Podcast appearances and mentions of James Taylor

Jackson Browne, Linda Ronstadt, Taylor Swift, Matthew Perry, Seth Macfarlane, James Taylor, Ashley Judd,  Ted Danson, Richard Gere, Chevy Chase, Henry Wadsworth Longfellow. William Brewster, Stephen Hopkins MLB salary cap Maura Healey` Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Lee and Daniel are joined by Robby and Wick to talk about another existential road film from the 1970s, with Monte Hellman's "Two-Lane Blacktop" (1971), starring James Taylor, Dennis Wilson, Laurie Bird, and the great Warren Oates. What's this stripped-down minimalist gearhead/road movie all about anyway? The hosts have ideas! Lee also talks about some recent watches. So just slip into the backseat of our chevy uninvited and take a ride with us! "Two-Lane Blacktop' IMDB  Check out Wick on Instagram.  Lee on Bluesky, Instagram, and Letterboxd.    Listen to Daniel punch Nazis on the I Don't Speak German podcast. Catch Daniel on Bluesky and support his Patreon.    Featured Music: "Stealin'" by Arlo Guthrie & "Moonlight Drive" by The Doors.

Jon Steele and James Taylor are back on the regular JTET beat this week, as they check in on the action from the penultimate round of J2/J3 group stage fixtures. In part 1, James reviews the West groups, with a focus on Tosu v Yamaguchi and Osaka v Kanazawa (to 25:30). In part 2, Jon talks about the East groups, including Kofu v Gifu (to end). Plus all the usual Most Bravo Players and Games to Watch.   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

The new Trump Mobile phone has arrived, rotisserie chickens now fly for free, and Stephen presents World Central Kitchen's Chef José Andrés with a check for $2,497,404.15 representing generous donations from fans of The Late Show. With the end of The Late Show quickly approaching, it's finally time to get to know our Emmy-winning late night star on a deeper level with help from special guest questioners John Dickerson, Billy Crystal, “Weird Al” Yankovic, Josh Brolin , Martha Stewart, Mark Hamill, Jim Gaffigan, Jeff Daniels, Tiffany Haddish, Evie McGee Colbert, Amy Sedaris, Ben Stiller, Aubrey Plaza, James Taylor, and Robert De Niro.

How can we thrive creatively in an era dominated by artificial intelligence? In this episode, James Taylor, author of SuperCreativity: Accelerating Innovation in the Age of Artificial Intelligence, shares why the future belongs to those who can combine human ingenuity with AI-powered tools. As host of the SuperCreativity podcast and global innovation summits, James has interviewed over 750 thought leaders and technologists, helping organizations—from Fortune Global 500 companies to government agencies—harness creativity and innovation in complex, AI-augmented environments. In this conversation, we explore: ·       Why approaching AI with curiosity is essential for creative growth. ·       How AI is reshaping human creativity, problem-solving, and collaboration. ·       Practical strategies to work alongside AI and amplify innovation. ·       How teams and leaders can generate better ideas and remain future-ready. SuperCreativity is a hands-on guide for professionals, executives, and creative teams looking to navigate the AI-driven world while enhancing their creative potential. Follow James Taylor and his work on innovation, AI, and creativity here. Episode also available on Apple Podcasts: https://apple.co/38oMlMr 

Welcome back to another chaotic and hilarious episode of SHENK! This week, Sarah Wine-Shank sits down with the brilliantly funny comedian, Dylan Carlino (host of the 'Feeling Girly' podcast). In this episode, Dylan shares his unforgettable out-of-body experience meeting Demi Lovato in first class and why he feels spiritually connected to the Olsen twins.  Sarah and Dylan dig deep into the stark differences between the comedy scenes in Austin and LA, the toxic green room dynamics at Joe Rogan's Comedy Mothership, and the brutal reality of gay dating apps. From childhood weight struggles and body dysmorphia to deep-cut pop culture takes on Sydney Sweeney, Euphoria Season 3, and Amber Heard—nothing is off-limits.

James Taylor enlisted in the Army in 1956. Several years later, he successfully completed Officer Candidate School (OCS) and was commissioned as an Army officer. By 1967, he served as executive officer inside a squadron in the 1st Armored Cavalry that was headed to Vietnam. Later that year, his love and concern for his men under heavy enemy fire led to actions that would lead to him receiving the Medal of Honor.In this edition of Veterans Chronicles, Taylor shares the life-changing lesson on leadership he learned from his high school football coach, why he joined the Army, and how he made it a priority to turn his unit into a close-knit team.Taylor also takes us to November 1967 and his actions that are credited with saving many lives during a vicious enemy attack, how he kept going despite being injured, and the selfless prayer he prayed while tending to the wounded.You'll also hear Taylor's memories about receiving the Medal of Honor in 1968 and how his time with that team in Vietnam still deeply impacts him today.

How can you supercharge your creativity in an age when AI is reshaping everything — including how we write, edit, and market our books? What does it look like to use AI as a genuine creative partner rather than a shortcut? And could professional speaking become an income stream that complements your writing career? With James Taylor. In the intro, Audible's new royalty model; New royalty model details [ACX; Kindlepreneur]; Public Speaking for Authors, Creatives and other Introverts; Why Indie Authors Should Ignore the Market's Mood and Focus on their Mission [Self-Publishing with ALLi]; Lichfield Cathedral; This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to define creativity and why it's becoming the most valuable skill in the age of AI The five stages of the creative process — and the stage most people skip Three types of creative purpose: play, self-expression, and legacy How James used multiple AI tools alongside human collaborators to write, edit, and market SuperCreativity Bulk book sales, industry-specific editions, and revenue models for nonfiction author-speakers Practical tips for authors who want to break into professional keynote speaking You can find James at JamesTaylor.me. Transcript of the interview with James Taylor Jo: James Taylor is a nonfiction author, professional speaker, podcaster, and entrepreneur who helps people unlock their creative potential. He hosts the SuperCreativity Podcast and his latest book is SuperCreativity: Augmenting Human Creativity in the Age of Artificial Intelligence. Welcome to the show, James. James: Well, thank you for having me as a guest. I'm looking forward to this conversation today. Jo: It's going to be really good. First up— Tell us a bit more about you and how you got into writing and publishing. James: Well, today I'm a professional keynote speaker, so I deliver about fifty to a hundred keynotes per year in twenty-five-plus countries. Primarily I speak on creativity, innovation, and artificial intelligence. Go back into my deepest, darkest history—I actually used to manage rock stars. That was my old job. I used to be in the music industry for many, many years. I worked with members of The Rolling Stones, and for our listeners in the UK, I managed bands like Deacon Blue. Then I went to the dark side. In 2010, I moved to California to work in Silicon Valley, to work in the world of tech. That got me involved in artificial intelligence. Right about 2017, I was speaking at an event in San Francisco and someone came up to me and said, “You realise you could probably speak for a living, you could do this for a living.” So I thought, well, how does that work? And he told me. Then I embarked on the career that I have today, which is primarily as a speaker, with writing now coming a bit more to the fore. Jo: Wow, I remember Deacon Blue. James: Yes. Jo: “Dignity.” That's crazy. Very, very cool backstory there, but we'll come back to the career side of things. Let's get into super creativity, because my listeners are certainly creatives. Most of the listeners will have a book either on the way or they might even have lots of books. So we all do want to be super creative. How do you define creativity, and why is it important to keep focusing on this even if we do identify that way? James: For me, creativity is about bringing new ideas to the mind. Innovation is about bringing new ideas to the world, but without creativity, there is no innovation. So creativity is really the engine of innovation. Whether that is designing new products, new services, or creating new works of art and new books. The reason that creativity is becoming more important is because of what we're seeing right now in terms of artificial intelligence. AI is going to replace a lot of the non-creative tasks that we currently do in our jobs. If you look at things like the World Economic Forum, there was recently a study with a thousand global business leaders, and work from companies like LinkedIn—they all highlight that creativity is going to be one of the foremost important soft skills for this new future. So creativity, strangely, will actually become more important, not less important, as we go ahead. That's the creativity side. Probably for many of the listeners here, they'll consider themselves to be creative. That is not the norm. As I mentioned, I speak in about twenty-five countries a year, and if I ask the audiences—primarily corporate audiences—to put their hands up if they consider themselves to be creative, only between ten to forty per cent of the audience will raise their hands. So part of my job is to show them why they are more creative than they think they are and why we're all born with this creative potential. Then moving into the super creativity side, it's really to show them how they can augment that creativity by collaborating more deeply with other people or machines—things like artificial intelligence. So SuperCreativity, the book that I've written and the speeches I give on it, is really about how we can augment our individual creativity by collaborating more deeply with other people or artificial intelligence. For me, that's been the thing I've been fascinated by for the past few years, and probably for many of our listeners who are now using AI in their writing, their researching, and their marketing of their books, they're probably getting into this space as well. I really wanted to dive into that—both the collaboration with other people and with machines and AI. Jo: In terms of the super creativity then, do you have any practices or ideas? Before we get into collaboration, many of us authors work alone—and of course we can come back to the AI stuff in a minute—but in terms of super creativity, are there ways that we can even supercharge what we do already? Then, of course there are people listening who might not feel creative. So give us a few tips on how we can potentially change our mindset or become even more creative. James: In the book I talk about what I call the eight Ps of super creativity, which are purpose, personality, practice, people, process, place, product, and persuasion. Persuasion is really the marketing piece at the end. Probably the one that could be most useful to many listeners today is the practice piece—the practice or the process side of things. For many of us, what that usually consists of is just having some type of daily creative practice. Different people do it in different ways. Many of your listeners will know the works of people like Julia Cameron—the morning pages style of having some type of daily practice. Other people do it in slightly different ways. The process bit is really interesting. I talk about this creative process that we all have, and I talk about these five stages of the creative process. The first stage, let's say if we're writing a book, is really that preparation stage. That is usually the stage where we are trying to absorb as much information as possible about the thing that we're going to be writing about. The topic, if it's nonfiction, or going to the places, visiting the scenes that we're going to set certain things within for the book. So that preparation stage is really about absorbing as much information as possible from the outside. It's not going to look very creative. We're just absorbing at that stage. Now the mistake that a lot of people tend to make is they immediately try to jump from that preparation stage to looking to generate ideas. But what all the studies show us is we should spend a little bit of time in what we call the incubation stage. This is where it's often very useful if we've done some research, that we put things to one side for a little while, maybe a few weeks, move on to another project, think about something completely different. Your brain will continue to work in the background. Your unconscious brain will work on that content you've been absorbing. Then what often happens as a result of that is we come to this third stage, which is that insight stage—that aha moment. That happens for various different reasons and you can seed that in slightly different ways so you're more likely to get inspiration in your day-to-day work. Then as we know—as you are a writer of many, many books—many people think, “Well, that's it. I've done it. The idea for that book or that chapter has come to me.” That is really just the first five per cent of the process. The next stage is where we look at all the different ideas we have and decide which ones we want to pursue, which ones are going to make the grade. This is what we call the evaluation stage. Once we've done that, we move to that final stage, which is the elaboration stage. If it's a startup, this is when you're building your minimum viable product. As a writer, this is where you're actually doing the work, putting those words out onto the page. It's a very iterative process, so it's not necessarily linear. You'll go back and forth. Even as you're getting input from readers and audiences in that last stage, that is then giving you the material to move back to the preparation stage and think, “Oh, I wonder if this next book in this series, maybe I go in a slightly different direction with this character.” So each of those different stages, you can do different things to increase your levels of creativity. Jo: I love all of that, but can we go back to purpose? Because you mentioned that as one of the Ps and I think this is something that a lot of us need. As we are recording this in April 2026, the world is an interesting place. There are lots of things going on that have people worried. Well, we are not talking about politics, but I think one of the things that people struggle with is, what's the point in writing this story, for example, or what's the point in trying to get my words out there when things are difficult? I feel like coming back to purpose is perhaps the thing that helps people even take it into the process as you were talking about. And then of course, just from a practical angle— Is purpose about making money or reaching people? So maybe you could talk about the purpose side of things. James: Yes. So I talk about three different purposes, and it's not that there's just one that predominates, but usually there's one that maybe predominates on different projects. The first one is creativity as play. It's what we're basically, as humans, hardwired to do—this instinctive joy that we get just for creating for its own sake. There's nothing that really sits beyond that. We just have fun. We find pleasure in creating something. That could be a musician creating a piece of music, a sculptor creating a sculpture, an entrepreneur creating a new business or product or service. There's just this sense of play. One of the things I talk about in the book is this idea of being childlike, not childish. If you look at children, you see this very instinctively. If you see a three-year-old or a five-year-old, you give them some crayons and they will just naturally create. That's part of who they are and it's pretty abstract. Then what happens is they go to school and they're taught useful conventions—”this is how you should do it.” You even see their work start to change. You start to see them move from abstract paintings to more formal structures. Then you get your peer group, then you go to college or university and the world of work, and you're taught all these useful conventions. That's fine, but as adults, it is our responsibility to become what we call post-conventional, where we see these conventions as a useful signpost but we're willing to challenge them. We're willing to have a playfulness in what we do. So the first one is just this hardwired thing—creativity as play. The second one, and this is maybe for a lot of your listeners the reason that they are writers, is self-expression. It's a way of placing something out into the world. I was actually just in France recently, and I was talking to a young visual artist, a painter from Hungary, and she had to go up and give a speech. She really hated doing it. She was having to talk about her work and she was really uncomfortable. I could see the discomfort and my heart went out for her, because that is not the way she primarily expresses herself. She expresses herself through her art form, which is painting. For many of us, we might struggle to get on a stage, but we can express ourselves in the written word. We have something we want to say, a position we want to have, and we want to express that and get that out into the world. The final one is just this idea of legacy. That is not going to be for everyone. I can tell you, for me personally, legacy is not the reason that I write and do a lot of the stuff that I do. Maybe that changes—maybe as we get a bit older, we want to leave a body of work. So those are the three main purposes that we tend to see. Then you mentioned the financial side of what we do as well. This starts to come into that self-expression, because we need to be able to get people to buy our books or download our books and read our books in order to give us the ability to write new works and create new things. The financial side is an important component of it, but it is not the only one. I think there's a great question any writer should ask themselves. One of the first questions that I asked myself as a relatively new nonfiction writer is: why am I writing this book? What is the purpose of this book? For me, primarily it is a form of self-expression, and then you have to go, “Well, that's fine, but I also need it to have some type of financial basis for it.” It doesn't need to be the main driver of my income, but I need to have some type of revenue model. I'm happy to talk about revenue models, because probably the type of revenue model that I have as a writer is going to be different from other listeners. I tend to focus more on bulk selling of books rather than individual selling of books. Jo: Yes, I definitely want to come back to revenue models and business, but a few other things first. I want to circle back to collaboration, because I've certainly co-written with some humans, and I know a lot of listeners either have co-written or collaborated with other humans—and some of it works and some of it doesn't. You have some great information on human-plus-human creativity and collaboration. So maybe you could give us some tips on how we can be more effective collaborators with other humans. James: So there's a whole section about this idea of creative pairs. Often if you look at great creative work or innovative companies, very often when you strip it all back, you'll find at the core lots and lots of creative pairings. That is usually two different but complementary personalities who are willing to develop and challenge and improve each other's ideas. We think of Jobs and Wozniak in the world of business, or Warren Buffett and Charlie Munger. For authors, often that relationship is the work with their editor. There was a documentary I saw—I think it was a New Yorker documentary that came out a while ago—talking with a writer of history books about his relationship with his editor. It was a really beautiful relationship. These were two very different personalities, but what worked was the fact that they were different. A core component of having these creative pairings is a sense of trust—or what some people today would call psychological safety—that you are willing to challenge someone's ideas, but in a space of trust. The Germans have a great phrase for it. In English it translates as “someone to steal horses with,” which I love. Hopefully our listeners have that person where you can go to them and say, “I had this idea for a book or a chapter or a character,” and that person is a “yes, and.” Like, “Yes, and have you thought about doing it this way?” or “What would happen if you did this?” They stress test your ideas. They make your ideas better. For many of us, maybe it's our husbands or wives, our partners. Some of us are lucky enough to have editors. When I started rewriting this latest book, I actually had someone like that—a human, not an AI—that I worked with, especially on taking all these random thoughts and ideas I've been expressing in keynotes and putting them into more of a book form. The format and the structures that we use for telling stories in a speech are quite different from the structure that we would use for a nonfiction book. I didn't have as much experience there, so I wanted someone who could say, “Have you thought about structuring it this way?” or “This is a great story arc you might want to think about.” So I don't know, for you, who is your creative pairing? Who is your “someone to steal horses with”? Jo: Well, it's funny. I really think since the arrival of Claude Opus 4.6, it is absolutely Claude. James: Yes, yes. Jo: All the way. I mean, so we could come onto that next in terms of how AI has changed, because I do still work with a professional editor for both fiction and nonfiction, but it is very much in the “make my finished work better” stage. It is not in the exploratory phase. I find particularly the latest reasoning models to just be fantastic at this. And my Claude is not sycophantic. The Opus 4.6—I'm sure you've been using it too—it just doesn't behave in the way that a lot of people think these AIs did. They did behave like that, and now it's changed. So let's talk about that. What are your thoughts on collaborating more effectively with AI tools, especially as they become more and more powerful? As we record this, Claude Mythos has not come out, but it's certainly rumoured to arrive. I'm pretty excited. James: So because I've been doing this AI thing for a little while, it's given me the ability to experiment with things—the early versions of what many people are using today. I'll give you an example. Even before I started writing the book, I decided to write a book proposal. Even though I could pretty much sense I wanted to independently publish this book through my own publishing company, I thought it's a good practice to put it down into a proposal form, even though I don't go to a traditional publisher or a hybrid publisher. One of the things I did within that was get a sense of who my ideal readers are. I used a very early version—this was a few years ago—of an IBM AI tool, creating what we call a psychometric map of my ideal reader. This basically tells me, over about seventy-two different factors, how this person thinks, how they feel, what their value system is, very broadly for my ideal reader. I pulled in different sources. I knew the kind of magazines and books they were reading and what their general worldview was. So I created this—going one step beyond just creating your ideal reader to really understanding their psychometrics. I do this in my keynotes too. Before I ever give a keynote or an important pitch or a presentation, I use AI to analyse the psychometrics of the audience I'm going to be speaking to. This might tell me, for example, this audience values humour a little bit more, or this audience values a bit more practicality so they want actionable next steps, or this audience is going to be a little bit authority-challenging so they're going to push back. So even in those very early stages, just starting to think about the book—who was I writing this book for, what was the purpose of the book—I was using AI to understand the psychometrics of my absolutely perfect, ideal reader. I gave her a name. It was a female reader. There was someone similar to her that I already knew. Probably for some of your listeners, they do this instinctively anyway. They maybe have a person or a few different people they think of in their head. Then from that stage, because I've been delivering lots and lots of keynotes—and this may be an important distinction in the way that I have decided to write books as opposed to how other people write books—my family were all jazz musicians. The difference between a rock musician or a pop musician and a jazz musician is this: a rock or pop musician will go into the studio, create this opus, this work, and then tour that for the next two years. A jazz musician, on the other hand, goes out and performs the songs and the things from the album that they're eventually going to create hundreds of times, thousands of times, to find out what works with audiences, and then they go into the studio and record the stuff that works best. So I created a book more like a jazz musician. I'd delivered keynote versions of the book hundreds of times before I ever decided to actually write the book. So it had been stress-tested with real people to a certain extent. Then, getting into it, I thought—well, what works as a keynote is not necessarily going to work as a structure for a book. So what I did was start using ChatGPT models at that point to think about the structural edit of the book. What was the structure going to be? What was great is you can basically feed it every single keynote you've given over the years, all the notes, everything you've done, and it could start to give me something to riff with and really get into thinking about how I was going to create this. I was using it a little like that creative pairing we spoke about earlier. Then once I'd done that—so I've now got an idea of a structural edit essentially—I then go back and speak to some humans about it. “What do you think about this?” “What do you think about that?” And try some things out over dinner conversations. “I'm thinking about doing this—what do you think?” Then once I did that, I just did the thing that I really didn't want to do, but I guess you absolutely have to do: sit in a seat for multiple weeks and just get that crappy first draft done. That was just me writing, from my voice, in my way of doing things. Every so often I would use an AI to research a particular thing, but I didn't want to slow down the pace too much. I was focused on getting that word count done. Once I had the first draft, I then brought the AI back in. In this case, I was still using OpenAI at this stage, to act more like an editor. To tell me what was weak about the book. At this point I was starting to give it the overall framing. What was weak, what chapters needed to be improved. I then went back, started reworking each of the chapters, and worked chapter by chapter using that AI as a sparring partner. But once again, the AI is not really writing my words for me. It's maybe saying, “This part could be said better. You might want to think about doing it this way,” or “You are missing a really powerful case study or example here,” or at the very end of each chapter, I have actionable next steps, and “You're missing some things here.” So I've gone through that entire process of writing, and now I'm essentially at the second draft. At this point, what I'm doing is using another AI tool—Claude, in this case—to have a different perspective on it. I gave it the work. I mentioned a couple of editors that I really respect and different writers I respect and said, “I'm going to create a virtual beta readers group. Give me feedback on this now.” For someone that's listening to this, and we're recording this in April 2026, here's some good news for you. There are now a bunch of tools out there that use AI swarms, as we call them. You can basically feed it your book and it will create synthetic readers—thousands and thousands of synthetic readers that read your kind of style of book—and it will then give you feedback from these synthetic readers. Essentially, I was just doing an early version of that. So I got the feedback from the synthetic readers, the AI readers, and then reworked a little bit. Some of the stuff I just decided not to do because it didn't align with what I was trying to say in the book. Then the next stage was I had a beta reader group of about thirty human beta readers—my ideal readers. I sent the book to them, they gave me feedback. I then used AI to give me an overview report of all their feedback, and then I was able to go back into reworking the book. That's still really just draft three of the book, not the final book at this stage. But just to give everyone a sense of opening up the process: you could see how the human and machine were working together. Jo: Yes, I love that. I also often say to people who are speakers first that you can, if you have recordings of your talks or if you use your slide decks to record them as MP3s and then just use that transcript as the basis of a draft. Obviously it's not the book or a chapter, but it can actually preserve your voice—your speaking voice—which I think can be really effective for speakers. I like your multi-step process there. And then of course, if you have audience avatars in AI, that can help you design your book marketing. So take this into book marketing and how you're doing that. James: So I still decided to go old school with a human editor—a book editor that someone had recommended to me. I used that human book editor just to go through the book. At that point we're talking about style, some stylistic things that we wanted to do, and they can pick up other things as well. So I've got that book, and then I'm obviously starting to use AI to understand what tags, what kind of copy do I want to have in terms of putting it onto Amazon, putting it onto IngramSpark, and all these other platforms I want to put it out into. I'm using Claude here in particular—and with Claude, you have something called Cowork. It wasn't quite fully happening at that point, but there were early versions of it and Claude Code—to almost start working with and creating a virtual marketing team. I give it the book and then they could start thinking about: what is the marketing strategy for this book? What does the campaign look like? What are the things that we need to do? That was then starting to break it down. We're now three months out or so before the book is due to get released, and I'm starting to deploy that particular campaign. So for example, I'm on a podcast right now, and we try different versions. We have a human going out and reaching out to potential shows for me to be a guest on, but I also have an agent. There's also one going out and finding and researching podcasts and reaching out to those podcast hosts to have me as a potential guest. So they're doing some of the tactical work there at the same time. One mistake I made—and I don't know if you've experienced this as well—if I was to go back, one thing I would do differently is this: I decided to record the audiobook version after the physical book was already committed and ready to go out. Jo: Mm-hmm. James: And I noticed so many small errors or things I would change after having spent two days in a studio recording the voice for the entire book—changes I would have made. This is something other people did ask me: why are you not using ElevenLabs or an AI clone of your voice to read the script? There are some things I feel quite personal about, and my voice is one of those things. As a professional keynote speaker, I decided I wanted to keep that and have it in there. So it's going to be different for everyone which things they decide to offload to AI, which things they decide to give to a human member of their team, and what they decide to keep to themselves. Jo: Yes, I mean, I human-record my nonfiction, but I have an AI voice clone with ElevenLabs for my fiction now. But obviously, for people listening, you can't put an ElevenLabs voice-cloned audiobook on Audible, and a lot of your sales will be on Audible, especially for a book like this. So I think that's also important. I agree with you on doing the audio edit. There's always things you want to change. But as you mentioned, you're self-publishing this, so you can just go in and change your files. James: Yes, and that was the other reason, and this was part of the marketing—now we're moving into the marketing and the business model behind the book. For me, the book doesn't have to be a financial driver in its own sense. The way that I sell books, and usually people like myself—professional speakers—is we bulk sell books to our clients. Let's say I'm speaking at four different events this month. Each has about a thousand people at them. Those organisers will buy, say, a thousand copies of the book. So at the end of that month, you might have sold four thousand copies—not individual copies. Anything that sells on Amazon or in other places is almost like a positioning piece. Obviously you want people to buy the book and learn things from the book, but in terms of the distribution model, it's slightly different because I'm primarily selling through bulk sales. Now, here's a little twist you can do on this, and this is a decision I made even before we released this version of the book. I speak to lots of different industries. There was a speaker and author—I've forgotten his name now, I think he was from Florida—and what he decided to do was to write a slightly different version of his main book every year, but for a different industry. So what this allows him to do is, let's say in my case, I'm doing a version of the SuperCreativity book just for legal professionals because I speak to a lot of law firms and legal groups. I've already started working on a version of the book which is a little bit more attuned to that audience. As a speaker, it allows me to go to all these law firms and legal associations and bar associations and say, “Hey, I've just written the book on creativity and artificial intelligence for the legal industry.” That makes you a very bookable proposition for a client. And then obviously you can sell books from that as well. And that's before we get into the foreign language versions. That's just a model that happens to work pretty well for my part of the industry, but obviously it's going to be very different for other types of authors. Jo: No, I think that's great. For nonfiction authors, as you say, there are different revenue models. Your income, I guess, would be what, eighty, ninety per cent speaking revenue? Or do you have other things as well? James: Yes, primarily it's the keynote speaking, and anything that comes from the back of that. Sometimes it's boardroom advisory work that I do as well. But primarily it's the speaking side. So really the book is just the simplest form to get my ideas out and the most affordable form. Jo: Mm-hmm. James: Because the other thing is, you want as many people getting your ideas as possible, and there is no better, more affordable way of getting someone's ideas out there than in the form of a book. I think it's just the most unbelievable transmitter of knowledge—a book. That's why I love to write the book as well. A lot of my friends say, “Listen, books are old hat. You don't need to do a book any more. You can do these other things, other forms, online courses.” I've done lots of online courses in the past and membership sites and all those things, but there's just something that is great about a book—to be able to summarise your ideas at a particular point in time. It's also a great transmitter of value to other people. And it is affordable. Any book, someone can download a book on Audible or wherever they want—that's just an affordable way of absorbing that content. Jo: Yes. Well, of course we are all fans of books here. I do speak—I don't tend to do keynote speaking. I do more content speaking at conferences. For people listening, keynote speaking is where you tend to get the higher revenue. So if people listening have books already—let's say they have nonfiction books or even fiction books that could be turned somehow into different topics—if people want to get booked for speaking gigs, preferably ones that pay— How would you recommend authors think about moving into speaking if that's something they want to do? James: So obviously it's much easier for nonfiction authors to do that. I mean, I'll give you an example. I was speaking at an event last week in New York for L'Oréal, the hair care and cosmetics company. They had six different speakers. One of them was a speaker on macroeconomics and geopolitics. Another was an expert on communications. Another was an expert on AI. Another was an expert on storytelling. So you have to think: does my topic have value for that type of audience—that corporate audience? An easy way of finding that is if you just go onto any of the speaker bureau websites, type in “speaker bureaus,” look for the speaker bureaus, and then type in your topic area—emotional intelligence or whatever the topic area is—and look at the other speakers. See if there is obviously a number of speakers talking on this area. Importantly, look at how busy they are and look at their fee levels as well. I did an online summit a few years ago called the International Speakers Summit, where I interviewed a hundred and fifty of the world's best professional keynote speakers. I interviewed Sally Hogshead, who's an author and a speaker, and she said to me, “James, you're going out speaking about creativity, but if you just twisted it a little bit and spoke more in terms of innovation rather than creativity, you would earn an extra five thousand dollars per keynote.” So creativity and innovation—an extra five thousand dollars. That's just a simple thing that, as you get to understand the industry, you learn. Then once you do that, it's like any business—you have to treat it like a business, obviously. What makes someone a great storyteller on stages is not the same as what makes a great storyteller on the written word. So depending on where you're at, you might need certain training and skills development. If you are listening to this from America, there are things like the National Speakers Association, the NSA. If you're living in the UK, the Professional Speakers Association. These are great ways just to develop your skill set and learn from other professional speakers. Here's the good news, I didn't know anything about professional speaking until 2017–18, and it was only from having a conversation with someone who said, “Listen, you have some original thoughts. You can get paid to speak about this on stage.” Then I spent the next year really researching and understanding and looking at how to do it and creating a minimum viable product—a speech—that was a very short period of time, a year. Most of the listeners here have gone through that process of writing a book, which takes many, many months. So you have the stamina to do this type of work. You just need to find out where you fit. I thought I was going to be a speaker in marketing. I thought that was going to be my thing. And it turns out that's not what the market wanted from me. They wanted me to talk about creativity and artificial intelligence. So you have to listen to the market, like you have to listen to your readers. Jo: Yes, I think that's really interesting. I was also a member of the PSA here, and I learned in Australia with the NSAA as it was. James: Yes. Jo: And that thing about who you speak to—I mainly speak to author conferences, who, I just want to be frank, don't pay very well, if at all. So exactly what you said there— If you want to be a highly paid speaker, you have to pick the audience who's going to pay, as well as a topic that works with them. It is a very different thing to writing a book, I think. James: It is a different model. This is what was interesting when I interviewed those hundred and fifty professional speakers—the thing that came back loud and clear is there is a model to suit everyone. Jo: Mm. James: So the model that works for me—getting paid high fees to go and travel around the world, speaking on stages to primarily corporate audiences—that is not the only model. There is another model, which is called the “sell from the stage” model, where you maybe don't get paid anything to go and speak on the stage, or very little, but what you're doing is you're selling your consulting, your online course, your books, your other products from the back of the stage. That's another model as well. I have friends who have young families and they are writers and they don't want to schlep on planes like I do. I know one speaker in particular who never leaves his own city. He is a very successful professional speaker. He happens to live in Orlando, Florida, which is one of the busiest cities for conferences. So literally, he's home with his kids every night. He gets to do all this cool stuff he wants. He never has to step on a plane if he doesn't want to. That just shows you the range. I remember I once interviewed a person whose title was a Buddhist monk, French speaker, and author. He figured out he could live very affordably by living in Thailand. So he lives in Thailand for part of the year and he's very into meditation, mindfulness, yoga, and writing. He figured out he only had to give two keynotes per year to pay for his entire lifestyle. That was it. So that gives him a lot of freedom. He does those two corporate keynotes a year and for the rest of the year he's doing his yoga, his meditation, his writing, and surfboarding, whatever he's into as well. So you can see there's a whole range of different ways you can design that life. Jo: Yes, we talk a lot about definition of success and it's great to hear those different examples. So before we finish up, I just want to come back to your journey into the writing side, into books and self-publishing. We all understand, me and the listeners, how hard it is to write a book and also to market a book, but we've got the bug. So we wonder: how much have you got the bug? Do you plan on doing more writing, more books, or do you still want to lean more heavily into speaking? James: Primarily the income for me will still come from speaking. I remember listening to Elizabeth Gilbert once when she talked about her writing. She said she always wanted to have other things, so she never had to push onto her writing that it had to be the income stream for her. If it was successful, great, that's fantastic. So I have a little bit of a similar view to that. In terms of my own writing, I've got about five different nonfiction book ideas I'm now looking at. Some of them relate to speeches that I already do. Some don't. I'm looking at different versions of the SuperCreativity book, so there'll be other versions coming out—different industries, different languages. That gives you a few years of work. The other side that I want to develop is the fiction writing side. I'm already starting to work on a fiction book at the moment—a little bit like this idea of one for them, one for me. Jo: Mm-hmm. James: So one for them is for the corporate audience, that world that I live in, and the other one is for me, for my own creativity. My hope—and I don't know, maybe we need to speak in a year's time when I've written and published it—is that by doing the fiction side, it will make me a better storyteller on stages as well for my corporate audience. It will help me understand story arcs, slightly different ways of expressing stories, building emotion, building the anti-hero characters within a book, for example. So I'm hoping that they both feed off each other. But we will see. Jo: Yes, we will. All the best with that. So where can people find you and your books and everything you do online? James: The easiest place to go is JamesTaylor.me, and you can find the book, which is called SuperCreativity, there. Or just go to wherever you buy your books—your local independent bookstore—and get a copy of SuperCreativity. The audiobook may already be out by the time you're listening to this as well. If you want to learn a little bit more, we also have a podcast called the SuperCreativity Podcast, where I interview lots of wonderful guests talking about this area of super creativity. Jo: Well, thanks so much for your time, James. That was brilliant. James: Thank you, Joanna. Thanks for having me as a guest on the show.The post SuperCreativity And KeyNote Speaking With A Non-Fiction Book With James Taylor first appeared on The Creative Penn.

La fe siempre está a un paso, una generación de perderse, un padre o un matrimonio que no transmita a sus hijos o familia su fé en Jesucristo propicia que se pierda el vivir una relación con Dios. Por eso, los hermanos Francis y James Taylor nos comparten el tema: "Construyendo familias que honran a Dios". Vida Abundante Coronado www.vida.cr

J-Talk Takeover Week continues as Jon Steele and James Taylor embrace the chaos and present this week's episode of the J-Talk Podcast. In part 1, James reviews the West group action from matchday 16, with a focus on Cerezo Osaka's late win over V-Varen Nagasaki and a chat about Cho Kwi-Jae's possible move from Kyoto to Urawa (to 31:00). Then in part 2, Jon runs through the East group, which included a dramatic late comeback win for FC Tokyo over rivals Tokyo Verdy (to end). Plus all the usual Player of the Round and Games to Watch sections.   Thanks for your continued support of the J-Talk Podcast. We hope you enjoyed Takeover Week! *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod

Singer, songwriter, performer and teacher Livingston Taylor is headed to Outpost in the Burbs for a special performance on May 16th. For more than 50 years, Taylor has crafted his signature blend of storytelling, warmth and wit, emerging from one of music's most renowned families alongside siblings including James Taylor. We caught up with Livingston ahead of his Outpost show for a wide-ranging conversation touching on his remarkable career, the lessons he's learned and shared as a performer and educator, his work with artists like Judy Collins — and even a couple of impromptu musical moments along the way, as a preview of the upcoming concert. Tix for May 16th show: https://outpostintheburbs.thundertix.com/events/258844 

Don’t miss this powerful opportunity to be part of the movement shaping the future of Black America! Black Politics expert Dr. James Taylor returns to our classroom today to break down the immediate impact of the recent US Supreme Court ruling restricting the Voting Rights Act. As a respected Political Scientist, Dr. Taylor will reveal what’s truly at stake for Black representation in both local and national politics—and what we can do about it. Before Dr. Taylor, hear from legendary Baltimore Civil Rights activist Carl Snowden, whose foresight predicted this moment. He’ll lay out bold options and strategies for the Black community to fight back and protect our rights. We’ll kick off the show with Reparations Advocate Dr. Robert Richard Allen Turner of Baltimore’s Empowerment Temple AME Church, who will connect the dots between the court’s decision and the future of the Reparations Movement. This is more than just a show—it’s your call to action!See omnystudio.com/listener for privacy information.

We talk about personalisation as if it's about the person. It isn't. It's about prediction.”That line sits at the centre of this conversation with James Taylor, CEO & Founder of A Particular Audience and once you hear it properly, it's difficult to go back to how most marketing teams currently think about relevance. Because for years, personalisation has been framed as something close to one-to-one messaging. The idea that if we just had enough data, we could tailor every experience to the individual. It sounds right. It feels intuitive. And yet, in practice, it has largely disappointed.What James lays out here is a different way of understanding the problem.Not who the customer is — but what they are doing.Not static segments — but real-time signals.Not demographics — but behaviour.Drawing on his experience building AI-driven recommendation systems used by global retailers, he explains how the most effective ecommerce experiences are not built around people, but around patterns. Around the relationships between products, actions, and intent. Around what millions of other customers have done before you, and what that makes likely next. This fundamentally changes how you think about websites, search, media, and even creativity.Along the way, the conversation explores why so many early personalisation efforts failed, how Amazon and Netflix approached the problem differently, and why most retailers are still playing catch-up despite having access to the same underlying data.There's also a more grounded thread running through it — the reality of AI in practice. Not the version you see in product demos or LinkedIn posts, but the version that still requires constraints, rules, and human oversight. The version that gets things wrong. The version that can be incredibly powerful, but only when properly understood.For marketers, there's a useful tension here, on one side, the promise of hyper-relevance and automation, on the other, the discipline required to make it actually work.This episode sits right in that space.⏱️ Key Moments:00:00 – Why “you are not your demographic” changes everything02:15 – From investment banking to building AI products08:00 – The real meaning of personalisation (and why it's been misunderstood)12:30 – Behaviour vs demographics: what actually drives relevance18:00 – Building a recommendation engine from scratch26:00 – Why most retailers still lag behind Amazon30:00 – How AI is changing marketing teams34:00 – The limits of AI (and why rules still matter)36:30 – “Personalisation is just good prediction”What you'll take from this episode:Why most personalisation strategies fail to deliverHow recommendation systems actually work in ecommerceThe difference between explicit and implicit customer signalsWhy demographics are often a poor proxy for behaviourHow AI should (and shouldn't) be used in marketing todayWhat marketers need to rethink about relevance and experience designBrought to you by TracksuitTracksuit is the always-on brand tracking platform helping marketers understand brand health, measure impact, and make better decisions over time.

Today on the show: Jordan Miller from ABC News in Jerusalem with the latest on the war. Greg Bluestein from The Atlanta Journal-Constitution live with new Georgia poll numbers. Erick Erickson joins us live. What the end of Spirit Airlines means for travelers. Plus, James Taylor tickets and "A Grand for Gas!" 9am-noon on 95.5 WSB.

Today on the show: Jordan Miller from ABC News in Jerusalem with the latest on the war. Greg Bluestein from The Atlanta Journal-Constitution live with new Georgia poll numbers. Erick Erickson joins us live. What the end of Spirit Airlines means for travellers. Plus, James Taylor tickets and "A Grand for Gas!" 9am-noon on 95.5 WSB.

Today on the show: Jordan Miller from ABC News in Jerusalem with the latest on the war. Greg Bluestein from The Atlanta Journal-Constitution live with new Georgia poll numbers. Erick Erickson joins us live. What the end of Spirit Airlines means for travellers. Plus, James Taylor tickets and "A Grand for Gas!" 9am-noon on 95.5 WSB.

Pianist, composer, and arranger John Beasley joins host Steve Roby for an in-depth discussion about his extraordinary career, his new album Invisible Piano, and an upcoming all-star Miles Davis centennial tribute concert in San Francisco. Beasley explores his musical roots — from a household full of musicians to early influences like The Beatles, Thad Jones/Mel Lewis, and Quincy Jones — and reflects on his journey through jazz, film, television, and large ensemble composition.  He talks about how a trip to a Stuttgart art gallery, and the surrealist paintings of Max Ernst inspired the creative process behind Invisible Piano, recorded with Germany's SWR Big Band. The album includes five original compositions and two new arrangements, such as a deeply personal rendition of James Taylor's "Fire and Rain." John also previews ‘Unlimited Miles: Miles Davis at 100,' an all-star jazz centennial celebration at the Presidio Theater in San Francisco on May 14, featuring Kurt Rosenwinkel, Mark Turner, Sean Jones, Terry Gully, and Ben Williams. Music featured in this episode:“Fire and Rain” — arranged and performed by John Beasley (from Invisible Piano)“Invisible Piano” (title track) — John Beasley with the SWR Big Band (from Invisible Piano) Music provided by John Beasley and used with his permission. Links:John Beasley: johnbeasleymusic.comTickets for Unlimited Miles at the Presidio Theater (May 14th): presidiotheatre.org/showsBackstage Bay Area: backstagebayarea.com 

The Fork Report Hour 1 (05/02) - The Fork Reporter is live from this years Beach Life Festival in Redondo Beach, showcasing acts from The Chainsmokers, James Taylor, Sheryl Crow, The Offspring, Duran Duran and more! Plus, The Fork Reporter gives a deep dive into Wonder Bread and how they are now producing bagels into their brand. Chris Brown, Head of Membership Surf Club, joins the show.See omnystudio.com/listener for privacy information.

Hello everybody and welcome to the Pixel Classroom History of Music. Today's song is one of the most comforting songs ever written. It's simple, it's honest, and for a lot of people… it means more than just music.We're talking about “You've Got a Friend,” made famous by James Taylor and written by Carole King.

On today's episode, Ben Kinney speaks with Doug Searcy, president of Barton College in Wilson, North Carolina. Doug shares the story of his western North Carolina upbringing, the family courage that opened the door to higher education, and an unforgettable college lesson in accountability after he dented the president's car. He and Ben dig into Barton's growth alongside a thriving Wilson, new programs in health sciences and AI-driven business, and why civil discourse and critical thinking matter more than ever. Stick around to the end for Doug's love of 80s rock, James Taylor, and a good Dick's hot dog.

Musician Ian Galipeau once had an audience once member compare his sound to Nirvana, or James Taylor. This has been the best compliment Ian has received about his music. Ian Galipeau talks evolution as a musician, love for new instruments, and his upcoming performance at Song City with Jacob Boston and Sina Basila Hickey.

eTown is celebrating 35 years making high quality radio shows that feature a great variety of musical artists as well as interviews with plethora of interesting guests. This week's compilation show is Part Two of two but in reality, we could make hundreds of such shows as the treasure trove of archival content goes deep and wide. Part Two features such musical artists as: James Taylor, Joan Baez, Buddy Guy, Brandi Carlile, Pops Staples and more. Also we revisit chats that Nick had with the International Space Station crew and Jane Goodall.  That's all this week on eTown!   Visit our Youtube Channel to see artist interviews, live recordings, studio sessions, and more! Be a part of the audience at our next recording: https://www.etown.org/etown-hall/all-events/ Your support helps us bring concerts, tapings and conversations to audiences while fostering connection through music, ideas and community. If you'd like to support eTown's mission to educate, entertain and inspire a diverse audience through music and conversation, please consider a donation: https://www.etown.org/get-involved/donate-orig/.

About the EpisodeOn this episode of The Bandwich Tapes, I sit down with keyboardist, arranger, bandleader, and all-around musical Swiss Army knife Jeff Babko. Jeff is one of those musicians whose career quietly spans an incredible range of musical worlds, from television and touring to studio work and bandleading, and our conversation ends up feeling like a masterclass in how to build a life in music while staying curious and grounded.We start in the present, where Jeff has recently stepped into a larger leadership role on Jimmy Kimmel Live! following the passing of longtime music director Cleto Escobedo. Jeff reflects on what that responsibility means to him and how leading a band in that environment requires both musical preparation and a deep sense of trust and respect for the musicians around you.From there we rewind to an important musical turning point. Jeff tells the story of seeing James Taylor live in college, backed by a band that included Don Grolnick, Jimmy Johnson, Mike Landau, and Carlos Vega. For Jeff, that moment crystallized what “grown-up musicianship” could look like—players serving the music with taste, humility, and deep craft.We also talk about Jeff's time at the University of Miami's Frost School of Music and the lifelong community that came out of those years. That theme of musical community carries into his long-running collaboration with Steve Martin and Martin Short, where Jeff has learned firsthand how musical timing and comedic timing often work the same way. Playing for comedians, it turns out, requires the same instincts as great improvisation.Toward the end of the conversation, we zoom out to bigger questions: legacy, awards, AI, and what actually lasts in a musical life. Jeff shares a perspective I really love: the most meaningful musical moments often aren't the ones captured online. They're the warm-up before a taping, the look between bandmates, or the feeling of someone in the audience connecting with the music in real time.Key TakeawaysVersatility is a career advantage — Jeff's work spans television, touring, arranging, and bandleading.Leadership grows from trust and preparation — especially in environments like Jimmy Kimmel Live!.Seeing great musicians early can shape a path — Jeff's experience watching James Taylor's band left a lasting impression.Musical communities matter — relationships formed in school and early careers often last decades.Comedy and music share timing instincts — playing for comedians requires the same listening and responsiveness as improvisation.Humility sustains a career — serving the music and the band keeps the work meaningful.The most powerful musical moments are human ones — often unseen and impossible to capture online.Music from the EpisodeHead Trauma - Mondo Trio (Jeff Babko, Jeff Coffin, & Vinnie Colauita)International Client - Jeff BabkoFranklin - Jeff BabkoNostalgia is For Suckas - Jeff BabkoAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

10 years ago former England batter James Taylor's life changed forever.Reflecting on being taken ill 10 years ago, he speaks to Kevin Howells about what he remembers from the day his doctor told him to not "wait for an ambulance, you haven't got enough time". He had just cemented himself in England's Test side and was forced to retire at the age of 26.

Think about your favourite records. Go ahead. Chances are, one of the first things that popped into your head was the album cover. And it makes sense...who hasn't studied an album jacket while listening to a record?  Or scanned the track listing, or read the liner notes or credits?  How many of you have bought an album solely based on the cover art? The artwork colors how we hear the music, and, likewise, the music informs how we interpret the artwork.  Either way, when done effectively, the two are intertwined. But don't take it from us.  This week, we have one of THE greatest creative art directors in music history joining as our Third Lad.  There's a near certainty that you have the iconic work of John Kosh sitting in your record collection - and it's absolutely staggering list of credits since the late ‘60s.  For starters, how about his work as with The Beatles' Apple Records, like Abbey Road, Let It Be, or John & Yoko's Wedding Album? Or how about Who's Next?  Get Your Ya-Ya's Out?  Hotel California?  Out Of The Blue, featuring his familiar ELO spaceship logo?  In fact, he is the only Art Director to have worked with The Beatles, The Stones, and The Who.  That's not enough for you?  Among the hundreds of album covers Kosh has designed, there are also familiar sleeves for Ringo Starr, Rod Stewart, Marvin Gaye, James Taylor, Jimmy Buffet, Donovan, Aerosmith, Family, The Moody Blues, Badfinger, 10,000 Maniacs, T. Rex, and so, so many more.  And, oh yeah, the four decade string of gorgeous covers he did for Linda Ronstadt, three of which have earned him Grammys. Aside from album covers, there's artwork for singles, books, TV, film, posters, and billboards - like, for example, the simple but incredibly effective John & Yoko campaign declaring WAR IS OVER…if you want it.  Listen as Kosh recounts stories from his fabled career and discusses his Top 5 Album Covers (other than his own). This is living history, kids! Learn more about your ad choices. Visit megaphone.fm/adchoices

Cagefather unlocks beautiful original samples from Black Ivory, James Taylor, Rebekah, Chapter 8, Yuji Ohno and many more. Plus deep groove gifts from The Counts and Muddy Waters, a Boston-BX collab with Stu Bangas x D.I.T.C. and a final drum roll for soul drummer extraordinaire James Gadson. View the full playlist for this show at https://www.wefunkradio.com/show/1289 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

James Taylor and Jon Steele got back together to review matchday 9 of the J2/J3 100 Year Vision League. In part 1, James reviews West-B, asks Jon about his trip to Kitakyushu, and then talks in more detail about West-A before crowning his Most Bravo Player and picking some games to watch (to 29:00). Jon takes over in part 2 for a review of the East groups, with a focus on Sendai v Gunma and Iwaki v Matsumoto, then picks his MBPs and games to watch (to end).   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

American Revolution (1765–1783) was a political conflict involving the Thirteen Colonies and Great Britain, culminating in the American Revolutionary War and the independence of the colonies as the United States. RW13. Johnny Has Gone for a Soldier song available at https://amzn.to/4byKUg5 Music by Mark O'Connor available at https://amzn.to/4dao7bw Heartland: An Appalachian Anthology by Mark O'Connor at https://amzn.to/4rQ3qVV Music by James Taylor available at https://amzn.to/4szH2kY The Revolution DVD box-set available at https://amzn.to/4p8seIt American Revolution books at https://amzn.to/43DduIG Revolutionary War games and souvenirs at https://amzn.to/487e2YU ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Mark's History of North America podcast: www.parthenonpodcast.com/history-of-north-america Mark's Historical Jesus podcast at https://parthenonpodcast.com/historical-jesus Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM The History Channel Presents - The Revolution narrated by Edward Herrmann & directed by Peter Schnall (2006 A&E Television Networks); Mark O'Connor and James Taylor perform 'Johnny Has Gone for a Soldier' from the albums Heartland: An Appalachian Anthology & Liberty! Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

This date in history, Talking March Madness & previewing tonight's title tilt with Bill Bender, Quick Hitters: CBS Sports likes the Buckeyes, Trump's executive order & Alabama's AD calls for the end of championship games, more portal departures for Jake Diebler, Luka Doncic could be out for the season, a bad day for an LPGA player and James Taylor from Parlay Sporting Club & Kitchen joined the show.

durée : 00:05:22 - Le 13/14 - par : Julien Baldacchino - La comédienne est aussi réalisatrice du film" Les filles du ciel", actuellement en salles. Elle évoque cette chanson de James Taylor pour se ramener à ses souvenirs de famille aux États-Unis. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

American Revolution (1765–1783) was a political conflict involving the Thirteen Colonies and Great Britain, culminating in the American Revolutionary War and the independence of the colonies as the United States. RW12. Johnny Has Gone for a Soldier song available at https://amzn.to/4byKUg5 Music by Mark O'Connor available at https://amzn.to/4dao7bw Heartland: An Appalachian Anthology by Mark O'Connor at https://amzn.to/4rQ3qVV Music by James Taylor available at https://amzn.to/4szH2kY The Revolution DVD box-set available at https://amzn.to/4p8seIt American Revolution books at https://amzn.to/43DduIG Revolutionary War games and souvenirs at https://amzn.to/487e2YU ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Mark's History of North America podcast: www.parthenonpodcast.com/history-of-north-america Mark's Historical Jesus podcast at https://parthenonpodcast.com/historical-jesus Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM The History Channel Presents - The Revolution narrated by Edward Herrmann & directed by Peter Schnall (2006 A&E Television Networks); Mark O'Connor and James Taylor perform 'Johnny Has Gone for a Soldier' from the albums Heartland: An Appalachian Anthology & Liberty! Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

Welcome to AthCastMusic, the music of Athens,Georgia now and then. My name is Marlene SokolStewart, and this is my podcast. Hello, hello,hello, everyone. I hope everyone's doing well.It's been crazy flying around this country withthe TSA crap going on, but... We made it backto Athens fine and I made it here to record thisepisode and I'm very happy about that becausemy guest today is Randall Bramblett and he isa fine, fine musician and an Athenian still ashe moved here in 1970. And he's still here. Myconversation was great. It was just great. RandallBramblett is a singer, songwriter, and multi - instrumentalist,born in Jesup, Georgia, but based in Athens,Georgia. His music is rooted in south funk, blues, R &B, psychedelic punk, jazz, and wherever the hell else he wants to go. His music spans a careerof solo work, collaborations, and being the leaderof the band. He played with the Allman Brothers,Steve Winwood, Bonnie Raitt, Sea Level, WidespreadPanic, Levon Helm, the Atlanta Rhythm section,Delbert McClinton, Betty LeVette, you name it.Because there's just too many people to list.It really is phenomenal what this man has accomplished.He went to UNC with the intent to major in psychologyand to join the seminary. But that was not tobe after hearing artists like James Taylor, CaroleKing, and Bob Dylan and thinking, you know what,I probably could do this. Once he abandoned thatpathway, he moved to Athens to write songs and see how it would carry him. It led to much more than songwriting. It led to a plethora of creativitythat couldn't be stopped. His music continuesto grow like grapes on a vine, always tastingdifferent and always depending on the weather.He probably says yes, too many times and playswherever time will take him. We talked about beginning his music, when he went to UNC, how he got involved with Sea Level, Steve Winwoodand some of these other artists and just howhis life has been since he started this wonderful journey. So here is my lovely conversationwith Randall Bramblett.

American Revolution (1765–1783) was a political conflict involving the Thirteen Colonies and Great Britain, culminating in the American Revolutionary War and the independence of the colonies as the United States. RW11. Johnny Has Gone for a Soldier song available at https://amzn.to/4byKUg5 Music by Mark O'Connor available at https://amzn.to/4dao7bw Heartland: An Appalachian Anthology by Mark O'Connor at https://amzn.to/4rQ3qVV Music by James Taylor available at https://amzn.to/4szH2kY The Revolution DVD box-set available at https://amzn.to/4p8seIt American Revolution books at https://amzn.to/43DduIG Revolutionary War games and souvenirs at https://amzn.to/487e2YU ENJOY Ad-Free content, Bonus episodes, and Extra materials when joining our growing community on https://patreon.com/markvinet SUPPORT this channel by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3POlrUD (Amazon gives us credit at NO extra charge to you). Mark Vinet's TIMELINE video channel: https://youtube.com/c/TIMELINE_MarkVinet Mark's History of North America podcast: www.parthenonpodcast.com/history-of-north-america Mark's Historical Jesus podcast at https://parthenonpodcast.com/historical-jesus Website: https://markvinet.com/podcast Facebook: https://www.facebook.com/mark.vinet.9 Twitter: https://twitter.com/MarkVinet_HNA Instagram: https://www.instagram.com/denarynovels Mark's books: https://amzn.to/3k8qrGM Audio credits: The History Channel Presents - The Revolution narrated by Edward Herrmann & directed by Peter Schnall (2006 A&E Television Networks); Mark O'Connor and James Taylor perform 'Johnny Has Gone for a Soldier' from the albums Heartland: An Appalachian Anthology & Liberty! Audio excerpts reproduced under the Fair Use (Fair Dealings) Legal Doctrine for purposes such as criticism, comment, teaching, education, scholarship, research and news reporting.See omnystudio.com/listener for privacy information.

We start this episode in the West, as James Taylor focuses on Niigata's home loss to Toyama (to 23:50), then move to the East, where Jon Steele fills us in on his trip to Sagamihara v Yokohama FC and the Tochigi Derby (to end). All the regular Most Bravo Player and games to watch chat is included as usual.   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

What happens when AI makes us more creative—does it also make us more human? Dive into this episode to explore how blending technology and creativity can unlock new potential for individuals, teams, and businesses. Topics covered: Super Creativity: Augmenting human creativity with AI Unlocking creativity in “hidden figures” and backstage roles AI’s impact on solo creators vs. teams and executives Examples of AI expanding creative possibilities (beyond speed) Ethical questions around AI, data, and compensation Skill atrophy and organizational trends AI-powered empathy and psychometrics for presentations The importance of curiosity and space for creativity Practical ways to be more super creative Global perspectives and learning from diverse industries Connect with James TaylorWebsiteYouTubeLinkedInInstagram Episode Chapters: 00:00 – Welcome and Introduction 00:17 – The Promise of AI: What Will We Do with More Time? 00:28 – Meet James Taylor and “Super Creativity” 01:43 – What Is Super Creativity? 03:12 – Human, Team, and Human+Machine Creativity 03:36 – Aha Moment: Highlighting Backstage Creative Heroes 05:14 – Expanding Creativity through AI—Real World Examples 06:13 – Centaur and Cyborg Work Models 07:25 – The Future: Billion Dollar One-Person Businesses 08:20 – Purpose, Ethics, and Creating the Future 09:15 – Solo vs. Teams: Where Is AI Unlocking Creativity? 10:08 – AI Use Cases—from Coding to Healthcare 11:27 – The Transformative Potential of AI 12:52 – Essential Human Skills: Creativity and Critical Thinking 13:16 – AI + Psychometrics in Presentations 14:48 – Using AI for Data-Informed Empathy 16:18 – Digital Twins, Creative Abrasion, and AI Mentoring 18:37 – Boundaries: What James Taylor Won’t Use AI For 20:21 – Skill Atrophy and Tools of Consumption 21:41 – Physical Environment’s Impact on Creativity 23:05 – Values, Ethics, and AI Data Sovereignty 26:09 – AI in Organizations: Productivity, Headcount, and Ethics 27:56 – Practical Norms: Guardrails for AI, Facial Recognition, and Smart Glasses 29:47 – Creativity and Global Perspectives 30:42 – Staying Original and Leveraging AI as a Team 32:14 – Cross-Industry Learning and Boundary Crossing 33:44 – Super Creativity Applied 34:56 – Learning from Domain Experts and Other Speakers 35:26 – Books as Powerful Information Devices 36:40 – Practical Steps for Super Creativity 40:12 – Where to Find James Taylor and Closing Remarks

On this episode of The Bandwich Tapes, I sit down with Larry Goldings—keyboardist, organist, composer, and one of the most respected musical collaborators working today. Larry has built a career that stretches across jazz, pop, film, television, and session work, but what really stands out in our conversation is his deep commitment to serving the music first.We start by talking about some of the projects currently on his plate. From a new recording with his organ trio featuring Peter Bernstein and Bill Stewart, to an unexpected and joyful children's album with tap-dance legend Melinda Sullivan, Larry's creative world is constantly expanding. Whether it's instrumental jazz, singer collaborations, or more experimental projects, his curiosity keeps pushing him into new musical spaces.A major part of the conversation centers on his long-running role in James Taylor's band. Larry shares how he first connected with James in the early 2000s and what it takes to serve those songs night after night at the highest level. Playing alongside musicians like Steve Gadd, he reflects on what he's learned about feel, restraint, and the kind of deep musical trust that makes a rhythm section truly work.From there we head down the rabbit hole into Scary Goldings and Scary Pockets, the groove-driven projects that have introduced Larry to a whole new generation of listeners online. He talks about how those sessions began, why the format encourages spontaneity, and how collaboration and curiosity remain the driving forces behind the music.For the gearheads and music nerds—myself included—we also revisit a memorable moment from the Michael Brecker “Time Is of the Essence” sessions. Larry recalls the experience of playing alongside Elvin Jones, navigating the nerves of the session, and the unforgettable moment when the music suddenly locked into place.Along the way, we also get into the craft of organ playing itself—especially Larry's approach to left-hand bass, and why bass players have influenced his musical language just as much as other organists. At the end of the day, everything comes back to the same principle: serve the feel, serve the song.Key TakeawaysLarry Goldings's current creative projects, including a new organ trio record with Peter Bernstein and Bill Stewart.The unexpected collaboration with tap-dance legend Melinda Sullivan on a children's album.How Larry joined James Taylor's band and what he's learned from years on that stage.The musical philosophy of rhythm sections built on feel, restraint, and trust, especially alongside Steve Gadd.The origins of Scary Goldings and Scary Pockets and how those sessions reached a global audience online.A behind-the-scenes story from the Michael Brecker “Time Is of the Essence” recording sessions with Elvin Jones.Why Larry's organ language is shaped as much by bass players as by other keyboardists.Music from the EpisodeThe Shakes — Scary PocketsTimeline — Michael BreckerSolid Jack — The Larry Goldings TrioDisco Pills — Scary PocketsArc of the Pendulum — Michael BreckerAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

This week's episode begins with the West: first James Taylor discusses Ryukyu v Yamaguchi, before revelling in Kanazawa's win away to Toyama in the Hokuriku Derby (to 19:45). In part 2, Jon Steele runs through the East groups, before trying to make sense of Nagano's capitulation at home to Matsumoto in the Shinshu Derby (to end). Both parts also include picks for Most Bravo Players and games to watch in matchday 7.   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

(00:00-21:08) James Taylor. Is CCR folk rock? Number on picks in the NHL over the last 20 years. Erik Johnson's golf injury. Doug was the designated survivor of KMOV. Worst first round draft picks in STL Sports over the last 25 years. Jackson is stuck on the Greg Robinson pick. Mr. Pick had 5 career interceptions. Corn flip. Double Butts. Miami Thong LIfts. Martin wants to follow Chairman around for a weekend.(21:16-45:00) Jackson's fired up about Lunardi's latest Mizzou projection. Regis Philbin. The Doug Vaughn coaching tree. Nepotism. Death, taxes, and papers. Italy knocks off Mexico in the WBC and keeps the US's hopes alive. Mad Dog Russo was not impressed with bam Adebayo's 83 point performance.(45:10-1:06:15) Spring Training stat talk. Pitchers shouldn't wear single digits. Bottom lighting. Jersey number talk. Could you get a hit in 25 Spring Training at bats. Ted Williams.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Fun fact about James Taylor!

In this episode, we sit down with James Taylor to discuss his upcoming book, SuperCreativity: Accelerating Innovation in the Age of Artificial Intelligence, and why the future of success belongs not to lone geniuses, but to those who know how to collaborate creatively with both people and AI…  James is the host of the SuperCreativity podcast and global innovation summits, where he has interviewed more than 750 thought leaders, technologists, and authors shaping the future of creativity and technology. His clients include Fortune Global 500 companies, government policymakers, and leading industry associations across sectors such as technology, finance, healthcare, energy, and manufacturing.  Hit play to discover: Why approaching AI with curiosity is so important. How AI is transforming human creativity. Practical ways to collaborate with artificial intelligence. SuperCreativity is a practical field guide for leaders, professionals, and teams who want to solve complex problems, drive innovation, generate better ideas, and stay relevant in an AI-augmented world. The book is available on Amazon starting March 4, 2026. To follow along with James and his ongoing work, click here!

Hour 3 for 3/5/26 Drew discusses the recent Anthropic dispute with the Pentagon and autonomous weapons with Dr. Charles Camosy (5:54). Topics: if war has become like a video game (12:41), AI descriptions (19:21), and Drew's views on AI (21:27). The, James Taylor of the Heartland Institute discusses the rising energy costs from AI data centers (30:55), the future of energy sources (40:46), and environmental impact (45:11). Links: https://www.charlescamosy.com/ https://heartland.org/

This week's JTET begins with a look at the West groups, as James Taylor recounts Shiga's first J.League victory, elects a Most Bravo Player, and chooses games to watch (to 19:30). Part 2 is Jon Steele's look at the East, particularly Fujieda's win over Iwaki, Most Bravo Players, and games to look out for in matchday 5 (to end).   Thank you for your support of the J-Talk Podcast and J-Talk: Extra Time. *Join the J-Talk Podcast Patreon here: https://patreon.com/jtalkpod *Find our JLeague Chat Discord server here: https://discord.gg/UwN2ambAwg *Follow JTET on Bluesky here: @jtalket.bsky.social

How is AI changing creative work right now? And what does that mean for the way we teach and assess students? In this episode, Dr. Matthew Worwood and Dr. Cyndi Burnett talk with James Taylor about what he is seeing on the front lines of business and innovation. James shares his idea of “super creativity,” which is simply the idea that humans and machines can work together to create better ideas than either could alone. He offers real examples from industry and then helps us think through what those changes mean for schools. Together, they discuss: – The difference between using AI to automate work and using it to support thinking – Whether students should use AI in the early stages of idea development – What original work means when AI tools are widely available – Why critical thinking may matter more than ever – The role of persuasion and communication in bringing ideas to life – The ethical questions educators cannot ignore The conversation also explores an important tension. In business, the focus is often on the final product. In education, the focus must remain on the learning process. As AI becomes more common, teachers may need to rethink what they assess and how they assess it. If you are trying to make sense of AI without swinging to either extreme, this episode offers a thoughtful and balanced perspective. About the Guest James Taylor is an award-winning keynote speaker and internationally recognized expert on creativity, innovation, and artificial intelligence. He has interviewed more than 750 leading creative thinkers on his Super Creativity Podcast and works with global organizations to help them unlock innovation through human and machine collaboration. His latest book, Super Creativity: Accelerating Innovation in the Age of AI, explores how individuals and organizations can thrive in a rapidly changing technological landscape.   Be sure to subscribe to your favorite platform and sign up for our Extra Fuel newsletter for more resources and inspiration. Visit FuelingCreativityPodcast.com for more information or email us at questions@fuelingcreativitypodcast.com.

Singer-songwriter Justin Hicks spent years recording and touring with acclaimed bassist Meshell Ndegeocello, experiencing her genre-agnostic approach to music first-hand. In his debut album, Man Of Style, he is just as hard to pin down stylistically as his long-time collaborator. Yet he manages to fuse a rich array of R&B, soul, rock, jazz, and folk music, dressing his songs in each genre effortlessly. The intricate vocal harmonies and avant-garde textures put Hicks' stories in an other-worldly realm on the album. But his songwriting skills snap into focus when he performs with a piano and an autoharp live in-studio. Hicks may follow in the footsteps of great storytellers like Marvin Gaye, Roberta Flack, and James Taylor, singing his poems with the utmost vulnerability. As a music producer though, he keeps an open mind. The word “style” is not a constraint but a guide to Hicks, as he draws inspiration from life itself. From creating a sonic body scan of his time living in New York to surviving a night of carbon monoxide poisoning, he reveals the multitude of layers in the makeup of his art in this episode of the Soundcheck Podcast. (- Sırma Munyar) Setlist: 1. Wendy 2. Man of Style 3. Oh!

Black Politics expert Dr. James Taylor returns to our classroom. Dr. Taylor will courageously uncover the anti-black racism found in the Epstein Files, offering the critical insight our community deserves. He’ll also break down Stephen A Smith’s presidential ambitions and explore their profound implications for Black America’s future. Plus, Dr. Taylor will spotlight Congresswoman Jasmine Crockett’s pivotal Tuesday Texas Senatorial primary, an event with real consequences for our representation. Before Dr. Taylor, Garveyite Senghor Baye will ignite minds with a dynamic discussion on Dr. Carter G. Woodson’s original intent, the enduring power of Garveyism in the 21st century, and the visionary work of the Mosiah African Leadership Institute. Family, this is more than a show; it’s a call to action.See omnystudio.com/listener for privacy information.

Longmont Potion Castle - "Electric Talk" - Where in the Hell is the Lavender House? Soundtrack [0:00:00] Phil Hendrie - "Miami Beach, Hello?" - Best of Irving In Miami Beach [0:07:16] Longmont Potion Castle - "The Gomez Residence" - No Album [0:14:48] Phil Hendrie - "Hang Up The Phone" [0:17:48] Andy and Ken - "Andy's Bucket List" [0:21:19] Andy and Ken - "Hiero's Riddles" [0:24:32] Andy and Ken - "It's The Funny" [0:27:31] Andy and Ken - "Retirement Plans" [0:29:18] Andy and Ken - "The Show In Andy's Head" [0:30:50] Andy and Ken - "Andy's Zookeeper Joke" [0:31:56] Andy and Ken - "Andy's Cheerleading Squad" [0:32:51] Andy and Ken - "A Special Prayer" [0:34:59] Andy and Ken - "The Time Andy Opened For The Human League" [0:36:42] Andy and Ken - "Andy's Naked Breakfast with James Taylor" [0:40:26] Andy and His Daughter Julie - "Live at the UCB with Al Jaffee" [0:46:20] Andy and Ken - "Plugging The Sheaves" [0:51:14] https://www.wfmu.org/playlists/shows/161191

President Trump complained about the bad publicity he got after his immigration forces murdered two people in Minneapolis, the United States military has a weapon nicknamed “The Discombobulator,” and there are a surprising number of references to a bran muffin recipe in the Epstein files. Six-time GRAMMY-winner and future Broadway producer James Taylor sits down for a fascinating EXCLUSIVE chat with Stephen Colbert, who asks the Songwriting Hall of Famer to identify which five of his songs are his favorites - only on The Late Show Pod Show! Then check out his live performance in The Ed Sullivan Theater on our YouTube page: www.YouTube.com/ColbertLateShow To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Join us for a deep dive into the history and significance of the Black Book, as Jonathan and Gary host James Taylor, former Chief of Enforcement at the Nevada Gaming Control Board. They explore Taylor's 28 years of gaming enforcement, including detailed stories of organized crime, casino cheats, and notorious cases. Special guest feature by former Mayor Oscar Goodman brings a unique perspective on the legal battles surrounding the Black Book. Learn how this tool has evolved and its current role in safeguarding the integrity of Las Vegas casinos. Discover the fascinating insights and experiences from those who have dedicated their careers to maintaining order in the world of gaming.

Carole King's Tapestry is so cozy, you'll want to hug it; sit with it. It sounds simple, warm, and totally unassuming. But it's way more impressive than it seems at first.Adam and Peter break down what's actually going on beneath the surface of Tapestry ... and what most people miss. Carole King was already an elite songwriter long before this album. You know Aretha Franklin's “(You Make Me Feel Like) A Natural Woman”? Carole wrote that. “Will You Love Me Tomorrow” by The Shirelles? She wrote that, too. When she was just 17! Listen closely and you hear it everywhere: in the chord choices, in the way the she actually PLAYS the piano instead of just accompanying her vocals, and in the way her melodies and lyrics lock together so naturally you barely notice how intentional it all is. Add in that soulful, sweet voice, and you start to understand how this unassuming record became a chart-topping, Grammy-dominating classic when it came out in 1971.Tapestry sounds easy, but it's not. Check out this episode, and you'll never hear this album the same way again. Get our newsletter for bonus stories that didn't make the pod:https://youllhearit.com/newsletter00:00 - Opening Tune: It's Too Late01:25 - Introducing Carole King's Tapestry05:00 - That Time Young Paul Simon and Carole Played Together07:10 - Carole's Early Doo-wop Sound10:20 - "(You Make Me Feel Like) A Natural Woman" - Aretha Franklin13:30 - When Songwriter Became Performer16:30 - B.B. and Carole 18:00 - "I Feel the Earth Move"22:00 - "So Far Away"30:45 - "It's Too Late"40:50 - "Home Again"44:00 - "Beautiful"45:35 - "Way Over Yonder" 50:00 - "You've Got a Friend"58:20 - "Where You Lead"1:02:30 - "Will You Love Me Tomorrow"1:04:40 - "Tapestry"1:08:45 - "(You Make Me Feel Like) A Natural Woman"1:13:10 - Apex Moments of Tapestry1:21:20 - Coming Up On on You'll Hear It1:22:00 - Outro: "It's Too Late"