The second is to be an opportunity for each person to decide to become more engaged as an owner. Far too often, we try to squelch our doubts or quiet voices of dissent. When someone authentically says no, then the room becomes real and trustworthy. An authentic statement is one in which the person owns that the dissent is their choice and not a form of blame or complaint. The power in the expression of doubts is that it gives us choice about them. Once expressed, they no longer control us; we control them. When someone disagrees with your proposal, I invite you to thank them and then listen.
Hold space for the doubt, and work towards understanding the needs and intentions that the person is expressing. Many questions can elicit dissent. After you set the context of ownership, explore possibility, and hold space for doubt, it comes the time for participants to declare their commitment to action. Block writes that honoring our word is the emotional and relational essence of community, and he suggests the following practices to help participants deepen commitment:. What is the promise you are unwilling to make? What is the promise you are willing to make?
In the world of community and volunteerism, deficiencies have no market value; gifts are the point. In a world in which we are taught to ignore and underappreciate our gifts, our work is to recognize, honor, and bring our gifts into the world. To recap: Change the conversation, change the world. How did you get invited to do that? Stefan: Well this happened even before we actually recorded the first album. Morrissey was supporting David Bowie on his European tour for his previous album and we were asked if we Yes, that's when I met David.
Brian: Very much so, you know he's a big fan of the band and it took us And he's a very giving person and he's very, very fascinating to speak to. And so whenever we could, you know when he wasn't surrounded by loads of people, and usually when Iman wasn't there, we'd kind of hang and just chat for a while, you know. SS: People might think that you've modelled yourself to a great extend on Bowie the icon, Brian Brian: Yes, perhaps, you know but I think that Bowie's motivation for you know for 'Ziggy' and 'Aladdin Sane' was very, very much like adopting a character whereas kind of like the way that I look is just a very natural expression of my inner self.
Brian: Absolutely, you know that period from 'Hunky Dory' to 'Aladdin Sane' is sort of like it's an absolute wonderful period and my favourite Bowie period, yes. Brian: I think I must have been one when 'Ziggy Stardust' came out so it took me maybe until I was about 14 to actually get into it you know! Steve: There was nobody else! That was our choice, that was our top list, our top three was Steve Osborne. It nearly went mad because we were on tour with U2, we'd finished and we'd meant to come off touring and then go straight in the studio and his wife was having another baby and we hadn't finished writing the album and stuff like that, but we took a little break then finally got it together, and went in in January with him.
We wanted to bring in a bit of technology with the new music and Steve's one half of the Perfecto team with Paul Oakenfold and he's got his foot in the dance camp and the rock camp which suited us. He's a funny old cookie, Steve Osborne, he's a really lovely guy, he's very quiet. SS: He must have been terrified by the three of you then, especially when you started laughing.
Steve: There wasn't as much laughing going on in Real World actually, I think we were concentrating on pulling our hair out I think! Brian: It's a very romantic title and when we were demoing the album it seemed to sort of emerge as something that You know the record's like sort of primarily about an ever-pervading loneliness and heartbreak really and you know there's quite a few relationship songs in there so on one level it's kind of like us It's a message to our fans and it's also sort of something that's universal in the way that most people have felt that at least once in their lives.
Brian: No, it just emerged as we were demoing the songs in London before Christmas basically. We're always looking around you know trying to pull things together you know at every stage so at that point we were already talking about what to call the record you know, because we were going to call it Placebo 2. We couldn't think of anything to call the first one and we couldn't think of anything better to call this one.
It would have been nice to call the album something that wasn't a song title but whenever we came up with things it always seemed to be a bit too pretentious. SS: There's a more reflective feel to this album. Everybody said that 'Placebo' the first album was about sex, sex, and more sex. This is a bit more like the morning after or maybe the month after Brian: This is kind of like the post-coital depression album really and I think it really reflects what we've been through emotionally over the past sort of like year and a half and kind of how we spun ourselves out emotionally.
A lot of it was kind of our own fault and how in many ways our worlds kind of like fell apart around us as we were getting more successful - on an emotional level definitely and on a relationship level. So in that way it's been sort of like a tough couple of years you know but you can't really have it all. There always seem to be things that are sort of inversely proportional to each other you know. As you kind of like get more successful so your personal life has a tendency to suffer. We're very emotional people and very sensitive to things like that so I think we have a tendency to beat ourselves up about it which is maybe why it came out on the album in that way.
But sure we have And there's a lot to be careful about and there's a lot of you know bullshit that we don't want to repeat and we don't want to create our own suffering any more like we used to. SS: That whole thing of having it all very fast, did you ever feel it was likely to get out of control? Brian: Yes. I think it did get out of control for a little while you know. People had to pull us SS: Stefan, you strike me as quite a solid sort of guy. Were you pulling Brian back as well or were you all pulling in three different directions? Stefan: Well there was one part of the tour that I think none of us can really forget is when we'd just played Manchester and we had a gig in Sheffield the next day and we woke up and me and Steve were there and the whole crew's there and we went on the tour bus and like 'where's Brian?
I mean that's sort of how out of hand it got a bit, but apart from that we kept it together reasonably well and I think this time we're going to keep it together a lot more. Steve: Well it's a completely new band. More energy than any band around actually I think and it's We did some gigs at the weekend and it's just SS: When you're playing live, Brian walks out and tends to become the focus of attention - does that bother you? Stefan: Well yes that happens but I don't know how anyone can miss a six foot four person walking on stage - it probably makes me look 20 feet tall you know.
Brian: Yes I am, and you know it's not necessarily something I feel incredibly comfortable with. It's sort of And that's why I don't do interviews on my own any more. People used to have a tendency to sort of like focus on my life and my personality and sort of try to psychoanalyse me in some armchair fashion and it stopped being about the music really.
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And I think we're coming across more and more as a unit you know and these two have so much to say and I talk so much bullshit, that it's probably a good thing! SS: But people will always be fascinated by the element of sexual ambiguity you bring to your stage performance Brian: I guess so, I mean I guess I look like a girl but I kind of rock like a boy when we're on stage.
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I don't know what it is about a boy in make-up which really freaks people out you know. Most of the time I just wear it for the same reason that you're wearing make-up, you know, just to try and make yourself look a little bit more attractive.
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SS: How important is that to your act and also the fact that you've got a drama school background. How much of it is role playing? Brian: It's not an act, you know, it real, it's just a sort of you know an expression of who we are. It's our three personalities crammed into the music, it's not an act at all. It's not some sort of Ziggy-like attempt to create a character.
I believe in honesty and nakedness and vulnerability in music, not acting in music, I leave that for Kylie. Steve: A good balance I'd say. I think there's an increase in boy clones but then you can't tell anyway if it's a boy or a girl anyway, it's weird. SS: There's a lot of drama on the album, changes in atmosphere and highs and lows of emotion - like for instance when you go from 'Summer's Gone' to 'Scared of Girls' Brian: Yes, that's what we've always tried to do you know.
We've always tried to follow one extreme emotion with the other extreme in order to sort of like keep your attention continually and to take you on a kind of emotional roller coaster ride you know, so that also reflects kind of who we are as people really. We're not very stable in the way that our highs are very high and our lows are very low, there's not very much in between.
So it's kind of natural that the music will kind of come out that way. SS: It's like music for the drug-fuelled generation, perhaps you have to have such highs and such lows to get your kicks Steve: Definitely, definitely.
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You take an audience in Britain, take an audience in France. I mean to impress an audience in France, even if they are your fans they'll buy your records, turn up to your gig, but you know you've got to do it right and do it the best you can otherwise you know they just won't stand for it.
And it becomes more pressured as a performer, you know being in a band, to get it right, and stuff like that. It's weird, different attitudes in different parts of the world I think, within their youth. Stefan: Yes, England. Yes England can be quite cynical and sort of arms across chests. You know, 'we've seen it all before, I'm not very impressed, I'm bored,' you know. Brian: Nobody cares at gigs in London anyway. They're all standing at the bar talking all the way through your gig you know, they're just there for the free lig and the free beer you know.
Everybody's so sort of like jilted and it's just you know industry schmooze fests. You never really enjoy London gigs you know unless it's at the Brixton Academy you know 'cos like I mean that's the sort of dream place to play but It was the first gig of the year actually, it was cool. SS: Where would you say was your best place to play, the most exciting, the most responsive audience? Steve: Espana, Viva Espana. We've just come back from Spain, it was cool there. Portugal was cool, it's just going off all over the world at the moment, it's fantastic. We've played Portugal once and we turned up at this festival in the middle of nowhere and there were 30, people screaming your name, absolutely going mental, mad for it, and it's Stefan: We don't know yet really.
We've played a couple of tracks that we actually wrote when Steve first joined the band that have been in our repertoire for the last two years but most part of the album we haven't played live yet. So we're just going away to rehearse for a long time to sort of make sure we can play them. Brian: Because it's Uber-pop.
It's the poppiest that we've ever been in our lives, it's sort of Brian: Well it's kind of But it has a total, total pop edge to it, it's kind of got that punk pop thing that 'Nancy Boy' had. Stefan: Well sort of it's not super-simple but it's just sort of really stripped down to the essential changes which in this case become very pop and which makes a very good single.
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SS: Is 'Pure Morning' still on the radio despite people being nervous of the weed and the breasts and everything else? Brian: I don't know if they're nervous, nobody's nervous about it, nobody's nervous. We were A listed on Radio 1 with it. Nobody said a word. No, now they're playing the remix, you know, our 'Pure Morning' dropped out of the A list and bang in comes like you know the remix so it's cool. Pete Tong playing it on Kiss, it's all over the place. I met him at V97 last year and actually hadn't really heard anything by him and just kind of asked him to do it on the strength of him being such a nice bloke really.
SS: It also helps to make sure you have a foot in both camps, rock and dance. Is it important for you to keep both sides of your audience happy? Steve: I don't think it's a conscious decision actually. I think it just happens. I mean we've all come from different musical backgrounds, I used to play in dance bands and stuff like that. I think 'cos people are so mixed up with SS: I feel the songwriting is very much to the fore on this album, how much have you taken on the role of singer songwriter, Brian? Brian: Well actually you know the songwriting on this album has become far more balanced and my role as a guitarist has like diminished quite a bit you know and like a lot of it's been taken over by Stef when it comes to the recording.
So I wouldn't say that there was a singer songwriter thing going on at all. On some of the songs I don't even play a note, I just come in and sing 'em, you know kind of thing, so I feel very, very good about that because I'm not writing songs in my bedroom and then presenting them to the band and saying 'play along with this'. They're evolving quite organically around us you know. So it's quite the opposite really. SS: Does this give you more time to concentrate on your vocals? I hear more variety in your voice on this album Brian: I got very tired of people sort of like whenever they spoke of my vocals calling me 'the helium-soaked Molko' you know the kind of thing.
So I knew I had the range and I decided that I was going to show it off this time and that I was going to sing properly. I think my register's dropped a little bit from all the drinking and smoking as well. Sometimes you can go back to playing some really old songs, it's quite hard for me to get up there sometimes. If you listen to our first demos, Jesus, somebody must have been really squeezing my balls hard when we did those! Brian: That's interesting 'cos that's what Steve Osborne's wife said when she heard it and I can do nothing but take that as a great compliment.
Talking of sounding like Bowie, have you heard 'Party Hard' by Pulp, the new single? Check it out. It's like Bowie I think, it's around 'Lodger' time. Brian: Yes, that's true, yes. I think so, but that wasn't a conscious decision either really, it's just kind of It's got quite a U2 bass line actually in it with a disco beat, yes.
Brian: Yes we did, yes we did five gigs with U2 at the end of last year on the Popmart tour. They gave us our biggest gig of our lives which was the Olympic Stadium in Barcelona, you know 80 to , people as the sun was going down in the rain, what a buzz. Then we got on the Lemon jet and flew to Portugal. Brian: The show is just so amazing, really. The authors alone are responsible for the content and writing of the paper. National Center for Biotechnology Information , U. Scand J Prim Health Care.
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Published online Nov Lucassen a and F. Olesen b. Author information Article notes Copyright and License information Disclaimer. Lucassen ln. Received May 25; Accepted Aug This article has been cited by other articles in PMC. Abstract Objective On the basis of emerging research evidence, this review aims to discuss the importance of the context surrounding the doctor—patient encounter for the success of treatment. Design and setting Discussion paper based on placebo—nocebo and pain studies conducted in the western world. Main outcome measures Literature-based theory about impact of communication elements on seriousness of symptoms in clinical practice.
Results The therapeutic outcome seems to be impacted by rituals around a clinical encounter and by the doctor patient communication and relation. Conclusions The context of the doctor—patient interplay matters. Keywords: Placebo, nocebo, context, doctor—patient relation, symptoms, shared decision-making, general practice, Denmark. Introduction In primary care, our work is to diagnose and treat patients. Results Ensuring a supportive atmosphere Placebo research has contributed significantly in evidencing the impact of the atmosphere in the clinical consultation.
Being positive Expectation is considered to be one of the main mechanisms by which the placebo effect exerts its influence. Giving information GPs often give information, for example about adverse effects or about expected pain, before a procedure involving injections. Sharing decision-making Although shared decision-making is undisputed in this era of patient-centred medicine, placebo—nocebo research provides additional evidence for why shared decision-making should be promoted.
Conclusions and implications The quality of the doctor—patient relations does matter. Acknowledgements We would like to thank Lone Niedziella for her linguistic help. Ethical approvals According to Dutch and Danish legislation, approval by an ethical committee is not required. Disclosure statement The authors report no conflicts of interest.
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Arthritis Care Res Hoboken. The effect of treatment expectation on drug efficacy: imaging the analgesic benefit of the opioid remifentanil. Sci Transl Med. The effect of patient-practitioner communication on pain: a systematic review.