development and connection, our mental health journeys, the impact of significant losses, and the importance of community. As we look forward to the new year, we set intentions and promises for personal growth and fulfilment, trying to buy less trainers and what to look forward to in Season 2 of The Neurodivergent Experience.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode of the Neurodivergent Experience, hosts Jordan James and Simon Scott discuss various themes around the infamous Autistic sense of justice. We share our personal anecdotes and insights on dealing with liars, how past experiences of violence and trauma shape our current behaviours and perceptions, particularly regarding trust and disingenuousness. We delve into the complexities of emotional expression, the impact of hypocrisy, and the challenges of honesty in relationships for Autistic people and the struggle between maintaining emotional safety and the desire for genuine connections.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode of the Neurodivergent Experience, hosts Jordan James and Simon Scott explore the multifaceted aspects of being Autistic at Christmas, discussing their personal traditions and the ups and downs of the holiday season.We explore various aspects of Christmas, from personal traditions and family dynamics to the anxieties and expectations that come with the holiday season. We discuss the significance of family interactions over material gifts and reflect on how our perspectives on Christmas preparations have evolved over time, through kindness, understanding, and creating comfortable spaces for neurodivergent individuals.SPONSER: Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Support the show with our merch! Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Psalm 8 starts and ends with the same phrase which shows us how magnificent God is and we are tempted to feel insignificant against the vastness of Him. But He says that we have value and He can use us when we recognise our worth through Jesus.
In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss the complexities of anger. Joined by hypnotherapist Ashley Bentley, we explore the importance of therapy, delve into personal experiences with coping mechanisms, the impact of childhood trauma on adult life, the challenges of adulting, and the influence of social media on self-image, self-compassion, and mindfulness in managing emotions.TakeawaysAnger is a natural emotion that needs to be managed.Self-compassion is crucial in navigating feelings of anger and shame.Neurodivergent individuals often experience heightened emotions and sensitivities.It's important to recognize that others' behaviours often reflect their own issues, not ours.Adulting can be overwhelming, leading to feelings of inadequacy and anger.Healing is a continuous journey that requires effort and self-awareness.Ashley Bentley: Hypnotherapist, Coach & Breathwork Practitioner, Integrative Coaching, Breathwork & HypnotherapyEmail: integrativeiom@gmail.comWeb: https://www.integrativeiom.co.ukFacebook: https://www.facebook.com/IntegrativeIOMInstagram: https://www.instagram.com/integrativeiom/Youtube: https://www.youtube.com/@integrativehypnotherapyInsight Timer: https://insighttimer.com/AshleyBentleyGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Get our t-shirts and hoodies at https://www.dollysdaydreamscheshire.co.uk/the-neurodivergent-experienceInstagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Tomamos conciencia de los kilitos de más que hemos pillado este verano. Por ello planteamos una sesión de ejercicios para ponernos en forma a ritmo de rocknroll y resistir las tentaciones culinarias. Una divertida sesión sin más pretensión que pasar un buen rato, que eso también es sano.Playlist;(sintonía) LINK WRAY “Fat back”THE MORELLS “Gettin’ in shape”FATS DOMINO “Hey Fat Man”LOUIS JORDAN and THE TYMPANY FIVE “You’re much too fat and that’s that”THE DOVELLS “You can’t sit down”JEANETTE BABY WASHINGTON “Move on”SIMON SCOTT and THE LE ROYS “Move it baby”LARRY WILLIAMS “Short fat Fanny”DON COVAY “Fat man”THE ROCKYFELLERS “Don’t sit down”RAY SANDERS “Karate”CHUCK GALLEGOS and THE FABULOUS CYCLONES “Chilli beans”SIR DOUGLAS QUINTET “Bacon fat”THE MARATHONS “Peanut butter”TOMMY HANCOCK “Tacos for two”HASIL ADKINS “No more hot dogs”THE STRANGELOVES “I want candy”THE FUZILLIS “Pizza sure is good”RANGONES “Viciado en sanduich”BOBBY RAMONE “I don’t wanna stand up”THE UNTAMED YOUTH “Beer bust blues”TOMMY and THE ROCKETS “Beer fun and rocknroll”Escuchar audio
"One of the key disability sides of my hyper focus is that I can hyper focus on things that I don't like and can be quite distressing to think about."In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss neurodivergent abilities versus disabilities. We share personal experiences and insights into how hyper-focus and tree learning, anxiety, and eidetic memory are both abilities and disabilities. We talk about difficulties processing empathy, deep emotions and how these impact their lives, plus our experiences with exceptional memories and how it can be both a gift and a burden. TakeawaysHyper-focus and tree learning are common traits in neurodivergent individuals, allowing them to deeply explore and understand specific subjects.Anxiety can be both helpful and disabling, providing heightened awareness but also causing distress and physical symptoms.Eidetic memory, or the ability to recall detailed sensory information, can be both a gift and a burden, impacting daily experiences and emotional well-being. Hyper-empathy allows for deep connections with others but can also be disabling.Navigating neurodivergent experiences requires patience and not settling for less.Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
"We don't need a neurotypical saviour and a holistic saviour, whatever. We don't need you. We didn't ask you to save us. We need diversity and neurodiversity does serve this purpose."In this episode of the Neurodivergent Experience, Jordan James and Simon Scott interview Lyric Rivera, a neurodiversity consultant and educator. Lyric shares their journey of self-discovery after being diagnosed as autistic and how it led them to create their Facebook page which now has 179,000 followers.The conversation touches on the differences in perspectives and understanding of autism between countries, with the UK and Australia being more forward-thinking compared to the US, the harmful narratives and fear campaigns surrounding autism, the dangers of seeking to eradicate or 'correct' autism, the different rules and regulations regarding neurodivergence in the workplace in different states in the US and emphasizes the importance of including autistic individuals in research and decision-making processes.TakeawaysThe UK and Australia are considered by Lyric as 'more forward-thinking' in their understanding of autism compared to the US.Including autistic individuals in research and decision-making processes is crucial.Many employers still lack understanding of neurodivergence and may not provide necessary accommodations. Neurodivergent individuals may face discrimination and challenges in the workplace, such as being denied reasonable accommodations.There are differences in Neurodivergence Laws and Workplace Accommodations in the USNeurodivergent individuals are constantly evolving and changing, and it is important to understand and embrace one's own unique experience.Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss neurodivergent people who have shaped their lives and the influence of neurodivergent individuals in various fields. They talk about the impact of Walt Disney, Roald Dahl, Robin Williams and share personal anecdotes and discuss the importance of representation from those who have overcome challenges and inspire others to never give up and the positive influence it can have on neurodivergent individuals.TakeawaysStand-up comedians like Robin Williams have been influential figures and have shaped their interests, creativity, and sense of humour.Celebrities like Jim Carrey and Tom Brady have overcome challenges and inspired people, including Simon and Jordan to never give up despite your disabilities.The importance of representation and the positive influence it can have on neurodivergent individuals is discussed.Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
"Neurodivergent Jenga is like many little triggers, which take away each one of your little bricks"In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss the concept of losing spoons and playing Neurodivergent Jenga. We talk the concept of spoons, which represents energy levels, and how different factors can drain or add to their spoons throughout the day. Have you ever been stuck playing Neurodivergent Jenga, where small triggers can lead to a meltdown? We share our personal experiences with triggers and sensory issues and how they can affect our daily lives. Jordan discusses the challenges of being a parent and how neurodivergent children can trigger your own triggers.TakeawaysSpoons represent energy levels, and various factors can drain or add to them throughout the dayUnderstanding and managing triggers can help prevent meltdowns and preserve spoonsParents of neurodivergent children may face additional challenges and need to find a balance between guidance and understanding.Executive dysfunction can affect daily tasks and routines, leading to triggers.Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
"Neurodivergent tax, also known as ADHD tax, is the impulse buying that has been a delight and a burden on me and my finances."In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss impulse buying and 'Neurodivergent Tax'. The hosts discuss their personal experiences with impulse buying, including purchasing expensive items like dogs and sneakers, and having to pay the ND tax. They also touch on the impact of FOMO (fear of missing out) and the role of research in impulse buying.TakeawaysFOMO (fear of missing out) can contribute to impulse buying, as individuals may feel the need to participate in certain trends or experiences.Research can play a role in impulse buying, as individuals may justify their purchases by conducting extensive research and convincing themselves of the value.Impulse buying can have both positive and negative consequences, ranging from the joy of acquiring desired items to financial strain and regret.Setting boundaries and being mindful of impulsive tendencies can help manage and control impulse buying behaviour.Sales and second-hand items can be more affordable options for satisfying shopping desires.Parents may feel compelled to buy things for their children to ensure they don't miss out.Get an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
"My relationship with food is incredibly complex. I hate food that is unpredictable."In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss their complex relationships with food. They share their experiences with 'fussy' eating, body dysmorphia, and trauma-related food aversions. They also talk about the impact of neurodivergent traits on their eating habits, such as demand avoidance and hypersensitivity. They highlight the unpredictability of food textures and flavours for neurodivergent people and the preference for routine and familiarity.TakeawaysNeurodivergent individuals often have complex relationships with food, influenced by factors such as picky eating, body dysmorphia, and trauma-related aversions.Neurodivergent traits, such as demand avoidance and hypersensitivity, can impact eating habits and food preferences.Childhood experiences with food, including restrictions and negative associations, can shape an individual's relationship with food as an adult.Developing a healthier relationship with food may involve exploring new flavours, managing sensory sensitivities, and addressing underlying emotional issues.It is important to be mindful of how we talk about food and body image, avoiding negative language and promoting self-acceptance as understanding and supporting neurodivergent individuals' unique food preferences and challenges can promote their overall well-being.Parents should avoid labelling their children as 'fussy eaters' and instead create a positive and supportive environment to encourage trying new foods.Chapters00:00 RTN Sponsor01:43 The Complexity of Neurodivergent Relationships with Food06:26 Childhood Experiences and Food Challenges09:20 Food as Comfort and Trauma Response13:15 Struggles with Eating and Starvation25:15 Negative Associations and Social Exclusion27:10 Conclusion and Support for Neurodivergent Food Preferences32:10 Navigating Unpredictability: Food Textures and Flavours for Neurodivergent People45:06 Childhood Memories and Associations with Food50:42 Supporting Neurodivergent Children in Developing Healthy Eating Habits52:09 The Impact of Food on Neurodivergent Individuals' Cognitive Abilities53:07 Promoting Positive Body Image and Mindful Eating for Neurodivergent IndividualsGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Society's perspective on autism has shifted, but there is still work to be done to combat misinformation and stigma.In this episode, Jordan James and Simon Scott interview Steve Silberman, the author of NeuroTribes. They discuss the impact of Silberman's book on the neurodivergent community and the importance of embracing neurodiversity. They delve into the history of autism and the misconceptions surrounding Hans Asperger, the legacy of autism, the shift in society's perspective on autism and the importance of finding support within the neurodivergent community. Silberman shares his perspective on the medical model of autism and we explore the impact of the book 'NeuroTribes' in creating advocates for neurodiversity, the concept of the autism spectrum, the need for more frequent and dedicated opportunities for autistic children to engage in their special interests, as these interests can lead to meaningful and successful lives.TakeawaysThe history of autism reveals the mistreatment and discrimination faced by neurodivergent people.The medical model of autism focuses on deficits and dysfunctions, but a more inclusive and positive perspective is needed.Neurodiversity is a natural variation of human neurology and should be embraced and accommodated.The autism spectrum is not linear but encompasses a range of neurodivergent experiences.Special interests are a vital part of the lives of autistic individuals and should be embraced and nurtured.Finding support within the neurodivergent community can be invaluable for both autistic individuals and their families.00:00 RTN Sponsor01:12 Introduction03:14 The Impact of Steve Silberman's Book, NeuroTribes, on the Neurodivergent Community09:54 The History of Autism and the Progress of Neurodiversity36:33 Embracing Neurodiversity37:31 The Autism Spectrum42:57 Unpacking the History of Autism Diagnosis44:22 From Deficits to Strengths49:32 Challenging Ableism and Cure Culture53:48 The Power of Special Interests01:08:10 Support and AccommodationSteve Silberman: Award-winning science writer, author of NeuroTribes: The Legacy of Autism and the Future of Neurodiversity (Avery 2015).Website: https://www.stevesilberman.com/Book: NeuroTribesGet an Autism and ADHD assessment in the UK with https://www.rtnmentalhealthsolutions.com/ Use the Discount Code RTN23 when you make your initial enquiry through the RTN website or the website portal.Instagram: @theneurodivergentexperiencepodFacebook: The Neurodivergent ExperienceYouTube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Navigating romantic relationships can be challenging for neurodivergent individuals.In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss their experiences with romantic relationships. They share stories from their teenage years including the challenges of navigating dating and intimacy, the impact of past traumas and the importance of being true to oneself in a relationship, particularly for neurodivergent individuals. Jordan discusses how meeting his wife, Sylvia, changed everything. They formed a deep connection and understood each other on a level that no one else did and attributes their successful relationship to both of them being neurodivergent. He expresses gratitude for having Sylvia in his life and credits her for helping him better himself. Simon reflects on his past relationships and how they were influenced by his neurodivergent traits and shares his experiences of being taken advantage of and feeling misunderstood in past relationships.TakeawaysBeing true to oneself is important in building a healthy and fulfilling relationship but past traumas can impact how we approach and experience them.Dating and intimacy can be particularly difficult for neurodivergent individuals, who may struggle with social cues and communication.Building a relationship without masks and being open and honest can lead to a stronger connection, being in a relationship with someone who is also neurodivergent can lead to a deep connection and understanding.00:00 Introduction and Setting the Topic07:42 Navigating Dating and One Night Stands26:30 Difficulties with Initiating Intimacy35:21 Building Relationships while Masking44:11 Confidence and Attracting Attention57:36 Finding Connection and Understanding in a Relationship01:05:32 The Power of Gratitude in a Successful Relationship01:15:26 Reflecting on Past Relationships for Personal GrowthWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Art and creative expression can be a powerful way for neurodivergent individuals to communicate and share their unique experiences.In this conversation, Jordan James and Simon Scott talk to Bret Malley, a recently diagnosed neurodivergent individual, and father of an autistic son. They discuss Brett's journey of self-discovery, his experiences as a filmmaker and artist, talk about his upcoming documentary film, The Divergent Gift: Unboxing Autism, led by Bret and starring Jordan and the challenges he and his son face in the US education system.The conversation explores the need for flexibility and multiple ways of learning in education, particularly for neurodivergent individuals, and emphasize the importance of listening to parents and understanding the unique strengths and weaknesses of each child.The upcoming documentary film 'The Divergent Gift; Unboxing Autism, led by Brett Mallie, aims to amplify the voices of the neurodivergent community and promote acceptance and inclusion.TakeawaysThe education system often fails to accommodate the diverse learning styles and needs of neurodivergent students, leading to feelings of frustration and isolation.There is a need for a shift in the education system to prioritize individuality, autonomy, and support for neurodivergent students. Education should provide flexibility and multiple ways of learning to accommodate the diverse needs and interests of students, particularly neurodivergent individuals.Teachers should listen to parents and take the time to understand each child's unique strengths and weaknesses in order to provide appropriate support.Storytelling, animation, and creativity can be powerful tools for expressing the neurodivergent experience and promoting understanding and acceptance.00:00 Introduction and Background14:10 Art as a Form of Communication35:50 The Need for a Shift in Education44:34 Flexibility and Autonomy in Education51:48 The Importance of Listening to Parents01:08:00 The Power of Documentary Film in AdvocacyBret Malley: Educator, Speaker, Professional photographer, author of Adobe Master Class; Advanced Compositing in Adobe Photoshop CC, and all around Photoshop magician specializing in surreal, epic, and imaginative image creation.Website: https://www.bretmalley.com/Documentary: https://www.thedivergentgift.com/Please consider supporting this incredible project: https://fundraise.givesmart.com/form/88kj6Q?vid=14zjxqWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Neurodivergent characters are becoming more prevalent in TV and film, although many are still coded rather than explicitly identified as neurodivergent.In this episode of the Neurodivergent Experience, Jordan James and Simon Scott discuss autistic representation in TV and film. They explore characters like Sherlock Holmes and Gregory House, who exhibit neurodivergent traits, and delve into the X-Men and how the characters in the series represent neurodivergent experiences, the importance of neurodivergent artists and creators in shaping these characters and emphasize the relatability of superheroes and the impact of pop culture on the neurodivergent community. The conversation addresses the issue of negative representation and stereotypes in shows like 'The Good Doctor' and emphasizes the need for authentic representation by neurodivergent people and concludes by emphasizing the significance of accurate and diverse representation in media.TakeawaysThe representation of neurodivergent characters often reflects the desire for recognition, validation, and understanding experienced by many neurodivergent individuals.Autism Awareness Month and similar initiatives can be seen as performative and insufficient, as acceptance and celebration of neurodivergent people should be continuous.There are examples of neurodivergent characters in various TV shows, including The Big Bang Theory, The Office, Parks and Recreation, and Rick and Morty. Neurodivergent characters in media, such as Doctor Who and Mr. Bean, provide representation and relatability for neurodivergent individuals.Companions and teams play a crucial role in the stories of neurodivergent characters, highlighting the importance of social connections.Negative representation and stereotypes in shows like 'The Good Doctor' can be harmful and perpetuate misconceptions about neurodivergent individuals.Authentic representation by neurodivergent people is essential for accurate and diverse portrayals of neurodivergence in media.00:00 Introduction and Autistic Representation10:37 The X-Men: Neurodivergent Superheroes36:39 Neurodivergent Characters in Big Bang Theory45:31 Neurodivergent Representation in IT Crowd: Richard Ayoade52:26 Neurodivergent People Thrive in Collaboration01:03:02 The Good Doctor: Perpetuating Stereotypes01:10:43 Neurodivergent Representation in Brooklyn Nine NineWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Collaboration and understanding between different species, including humans and animals, can lead to a more harmonious world. In this episode of the Neurodivergent Experience, Jordan James and Simon Scott talk to Summer Farrelly, an Autistic inclusion advocate and animal behaviorist. They discuss Summer's journey to becoming a zoologist, their special interest in chickens, and their assisted animal learning program. Summer shares how their understanding of animal behavior has helped them navigate social settings and learn about human behavior. The conversation delves into the topic of advocacy and the impact of positive feedback from the community, emphasizing the importance of authenticity and sharing personal experiences in advocacy.TakeawaysUnderstanding animal behavior can provide insights into human behavior. Learning from animals can teach us valuable lessons about cooperation and survival.Studying animal behavior can provide insights into human behavior and vice versa. Favorite animals can vary among individuals, and personal preferences are influenced by various factors.Authenticity and sharing personal experiences are key in advocacy, as they can inspire and help others.Understanding and advocating for neurodivergent individuals is important for creating an inclusive society. Positive feedback from the community can have a profound impact on advocates and reinforce the importance of their work.Building meaningful friendships can be a challenge for neurodivergent individuals, but finding like-minded people can lead to strong connections.Starting as a content creator and advocate can be a way to connect with others and make a positive impact. Social media can have both positive and negative effects on individuals, and it's important to find a balance and prioritize real-life connections.Disability and ability are two sides of the same coin, and it's important to embrace and appreciate both aspects of one's neurodivergent identity.00:00 Introduction to Summer Farrelly04:32 Defining Neurodivergence and Autism06:29 Living the Neurodivergent Experience in Australia08:25 Summer's Journey to Studying Zoology10:21 Passion for Animals and Special Interest in Chickens20:21 Favorite Animals and Evolved Dinosaurs28:49 Navigating Social Interactions and Friendship37:51 Assisted Animal Learning Program42:13 The Power of Authenticity51:06 Navigating Challenges56:24 The Impact of Positive Feedback01:06:55 Embracing Neurodiversity01:14:37 Self-Acceptance and the Journey of AdvocacySummer Farrelly, Autistic Inclusion Advocate & Animal Behaviorist:Website: https://summerfarrelly.com.au/Facebook Page: https://www.facebook.com/Chickens2loveWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Masking is a survival technique used by neurodivergent individuals to fit in and avoid harassment or bullying. It takes a toll on mental health, leading to anxiety, low self-esteem, and a constant fear of slipping up.In this episode, Jordan James and Simon Scott discuss the concept of masking and unmasking in neurodivergent people. They explore the reasons why individuals mask their true selves, the fear of not being taken seriously, the pressure to conform to societal norms, along with the deep masking experienced during teenage years. The conversation explores the benefits and challenges of masking disabilities, the dehumanizing perspective towards people with disabilities and why unmasking is a journey of self-discovery and acceptance.Takeaways:Society's judgment of neurodivergence and disability as weaknesses contributes to the fear of being authentic and the need to mask.Social media can be a breeding ground for bullying and judgment, as people feel detached and empowered to tear others down.The desire for companionship and acceptance drives individuals to mask their true selves, but it is important to find a balance between fitting in and being authentic.Authentic friendships are built on being real and accepting each other's true selves.Teaching children to mask in certain situations can help them navigate the world, but it's important to also encourage their authentic selves.Chapters00:00 Intro00:32 Masking and Unmasking01:30 The Freedom and Comfort of Masking04:22 The Toll of Masking05:23 The Challenge of Being Fully Authentic06:22 The Persona of Masking07:22 The Loss of Energy and Foundations08:20 The Deep Rest from Masking09:19 Putting on Masks to Fit In10:19 Using Comedy and Stand-up to Mask11:42 The Unmasking Effect of Conversations12:40 The Intensity of Unmasking13:37 The Breakthroughs of Speaking Out Loud14:26 The Impact of the Podcast19:15 Knowing and Communicating Limits20:14 The Need for Companionship21:35 The Pressure to Fit In23:56 The Dark Side of Social Media25:17 The Fear of Disability28:15 The Fear of Being Ostracized29:10 The Toll on Mental Health30:16 The Pressure to Meet Neurotypical Standards31:43 The Gazelle Among Lions33:39 The Fear of Ridicule35:02 The Dehumanizing Experience37:25 The View of Neurodivergence as a Developmental Disability39:17 The Gaslighting and Lack of Self-Trust40:14 The Benefit of Masking45:04 Hyperfocus on Autism46:29 Uncomfortable with Asperger's Label47:56 Hyperfixation on Autism Stereotypes50:21 Stimming and Comfort Objects56:41 Masking as a Teenager01:02:54 Starting the Unmasking Process01:05:14 Struggling with Self-Identity01:07:14 The Privilege of Masking01:18:24 Teaching Masking to Neurodivergent ChildrenWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
Early development is a critical time for neurodivergent individuals, and interventions like ABA therapy at a young age can interfere with natural brain development.Warning - this episode contains themes that some individuals may find distressing.In this episode, Jordan James and Simon Scott are joined by Maisie Soetantyo, an openly autistic ADHDer and founder of Autism Career Pathways. They discuss Macy's experience working with autistic children and shares her concerns about the limitations and potential harm of ABA therapy, highlighting the importance of individuality and unique experiences. They also discuss the need for parents to trust their intuition and find affirming approaches to support their autistic children. The conversation sheds light on the misconceptions and language surrounding autism, and the growing movement towards more inclusive and respectful approaches to therapy and support. Maisie introduces her latest project, Guiding Extraordinary Minds (GEM), which aims to provide support and training for autistic professionals, parents, and educators. She also highlights the mission of her non-profit organization, Autism Create Pathways, in reducing barriers at workplaces for autistic individuals.TakeawaysParenting neurodivergent children requires a balance between accommodating their needs and fostering independence.Stimming is a natural and necessary behavior for autistic individuals, and it should not be discouraged or suppressed.Parenting intuitively and problem-solving in the moment is crucial for supporting neurodivergent children.Using affirming language and providing positive information about autism can help individuals embrace their neurodivergent identity and feel empowered.00:00 Introduction03:13 Starting Work with Autistic Children07:25 Turning Away from ABA Therapy12:19 Issues with ABA Therapy31:00 Advocacy and Affirming Approaches33:25 Negative Portrayal of Autistic People in Media34:17 The Damage of ABA Therapy38:39 The Challenges of Advocacy41:25 Accountability and Safe Spaces47:34 Balancing Accommodation and Autistic Identity50:22 Parenting Intuitively and Supporting Neurodivergent Kids56:37 Guiding Extraordinary Minds and Autism Create PathwaysMaisie Soetantyo is an openly autistic ADHDer who has been working with autistic people for over 30 years. She is the founder of a nonprofit in San Francisco Bay Area, Autism Career Pathways. She is also the founder of Guiding Extraordinary Minds (GEM), a platform for autistic folks to guide parents and professionals.Links: https://linktr.ee/maisiesoetantyoWebsite: www.autismcareerpathways.orgWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperienceYoutube: @TheNeurodivergentExperience Hosted on Acast. See acast.com/privacy for more information.
A conversation with Christian Saville, guitarist and Simon Scott, drummer from Slowdive – dreamy indie rock band who were part of Britpop culture of the early 90's, had a 20 year hiatus and returned with new albums and live shows for the 21st century. Recorded backstage at Toyosu Pit Tokyo in March 2024 the two share their thoughts on the power of music overcoming negative press, and the joy of quitting their day jobs.
Meltdowns can be overwhelming and uncontrollable experiences, often triggered by sensory overload or unexpected events. In this episode of The Neurodivergent Experience, Jordan James and Simon Scott share what meltdowns feel like from a neurodivergent perspective. They cover the causes and effects of meltdowns, the importance of self-care and coping mechanisms - such as stimming and finding ways to recharge - the challenges of social anxiety and the power of communication.In this episode you can expect to learn about:Meltdowns can have a significant impact on mental and physical well-being, and recognizing the signs can help prevent or manage them.Factors such as fatigue, hunger, and emotional issues can contribute to the intensity of meltdowns.Self-care and finding supportive environments can help regulate emotions and prevent meltdowns.Creating breathing room and recovery after a meltdown is essential for self-care and maintaining mental health.Prioritize understanding and supporting neurodivergent individuals rather than trying to 'fix' them.Stimming is an essential coping mechanism for neurodivergent individuals to navigate a challenging world.The impact of past trauma can affect present reactions and behaviours.00:00 Intro01:28 Explaining Meltdowns and Emotional Regulation08:08 Types of Meltdowns and Coping Mechanisms12:14 Managing Meltdowns and Recharging25:15 Stimming and Early Intervention30:05 Childhood Meltdowns37:21 The Aftermath of Meltdowns43:05 Driving and Anxiety44:17 The Impact of Words and Trauma52:29 The Power of Self-Acceptance and HealingWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperience Hosted on Acast. See acast.com/privacy for more information.
I chatted to Simon Scott, Lead Director, Living Capital Markets UK at the second largest global property advisor, JLL, about the future of ‘living capital' (which is essentially the institutionally-funded segment of the real estate market which people live in). Topics include: What we can learn from 2023 around the resilience of residential investment Factors influencing investment valuations, from fire safety to operating companies Will 2024 be the worst year yet for new housing developments? Guest website: https://www.jll.co.uk/ Guest LinkedIn: https://www.linkedin.com/in/simon-scott-151a2669/ Host LinkedIn: https://www.linkedin.com/in/annaclareharper/ Host website: GreenResi.com
So you think you know what makes you or someone else Autistic? Join Jordan James and Simon Scott for a captivating and candid conversation as they delve into various aspects of The Neurodivergent Experience to answer what makes them Autistic?In this episode you can expect to learn about:HyperfocusSensory sensitivitiesStimmingThe challenges of social interactionsThe importance of individualityThe need for understanding and acceptance of neurodivergent individuals and the unique experiences they bringWhether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience. Hosted on Acast. See acast.com/privacy for more information.
Neurodivergent individuals often desire friendships but may struggle with the complexities and challenges that come with them. In this episode, Jordan James and Simon Scott discuss the complexities of neurodivergent people and friendships by sharing their personal experiences with friendships, struggles with bullying, and the challenges of masking to fit in. They talk about the importance of feeling safe and accepted in friendships, the value of authentic and genuine friendships where neurodivergent individuals can be their true selves and ask what impact does childhood trauma have on our friendships at all ages in life?In this episode you can expect to learn about:Bullying and trauma can have a significant impact on neurodivergent individuals' ability to trust and form meaningful friendships.Authenticity and acceptance are key in building genuine friendships, where neurodivergent individuals can be their true selves.Feeling safe and loved within friendships is crucial for neurodivergent individuals, as it provides a sense of security and support.It is important to surround oneself with people who make them feel good and to not settle for relationships that do not bring happiness.Whether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience.Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperience Hosted on Acast. See acast.com/privacy for more information.
Welcome to The Neurodivergent Experience!This podcast is a platform to explore the diverse experiences of individuals in the spectrum, challenge misconceptions and celebrate the strength and resilience of neurodivergent individuals. This episode is a brief hello to co-hosts Jordan James - the Autistic photographer, author and advocate - and recently diagnosed Autism/ADHD broadcaster, Simon Scott.In this introduction Jordan shares his personal journey of using photography to improve his mental health and how he began to embrace his neurodivergent identity, the importance of friendship and support in the autistic community. Simon discusses his early experiences with his Autism and ADHD diagnosis, his love-hate relationship with the diagnosis and why he is making a podcast that would have been a guide to help him better understand the Neurodivergent Experience.Follow us on Socials!Instagram: @theneurodivergentexperiencepodFacebook: theneurodivergentexperience Hosted on Acast. See acast.com/privacy for more information.
The Neurodivergent Experience is the weekly podcast dedicated to exploring the vast world of Autism, ADHD and more! Hosted by The Autistic Photographer, Jordan James, and Simon Scott.Being Neurodivergent is often shrouded in misconceptions, stereotypes, and limited knowledge. While our experiences may overlap, no two stories are the same. Through this podcast, we aim to challenge those misconceptions and dive deep into the diverse experiences of those in the spectrum by sharing our personal stories, and exploring topics like early interventions, sensory processing, education, employment, and much more. Each episode will feature insightful conversations about living in the spectrum, with guest experts, advocates, and allies who are passionate about creating an inclusive and accepting world.Whether you're Neurodivergent yourself, a friend, family member, or simply curious about this extraordinary way of experiencing the world, this podcast is your guide to unravelling The Neurodivergent Experience. Hosted on Acast. See acast.com/privacy for more information.
Co-living has been gaining in popularity as a housing trend, especially in urban areas among young professionals and digital nomads. The attraction of co-living spaces lies in their ability to offer affordable, social and flexible living arrangements while also providing access to vibrant communities of individuals with shared interests and values. In this EG podcast, in collaboration with JLL's head of living capital markets, Simon Scott – whose team has a proven track record of working with both investors and developers to create successful and vibrant rental communities in the UK – we discuss where the real opportunity is for co-living going forward and how we might expect the market to evolve over the next decade. What are consumers looking for, and what are the development and investment opportunities? How will ESG priorities, climate change and sustainability affect this product and the tenant group that it targets?
Tonight's edition features plenty of new music from Simon Scott, Blackfish, Max Wurden, Tapes and Topographies, Unwed Sailor, Laraaji, Arnold Kasar, Havenaire and plenty more!
Episode 611: January 8, 2023 playlist: 23 Skidoo, "Kundalini" (Seven Songs) 1982 Fetish P.E., "The Reason For My Love" (The Leather Lemon) 2022 Wharf Cat Kate Bollinger, "J'aime les filles" (J'aime les filles) 2023 Ghostly Bailey Miller, "cul-de-sac" (love is a dying) 2023 Whited Sepulchre Denqq, "Underachievers" (We Could Be Dead Soon) 2023 Normoton Jack Dangers, "The Guitar Works" (Lucky Bag) 2023 Flexidisc Marlene Ribeiro, "You Do It" (Toquei no Sol) 2023 Lovers and Lollypops Neuro... No Neuro, "Expectations" (Compartments) 2023 Mille Plateaux Jakob Battick and Tongue Depressor, "Reek of Resurrection (excerpt)" (Raise the Dead) 2022 Stoned to Death datassette, "Sentinel" (Sentinel) 2022 Lapsus A Certain Ratio, "Waiting on a Train" (1982) 2023 Mute Simon Scott, "The Black Fens" (Long Drove) 2023 Room40 Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.
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Welcome to Georges Best Football Podcast. This week George and his wingman, broadcaster and football expert Simon Scott are in conversation with former star player now agent to the stars Barry Silkman. We discuss Erling Haalands explosion into the Premier League, rate the best and worst signings and get the inside scoop on what really happened this Summer. "Georges Best Football Podcast" is available with Video as a Patreon exclusive podcast Become a Patron and support GG for as little as £1 a week - https://www.patreon.com/georgegalloway This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Welcome to Georges Best Football Podcast. This week George and his wingman, broadcaster and football expert Simon Scott discusses the 9-0 victories for both Celtic and Liverpool. As the transfer window comes to a close what other moves could take place and have Man United spent the best part of £85 million on a new winger? "Georges Best Football Podcast" is available with Video as a Patreon exclusive podcast Become a Patron and support GG for as little as £1 a week - https://www.patreon.com/georgegalloway This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Recorded JUNE 20th 2022 - available on Patreon in video format every Monday at 8pm https://www.patreon.com/georgegalloway In this episode I'll be joined by my co-host, broadcaster and friend Simon Scott. This week we talk the early moves in the transfer window as Chelsea look at Raheem Sterling and on the anniversary of the 1970 World Cup Final we ask, is Pele the greatest football player of all time? This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Recorded AUGUST 22nd 2022 - available on Patreon in video format every Monday at 8pm https://www.patreon.com/georgegalloway I'll be joined by my co-host, broadcaster and friend Simon Scott. This week we talk the modern classic of City 3-3 away at Newcastle and look ahead to the biggest game of the season so far, tonight's game at Old Trafford between a United team that has its worst start in a century and a Liverpool who have yet to find their rhythm! This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Recorded JUNE 7th 2022 - available on Patreon in video format every Monday at 8pm https://www.patreon.com/georgegalloway Welcome to the second edition of "George's Best Football Podcast" a Patreon exclusive podcast where I talk about one of my biggest passions - Football! I'll be joined by former owner of Manchester United, Michael Knighton alongside my co-host broadcaster and friend Simon Scott. This week we talk Chelsea under new ownership, the rise of Spurs under Antonio Conte and the terrible stewardship of the Glazer Family for my beloved Manchester United, don't miss it! This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
Recorded JUNE 14th 2022 - available on Patreon in video format every Monday at 8pm https://www.patreon.com/georgegalloway Welcome to episode 3 of "George's Best Football Podcast" a Patreon exclusive podcast where I talk about one of my biggest passions - Football! I'll be joined by my co-host broadcaster and friend Simon Scott. This week we talk the early moves in the transfer window and Englands humbling at the hands of Hungary. What is the future for Gareth Southgate as England Manager? Don't miss it! This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy
This week's episode looks at “All You Need is Love”, the Our World TV special, and the career of the Beatles from April 1966 through August 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Rain" by the Beatles. 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/ NB for the first few hours this was up, there was a slight editing glitch. If you downloaded the old version and don't want to redownload the whole thing, just look in the transcript for "Other than fixing John's two flubbed" for the text of the two missing paragraphs. Errata I say "Come Together" was a B-side, but the single was actually a double A-side. Also, I say the Lennon interview by Maureen Cleave appeared in Detroit magazine. That's what my source (Steve Turner's book) says, but someone on Twitter says that rather than Detroit magazine it was the Detroit Free Press. Also at one point I say "the videos for 'Paperback Writer' and 'Penny Lane'". I meant to say "Rain" rather than "Penny Lane" there. Resources No Mixcloud this week due to the number of songs by the Beatles. 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. Particularly useful this time was Steve Turner's book Beatles '66. I also used Turner's The Beatles: The Stories Behind the Songs 1967-1970. Johnny Rogan's Starmakers and Svengalis had some information on Epstein I hadn't seen anywhere else. Some information about the "Bigger than Jesus" scandal comes from Ward, B. (2012). “The ‘C' is for Christ”: Arthur Unger, Datebook Magazine and the Beatles. Popular Music and Society, 35(4), 541-560. https://doi.org/10.1080/03007766.2011.608978 Information on Robert Stigwood comes from Mr Showbiz by Stephen Dando-Collins. And the quote at the end from Simon Napier-Bell is from You Don't Have to Say You Love Me, which is more entertaining than it is accurate, but is very entertaining. Sadly the only way to get the single mix of "All You Need is Love" is on this ludicrously-expensive out-of-print box set, but the stereo mix is easily available on Magical Mystery Tour. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start the episode -- this episode deals, in part, with the deaths of three gay men -- one by murder, one by suicide, and one by an accidental overdose, all linked at least in part to societal homophobia. I will try to deal with this as tactfully as I can, but anyone who's upset by those things might want to read the transcript instead of listening to the episode. This is also a very, very, *very* long episode -- this is likely to be the longest episode I *ever* do of this podcast, so settle in. We're going to be here a while. I obviously don't know how long it's going to be while I'm still recording, but based on the word count of my script, probably in the region of three hours. You have been warned. In 1967 the actor Patrick McGoohan was tired. He had been working on the hit series Danger Man for many years -- Danger Man had originally run from 1960 through 1962, then had taken a break, and had come back, retooled, with longer episodes in 1964. That longer series was a big hit, both in the UK and in the US, where it was retitled Secret Agent and had a new theme tune written by PF Sloan and Steve Barri and recorded by Johnny Rivers: [Excerpt: Johnny Rivers, "Secret Agent Man"] But McGoohan was tired of playing John Drake, the agent, and announced he was going to quit the series. Instead, with the help of George Markstein, Danger Man's script editor, he created a totally new series, in which McGoohan would star, and which McGoohan would also write and direct key episodes of. This new series, The Prisoner, featured a spy who is only ever given the name Number Six, and who many fans -- though not McGoohan himself -- took to be the same character as John Drake. Number Six resigns from his job as a secret agent, and is kidnapped and taken to a place known only as The Village -- the series was filmed in Portmeirion, an unusual-looking town in Gwynnedd, in North Wales -- which is full of other ex-agents. There he is interrogated to try to find out why he has quit his job. It's never made clear whether the interrogators are his old employers or their enemies, and there's a certain suggestion that maybe there is no real distinction between the two sides, that they're both running the Village together. He spends the entire series trying to escape, but refuses to explain himself -- and there's some debate among viewers as to whether it's implied or not that part of the reason he doesn't explain himself is that he knows his interrogators wouldn't understand why he quit: [Excerpt: The Prisoner intro, from episode Once Upon a Time, ] Certainly that explanation would fit in with McGoohan's own personality. According to McGoohan, the final episode of The Prisoner was, at the time, the most watched TV show ever broadcast in the UK, as people tuned in to find out the identity of Number One, the person behind the Village, and to see if Number Six would break free. I don't think that's actually the case, but it's what McGoohan always claimed, and it was certainly a very popular series. I won't spoil the ending for those of you who haven't watched it -- it's a remarkable series -- but ultimately the series seems to decide that such questions don't matter and that even asking them is missing the point. It's a work that's open to multiple interpretations, and is left deliberately ambiguous, but one of the messages many people have taken away from it is that not only are we trapped by a society that oppresses us, we're also trapped by our own identities. You can run from the trap that society has placed you in, from other people's interpretations of your life, your work, and your motives, but you ultimately can't run from yourself, and any time you try to break out of a prison, you'll find yourself trapped in another prison of your own making. The most horrifying implication of the episode is that possibly even death itself won't be a release, and you will spend all eternity trying to escape from an identity you're trapped in. Viewers became so outraged, according to McGoohan, that he had to go into hiding for an extended period, and while his later claims that he never worked in Britain again are an exaggeration, it is true that for the remainder of his life he concentrated on doing work in the US instead, where he hadn't created such anger. That final episode of The Prisoner was also the only one to use a piece of contemporary pop music, in two crucial scenes: [Excerpt: The Prisoner, "Fall Out", "All You Need is Love"] Back in October 2020, we started what I thought would be a year-long look at the period from late 1962 through early 1967, but which has turned out for reasons beyond my control to take more like twenty months, with a song which was one of the last of the big pre-Beatles pop hits, though we looked at it after their first single, "Telstar" by the Tornadoes: [Excerpt: The Tornadoes, "Telstar"] There were many reasons for choosing that as one of the bookends for this fifty-episode chunk of the podcast -- you'll see many connections between that episode and this one if you listen to them back-to-back -- but among them was that it's a song inspired by the launch of the first ever communications satellite, and a sign of how the world was going to become smaller as the sixties went on. Of course, to start with communications satellites didn't do much in that regard -- they were expensive to use, and had limited bandwidth, and were only available during limited time windows, but symbolically they meant that for the first time ever, people could see and hear events thousands of miles away as they were happening. It's not a coincidence that Britain and France signed the agreement to develop Concorde, the first supersonic airliner, a month after the first Beatles single and four months after the Telstar satellite was launched. The world was becoming ever more interconnected -- people were travelling faster and further, getting news from other countries quicker, and there was more cultural conversation – and misunderstanding – between countries thousands of miles apart. The Canadian media theorist Marshall McLuhan, the man who also coined the phrase “the medium is the message”, thought that this ever-faster connection would fundamentally change basic modes of thought in the Western world. McLuhan thought that technology made possible whole new modes of thought, and that just as the printing press had, in his view, caused Western liberalism and individualism, so these new electronic media would cause the rise of a new collective mode of thought. In 1962, the year of Concorde, Telstar, and “Love Me Do”, McLuhan wrote a book called The Gutenberg Galaxy, in which he said: “Instead of tending towards a vast Alexandrian library the world has become a computer, an electronic brain, exactly as an infantile piece of science fiction. And as our senses have gone outside us, Big Brother goes inside. So, unless aware of this dynamic, we shall at once move into a phase of panic terrors, exactly befitting a small world of tribal drums, total interdependence, and superimposed co-existence.… Terror is the normal state of any oral society, for in it everything affects everything all the time.…” He coined the term “the Global Village” to describe this new collectivism. The story we've seen over the last fifty episodes is one of a sort of cultural ping-pong between the USA and the UK, with innovations in American music inspiring British musicians, who in turn inspired American ones, whether that being the Beatles covering the Isley Brothers or the Rolling Stones doing a Bobby Womack song, or Paul Simon and Bob Dylan coming over to the UK and learning folk songs and guitar techniques from Martin Carthy. And increasingly we're going to see those influences spread to other countries, and influences coming *from* other countries. We've already seen one Jamaican artist, and the influence of Indian music has become very apparent. While the focus of this series is going to remain principally in the British Isles and North America, rock music was and is a worldwide phenomenon, and that's going to become increasingly a part of the story. And so in this episode we're going to look at a live performance -- well, mostly live -- that was seen by hundreds of millions of people all over the world as it happened, thanks to the magic of satellites: [Excerpt: The Beatles, "All You Need is Love"] When we left the Beatles, they had just finished recording "Tomorrow Never Knows", the most experimental track they had recorded up to that date, and if not the most experimental thing they *ever* recorded certainly in the top handful. But "Tomorrow Never Knows" was only the first track they recorded in the sessions for what would become arguably their greatest album, and certainly the one that currently has the most respect from critics. It's interesting to note that that album could have been very, very, different. When we think of Revolver now, we think of the innovative production of George Martin, and of Geoff Emerick and Ken Townshend's inventive ideas for pushing the sound of the equipment in Abbey Road studios, but until very late in the day the album was going to be recorded in the Stax studios in Memphis, with Steve Cropper producing -- whether George Martin would have been involved or not is something we don't even know. In 1965, the Rolling Stones had, as we've seen, started making records in the US, recording in LA and at the Chess studios in Chicago, and the Yardbirds had also been doing the same thing. Mick Jagger had become a convert to the idea of using American studios and working with American musicians, and he had constantly been telling Paul McCartney that the Beatles should do the same. Indeed, they'd put some feelers out in 1965 about the possibility of the group making an album with Holland, Dozier, and Holland in Detroit. Quite how this would have worked is hard to figure out -- Holland, Dozier, and Holland's skills were as songwriters, and in their work with a particular set of musicians -- so it's unsurprising that came to nothing. But recording at Stax was a different matter. While Steve Cropper was a great songwriter in his own right, he was also adept at getting great sounds on covers of other people's material -- like on Otis Blue, the album he produced for Otis Redding in late 1965, which doesn't include a single Cropper original: [Excerpt: Otis Redding, "Satisfaction"] And the Beatles were very influenced by the records Stax were putting out, often namechecking Wilson Pickett in particular, and during the Rubber Soul sessions they had recorded a "Green Onions" soundalike track, imaginatively titled "12-Bar Original": [Excerpt: The Beatles, "12-Bar Original"] The idea of the group recording at Stax got far enough that they were actually booked in for two weeks starting the ninth of April, and there was even an offer from Elvis to let them stay at Graceland while they recorded, but then a couple of weeks earlier, the news leaked to the press, and Brian Epstein cancelled the booking. According to Cropper, Epstein talked about recording at the Atlantic studios in New York with him instead, but nothing went any further. It's hard to imagine what a Stax-based Beatles album would have been like, but even though it might have been a great album, it certainly wouldn't have been the Revolver we've come to know. Revolver is an unusual album in many ways, and one of the ways it's most distinct from the earlier Beatles albums is the dominance of keyboards. Both Lennon and McCartney had often written at the piano as well as the guitar -- McCartney more so than Lennon, but both had done so regularly -- but up to this point it had been normal for them to arrange the songs for guitars rather than keyboards, no matter how they'd started out. There had been the odd track where one of them, usually Lennon, would play a simple keyboard part, songs like "I'm Down" or "We Can Work it Out", but even those had been guitar records first and foremost. But on Revolver, that changed dramatically. There seems to have been a complex web of cause and effect here. Paul was becoming increasingly interested in moving his basslines away from simple walking basslines and root notes and the other staples of rock and roll basslines up to this point. As the sixties progressed, rock basslines were becoming ever more complex, and Tyler Mahan Coe has made a good case that this is largely down to innovations in production pioneered by Owen Bradley, and McCartney was certainly aware of Bradley's work -- he was a fan of Brenda Lee, who Bradley produced, for example. But the two influences that McCartney has mentioned most often in this regard are the busy, jazz-influenced, basslines that James Jamerson was playing at Motown: [Excerpt: The Four Tops, "It's the Same Old Song"] And the basslines that Brian Wilson was writing for various Wrecking Crew bassists to play for the Beach Boys: [Excerpt: The Beach Boys, "Don't Talk (Put Your Head on My Shoulder)"] Just to be clear, McCartney didn't hear that particular track until partway through the recording of Revolver, when Bruce Johnston visited the UK and brought with him an advance copy of Pet Sounds, but Pet Sounds influenced the later part of Revolver's recording, and Wilson had already started his experiments in that direction with the group's 1965 work. It's much easier to write a song with this kind of bassline, one that's integral to the composition, on the piano than it is to write it on a guitar, as you can work out the bassline with your left hand while working out the chords and melody with your right, so the habit that McCartney had already developed of writing on the piano made this easier. But also, starting with the recording of "Paperback Writer", McCartney switched his style of working in the studio. Where up to this point it had been normal for him to play bass as part of the recording of the basic track, playing with the other Beatles, he now started to take advantage of multitracking to overdub his bass later, so he could spend extra time getting the bassline exactly right. McCartney lived closer to Abbey Road than the other three Beatles, and so could more easily get there early or stay late and tweak his parts. But if McCartney wasn't playing bass while the guitars and drums were being recorded, that meant he could play something else, and so increasingly he would play piano during the recording of the basic track. And that in turn would mean that there wouldn't always *be* a need for guitars on the track, because the harmonic support they would provide would be provided by the piano instead. This, as much as anything else, is the reason that Revolver sounds so radically different to any other Beatles album. Up to this point, with *very* rare exceptions like "Yesterday", every Beatles record, more or less, featured all four of the Beatles playing instruments. Now John and George weren't playing on "Good Day Sunshine" or "For No One", John wasn't playing on "Here, There, and Everywhere", "Eleanor Rigby" features no guitars or drums at all, and George's "Love You To" only features himself, plus a little tambourine from Ringo (Paul recorded a part for that one, but it doesn't seem to appear on the finished track). Of the three songwriting Beatles, the only one who at this point was consistently requiring the instrumental contributions of all the other band members was John, and even he did without Paul on "She Said, She Said", which by all accounts features either John or George on bass, after Paul had a rare bout of unprofessionalism and left the studio. Revolver is still an album made by a group -- and most of those tracks that don't feature John or George instrumentally still feature them vocally -- it's still a collaborative work in all the best ways. But it's no longer an album made by four people playing together in the same room at the same time. After starting work on "Tomorrow Never Knows", the next track they started work on was Paul's "Got to Get You Into My Life", but as it would turn out they would work on that song throughout most of the sessions for the album -- in a sign of how the group would increasingly work from this point on, Paul's song was subject to multiple re-recordings and tweakings in the studio, as he tinkered to try to make it perfect. The first recording to be completed for the album, though, was almost as much of a departure in its own way as "Tomorrow Never Knows" had been. George's song "Love You To" shows just how inspired he was by the music of Ravi Shankar, and how devoted he was to Indian music. While a few months earlier he had just about managed to pick out a simple melody on the sitar for "Norwegian Wood", by this point he was comfortable enough with Indian classical music that I've seen many, many sources claim that an outside session player is playing sitar on the track, though Anil Bhagwat, the tabla player on the track, always insisted that it was entirely Harrison's playing: [Excerpt: The Beatles, "Love You To"] There is a *lot* of debate as to whether it's George playing on the track, and I feel a little uncomfortable making a definitive statement in either direction. On the one hand I find it hard to believe that Harrison got that good that quickly on an unfamiliar instrument, when we know he wasn't a naturally facile musician. All the stories we have about his work in the studio suggest that he had to work very hard on his guitar solos, and that he would frequently fluff them. As a technical guitarist, Harrison was only mediocre -- his value lay in his inventiveness, not in technical ability -- and he had been playing guitar for over a decade, but sitar only a few months. There's also some session documentation suggesting that an unknown sitar player was hired. On the other hand there's the testimony of Anil Bhagwat that Harrison played the part himself, and he has been very firm on the subject, saying "If you go on the Internet there are a lot of questions asked about "Love You To". They say 'It's not George playing the sitar'. I can tell you here and now -- 100 percent it was George on sitar throughout. There were no other musicians involved. It was just me and him." And several people who are more knowledgeable than myself about the instrument have suggested that the sitar part on the track is played the way that a rock guitarist would play rather than the way someone with more knowledge of Indian classical music would play -- there's a blues feeling to some of the bends that apparently no genuine Indian classical musician would naturally do. I would suggest that the best explanation is that there's a professional sitar player trying to replicate a part that Harrison had previously demonstrated, while Harrison was in turn trying his best to replicate the sound of Ravi Shankar's work. Certainly the instrumental section sounds far more fluent, and far more stylistically correct, than one would expect: [Excerpt: The Beatles, "Love You To"] Where previous attempts at what got called "raga-rock" had taken a couple of surface features of Indian music -- some form of a drone, perhaps a modal scale -- and had generally used a guitar made to sound a little bit like a sitar, or had a sitar playing normal rock riffs, Harrison's song seems to be a genuine attempt to hybridise Indian ragas and rock music, combining the instrumentation, modes, and rhythmic complexity of someone like Ravi Shankar with lyrics that are seemingly inspired by Bob Dylan and a fairly conventional pop song structure (and a tiny bit of fuzz guitar). It's a record that could only be made by someone who properly understood both the Indian music he's emulating and the conventions of the Western pop song, and understood how those conventions could work together. Indeed, one thing I've rarely seen pointed out is how cleverly the album is sequenced, so that "Love You To" is followed by possibly the most conventional song on Revolver, "Here, There, and Everywhere", which was recorded towards the end of the sessions. Both songs share a distinctive feature not shared by the rest of the album, so the two songs can sound more of a pair than they otherwise would, retrospectively making "Love You To" seem more conventional than it is and "Here, There, and Everywhere" more unconventional -- both have as an introduction a separate piece of music that states some of the melodic themes of the rest of the song but isn't repeated later. In the case of "Love You To" it's the free-tempo bit at the beginning, characteristic of a lot of Indian music: [Excerpt: The Beatles, "Love You To"] While in the case of "Here, There, and Everywhere" it's the part that mimics an older style of songwriting, a separate intro of the type that would have been called a verse when written by the Gershwins or Cole Porter, but of course in the intervening decades "verse" had come to mean something else, so we now no longer have a specific term for this kind of intro -- but as you can hear, it's doing very much the same thing as that "Love You To" intro: [Excerpt: The Beatles, "Here, There, and Everywhere"] In the same day as the group completed "Love You To", overdubbing George's vocal and Ringo's tambourine, they also started work on a song that would show off a lot of the new techniques they had been working on in very different ways. Paul's "Paperback Writer" could indeed be seen as part of a loose trilogy with "Love You To" and "Tomorrow Never Knows", one song by each of the group's three songwriters exploring the idea of a song that's almost all on one chord. Both "Tomorrow Never Knows" and "Love You To" are based on a drone with occasional hints towards moving to one other chord. In the case of "Paperback Writer", the entire song stays on a single chord until the title -- it's on a G7 throughout until the first use of the word "writer", when it quickly goes to a C for two bars. I'm afraid I'm going to have to sing to show you how little the chords actually change, because the riff disguises this lack of movement somewhat, but the melody is also far more horizontal than most of McCartney's, so this shouldn't sound too painful, I hope: [demonstrates] This is essentially the exact same thing that both "Love You To" and "Tomorrow Never Knows" do, and all three have very similarly structured rising and falling modal melodies. There's also a bit of "Paperback Writer" that seems to tie directly into "Love You To", but also points to a possible very non-Indian inspiration for part of "Love You To". The Beach Boys' single "Sloop John B" was released in the UK a couple of days after the sessions for "Paperback Writer" and "Love You To", but it had been released in the US a month before, and the Beatles all got copies of every record in the American top thirty shipped to them. McCartney and Harrison have specifically pointed to it as an influence on "Paperback Writer". "Sloop John B" has a section where all the instruments drop out and we're left with just the group's vocal harmonies: [Excerpt: The Beach Boys, "Sloop John B"] And that seems to have been the inspiration behind the similar moment at a similar point in "Paperback Writer", which is used in place of a middle eight and also used for the song's intro: [Excerpt: The Beatles, "Paperback Writer"] Which is very close to what Harrison does at the end of each verse of "Love You To", where the instruments drop out for him to sing a long melismatic syllable before coming back in: [Excerpt: The Beatles, "Love You To"] Essentially, other than "Got to Get You Into My Life", which is an outlier and should not be counted, the first three songs attempted during the Revolver sessions are variations on a common theme, and it's a sign that no matter how different the results might sound, the Beatles really were very much a group at this point, and were sharing ideas among themselves and developing those ideas in similar ways. "Paperback Writer" disguises what it's doing somewhat by having such a strong riff. Lennon referred to "Paperback Writer" as "son of 'Day Tripper'", and in terms of the Beatles' singles it's actually their third iteration of this riff idea, which they originally got from Bobby Parker's "Watch Your Step": [Excerpt: Bobby Parker, "Watch Your Step"] Which became the inspiration for "I Feel Fine": [Excerpt: The Beatles, "I Feel Fine"] Which they varied for "Day Tripper": [Excerpt: The Beatles, "Day Tripper"] And which then in turn got varied for "Paperback Writer": [Excerpt: The Beatles, "Paperback Writer"] As well as compositional ideas, there are sonic ideas shared between "Paperback Writer", "Tomorrow Never Knows", and "Love You To", and which would be shared by the rest of the tracks the Beatles recorded in the first half of 1966. Since Geoff Emerick had become the group's principal engineer, they'd started paying more attention to how to get a fuller sound, and so Emerick had miced the tabla on "Love You To" much more closely than anyone would normally mic an instrument from classical music, creating a deep, thudding sound, and similarly he had changed the way they recorded the drums on "Tomorrow Never Knows", again giving a much fuller sound. But the group also wanted the kind of big bass sounds they'd loved on records coming out of America -- sounds that no British studio was getting, largely because it was believed that if you cut too loud a bass sound into a record it would make the needle jump out of the groove. The new engineering team of Geoff Emerick and Ken Scott, though, thought that it was likely you could keep the needle in the groove if you had a smoother frequency response. You could do that if you used a microphone with a larger diaphragm to record the bass, but how could you do that? Inspiration finally struck -- loudspeakers are actually the same thing as microphones wired the other way round, so if you wired up a loudspeaker as if it were a microphone you could get a *really big* speaker, place it in front of the bass amp, and get a much stronger bass sound. The experiment wasn't a total success -- the sound they got had to be processed quite extensively to get rid of room noise, and then compressed in order to further prevent the needle-jumping issue, and so it's a muddier, less defined, tone than they would have liked, but one thing that can't be denied is that "Paperback Writer"'s bass sound is much, much, louder than on any previous Beatles record: [Excerpt: The Beatles, "Paperback Writer"] Almost every track the group recorded during the Revolver sessions involved all sorts of studio innovations, though rarely anything as truly revolutionary as the artificial double-tracking they'd used on "Tomorrow Never Knows", and which also appeared on "Paperback Writer" -- indeed, as "Paperback Writer" was released several months before Revolver, it became the first record released to use the technique. I could easily devote a good ten minutes to every track on Revolver, and to "Paperback Writer"s B-side, "Rain", but this is already shaping up to be an extraordinarily long episode and there's a lot of material to get through, so I'll break my usual pattern of devoting a Patreon bonus episode to something relatively obscure, and this week's bonus will be on "Rain" itself. "Paperback Writer", though, deserved the attention here even though it was not one of the group's more successful singles -- it did go to number one, but it didn't hit number one in the UK charts straight away, being kept off the top by "Strangers in the Night" by Frank Sinatra for the first week: [Excerpt: Frank Sinatra, "Strangers in the Night"] Coincidentally, "Strangers in the Night" was co-written by Bert Kaempfert, the German musician who had produced the group's very first recording sessions with Tony Sheridan back in 1961. On the group's German tour in 1966 they met up with Kaempfert again, and John greeted him by singing the first couple of lines of the Sinatra record. The single was the lowest-selling Beatles single in the UK since "Love Me Do". In the US it only made number one for two non-consecutive weeks, with "Strangers in the Night" knocking it off for a week in between. Now, by literally any other band's standards, that's still a massive hit, and it was the Beatles' tenth UK number one in a row (or ninth, depending on which chart you use for "Please Please Me"), but it's a sign that the group were moving out of the first phase of total unequivocal dominance of the charts. It was a turning point in a lot of other ways as well. Up to this point, while the group had been experimenting with different lyrical subjects on album tracks, every single had lyrics about romantic relationships -- with the possible exception of "Help!", which was about Lennon's emotional state but written in such a way that it could be heard as a plea to a lover. But in the case of "Paperback Writer", McCartney was inspired by his Aunt Mill asking him "Why do you write songs about love all the time? Can you ever write about a horse or the summit conference or something interesting?" His response was to think "All right, Aunt Mill, I'll show you", and to come up with a lyric that was very much in the style of the social satires that bands like the Kinks were releasing at the time. People often miss the humour in the lyric for "Paperback Writer", but there's a huge amount of comedy in lyrics about someone writing to a publisher saying they'd written a book based on someone else's book, and one can only imagine the feeling of weary recognition in slush-pile readers throughout the world as they heard the enthusiastic "It's a thousand pages, give or take a few, I'll be writing more in a week or two. I can make it longer..." From this point on, the group wouldn't release a single that was unambiguously about a romantic relationship until "The Ballad of John and Yoko", the last single released while the band were still together. "Paperback Writer" also saw the Beatles for the first time making a promotional film -- what we would now call a rock video -- rather than make personal appearances on TV shows. The film was directed by Michael Lindsay-Hogg, who the group would work with again in 1969, and shows Paul with a chipped front tooth -- he'd been in an accident while riding mopeds with his friend Tara Browne a few months earlier, and hadn't yet got round to having the tooth capped. When he did, the change in his teeth was one of the many bits of evidence used by conspiracy theorists to prove that the real Paul McCartney was dead and replaced by a lookalike. It also marks a change in who the most prominent Beatle on the group's A-sides was. Up to this point, Paul had had one solo lead on an A-side -- "Can't Buy Me Love" -- and everything else had been either a song with multiple vocalists like "Day Tripper" or "Love Me Do", or a song with a clear John lead like "Ticket to Ride" or "I Feel Fine". In the rest of their career, counting "Paperback Writer", the group would release nine new singles that hadn't already been included on an album. Of those nine singles, one was a double A-side with one John song and one Paul song, two had John songs on the A-side, and the other six were Paul. Where up to this point John had been "lead Beatle", for the rest of the sixties, Paul would be the group's driving force. Oddly, Paul got rather defensive about the record when asked about it in interviews after it failed to go straight to the top, saying "It's not our best single by any means, but we're very satisfied with it". But especially in its original mono mix it actually packs a powerful punch: [Excerpt: The Beatles, "Paperback Writer"] When the "Paperback Writer" single was released, an unusual image was used in the advertising -- a photo of the Beatles dressed in butchers' smocks, covered in blood, with chunks of meat and the dismembered body parts of baby dolls lying around on them. The image was meant as part of a triptych parodying religious art -- the photo on the left was to be an image showing the four Beatles connected to a woman by an umbilical cord made of sausages, the middle panel was meant to be this image, but with halos added over the Beatles' heads, and the panel on the right was George hammering a nail into John's head, symbolising both crucifixion and that the group were real, physical, people, not just images to be worshipped -- these weren't imaginary nails, and they weren't imaginary people. The photographer Robert Whittaker later said: “I did a photograph of the Beatles covered in raw meat, dolls and false teeth. Putting meat, dolls and false teeth with The Beatles is essentially part of the same thing, the breakdown of what is regarded as normal. The actual conception for what I still call “Somnambulant Adventure” was Moses coming down from Mount Sinai with the Ten Commandments. He comes across people worshipping a golden calf. All over the world I'd watched people worshiping like idols, like gods, four Beatles. To me they were just stock standard normal people. But this emotion that fans poured on them made me wonder where Christianity was heading.” The image wasn't that controversial in the UK, when it was used to advertise "Paperback Writer", but in the US it was initially used for the cover of an album, Yesterday... And Today, which was made up of a few tracks that had been left off the US versions of the Rubber Soul and Help! albums, plus both sides of the "We Can Work It Out"/"Day Tripper" single, and three rough mixes of songs that had been recorded for Revolver -- "Doctor Robert", "And Your Bird Can Sing", and "I'm Only Sleeping", which was the song that sounded most different from the mixes that were finally released: [Excerpt: The Beatles, "I'm Only Sleeping (Yesterday... and Today mix)"] Those three songs were all Lennon songs, which had the unfortunate effect that when the US version of Revolver was brought out later in the year, only two of the songs on the album were by Lennon, with six by McCartney and three by Harrison. Some have suggested that this was the motivation for the use of the butcher image on the cover of Yesterday... And Today -- saying it was the Beatles' protest against Capitol "butchering" their albums -- but in truth it was just that Capitol's art director chose the cover because he liked the image. Alan Livingston, the president of Capitol was not so sure, and called Brian Epstein to ask if the group would be OK with them using a different image. Epstein checked with John Lennon, but Lennon liked the image and so Epstein told Livingston the group insisted on them using that cover. Even though for the album cover the bloodstains on the butchers' smocks were airbrushed out, after Capitol had pressed up a million copies of the mono version of the album and two hundred thousand copies of the stereo version, and they'd sent out sixty thousand promo copies, they discovered that no record shops would stock the album with that cover. It cost Capitol more than two hundred thousand dollars to recall the album and replace the cover with a new one -- though while many of the covers were destroyed, others had the new cover, with a more acceptable photo of the group, pasted over them, and people have later carefully steamed off the sticker to reveal the original. This would not be the last time in 1966 that something that was intended as a statement on religion and the way people viewed the Beatles would cause the group trouble in America. In the middle of the recording sessions for Revolver, the group also made what turned out to be their last ever UK live performance in front of a paying audience. The group had played the NME Poll-Winners' Party every year since 1963, and they were always shows that featured all the biggest acts in the country at the time -- the 1966 show featured, as well as the Beatles and a bunch of smaller acts, the Rolling Stones, the Who, the Yardbirds, Roy Orbison, Cliff Richard and the Shadows, the Seekers, the Small Faces, the Walker Brothers, and Dusty Springfield. Unfortunately, while these events were always filmed for TV broadcast, the Beatles' performance on the first of May wasn't filmed. There are various stories about what happened, but the crux appears to be a disagreement between Andrew Oldham and Brian Epstein, sparked by John Lennon. When the Beatles got to the show, they were upset to discover that they had to wait around before going on stage -- normally, the awards would all be presented at the end, after all the performances, but the Rolling Stones had asked that the Beatles not follow them directly, so after the Stones finished their set, there would be a break for the awards to be given out, and then the Beatles would play their set, in front of an audience that had been bored by twenty-five minutes of awards ceremony, rather than one that had been excited by all the bands that came before them. John Lennon was annoyed, and insisted that the Beatles were going to go on straight after the Rolling Stones -- he seems to have taken this as some sort of power play by the Stones and to have got his hackles up about it. He told Epstein to deal with the people from the NME. But the NME people said that they had a contract with Andrew Oldham, and they weren't going to break it. Oldham refused to change the terms of the contract. Lennon said that he wasn't going to go on stage if they didn't directly follow the Stones. Maurice Kinn, the publisher of the NME, told Epstein that he wasn't going to break the contract with Oldham, and that if the Beatles didn't appear on stage, he would get Jimmy Savile, who was compering the show, to go out on stage and tell the ten thousand fans in the audience that the Beatles were backstage refusing to appear. He would then sue NEMS for breach of contract *and* NEMS would be liable for any damage caused by the rioting that was sure to happen. Lennon screamed a lot of abuse at Kinn, and told him the group would never play one of their events again, but the group did go on stage -- but because they hadn't yet signed the agreement to allow their performance to be filmed, they refused to allow it to be recorded. Apparently Andrew Oldham took all this as a sign that Epstein was starting to lose control of the group. Also during May 1966 there were visits from musicians from other countries, continuing the cultural exchange that was increasingly influencing the Beatles' art. Bruce Johnston of the Beach Boys came over to promote the group's new LP, Pet Sounds, which had been largely the work of Brian Wilson, who had retired from touring to concentrate on working in the studio. Johnston played the record for John and Paul, who listened to it twice, all the way through, in silence, in Johnston's hotel room: [Excerpt: The Beach Boys, "God Only Knows"] According to Johnston, after they'd listened through the album twice, they went over to a piano and started whispering to each other, picking out chords. Certainly the influence of Pet Sounds is very noticeable on songs like "Here, There, and Everywhere", written and recorded a few weeks after this meeting: [Excerpt: The Beatles, "Here, There, and Everywhere"] That track, and the last track recorded for the album, "She Said She Said" were unusual in one very important respect -- they were recorded while the Beatles were no longer under contract to EMI Records. Their contract expired on the fifth of June, 1966, and they finished Revolver without it having been renewed -- it would be several months before their new contract was signed, and it's rather lucky for music lovers that Brian Epstein was the kind of manager who considered personal relationships and basic honour and decency more important than the legal niceties, unlike any other managers of the era, otherwise we would not have Revolver in the form we know it today. After the meeting with Johnston, but before the recording of those last couple of Revolver tracks, the Beatles also met up again with Bob Dylan, who was on a UK tour with a new, loud, band he was working with called The Hawks. While the Beatles and Dylan all admired each other, there was by this point a lot of wariness on both sides, especially between Lennon and Dylan, both of them very similar personality types and neither wanting to let their guard down around the other or appear unhip. There's a famous half-hour-long film sequence of Lennon and Dylan sharing a taxi, which is a fascinating, excruciating, example of two insecure but arrogant men both trying desperately to impress the other but also equally desperate not to let the other know that they want to impress them: [Excerpt: Dylan and Lennon taxi ride] The day that was filmed, Lennon and Harrison also went to see Dylan play at the Royal Albert Hall. This tour had been controversial, because Dylan's band were loud and raucous, and Dylan's fans in the UK still thought of him as a folk musician. At one gig, earlier on the tour, an audience member had famously yelled out "Judas!" -- (just on the tiny chance that any of my listeners don't know that, Judas was the disciple who betrayed Jesus to the authorities, leading to his crucifixion) -- and that show was for many years bootlegged as the "Royal Albert Hall" show, though in fact it was recorded at the Free Trade Hall in Manchester. One of the *actual* Royal Albert Hall shows was released a few years ago -- the one the night before Lennon and Harrison saw Dylan: [Excerpt: Bob Dylan, "Like a Rolling Stone", Royal Albert Hall 1966] The show Lennon and Harrison saw would be Dylan's last for many years. Shortly after returning to the US, Dylan was in a motorbike accident, the details of which are still mysterious, and which some fans claim was faked altogether. The accident caused him to cancel all the concert dates he had booked, and devote himself to working in the studio for several years just like Brian Wilson. And from even further afield than America, Ravi Shankar came over to Britain, to work with his friend the violinist Yehudi Menuhin, on a duet album, West Meets East, that was an example in the classical world of the same kind of international cross-fertilisation that was happening in the pop world: [Excerpt: Yehudi Menuhin and Ravi Shankar, "Prabhati (based on Raga Gunkali)"] While he was in the UK, Shankar also performed at the Royal Festival Hall, and George Harrison went to the show. He'd seen Shankar live the year before, but this time he met up with him afterwards, and later said "He was the first person that impressed me in a way that was beyond just being a famous celebrity. Ravi was my link to the Vedic world. Ravi plugged me into the whole of reality. Elvis impressed me when I was a kid, and impressed me when I met him, but you couldn't later on go round to him and say 'Elvis, what's happening with the universe?'" After completing recording and mixing the as-yet-unnamed album, which had been by far the longest recording process of their career, and which still nearly sixty years later regularly tops polls of the best album of all time, the Beatles took a well-earned break. For a whole two days, at which point they flew off to Germany to do a three-day tour, on their way to Japan, where they were booked to play five shows at the Budokan. Unfortunately for the group, while they had no idea of this when they were booked to do the shows, many in Japan saw the Budokan as sacred ground, and they were the first ever Western group to play there. This led to numerous death threats and loud protests from far-right activists offended at the Beatles defiling their religious and nationalistic sensibilities. As a result, the police were on high alert -- so high that there were three thousand police in the audience for the shows, in a venue which only held ten thousand audience members. That's according to Mark Lewisohn's Complete Beatles Chronicle, though I have to say that the rather blurry footage of the audience in the video of those shows doesn't seem to show anything like those numbers. But frankly I'll take Lewisohn's word over that footage, as he's not someone to put out incorrect information. The threats to the group also meant that they had to be kept in their hotel rooms at all times except when actually performing, though they did make attempts to get out. At the press conference for the Tokyo shows, the group were also asked publicly for the first time their views on the war in Vietnam, and John replied "Well, we think about it every day, and we don't agree with it and we think that it's wrong. That's how much interest we take. That's all we can do about it... and say that we don't like it". I say they were asked publicly for the first time, because George had been asked about it for a series of interviews Maureen Cleave had done with the group a couple of months earlier, as we'll see in a bit, but nobody was paying attention to those interviews. Brian Epstein was upset that the question had gone to John. He had hoped that the inevitable Vietnam question would go to Paul, who he thought might be a bit more tactful. The last thing he needed was John Lennon saying something that would upset the Americans before their tour there a few weeks later. Luckily, people in America seemed to have better things to do than pay attention to John Lennon's opinions. The support acts for the Japanese shows included several of the biggest names in Japanese rock music -- or "group sounds" as the genre was called there, Japanese people having realised that trying to say the phrase "rock and roll" would open them up to ridicule given that it had both "r" and "l" sounds in the phrase. The man who had coined the term "group sounds", Jackey Yoshikawa, was there with his group the Blue Comets, as was Isao Bito, who did a rather good cover version of Cliff Richard's "Dynamite": [Excerpt: Isao Bito, "Dynamite"] Bito, the Blue Comets, and the other two support acts, Yuya Uchida and the Blue Jeans, all got together to perform a specially written song, "Welcome Beatles": [Excerpt: "Welcome Beatles" ] But while the Japanese audience were enthusiastic, they were much less vocal about their enthusiasm than the audiences the Beatles were used to playing for. The group were used, of course, to playing in front of hordes of screaming teenagers who could not hear a single note, but because of the fear that a far-right terrorist would assassinate one of the group members, the police had imposed very, very, strict rules on the audience. Nobody in the audience was allowed to get out of their seat for any reason, and the police would clamp down very firmly on anyone who was too demonstrative. Because of that, the group could actually hear themselves, and they sounded sloppy as hell, especially on the newer material. Not that there was much of that. The only song they did from the Revolver sessions was "Paperback Writer", the new single, and while they did do a couple of tracks from Rubber Soul, those were under-rehearsed. As John said at the start of this tour, "I can't play any of Rubber Soul, it's so unrehearsed. The only time I played any of the numbers on it was when I recorded it. I forget about songs. They're only valid for a certain time." That's certainly borne out by the sound of their performances of Rubber Soul material at the Budokan: [Excerpt: The Beatles, "If I Needed Someone (live at the Budokan)"] It was while they were in Japan as well that they finally came up with the title for their new album. They'd been thinking of all sorts of ideas, like Abracadabra and Magic Circle, and tossing names around with increasing desperation for several days -- at one point they seem to have just started riffing on other groups' albums, and seem to have apparently seriously thought about naming the record in parodic tribute to their favourite artists -- suggestions included The Beatles On Safari, after the Beach Boys' Surfin' Safari (and possibly with a nod to their recent Pet Sounds album cover with animals, too), The Freewheelin' Beatles, after Dylan's second album, and my favourite, Ringo's suggestion After Geography, for the Rolling Stones' Aftermath. But eventually Paul came up with Revolver -- like Rubber Soul, a pun, in this case because the record itself revolves when on a turntable. Then it was off to the Philippines, and if the group thought Japan had been stressful, they had no idea what was coming. The trouble started in the Philippines from the moment they stepped off the plane, when they were bundled into a car without Neil Aspinall or Brian Epstein, and without their luggage, which was sent to customs. This was a problem in itself -- the group had got used to essentially being treated like diplomats, and to having their baggage let through customs without being searched, and so they'd started freely carrying various illicit substances with them. This would obviously be a problem -- but as it turned out, this was just to get a "customs charge" paid by Brian Epstein. But during their initial press conference the group were worried, given the hostility they'd faced from officialdom, that they were going to be arrested during the conference itself. They were asked what they would tell the Rolling Stones, who were going to be visiting the Philippines shortly after, and Lennon just said "We'll warn them". They also asked "is there a war on in the Philippines? Why is everybody armed?" At this time, the Philippines had a new leader, Ferdinand Marcos -- who is not to be confused with his son, Ferdinand Marcos Jr, also known as Bongbong Marcos, who just became President-Elect there last month. Marcos Sr was a dictatorial kleptocrat, one of the worst leaders of the latter half of the twentieth century, but that wasn't evident yet. He'd been elected only a few months earlier, and had presented himself as a Kennedy-like figure -- a young man who was also a war hero. He'd recently switched parties from the Liberal party to the right-wing Nacionalista Party, but wasn't yet being thought of as the monstrous dictator he later became. The person organising the Philippines shows had been ordered to get the Beatles to visit Ferdinand and Imelda Marcos at 11AM on the day of the show, but for some reason had instead put on their itinerary just the *suggestion* that the group should meet the Marcoses, and had put the time down as 3PM, and the Beatles chose to ignore that suggestion -- they'd refused to do that kind of government-official meet-and-greet ever since an incident in 1964 at the British Embassy in Washington where someone had cut off a bit of Ringo's hair. A military escort turned up at the group's hotel in the morning, to take them for their meeting. The group were all still in their rooms, and Brian Epstein was still eating breakfast and refused to disturb them, saying "Go back and tell the generals we're not coming." The group gave their performances as scheduled, but meanwhile there was outrage at the way the Beatles had refused to meet the Marcos family, who had brought hundreds of children -- friends of their own children, and relatives of top officials -- to a party to meet the group. Brian Epstein went on TV and tried to smooth things over, but the broadcast was interrupted by static and his message didn't get through to anyone. The next day, the group's security was taken away, as were the cars to take them to the airport. When they got to the airport, the escalators were turned off and the group were beaten up at the arrangement of the airport manager, who said in 1984 "I beat up the Beatles. I really thumped them. First I socked Epstein and he went down... then I socked Lennon and Ringo in the face. I was kicking them. They were pleading like frightened chickens. That's what happens when you insult the First Lady." Even on the plane there were further problems -- Brian Epstein and the group's road manager Mal Evans were both made to get off the plane to sort out supposed financial discrepancies, which led to them worrying that they were going to be arrested or worse -- Evans told the group to tell his wife he loved her as he left the plane. But eventually, they were able to leave, and after a brief layover in India -- which Ringo later said was the first time he felt he'd been somewhere truly foreign, as opposed to places like Germany or the USA which felt basically like home -- they got back to England: [Excerpt: "Ordinary passenger!"] When asked what they were going to do next, George replied “We're going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” The story of the "we're bigger than Jesus" controversy is one of the most widely misreported events in the lives of the Beatles, which is saying a great deal. One book that I've encountered, and one book only, Steve Turner's Beatles '66, tells the story of what actually happened, and even that book seems to miss some emphases. I've pieced what follows together from Turner's book and from an academic journal article I found which has some more detail. As far as I can tell, every single other book on the Beatles released up to this point bases their account of the story on an inaccurate press statement put out by Brian Epstein, not on the truth. Here's the story as it's generally told. John Lennon gave an interview to his friend, Maureen Cleave of the Evening Standard, during which he made some comments about how it was depressing that Christianity was losing relevance in the eyes of the public, and that the Beatles are more popular than Jesus, speaking casually because he was talking to a friend. That story was run in the Evening Standard more-or-less unnoticed, but then an American teen magazine picked up on the line about the Beatles being bigger than Jesus, reprinted chunks of the interview out of context and without the Beatles' knowledge or permission, as a way to stir up controversy, and there was an outcry, with people burning Beatles records and death threats from the Ku Klux Klan. That's... not exactly what happened. The first thing that you need to understand to know what happened is that Datebook wasn't a typical teen magazine. It *looked* just like a typical teen magazine, certainly, and much of its content was the kind of thing that you would get in Tiger Beat or any of the other magazines aimed at teenage girls -- the September 1966 issue was full of articles like "Life with the Walker Brothers... by their Road Manager", and interviews with the Dave Clark Five -- but it also had a long history of publishing material that was intended to make its readers think about social issues of the time, particularly Civil Rights. Arthur Unger, the magazine's editor and publisher, was a gay man in an interracial relationship, and while the subject of homosexuality was too taboo in the late fifties and sixties for him to have his magazine cover that, he did regularly include articles decrying segregation and calling for the girls reading the magazine to do their part on a personal level to stamp out racism. Datebook had regularly contained articles like one from 1963 talking about how segregation wasn't just a problem in the South, saying "If we are so ‘integrated' why must men in my own city of Philadelphia, the city of Brotherly Love, picket city hall because they are discriminated against when it comes to getting a job? And how come I am still unable to take my dark- complexioned friends to the same roller skating rink or swimming pool that I attend?” One of the writers for the magazine later said “We were much more than an entertainment magazine . . . . We tried to get kids involved in social issues . . . . It was a well-received magazine, recommended by libraries and schools, but during the Civil Rights period we did get pulled off a lot of stands in the South because of our views on integration” Art Unger, the editor and publisher, wasn't the only one pushing this liberal, integrationist, agenda. The managing editor at the time, Danny Fields, was another gay man who wanted to push the magazine even further than Unger, and who would later go on to manage the Stooges and the Ramones, being credited by some as being the single most important figure in punk rock's development, and being immortalised by the Ramones in their song "Danny Says": [Excerpt: The Ramones, "Danny Says"] So this was not a normal teen magazine, and that's certainly shown by the cover of the September 1966 issue, which as well as talking about the interviews with John Lennon and Paul McCartney inside, also advertised articles on Timothy Leary advising people to turn on, tune in, and drop out; an editorial about how interracial dating must be the next step after desegregation of schools, and a piece on "the ten adults you dig/hate the most" -- apparently the adult most teens dug in 1966 was Jackie Kennedy, the most hated was Barry Goldwater, and President Johnson, Billy Graham, and Martin Luther King appeared in the top ten on both lists. Now, in the early part of the year Maureen Cleave had done a whole series of articles on the Beatles -- double-page spreads on each band member, plus Brian Epstein, visiting them in their own homes (apart from Paul, who she met at a restaurant) and discussing their daily lives, their thoughts, and portraying them as rounded individuals. These articles are actually fascinating, because of something that everyone who met the Beatles in this period pointed out. When interviewed separately, all of them came across as thoughtful individuals, with their own opinions about all sorts of subjects, and their own tastes and senses of humour. But when two or more of them were together -- especially when John and Paul were interviewed together, but even in social situations, they would immediately revert to flip in-jokes and riffing on each other's statements, never revealing anything about themselves as individuals, but just going into Beatle mode -- simultaneously preserving the band's image, closing off outsiders, *and* making sure they didn't do or say anything that would get them mocked by the others. Cleave, as someone who actually took them all seriously, managed to get some very revealing information about all of them. In the article on Ringo, which is the most superficial -- one gets the impression that Cleave found him rather difficult to talk to when compared to the other, more verbally facile, band members -- she talked about how he had a lot of Wild West and military memorabilia, how he was a devoted family man and also devoted to his friends -- he had moved to the suburbs to be close to John and George, who already lived there. The most revealing quote about Ringo's personality was him saying "Of course that's the great thing about being married -- you have a house to sit in and company all the time. And you can still go to clubs, a bonus for being married. I love being a family man." While she looked at the other Beatles' tastes in literature in detail, she'd noted that the only books Ringo owned that weren't just for show were a few science fiction paperbacks, but that as he said "I'm not thick, it's just that I'm not educated. People can use words and I won't know what they mean. I say 'me' instead of 'my'." Ringo also didn't have a drum kit at home, saying he only played when he was on stage or in the studio, and that you couldn't practice on your own, you needed to play with other people. In the article on George, she talked about how he was learning the sitar, and how he was thinking that it might be a good idea to go to India to study the sitar with Ravi Shankar for six months. She also talks about how during the interview, he played the guitar pretty much constantly, playing everything from songs from "Hello Dolly" to pieces by Bach to "the Trumpet Voluntary", by which she presumably means Clarke's "Prince of Denmark's March": [Excerpt: Jeremiah Clarke, "Prince of Denmark's March"] George was also the most outspoken on the subjects of politics, religion, and society, linking the ongoing war in Vietnam with the UK's reverence for the Second World War, saying "I think about it every day and it's wrong. Anything to do with war is wrong. They're all wrapped up in their Nelsons and their Churchills and their Montys -- always talking about war heroes. Look at All Our Yesterdays [a show on ITV that showed twenty-five-year-old newsreels] -- how we killed a few more Huns here and there. Makes me sick. They're the sort who are leaning on their walking sticks and telling us a few years in the army would do us good." He also had very strong words to say about religion, saying "I think religion falls flat on its face. All this 'love thy neighbour' but none of them are doing it. How can anybody get into the position of being Pope and accept all the glory and the money and the Mercedes-Benz and that? I could never be Pope until I'd sold my rich gates and my posh hat. I couldn't sit there with all that money on me and believe I was religious. Why can't we bring all this out in the open? Why is there all this stuff about blasphemy? If Christianity's as good as they say it is, it should stand up to a bit of discussion." Harrison also comes across as a very private person, saying "People keep saying, ‘We made you what you are,' well, I made Mr. Hovis what he is and I don't go round crawling over his gates and smashing up the wall round his house." (Hovis is a British company that makes bread and wholegrain flour). But more than anything else he comes across as an instinctive anti-authoritarian, being angry at bullying teachers, Popes, and Prime Ministers. McCartney's profile has him as the most self-consciously arty -- he talks about the plays of Alfred Jarry and the music of Karlheinz Stockhausen and Luciano Berio: [Excerpt: Luciano Berio, "Momenti (for magnetic tape)"] Though he was very worried that he might be sounding a little too pretentious, saying “I don't want to sound like Jonathan Miller going on" --
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