Podcast appearances and mentions of John Kay

Auch heute freue ich mich wieder darüber, einen äußerst kompetenten und prominenten Gast vorstellen zu dürfen: Prof. Gerd Gigerenzer. Das Thema ist eines, das uns seit einiger Zeit begleitet, und auch noch weiter begleiten wird, denn es gehört zu den wesentlichsten Fragen der heutigen Zeit. Werden wir von der stetig steigenden Komplexität in unserer Gesellschaft, Wirtschaft und Wissenschaft überrollt, oder gelingt es, Mechanismen zu entwickeln, trotzdem kluge und resiliente Entscheidungen zu treffen? Entscheidungen, die uns auch helfen, mit komplexen Risiken umzugehen? Gerd Gigerenzer war unter anderem langjähriger Direktor am Max-Planck-Institut für Bildungsforschung, ist Direktor des Harding Center for Risk Literacy an der Universität Potsdam, Partner von Simply Rational - The Institute for Decisions und Vizepräsident des European Research Council (ERC). Er ist ehemaliger Professor für Psychologie an der Universität von Chicago und John M. Olin Distinguished Visiting Professor, School of Law an der Universität von Virginia. Darüber hinaus ist er Mitglied der Berlin-Brandenburgischen Akademie der Wissenschaften, der Deutschen Akademie der Wissenschaften und der British Academy sowie Ehrenmitglied der American Academy of Arts and Sciences und der American Philosophical Society. Er hat unzählige Preise gewonnen sowie zahlreiche Bücher geschrieben, die nicht nur inhaltlich höchst relevant sondern zudem auch noch sehr zugänglich für eine breite Leserschicht sind.  Zu seinen Forschungsschwerpunkten zählen: Entscheidungen unter Unsicherheit und Zeitbeschränkung Risikokompetenz und Risikokommunikation Entscheidungsstrategien von Managern, Richtern und Ärzten Und genau über diese Themen werden wir uns in der Episode unterhalten. Wie geht man in Situationen großer Unsicherheit mit Daten und Informationen um? »Je größer die Unsicherheit ist, desto mehr Informationen muss man ignorieren.« Was ist eine Heuristik, und welche Heuristiken wenden wir erfolgreich in welchen Situationen an? »In Situationen von Unsicherheit, verlassen sich Menschen nicht auf die ganze Vergangenheit, sondern auf die jüngste Vergangenheit — das nennt man recency Heuristik.« Warum führen mehr Daten nicht immer zu besseren Entscheidungen? »Ein Datenpunkt, gut gewählt, erlaubt [in vielen Fällen] bessere Vorhersagen als Big Data« Was ist Intuition und unter welchen Umständen ist intuitives sinnvoller als vermeintlich rationales Entscheiden? »Intuition ist keine Willkür. Intuition ist gefühltes Wissen, das auf jahrelanger Erfahrung beruht.« Was ist von den neuen Theorien der Rationalität, z. B. dem System 1 und 2 von Kahnemann zu halten? »The abject failure of models in the global financial crisis has not dented their popularity among regulators.«, Mervyn King Was ist defensives Entscheiden, und warum ist es eines der größten Probleme unserer modernen Welt? »Der Arzt ist nicht in einer Situation, dem Patienten das Beste zu empfehlen. Viele Ärzte fürchten, dass die Patienten klagen, insbesondere, wenn etwas unterlassen wurde. Die Patienten klagen nicht, wenn unnötige Operationen vorgenommen wurden.« Weniger kann oft mehr sein: »Viele Menschen denken — auch in der Wissenschaft — mehr ist immer besser.« Dabei gilt in den meisten Fällen, gerade auch dort, wo wir häufig versuchen, komplexe Modelle anzuwenden: »Je größer die Unsicherheit ist, umso einfacher muss man die Regulierung [oder das Modell] machen.« Eine Erkenntnis, die im Grunde jedem klar ist, der sich mit der Steuerung komplexer Systeme auseinandersetzt. Warum handeln wir stetig dagegen? »Wir brauchen eine Welt, die den Mut hat zur Vereinfachung.« Und dann gibt es noch den Aspekt der Rückkopplung von (schlechten) Modellen auf die Welt, die sie vermeintlich beschreiben oder vorhersagen, und wir kommen leicht in einen Teufelskreis der zirkulären und selbstverstärkenden Fehler. Wie lassen sich diese vermeiden? Was wird die Folge sein, wenn diese Formen der Modellierung und Verhaltenssteuerung auf eine immer totalitärere und total überwachte Gesellschaft trifft? Entwickeln wir uns aber in der Realität mit künstlicher Intelligenz, Large Language Models und IT-getriebener Automatisierung, aber nicht gerade ins Gegenteil? Eine Welt, deren Entscheidungen von immer komplexeren Systemen intransparent getroffen werden, wo niemand mehr nachvollziehen oder bewerten und in Wahrheit verantworten kann, ob diese Entscheidungen sinnvoll sind? Denken wir beispielsweise an Modelle, die Rückfallwahrscheinlichkeiten von Straftätern bewerten. »Viele Menschen lächeln über altmodische Wahrsager. Doch sobald die Hellseher mit Computern arbeiten, nehmen wir ihre Vorhersagen ernst und sind bereit, für sie zu zahlen.« Zu welcher Welt bewegen wir uns hin? Zu einer, in der wir radikale Unsicherheit akzeptieren und entsprechen handeln, oder einer, wo wir uns immer mehr der Illusion von Kontrolle, Vorhersagbarkeit und Steuerbarkeit verlieren? »In einer Welt, in der Technik (vermeintlich) smart wird, brauchen wir vor allem eines, nämlich Menschen, die auch smart werden. Also Menschen, die mitdenken, die sich nicht zurücklehnen und konsumieren; die sich nicht auf das reduzieren lassen, was man ihnen empfiehlt.« Und zum Ende macht Prof. Gigerenzer noch den wichtigsten Aufruf der heutigen Zeit: Mitdenken! Denn es gilt: »The world is inherently uncertain and to pretend otherwise is to create risk, not to minimise it.«, Mervyn King Referenzen Andere Episoden Episode 121: Künstliche Unintelligenz Episode 118: Science and Decision Making under Uncertainty, A Conversation with Prof. John Ioannidis Episode 112: Nullius in Verba — oder: Der Müll der Wissenschaft Episode 109: Was ist Komplexität? Ein Gespräch mit Dr. Marco Wehr Episode 107: How to Organise Complex Societies? A Conversation with Johan Norberg Episode 106: Wissenschaft als Ersatzreligion? Ein Gespräch mit  Manfred Glauninger Episode 99: Entkopplung, Kopplung, Rückkopplung Episode 92: Wissen und Expertise Teil 2 Episode 80: Wissen, Expertise und Prognose, eine Reflexion Episode 79: Escape from Model Land, a Conversation with Dr. Erica Thompson Prof. Gerd Gigerenzer Prof. Gigerenzer amd MPIB-Berlin Fachliche Referenzen Gerd Gigerenzer, Bauchentscheidungen: Die Intelligenz des Unbewussten und die Macht der Intuition, Goldmann (2008) Gerd Gigerenzer, Das Einmaleins der Skepsis: Über den richtigen Umgang mit Zahlen und Risiken, Piper (2015) Gerd Gigerenzer, Risiko: Wie man die richtigen Entscheidungen trifft, Pantheon (2020) Gerd Gigerenzer, Klick: Wie wir in einer digitalen Welt die Kontrolle behalten und die richtigen Entscheidungen treffen, Bertelsmann (2021) Gerd Gigerenzer, Smart Management: Mit einfachen Heuristiken gute Entscheidungen treffen, Campus (2025)  Daniel Kahnemann, Schnelles Denken, langsames Denken, Siedler Verlag (2012) Gerd Gigerenzer, The rationally wars: a personal reflection, BPP (2024) Konstantinos Katsikopoulos, Gerd Gigerenzer et al, Transparent modeling of influenza incidence: Big data or a single data point from psychological theory?, International Journal of Forecasting (2022) Mervyn King, John Kay, Radical Uncertainty, Bridge Street Press (2021) Rory Sutherland, Alchemy, WH Allen (2021) Peter Kruse, next practice. Erfolgreiches Management von Instabilität. Veränderung durch Vernetzung, Gabal (2020) John P. Ioannidis, Forecasting for COVID-19 has failed, International Journal of Forecasting (2022)

National Grilled Cheese Sandwich day.  Entertainment from 1963.  Civil War began, 1st human into space, Space Shuttle Columiba launched, Capt. Phillips happened.  Todays birthdays - John Kay, Ed O'Neill, David Letterman, Andy Garcia, David Cassidy, Vince Gill, Art Alexakis, Shannen Doherty, Claire Danes, Easton Corbin.  Franklin Roosevelt died.Intro - God did good - Dianna Corcoran    https://www.diannacorcoran.com/I love grilled cheese sandwiches - The Hungry Food BandHe's so fine - The ChiffonsStill - Bill AndersonBirthdays - In da club - 50 Cent    http://50cent.com/Born to be wild - SteppenwolfMarried with childrren TV themeI think I love you - The Partridge FamilyCinderella - Vince GillWonderful - EverclearBeverly Hills 90210 TV themeA little more country than that - Easton CorbinExit - Tonight - Toby May    https://tobymayofficial.com/musiccountryundergroundradio.com https://www.coolcasts.cooolmedia.com/

John Kay's The Corporation in the 21st Century: Why (Almost) Everything We Are Told about Business Is Wrong (Yale UP, 2025) is an accessible and entertaining reappraisal of what business is for and how it works.  Full of history and written in a compelling narrative style, this book describes a shift in the underlying assumptions of the relationship between capital & labor. Kay describes how and why we have come to "love the product" as we also "hate the producer".  Kay discusses areas of particular change such as the relationship between business & finance, the concept of the "hollow" corporation, what we mean when we say "growth", and the motivations and standards of industry leaders.  Old ideas of owning the means of production are redundant as workers are increasingly the means of production. Capital is now often a disconnected service contracted from a specialized supplier, and businesses are run by professional managers whose main skill is exerting authority. Author recommended reading: Good Strategy, Bad Strategy by Richard Rumelt Hosted by Meghan Cochran Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

John Kay's The Corporation in the 21st Century: Why (Almost) Everything We Are Told about Business Is Wrong (Yale UP, 2025) is an accessible and entertaining reappraisal of what business is for and how it works.  Full of history and written in a compelling narrative style, this book describes a shift in the underlying assumptions of the relationship between capital & labor. Kay describes how and why we have come to "love the product" as we also "hate the producer".  Kay discusses areas of particular change such as the relationship between business & finance, the concept of the "hollow" corporation, what we mean when we say "growth", and the motivations and standards of industry leaders.  Old ideas of owning the means of production are redundant as workers are increasingly the means of production. Capital is now often a disconnected service contracted from a specialized supplier, and businesses are run by professional managers whose main skill is exerting authority. Author recommended reading: Good Strategy, Bad Strategy by Richard Rumelt Hosted by Meghan Cochran Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

John Kay's The Corporation in the 21st Century: Why (Almost) Everything We Are Told about Business Is Wrong (Yale UP, 2025) is an accessible and entertaining reappraisal of what business is for and how it works.  Full of history and written in a compelling narrative style, this book describes a shift in the underlying assumptions of the relationship between capital & labor. Kay describes how and why we have come to "love the product" as we also "hate the producer".  Kay discusses areas of particular change such as the relationship between business & finance, the concept of the "hollow" corporation, what we mean when we say "growth", and the motivations and standards of industry leaders.  Old ideas of owning the means of production are redundant as workers are increasingly the means of production. Capital is now often a disconnected service contracted from a specialized supplier, and businesses are run by professional managers whose main skill is exerting authority. Author recommended reading: Good Strategy, Bad Strategy by Richard Rumelt Hosted by Meghan Cochran Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

In this episode, CII General Counsel Jeff Mahoney interviews renowned British Economist Sir John Kay. Sir John Kay is the author of a new book entitled The Corporation in the Twenty-First Century: Why (Almost) Everything We Are Told About Business Is Wrong.

From big tech scandals to soaring executive pay gaps, public trust in major corporations is at an all-time low. Despite life-changing innovations like vaccines and digital tools, we increasingly “love the product but hate the producer”.Renowned economist John Kay visits the RSA to deliver a bold critique of modern business. He'll unpack how the relentless pursuit of shareholder value has gutted some of the 20th century's most iconic companies and left the 21st-century corporation facing a reckoning.What must change to restore trust in and purpose to the businesses we rely on?Chair:Andy Haldane, RSA CEOSpeaker:John Kay, economist and authorBecome an RSA Events sponsor: https://utm.guru/ueembFollow RSA Events on Instagram: https://www.instagram.com/thersaorg/Follow the RSA on Twitter: https://twitter.com/theRSAorgDonate to the RSA: https://thersa.co/3XPiI1kLike RSA Events on Facebook: https://www.facebook.com/theRSAorg/Listen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join

In The Corporation in the Twenty-First Century: Why (Almost) Everything We Are Told About Business Is Wrong, John Kay provides a novel perspective on the evolution of the contemporary corporation.One of the UK's leading economists, Kay is a fellow of St John's College, Oxford. He was the first dean of Oxford's Saïd Business School and has held chairs at London Business School, the University of Oxford, and the London School of Economics and director of the Institute for Fiscal Studies.In his conversation with Martin Reeves, chairman of the BCG Henderson Institute, Kay discusses the essence of the modern corporation, the changing relationship of capital and labour, the gap between the our historic concept of the corporation and the current reality and the forces that have and will further shape the corporation including sustainability, geopolitics, and technology.Key topics discussed: 01:56 | The essence of a 21st century corporation05:53 | The changing roles of workers and capital12:26 | Limits to corporate scale16:00 | Forces that will shape the future of corporations sustainability, geopolitics, technology21:50 | The impact of AI on the nature of the corporation24:12 | Implications for managersAdditional inspirations from John Kay:Radical Uncertainty: Decision-Making Beyond the Numbers (W.W. Norton & Company, 2020)The Long and the Short of It: A guide to finance and investment for normally intelligent people who aren't in the industry (IPS - Profile Books, 2016)Other People's Money: The Real Business of Finance (PublicAffairs, 2015)Obliquity: Why Our Goals Are Best Achieved Indirectly (Profile Books GB, 2011)

According to the Scottish economist Sir John Kay, author of The Corporation in the 21st Century, the Magnificent Seven tech companies that supposedly control the global economy aren't quite as magnificent as we are led to believe. These corporations aren't even really capitalist, he says, noting that companies like Amazon and Apple own surprisingly few physical assets and thus should be considered providers of “capital as a service”. Kay claims that today's big tech companies probably won't maintain their dominance, citing historical examples like Cisco and U.S. Steel. He criticizes the contemporary corporate focus on individual leadership, deal-making and shareholder value, advocating instead for businesses built on trust and collective capabilities. And Kay expresses a deep skepticism about both Donald Trump's tariff policies and Elon Musk's recent involvement in government reform, suggesting that Musk's success might have even undermined his sanity. Here are the 5 KEEN ON takeaways from this conversation with John Kay* Corporate dominance is typically temporary, not permanent. Kay uses historical examples like U.S. Steel, IBM, and Cisco to demonstrate that even the most powerful companies often decline or lose their dominance over time, suggesting today's "Magnificent Seven" tech giants may face similar fates.* Modern corporations operate on a "capital as a service" model, owning surprisingly few physical assets. Unlike Henry Ford's vertically integrated empire, companies like Amazon and Apple primarily buy or lease the capabilities they need, with much of their value based on expected future profits rather than tangible assets.* Business success is driven by collective capabilities, not individual genius. Kay challenges the "great man" theory of business history, arguing that innovations and progress come from teams of people working together with collective knowledge, rather than from singular visionary leaders.* The term "capitalism" is outdated and misleading. Kay prefers "pluralist" or "market economy" to better describe modern economic systems, where value is created through networks of capabilities rather than traditional capital ownership.* Corporate success should be built on trust relationships and long-term value creation, not short-term financial engineering. Kay criticizes the focus on deal-making and shareholder value maximization, citing examples like ICI and Marks & Spencer where this approach led to decline.Sir John Kay, fellow of St John's College, Oxford, has a distinguished career in academia, business, and finance. His writing, which includes the best-selling Other People's Money and a regular column for the Financial Times, has been recognized by numerous awards.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Hang out with MidSouth experts, Jonathan Fuller and John Kay to learn more about efficiency and ways to save money.Thank you for listening!Like this episode? Leave us a review wherever you listen to podcasts.Have an idea for a future topic? Send us an email at community@mselectric.com.

The public often imagines corporations as self-contained actors that provide a set of goods and services to consumers. Underpinning this image have been ideas of ownership, rights to capital and intellectual property, and corporate responsibility to stakeholders including consumers, workers, and shareholders. But what if almost everything we are told about the essence of the firm is wrong? So writes Sir John Kay, a British economist, corporate director, and longstanding fellow of St John's College (Oxford) in his new book, The Corporation in the 21st Century.The book revolves around contrasts between historical conceptions of corporations, capitalism, and contemporary practices. Kay writes, “A central thesis of [this] book is that business has evolved, but the language that is widely used to describe business has not.” In the 19th and 20th centuries, firms could be defined in terms of their control over material forms of productive capital (factories, steel foundries, railways, etc.) Socioeconomic critiques of capitalism, most prominently from Karl Marx, often centered on firms' control of the means of production. Kay contends that firms today access productive capital as a service. For example, Amazon does not own its warehouses but rents them from another firm. Kay writes that today's corporations and capitalism “[have] very little to do with ‘capital' and nothing whatsoever to do with any struggle between capitalists and workers to control the means of production.”Kay joins Luigi and Bethany to discuss the implications of this evolution in firms' relation to capital: Why is it important to capitalism that its biggest firms no longer own their means of production? Why does the language used to describe this matter? What do Apple's manufacturing facilities, Amazon's warehouses, and TikTok's algorithms tell us about our notions of business ownership? How have these changes to capitalism redefined the struggle between the owners of capital, managers, workers, and consumers? In the process, Kay, Luigi, and Bethany explore the failures of capitalism and imagine what could and should be the purpose of the 21st-century corporation.Show Notes:Read an excerpt from the book (published by Yale University Press) on ProMarketIn Bethany and Luigi's closing discussion of Kay's book, Luigi cites several articles he has published on the topic, which we have linked below for the listener's reference. In this past scholarship, Luigi studies how a firm and its operations often intertwine with other firms to form an ecosystem, and it is only through this ecosystem that value is created. Apple and Foxconn provide one example. Legally, they are distinct firms, yet Luigi contends they can be understood as elements of an ecosystem that creates value. Hence, it is sometimes productive to think beyond legal boundaries to consider how multiple firms may compose such a value-creating ecosystem in practice. Within the Apple/Foxconn ecosystem, Apple has a significant influence in dictating terms for Foxconn. Further, if Apple has such dominating power over its suppliers, then Apple could be said to have market power that raises antitrust concerns, which are less obvious if we take the legal boundaries of firms as the correct method of conceptualizing them.Zingales, L., 2000. In search of new foundations. The Journal of Finance, 55(4), pp.1623-1653.Rajan, R.G. and Zingales, L., 1998. Power in a Theory of the Firm. The Quarterly Journal of Economics, 113(2), pp.387-432.Rajan, R.G. and Zingales, L., 2001. The firm as a dedicated hierarchy: A theory of the origins and growth of firms. The Quarterly Journal of Economics, 116(3), pp.805-851.Zingales, L. (1998) Corporate Governance. In: Newman, P., Ed., The New Palgrave Dictionary of Economics and the Law, Palgrave Macmillan, London.Lancieri, F., Posner, E.A. and Zingales, L., 2023. The Political Economy of the Decline of Antitrust Enforcement in the United States. Antitrust Law Journal, 85(2), pp.441-519.

In Los Angeles, the fires rage on, with damage estimates so high they almost defy belief. But perhaps the L.A. fires truly will cause as much destruction as nearly every major disaster worldwide last year. We'll explore which aspects of the damage can be attributed to climate change and which cannot. Plus, we're joined by John Kay, Oxford professor, Financial Times columnist, and author of The Corporation in the Twenty-First Century: Why (Almost) Everything We Are Told About Business Is Wrong. We discuss the assassination of a healthcare executive and reflect on a time when the pharmaceutical industry was one of the most respected sectors in the world.   SUBSCRIBE  We offer premium subscriptions, including an AD-FREE version of the show and options for bonus content.    The Gist is produced by Joel Patterson and Corey Wara    Email us at thegist@mikepesca.com  Subscribe to The Gist's YouTube Page  Follow Mike's Substack > Pesca Profundities  To advertise on the show, click here  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Investors are shifting focus from physical assets to intellectual capital, notes John Kay. He discusses how the nature of investment is changing. He talks about how large companies today don't really own anything and market valuations are now based on future profit potential rather than tangible assets. ======== Schwab Network ======== Empowering every investor and trader, every market day. Subscribe to the Market Minute newsletter - https://schwabnetwork.com/subscribe Download the iOS app - https://apps.apple.com/us/app/schwab-network/id1460719185 Download the Amazon Fire Tv App - https://www.amazon.com/TD-Ameritrade-Network/dp/B07KRD76C7 Watch on Sling - https://watch.sling.com/1/asset/191928615bd8d47686f94682aefaa007/watch Watch on Vizio - https://www.vizio.com/en/watchfreeplus-explore Watch on DistroTV - https://www.distro.tv/live/schwab-network/ Follow us on X – https://twitter.com/schwabnetwork Follow us on Facebook – https://www.facebook.com/schwabnetwork Follow us on LinkedIn - https://www.linkedin.com/company/schwab-network/ About Schwab Network - https://schwabnetwork.com/about

Das Williams joins Josh Molina to talk about the early part of his life and career in the latest episode of Santa Barbara Talks. Williams explains how his early work for CAUSE, field representative for Hannah-Beth Jackson and campaign manager for the No on Recall campaign against Gail Marshall led to a successful run for Santa Barbara City Council. He shares about his "troubled" childhood, growing up with divorced parents, and little supervision helped shape his survival instincts. He credits four Santa Barbara City College professors, David Lawyer, John Kay, Manou Eskandari, and Peter Haslund for helping to reset him turn him in the correct direction. Williams also talks about how he won a seat on the City Council, his campaign strategy of talking to voters outside of the Golden Triangle, and his focus on water, housing and neighborhoods. Williams also talks about lessons he learned from an ill-advised run for Santa Barbara County Supervisor in 2005, two years into his City Council term. Williams also reflects on his mistakes, successes, lessons learned, and his political enemies. This is Part 1. In Part 2 we will discuss his years in the California State Assembly and Santa Barbara County Supervisors, and what went wrong in his bid for re-election.

Jürgen ist zwar schon ein paar Tage aus Irland zurück, doch jetzt kommen endlich seine Berichte zu rund 3.800 Autokilometern, Straßenmusikern, Hurling und wenig Hundefreundlichkeit. Und damit nicht genug: Im Kino waren bei ihm “Alles steht Kopf 2” und “Deadpool & Wolverine” an der Reihe. Zu Irland fallen Roland die “Fifty Holy Wells”-Reportagen von Paul … „Folge 85: John, Kay und Callum“ weiterlesen

Joachim Krauledat kommt im April 1944 in Tilsit in Ostpreußen zur Welt. Heute ist das Sovetsk im Nordwesten Russlands. Im harten Winter 1945 flieht seine Mutter mit ihm ins thüringische Arnstadt – und 1948, um den sowjetischen Besatzern zu entgehen, weiter nach Hannover.Der kleine Joachim ist farbenblind und extrem lichtempfindlich. Deshalb trägt er schon als kleiner Junge eine Brille mit abgedunkelten Gläsern – was ihn im Umfeld der Gleichaltrigen zum Outsider macht.Sein bester Freund wird das Radio, das U.S. Armed Forces Radio, das ihn früh mit Blues, Folk, Rock'n'Roll und Country in Verbindung bringt.1958 wandert die Familie nach Kanada aus. In seiner Schulklasse kann niemand seinen Namen aussprechen – also ist er ab jetzt John. Und aus Krauledat wird einfach: Kay.Kay lernt Gitarre, spielt Mundharmonika, schreibt Songs und schließt sich 1966 der Blues-Invasion-Band The Sparrow aus Oshawa, Ontario an. Nach einem Zwischenstopp in New York zieht die Band nach Kalifornien, tourt zwischen Los Angeles und San Francisco.Einige Veränderungen im Bandgefüge später entsteht aus der Blues-Invasion-Band eine zeitgenössischere: Steppenwolf. Direkt auf dem silbern schimmernden Debütalbum aus dem Januar 1968 ist der Song, der die Karriere und das Image der Band maßgeblich bestimmen wird: „Born To Be Wild“.Unter dem Titel mit dem Nachtrag „Eine Band namens Steppenwolf“ hat Regisseur Oliver Schwehm eine äußert sehenswerte Dokumentation über die außergewöhnliche Geschichte der Band gedreht, voll mit Archivmaterial und Zeitkolorit, gespickt mit Selbstironie und getragen von den bemerkenswerten Lebensläufen ihrer Protagonisten. Hosted on Acast. See acast.com/privacy for more information.

Das heutige Gespräch führe ich mit Dr. Manfred Glauninger. Er ist Soziolinguist und forscht am Austrian Centre for Digital Humanities and Cultural Heritage der Österreichischen Akademie der Wissenschaften und lehrt am Institut für Germanistik der Universität Wien. Dieses Gespräch war für mich ganz besonders interessant und auch unterhaltsam, weil wir eine ganze Reihe von Dingen miteinander verbunden haben, die schon in früheren Episoden erwähnt wurden. Was ist Wissenssoziologie, warum muss Wissenschaft auch als soziales Phänomen verstanden werden? Ist es gefährlich oder notwendig, Wissenschaft zu entmystifizieren und auch hart zu kritisieren? Wirkt Wissenschaft in manchen Bereichen unserer Gesellschaft gar als Ersatzreligion? Was sind die Auswirkungen davon? Was lernen wir aus den schweren Krisen der letzten 20 Jahren und dem regelmäßigen Versagen von Institutionen über die Rolle der Wissenschaft? Wie läuft die Produktion von Wissen ab? Welche »magischen« Mechanismen gibt es hier, oder verhält es sich letztlich ähnlich wie die Produktion zahlreicher anderer Güter? Was hat es mit Fehlern und Inkompetenz auf sich? Gibt es unterschiedliche Arten von Fehlern? Gibt es eine frühe »Prägung« des Nachwuchses in der Wissenschaft, gepaart mit starken Hierarchien und Gerontokratie? Welche Rolle spielt Wettbewerb gegenüber Kooperation in der Wissenschaft? Richten wir die Wissenschaft zu sehr nach marktwirtschaftlichen Prinzipien aus, oder besser gesagt: spielt die Wissenschaft Marktwirtschaft, weil weder die Akteure dafür die Kompetenz haben, noch das Modell passt? In einigen anderen Folgen wurde das Thema Stagnation schon angesprochen, auch hier stellen wir die Frage: Verdoppelt sich das Wissen oder eher Rauschen regelmäßig? Eine in diesem Zusammenhang für die Gesellschaft sehr relevante Frage ist, welchen Beitrag die immer größere Zahl an wissenschaftlich ausgebildeten Menschen tatsächlich für unsere Gesellschaft leisten? Welche Rolle spielt eben diese wissenschaftliche Ausbildung dabei? Bringt die universitäre Ausbildung tatsächlich signifikante Gewinne für unsere Gesellschaft oder dominiert Signalisierung über Substanz? Der US-amerikanische Ökonom, dessen Name mir in der Episode nicht eingefallen war, ist Bryan Kaplan, der selbst an der George Mason Eliteuniversität forscht und unterrichtet. »My best guess says signaling accounts for 80% of education's return”«, Bryan Kaplan Die Idee der Signalisierung und sollte mit der schon genannten der Frage nach der Qualität der Bildung in unseren Institutionen verknüpft werden, besonders hinsichtlich der nur verbleibenden  20% : »Teachers' plea that “we're mediocre at teaching what we measure, but great at teaching what we don't measure” is comically convenient.«, Bryan Kaplan Auch zwischen den Studienrichtungen gibt es Unterschiede. Gilt die Geisteswissenschaft immer häufiger als Notnagel für diejenigen, die schwierigere Studien nicht schaffen? In einer früheren Episode hat bereits Prof. Michael Sommer ähnliche Aussagen getätigt. “The excentric university professor is a species that is going to be extinct fast. […] The bad currency is driving out the good and in effect where the people who are nimble in the art of writing for grants are displacing the idiosyncratic thinkers who are generally much less nimble at that sort of activity.”, Peter Thiel Peter Thiel bietet sogar ein Stipendium für diejenigen an, die »Dinge bauen wollen, anstatt im Klassenzimmer zu sitzen.« Damit stellt sich eine noch grundlegendere Frage: Stellen viele Fächer so etwas wie eine institutionelle Autopoiesis dar, ist es also Wissenschaft als selbstreferenzielle Legitimation ihrer eigenen Institutionen, weil sie keinen direkt erkennbaren Nutzen haben? Aber die Frage kann auch umgedreht werden: Was richtet Institutionalisierung mit Wissenschaft an? Als »Berufsdenker« sollte auch die Selbstreflexion hoch im Kurs stehen, warum hört man dann so wenig davon in der Öffentlichkeit, im Besonderen nach großen Krisen? Wie kann das Zusammenspiel zwischen Politik und Wissenschaft beschrieben werden? Kann Wissenschaft tatsächlich nur in Demokratien das volle Potenzial ausspielen? »Macht ist ein wichtiger Punkt in der Wissenschaft.« Was können wir hier aus der Vergangenheit lernen, etwa der Wissenschaft während der Nazi-Diktatur in Deutschland und Österreich? »Lawyers and doctors, all credentialed with university degrees, were substantially overrepresented within the NSDAP, as were university students (then a far narrower section of society than today)«, Niall Ferguson Benötigen wir überhaupt so viele Akademiker in unserer Gesellschaft? Der deutsche Philosoph Julian Nida-Rümelin spricht vom Akademisierungswahn. Der damalige britische Premierminister Rishi Sunak warnt, dass zu vielen Universitätsstudenten ein falscher Traum verkauft werde. Auch Thomas Sowell kritisiert die eindimensionale Betrachtung des Wissensbegriffs: »Someone who is considered to be a “knowledgeable” person usually has a special kind of knowledge—perhaps academic or other kinds of knowledge not widely found in the population at large. Someone who has even more knowledge of more mundane things—plumbing, carpentry, or automobile transmissions, for example—is less likely to be called “knowledgeable” by those intellectuals for whom what they don't know isn't knowledge. Although the special kind of knowledge associated with intellectuals is usually valued more, and those who have such knowledge are usually accorded more prestige, it is by no means certain that the kind of knowledge mastered by intellectuals is necessarily more consequential in its effects in the real world.«, Thomas Sowell Absolventen von Universitäten müssen aber auch als Denkkollektiv gesehen werden. Ist dies aber ein Kollektiv, wo Diversität nur auf der Verpackung steht?  Wer ist überhaupt Innovator in unseren modernen Gesellschaften?  »But just as most engineers are not inventors, and most scientists are not researchers, so most science is not research. […] The university was keeping up with a changing technological world rather than creating it.«, David Edgerton Was hat es also mit Kreativität im Wissenschaftsbetrieb, im Kollektiv zu tun?  Hat zumindest eine kleine Minderheit noch die Chance, sich einen Freiraum zu schaffen, den die Institution (noch) nicht erkannt und durch Prozesse und Regeln ausradiert hat. Zuletzt kehren wir zur Frage zurück, wie Krise und Expertise zusammenwirken. Was sind die zwei wichtigsten Aussagen, die Sie von jedem Experten hören sollten, aber selten hören? Dr. Glauninger wird es am Ende der Episode enthüllen. “Evidence based policy has become policy based evidence.”, Mervyn King Referenzen Andere Episoden Episode 101: Live im MQ, Macht und Ohnmacht in der Wissensgesellschaft. Ein Gespräch mit John G. Haas. Episode 96: Ist der heutigen Welt nur mehr mit Komödie beizukommen? Ein Gespräch mit Vince Ebert Episode 93: Covid. Die unerklärliche Stille nach dem Sturm. Ein Gespräch mit Jan David Zimmermann Episode 92: Wissen und Expertise Teil 2 Episode 80: Wissen, Expertise und Prognose, eine Reflexion Teil 1 Episode 91: Die Heidi-Klum-Universität, ein Gespräch mit Prof. Ehrmann und Prof. Sommer Episode 85: Naturalismus — was weiß Wissenschaft? Episode 84: (Epistemische) Krisen? Ein Gespräch mit Jan David Zimmermann Episode 83: Robert Merton — Was ist Wissenschaft? Episode 72: Scheitern an komplexen Problemen? Wissenschaft, Sprache und Gesellschaft — Ein Gespräch mit Jan David Zimmermann Episode 71: Stagnation oder Fortschritt — eine Reflexion an der Geschichte eines Lebens Episode 44: Was ist Fortschritt? Ein Gespräch mit Philipp Blom Episode 41: Intellektuelle Bescheidenheit: Was wir von Bertrand Russel und der Eugenik lernen können Episode 39: Follow the Science? Episode 38: Eliten, ein Gespräch mit Prof. Michael Hartmann Episode 28: Jochen Hörisch: Für eine (denk)anstössige Universität! Episode 18: Gespräch mit Andreas Windisch: Physik, Fortschritt oder Stagnation Dr. Manfred Glauninger  Dr. Manfred Glauninger an der Akademie der Wissenschaften, Publikationen Fachliche Referenzen John P. A. Ioannidis, Why Most Published Findings Are False (2005) Sabine Kleinert, Richard Horton, How should medical science change? Lancet Comment (2014) Ludwig Fleck, Genesis and development of a scientific fact. ed. T.J. Trenn and R.K. Merton, foreword by Thomas Kuhn. Chicago : University of Chicago Press, 1979. This is the first English translation of his 1935 book titled Entstehung und Entwicklung einer wissenschaftlichen Tatsache. Einführung in die Lehre vom Denkstil und Denkkollectiv. Basel: Schwabe und Co Bryan Kaplan, The Case against Education, Princeton University Press (2018) Conversation between Peter Thiel und David Graeber, Where did the Future go? (2020) Peter Thiel Fellowship Niall Ferguson, The Treason of the Intellectuals, The Free Press (2023) Niall Ferguson, The Treason of the Intellectuals, Uncommon Knowledge with Peter Robinson (2024) Julien Benda, La trahison des clercs (1927) Julian Nida Rümelin, Der Akademisierungswahn, Vortrag Körber-Stiftung (2014) Thomas Sowell, intellectuals and Society, Basic Books (2010) Rishi Sunak, Too Many University Students are Sold a False Dream, Telegraph (2023) David Edgerton, The Shock Of The Old: Technology and Global History since 1900, Profile Books (2019) Mervyn King, John Kay, Radical Uncertainty, Bridge Street Press (2021) Karl Popper, Die offene Gesellschaft und ihre Feinde

Whether you'd like to learn more about how to use Strategic Workforce Planning in your current role or considering whether specialising in Strategic Workforce Planning could be the perfect career option for you, this episode of HR Coffee Time is here to help.Host Fay Wallis is joined by Jen Allen Jardine, a Strategic Workforce Planning (SWP) expert, who explains what SWP is, why it's important, how it fits into HR, the partnership between SWP and HR, and the misconceptions about it. She also provides valuable advice for anyone looking to specialise in SWP, including practical tips and book recommendations.Chapters from This Episode[00:00] Introduction and overview[02:17] Meet the expert: Jen Allen Jardine[03:09] Defining Strategic Workforce Planning[04:13] Strategic Workforce Planning in large vs small organisations[04:55] The role of HR in Strategic Workforce Planning[11:03] Developing skills for Strategic Workforce Planning[17:18] Misconceptions about Strategic Workforce Planning[23:02] Book recommendations[34:29] How to contact Jen[35:50] ConclusionUseful LinksConnect with Fay on LinkedInFay's website: Bright Sky Career CoachingConnect with Jen Allen Jardine on LinkedIn Other Relevant HR Coffee Time EpisodesHR Coffee Time podcast playlist: Clarify Your Career Goals & Explore HR Career OptionsEpisode 58: How to feel more confident using data & analytics in your HR roleEpisode 119: How using Agile can drive positive change & prove HR's value, with Kate Maddison-Geenwell Book Recommendations From the EpisodeFactfulness: Ten Reasons We're Wrong About The World – And Why Things Are Better Than You Think, by Hans Rosling , Ola Rosling and Anna RoslingFreakonomics: A Rogue Economist Explores the Hidden Side of Everything, by Steven D. Levitt & Stephen J. DubnerRadical Uncertainty: Decision-making for an unknowable future, by John Kay and Mervyn King Looking For the Transcript?You can find the transcript on this page of the Bright Sky Career Coaching website. Rate and Review the PodcastIf you found this episode of HR Coffee Time helpful, please rate and review it on Apple Podcasts or Spotify.

This short comes from a conversation that co-hosts Jean Gomes and Scott Allender had with Sir John Kay back in June 2021 (S2 Ep19).LISTEN TO THE ENTIRE CONVERSATION:Distinguishing Risk and Uncertainty with John KayIn this episode of the Evolving Leader, co-hosts Jean Gomes and Scott Allender talk to John Kay, one of the world's leading economists, whose life's work is focused on the relationship between economics and businesses.  Together with Mervyn King, former Governor of the Bank of England, he wrote Radical Uncertainty about the impoverished approach many economists and business strategists take regarding risk in the face of uncertainty.  In this conversation we get a wealth of insight about the judgement challenges facing leaders today and into the future. Social:Instagram           @evolvingleaderLinkedIn             The Evolving Leader PodcastTwitter               @Evolving_LeaderYouTube           @evolvingleader The Evolving Leader is researched, written and presented by Jean Gomes and Scott Allender with production by Phil Kerby. It is an Outside production.Send a message to The Evolving Leader team

Worum es bei „Easy Rider“, der Bikerhymne schlechthin von Steppenwolf, geht, warum sich die Band entschieden hat, einen an Hermann Hesses Kultroman angelehnten Namen zu wählen und was der Frontmann und Sänger John Kay mit Deutschland am Hut hat – das erfahrt Ihr alles in dieser Folge.

Jonn Elledge is a New Statesman columnist, and a contributor to the Big Issue, the Guardian, the Evening Standard, and a number of other newspapers. He was previously an assistant editor at the New Statesman, where he created and ran its urbanism-focused CityMetric site, and spent six happy years writing about cities, maps and borders and hosting the Skylines podcast. He has written over a hundred editions of the Newsletter of (Not Quite) Everything. His new book is A History of the World in 47 Borders: The Stories Behind the Lines on Our Maps. He previously wrote The Compendium of (Not Quite) Everything: All the Facts You Didn't Know You Wanted to Know and, with Tom Phillips, Conspiracy: A History of Bollcks Theories, and How Not to Fall for Them. Babylon 5 https://www.douxreviews.com/2015/08/babylon-5-series-review.html Life & Fate by Vasily Grossman https://www.lrb.co.uk/the-paper/v29/n20/john-lanchester/good-day-comrade-shtrum The Truth about Markets by John Kay https://scholarship.richmond.edu/cgi/viewcontent.cgi?article=1036&context=economics-faculty-publications Why there was no Danish holocaust https://www.history.com/news/wwii-danish-jews-survival-holocaust Nehru's affair with Lady Mountbatten https://www.indiatoday.in/india-today-insight/story/from-the-india-today-archives-1980-mountbattens-and-nehru-friendship-in-high-places-2413716-2023-07-30 Ethiopian food https://www.cnn.com/travel/article/ethiopian-food-best-dishes-africa/index.html This podcast is powered by ZenCast.fm

My guest today has blazed a trail through the British poetry scene ever since her work was first published in 1991. Born in Edinburgh, Jackie Kay MBE was brought up in Glasgow by her adoptive parents, Helen and John Kay, of whom much more later. She has had countless poetry collections, short stories and novels published to acclaim, as well as her glorious memoir Red Dust Road which tells the story of meeting her birth parents. The winner of over 20 awards, Jackie is a professor of creative writing at Salford University and for five years she was the Scottish Makar (that's basically poet laureate).Her new collection May Day is an elegy to her beloved parents who (died within a year of each other) and taught her the meaning and power of protest. Something Jackie took to heart marching for women's rights, gay liberation and Black Lives Matter.I went to Glasgow to meet Jackie while she was on tour. Her beloved older brother Maxie had just died and she spoke candidly about love, loss and absence, living with nothing between you and the sky and how poetry helps her survive. We also discussed coming back into yourself in your 50s and 60s, why there should be lists after white male writer's names, the art of living together apart and why her emotional age is 150!* You can buy all the books mentioned in this podcast at The Shift bookshop on Bookshop.org, including MayDay by Jackie Kay and the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me.* If you enjoyed this episode and you fancy buying me a coffee, pop over to my page on buymeacoffee.com• And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at www.theshiftwithsambaker.substack.com• The Shift (on life after 40) with Sam Baker is created and hosted by Sam Baker and edited by Juliette Nicholls @ Pineapple Audio Production. If you enjoyed this podcast, please rate/review/follow as it really does help other people find us. And let me know what you think on twitter @sambaker or instagram @theothersambaker. Hosted on Acast. See acast.com/privacy for more information.

'SUSANNA HOFFS BANGLES LEGEND THE LOST INTERVIEWS' Susanna Hoffs is the beautiful, talented & iconic vocalist for the commercially successful all- female pop/rock/new wave/ band ‘The Bangles.' Hoffs angelic and awe-inspiring vocals are definitive on such Bangles classics as …“Manic Monday” (1985 #2 US Billboard Hit), “Walk Like an Egyptian” (1986 #1 US Billboard Hit), “If She Knew What She Wants” (1986 #29 US Billboard Hit), “Hazy Shade of Winter” (1987 #2 US Billboard Hit), “Walking Down Your Street” (1987 #11 US Billboard Hit),“In Your Room” (1988 #5 US Billboard Hit), and the breathtaking “Eternal Flame” (1988 #1 US Billboard Hit). Hoffs is also ‘The Bangles' rhythm guitarist and songwriter. THE BANGS: After Susanna Hoffs graduated from the University of California, Berkeley, where she studied theatre, dance, and art, she headed back to Los Angeles and placed an ad in The Recycler, an LA based classifieds newspaper. A trio began to form with the addition of Sisters Vicky Peterson (vocals/guitars) and Debbi Peterson (vocals/drums) while subsequently adding Annette Zilinskas on bass. After short stints with names such as ‘The Colours' and ‘The Supersonic Bangs,' the newly formed all-girl band eventually settled on ‘The Bangs' while swiftly becoming a vital part of the Los Angeles Paisley Underground scene. The Bangs debut single “Getting Out of Hand” was released on their label DownKiddie Records and caught the attention of KROQ deejay Rodney Bingenheimer who repeatedly played the record on his show. THE BANGLES: ‘The Bangs' were auspiciously mandated to change their name so the group dropped ‘The' and added the letters ‘les' to form ‘Bangles,' a banner that would flourish into one of the greatest all-female groups in rock and roll history. In 1982, under new manager Miles Copeland, The Bangles supported The English Beat on a UK tour. In 1983, the group made its first appearance on Dick Clark's American Bandstand. In 1984, ‘All Over the Place,' The Bangles first full-length album was released on CBS (Columbia) Records. Michael Steele had replaced Annette Zilinskas on bass. Steele began her music career as Micki Steele with The Runaways. ‘All Over the Place,' spawned the singles”Hero Takes a Fall,” and “Going Down to Liverpool” which featured Susanna's childhood neighbor and family friend Leonard Nimoy. The Bangles popularity escalated and was asked to join such acts as ‘Cyndi Lauper' and ‘Huey Lewis and the News' on tour.   Susanna Hoffs and The Bangles had captivated the attention of R&B/Pop/Funk/ music artist & songwriter ‘Prince.' Prince offered his penned single “Manic Monday” (1984) to The Bangles and the group promptly brought the tune into the recording studio. “Manic Monday” (1986) became The Bangles first big hit peaking at #2 on Billboards US Charts. Their second studio album ‘Different Light' (1986) produced by David Kahne peaked at #2 on the US Billboard Charts and is considered to be their most successful to date. Also in 1986, The Bangles opened for 'Queen' at Slane Castle, Ireland.   In 1987, “Walk like an Egyptian” won Best Video at the 15th Annual Music Awards and again at the 5th Annual American Video Awards. ‘Everything' (1988) The Bangles third studio album spawned the Top 5 Hit “In Your Room,” and their worldwide #1 single “Eternal Flame” penned by Susanna Hoffs, Billy Steinberg and Tom Kelly. The Bangles attained a well-deserved hiatus throughout the 90's but returned with rock and roll vengeance in 1999. They released their fourth studio album entitled ‘Doll Revolution' in 2003. Bassist Michael Steele officially left The Bangles in 2005 and the band decided to use guest bassists while on tour. The Bangles most recent album ‘Sweetheart of the Sun' was released in 2011. In January of 2014, The Bangles returned to the legendary Whisky A GO GO to celebrate the club's 50th anniversary. SUSANNA HOFFS: In 1991, Susanna released her debut solo album entitled ‘When You're a Boy' produced by David Kahne. The album spawned the Top 40 hit single “My Side of the Bed.” The release featured such musical luminaries as John Entwistle, Jim Keltner, and Donovan. In 1996, Susanna Hoffs released her second studio album entitled ‘Susanna Hoffs.' Based on a Saturday Night Live stint in the early 1990's, Hoffs performed in the band ‘Ming Tea' with … Mike Myers, Matthew Sweet, Christopher Ward and Stuart Johnson. The SNL skit morphed into a three comedy film series ... Austin Powers: International Man of Mystery (1997), Austin Powers: The Spy Who Shagged Me (1999), and Austin Powers in Goldmember (2002). Jay Roach, Susanna's husband directed the Austin Power series and ‘Ming Tea' performed in all three movies. In 2006, Susanna collaborated with alternative rocker Matthew Sweet under the name ‘Sid n Susie,' and released ‘Under the Covers' Volumes 1, 2 &3 featuring classic rock cover songs of the 60's,70's, and 80's. In 2012, Susanna released her critically-acclaimed studio album entitled ‘Someday.' Susanna's vocals are more radiant than ever. Hoffs collaborated with musical partner Andrew Brassell and producer Mitchell Froom on her best solo album to date. All the tracks are co-penned by Susanna Hoffs. Hoffs & Brassell continue to co-write music and hope to release a new album sometime in 2015. ‘Susanna Hoffs' performs at The Satellite in Los Angeles on July 18th with special guests Fred Armisen and Petra Haden. ‘The Bangles' kicked off their summer concert series on June 6th at The Coach House in San Juan Capistrano, California … click [Here] for a complete ‘Bangles' tour listing. Recently, I had the great pleasure of chatting with Susanna Hoffs of The Bangles and discussed … Her latest solo projects …Collaborating with Andrew Brassell … Producer Mitchell Froom … Early musical influences …The Bangles past & present … The inception of “Manic Monday,” “Eternal Flame,” “A Hazy Shade of Winter,” …and future plans as a solo artist & with ‘The Bangles.' PURCHASE THE ROCK STAR CHRONICLES Series one By RAY SHASHO Available At Bookbaby.com And amazon.com CHAPTER ONE SPOTLIGHTS INTERVIEWS WITH MANY OF THE MUSIC LEGENDS WHO ARE NO LONGER WITH US THE HARDCOVER EDITION IS A BONAFIDE COLLECTORS ITEM! …Order yours today on (Collector edition) Hardcover or E-book at bookbaby.com and amazon.com Featuring over 45 intimate conversations with some of the greatest rock legends the world will ever know. CHRIS SQUIRE... DR. JOHN... GREG LAKE... HENRY MCCULLOUGH... JACK BRUCE … JOE LALA…  JOHNNY WINTER... KEITH EMERSON... PAUL KANTNER...  RAY THOMAS... RONNIE MONTROSE... TONY JOE WHITE... DAVID CLAYTON-THOMAS… MIKE LOVE... TOMMY ROE... BARRY HAY... CHRIS THOMPSON... JESSE COLIN YOUNG... JOHN KAY... JULIAN LENNON... MARK LINDSAY... MICKY DOLENZ… PETER RIVERA ...TOMMY JAMES… TODD RUNDGREN... DAVE MASON... EDGAR WINTER... FRANK MARINO... GREGG ROLIE... IAN ANDERSON... JIM “DANDY” MANGRUM... JON ANDERSON... LOU GRAMM... MICK BOX... RANDY BACHMAN… ROBIN TROWER...  ROGER FISHER... STEVE HACKETT... ANNIE HASLAM… ‘MELANIE' SAFKA... PETULA CLARK... SUZI QUATRO... COLIN BLUNSTONE… DAVE DAVIES... JIM McCARTY... PETE BEST   Support us on PayPal!

National Grilled Cheese Sandwich day.  Entertainment from 2011.  R.E.A.D. Day, Civil War began, 1st human into space, Space Shuttle Columiba launched, Capt. Phillips happened.  Todays birthdays - John Kay, Ed O'Neill, David Letterman, Andy Garcia, David Cassidy, Vince Gill, Art Alexakis, Shannen Doherty, Claire Danes, Easton Corbin.  Franklin Roosevelt died.Intro - Pour some sugar on me - Def Leppard    http://defleppard.com/I love grilled cheese sandwiches - The Hungry Food BandET - Katy Perry  Kanye WestColder weather - Zac Brown BandBirthdays - In da club - 50 Cent    http://50cent.com/Born to be wild - SteppenwolfMarried with childrren TV themeI think I love you - The Partridge FamilyCinderella - Vince GillWonderful - EverclearBeverly Hills 90210 TV themeA little more country than that - Easton CorbinExit - Its not love - Dokken    http://dokken.net/

Nascar Nicole, the final word on immigrants, Rob from Bears Den, John Kay is 80, we have a name for Taps, will Iran launch an attack on Israel, what you talking about Willis, favorite grilled cheese sandwich, do you feel safe, and we played Taps...See omnystudio.com/listener for privacy information.

In the episode of The Brainy Business podcast, Cass Sunstein, a renowned legal scholar and behavioral economist, joined host Melina Palmer to discuss his new book, Look Again, and the concept of habituation and its impact on decision-making. Cass' extensive work in government and with businesses has provided him with a deep understanding of human behavior, making his insights invaluable for business leaders and decision-makers. The conversation delved into the significance of habituation, exploring how individuals become less sensitive to stimuli over time.  Cass highlighted the value of exploration and exploitation in learning and decision-making, emphasizing the impact of emotions on behavior and the role of diversity in decision-making processes. The episode provides valuable insights into how businesses can apply behavioral economics principles to enhance decision-making processes, ultimately shaping choices presented to individuals and influencing behavior in beneficial ways. Cass' expertise and perspectives make this episode a must-listen for business leaders seeking to understand and leverage human behavior insights for enhanced decision-making. In this episode: Understand the psychology behind decision-making for strategic advantage. Harness habituation to gain insights into customer perception and behavior. Appreciate the power of dishabituation for uncovering hidden opportunities. Master the balance between exploration and exploitation for effective learning. Leverage nudges to influence decision-making and drive positive outcomes. Show Notes: 00:00:00 - Introduction, Melina introduces Cass Sunstein, his background in behavioral economics, and his newest book Look Again. 00:04:26 - The power of habituation Cass explains the concept of habituation and its impact on how we perceive the world around us, using examples from everyday life. 00:06:15 - The importance of dishabituation Cass discusses the importance of dishabituation in appreciating the good things in life and addressing challenges, using examples from personal experiences and historical figures. 00:13:27 - Creativity and the Fosbury Flop Cass explores the concept of creativity and the importance of critical distance from existing practices, using the example of Olympic athlete Dick Fosbury and his innovative high jump technique. 00:15:56 - Fosbury Flop in Government Cass shares examples of how the Fosbury Flop concept has been applied in the government to drive innovation and improve efficiency, using specific policy examples. 00:16:36 - Creativity and Disruption Cass discusses how global entry and TSA precheck were developed by creative people, like disruptors who refuse to habituate and bring ideas from other areas. 00:17:43 - Exploration vs. Exploitation Cass explains the difference between exploiters and explorers, where exploiters stick to what they know, while explorers seek new experiences and habituate quickly. 00:21:07 - Bill Gates vs. Warren Buffett Cass shares how Bill Gates' wide-ranging reading list reflects an explorer, while Warren Buffett's focused recommendations align with an exploiter. 00:25:19 - Tips for Writing and Co-Authoring Cass advises to follow your excitement for a project, start writing even if it's difficult, and find co-authors who are enjoyable to work with and bring out the best in each other. 00:33:38 -  Conclusion, Melina's top insights from the conversation. What stuck with you while listening to the episode? What are you going to try? Come share it with Melina on social media -- you'll find her as @thebrainybiz everywhere and as Melina Palmer on LinkedIn. Thanks for listening. Don't forget to subscribe on Apple Podcasts or Android. If you like what you heard, please leave a review on iTunes and share what you liked about the show.  I hope you love everything recommended via The Brainy Business! Everything was independently reviewed and selected by me, Melina Palmer. So you know, as an Amazon Associate I earn from qualifying purchases. That means if you decide to shop from the links on this page (via Amazon or others), The Brainy Business may collect a share of sales or other compensation. Let's connect: Melina@TheBrainyBusiness.com The Brainy Business® on Facebook The Brainy Business on Twitter The Brainy Business on Instagram The Brainy Business on LinkedIn Melina on LinkedIn The Brainy Business on Youtube Connect with Cass:  X  LinkedIn Learn and Support The Brainy Business: Check out and get your copies of Melina's Books.  Get the Books Mentioned on (or related to) this Episode: Look Again, Cass Sunstein and Tali Sharot Nudge, Richard Thaler and Cass Sunstein Scarcity, Sendhil Mullainathan and Eldar Shafir  Possession, A.S. Byatt Radical Uncertainty, John Kay and Mervyn King Top Recommended Next Episode: Optimism Bias (ep 34) Already Heard That One? Try These:  Nudge (ep 35) Incentives (ep 272) Understanding Mapping (ep 294) Defaults (ep 38) Give Feedback (ep 40) Expect Error (ep 362) Sludge (ep 179) Normalcy Bias (ep 370) Habits (ep 256) Wendy Wood Interview (ep 127) Other Important Links:  Brainy Bites - Melina's LinkedIn Newsletter  

The conversation this week is with Bradley Canham. Brad is the VP of Research for Transforma Insights, a UK based high tech analyst firm, corporate fellow and mentor at the University of St. Thomas Opus School of Business and Entrepreneur Program. He's also a member of the learning community at St. Thomas on generative AI and education. He's the founder and original editor of Eden Prairie Local News, a thriving news publication and example of social entrepreneurship.If you are interested in learning about how AI is being applied across multiple industries, be sure to join us at a future AppliedAI Monthly meetup and help support us so we can make future Emerging Technologies North non-profit events!Emerging Technologies NorthAppliedAI MeetupResources and Topics Mentioned in this EpisodeTransforma InsightsEden Prairie Local NewsNatural language processingCustomer relationship managementGitHub CopilotTeaching What Can't Be Taught: The Shaman's Strategy by David RigoniCarlos CastanedaRadical Uncertainty: Decision-Making Beyond the Numbers by John Kay and Mervyn KingPrediction Machines: The Simple Economics of Artificial Intelligence by Ajay Agrawal, Joshua Gans and Avi GoldfarbEnjoy!Your host,Justin Grammens

John Kay and his band Steppenwolf were pivotal in shaping the rock music landscape of the late 1960s and early 1970s. Born in Germany in 1944 as Joachim Fritz Krauledat, John's journey to becoming a rock icon was filled with challenges and perseverance. John's early life was marked by adversity. He faced hardships in post-war Germany and immigrated to Canada as a teenager. His passion for music bloomed in the vibrant musical scene of Toronto. In the mid-1960s, he formed The Sparrows, which eventually evolved into Steppenwolf. The band's name, inspired by Hermann Hesse's novel 'Steppenwolf,' reflected their non-conformist ethos. In 1968, Steppenwolf released their self-titled debut album, featuring the iconic song 'Born to Be Wild.' This anthem not only defined the band's sound but also became a rallying cry for the emerging counterculture. John's gravelly vocals and the band's driving rhythms encapsulated the rebellious spirit of the era. 'Born to Be Wild' notably coined the phrase "heavy metal thunder," cementing its place in rock history and earning a spot in the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll. Following their breakthrough, Steppenwolf continued to produce hits like 'Magic Carpet Ride' and 'The Pusher,' both of which showcased the band's musical versatility and social commentary. Their fusion of hard rock, blues, and psychedelic sounds appealed to a generation seeking liberation and self-expression. Despite internal conflicts and line-up changes, John Kay remained the band's driving force. His introspective song-writing and distinctive voice contributed to Steppenwolf's enduring appeal. The band's albums, including 'Steppenwolf 7' and 'Monster,' further solidified their reputation as trailblazers in the rock genre. John Kay is also known for his involvement in philanthropy through the Maue Kay Foundation, which he co-founded with his wife Jutta Maue-Kay. The foundation is dedicated to supporting various charitable causes, particularly those focused on wildlife conservation, environmental protection, and supporting the rights of animals. John, as a passionate advocate for wildlife and environmental causes, has channelled efforts and resources into initiatives that aim to protect endangered species, preserve habitats, and raise awareness about environmental issues. Today, Steppenwolf's iconic front man is still involved in various musical and philanthropic endeavours. He continues to perform, occasionally touring and playing live shows. He rarely gives interviews anymore so I was particularly chuffed that he granted me some time to share his incredible story. I hope you enjoy this special episode. If you'd like to know more about John Kay and Steppenwolf head for https://www.steppenwolf.com If you'd like to request a guest - any artist from the 60s 70s or 80s that you would like to hear interviewed, please send me a message through my website https://www.abreathoffreshair.com.au  

Label: Dunhill/ABC 4309Year: 1972Condition: M-Price: $12.00Kay was the leader of Steppenwolf. This is a terrific and surprising cover of the Hank Snow classic. It's wholly original, bearing no resemblance to either the original nor to Ray Charles' iconic version. Note: This copy comes in a vintage ABC/Dunhill Records factory sleeve.

Today on the Rarified Heir Podcast…we bring you something very different. Today, we mixed up our format and decided to bring on three previous guests who have been on the podcast individually to see how it would work when we brought them all together. It was a bold experiment. Today we bring you Jenny Brill, Shawn Kay and Carnie Wilson, three friends who have known each other (and our host Josh Mills) since they were in pedal pushers. We really did try and get off on the right footing here and ask the pertinent questions but frankly, with this jovial bunch, it quickly evolved (or is it devolved?) into a nostalgic trip through memory lane of 1970s Los Angeles, swearing and grade school antics. As any listener to this podcast knows, we talk a lot about the Oakwood School in Los Angeles quite often and because that's where our guests solidified their friendship during the Carter Administration, this episode is one that gleefully goes off the rails almost from the word go. We discuss everything from the time Carnie and Shawn rode album covers down the carpeted stairs in the Wilson family home in Bel-Air, Jenny's ‘on brand' observations about the opposite sex, long gone beloved pets, carpools, famous children we all went to school with and famous Oakwood parents and more. There was a lot of laughter, a few tears, a few a-ha moments and more twisted humor than you could find at one of our quarterly lunches. Ah the Rarified Heir Podcast, bringing people together. So how did the children of Mitzi McCall, John Kay, Brian Wilson & Merilyn Wilson get along? In a word? Famously. This is the Rarified Heir Podcast. Take a listen.

SONG LIST* M1 Bright Size Life (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (4:55) M2 Sirabhorn (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (5:27) M3 Unity Village (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:38) M4 Unquity Road (Pat Metheny), Bright Size Life, Pat Metheny, Released ECM, LP 1976, (3:36) M5 So May It Secretly Begin (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (6:24) M6 Last Train Home (Pat Metheny), Still Life, Pat Metheny Group, Released Geffen Records, LP 1987, (5:38) Pat Metheny is an American guitarist and composer. He has worked as a soloist, in duets and small jazz ensembles, and, for decades, with the Pat Metheny Group. His musical styles include Jazz Fusion, Jazz (both progressive and contemporary jazz) …..and also Latin Jazz. He was born in Lee's Summit, Missouri in 1954. Lee's Summit is a suburb on the southeast side of Kansas City. His main influences have been other musicians, his musical family and the British Invasion. Musicians influencing Metheny include trumpeter Miles Davis, Gary Burton on vibes, jazz guitarists Jim Hall and Wes Montgomery and Jazz Sax players John Coltrane and Ornette Coleman. PAUSE A major foundational influence for Metheny is his musical family. His father played trumpet, his brother Mike Metheny plays jazz trumpet, and Pat's maternal grandfather was a professional trumpeter. Brother Mike taught Pat how to play the trumpet, and so trumpet is actually Pat Metheny's first Musicians in the family. Metheny attributes his early success to the local musical environment he was brought up in – the years 1964-1972, in Kansas City. Much of this is described in his biography titled BENEATH MISSOURI SKIES. Seems like Metheny is destined to become a great trumpeter, with all that musical environment…. PAUSE .. there was a bump in the road at age 10. The BRITISH INVASION was in full force. Metheny saw the Beatles perform on TV in 1964, probably the Ed Sullivan Show, because that year the Beatles appeared. The Beatles are what inspired Metheny to defect from Trumpet to Guitar. Metheny persuaded his father to buy him a guitar for his 12th birthday. That first guitar was a Gibson ES-140. PAUSE That's a hollow-body guitar, built in ¾ scale for young players and small hands. It's a scale model of the Gibson ES-175 hollow body. Metheny soon got bigger hands and acquired a Gibson ES-175 …and that guitar is featured on his early albums like those in this podcast episode… Metheny started playing in pizza parlors at age fourteen (that's 1968). At age 15, Metheny won a scholarship from Down Beat Magazine to attend a jazz camp (1969). That camp led to a meeting with Jazz guitarist Jim Hall, and bassist Ron Carter. So, by the time he graduated from high school (1972) he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Metheny had A LOT of support from his musical environment. Even though he switched from trumpet to guitar.   Metheny briefly attended college at U of Miami in Florida, but quickly realized after practicing on guitar for years all day long… he was unprepared for a college program … He realized then he was first and foremost, a serious guitarist and composer.   Metheny moved to Boston to teach at Berklee College of Music at the age of 19, where he met Jazz Vibraphonist Gary Burton. Teaching Jazz Theory and Performance was in demand.   BIT BUCKET and for those not familiar, the ES-175 is sought-after by jazz country and rock guitarists - - - these vintage guitars today sell for $3,000 to $25,000. Back in the day, made in Kalamazoo MI. How about that for your first guitar? I am jealous, my first guitar was a Kay (named after John Kay) and it was … a very basic and cheap and crude electric starter guitar. Metheny, on the other hand, got a wonderful instrument, because

Tom describes some wild experiences from his concert going youth including the time he swam up to a stage and sang with John Kay of Steppenwolf while dripping wet, sliding down the hills of Tinley Park's World Theater during a rainstorm, and getting put in the World Theater's "jail" at two different concerts. During the interview, you'll find out why Tom always tried to buy one extra ticket for any concert he attended. Video of the second half of our interview is available on YouTube: https://www.youtube.com/@dougflorzak7283/podcasts?sub_confirmation=1Bands Mentioned: Aerosmith, The Rolling Stones, Steppenwolf, Black Crows, Jimmy Page, Doobie BrothersVenues Mentioned: The World Theater (Tinely Park, IL), Eyes to the Skys Stage (Lisle, Il), Soldier Field (Chicago, Il), Taste of Chicago PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Just because you are a good driver doesn't protect you from bad drivers. And there are a lot of those bad drivers on the road. So how do you protect yourself? This episode begins with some potentially life-saving advice on where and how serious traffic accidents happen and how to avoid being in one. Source: Reader's Digest article titled “How Good Drivers Get Killed” A lot goes on in your neighborhood grocery store you likely never knew. For example, did you know that some of the “fresh produce” could actually be more than a year old? Or that selling you groceries isn't the only way your store makes money - not by a long shot? And what about Trader Joe's? Why are their customers so fanatically loyal? Joining me to explore all this and much more is Benjamin Lorr, author of the book The Secret Life of Groceries (https://amzn.to/2RVd0Iy). We all would like to know what is going to happen in the future. That's precisely why we look to experts to predict the stock market or why we try to choose “winning” lottery numbers. The fact is, most predictions are usually wrong because the future is unpredictable. So instead of trying to predict the future, maybe there is a better way. Here to tell you what that is John Kay, a leading British economist and author of the book Radical Uncertainty: Decision-Making Beyond the Numbers (https://amzn.to/32WqnP6). He offers advice on how to prepare for the future when you can't predict it and he reveals the important difference between risk and uncertainty. I'm sure you've heard someone say that a dog's mouth is cleaner than a human mouth. Seriously? Listen and discover if that could possibly be true. https://www.broadstreetvet.com/site/blog/2023/06/15/is-dogs-mouth-cleaner-than-mine PLEASE SUPPORT OUR SPONSORS! Sometimes in life we're faced with tough choices, and the path forward isn't always clear. If you're thinking of starting therapy, give BetterHelp a try. It's entirely online, so it's convenient, flexible, and suited to your schedule. Just fill out a brief questionnaire to get matched with a licensed therapist, and switch therapists any time for no additional charge. Let therapy be your map, with BetterHelp Visit https://BetterHelp.com/SOMETHING today to get 10% off your first month! Your business was humming, but now you're falling behind. Teams buried in manual work. NetSuite gives you the POWER of having all of your information in one place to make better decisions and now has an UNPRECEDENTED offer to make that possible! Right now, download NetSuite's popular KPI Checklist, designed to give you consistently excellent performance - absolutely free, at https://NetSuite.com/SYSK ! Discover Credit Cards do something pretty awesome. At the end of your first year, they automatically double all the cash back you've earned! See terms and check it out for yourself at https://Discover.com/match U.S. Cellular knows how important your kid's relationship with technology is, so they've made it their mission to help them establish good digital habits early on! That's why they've partnered with Screen Sanity, a non-profit dedicated to helping kids navigate the digital landscape. For a smarter start to the school year, U.S. Cellular is offering a free basic phone on new eligible lines, providing an alternative to a smartphone for children. Visit https://USCellular.com/BuiltForUS ! We really like the 99% Invisible podcast! Check it out at https://99percentinvisible.org OR search for it on Apple Podcasts, Spotify or wherever you listen!  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Crunchy vinyl from:Linda Gayle andThe Duke of Coventry,Pacific Drift, Tom and The Cats,The Lords of London,The Pretty Things,Matthew and Peter, Spirit,Wool, John Kay and Sparrow, Little Walterand more! As broadcast live via 6160kc sw8/5/23

Mark interviews Johanna Rothman about her latest book FREE YOUR INNER NON-FICTION WRITER. Prior to the interview, Mark shares a personal update and a word about this episode's sponsor This episode is sponsored by Mark's new book Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard. In the interview, Mark and Johanna talk about: Why Johanna is often called The Pragmatic Manager The thirty-years of consulting that Johanna has experience with The fact that she is not a "natural writer" Beginning to write in 1997 because she realized that speaking only wasn't a great way to market her business as a consultant Advice Johanna received from Gerald Weinberg How Johanna began to write short fiction in 2016 Being involved in the early days of "Agile" development Why Johanna recommends writing in 15 minute chunks for non-fiction Who the idea reader is for Johanna's book FREE YOUR INNER NONFICTION WRITER How to keep a business-related blog interesting How writing non-fiction includes universal story elements: "a person in a situation with a problem" The "write fast to write well" concept The importance of maintaining your voice Why Johanna writes a question of the week on her blog The book Obliquity by John Kay and how detours might help us better in the long run Advice Johanna would offer to writers for getting better at their own non-fiction writing And more... After the interview Mark reflects on the importance of your author voice as well as the divergent ways you sometimes find your way to your destination. Links of Interest: Johanna Rothman's Website Create an Adaptable Life Free Your Inner Non-Fiction Writer Lou J. Berger (IMDB) Buy Mark a Coffee Patreon for Stark Reflections Best Book Ever Podcast Lovers Moon Podcast The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard   Johanna Rothman, known as the “Pragmatic Manager,” offers frank advice for your complex problems. She helps leaders and teams learn to see practical alternatives that help them achieve more agility in their work. With that knowledge, they can choose what—and how—to adapt their product development. For almost three decades, Johanna has helped her clients experiment with agile and lean alternatives for every piece of their product development. As a result, her clients create more management agility which translates to better business results. A prolific writer, Johanna is the author of 18 books and hundreds of articles about many aspects of product development. She uses her trademark practicality and humor to focus on what people can do—and not take herself too seriously.   The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

National grilled cheese sandwich day. Pop culture from 1979. Civil War began, Yuri Gargarin 1st human to orbit the earth, Navy Seals free Capt. Phillips. Todays birthdays - John Kay, Ed O'Neill, David Letterman, David Cassidy, Andy Garcia, Vince Gill, Art Alexakis, Shannen Doherty, Claire Danes, Easton Corbin. FDR died.

Host Nate Wilcox asks John Einarson about John Kay, Steppenwolf and how the group came together out of the Toronto folk and R&B scene but had to move to California to make it in the record business. Buy the book and support the show. Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. SAVE THE LET IT ROLL PODCAST We're less than $500 from our goal to fund a year's worth of production on the Let It Roll podcast (that's 104 episodes)! The outpouring of support for the show has been really exciting to see. If you already gave, thanks so much! If you don't have the funds to give anything, no worries, enjoy the show. Click here to support the show Here's the link if you need to cut and paste: https://www.gofundme.com/f/keep-the-let-it-roll-podcast-alive Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Show Sponsor:  www.LaShamanaFaby.com I write about extreme adventure and classic rock. I've flown supersonic in five separate aircraft, the highest and fastest of which was a MiG-25 Foxbat (to 84,000 feet at Mach 2.6); skied to the South Pole and swam (sans wetsuit) at the North Pole; summited the Matterhorn and 23,000-ft. Aconcagua; driven a Bugatti Veyron at 253 mph and an Indy car at 200 mph; pulled 9 Gs in an F-16; bobsledded with the U.S. Olympic team; flown through a Category 5 Hurricane (Dorian) in a C-130; visited deep nuclear missile silos in Minot, ND; hunted, and detonated, unexploded WWII ordnance with German police; taken a .38 point-blank wearing a bulletproof jacket (hurt); gone bull-fighting (hurt more - cracked ribs); figure-skated with Olympian Sasha Cohen (hurt most - concussion). I also have a ticket to fly to space with Virgin Galactic (passenger #369). Interviews with adventurers include Neil Armstrong, Sir Edmund Hillary, Sir Roger Bannister, Dr. Edward Teller, Chuck Yeager and Elon Musk. You get the idea: I like to push limits and inspire others to do the same. My books include "Forbes To The Limits" and "The Right Stuff: Interviews With Icons Of The 1960s." I profile classic rock stars, too, having interviewed Art Garfunkel, Jack Bruce, Ginger Baker, Roger Daltrey, Ian Anderson, John Fogerty, Dion Dimucci, Grace Slick, Eric Burdon, Pete Townshend, John Kay, and more, all to be included in my upcoming book, “Amplified.” My education includes an MBA from Columbia University, and a BA from the University of Maryland. 

The date is 1760.  The Industrial Revolution is about to get underway.  Abraham Darby has already broken the Dutch monopoly of brass.  He has already developed the coke fueled blast furnace.  John Kay has already invented the Flying Shuttle.  There are several jennies out there.  Things are out of balance and are going to have to change.  Most societies would not be able to tolerate the rapid changes about to rip across British society.

The behavior of business practitioners is often driven by the defunct theories of economists. But to some extent all theories and models come with limitations and both the financial crisis of 2008 and the recent pandemic have made those limitations hard to ignore.Sir John Kay is one of Britain's leading economists. He was the first dean of Oxford's Said Business School and has held chairs at the London School of Economics, the University of Oxford, and London Business School. His interests focus on the relationship between economics and business. His career has spanned the academy and think tanks, company directorships, consultancies, investment companies and media. For twenty years, he wrote a regular column for the Financial Times and has authored an astonishing number of books. He was awarded a knighthood in the Queen's 2021 Birthday Honours List for services to economics, business and finance.Greg and John discuss how to navigate a complex environment, which we can only imperfectly understand, why we should embrace uncertainty and how to create strategies that are resilient to unpredictable events.Episode Quotes:On why we're not going to get predictability in economics10:02: The world we're dealing with, in economics, business, and finance is not stationary. There are not underlying models in the way we talk about the motion of the planets, which has remained unchanged for several centuries. And not only has it remained unchanged for centuries, but actually we know what these equations are, and they're not affected by what we do or think about them; Venus does not care what we think about its equations of motion. But the people who work in organizations and financial markets do care what we think about. And that world is affected by our interaction with it.Why you shouldn't take models too seriously05:01: To understand economics, to understand social science, we absolutely need models. The mistake is to think that the models we're building are true descriptions of the world. And they're not. I think models and economics are best regarded as parables; they're stories.An observation on how people use models14:07: You can use models to say, "This is what might happen to an unchecked pandemic." You can use a model to say, "This is an indication of the effect we might have if we introduced lockdown measures or vaccinations of the like." You can use models to illustrate scenarios and tell stories. If you think you can use models to predict, then I think you are attempting a kind of pseudoscientific position that is simply not available.Show Links:Recommended Resources:George E. P. BoxJohn Maynard KeynesBlaise Pascal“The Tyranny of Merit: What's Become of the Common Good?” by Michael SandelGuest Profile:Professional Profile at London School of EconomicsFaculty Profile at St. John's College, Oxford UniversityProfessional Profile on Financial TimesJohn Kay's WebsiteJohn Kay on LinkedInJohn Kay on TwitterJohn Kay on FacebookJohn Kay on Talks at GoogleHis Work:Greed Is Dead: Politics After IndividualismRadical Uncertainty: Decision-Making Beyond the NumbersThe Long and the Short of It: A guide to finance and investment for normally intelligent people who aren't in the industryOther People's Money: The Real Business of FinanceObliquity: Why Our Goals Are Best Achieved IndirectlyThe Truth About MarketsThe British tax system

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

Two Hours of trashy garage, punk, rock, soul and fury with DJ JDub. This week it's all music from the 60's! Outrage Radio playlist – July 28, 2022                   [0:00]1.      Curtis Knight & The Squires – Hornet's Nest2.      MC5 – Kick Out The Jams3.      Link Wray – Hidden Charms4.      The Seeds – It's A Hard Life5.      The Chocolate Watchband – Don't Need Your Lovin'6.      The Standells – Riot On Sunset Strip [16:44]7.      The Stooges – 19698.      Neighborhood Blues Boys – Slave Girl9.      The Benders – Can't Tame Me10.   The Kinks – I Gotta Move11.   Kim Fowley – The Trip12.   The Flower Children – Mini Skirt Blues13.   The Velvet Underground – White Light/White Heat [35:17]14.   13th Floor Elevators – (I've Got) Levitation15.   The Litter – Action Woman16.   The Pretty Things – LSD17.   Can – Nineteen Century Man18.   The Spencer Davis Group – I'm A Man19.   Count Five - Psychotic Reaction [55:11]20.   Chyvonne Scott – I'm Moving On21.   Them – Baby Please Don't Go (live)22.   Koko Taylor – Wang Dang Doodle23.   The Pleasure Seekers – What A Way To Die24.   Etta James – Nobody Loves You Like Me [1:11:55]25.   Thee Midniters – Jump, Jive & Harmonize26.   Howlin' Wolf – Spoonful27.   Nina Simone – Mood Indigo28.   John Kay & The Sparrows – Goin' To California29.   Jimi Hendrix – Manic Depression30.    The Rolling Stones – 2000 Light Years From Home [1:33;23]31.   The Yardbirds – Happenings Ten Years Time Ago32.   Derrick Morgan – Seven Letters33.   The Wailers – Simmer Down34.   The Easybeats – Sorry35.   The Monks – Boys Are Boys And Girls Are Choice36.   Captain Beefheart & His Magic Band – Electricity [1:51:18]37.   Sir Douglas Quintet – She's About A Mover38.   Ray Charles – Night Time Is The Right Time39.   Sly & The Family Stone – Sing A Simple Song Outrage Radio broadcasts live on Thursday evenings from 9-11PM (Pacific) at LuxuriaMusic .com.

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John Kay on the Right to Earn a Living

This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Before I start, a warning. Even though this episode is short it deals with many, many, upsetting subjects. If you're likely to be upset by a story dealing with the death and disfigurement of small children, disability, mental illness, gun violence and eye injuries, you're probably best off skipping this episode altogether, as it deals with these subjects right from after the first excerpt of music until the end. It's not a happy story. In this week's main episode we talk briefly about a record that Paul Simon produced while he was in Britain, before "The Sound of Silence" became a big hit. The performer whose record he produced only released that one album in his lifetime, but it's a record that had an outsized influence on the British folk-music scene. So today, we're going to have a look at the tragic life of Jackson C Frank, and at "Blues Run the Game": [Excerpt: Jackson C Frank, "Blues Run the Game"] Jackson C Frank's life started to go badly, irrevocably, wrong, when he was just eleven years old. His family lived in Buffalo, New York, where the winters are long and cold, and Jackson was a Baby Boomer. Because of the tremendous number of new children going through the school system, the brick schoolhouse at the school he attended had been augmented with an annexe, made out of wood, and he was in that annexe, in a music lesson, when the boiler exploded and set fire to it. Jackson was one of the lucky ones. That fire took the life of fifteen of his classmates, and spurred a national movement towards banning timber buildings for schools and the institution of fire drills, which up to that point had not been a thing. Jackson got thrown out of a window by a teacher, and the snow put out the flames on his back, meaning he "only" suffered burns over sixty percent of his body, scarring him for life. He had to spend a year in hospital, have a tracheotomy, and have a metal plate put in his head. He developed thyroid problems, got calcium deposits that built up over the years and frequently left him in agony, and always walked with a limp and only had limited movement in his arms. Many celebrities did things to comfort the children, who became nationally known. Kirk Douglas came to the hospital to visit them, and later in his childhood Jackson was able to go and meet Elvis, who became a big inspiration for the young man. He spent his teenage years going around the local music scene, including spending a long time with a friend who later became known as John Kay of Steppenwolf, but then when he turned twenty-one he got a massive insurance payout that had been held in trust for him. I've seen different numbers for this -- it was either fifty or a hundred thousand dollars, and in modern terms that would be about ten times that much. Being a young man, he didn't want to invest it, he wanted to buy expensive cars. He wanted an Aston Martin and a Bentley, and Britain was where they made Aston Martins and Bentleys, so he caught a boat to England, and on the trip over started writing songs, including the one that would become his best known: [Excerpt: Jackson C Frank, "Blues Run the Game"] Once he was in the UK, Frank moved into Judith Piepe's flat, where he started a relationship with an eighteen-year-old nurse, who was also trying to be a singer. Frank encouraged her to follow her dreams and become a professional, and Sandy Denny would later record some of his songs, and wrote the song "Next Time Around" about him: [Excerpt: Sandy Denny, "Next Time Around"] While he was in London, he became well known on the folk circuit, regularly playing Les Cousins, and as Ralph McTell put it, "EVERYONE" sang 'Blues Run the Game'". Over the years, the song has been performed by everyone from Bert Jansch: [Excerpt: Bert Jansch, "Blues Run the Game"] to Counting Crows: [Excerpt: Counting Crows, "Blues Run the Game"] Frank's own version of the song was recorded on his one and only album,  which was produced by Paul Simon, as we heard in the main episode. That album also included songs like "Carnival", which has now possibly become the song of Frank's that has been heard by most people, as it was featured both on the soundtrack and in the dialogue of the 2019 film Joker: [Excerpt: Jackson C Frank, "Carnival"] The album didn't sell, and Frank returned to the US, after marrying Elaine Sedgwick, the cousin of Edie Sedgwick. He was missed when he left, and Roy Harper, another folk musician who played the same circuit, wrote "My Friend" about his departure: [Excerpt: Roy Harper, "My Friend"] When he came back in 1968 to do a couple of shows, though, his depression, which had always been bad since the fire, had worsened. Al Stewart said "He proceeded to fall apart before our very eyes. His style that everyone loved was melancholy, very tuneful things. He started doing things that were completely impenetrable. They were basically about psychological angst, played at full volume with lots of thrashing. I don't remember a single word of them – it just did not work. There was one review that said he belonged on a psychologist's couch." He was withdrawn, and wouldn't speak to people, and he had writer's block. To make matters worse, his home life was also going awfully. His insurance money had all run out, but Paul Simon had given him a loan of three thousand dollars, with Simon taking Frank's publishing as surety, so he could start a business, but the business failed and Simon kept the publishing. In 1971, when Art Garfunkel was recording his first solo album, he asked Frank if he had a song that might be suitable. Frank had actually written a new song, "Juliette": [Excerpt: Jackson C Frank, "Juliette"] Unfortunately, when he turned up to see Garfunkel, he brought along a few hippy friends, who all made fun of Garfunkel for being a sell-out, and so Garfunkel didn't record the song, though he did give Frank a new guitar. By the early seventies, Frank was in a very bad way. He and his wife had had two children, but one had died of cystic fibrosis, and the marriage had ended. He spent periods of time in psychiatric hospitals, and was diagnosed with paranoid schizophrenia, though he always said himself that he wasn't schizophrenic, he was suffering from depression because of the loss of his son. He was living off handouts from friends, even as his songs were inspiring new artists like Nick Drake, who recorded four of his songs: [Excerpt: Nick Drake, "Here Comes the Blues"] In the early eighties he was living with his parents, but then in 1984 while his mother was in hospital he got an idea -- he could go to New York and find his old friend Paul, and ask him for his publishing back, or maybe just for some money. He didn't leave a note, and his parents had no idea where he'd gone. He did go to New York, but he couldn't find his friend, and he ended up homeless, living on the streets, and in and out of psychiatric institutions. In the early nineties, a fan tracked him down and helped sort out some accommodation for him in Woodstock, where he'd lived in his twenties. By this time he was in an awful physical and mental state, and the fan described him as looking like the Elephant man because of the bloating from his thyroid problems and his joint issues affecting his posture (though I have to say that from the couple of photos I've seen of him at this time, that's quite an exaggeration). But just to rub salt in the wound, after the accommodation had been arranged, but before he'd had a chance to move, he was sat on a park bench in Queens, and some kids, shooting randomly with a pellet gun, hit him in his left eye, permanently blinding him in that eye. His rediscovery got a bit of publicity, and led to his album being reissued on CD. He also started writing again, and recorded some demos on a cheap cassette recorder in 1997, many of which have since been released on various compilations: [Excerpt: Jackson C Frank, "(Tumble) in the Wind"] But 1997 was also the year that Frank moved into a care home, and he wouldn't record any more after that. In 1998, Paul Simon finally returned his publishing to him, presumably having given up on ever getting his three thousand dollars back. And on March the third, 1999, one day after his fifty-sixth birthday, Jackson C Frank died of pneumonia. His game had finally run to its end.

At the top, Darren and Steve discuss the death of keyboardist/musician Brett Tuggle. Brett played with Dave on the Eat 'Em & Smile tour, played on and co-wrote three songs (including "Just Like Paradise") on Skyscraper, toured with Dave for Your Filthy Little Mouth and (possibly) helped out putting together Dave's 2019 band. Brett was also in Fleetwood Mac for 20 years, played with Lindsey Buckingham solo and also played with a slew of others, including Jimmy Page, Rick Springfield, David Coverdale, John Kay and Steppenwolf, Styx's Tommy Shaw, and Mitch Ryder & The Detroit Wheels. Plus,  Remember when DLR replaced Howard Stern? This week's interview is with a guy who helped get Dave ready for that gig, Gary Marino. Gary is a Boston-area native who has spent time with David Lee Roth, Sammy Hagar and Gary Cherone. He's a jack-of-all-fun trades: tours all over New England with the comedy and rock & roll band World Gone Crazy, is the founder and producer of Cape Cod Comedy Fest, a producer, writer, director and DJ. He's got great stories of spending time with all of Van Halen's lead singers, thoughts on Dave's time on the radio, DLR's solo albums and much more! You can find Gary Marino on Facebook and at MarioCreative.com and see World Gone Crazy throughout Maine and Massachusetts this summer.

Season 11 of the Catching The Next Wave podcast was about doing. But, it turned out that doing is not just about putting something into the world, it is a much more nuanced concept to ponder including aspects like curiosity, open-mindedness, accountability, and much more. We started by distinguishing between thinking and doing only to arrive at a conclusion that one is impossible without the other. We hope you will enjoy that season much as we did.LINKS“Obliquity” by John Kay

The world is unfair — but how much of that unfairness is inevitable, and how much is just contingency? After centuries of efforts to arrive at formal theories of history, society, and economics, most of us still believe and act on what amounts to myth. Our predecessors can't be faulted for their lack of data, but in 2022 we have superior resources we're only starting to appreciate and use. In honor of the Santa Fe Institute's new role as the hub of an international research network exploring Emergent Political Economies, we dedicate this new sub-series of Complexity Podcast to conversations on money, power, governance, and justice. Subscribe for a new stream of dialogues and trialogues between SFI's own diverse scholastic community and other acclaimed political economists, historians, and authors of speculative fiction.Welcome to COMPLEXITY, the official podcast of the Santa Fe Institute. I'm your host, Michael Garfield, and every other week we'll bring you with us for far-ranging conversations with our worldwide network of rigorous researchers developing new frameworks to explain the deepest mysteries of the universe.In this episode, we talk with SFI President David Krakauer about the goals of this research theme and what SFI brings to the table. We discuss the legacy of long-standing challenges to quantitative history and mathematical economics, how SFI thinks differently about these topics, and a brief outline of the major angles we'll explore in this sub-series over the next year-plus — including the roles of dimension, causality, algorithms, scaling, innovation, emergence, and more.Subscribe to Complexity Podcast for upcoming episodes with an acclaimed line-up of scholars including Diane Coyle, Eric Beinhocker, Ricardo Hausmann, Doyne Farmer, Steven Teles, Rajiv Sethi, Jenna Bednar, Tom Ginsburg, Niall Ferguson, Neal Stephenson, Paul Smaldino, C. Thi Nguyen, John Kay, John Geneakoplos, and many more to be announced…If you value our research and communication efforts, please subscribe to Complexity Podcast wherever you prefer to listen, rate and review us at Apple Podcasts, and consider making a donation — or finding other ways to engage with us — at santafe.edu/engage. You can find the complete show notes for every episode, with transcripts and links to cited works, at complexity.simplecast.com.Thank you for listening!Join our Facebook discussion group to meet like minds and talk about each episode.Podcast theme music by Mitch Mignano.Follow us on social media:Twitter • YouTube • Facebook • Instagram • LinkedInMentions and additional resources:Emergent Political Economies and A Science of Possibilityby David Krakauer for SFI Parallax Newsletter, Spring 2022 EditionPolicing stabilizes construction of social niches in primatesby Jessica Flack, Michelle Girvan, Frans de Waal, and David Krakauer in NatureConflicts of interest improve collective computation of adaptive social structuresby Eleanor Brush, David Krakauer, and Jessica Flack in Science AdvancesThe Star Gazer and the Flesh Eater: Elements of a Theory of Metahistoryby David C. Krakauer in History, Big History, and Metahistory at SFI PressThe Cultural Evolution of National Constitutionsby Daniel Rockmore, Chen Fang, Nick Foti, Tom Ginsburg, & David Krakauer in SSRNScaling of Hunter-Gatherer Camp Size and Human Socialityby José Lobo, Todd Whitelaw, Luís M. A. Bettencourt, Polly Wiessner, Michael E. Smith, & Scott Ortman in Current AnthropologyW. Brian Arthur on Complexity Podcast (eps. 13, 14, 68, 69)Reflections on COVID-19 with David Krakauer & Geoffrey West (Complexity Podcast)The Dawn of Everythingby David Graeber and David Wengrow at Macmillan PublishersMitch Waldrop speaks on the history of SFI (Twitter excerpts)The Hedgehog and the Foxby Isaiah BerlinWar and Peaceby Leo TolstoyOn the Application of Mathematics to Political Economyby F. Y. Edgeworth in Journal of the Royal Statistical SocietyHow Economics Became A Mathematical Scienceby E. Roy Weintraub at Duke University PressMachine Dreamsby Philip Mirowski at Cambridge University PressAll Watched Over by Machines of Loving Grace (TV series)by Adam Curtis for BBCCan't Get You Out of My Head (TV series)by Adam Curtis for BBCThe Collective Computation Group at SFISeeing Like A Stateby James. C Scott at Yale BooksUncertain timesby Jessica Flack and Melanie Mitchell at AeonAt the limits of thoughtby David Krakauer at AeonPreventative Citizen-Based Medicineby David Krakauer for the SFI Transmissions: Reflections seriesThe uncertainty paradox. Can science make uncertainty optimistic?by Stuart Firestein (SFI Seminar)

Episode one hundred and forty-seven of A History of Rock Music in Five Hundred Songs looks at “Hey Joe" by the Jimi Hendrix Experience, and is the longest episode to date, at over two hours. Patreon backers also have a twenty-two-minute bonus episode available, on "Making Time" by The Creation. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. Information on Arthur Lee and Love came from Forever Changes: Arthur Lee and the Book of Love by John Einarson, and Arthur Lee: Alone Again Or by Barney Hoskyns. Information on Gary Usher's work with the Surfaris and the Sons of Adam came from The California Sound by Stephen McParland, which can be found at https://payhip.com/CMusicBooks Information on Jimi Hendrix came from Room Full of Mirrors by Charles R. Cross, Crosstown Traffic by Charles Shaar Murray, and Wild Thing by Philip Norman. Information on the history of "Hey Joe" itself came from all these sources plus Hey Joe: The Unauthorised Biography of a Rock Classic by Marc Shapiro, though note that most of that book is about post-1967 cover versions. Most of the pre-Experience session work by Jimi Hendrix I excerpt in this episode is on this box set of alternate takes and live recordings. And "Hey Joe" can be found on Are You Experienced? Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Just a quick note before we start – this episode deals with a song whose basic subject is a man murdering a woman, and that song also contains references to guns, and in some versions to cocaine use. Some versions excerpted also contain misogynistic slurs. If those things are likely to upset you, please skip this episode, as the whole episode focusses on that song. I would hope it goes without saying that I don't approve of misogyny, intimate partner violence, or murder, and my discussing a song does not mean I condone acts depicted in its lyrics, and the episode itself deals with the writing and recording of the song rather than its subject matter, but it would be impossible to talk about the record without excerpting the song. The normalisation of violence against women in rock music lyrics is a subject I will come back to, but did not have room for in what is already a very long episode. Anyway, on with the show. Let's talk about the folk process, shall we? We've talked before, like in the episodes on "Stagger Lee" and "Ida Red", about how there are some songs that aren't really individual songs in themselves, but are instead collections of related songs that might happen to share a name, or a title, or a story, or a melody, but which might be different in other ways. There are probably more songs that are like this than songs that aren't, and it doesn't just apply to folk songs, although that's where we see it most notably. You only have to look at the way a song like "Hound Dog" changed from the Willie Mae Thornton version to the version by Elvis, which only shared a handful of words with the original. Songs change, and recombine, and everyone who sings them brings something different to them, until they change in ways that nobody could have predicted, like a game of telephone. But there usually remains a core, an archetypal story or idea which remains constant no matter how much the song changes. Like Stagger Lee shooting Billy in a bar over a hat, or Frankie killing her man -- sometimes the man is Al, sometimes he's Johnny, but he always done her wrong. And one of those stories is about a man who shoots his cheating woman with a forty-four, and tries to escape -- sometimes to a town called Jericho, and sometimes to Juarez, Mexico. The first version of this song we have a recording of is by Clarence Ashley, in 1929, a recording of an older folk song that was called, in his version, "Little Sadie": [Excerpt: Clarence Ashley, "Little Sadie"] At some point, somebody seems to have noticed that that song has a slight melodic similarity to another family of songs, the family known as "Cocaine Blues" or "Take a Whiff on Me", which was popular around the same time: [Excerpt: The Memphis Jug Band, "Cocaine Habit Blues"] And so the two songs became combined, and the protagonist of "Little Sadie" now had a reason to kill his woman -- a reason other than her cheating, that is. He had taken a shot of cocaine before shooting her. The first recording of this version, under the name "Cocaine Blues" seems to have been a Western Swing version by W. A. Nichol's Western Aces: [Excerpt: W.A. Nichol's Western Aces, "Cocaine Blues"] Woody Guthrie recorded a version around the same time -- I've seen different dates and so don't know for sure if it was before or after Nichol's version -- and his version had himself credited as songwriter, and included this last verse which doesn't seem to appear on any earlier recordings of the song: [Excerpt: Woody Guthrie, "Cocaine Blues"] That doesn't appear on many later recordings either, but it did clearly influence yet another song -- Mose Allison's classic jazz number "Parchman Farm": [Excerpt: Mose Allison, "Parchman Farm"] The most famous recordings of the song, though, were by Johnny Cash, who recorded it as both "Cocaine Blues" and as "Transfusion Blues". In Cash's version of the song, the murderer gets sentenced to "ninety-nine years in the Folsom pen", so it made sense that Cash would perform that on his most famous album, the live album of his January 1968 concerts at Folsom Prison, which revitalised his career after several years of limited success: [Excerpt: Johnny Cash, "Cocaine Blues (live at Folsom Prison)"] While that was Cash's first live recording at a prison, though, it wasn't the first show he played at a prison -- ever since the success of his single "Folsom Prison Blues" he'd been something of a hero to prisoners, and he had been doing shows in prisons for eleven years by the time of that recording. And on one of those shows he had as his support act a man named Billy Roberts, who performed his own song which followed the same broad outlines as "Cocaine Blues" -- a man with a forty-four who goes out to shoot his woman and then escapes to Mexico. Roberts was an obscure folk singer, who never had much success, but who was good with people. He'd been part of the Greenwich Village folk scene in the 1950s, and at a gig at Gerde's Folk City he'd met a woman named Niela Miller, an aspiring songwriter, and had struck up a relationship with her. Miller only ever wrote one song that got recorded by anyone else, a song called "Mean World Blues" that was recorded by Dave Van Ronk: [Excerpt: Dave Van Ronk, "Mean World Blues"] Now, that's an original song, but it does bear a certain melodic resemblance to another old folk song, one known as "Where Did You Sleep Last Night?" or "In the Pines", or sometimes "Black Girl": [Excerpt: Lead Belly, "Where Did You Sleep Last Night?"] Miller was clearly familiar with the tradition from which "Where Did You Sleep Last Night?" comes -- it's a type of folk song where someone asks a question and then someone else answers it, and this repeats, building up a story. This is a very old folk song format, and you hear it for example in "Lord Randall", the song on which Bob Dylan based "A Hard Rain's A-Gonna Fall": [Excerpt: Ewan MacColl, "Lord Randall"] I say she was clearly familiar with it, because the other song she wrote that anyone's heard was based very much around that idea. "Baby Please Don't Go To Town" is a question-and-answer song in precisely that form, but with an unusual chord progression for a folk song. You may remember back in the episode on "Eight Miles High" I talked about the circle of fifths -- a chord progression which either increases or decreases by a fifth for every chord, so it might go C-G-D-A-E [demonstrates] That's a common progression in pop and jazz, but not really so much in folk, but it's the one that Miller had used for "Baby, Please Don't Go to Town", and she'd taught Roberts that song, which she only recorded much later: [Excerpt: Niela Miller, "Baby, Please Don't Go To Town"] After Roberts and Miller broke up, Miller kept playing that melody, but he changed the lyrics. The lyrics he added had several influences. There was that question-and-answer folk-song format, there's the story of "Cocaine Blues" with its protagonist getting a forty-four to shoot his woman down before heading to Mexico, and there's also a country hit from 1953. "Hey, Joe!" was originally recorded by Carl Smith, one of the most popular country singers of the early fifties: [Excerpt: Carl Smith, "Hey Joe!"] That was written by Boudleaux Bryant, a few years before the songs he co-wrote for the Everly Brothers, and became a country number one, staying at the top for eight weeks. It didn't make the pop chart, but a pop cover version of it by Frankie Laine made the top ten in the US: [Excerpt: Frankie Laine, "Hey Joe"] Laine's record did even better in the UK, where it made number one, at a point where Laine was the biggest star in music in Britain -- at the time the UK charts only had a top twelve, and at one point four of the singles in the top twelve were by Laine, including that one. There was also an answer record by Kitty Wells which made the country top ten later that year: [Excerpt: Kitty Wells, "Hey Joe"] Oddly, despite it being a very big hit, that "Hey Joe" had almost no further cover versions for twenty years, though it did become part of the Searchers' setlist, and was included on their Live at the Star Club album in 1963, in an arrangement that owed a lot to "What'd I Say": [Excerpt: The Searchers, "Hey Joe"] But that song was clearly on Roberts' mind when, as so many American folk musicians did, he travelled to the UK in the late fifties and became briefly involved in the burgeoning UK folk movement. In particular, he spent some time with a twelve-string guitar player from Edinburgh called Len Partridge, who was also a mentor to Bert Jansch, and who was apparently an extraordinary musician, though I know of no recordings of his work. Partridge helped Roberts finish up the song, though Partridge is about the only person in this story who *didn't* claim a writing credit for it at one time or another, saying that he just helped Roberts out and that Roberts deserved all the credit. The first known recording of the completed song is from 1962, a few years after Roberts had returned to the US, though it didn't surface until decades later: [Excerpt: Billy Roberts, "Hey Joe"] Roberts was performing this song regularly on the folk circuit, and around the time of that recording he also finally got round to registering the copyright, several years after it was written. When Miller heard the song, she was furious, and she later said "Imagine my surprise when I heard Hey Joe by Billy Roberts. There was my tune, my chord progression, my question/answer format. He dropped the bridge that was in my song and changed it enough so that the copyright did not protect me from his plagiarism... I decided not to go through with all the complications of dealing with him. He never contacted me about it or gave me any credit. He knows he committed a morally reprehensible act. He never was man enough to make amends and apologize to me, or to give credit for the inspiration. Dealing with all that was also why I made the decision not to become a professional songwriter. It left a bad taste in my mouth.” Pete Seeger, a friend of Miller's, was outraged by the injustice and offered to testify on her behalf should she decide to take Roberts to court, but she never did. Some time around this point, Roberts also played on that prison bill with Johnny Cash, and what happened next is hard to pin down. I've read several different versions of the story, which change the date and which prison this was in, and none of the details in any story hang together properly -- everything introduces weird inconsistencies and things which just make no sense at all. Something like this basic outline of the story seems to have happened, but the outline itself is weird, and we'll probably never know the truth. Roberts played his set, and one of the songs he played was "Hey Joe", and at some point he got talking to one of the prisoners in the audience, Dino Valenti. We've met Valenti before, in the episode on "Mr. Tambourine Man" -- he was a singer/songwriter himself, and would later be the lead singer of Quicksilver Messenger Service, but he's probably best known for having written "Get Together": [Excerpt: Dino Valenti, "Get Together"] As we heard in the "Mr. Tambourine Man" episode, Valenti actually sold off his rights to that song to pay for his bail at one point, but he was in and out of prison several times because of drug busts. At this point, or so the story goes, he was eligible for parole, but he needed to prove he had a possible income when he got out, and one way he wanted to do that was to show that he had written a song that could be a hit he could make money off, but he didn't have such a song. He talked about his predicament with Roberts, who agreed to let him claim to have written "Hey Joe" so he could get out of prison. He did make that claim, and when he got out of prison he continued making the claim, and registered the copyright to "Hey Joe" in his own name -- even though Roberts had already registered it -- and signed a publishing deal for it with Third Story Music, a company owned by Herb Cohen, the future manager of the Mothers of Invention, and Cohen's brother Mutt. Valenti was a popular face on the folk scene, and he played "his" song to many people, but two in particular would influence the way the song would develop, both of them people we've seen relatively recently in episodes of the podcast. One of them, Vince Martin, we'll come back to later, but the other was David Crosby, and so let's talk about him and the Byrds a bit more. Crosby and Valenti had been friends long before the Byrds formed, and indeed we heard in the "Mr. Tambourine Man" episode how the group had named themselves after Valenti's song "Birdses": [Excerpt: Dino Valenti, "Birdses"] And Crosby *loved* "Hey Joe", which he believed was another of Valenti's songs. He'd perform it every chance he got, playing it solo on guitar in an arrangement that other people have compared to Mose Allison. He'd tried to get it on the first two Byrds albums, but had been turned down, mostly because of their manager and uncredited co-producer Jim Dickson, who had strong opinions about it, saying later "Some of the songs that David would bring in from the outside were perfectly valid songs for other people, but did not seem to be compatible with the Byrds' myth. And he may not have liked the Byrds' myth. He fought for 'Hey Joe' and he did it. As long as I could say 'No!' I did, and when I couldn't any more they did it. You had to give him something somewhere. I just wish it was something else... 'Hey Joe' I was bitterly opposed to. A song about a guy who murders his girlfriend in a jealous rage and is on the way to Mexico with a gun in his hand. It was not what I saw as a Byrds song." Indeed, Dickson was so opposed to the song that he would later say “One of the reasons David engineered my getting thrown out was because I would not let Hey Joe be on the Turn! Turn! Turn! album.” Dickson was, though, still working with the band when they got round to recording it. That came during the recording of their Fifth Dimension album, the album which included "Eight Miles High". That album was mostly recorded after the departure of Gene Clark, which was where we left the group at the end of the "Eight Miles High" episode, and the loss of their main songwriter meant that they were struggling for material -- doubly so since they also decided they were going to move away from Dylan covers. This meant that they had to rely on original material from the group's less commercial songwriters, and on a few folk songs, mostly learned from Pete Seeger The album ended up with only eleven songs on it, compared to the twelve that was normal for American albums at that time, and the singles on it after "Eight Miles High" weren't particularly promising as to the group's ability to come up with commercial material. The next single, "5D", a song by Roger McGuinn about the fifth dimension, was a waltz-time song that both Crosby and Chris Hillman were enthused by. It featured organ by Van Dyke Parks, and McGuinn said of the organ part "When he came into the studio I told him to think Bach. He was already thinking Bach before that anyway.": [Excerpt: The Byrds, "5D"] While the group liked it, though, that didn't make the top forty. The next single did, just about -- a song that McGuinn had written as an attempt at communicating with alien life. He hoped that it would be played on the radio, and that the radio waves would eventually reach aliens, who would hear it and respond: [Excerpt: The Byrds, "Mr. Spaceman"] The "Fifth Dimension" album did significantly worse, both critically and commercially, than their previous albums, and the group would soon drop Allen Stanton, the producer, in favour of Gary Usher, Brian Wilson's old songwriting partner. But the desperation for material meant that the group agreed to record the song which they still thought at that time had been written by Crosby's friend, though nobody other than Crosby was happy with it, and even Crosby later said "It was a mistake. I shouldn't have done it. Everybody makes mistakes." McGuinn said later "The reason Crosby did lead on 'Hey Joe' was because it was *his* song. He didn't write it but he was responsible for finding it. He'd wanted to do it for years but we would never let him.": [Excerpt: The Byrds, "Hey Joe"] Of course, that arrangement is very far from the Mose Allison style version Crosby had been doing previously. And the reason for that can be found in the full version of that McGuinn quote, because the full version continues "He'd wanted to do it for years but we would never let him. Then both Love and The Leaves had a minor hit with it and David got so angry that we had to let him do it. His version wasn't that hot because he wasn't a strong lead vocalist." The arrangement we just heard was the arrangement that by this point almost every group on the Sunset Strip scene was playing. And the reason for that was because of another friend of Crosby's, someone who had been a roadie for the Byrds -- Bryan MacLean. MacLean and Crosby had been very close because they were both from very similar backgrounds -- they were both Hollywood brats with huge egos. MacLean later said "Crosby and I got on perfectly. I didn't understand what everybody was complaining about, because he was just like me!" MacLean was, if anything, from an even more privileged background than Crosby. His father was an architect who'd designed houses for Elizabeth Taylor and Dean Martin, his neighbour when growing up was Frederick Loewe, the composer of My Fair Lady. He learned to swim in Elizabeth Taylor's private pool, and his first girlfriend was Liza Minelli. Another early girlfriend was Jackie DeShannon, the singer-songwriter who did the original version of "Needles and Pins", who he was introduced to by Sharon Sheeley, whose name you will remember from many previous episodes. MacLean had wanted to be an artist until his late teens, when he walked into a shop in Westwood which sometimes sold his paintings, the Sandal Shop, and heard some people singing folk songs there. He decided he wanted to be a folk singer, and soon started performing at the Balladeer, a club which would later be renamed the Troubadour, playing songs like Robert Johnson's "Cross Roads Blues", which had recently become a staple of the folk repertoire after John Hammond put out the King of the Delta Blues Singers album: [Excerpt: Robert Johnson, "Cross Roads Blues"] Reading interviews with people who knew MacLean at the time, the same phrase keeps coming up. John Kay, later the lead singer of Steppenwolf, said "There was a young kid, Bryan MacLean, kind of cocky but nonetheless a nice kid, who hung around Crosby and McGuinn" while Chris Hillman said "He was a pretty good kid but a wee bit cocky." He was a fan of the various musicians who later formed the Byrds, and was also an admirer of a young guitarist on the scene named Ryland Cooder, and of a blues singer on the scene named Taj Mahal. He apparently was briefly in a band with Taj Mahal, called Summer's Children, who as far as I can tell had no connection to the duo that Curt Boettcher later formed of the same name, before Taj Mahal and Cooder formed The Rising Sons, a multi-racial blues band who were for a while the main rivals to the Byrds on the scene. MacLean, though, firmly hitched himself to the Byrds, and particularly to Crosby. He became a roadie on their first tour, and Hillman said "He was a hard-working guy on our behalf. As I recall, he pretty much answered to Crosby and was David's assistant, to put it diplomatically – more like his gofer, in fact." But MacLean wasn't cut out for the hard work that being a roadie required, and after being the Byrds' roadie for about thirty shows, he started making mistakes, and when they went off on their UK tour they decided not to keep employing him. He was heartbroken, but got back into trying his own musical career. He auditioned for the Monkees, unsuccessfully, but shortly after that -- some sources say even the same day as the audition, though that seems a little too neat -- he went to Ben Frank's -- the LA hangout that had actually been namechecked in the open call for Monkees auditions, which said they wanted "Ben Franks types", and there he met Arthur Lee and Johnny Echols. Echols would later remember "He was this gadfly kind of character who knew everybody and was flitting from table to table. He wore striped pants and a scarf, and he had this long, strawberry hair. All the girls loved him. For whatever reason, he came and sat at our table. Of course, Arthur and I were the only two black people there at the time." Lee and Echols were both Black musicians who had been born in Memphis. Lee's birth father, Chester Taylor, had been a cornet player with Jimmie Lunceford, whose Delta Rhythm Boys had had a hit with "The Honeydripper", as we heard way back in the episode on "Rocket '88": [Excerpt: Jimmie Lunceford and the Delta Rhythm Boys, "The Honeydripper"] However, Taylor soon split from Lee's mother, a schoolteacher, and she married Clinton Lee, a stonemason, who doted on his adopted son, and they moved to California. They lived in a relatively prosperous area of LA, a neighbourhood that was almost all white, with a few Asian families, though the boxer Sugar Ray Robinson lived nearby. A year or so after Arthur and his mother moved to LA, so did the Echols family, who had known them in Memphis, and they happened to move only a couple of streets away. Eight year old Arthur Lee reconnected with seven-year-old Johnny Echols, and the two became close friends from that point on. Arthur Lee first started out playing music when his parents were talked into buying him an accordion by a salesman who would go around with a donkey, give kids free donkey rides, and give the parents a sales pitch while they were riding the donkey, He soon gave up on the accordion and persuaded his parents to buy him an organ instead -- he was a spoiled child, by all accounts, with a TV in his bedroom, which was almost unheard of in the late fifties. Johnny Echols had a similar experience which led to his parents buying him a guitar, and the two were growing up in a musical environment generally. They attended Dorsey High School at the same time as both Billy Preston and Mike Love of the Beach Boys, and Ella Fitzgerald and her then-husband, the great jazz bass player Ray Brown, lived in the same apartment building as the Echols family for a while. Ornette Coleman, the free-jazz saxophone player, lived next door to Echols, and Adolphus Jacobs, the guitarist with the Coasters, gave him guitar lessons. Arthur Lee also knew Johnny Otis, who ran a pigeon-breeding club for local children which Arthur would attend. Echols was the one who first suggested that he and Arthur should form a band, and they put together a group to play at a school talent show, performing "Last Night", the instrumental that had been a hit for the Mar-Keys on Stax records: [Excerpt: The Mar-Keys, "Last Night"] They soon became a regular group, naming themselves Arthur Lee and the LAGs -- the LA Group, in imitation of Booker T and the MGs – the Memphis Group. At some point around this time, Lee decided to switch from playing organ to playing guitar. He would say later that this was inspired by seeing Johnny "Guitar" Watson get out of a gold Cadillac, wearing a gold suit, and with gold teeth in his mouth. The LAGs started playing as support acts and backing bands for any blues and soul acts that came through LA, performing with Big Mama Thornton, Johnny Otis, the O'Jays, and more. Arthur and Johnny were both still under-age, and they would pencil in fake moustaches to play the clubs so they'd appear older. In the fifties and early sixties, there were a number of great electric guitar players playing blues on the West Coast -- Johnny "Guitar" Watson, T-Bone Walker, Guitar Slim, and others -- and they would compete with each other not only to play well, but to put on a show, and so there was a whole bag of stage tricks that West Coast R&B guitarists picked up, and Echols learned all of them -- playing his guitar behind his back, playing his guitar with his teeth, playing with his guitar between his legs. As well as playing their own shows, the LAGs also played gigs under other names -- they had a corrupt agent who would book them under the name of whatever Black group had a hit at the time, in the belief that almost nobody knew what popular groups looked like anyway, so they would go out and perform as the Drifters or the Coasters or half a dozen other bands. But Arthur Lee in particular wanted to have success in his own right. He would later say "When I was a little boy I would listen to Nat 'King' Cole and I would look at that purple Capitol Records logo. I wanted to be on Capitol, that was my goal. Later on I used to walk from Dorsey High School all the way up to the Capitol building in Hollywood -- did that many times. I was determined to get a record deal with Capitol, and I did, without the help of a fancy manager or anyone else. I talked to Adam Ross and Jack Levy at Ardmore-Beechwood. I talked to Kim Fowley, and then I talked to Capitol". The record that the LAGs released, though, was not very good, a track called "Rumble-Still-Skins": [Excerpt: The LAGs, "Rumble-Still-Skins"] Lee later said "I was young and very inexperienced and I was testing the record company. I figured if I gave them my worst stuff and they ripped me off I wouldn't get hurt. But it didn't work, and after that I started giving my best, and I've been doing that ever since." The LAGs were dropped by Capitol after one single, and for the next little while Arthur and Johnny did work for smaller labels, usually labels owned by Bob Keane, with Arthur writing and producing and Johnny playing guitar -- though Echols has said more recently that a lot of the songs that were credited to Arthur as sole writer were actually joint compositions. Most of these records were attempts at copying the style of other people. There was "I Been Trying", a Phil Spector soundalike released by Little Ray: [Excerpt: Little Ray, "I Been Trying"] And there were a few attempts at sounding like Curtis Mayfield, like "Slow Jerk" by Ronnie and the Pomona Casuals: [Excerpt: Ronnie and the Pomona Casuals, "Slow Jerk"] and "My Diary" by Rosa Lee Brooks: [Excerpt: Rosa Lee Brooks, "My Diary"] Echols was also playing with a lot of other people, and one of the musicians he was playing with, his old school friend Billy Preston, told him about a recent European tour he'd been on with Little Richard, and the band from Liverpool he'd befriended while he was there who idolised Richard, so when the Beatles hit America, Arthur and Johnny had some small amount of context for them. They soon broke up the LAGs and formed another group, the American Four, with two white musicians, bass player John Fleckenstein and drummer Don Costa. Lee had them wear wigs so they seemed like they had longer hair, and started dressing more eccentrically -- he would soon become known for wearing glasses with one blue lens and one red one, and, as he put it "wearing forty pounds of beads, two coats, three shirts, and wearing two pairs of shoes on one foot". As well as the Beatles, the American Four were inspired by the other British Invasion bands -- Arthur was in the audience for the TAMI show, and quite impressed by Mick Jagger -- and also by the Valentinos, Bobby Womack's group. They tried to get signed to SAR Records, the label owned by Sam Cooke for which the Valentinos recorded, but SAR weren't interested, and they ended up recording for Bob Keane's Del-Fi records, where they cut "Luci Baines", a "Twist and Shout" knock-off with lyrics referencing the daughter of new US President Lyndon Johnson: [Excerpt: The American Four, "Luci Baines"] But that didn't take off any more than the earlier records had. Another American Four track, "Stay Away", was recorded but went unreleased until 2006: [Excerpt: Arthur Lee and the American Four, "Stay Away"] Soon the American Four were changing their sound and name again. This time it was because of two bands who were becoming successful on the Sunset Strip. One was the Byrds, who to Lee's mind were making music like the stuff he heard in his head, and the other was their rivals the Rising Sons, the blues band we mentioned earlier with Taj Mahal and Ry Cooder. Lee was very impressed by them as an multiracial band making aggressive, loud, guitar music, though he would always make the point when talking about them that they were a blues band, not a rock band, and *he* had the first multiracial rock band. Whatever they were like live though, in their recordings, produced by the Byrds' first producer Terry Melcher, the Rising Sons often had the same garage band folk-punk sound that Lee and Echols would soon make their own: [Excerpt: The Rising Sons, "Take a Giant Step"] But while the Rising Sons recorded a full album's worth of material, only one single was released before they split up, and so the way was clear for Lee and Echols' band, now renamed once again to The Grass Roots, to become the Byrds' new challengers. Lee later said "I named the group The Grass Roots behind a trip, or an album I heard that Malcolm X did, where he said 'the grass roots of the people are out in the street doing something about their problems instead of sitting around talking about it'". After seeing the Rolling Stones and the Byrds live, Lee wanted to get up front and move like Mick Jagger, and not be hindered by playing a guitar he wasn't especially good at -- both the Stones and the Byrds had two guitarists and a frontman who just sang and played hand percussion, and these were the models that Lee was following for the group. He also thought it would be a good idea commercially to get a good-looking white boy up front. So the group got in another guitarist, a white pretty boy who Lee soon fell out with and gave the nickname "Bummer Bob" because he was unpleasant to be around. Those of you who know exactly why Bobby Beausoleil later became famous will probably agree that this was a more than reasonable nickname to give him (and those of you who don't, I'll be dealing with him when we get to 1969). So when Bryan MacLean introduced himself to Lee and Echols, and they found out that not only was he also a good-looking white guitarist, but he was also friends with the entire circle of hipsters who'd been going to Byrds gigs, people like Vito and Franzoni, and he could get a massive crowd of them to come along to gigs for any band he was in and make them the talk of the Sunset Strip scene, he was soon in the Grass Roots, and Bummer Bob was out. The Grass Roots soon had to change their name again, though. In 1965, Jan and Dean recorded their "Folk and Roll" album, which featured "The Universal Coward"... Which I am not going to excerpt again. I only put that pause in to terrify Tilt, who edits these podcasts, and has very strong opinions about that song. But P. F. Sloan and Steve Barri, the songwriters who also performed as the Fantastic Baggies, had come up with a song for that album called "Where Where You When I Needed You?": [Excerpt: Jan and Dean, "Where Were You When I Needed You?"] Sloan and Barri decided to cut their own version of that song under a fake band name, and then put together a group of other musicians to tour as that band. They just needed a name, and Lou Adler, the head of Dunhill Records, suggested they call themselves The Grass Roots, and so that's what they did: [Excerpt: The Grass Roots, "Where Were You When I Needed You?"] Echols would later claim that this was deliberate malice on Adler's part -- that Adler had come in to a Grass Roots show drunk, and pretended to be interested in signing them to a contract, mostly to show off to a woman he'd brought with him. Echols and MacLean had spoken to him, not known who he was, and he'd felt disrespected, and Echols claims that he suggested the name to get back at them, and also to capitalise on their local success. The new Grass Roots soon started having hits, and so the old band had to find another name, which they got as a joking reference to a day job Lee had had at one point -- he'd apparently worked in a specialist bra shop, Luv Brassieres, which the rest of the band found hilarious. The Grass Roots became Love. While Arthur Lee was the group's lead singer, Bryan MacLean would often sing harmonies, and would get a song or two to sing live himself. And very early in the group's career, when they were playing a club called Bido Lito's, he started making his big lead spot a version of "Hey Joe", which he'd learned from his old friend David Crosby, and which soon became the highlight of the group's set. Their version was sped up, and included the riff which the Searchers had popularised in their cover version of  "Needles and Pins", the song originally recorded by MacLean's old girlfriend Jackie DeShannon: [Excerpt: The Searchers, "Needles and Pins"] That riff is a very simple one to play, and variants of it became very, very, common among the LA bands, most notably on the Byrds' "I'll Feel a Whole Lot Better": [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] The riff was so ubiquitous in the LA scene that in the late eighties Frank Zappa would still cite it as one of his main memories of the scene. I'm going to quote from his autobiography, where he's talking about the differences between the LA scene he was part of and the San Francisco scene he had no time for: "The Byrds were the be-all and end-all of Los Angeles rock then. They were 'It' -- and then a group called Love was 'It.' There were a few 'psychedelic' groups that never really got to be 'It,' but they could still find work and get record deals, including the West Coast Pop Art Experimental Band, Sky Saxon and the Seeds, and the Leaves (noted for their cover version of "Hey, Joe"). When we first went to San Francisco, in the early days of the Family Dog, it seemed that everybody was wearing the same costume, a mixture of Barbary Coast and Old West -- guys with handlebar mustaches, girls in big bustle dresses with feathers in their hair, etc. By contrast, the L.A. costumery was more random and outlandish. Musically, the northern bands had a little more country style. In L.A., it was folk-rock to death. Everything had that" [and here Zappa uses the adjectival form of a four-letter word beginning with 'f' that the main podcast providers don't like you saying on non-adult-rated shows] "D chord down at the bottom of the neck where you wiggle your finger around -- like 'Needles and Pins.'" The reason Zappa describes it that way, and the reason it became so popular, is that if you play that riff in D, the chords are D, Dsus2, and Dsus4 which means you literally only wiggle one finger on your left hand: [demonstrates] And so you get that on just a ton of records from that period, though Love, the Byrds, and the Searchers all actually play the riff on A rather than D: [demonstrates] So that riff became the Big Thing in LA after the Byrds popularised the Searchers sound there, and Love added it to their arrangement of "Hey Joe". In January 1966, the group would record their arrangement of it for their first album, which would come out in March: [Excerpt: Love, "Hey Joe"] But that wouldn't be the first recording of the song, or of Love's arrangement of it – although other than the Byrds' version, it would be the only one to come out of LA with the original Billy Roberts lyrics. Love's performances of the song at Bido Lito's had become the talk of the Sunset Strip scene, and soon every band worth its salt was copying it, and it became one of those songs like "Louie Louie" before it that everyone would play. The first record ever made with the "Hey Joe" melody actually had totally different lyrics. Kim Fowley had the idea of writing a sequel to "Hey Joe", titled "Wanted Dead or Alive", about what happened after Joe shot his woman and went off. He produced the track for The Rogues, a group consisting of Michael Lloyd and Shaun Harris, who later went on to form the West Coast Pop Art Experimental Band, and Lloyd and Harris were the credited writers: [Excerpt: The Rogues, "Wanted Dead or Alive"] The next version of the song to come out was the first by anyone to be released as "Hey Joe", or at least as "Hey Joe, Where You Gonna Go?", which was how it was titled on its initial release. This was by a band called The Leaves, who were friends of Love, and had picked up on "Hey Joe", and was produced by Nik Venet. It was also the first to have the now-familiar opening line "Hey Joe, where you going with that gun in your hand?": [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] Roberts' original lyric, as sung by both Love and the Byrds, had been "where you going with that money in your hand?", and had Joe headed off to *buy* the gun. But as Echols later said “What happened was Bob Lee from The Leaves, who were friends of ours, asked me for the words to 'Hey Joe'. I told him I would have the words the next day. I decided to write totally different lyrics. The words you hear on their record are ones I wrote as a joke. The original words to Hey Joe are ‘Hey Joe, where you going with that money in your hand? Well I'm going downtown to buy me a blue steel .44. When I catch up with that woman, she won't be running round no more.' It never says ‘Hey Joe where you goin' with that gun in your hand.' Those were the words I wrote just because I knew they were going to try and cover the song before we released it. That was kind of a dirty trick that I played on The Leaves, which turned out to be the words that everybody uses.” That first release by the Leaves also contained an extra verse -- a nod to Love's previous name: [Excerpt: The Leaves, "Hey Joe Where You Gonna Go?"] That original recording credited the song as public domain -- apparently Bryan MacLean had refused to tell the Leaves who had written the song, and so they assumed it was traditional. It came out in November 1965, but only as a promo single. Even before the Leaves, though, another band had recorded "Hey Joe", but it didn't get released. The Sons of Adam had started out as a surf group called the Fender IV, who made records like "Malibu Run": [Excerpt: The Fender IV, "Malibu Run"] Kim Fowley had suggested they change their name to the Sons of Adam, and they were another group who were friends with Love -- their drummer, Michael Stuart-Ware, would later go on to join Love, and Arthur Lee wrote the song "Feathered Fish" for them: [Excerpt: Sons of Adam, "Feathered Fish"] But while they were the first to record "Hey Joe", their version has still to this day not been released. Their version was recorded for Decca, with producer Gary Usher, but before it was released, another Decca artist also recorded the song, and the label weren't sure which one to release. And then the label decided to press Usher to record a version with yet another act -- this time with the Surfaris, the surf group who had had a hit with "Wipe Out". Coincidentally, the Surfaris had just changed bass players -- their most recent bass player, Ken Forssi, had quit and joined Love, whose own bass player, John Fleckenstein, had gone off to join the Standells, who would also record a version of “Hey Joe” in 1966. Usher thought that the Sons of Adam were much better musicians than the Surfaris, who he was recording with more or less under protest, but their version, using Love's arrangement and the "gun in your hand" lyrics, became the first version to come out on a major label: [Excerpt: The Surfaris, "Hey Joe"] They believed the song was in the public domain, and so the songwriting credits on the record are split between Gary Usher, a W. Hale who nobody has been able to identify, and Tony Cost, a pseudonym for Nik Venet. Usher said later "I got writer's credit on it because I was told, or I assumed at the time, the song was Public Domain; meaning a non-copyrighted song. It had already been cut two or three times, and on each occasion the writing credit had been different. On a traditional song, whoever arranges it, takes the songwriting credit. I may have changed a few words and arranged and produced it, but I certainly did not co-write it." The public domain credit also appeared on the Leaves' second attempt to cut the song, which was actually given a general release, but flopped. But when the Leaves cut the song for a *third* time, still for the same tiny label, Mira, the track became a hit in May 1966, reaching number thirty-one: [Excerpt: The Leaves, "Hey Joe"] And *that* version had what they thought was the correct songwriting credit, to Dino Valenti. Which came as news to Billy Roberts, who had registered the copyright to the song back in 1962 and had no idea that it had become a staple of LA garage rock until he heard his song in the top forty with someone else's name on the credits. He angrily confronted Third Story Music, who agreed to a compromise -- they would stop giving Valenti songwriting royalties and start giving them to Roberts instead, so long as he didn't sue them and let them keep the publishing rights. Roberts was indignant about this -- he deserved all the money, not just half of it -- but he went along with it to avoid a lawsuit he might not win. So Roberts was now the credited songwriter on the versions coming out of the LA scene. But of course, Dino Valenti had been playing "his" song to other people, too. One of those other people was Vince Martin. Martin had been a member of a folk-pop group called the Tarriers, whose members also included the future film star Alan Arkin, and who had had a hit in the 1950s with "Cindy, Oh Cindy": [Excerpt: The Tarriers, "Cindy, Oh Cindy"] But as we heard in the episode on the Lovin' Spoonful, he had become a Greenwich Village folkie, in a duo with Fred Neil, and recorded an album with him, "Tear Down the Walls": [Excerpt: Fred Neil and Vince Martin, "Morning Dew"] That song we just heard, "Morning Dew", was another question-and-answer folk song. It was written by the Canadian folk-singer Bonnie Dobson, but after Martin and Neil recorded it, it was picked up on by Martin's friend Tim Rose who stuck his own name on the credits as well, without Dobson's permission, for a version which made the song into a rock standard for which he continued to collect royalties: [Excerpt: Tim Rose, "Morning Dew"] This was something that Rose seems to have made a habit of doing, though to be fair to him it went both ways. We heard about him in the Lovin' Spoonful episode too, when he was in a band named the Big Three with Cass Elliot and her coincidentally-named future husband Jim Hendricks, who recorded this song, with Rose putting new music to the lyrics of the old public domain song "Oh! Susanna": [Excerpt: The Big Three, "The Banjo Song"] The band Shocking Blue used that melody for their 1969 number-one hit "Venus", and didn't give Rose any credit: [Excerpt: Shocking Blue, "Venus"] But another song that Rose picked up from Vince Martin was "Hey Joe". Martin had picked the song up from Valenti, but didn't know who had written it, or who was claiming to have written it, and told Rose he thought it might be an old Appalchian murder ballad or something. Rose took the song and claimed writing credit in his own name -- he would always, for the rest of his life, claim it was an old folk tune he'd heard in Florida, and that he'd rewritten it substantially himself, but no evidence of the song has ever shown up from prior to Roberts' copyright registration, and Rose's version is basically identical to Roberts' in melody and lyrics. But Rose takes his version at a much slower pace, and his version would be the model for the most successful versions going forward, though those other versions would use the lyrics Johnny Echols had rewritten, rather than the ones Rose used: [Excerpt: Tim Rose, "Hey Joe"] Rose's version got heard across the Atlantic as well. And in particular it was heard by Chas Chandler, the bass player of the Animals. Some sources seem to suggest that Chandler first heard the song performed by a group called the Creation, but in a biography I've read of that group they clearly state that they didn't start playing the song until 1967. But however he came across it, when Chandler heard Rose's recording, he knew that the song could be a big hit for someone, but he didn't know who. And then he bumped into Linda Keith, Keith Richards' girlfriend,  who took him to see someone whose guitar we've already heard in this episode: [Excerpt: Rosa Lee Brooks, "My Diary"] The Curtis Mayfield impression on guitar there was, at least according to many sources the first recording session ever played on by a guitarist then calling himself Maurice (or possibly Mo-rees) James. We'll see later in the story that it possibly wasn't his first -- there are conflicting accounts, as there are about a lot of things, and it was recorded either in very early 1964, in which case it was his first, or (as seems more likely, and as I tell the story later) a year later, in which case he'd played on maybe half a dozen tracks in the studio by that point. But it was still a very early one. And by late 1966 that guitarist had reverted to the name by which he was brought up, and was calling himself Jimi Hendrix. Hendrix and Arthur Lee had become close, and Lee would later claim that Hendrix had copied much of Lee's dress style and attitude -- though many of Hendrix's other colleagues and employers, including Little Richard, would make similar claims -- and most of them had an element of truth, as Lee's did. Hendrix was a sponge. But Lee did influence him. Indeed, one of Hendrix's *last* sessions, in March 1970, was guesting on an album by Love: [Excerpt: Love with Jimi Hendrix, "Everlasting First"] Hendrix's name at birth was Johnny Allen Hendrix, which made his father, James Allen Hendrix, known as Al, who was away at war when his son was born, worry that he'd been named after another man who might possibly be the real father, so the family just referred to the child as "Buster" to avoid the issue. When Al Hendrix came back from the war the child was renamed James Marshall Hendrix -- James after Al's first name, Marshall after Al's dead brother -- though the family continued calling him "Buster". Little James Hendrix Junior didn't have anything like a stable home life. Both his parents were alcoholics, and Al Hendrix was frequently convinced that Jimi's mother Lucille was having affairs and became abusive about it. They had six children, four of whom were born disabled, and Jimi was the only one to remain with his parents -- the rest were either fostered or adopted at birth, fostered later on because the parents weren't providing a decent home life, or in one case made a ward of state because the Hendrixes couldn't afford to pay for a life-saving operation for him. The only one that Jimi had any kind of regular contact with was the second brother, Leon, his parents' favourite, who stayed with them for several years before being fostered by a family only a few blocks away. Al and Lucille Hendrix frequently split and reconciled, and while they were ostensibly raising Jimi (and for a  few years Leon), he was shuttled between them and various family members and friends, living sometimes in Seattle where his parents lived and sometimes in Vancouver with his paternal grandmother. He was frequently malnourished, and often survived because friends' families fed him. Al Hendrix was also often physically and emotionally abusive of the son he wasn't sure was his. Jimi grew up introverted, and stuttering, and only a couple of things seemed to bring him out of his shell. One was science fiction -- he always thought that his nickname, Buster, came from Buster Crabbe, the star of the Flash Gordon serials he loved to watch, though in fact he got the nickname even before that interest developed, and he was fascinated with ideas about aliens and UFOs -- and the other was music. Growing up in Seattle in the forties and fifties, most of the music he was exposed to as a child and in his early teens was music made by and for white people -- there wasn't a very large Black community in the area at the time compared to most major American cities, and so there were no prominent R&B stations. As a kid he loved the music of Bob Wills and the Texas Playboys, and when he was thirteen Jimi's favourite record was Dean Martin's "Memories are Made of This": [Excerpt: Dean Martin, "Memories are Made of This"] He also, like every teenager, became a fan of rock and roll music. When Elvis played at a local stadium when Jimi was fifteen, he couldn't afford a ticket, but he went and sat on top of a nearby hill and watched the show from the distance. Jimi's first exposure to the blues also came around this time, when his father briefly took in lodgers, Cornell and Ernestine Benson, and Ernestine had a record collection that included records by Lightnin' Hopkins, Howlin' Wolf, and Muddy Waters, all of whom Jimi became a big fan of, especially Muddy Waters. The Bensons' most vivid memory of Jimi in later years was him picking up a broom and pretending to play guitar along with these records: [Excerpt: Muddy Waters, "Baby Please Don't Go"] Shortly after this, it would be Ernestine Benson who would get Jimi his very first guitar. By this time Jimi and Al had lost their home and moved into a boarding house, and the owner's son had an acoustic guitar with only one string that he was planning to throw out. When Jimi asked if he could have it instead of it being thrown out, the owner told him he could have it for five dollars. Al Hendrix refused to pay that much for it, but Ernestine Benson bought Jimi the guitar. She said later “He only had one string, but he could really make that string talk.” He started carrying the guitar on his back everywhere he went, in imitation of Sterling Hayden in the western Johnny Guitar, and eventually got some more strings for it and learned to play. He would play it left-handed -- until his father came in. His father had forced him to write with his right hand, and was convinced that left-handedness was the work of the devil, so Jimi would play left-handed while his father was somewhere else, but as soon as Al came in he would flip the guitar the other way up and continue playing the song he had been playing, now right-handed. Jimi's mother died when he was fifteen, after having been ill for a long time with drink-related problems, and Jimi and his brother didn't get to go to the funeral -- depending on who you believe, either Al gave Jimi the bus fare and told him to go by himself and Jimi was too embarrassed to go to the funeral alone on the bus, or Al actually forbade Jimi and Leon from going.  After this, he became even more introverted than he was before, and he also developed a fascination with the idea of angels, convinced his mother now was one. Jimi started to hang around with a friend called Pernell Alexander, who also had a guitar, and they would play along together with Elmore James records. The two also went to see Little Richard and Bill Doggett perform live, and while Jimi was hugely introverted, he did start to build more friendships in the small Seattle music scene, including with Ron Holden, the man we talked about in the episode on "Louie Louie" who introduced that song to Seattle, and who would go on to record with Bruce Johnston for Bob Keane: [Excerpt: Ron Holden, "Gee But I'm Lonesome"] Eventually Ernestine Benson persuaded Al Hendrix to buy Jimi a decent electric guitar on credit -- Al also bought himself a saxophone at the same time, thinking he might play music with his son, but sent it back once the next payment became due. As well as blues and R&B, Jimi was soaking up the guitar instrumentals and garage rock that would soon turn into surf music. The first song he learned to play was "Tall Cool One" by the Fabulous Wailers, the local group who popularised a version of "Louie Louie" based on Holden's one: [Excerpt: The Fabulous Wailers, "Tall Cool One"] As we talked about in the "Louie Louie" episode, the Fabulous Wailers used to play at a venue called the Spanish Castle, and Jimi was a regular in the audience, later writing his song "Spanish Castle Magic" about those shows: [Excerpt: The Jimi Hendrix Experience, "Spanish Castle Magic"] He was also a big fan of Duane Eddy, and soon learned Eddy's big hits "Forty Miles of Bad Road", "Because They're Young", and "Peter Gunn" -- a song he would return to much later in his life: [Excerpt: Jimi Hendrix, "Peter Gunn/Catastrophe"] His career as a guitarist didn't get off to a great start -- the first night he played with his first band, he was meant to play two sets, but he was fired after the first set, because he was playing in too flashy a manner and showing off too much on stage. His girlfriend suggested that he might want to tone it down a little, but he said "That's not my style".  This would be a common story for the next several years. After that false start, the first real band he was in was the Velvetones, with his friend Pernell Alexander. There were four guitarists, two piano players, horns and drums, and they dressed up with glitter stuck to their pants. They played Duane Eddy songs, old jazz numbers, and "Honky Tonk" by Bill Doggett, which became Hendrix's signature song with the band. [Excerpt: Bill Doggett, "Honky Tonk"] His father was unsupportive of his music career, and he left his guitar at Alexander's house because he was scared that his dad would smash it if he took it home. At the same time he was with the Velvetones, he was also playing with another band called the Rocking Kings, who got gigs around the Seattle area, including at the Spanish Castle. But as they left school, most of Hendrix's friends were joining the Army, in order to make a steady living, and so did he -- although not entirely by choice. He was arrested, twice, for riding in stolen cars, and he was given a choice -- either go to prison, or sign up for the Army for three years. He chose the latter. At first, the Army seemed to suit him. He was accepted into the 101st Airborne Division, the famous "Screaming Eagles", whose actions at D-Day made them legendary in the US, and he was proud to be a member of the Division. They were based out of Fort Campbell, the base near Clarksville we talked about a couple of episodes ago, and while he was there he met a bass player, Billy Cox, who he started playing with. As Cox and Hendrix were Black, and as Fort Campbell straddled the border between Kentucky and Tennessee, they had to deal with segregation and play to only Black audiences. And Hendrix quickly discovered that Black audiences in the Southern states weren't interested in "Louie Louie", Duane Eddy, and surf music, the stuff he'd been playing in Seattle. He had to instead switch to playing Albert King and Slim Harpo songs, but luckily he loved that music too. He also started singing at this point -- when Hendrix and Cox started playing together, in a trio called the Kasuals, they had no singer, and while Hendrix never liked his own voice, Cox was worse, and so Hendrix was stuck as the singer. The Kasuals started gigging around Clarksville, and occasionally further afield, places like Nashville, where Arthur Alexander would occasionally sit in with them. But Cox was about to leave the Army, and Hendrix had another two and a bit years to go, having enlisted for three years. They couldn't play any further away unless Hendrix got out of the Army, which he was increasingly unhappy in anyway, and so he did the only thing he could -- he pretended to be gay, and got discharged on medical grounds for homosexuality. In later years he would always pretend he'd broken his ankle parachuting from a plane. For the next few years, he would be a full-time guitarist, and spend the periods when he wasn't earning enough money from that leeching off women he lived with, moving from one to another as they got sick of him or ran out of money. The Kasuals expanded their lineup, adding a second guitarist, Alphonso Young, who would show off on stage by playing guitar with his teeth. Hendrix didn't like being upstaged by another guitarist, and quickly learned to do the same. One biography I've used as a source for this says that at this point, Billy Cox played on a session for King Records, for Frank Howard and the Commanders, and brought Hendrix along, but the producer thought that Hendrix's guitar was too frantic and turned his mic off. But other sources say the session Hendrix and Cox played on for the Commanders wasn't until three years later, and the record *sounds* like a 1965 record, not a 1962 one, and his guitar is very audible – and the record isn't on King. But we've not had any music to break up the narration for a little while, and it's a good track (which later became a Northern Soul favourite) so I'll play a section here, as either way it was certainly an early Hendrix session: [Excerpt: Frank Howard and the Commanders, "I'm So Glad"] This illustrates a general problem with Hendrix's life at this point -- he would flit between bands, playing with the same people at multiple points, nobody was taking detailed notes, and later, once he became famous, everyone wanted to exaggerate their own importance in his life, meaning that while the broad outlines of his life are fairly clear, any detail before late 1966 might be hopelessly wrong. But all the time, Hendrix was learning his craft. One story from around this time  sums up both Hendrix's attitude to his playing -- he saw himself almost as much as a scientist as a musician -- and his slightly formal manner of speech.  He challenged the best blues guitarist in Nashville to a guitar duel, and the audience actually laughed at Hendrix's playing, as he was totally outclassed. When asked what he was doing, he replied “I was simply trying to get that B.B. King tone down and my experiment failed.” Bookings for the King Kasuals dried up, and he went to Vancouver, where he spent a couple of months playing in a covers band, Bobby Taylor and the Vancouvers, whose lead guitarist was Tommy Chong, later to find fame as one half of Cheech and Chong. But he got depressed at how white Vancouver was, and travelled back down south to join a reconfigured King Kasuals, who now had a horn section. The new lineup of King Kasuals were playing the chitlin circuit and had to put on a proper show, and so Hendrix started using all the techniques he'd seen other guitarists on the circuit use -- playing with his teeth like Alphonso Young, the other guitarist in the band, playing with his guitar behind his back like T-Bone Walker, and playing with a fifty-foot cord that allowed him to walk into the crowd and out of the venue, still playing, like Guitar Slim used to. As well as playing with the King Kasuals, he started playing the circuit as a sideman. He got short stints with many of the second-tier acts on the circuit -- people who had had one or two hits, or were crowd-pleasers, but weren't massive stars, like Carla Thomas or Jerry Butler or Slim Harpo. The first really big name he played with was Solomon Burke, who when Hendrix joined his band had just released "Just Out of Reach (Of My Two Empty Arms)": [Excerpt: Solomon Burke, "Just Out of Reach (Of My Two Empty Arms)"] But he lacked discipline. “Five dates would go beautifully,” Burke later said, “and then at the next show, he'd go into this wild stuff that wasn't part of the song. I just couldn't handle it anymore.” Burke traded him to Otis Redding, who was on the same tour, for two horn players, but then Redding fired him a week later and they left him on the side of the road. He played in the backing band for the Marvelettes, on a tour with Curtis Mayfield, who would be another of Hendrix's biggest influences, but he accidentally blew up Mayfield's amp and got sacked. On another tour, Cecil Womack threw Hendrix's guitar off the bus while he slept. In February 1964 he joined the band of the Isley Brothers, and he would watch the Beatles on Ed Sullivan with them during his first days with the group. Assuming he hadn't already played the Rosa Lee Brooks session (and I think there's good reason to believe he hadn't), then the first record Hendrix played on was their single "Testify": [Excerpt: The Isley Brothers, "Testify"] While he was with them, he also moonlighted on Don Covay's big hit "Mercy, Mercy": [Excerpt: Don Covay and the Goodtimers, "Mercy Mercy"] After leaving the Isleys, Hendrix joined the minor soul singer Gorgeous George, and on a break from Gorgeous George's tour, in Memphis, he went to Stax studios in the hope of meeting Steve Cropper, one of his idols. When he was told that Cropper was busy in the studio, he waited around all day until Cropper finished, and introduced himself. Hendrix was amazed to discover that Cropper was white -- he'd assumed that he must be Black -- and Cropper was delighted to meet the guitarist who had played on "Mercy Mercy", one of his favourite records. The two spent hours showing each other guitar licks -- Hendrix playing Cropper's right-handed guitar, as he hadn't brought along his own. Shortly after this, he joined Little Richard's band, and once again came into conflict with the star of the show by trying to upstage him. For one show he wore a satin shirt, and after the show Richard screamed at him “I am the only Little Richard! I am the King of Rock and Roll, and I am the only one allowed to be pretty. Take that shirt off!” While he was with Richard, Hendrix played on his "I Don't Know What You've Got, But It's Got Me", which like "Mercy Mercy" was written by Don Covay, who had started out as Richard's chauffeur: [Excerpt: Little Richard, "I Don't Know What You've Got, But It's Got Me"] According to the most likely version of events I've read, it was while he was working for Richard that Hendrix met Rosa Lee Brooks, on New Year's Eve 1964. At this point he was using the name Maurice James, apparently in tribute to the blues guitarist Elmore James, and he used various names, including Jimmy James, for most of his pre-fame performances. Rosa Lee Brooks was an R&B singer who had been mentored by Johnny "Guitar" Watson, and when she met Hendrix she was singing in a girl group who were one of the support acts for Ike & Tina Turner, who Hendrix went to see on his night off. Hendrix met Brooks afterwards, and told her she looked like his mother -- a line he used on a lot of women, but which was true in her case if photos are anything to go by. The two got into a relationship, and were soon talking about becoming a duo like Ike and Tina or Mickey and Sylvia -- "Love is Strange" was one of Hendrix's favourite records. But the only recording they made together was the "My Diary" single. Brooks always claimed that she actually wrote that song, but the label credit is for Arthur Lee, and it sounds like his work to me, albeit him trying hard to write like Curtis Mayfield, just as Hendrix is trying to play like him: [Excerpt: Rosa Lee Brooks, "My Diary"] Brooks and Hendrix had a very intense relationship for a short period. Brooks would later recall Little

Briefly, at The Australian National University, I was a member of AIESEC, an international group of economics students. There were good moments, but I eventually had the realisation that these weren't really my people; they just didn't have a similar lens on the world, to me. So, I assumed that all economists were the same, until a few years ago when I read a wonderful book called Obliquity. It was wise, grounded, human, provocative, and had, at its heart, the insight that we rarely figure out - the hard, complex things - and it was written by an economist.  After some time in academia, John Kay realised that he possessed a unique skill, one that was uncommon in the typical economist. John has already appeared on this podcast, featured as an author in someone else's read. He's a British economist, and truthfully, a philosopher. He is what a real influencer looks and sounds like. Get‌ ‌book‌ ‌links‌ ‌and‌ ‌resources‌ ‌at‌ https://www.mbs.works/2-pages-podcast/  John reads two pages from ‘The Secret of Our Success' by Joseph Henrich. [reading begins at 11:15]  Hear us discuss:  The significance of social learning in the world: “You'll never see two chimpanzees carrying a log together.” [16:52] | The process of shifting foundational beliefs: “It's not that they're worse people, it's that the environment in which they operate has been a different one.” [18:12] | Finding inspiration and hope. [22:47] | Reducing polarisation. [24:39]