Podcast appearances and mentions of Steve Jobs

How did the success of Toy Story affect Pixar the company? Why was there tension between Steve Jobs and Michael Eisner? And what happens when Disney and Pixar merge?See omnystudio.com/listener for privacy information.

Discover how to obliterate the word 'impossible' from your vocabulary! Join Darren Hardy as he unravels the untapped power of your mind and how Steve Jobs' 'reality distortion field' can help you triple your goals in record time. Don't be afraid, you can do it! Get more personal mentoring from Darren each day. Go to DarrenDaily at http://darrendaily.com/join to learn more.

#FailedAwardContenders Season 2x08 ►Check out our Patreon! https://www.patreon.com/thewafflepresspodcast ►YouTube: https://www.youtube.com/c/TheWafflePress ►SoundCloud: https://soundcloud.com/thewafflepress/ ►Spotify: https://open.spotify.com/show/0wn6x2sfn6eCmg1MYDUW45?si=sXcDY8xsSrqLYvnGu3vVOg&dl_branch=1 ►iTunes: https://itunes.apple.com/us/podcast/the-waffle-press-podcast/id1265467358?mt=2 ►JFK 100: https://www.jfk-online.com/jfk100menu.html ►Check out FilmCred! https://film-cred.com/ ►Diego: https://twitter.com/thediegocrespo ►Matt: https://twitter.com/EmperorOTN

Väck begär! Berätta historier! Få folk att känna sig smarta! Det och mycket mer i detta hackspäckade avsnitt om hur du kan göra för att fånga och behålla din omgivnings uppmärksamhet. Klipp och musik:Per Han - Får Jag Be Om Lite UppmärksamhetEminem - The Real Slim ShadySteve JobsJeopardyCheersTodrick Hall - Attentionmail: dummamanniskor@gmail.comredigering: Peter Malmqvistproducent: Clara Wallin Vill du slippa reklamen? Prenumerera på Dumma Människor för 19 kr/månaden (ink moms). https://plus.acast.com/s/dummamanniskor. Hosted on Acast. See acast.com/privacy for more information.

Today, Lace and Katherine interview the super funny comic and country singer, Jessica Michelle Singleton! JMS knew she made her first mistake when she fell in love with a drummer. However, when the pandemic started, she and ol' boy still moved in together. Once in their beautiful new home, she started to catch him over and over and over again sexting, meeting up with and Words with Friending with many different women. He had an excuse for each and every interaction, but Jessica Michelle was just "too f*cking smart" for him to get away with it. Listen to find out how Steve Jobs helped get her rid of this idiot for good. FOLLOW OUR GUEST ON IG: Jessica Michelle Singleton FOLLOW US ON IG: CHEATIES PODCAST | Lace Larrabee | Katherine Blanford SHOP FOR GIGGLE GLOSS HERE HAVE YOU CHEATED, BEEN CHEATED ON OR BEEN A SIDEPIECE IN A RELATIONSHIP? CALL TO LEAVE A VOICEMAIL TEASING YOUR STORY & YOU MIGHT JUST END UP ON AN EPISODE OF CHEATIES! 888-STABBY-8 (888-782-2298) Learn more about your ad choices. Visit megaphone.fm/adchoices

Si te pregunto quién consideras que ha sido la persona que más ha aportado a la tecnología, la computación y la innovación es imposible no pensar en Steve Jobs. Aquél que no tenía dinero para pagar sus estudios, pero que llegó a la mesa directiva de Disney y fundó una pequeña empresa llamada Apple. Sí de aportar a revolucionar la vida como la conocemos se trata, Jobs tiene una silla para sentarse con otros genios de la historia.

La semana pasada ingresó en una penitenciaría federal situada en Texas Elizabeth Holmes, fundadora de la empresa Theranos y protagonista de uno de los mayores escándalos corporativos de los últimos años. Holmes fue declarada culpable hace año y medio por un jurado de engañar a los inversores de su empresa, una start-up californiana ya desaparecida que afirmaba haber revolucionado los análisis de sangre. Meses más tarde, en noviembre del año pasado, un juez federal la condenó a once años y tres meses de cárcel. Holmes recurrió la sentencia para retrasar su ingreso en prisión, pero de nada le valió, el juez decretó que antes del 30 de mayo tenía que presentarse en la cárcel. Aparte de eso tendrá que pagar 452 millones de dólares a las víctimas del fraude. La caída de Holmes, la empresaria de moda en Silicon Valley hace menos de diez años, estuvo provocada por una serie de reportajes que publicó el Wall Street Journal entre 2015 y 2016. El diario neoyorquino detalló como la máquina de análisis que había patentado Theranos no sólo no funcionaba, sino que además ponía en riesgo la vida de los pacientes. Theranos negó rotundamente lo que contaba el Journal y amenazó al periódico con acciones judiciales que quedaron en nada. Entre tanto hizo desaparecer pruebas y se apresuró a llegar a un acuerdo con los que habían invertido millones de dólares en la empresa y los reguladores federales. Pero el acuerdo no evitó el juicio. Holmes y su socio, el programador pakistaní Sunny Balwani, fueron encausados en junio de 2018 por nueve cargos penales y dos de conspiración. Ambos negaron de plano haber hecho nada mal, pero la empresa se vino abajo rápidamente. Sólo tres meses después se disolvió en medio de un gran escándalo ya que gente muy significada de la política y las finanzas había apoyado a Theranos y, especialmente, a su fundadora, a quien tenían como una especie de genio empresarial de nuestro tiempo al nivel de Steve Jobs o Jeff Bezos. La prensa adoraba a la empresa de Holmes y a la propia Holmes. En su mejor momento, justo antes de que estallase el escándalo, la revista Time la incluyó en la lista de las cien personas más influyentes del mundo. La revista Forbes le concedió un premio y la colocó en su lista de las mujeres más poderosas del planeta. La cadena Bloomberg no quiso quedarse atrás y le franqueó la entrada al exclusivo ranking de los 50 más influyentes cuando no había cumplido aún los 30 años. Holmes estaba muy bien conectada y se había fabricado incluso un personaje público. Se presentaba como una persona fría y distante siempre vestida de negro. Esa imagen cuidadosamente trabajada la catapultó a la fama. No era para menos, el sistema que había creado para hacer análisis de sangre era revolucionario, bastaba con unas gotas de sangre que una máquina diseñada al efecto se encargaría de analizar en poco tiempo y arrojar resultados. Los inversores se entusiasmaron empujando a la empresa a una valoración altísima, de más de 10.000 millones de dólares en su momento álgido. Gracias a eso Holmes se convirtió en una multimillonaria jovencísima. En 2015 su patrimonio ascendía a 4.500 millones de dólares y su compañía se la rifaban empresarios, periodistas, universidades, políticos y grandes inversores. Todo el dinero y la fama se evaporaron en sólo unos meses. Para hablar de este escándalo que tanta tinta ha hecho correr vuelve hoy a La ContraCrónica Andrea Martos, que está de visita en Madrid y que conoce el tema de Theranos muy a fondo. · Canal de Telegram: https://t.me/lacontracronica · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #theranos #elizabethholmes Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

What I learned from reading Confessions of an Advertising Man by David Ogilvy. ----This episode is brought to you by Tiny: Tiny is the easiest way to sell your business. Tiny provides quick and straightforward exits for Founders. Get in touch by emailing hi@tiny.com----This episode is brought to you by Meter: Meter is the easiest way for your business to get fast, secure, and reliable internet and WiFi in any commercial space. Go to meter.com/founders----Listen to one of my favorite podcasts: Invest Like the Best----Subscribe to listen to Founders Premium — Subscribers can ask me questions directly and listen to Ask Me Anything (AMA) episodes.----Join my free email newsletter to get my top 10 highlights from every book----(4:15) When Fortune published an article about me and titled it: "Is David Ogilvy a Genius?," I asked my lawyer to sue the editor for the question mark.(4:45) The people who built the companies for which America is famous, all worked obsessively to create strong cultures within their organizations. Companies that have cultivated their individual identities by shaping values, making heroes, spelling out rites and rituals, and acknowledging the cultural network, have an edge(5:30) We prefer the discipline of knowledge to the anarchy of ignorance. We pursue knowledge the way a pig pursues truffles. A blind pig can sometimes find truffles, but it helps to know that they grow in oak forests.(5:48) We hire gentlemen with brains.(6:16) Only First Class business, and that in a First Class way.(6:25) Search all the parks in all your cities; you'll find no statues of committees.(9:45) Buy Ogilvy on Advertising (10:45) One decent editorial counts for a thousand advertisements. + You simply cannot mix your messages when selling something new. A consumer can barely handle one great new idea, let alone two, or even several. — Against the Odds: An Autobiography by James Dyson (Founders #300)(15:22) It was inspiring to work for a supreme master. M. Pitard did not tolerate incompetence. He knew that it is demoralising for professionals to work alongside incompetent amateurs.(16:66) You have to be ruthless if you want to build a team of A players. It's too easy, as a team grows, to put up with a few B players, and they then attract a few more B players, and soon you will even have some C players. The Macintosh experience taught me that A players like to work only with other A players, which means you can't indulge B players.(18:12) In the best companies, promises are always kept, whatever it may cost in agony and overtime.(18:33) I have come to the conclusion that the top man has one principal responsibility: to provide an atmosphere in which creative mavericks can do useful work.(19:38) I admire people who work hard, who bite the bullet.(19:58) I admire people with first class brains.(20:23) I admire people who work with gusto. If you don't enjoy what you are doing, I beg you to find another job. Remember the Scottish proverb, "Be happy while you're living, for you're a long time dead."(20:50) I admire self-confident professionals, the craftsmen  who do their jobs with superlative excellence.(21:40) The best way to keep the peace is to be candid.(23:18) That's been the most important lesson I've learned in business: that the dynamic range of people dramatically exceeds things you encounter in the rest of our normal lives—and to try to find those really great people who really love what they do.  —  Make Something Wonderful: Steve Jobs in his own words. (Founders #299)(24:39) The Man Who Sold America: The Amazing (but True!) Story of Albert D. Lasker and the Creation of the Advertising Century by Jeffrey L. Cruikshank and Arthur W. Schultz. (Founders #206)(25:09) Claude Hopkins episodes:My Life in Advertising by Claude Hopkins. (Founders #170)Scientific Advertising by Claude Hopkins. (Founders #207)(25:47) Talent is most likely to be found among nonconformists, dissenters, and rebels.(26:49) The majority of business men are incapable of original thinking because they are unable to escape from the tyranny of reason. Their imaginations are blocked.(28:21) This podcast studies formidable individuals.(31:40) Samuel Bronfman: The Life and Times of Seagram's Mr. Sam by Michael R. Marrus. (Founders #116)(37:47) I doubt whether there is a single agency (or company) of any consequence which is not the lengthened shadow of one man.(39:51) Don't bunt. Aim out of the park. Aim for the company of immortals.(40:13) Most big corporations behave as if profit were not a function of time.When Jerry Lambert scored his first breakthrough with Listerine, he speeded up the whole process of marketing by dividing time into months. Instead of locking himself into annual plans, Lambert reviewed his advertising and his profits every month.The result was that he made $25,000,000 in eight years, where it takes most people twelve times as long. In Jerry Lambert's day, the Lambert Pharmaceutical Company lived by the month, instead of by the year.(41:30) The Mind of Napoleon: A Selection of His Written and Spoken Words edited by J. Christopher Herold. (Founders #302)(41:36) I am an inveterate brain picker, and the most rewarding brains I have picked are the brains of my predecessors and my competitors.(43:27) We make advertisements that people want to read. You can't save souls in an empty church.(44:05) You aren't advertising to a standing army; you are advertising to a moving parade.(45:13) The headline is the most important element in advertisements.(47:47) Runnin' Down a Dream: How to Succeed and Thrive in a Career You Love by Bill Gurley(48:15) Set yourself to becoming the best-informed man in the agency on the account to which you are assigned.If, for example, it is a gasoline account, read text books on the chemistry, geology and distribution of petroleum products. Read all the trade journals in the field. Read all the research reports and marketing plans that your agency has ever written on the product. Spend Saturday mornings in service stations, pumping gasoline and talking to motorists. Visit your client's refineries and research  laboratories. Study the advertising of his competitors. At the end of your second year, you will know more about gasoline than your boss.Most of the young men in agencies are too lazy to do this kind of homework. They remain permanently superficial.----Subscribe to listen to Founders Premium — Subscribers can ask me questions directly and listen to Ask Me Anything (AMA) episodes.----Join my free email newsletter to get my top 10 highlights from every book----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast 

Dream Job Ready - Episode 51 - Unleashing Your Personal Brand Power - Building an Authentic Image of Hard Work, Innovation and SuccessThis is a re-launch! After 50 episodes of long-form interviews we're shaking it up for this episode (number 51) and beyond... Shorter and sharper episodes with clear action-orientated advice.We start with exploring the power of building an authentic personal brand that reflects your hard work, goals and hunger for success. We want to help you unlock your true potential so you can shape a fulfilling career or entrepreneurial journey.From the early stages of your career to progressing into the business world, the choices you make now will shape your future. Being "Dream Job Ready" means saying yes to the right opportunities, working hard and embracing the hustle.As the late Steve Jobs once said, "You can't connect the dots looking forward; you can only connect them looking backward."Seize every opportunity, even if it doesn't perfectly align with your long-term vision. Embrace growth and continuous learning, knowing that each experience contributes to your unique story and sets you apart.Channel our inner hustler. Success doesn't come easy; it requires hard work and determination. Thomas Edison's words resonate: "Genius is 1% inspiration and 99% perspiration."Be ready to roll up your sleeves, showcasing dedication, commitment, and resilience. Your relentless pursuit of excellence will establish your personal brand as someone who goes the extra mile.Lastly, we embrace innovation. Be open to new ideas, challenge the status quo, and push boundaries. Embrace technology, stay updated with industry trends, and seek innovative solutions. Remember, when you really believe in something, go for it. Incorporating vision and innovation into your personal brand positions you as a forward-thinking professional ready to shape the future.This episode includes our first-ever personal challenge. We want you to reflect on your personal brand and the image you want to project. Assess yourself on the three key skills from this episode.Let us know how you score!If you'd like to financially support this podcast series, please make a contribution via https://supporter.acast.com/dream-job-ready-1If you'd like to connect with Dream Job Ready via our Socials:YouTube / Search 'Dream Job Ready'LinkedIn / https://www.linkedin.com/company/dreamjobreadyFacebook / @dreamjobreadyInstagram / @dreamjobreadyTwitter / @dreamjobreadyMusic: ‘Funky Sunday' composed and performed by Mark Matthews.Copyright 2020 | RemarkableSupport this show http://supporter.acast.com/dreamjobready. Hosted on Acast. See acast.com/privacy for more information.

Have you ever felt like those who work with you don't support you, even though you're trying to achieve amazing results? Do they tell you you're difficult to work with, or that you're too much? Do you feel like they just don't understand your intentions?  My guest today, Parissa Behnia, coaches C-Suite and Senior leaders who are—what she calls—high-will, high-skill badasses. These leaders offer tremendous value to their company, but their edges may start to erode their relationships because their colleagues feel overwhelmed.  Parissa says badasses are like well-meaning bulls in China shops. They don't mean to break as many dishes as they do, although let's be honest, a lot of those dishes were ugly anyway. Modern Badasses are often described as brilliant jerks (or worse). They're told that they're too brash, too much, or too colorful. Live examples of Modern Badasses are Steve Jobs, Gloria Steinem, Thomas Edison, and Malala Yousafzai. You don't have to like them personally to recognize the impact they've had on society. But Parissa is concerned about the ones we'll never know because they've been sidelined, or they didn't know how to get out of their own way. What technology or gifts to society do we not benefit from because we'll never meet them? How can we help Modern Badasses? What lenses have to be changed so they can be seen as important leaders instead of nuisances? In our conversation, Parissa shares great advice—not only for badasses themselves—but for the people who interact with them every day. People who may be put off by the badass's need for speed. Parissa knows that these badasses usually have a lot to offer, and if the rest of us can learn to harness that energy, we might find we're in for an exciting ride. Parissa is the author of "Modern Badass: Tales from the Leadership Front." RESOURCES You'll find the resources we discussed—including the assessment to find out if you have Modern Badass traits and the Sixense Empathy Model—on Parissa's website: www.sixensestrategy.com Don't forget to connect with and follow her: www.linkedin.com/in/behnia Parissa@SixenseStrategy.com By the way, if you'd like to get tips like this more frequently, I spend a lot of time on LinkedIn. Please do connect with me. You can find me at ⁠www.linkedin.com/in/emilysfwong⁠. When you do connect, please let me know that you heard me on this podcast, and let me know if there's a topic you'd like to cover.  You can also sign up for my monthly newsletter if you go to my website, ⁠www.wordsofdistinction.net⁠. Have a wonderful day!

When we think about the greatest innovators of our time (Benjamin Franklin, Steve Jobs, Frank Lloyd Wright) we often hear about their work ethic. But one thing that all of these innovators have in common is their ability to walk away from the work. They nap, they garden, and they go shopping to give themselves a break from the problem they are working on and look for inspiration in the real world. They gave themselves space to let inspiration come to them, rather than trying to force it. In this episode of unSILOed, Greg talks with Stanford professor Jeremy Utley about his new book (co-authored with Perry Klebahn) Ideaflow: The Only Business Metric That Matters (Portfolio, 2022), which gives readers a strategy to come up with better ideas and determine which ones are worth pursuing. Jeremy Utley is a Director of Executive Education at Stanford's renowned Hasso Plattner Institute of Design (the d.school) and works with leaders around the world to untap their abilities to innovate better and more effectively. Gregory LaBlanc is a lifelong educator with degrees in History, PPE, Business, and Law, Greg currently teaches at Berkeley, Stanford, and HEC Paris. He has taught in multiple disciplines, from Engineering to Economics, from Biology to Business, from Psychology to Philosophy. He is the host of the unSILOed podcast. unSILOed is produced by University FM. 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

Hussein, Alice, and Riley talk about a new startup that aims to replace us all with chatbots based on Socrates, Steve Jobs, and Jordan Peterson reading the news, then we discuss the wild world of AI scare-vertising and its impact on the world's most gullible government: the United Kingdom. If you want access to our Patreon bonus episodes, early releases of free episodes, and powerful Discord server, sign up here: https://www.patreon.com/trashfuture *STREAM ALERT* Check out our Twitch stream, which airs 9-11 pm UK time every Monday and Thursday, at the following link: https://www.twitch.tv/trashfuturepodcast *WEB DESIGN ALERT* Tom Allen is a friend of the show (and the designer behind our website). If you need web design help, reach out to him here:  https://www.tomallen.media/ *MILO ALERT* Check out Milo's upcoming live shows here: https://www.miloedwards.co.uk/live-shows and check out a recording of Milo's special PINDOS available on YouTube here! https://www.youtube.com/watch?v=oRI7uwTPJtg *ROME ALERT* Milo and Phoebe have teamed up with friend of the show Patrick Wyman to finally put their classical education to good use and discuss every episode of season 1 of Rome. You can download the 12 episode series from Bandcamp here (1st episode is free): https://romepodcast.bandcamp.com/album/rome-season-1 Trashfuture are: Riley (@raaleh), Milo (@Milo_Edwards), Hussein (@HKesvani), Nate (@inthesedeserts), and Alice (@AliceAvizandum)

Fresh off the back of scoring the smash hit Spider-Man: Across the Spider-Verse, composer Daniel Pemberton (Enola Holmes 1 & 2, Steve Jobs) joins The Film Scorer Podcast! Not surprisingly, Daniel and I spend the majority of our interview talking about his score, including: the significant amount of time Daniel had not only to write and record, but also to do what he calls R&D; expanding the sonic palette from the first film; and creating distinct, genre-appropriate thematic material and sounds for the primary characters while also balancing and integrating these pieces of music (asking himself “How do you write and create a score where all these can interact?”).   We also talk about Daniel's writing process, which places an interesting weight on his initial impression, telling me “every time I read a script, the first hour afterwards can often be the most important hour because it's so fresh . . . and if you look at Spider-Verse, one of the very first things I wrote becomes the opening and ending of the film”. Finally, we move fully beyond Across the Spider-Verse and talk about his score for last year's lovely Brian and Charles, which showcases his desire to explore new musical directions and take creative risks, his ability to write quickly (Daniel mentions a mystery film he just scored in one week), and the use of composing teams.   You can find out more about Daniel on his website. Spider-Man: Across the Spider-Verse is currently playing in theaters worldwide, and Daniel's score, as well as many of his other works, is available digitally on all major platforms.  

This Week in Startups is presented by: Vanta. Compliance and security shouldn't be a deal-breaker for startups to win new business. Vanta makes it easy for companies to get a SOC 2 report fast. TWiST listeners can get $1,000 off for a limited time at vanta.com/twist. Embroker. The Embroker Startup Insurance Program helps startups secure the most important types of insurance at a lower cost and with less hassle. Save up to 20% off of traditional insurance today at Embroker.com/twist. While you're there, get an extra 10% off using offer code TWIST. .Tech domains are the go-to namespace to build anything in tech… and home to the world's most innovative startups. Secure your .Tech domain today and lock down a 1-year domain for $10, or a 5-year domain for $50 at https://go.tech/TWIST today! * Today's show: Sunny and Vinny are back to break down what's next after AI layoffs(30:10), discuss RunwayML's massive valuation(52:09), and more! Follow Vinny: https://twitter.com/vinnylingham Check Out Waitroom: https://waitroom.com/ Follow Sunny: https://twitter.com/sundeep Check Out Definitive: https://definitive.io/prompts/new * Time stamps: (00:00) Sunny and Vinny join Jason (1:39) Sunny demos Runway (9:16) Jason AI interviews AI Steve Jobs (12:37) Vanta - Get $1000 off your SOC 2 at https://vanta.com/twist (13:44) Jason AI interviews AI Steve Jobs continued (18:27) The potential for genealogist AI startup (22:26) Converting thoughts into text with Audio Pen AI tool (24:40) Microsoft charging 40% more for AI-enhanced services (28:55) Embroker - Use code TWIST to get an extra 10% off insurance at ⁠https://Embroker.com/twist (30:10) Comparing hiring with improving employee efficiency (33:46) The ChatGPT share feature (37:47) Meta's Image Bing AI tool (40:33) .Tech - Lock down a 1-year domain for $10, or a 5-year domain for $50 at https://go.tech/TWIST (42:01) Microsoft integrating AI into windows (49:29) The Sales Recording Law (52:09) Big funding rounds and why investors must get in early (55:30) Japan going all in on copyright * Read LAUNCH Fund 4 Deal Memo & Apply for Funding Buy ANGEL Great recent interviews: Brian Chesky, Aaron Levie, Sophia Amoruso, Reid Hoffman, Frank Slootman, Billy McFarland, PrayingForExits, Jenny Lefcourt Check out Jason's suite of newsletters: https://substack.com/@calacanis * Follow Jason: Twitter: https://twitter.com/jason Instagram: https://www.instagram.com/jason LinkedIn: https://www.linkedin.com/in/jasoncalacanis * Follow TWiST: Substack: https://twistartups.substack.com Twitter: https://twitter.com/TWiStartups YouTube: https://www.youtube.com/thisweekin * Subscribe to the Founder University Podcast: https://www.founder.university/podcast

Some called this man a master marketer, some deemed him a visionary with the demeanor of a charismatic cult leader, who was lightyears ahead of his time. Detractors say he was demanding and could even be downright despicable at times. A few foes have even called him a phony. Whatever you may think of this risk taker, one thing's for certain, he changed the way we'd communicate forever. He left behind a legacy and the wise words: stay hungry, stay foolish! We'll decipher Steve Jobs on this week's episode of FYI!Support the showJOIN our curious community for tons of EXCLUSIVE BONUS content: early access bonus episodes weekly/monthly classes many more benefits Additional FREE content!

Ready to play? We're jumping into some costume analysis from 2 movies based on games, Lara Croft: Tomb Raider and Clue! Join us as we discuss character archetypes, Steve Jobs suits, and the ethics of tomb raiding.Follow along with the visual analysis via these links! Tomb Raider: Instagram, Pinterest Clue: Instagram, Pinterest Questions? Comments? Suggestions for future episodes? Email thecostumeplot@gmail.com. Follow us: Jojo Siu on IG @jojosiucostumes Sarah Timm on IG @breathcue, on Twitter @SarahTSews The Costume Plot on Youtube, Instagram, and TwitterPlease rate and review! For every review we get, we'll be donating $1 to Dress for Success. 

Jack and Steven are joined by Angelo, a frequent guest of the Unfunny Buffoonery podcast, to discuss the comparison between Steve Jobs and Donald Trump (apples to oranges, get it?), the best foods of one color, the pitiful "Fast & Furious" series and, oh, some "Would You Rather" questions as well. Trust me, you don't want to know what some of these questions were.

Phil and David have Apollonia's Pizza and a delicious conversation with director, producer, writer Allen Hughes who first made his name as one of The Hughes Brothers who brought the world films like 1993's "Menace II Society" and 1995's "Dead Presidents." David got to know and love Allen when he served as a Creative Consultant on Allen's brilliant 2017 documentary series "The Defiant Ones" about Dr. Dre and Jimmy Iovine. They reunite to catch up and discuss Allen's brilliant new FX smash documentary series "Dear Mama: The Saga of Afeni and Tupac Shakur." And David reveals a painful memory of the time that he passed on a chance to work for Steve Jobs at Apple. Follow @Hughes2Society on Twitter and look forward to his new documentary about Arnold Schwarzenegger and upcoming biopic about Snoop Dogg. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5859319/advertisement

Season two kicks off with Jarl Mohn, my former boss at E! Entertainment Television and retired CEO of NPR. Jarl Mohn describes the evolution of his fascinating career in the media industry -- that stemmed from his experience in a group home as a child and a love of radio as his escape. Our focal points were social justice issues in LA County, the importance of the arts and emerging artists in LA, and Jarl Mohn's personal art collection, including a three and a quarter ton Michael Heizer rock. We get a pro tip on how to open up our minds and creativity by looking at art! Jarl also explains his belief in the unique value of public radio today, as well as the importance of good content across all media platforms in a world of subscription competition. We discuss the progress and challenges of diversity, equity, and inclusion in the media industry, the value of good content marketing and the power of good communication and relationship-building by executives.  To wrap it up, you'll learn the funny story behind the internet sensation of socks featuring Jarl's face! So, this is a true head to toe interview with one of the best in the business.  This is an edited version of an episode of my podcast, "Insider Interviews" in which Jarl focused more on the business of media. For It's Quite a Living, I'm including extra content about his personal side, including more on his experience in foster care, coinciding with National Foster Care Month. Whether or not yours is QUITE the living, this is a celebration of those who lead fulfilling lives and enjoy every moment. Show Notes for Episode of "It's Quite a Living" with Host, E.B. Moss, and former CEO of NPR and philanthropist, Jarl Mohn: [00:02:11] E.B. Moss reminisces about Jarl starting E! Entertainment Television. [00:02:23] Jarl shares his career journey that got him there, starting as a disc jockey, meeting Bob Pittman (current CEO, iHeartMedia) and transitioning into the cable TV industry via MTV with Bob, then helming E! [00:04:10] Jarl shares more about his challenging upbringing in foster care (just as other successful individuals like Steve Jobs and Tiffany Haddish found their way to success. Recommended reading: "A Place Called Home", the memoir of current Amazon executive and foster youth advocate, David Ambroz [00:06:29] Jarl reflects on his traumatic experience in a children's home and how his love for radio provided an escape. Lee Masters (Jarl Mohn) as DJ (and on the socks!) Bob Pittman and Jarl Mohn ("Lee Masters") back in the day! Randall Rothenberg of IAB interviewing Jarl Mohn (NPR) and Bob Pittman (iHeartMedia)               [00:09:29] E.B. Moss recalls Jarl's humanizing approach as CEO of Entertainment Television and the lasting impact it had on employees. [00:10:42] Jarl discusses his travels with Michael Govin, visiting NPR stations across the country, fostering connections, and gaining insight into local communities. [00:13:11] Jarl expresses his appreciation for the unique value of public radio and its storytelling capabilities, while acknowledging challenges in the music format. [00:14:30] E.B. mentions Jarl's gift to all 251 NPR member stations, for which he received a mug from each station that have garnered attention on Instagram -- and from visitors to his home where they are all proudly displayed. [00:15:05] E.B. notes Jarl's passion for traditional media and the increasing popularity of streaming services, prompting a discussion on the importance of quality content across different mediums. [00:16:36] E.B. asks Jarl about the progress made by the media industry regarding diversity, equity, and inclusion (DEI). Jarl emphasizes the importance of these issues in various sectors, including the arts. [00:18:21] Jarl describes his philanthropic efforts, focusing on social justice and the arts in Los Angeles County. He mentions collaborations with organizations like the ACLU,

Col. Terry Virts (ret.) served as a U.S. Air Force test fighter pilot, is a NASA veteran of two spaceflights and a graduate of the U.S. Air Force Academy, Embry-Riddle Aeronautical University and Harvard Business School. In 2019 he directed his first film, One More Orbit. His second book, How to Astronaut, continues to amass excellent reviews. He is currently involved in several film and television projects, serves on corporate boards, consults to the entertainment industry, writes and promotes public policy.​ He is a celebrated thought leader, speaker and author whose ​seven months in space included: piloting the Space Shuttle; commanding the International Space Station; three spacewalks; and performing scientific experiments, while working closely with multiple international partners. Virts worked with Russian Space Agency cosmonauts during some of the most stressful U.S.-Russian relations since the Cold War.​ While in space he took more than 300,000 photos – more than on any other space mission. The images are an integral component of the National Geographic IMAX film ​A Beautiful Planet​, which Virts also shot and stars in. His first book for National Geographic, ​View From Above​, combines his best photography with stories about spaceflight alongside his perspectives about life on earth and our place in the cosmos.​ Terry shares the importance of feedback, cultural understanding, and fair treatment when leading diverse teams. He discusses topics such as debriefing, stress management, and skills-based training. Gain insights into balancing productivity and well-being, prioritizing tasks, and overcoming fears. Don't miss the valuable advice for handling emergencies.   https://bit.ly/TLP-361   Key Takeaways [01:53] Terry talks about his experiences as an entrepreneur and the challenges of selling ideas in comparison to being a leader in the military. During his time commanding the International Space Station with an international crew, he learned that feedback is important and helps to resolve conflicts between team members from different cultural backgrounds.  [05:36] He also emphasizes the importance of understanding where people are on the experience spectrum and treating everyone fairly regardless of their position or length of service. [11:23] Terry shares his experience working with people from different cultures and the importance of a culture that values accountability while not punishing mistakes.  [16:58] He also emphasizes the value of debriefing and learning from mistakes to improve safety in industries like aviation.  [23:19] Terry discusses how stress can impact performance during missions, highlighting the need for moderate stress levels to optimize productivity. Additionally, he talks about pre-mission training and team-building exercises such as National Outdoor Leadership School (NOLS).  [25:25] Terry touches on the importance of skills-based training, including medical skills necessary when someone falls ill during a mission. He talks about medical procedures in space and how to handle potential emergencies like appendicitis.  [31:22] Terry also discusses leadership styles and ways to balance getting things done while also taking care of their team's well-being.  [40:01] The discussion revolves around the concept of being a "lazy" commander. Terry refers to a quote by Steve Jobs, highlighting the idea of hiring smart people not to be told what to do, but to receive their guidance. The importance of prioritizing tasks, working smarter instead of harder, and being a little bit lazy as a leader were key takeaways from the conversation. [45:43] Terry shares the three steps to handle emergencies: maintain control, analyze the situation, and take appropriate action. He also gives advice for business leaders facing adversity and emphasizes the importance of prioritizing tasks in order to avoid making things worse. [47:33] Closing quote: Remember, the universe is under no obligation to make sense to you. — Neil deGrasse Tyson   Quotable Quotes "If you're a leader, try and see things from other people's point of view, a skill we must have."   "You kind of have to know where people are on the experience spectrum... People mature at different rates."    "You need to be open to feedback also and not make it too awkward or strange."   "If you've got a CYA culture in your organization, you have to look at how you're holding people accountable."   "If people make mistakes... you can use people's mistakes in a positive way, that can be really good for your industry."   "You figure out what you need, and then you train that need so that people know what they're doing."   "If you can take your team and travel overseas, that's when you get to know people, you can hang out and do things outside of work, that's important."   "There's a terminal velocity by which a team can come together."   "You need to have some kind of moderate amount of stress to perform optimally."   "Part of what we have to do as leaders is to get stuff done, and the best way to do that is through the commitment of people who are willing and engaged."   "The best commanders are a little bit lazy."   "I hire smart people so they tell me what to do."   "When working in a big bureaucracy, choose one specific goal you want to accomplish and focus on achieving it."   "Sometimes you just need to chill out and let things happen."   "Be like water, find the path of least resistance."   "Work smarter, not harder."   "Don't crash into the ground. Do your analysis then take your action."   "The universe is under no obligation to make sense to you." - Neil deGrasse Tyson These are the books mentioned in our discussion with Terry     Resources Mentioned The Leadership Podcast | theleadershippodcast.com Sponsored by | www.darley.com Rafti Advisors. LLC | www.raftiadvisors.com Self-Reliant Leadership. LLC | selfreliantleadership.com Terry Virts Website| www.terryvirts.com Terry Virts on Twitter | @astroterry Terry Virts on Instagram | @astro_terry Terry Virts on LinkedIn |Terry Virts Terry Virts Facebook | www.facebook.com/astrovirts Terry Virts Book | View From Above: An Astronaut Photographs The World “5 Strategies to infuse D&I into Your Organization,” HBR  

Dive into the exciting lives of Steve Jobs and Albert Einstein today! They chased dreams, broke boundaries, and found joy. Ready for an adventure and some life check? Don't miss a powerful quote from Jobs about following your heart.

Steve Jobs once said, “You can't connect the dots looking forward; you can only connect them looking backwards. So you have to trust that the dots will somehow connect in your future.” Today, I'm going to tell you a story about how dots in my past came together serendipitously to help me solve problems and [...] The post Connecting the “Right People” at the Right Times: Seeking Serendipity–EP 188 first appeared on Today's Machining World.

I am honoured to have a true icon in the beauty industry join me on the podcast. Terry de Gunzburg is a trailblazing industry legend who has changed the face of beauty over three decades. She has been called the ‘Steve Jobs' of the makeup industry and is known as the 'Godmother of glow'. Terry's journey to becoming a makeup artist did not follow a typical trajectory, coming from a scientific family background with aspirations to becoming a doctor. However, her interest in botanics and fascination with the mystery of nature led her down a different path. She was appointed the Creative Director of YSL, where for 15 years she was responsible for creating the most iconic beauty products, including the game changing Touche Eclat, in 1992. This revolutionary product changed the way we apply makeup and left a mark on the beauty industry forever.  In 1998, Terry launched her own brand, By Terry, where she saw an opportunity to create the ‘Haute Couleur' of cosmetics, expressing her creativity, curiosity, and ability to use the most unique ingredients to create luxurious products that cater to everyone. She has always had a bespoke approach to beauty and has brought that same approach to her brand, which is celebrating its 25th year anniversary this year.Terry's philosophy is to create makeup that enhances natural beauty and makes women feel confident and beautiful. She is known for creating makeup that blurs the line between skincare and makeup, using high-quality ingredients and innovative formulas. In this episode, Terry shares her journey and the innovations that have made her a true icon in the beauty industry. We talk about the importance of harnessing light to create luminosity and mimic a youthful glow, the trend toward skincare infused makeup, and nature's most powerful ingredients to enhance beauty at any age. Anyone who loves makeup will find this episode both fascinating and informative, as we explore the mind of a true beauty industry visionary.  Watch the episode here: https://youtu.be/M_yktggiOHI Book a one on one Ageless Coaching session with BaharI'm so pleased to now offer one one one mentoring, coaching sessions, VIP membership and the opportunity to ask me specific questions via the Sunroom platform. This is the first and only place I'll be offering in depth, personal and exclusive content that I don't share here or on my social platforms. I am excited to personally support your Ageless journey in a private and supportive space. Join Sunroom to learn more about my membership which is only $15 a month and VIP Custom Experiences ranging from quick questions to in-depth coaching. Join my Sunroom Here https://sunroom.so/BE.AgelessSee omnystudio.com/listener for privacy information.

Ultimate O.D. Nugget - How to Get in the Top 10% Start your week off right with a little Nugget from Dr. Lillie! This week it's about how to push yourself from 90% up to the 100%. This last little bit is the hardest and loneliest part of the whole journey. To be in that top tier, you are basically climbing Everest. Something to keep in mind is when you get to that point, you may not be able to get break through that barrier on your skill alone. Most often, the most successful leaders out there (think Steve Jobs, etc.) has others that under their leadership take them the rest of the way. Join in the fun and subscribe to the podcast to keep up with all the great content coming down the pipe! For exclusive content, be sure to register your email on our website and I will be sending out newsletters and other great bonuses as we go. I love getting feedback, questions, suggestions, etc. so contact me at ⁠⁠⁠⁠⁠⁠www.theultimateod.com⁠⁠⁠⁠⁠⁠, on social media (click here for -> ⁠⁠⁠⁠YouTube⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠) OR, just shoot me an email at drlillie@theultimateod.com and I'd be happy to chat! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theultimateodpodcast/message

What I learned from reading Working by Robert Caro. This episode is brought to you by Meter: Meter is the easiest way for your business to get fast, secure, and reliable internet and WiFi in any commercial space. Go to meter.com/founders----This episode is brought to you by Tiny: Tiny is the easiest way to sell your business. Tiny provides quick and straightforward exits for Founders. Get in touch by emailing hi@tiny.com----Listen to one of my favorite podcasts: Invest Like the Best: Sam Hinkie: Find Your People ----Subscribe to listen to Founders Premium — Subscribers can ask me questions directly and listen to Ask Me Anything (AMA) episodes.----[3:40] You can't get very deep into Johnson's life without realizing that the central fact of his life was his relationship with his father.[8:00] It was the hill country and his father's failures that taught him how terrible could be the consequences of a single mistake.[8:45] Lyndon Johnson wouldn't understand. He would refuse to understand. He would threaten you, would cajole you, bribe you or charm you. He would do whatever he had to do, but he would get that vote.[9:00] What mattered to him was winning because he knew what losing could be. What its consequences could be.[9:50] Robert Caro books I've read: The Power Broker The Path to PowerMeans of Ascent Master of The Senate (currently reading) [11:00] about what I wanted to do with my life and my books (which are my life)[11:40] I am a reflection of what I do. — Steve Jobs[23:20] There are certain moments in your life when you suddenly understand something about yourself. I loved going through those files, making them yield up their secrets to me.[24:10] Turn every page. Never assume anything. Turn every goddamn page.[27:50] Robert Caro snaps: No, that's not why highways get built where they get built. They get built there because Robert Moses wants them there.[28:15] Robert Moses had power that no one understood. Power that nobody else was even thinking about.[29:50] There are sentences that are said to you in your life that are chiseled into your memory.[34:00] Three of the editors took me to some fancy restaurant and told me they could make me a star. Bob Gottlieb said, Well, I don't go out for lunch but we can have a sandwich at my desk and talk about your book. So of course I picked him.[37:15] Robert Moses was a ruthless genius with savage energy.[38:30] Ambitious people are rare, so if everyone is mixed together randomly, as they tend to be early in people's lives, then the ambitious ones won't have many ambitious peers. When you take people like this and put them together with other ambitious people, they bloom like dying plants given water. Probably most ambitious people are starved for the sort of encouragement they'd get from ambitious peers, whatever their age.— Paul Graham's essays. (Founders #275-277)[42:30] in a couple of sentences these two men —idols of mine — had wiped away five years of doubt.[42:50] There is not a more mysterious craft than entrepreneurship.[48:15] I now had a picture of Lyndon Johnson's youth, that terrible youth, that character hardening youth.[54:00] I wasn't fully understanding what these people were telling me about the depth of Lyndon Johnson's determination, about the frantic urgency, the desperation, to get ahead, and to get ahead fast.As if the passions, the ambitions that he brought to Washington, strong though they were, were somehow intensified by the fact that he was finally there, in the place where he had always wanted to be.I wanted to show the contrast between what he was coming from the poverty, the insecurity —and what he was trying for.[55:15] I wanted to make the reader see the contrast between what he was coming from and what he was trying for. Something on the way to work had excited him and thrilled him so much that he'd break into a run every morning.[56:15] And as Lyndon Johnson came up Capitol Hill in the morning, he would be running.Well, of course he was running—from the land of poverty to this. Everything he had ever wanted, everything he had ever hoped for, was there.---Subscribe to listen to Founders Premium — Subscribers can ask me questions directly and listen to Ask Me Anything (AMA) episodes.----Join my free email newsletter to get my top 10 highlights from every book----“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested so my poor wallet suffers. ” — GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Dan Murillo @damurillo es el CEO de AQP Property Management, una empresa de inversión inmobiliaria con sede en Los Ángeles.Por favor ayúdame y sigue Cracks Podcast en YouTube aquí."Si quieres ser importante, haz que la gente de tu alrededor se sienta grande." - Dan Murillo - @damurilloComparte esta frase en TwitterEste episodio es presentado por Julius Baer, el grupo suizo líder en Wealth Management y por Cracks Mastermind, mi comunidad de empresarios exitosos con inscripciones abiertas este mes.Antes de este cargo, Dan fue capitalista de riesgo en Greycroft Partners, un fondo de capital de riesgo centrado en la tecnología y director ejecutivo/fundador de Little Black Bag, una innovadora empresa de comercio electrónico. Dan tiene una licenciatura, magna cum laude, en Ciencias de la Computación de Amherst College, con cursos adicionales del Instituto Indio de Tecnología, Delhi y una Maestría en Administración de Empresas de la Escuela de Graduados en Negocios de Stanford.Hoy Dan y yo hablamos de lecciones que aprendió de Steve Jobs y Steve Ballmer, de dar cumplidos, sobre la disciplina para ir despacio y de re-enamorarte de tu pareja después de los hijos.Qué puedes aprender hoyLecciones de Steve Jobs y Steve BallmerCómo pasar de introvertido a ser el alma de la fiestaCrear cultura a partir de frasesCómo evitar una mala relación en el negocio familiarLa mejor forma de decir NO*Este episodio es presentado por por Julius Baer, el grupo suizo líder en Wealth Management con presencia en América Latina.Tomar el control de la empresa familiar es una decisión importante en la vida de cualquier persona. En Julius Baer entienden las complejidades de la sucesión y apoyan a sus clientes y sus familias en el desarrollo de una solución que ayude a garantizar que la empresa siga teniendo éxito por muchas generaciones.Para conectar con los expertos de Julius Baer y discutir cómo pueden ayudarte a navegar el proceso de sucesión en tu empresa, visita el sitio www.juliusbaer.com *Este episodio es presentado por Cracks MastermindCracks Mastermind arranca un nuevo ciclo anual el 13 de julio y quiero invitarte a aplicar para ser parte de la comunidad.Cracks Mastermind es una comunidad de mexicanos y mexicanas con negocios exitosos. Fundé esta comunidad en 2021 para darle a sus miembros herramientas y experiencias que les permitan escalar su negocio e incrementar su facturación, al mismo tiempo que escalan el nivel de intensidad y satisfacción en el resto de los aspectos de sus vidas.Si tienes una empresa grande y estas escuchando esto, esta es una invitación mía y formal para formar parte de este grupo porque estoy seguro de que podemos lograr todo eso juntos, en comunidad.Quedan MUY POCOS lugares para el ciclo anual que empieza el 13 de julio, llena tu aplicación en cracksmastermind.com y espero verte muy pronto.*Youtube: https://www.youtube.com/crackspodcastNotas del episodio en:https://cracks.la/229

We're checking out BlackBerry, starring Jay Baruchel and Glenn Howerton! How does this stack up against other Tech Bro movies like The Social Network and Steve Jobs? What is the BlackBerry's legacy? Why hasn't anyone heard of this movie? And so much more! Spoilers ahead. Website: wasitgood.infoYouTube: youtube.com/wasitgood

(0:00) Intro(0:41) Welcome George Boutros(11:08) Advising deals 2008-2010(16:48) Pillars of building out an investment bank(30:58) Becoming CEO at Qatalyst(34:32) Working because you enjoy it(37:42) George's father(49:23) Shifting focus to tech(54:53) Apple almost selling in 1996(1:01:06) Pixar(1:07:53) Negotiating Advice(1:10:46) Figuring out when to sell(1:17:43) Council to private companies now(1:24:08) The institutionalization of private equity within technology(1:38:03) How is the investment banking industry changing(1:42:52) Balancing work and family Mixed and edited: Justin HrabovskyProduced: Rashad AssirExecutive Producer: Josh MachizMusic: Griff Lawson 

The legendary founder of Apple and Pixar, Steve Jobs, gives one of his most iconic speeches to Stanford University graduates.    Source: Steve Jobs' 2005 Stanford Commencement Address (with intro by President John Hennessy)   Connect with Steve Jobs:    Website: https://www.apple.com/stevejobs/   Hosted by Malikee Josephs (Pronounced Muh leek Jo seffs)   Give Me A Shout:   Follow Me On Instagram @DepressionDetoxShow.   Email me: mj@depressiondetoxshow.com   Support The Show: Donate

Summary Notes: Alison and Phillip wrap this series by discussing Apple's growth and innovation during Cook's tenure, from the introduction of the Apple Watch to the launch of the App Store, and the financial rewards these moves have brought. It is noted that Apple has become a platform company, with other platforms being built on top of its own operating system. It is agreed that Tim Cook is equally as visionary as Steve Jobs from an operational standpoint, and that he has been able to implement his vision since becoming CEO. Apple is now generating a lot of revenue through its platform, and it is getting into finance. Timestamps 0:00:57 Apple's Transformation Under Tim Cook's Leadership 0:03:39 Discussion on Apple's High Yield Savings Account and Its Potential Impact on the Banking System 0:07:25 Tim Cook's Vision for Apple's Revitalization   Powered by ReiffMartin CPA and Stone Hill Wealth Management https://www.reiffmartincpa.com/ https://stonehillwealthmanagement.com/   Join the Wealth Building Made Simple Newsletter: https://www.wealthbuildingmadesimple.us

Voici un cas d'usage de l'IA qui concerne des millions de personnes : retoucher une photo. Passé par Polytechnique et Stanford, Matthieu Rouif a rendu service à des millions de personnes avec PhotoRoom. Chaque mois, 12 millions d'utilisateurs se servent de son appli pour détourer leurs photos ou supprimer des éléments gênants en quelques secondes. Tout cela grâce à l'IA générative. Pendant cet échange, Matthieu nous partage ses leçons acquises chez GoPro, Y Combinator, et à la tête de son propre business. Leçon #1 : Lancer rapidement une application imparfaite pour récolter des feedbacks d'utilisateurs et s'améliorer en continu : cela donne une appli téléchargée plus de 40 millions de fois à ce jour. Leçon #2 : Aider des millions d'entrepreneurs et commerçants à se développer grâce à une simple appli photo à 40€ l'année : cela représente un impact important sur l'économie. Leçon #3 : Savoir relier les points entre l'ingénierie et l'art à la manière de Steve Jobs. Vous êtes passionné de photo ? Vous travaillez de près ou de loin dans le développement d'une appli ? Vous voulez saisir tout le potentiel de l'IA générative, en quoi cela vous concerne et comment cela peut impacter votre quotidien ? Ou, tout simplement, vous aimeriez bien comprendre comment c'est possible de détourer et retoucher une photo en 30 secondes chrono ?! Ne passez pas à côté de cet épisode. Et bonne nouvelle ! Je vous ai négocié 20% de réduction sur un abonnement annuel à PhotoRoom grâce au code DOIT. TIMELINE : 00:00:00 - Le nom de domaine et la marque PhotoRoom 00:09:30 - Présentation de Matthieu Rouif et de PhotoRoom 00:27:00 - L'art de la photographie 00:43:00 - Le futur de la photo 00:52:00 - PhotoRoom : clients, chiffres et modèle d'affaires 01:14:00 - Eliot, l'associé de Matthieu 01:17:00 - La formation de Matthieu (Polytechnique, Stanford et YC) 01:42:00 - Levées de fonds et objectifs de croissance 02:01:00 - Les meilleurs conseils de Y Combinator 02:15:00 - Stupeflix et GoPro 02:26:00 - La politique RH chez PhotoRoom 02:30:00 - Les appstores et marketplaces 02:28:00 - Les traditionnelles questions de fin d'épisode On a cité avec Matthieu plusieurs anciens épisodes de GDIY : #194 - Philippe Corrot - Le pilier des e-commerçants du monde #317 - Edouard Caraco - Concurrencer Veepee sans savoir coder : l'ambition réussie de deux amis d'enfance #322 - Georges-Olivier Reymond - Pasqal - Et si le leader mondial du Quantum Computing était Français ? #323 - Bruno Bonnell - France 2030 - 54 milliards pour l'innovation, l'industrie et la transition écologique #286 - Benjamin Netter - Pourquoi la cybersécurité doit être l'affaire de tous Avec Matthieu, on a parlé de : Y Combinator TechCrunch Ocus Miro L'effet Bokeh L'expo Basquiat x Warhol Canva L'appli mojo Le livre The Innovator's Dilemma (Clayton M. Christensen) Le livre The Mom Test (Rob Fitzpatrick) Le podcast 20VC Le rachat de Stupeflix par GoPro Matthieu vous recommande de lire : Creativity Inc. d'Ed Catmull Si vous avez apprécié cet épisode, laissez un commentaire sur nos posts LinkedIn ou Instagram. Si vous voulez faire découvrir cet épisode, taguez un ami. La musique du générique vous plaît ? C'est à Morgan Prudhomme que je la dois ! Contactez-le sur : https://studio-module.com. Vous souhaitez sponsoriser Génération Do It Yourself ou nous proposer un partenariat ? Contactez mon label Orso Media via ce formulaire. Vous pouvez suivre Matthieu sur LinkedIn et Twitter.

(NOTAS Y ENLACES COMPLETOS DEL CAPÍTULO AQUÍ: https://www.jaimerodriguezdesantiago.com/kaizen/166-toma-de-decisiones-vii-resolucion-de-problemas-pastores-steve-jobs-y-la-consultoria/)Una mañana, un pastor salió con su rebaño de ovejas y sus dos perros hacia un prado. Pasadas unas horas, ve acercarse a toda velocidad un coche caro, con las lunas tintadas, que frena bruscamente al llegar a su altura. Del coche baja un tipo vestido impecablemente, traje italiano, camisa perfectamente planchada y zapatos brillantes. Se acerca al pastor y le dice: «señor, le hago una apuesta: si soy capaz de decirle el número exacto de ovejas de su rebaño, me quedo dos de ellas». El pastor, entre atónito y entretenido, se encoge de hombros y acepta la apuesta. Acto seguido, el hombre del traje abre el maletero del coche, saca una antena parabólica con la que se conecta a un satélite y empieza a tomar fotos aéreas del rebaño que después procesa en su ordenador con un programa desarrollado por la inteligencia israelí. 15 minutos después se acerca al pastor y le dice: «tiene usted 172 ovejas»«Es cierto, ése es el número» - responde el pastorOrgulloso, el tipo del traje le dice: «Estupendo. Entonces he ganado la apuesta, me llevo dos ovejas». Y sin esperar la respuesta del pastor agarra a los dos animales más cercanos a él y se encamina al coche.El pastor le mira sonriente y antes de que meta a los animales en el vehículo le dice: «discúlpeme, caballero, pero usted es consultor, ¿verdad?» El hombre se queda asombrado y responde «Efectivamente, ¿cómo lo ha sabido?». – «Bueno, no ha sido demasiado difícil. En realidad lo supe por tres cosas»– «¿Por cuáles?», pregunta el consultor.– «La primera es que ha venido sin que yo le llamara. La segunda es que me dijo algo que yo ya sabía. Y la tercera es que no sabe absolutamente nada de mi negocio, porque lo que se está llevando son dos perros»No nos vamos a engañar: el chiste es malo y la consultoría suele ser un blanco fácil. Espero que me lo perdone cualquier oyente consultor. Yo tengo una relación de amor-odio con la consultoría, quizás más de lo segundo que de lo primero. Sobre el papel me parece que puede ser un trabajo fascinante, pero tengo muchas reservas sobre cómo suele llevarse a cabo. Algunas de ellas son muy parecidas a las que dijo Steve Jobs en una ocasión, cuando dio una charla en el MIT y preguntó al público: «¿Cuántos de vosotros trabajáis en consultoría?» Al ver las manos levantadas, su respuesta fue «Uy, eso es malo», lo que provocó una carcajada entre los asistentes. Y después, al más puro estilo Jobs, se despachó a gusto: «Deberíais hacer algo. No, en serio, no creo que haya nada inherentemente malo con la consultoría. Pero pienso que sin ser el dueño de algo a lo largo de un periodo extenso de tiempo, de al menos unos años, que es cuando tienes la oportunidad de hacerte responsable de tus propias recomendaciones, cuando tienes que ver cómo resultan esas recomendaciones y acumulas cicatrices por los errores cometidos y te levantas de nuevo y te sacudes el polvo cada vez que caes, sin todo eso, sólo aprendes una pequeña fracción de lo que podrías aprender». Dicho todo esto, me parece de verdad que puede ser una profesión fascinante, en la que además trabajan muchas personas enormemente inteligentes y donde se desarrollan herramientas y maneras de pensar que nos vendría muy bien conocer a todos. Es más, el capítulo de hoy lo vamos a dedicar a algunas de esas herramientas para tomar mejores decisiones. Que Jobs nos perdone. 

For the 4th edition of KHAP Chats, Kody and Korbin are all alone and ready to see where the conversation takes them. Listen to this episode for a laid back conversation that spans from Guardians of the Galaxy Vol 3, Kody's favorite animated superhero movie, why they shouldn't do John Wick Ch 5, and more. Guardians of the Galaxy Vol 3 (1:28) Fast & Furious Streaming Show (9:19) John Wick Ch 4 (13:09) 6 Degrees of Dave: Anne Hathaway and Arnold Schwarzenegger (20:31) American History X and Edward Norton (26:28) Blockbuster Movie Game: Superhero Movies (35:35) Blade (42:29) Megamind (47:48) Cinephile Movie Game: Nicole Kidman, Kristen Wiig, and Winona Ryder(50:21) Steve Jobs, Sunshine, and Danny Boyle (1:02:22) Hosts: Korbin Zvokel and Kody Webb https://linktr.ee/khapodcast Leave us a voice message: https://podcasters.spotify.com/pod/show/khapodcast/message --- Send in a voice message: https://podcasters.spotify.com/pod/show/khapodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/khapodcast/support

While working alongside Steve Jobs and building Apple's App Store, Phillip Shoemaker realized there were a lot of issues with identity and privacy: app developers who would break the rules of the App Store and whose apps were deleted could easily register with new credentials. After leaving Apple, Phillip decided to focus on this problem and solve it using blockchain. So here comes the story of Identity.com! Follow Phillip Shoemaker: Twitter: https://twitter.com/pbsIdentity ►►THE DAILY CLOSE BRAND NEW NEWSLETTER! INSTITUTIONAL GRADE INDICATORS AND DATA DELIVERED DIRECTLY TO YOUR INBOX, EVERY DAY AT THE DAILY CLOSE. TRADE LIKE THE BIG BOYS.

On today's episode, Charlie starts putting everything we've talked about in the Mind Hacks Series together. Remember the example of radishes and cookies? We learned about ego depletion, how we only have a certain amount of discipline. If we use up our discipline on insignificant things, we're out of discipline early in the day. For instance, this is why Steve Jobs wears the same thing every day. Jeff Bazos is uninvolved in the small problems and decisions at Amazon because he's busy with the big direction for the company. Big people don't get stuck in small problems. Ask yourself if the moments of your life are worth the amount of discipline you're giving them. Your discipline needs to go to your new ritual. That ritual needs to be repeated over and over to get wired in. So this is where we want to use our discipline muscle, because you know at some point that ritual will stick in your brain and require less discipline, so the return you get on your discipline investment is so worth it. “When we invest our discipline in insignificant things we're wasting it. When we invest it in ritual building or in bad ritual pruning, it's the best investment we can make because we know at some point it will become automatic!” What happens when things get hard, when the motivation is gone, and you're ready to let go of the new ritual? Charlie introduces the concept of stick week! Stick week will help you when: -Discipline is used up -I'm feeling done -My previous brain wiring is so strong making it hard for me to go against it Stick week is the answer! When you don't want to do it, that's when your brain is really starting to make new connections and wire it in. So think towards the future and remind yourself it's going to get easier and imagine what my life will look like with my new routine. If you stick with it, that's when all the greatness happens! Thanks for listening, sharing, tagging, and reviewing! Share your comments with us on our social platforms- we love hearing your feedback. For the accompanying workbook, email ug@charlieharary.com This podcast has been graciously sponsored by JewishPodcasts.fm. There is much overhead to maintain this service so please help us continue our goal of helping Jewish lecturers become podcasters and support us with a donation: https://thechesedfund.com/jewishpodcasts/donate

Un señal de que la IA está impactando en la sociedad es cómo sorprende todo lo que son capaces de hacer sistemas como ChatGPT o Midjourney al mundo no tecnológico. Seguro que muchos de vosotros habéis tenido alguna conversión con alguien fuera de nuestra burbuja tecnológica sobre el tema. Sin embargo, a Apple se le acusa de estar parada en este campo. A pesar de ello, la compañía de Cupertino sigue lanzando productos que la utilizan, pero desde una perspectiva de la utilidad: con las mejoras en iOS 17 en Accesibilidad, el iPhone podrá aprender a hablar con nuestra propia voz, en 15 minutos. Pedro Aznar (@pedroaznar) y Miguel López (@mlopca) debaten sobre los anuncios de los de Cupertino a tres semanas del evento de la WWDC23, del libro exclusivo de Steve Jobs para empleados (que hemos podido ver) y el resto de noticias de la semana. *** ¡Ahora podéis acompañarnos durante la grabación!A las 18:30 (hora española peninsular) - cada martes en el canal de Twitch de Xataka, en directo. ¡Os esperamos! https://twitch.tv/elstream Las Charlas de Applesfera es el podcast del equipo de Applesfera, donde se trata el gran tema de la semana y su contexto - contado por los expertos que te acompañan en el mundo Apple desde 2006. Contacta con el director en (pedroaznar@applesfera.com) o con el equipo en (editores@applesfera.com). Twitter: https://twitter.com/applesfera Instagram: https://instagram.com/applesfera Mastodon: https://mastodon.social/@applesfera Twitch: https://twitch.com/xataka ¡Gracias por escuchar este podcast!

Episode 165 of A History of Rock Music in Five Hundred Songs looks at “Dark Stat” and the career of the Grateful Dead. This is a long one, even longer than the previous episode, but don't worry, that won't be the norm. There's a reason these two were much longer than average. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-minute bonus episode available, on "Codine" by the Charlatans. Errata I mispronounce Brent Mydland's name as Myland a couple of times, and in the introduction I say "Touch of Grey" came out in 1988 -- I later, correctly, say 1987. (I seem to have had a real problem with dates in the intro -- I also originally talked about "Blue Suede Shoes" being in 1954 before fixing it in the edit to be 1956) Resources No Mixcloud this week, as there are too many songs by the Grateful Dead, and Grayfolded runs to two hours. I referred to a lot of books for this episode, partly because almost everything about the Grateful Dead is written from a fannish perspective that already assumes background knowledge, rather than to provide that background knowledge. Of the various books I used, Dennis McNally's biography of the band and This Is All a Dream We Dreamed: An Oral History of the Grateful Dead by Blair Jackson and David Gans are probably most useful for the casually interested. Other books on the Dead I used included McNally's Jerry on Jerry, a collection of interviews with Garcia; Deal, Bill Kreutzmann's autobiography; The Grateful Dead FAQ by Tony Sclafani; So Many Roads by David Browne; Deadology by Howard F. Weiner; Fare Thee Well by Joel Selvin and Pamela Turley; and Skeleton Key: A Dictionary for Deadheads by David Shenk and Steve Silberman. Tom Wolfe's The Electric Kool-Aid Acid Test is the classic account of the Pranksters, though not always reliable. I reference Slaughterhouse Five a lot. As well as the novel itself, which everyone should read, I also read this rather excellent graphic novel adaptation, and The Writer's Crusade, a book about the writing of the novel. I also reference Ted Sturgeon's More Than Human. For background on the scene around Astounding Science Fiction which included Sturgeon, John W. Campbell, L. Ron Hubbard, and many other science fiction writers, I recommend Alec Nevala-Lee's Astounding. 1,000 True Fans can be read online, as can the essay on the Californian ideology, and John Perry Barlow's "Declaration of the Independence of Cyberspace". The best collection of Grateful Dead material is the box set The Golden Road, which contains all the albums released in Pigpen's lifetime along with a lot of bonus material, but which appears currently out of print. Live/Dead contains both the live version of "Dark Star" which made it well known and, as a CD bonus track, the original single version. And archive.org has more live recordings of the group than you can possibly ever listen to. Grayfolded can be bought from John Oswald's Bandcamp Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Tuning from "Grayfolded", under the warnings Before we begin -- as we're tuning up, as it were, I should mention that this episode contains discussions of alcoholism, drug addiction, racism, nonconsensual drugging of other people, and deaths from drug abuse, suicide, and car accidents. As always, I try to deal with these subjects as carefully as possible, but if you find any of those things upsetting you may wish to read the transcript rather than listen to this episode, or skip it altogether. Also, I should note that the members of the Grateful Dead were much freer with their use of swearing in interviews than any other band we've covered so far, and that makes using quotes from them rather more difficult than with other bands, given the limitations of the rules imposed to stop the podcast being marked as adult. If I quote anything with a word I can't use here, I'll give a brief pause in the audio, and in the transcript I'll have the word in square brackets. [tuning ends] All this happened, more or less. In 1910, T. S. Eliot started work on "The Love Song of J. Alfred Prufrock", which at the time was deemed barely poetry, with one reviewer imagining Eliot saying "I'll just put down the first thing that comes into my head, and call it 'The Love Song of J. Alfred Prufrock.'" It is now considered one of the great classics of modernist literature. In 1969, Kurt Vonnegut wrote "Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death", a book in which the protagonist, Billy Pilgrim, comes unstuck in time, and starts living a nonlinear life, hopping around between times reliving his experiences in the Second World War, and future experiences up to 1976 after being kidnapped by beings from the planet Tralfamadore. Or perhaps he has flashbacks and hallucinations after having a breakdown from PTSD. It is now considered one of the great classics of modernist literature or of science fiction, depending on how you look at it. In 1953, Theodore Sturgeon wrote More Than Human. It is now considered one of the great classics of science fiction. In 1950, L. Ron Hubbard wrote Dianetics: The Modern Science of Mental Health. It is now considered either a bad piece of science fiction or one of the great revelatory works of religious history, depending on how you look at it. In 1994, 1995, and 1996 the composer John Oswald released, first as two individual CDs and then as a double-CD, an album called Grayfolded, which the composer says in the liner notes he thinks of as existing in Tralfamadorian time. The Tralfamadorians in Vonnegut's novels don't see time as a linear thing with a beginning and end, but as a continuum that they can move between at will. When someone dies, they just think that at this particular point in time they're not doing so good, but at other points in time they're fine, so why focus on the bad time? In the book, when told of someone dying, the Tralfamadorians just say "so it goes". In between the first CD's release and the release of the double-CD version, Jerry Garcia died. From August 1942 through August 1995, Jerry Garcia was alive. So it goes. Shall we go, you and I? [Excerpt: The Grateful Dead, "Dark Star (Omni 3/30/94)"] "One principle has become clear. Since motives are so frequently found in combination, it is essential that the complex types be analyzed and arranged, with an eye kept single nevertheless to the master-theme under discussion. Collectors, both primary and subsidiary, have done such valiant service that the treasures at our command are amply sufficient for such studies, so extensive, indeed, that the task of going through them thoroughly has become too great for the unassisted student. It cannot be too strongly urged that a single theme in its various types and compounds must be made predominant in any useful comparative study. This is true when the sources and analogues of any literary work are treated; it is even truer when the bare motive is discussed. The Grateful Dead furnishes an apt illustration of the necessity of such handling. It appears in a variety of different combinations, almost never alone. Indeed, it is so widespread a tale, and its combinations are so various, that there is the utmost difficulty in determining just what may properly be regarded the original kernel of it, the simple theme to which other motives were joined. Various opinions, as we shall see, have been held with reference to this matter, most of them justified perhaps by the materials in the hands of the scholars holding them, but none quite adequate in view of later evidence." That's a quote from The Grateful Dead: The History of a Folk Story, by Gordon Hall Gerould, published in 1908. Kurt Vonnegut's novel Slaughterhouse-Five opens with a chapter about the process of writing the novel itself, and how difficult it was. He says "I would hate to tell you what this lousy little book cost me in money and anxiety and time. When I got home from the Second World War twenty-three years ago, I thought it would be easy for me to write about the destruction of Dresden, since all I would have to do would be to report what I had seen. And I thought, too, that it would be a masterpiece or at least make me a lot of money, since the subject was so big." This is an episode several of my listeners have been looking forward to, but it's one I've been dreading writing, because this is an episode -- I think the only one in the series -- where the format of the podcast simply *will not* work. Were the Grateful Dead not such an important band, I would skip this episode altogether, but they're a band that simply can't be ignored, and that's a real problem here. Because my intent, always, with this podcast, is to present the recordings of the artists in question, put them in context, and explain why they were important, what their music meant to its listeners. To put, as far as is possible, the positive case for why the music mattered *in the context of its time*. Not why it matters now, or why it matters to me, but why it matters *in its historical context*. Whether I like the music or not isn't the point. Whether it stands up now isn't the point. I play the music, explain what it was they were doing, why they were doing it, what people saw in it. If I do my job well, you come away listening to "Blue Suede Shoes" the way people heard it in 1956, or "Good Vibrations" the way people heard it in 1966, and understanding why people were so impressed by those records. That is simply *not possible* for the Grateful Dead. I can present a case for them as musicians, and hope to do so. I can explain the appeal as best I understand it, and talk about things I like in their music, and things I've noticed. But what I can't do is present their recordings the way they were received in the sixties and explain why they were popular. Because every other act I have covered or will cover in this podcast has been a *recording* act, and their success was based on records. They may also have been exceptional live performers, but James Brown or Ike and Tina Turner are remembered for great *records*, like "Papa's Got a Brand New Bag" or "River Deep, Mountain High". Their great moments were captured on vinyl, to be listened back to, and susceptible of analysis. That is not the case for the Grateful Dead, and what is worse *they explicitly said, publicly, on multiple occasions* that it is not possible for me to understand their art, and thus that it is not possible for me to explain it. The Grateful Dead did make studio records, some of them very good. But they always said, consistently, over a thirty year period, that their records didn't capture what they did, and that the only way -- the *only* way, they were very clear about this -- that one could actually understand and appreciate their music, was to see them live, and furthermore to see them live while on psychedelic drugs. [Excerpt: Grateful Dead crowd noise] I never saw the Grateful Dead live -- their last UK performance was a couple of years before I went to my first ever gig -- and I have never taken a psychedelic substance. So by the Grateful Dead's own criteria, it is literally impossible for me to understand or explain their music the way that it should be understood or explained. In a way I'm in a similar position to the one I was in with La Monte Young in the last episode, whose music it's mostly impossible to experience without being in his presence. This is one reason of several why I placed these two episodes back to back. Of course, there is a difference between Young and the Grateful Dead. The Grateful Dead allowed -- even encouraged -- the recording of their live performances. There are literally thousands of concert recordings in circulation, many of them of professional quality. I have listened to many of those, and I can hear what they were doing. I can tell you what *I* think is interesting about their music, and about their musicianship. And I think I can build up a good case for why they were important, and why they're interesting, and why those recordings are worth listening to. And I can certainly explain the cultural phenomenon that was the Grateful Dead. But just know that while I may have found *a* point, *an* explanation for why the Grateful Dead were important, by the band's own lights and those of their fans, no matter how good a job I do in this episode, I *cannot* get it right. And that is, in itself, enough of a reason for this episode to exist, and for me to try, even harder than I normally do, to get it right *anyway*. Because no matter how well I do my job this episode will stand as an example of why this series is called "*A* History", not *the* history. Because parts of the past are ephemeral. There are things about which it's true to say "You had to be there". I cannot know what it was like to have been an American the day Kennedy was shot, I cannot know what it was like to be alive when a man walked on the Moon. Those are things nobody my age or younger can ever experience. And since August the ninth, 1995, the experience of hearing the Grateful Dead's music the way they wanted it heard has been in that category. And that is by design. Jerry Garcia once said "if you work really hard as an artist, you may be able to build something they can't tear down, you know, after you're gone... What I want to do is I want it here. I want it now, in this lifetime. I want what I enjoy to last as long as I do and not last any longer. You know, I don't want something that ends up being as much a nuisance as it is a work of art, you know?" And there's another difficulty. There are only two points in time where it makes sense to do a podcast episode on the Grateful Dead -- late 1967 and early 1968, when the San Francisco scene they were part of was at its most culturally relevant, and 1988 when they had their only top ten hit and gained their largest audience. I can't realistically leave them out of the story until 1988, so it has to be 1968. But the songs they are most remembered for are those they wrote between 1970 and 1972, and those songs are influenced by artists and events we haven't yet covered in the podcast, who will be getting their own episodes in the future. I can't explain those things in this episode, because they need whole episodes of their own. I can't not explain them without leaving out important context for the Grateful Dead. So the best I can do is treat the story I'm telling as if it were in Tralfamadorian time. All of it's happening all at once, and some of it is happening in different episodes that haven't been recorded yet. The podcast as a whole travels linearly from 1938 through to 1999, but this episode is happening in 1968 and 1972 and 1988 and 1995 and other times, all at once. Sometimes I'll talk about things as if you're already familiar with them, but they haven't happened yet in the story. Feel free to come unstuck in time and revisit this time after episode 167, and 172, and 176, and 192, and experience it again. So this has to be an experimental episode. It may well be an experiment that you think fails. If so, the next episode is likely to be far more to your taste, and much shorter than this or the last episode, two episodes that between them have to create a scaffolding on which will hang much of the rest of this podcast's narrative. I've finished my Grateful Dead script now. The next one I write is going to be fun: [Excerpt: Grateful Dead, "Dark Star"] Infrastructure means everything. How we get from place to place, how we transport goods, information, and ourselves, makes a big difference in how society is structured, and in the music we hear. For many centuries, the prime means of long-distance transport was by water -- sailing ships on the ocean, canal boats and steamboats for inland navigation -- and so folk songs talked about the ship as both means of escape, means of making a living, and in some senses as a trap. You'd go out to sea for adventure, or to escape your problems, but you'd find that the sea itself brought its own problems. Because of this we have a long, long tradition of sea shanties which are known throughout the world: [Excerpt: A. L. Lloyd, "Off to Sea Once More"] But in the nineteenth century, the railway was invented and, at least as far as travel within a landmass goes, it replaced the steamboat in the popular imaginary. Now the railway was how you got from place to place, and how you moved freight from one place to another. The railway brought freedom, and was an opportunity for outlaws, whether train robbers or a romanticised version of the hobo hopping onto a freight train and making his way to new lands and new opportunity. It was the train that brought soldiers home from wars, and the train that allowed the Great Migration of Black people from the South to the industrial North. There would still be songs about the riverboats, about how ol' man river keeps rolling along and about the big river Johnny Cash sang about, but increasingly they would be songs of the past, not the present. The train quickly replaced the steamboat in the iconography of what we now think of as roots music -- blues, country, folk, and early jazz music. Sometimes this was very literal. Furry Lewis' "Kassie Jones" -- about a legendary train driver who would break the rules to make sure his train made the station on time, but who ended up sacrificing his own life to save his passengers in a train crash -- is based on "Alabamy Bound", which as we heard in the episode on "Stagger Lee", was about steamboats: [Excerpt: Furry Lewis, "Kassie Jones"] In the early episodes of this podcast we heard many, many, songs about the railway. Louis Jordan saying "take me right back to the track, Jack", Rosetta Tharpe singing about how "this train don't carry no gamblers", the trickster freight train driver driving on the "Rock Island Line", the mystery train sixteen coaches long, the train that kept-a-rollin' all night long, the Midnight Special which the prisoners wished would shine its ever-loving light on them, and the train coming past Folsom Prison whose whistle makes Johnny Cash hang his head and cry. But by the 1960s, that kind of song had started to dry up. It would happen on occasion -- "People Get Ready" by the Impressions is the most obvious example of the train metaphor in an important sixties record -- but by the late sixties the train was no longer a symbol of freedom but of the past. In 1969 Harry Nilsson sang about how "Nobody Cares About the Railroads Any More", and in 1968 the Kinks sang about "The Last of the Steam-Powered Trains". When in 1968 Merle Haggard sang about a freight train, it was as a memory, of a child with hopes that ended up thwarted by reality and his own nature: [Excerpt: Merle Haggard, "Mama Tried"] And the reason for this was that there had been another shift, a shift that had started in the forties and accelerated in the late fifties but had taken a little time to ripple through the culture. Now the train had been replaced in the popular imaginary by motorised transport. Instead of hopping on a train without paying, if you had no money in your pocket you'd have to hitch-hike all the way. Freedom now meant individuality. The ultimate in freedom was the biker -- the Hell's Angels who could go anywhere, unburdened by anything -- and instead of goods being moved by freight train, increasingly they were being moved by truck drivers. By the mid-seventies, truck drivers took a central place in American life, and the most romantic way to live life was to live it on the road. On The Road was also the title of a 1957 novel by Jack Kerouac, which was one of the first major signs of this cultural shift in America. Kerouac was writing about events in the late forties and early fifties, but his book was also a precursor of the sixties counterculture. He wrote the book on one continuous sheet of paper, as a stream of consciousness. Kerouac died in 1969 of an internal haemmorage brought on by too much alcohol consumption. So it goes. But the big key to this cultural shift was caused by the Federal-Aid Highway Act of 1956, a massive infrastructure spending bill that led to the construction of the modern American Interstate Highway system. This accelerated a program that had already started, of building much bigger, safer, faster roads. It also, as anyone who has read Robert Caro's The Power Broker knows, reinforced segregation and white flight. It did this both by making commuting into major cities from the suburbs easier -- thus allowing white people with more money to move further away from the cities and still work there -- and by bulldozing community spaces where Black people lived. More than a million people lost their homes and were forcibly moved, and orders of magnitude more lost their communities' parks and green spaces. And both as a result of deliberate actions and unconscious bigotry, the bulk of those affected were Black people -- who often found themselves, if they weren't forced to move, on one side of a ten-lane highway where the park used to be, with white people on the other side of the highway. The Federal-Aid Highway Act gave even more power to the unaccountable central planners like Robert Moses, the urban planner in New York who managed to become arguably the most powerful man in the city without ever getting elected, partly by slowly compromising away his early progressive ideals in the service of gaining more power. Of course, not every new highway was built through areas where poor Black people lived. Some were planned to go through richer areas for white people, just because you can't completely do away with geographical realities. For example one was planned to be built through part of San Francisco, a rich, white part. But the people who owned properties in that area had enough political power and clout to fight the development, and after nearly a decade of fighting it, the development was called off in late 1966. But over that time, many of the owners of the impressive buildings in the area had moved out, and they had no incentive to improve or maintain their properties while they were under threat of demolition, so many of them were rented out very cheaply. And when the beat community that Kerouac wrote about, many of whom had settled in San Francisco, grew too large and notorious for the area of the city they were in, North Beach, many of them moved to these cheap homes in a previously-exclusive area. The area known as Haight-Ashbury. [Excerpt: The Grateful Dead, "Grayfolded"] Stories all have their starts, even stories told in Tralfamadorian time, although sometimes those starts are shrouded in legend. For example, the story of Scientology's start has been told many times, with different people claiming to have heard L. Ron Hubbard talk about how writing was a mug's game, and if you wanted to make real money, you needed to get followers, start a religion. Either he said this over and over and over again, to many different science fiction writers, or most science fiction writers of his generation were liars. Of course, the definition of a writer is someone who tells lies for money, so who knows? One of the more plausible accounts of him saying that is given by Theodore Sturgeon. Sturgeon's account is more believable than most, because Sturgeon went on to be a supporter of Dianetics, the "new science" that Hubbard turned into his religion, for decades, even while telling the story. The story of the Grateful Dead probably starts as it ends, with Jerry Garcia. There are three things that everyone writing about the Dead says about Garcia's childhood, so we might as well say them here too. The first is that he was named by a music-loving father after Jerome Kern, the songwriter responsible for songs like "Ol' Man River" (though as Oscar Hammerstein's widow liked to point out, "Jerome Kern wrote dum-dum-dum-dum, *my husband* wrote 'Ol' Man River'" -- an important distinction we need to bear in mind when talking about songwriters who write music but not lyrics). The second is that when he was five years old that music-loving father drowned -- and Garcia would always say he had seen his father dying, though some sources claim this was a false memory. So it goes. And the third fact, which for some reason is always told after the second even though it comes before it chronologically, is that when he was four he lost two joints from his right middle finger. Garcia grew up a troubled teen, and in turn caused trouble for other people, but he also developed a few interests that would follow him through his life. He loved the fantastical, especially the fantastical macabre, and became an avid fan of horror and science fiction -- and through his love of old monster films he became enamoured with cinema more generally. Indeed, in 1983 he bought the film rights to Kurt Vonnegut's science fiction novel The Sirens of Titan, the first story in which the Tralfamadorians appear, and wrote a script based on it. He wanted to produce the film himself, with Francis Ford Coppola directing and Bill Murray starring, but most importantly for him he wanted to prevent anyone who didn't care about it from doing it badly. And in that he succeeded. As of 2023 there is no film of The Sirens of Titan. He loved to paint, and would continue that for the rest of his life, with one of his favourite subjects being Boris Karloff as the Frankenstein monster. And when he was eleven or twelve, he heard for the first time a record that was hugely influential to a whole generation of Californian musicians, even though it was a New York record -- "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Garcia would say later "That was an important song. That was the first kind of, like where the voices had that kind of not-trained-singer voices, but tough-guy-on-the-street voice." That record introduced him to R&B, and soon he was listening to Chuck Berry and Bo Diddley, to Ray Charles, and to a record we've not talked about in the podcast but which was one of the great early doo-wop records, "WPLJ" by the Four Deuces: [Excerpt: The Four Deuces, "WPLJ"] Garcia said of that record "That was one of my anthem songs when I was in junior high school and high school and around there. That was one of those songs everybody knew. And that everybody sang. Everybody sang that street-corner favorite." Garcia moved around a lot as a child, and didn't have much time for school by his own account, but one of the few teachers he did respect was an art teacher when he was in North Beach, Walter Hedrick. Hedrick was also one of the earliest of the conceptual artists, and one of the most important figures in the San Francisco arts scene that would become known as the Beat Generation (or the Beatniks, which was originally a disparaging term). Hedrick was a painter and sculptor, but also organised happenings, and he had also been one of the prime movers in starting a series of poetry readings in San Francisco, the first one of which had involved Allen Ginsberg giving the first ever reading of "Howl" -- one of a small number of poems, along with Eliot's "Prufrock" and "The Waste Land" and possibly Pound's Cantos, which can be said to have changed twentieth-century literature. Garcia was fifteen when he got to know Hedrick, in 1957, and by then the Beat scene had already become almost a parody of itself, having become known to the public because of the publication of works like On the Road, and the major artists in the scene were already rejecting the label. By this point tourists were flocking to North Beach to see these beatniks they'd heard about on TV, and Hedrick was actually employed by one cafe to sit in the window wearing a beret, turtleneck, sandals, and beard, and draw and paint, to attract the tourists who flocked by the busload because they could see that there was a "genuine beatnik" in the cafe. Hedrick was, as well as a visual artist, a guitarist and banjo player who played in traditional jazz bands, and he would bring records in to class for his students to listen to, and Garcia particularly remembered him bringing in records by Big Bill Broonzy: [Excerpt: Big Bill Broonzy, "When Things Go Wrong (It Hurts Me Too)"] Garcia was already an avid fan of rock and roll music, but it was being inspired by Hedrick that led him to get his first guitar. Like his contemporary Paul McCartney around the same time, he was initially given the wrong instrument as a birthday present -- in Garcia's case his mother gave him an accordion -- but he soon persuaded her to swap it for an electric guitar he saw in a pawn shop. And like his other contemporary, John Lennon, Garcia initially tuned his instrument incorrectly. He said later "When I started playing the guitar, believe me, I didn't know anybody that played. I mean, I didn't know anybody that played the guitar. Nobody. They weren't around. There were no guitar teachers. You couldn't take lessons. There was nothing like that, you know? When I was a kid and I had my first electric guitar, I had it tuned wrong and learned how to play on it with it tuned wrong for about a year. And I was getting somewhere on it, you know… Finally, I met a guy that knew how to tune it right and showed me three chords, and it was like a revelation. You know what I mean? It was like somebody gave me the key to heaven." He joined a band, the Chords, which mostly played big band music, and his friend Gary Foster taught him some of the rudiments of playing the guitar -- things like how to use a capo to change keys. But he was always a rebellious kid, and soon found himself faced with a choice between joining the military or going to prison. He chose the former, and it was during his time in the Army that a friend, Ron Stevenson, introduced him to the music of Merle Travis, and to Travis-style guitar picking: [Excerpt: Merle Travis, "Nine-Pound Hammer"] Garcia had never encountered playing like that before, but he instantly recognised that Travis, and Chet Atkins who Stevenson also played for him, had been an influence on Scotty Moore. He started to realise that the music he'd listened to as a teenager was influenced by music that went further back. But Stevenson, as well as teaching Garcia some of the rudiments of Travis-picking, also indirectly led to Garcia getting discharged from the Army. Stevenson was not a well man, and became suicidal. Garcia decided it was more important to keep his friend company and make sure he didn't kill himself than it was to turn up for roll call, and as a result he got discharged himself on psychiatric grounds -- according to Garcia he told the Army psychiatrist "I was involved in stuff that was more important to me in the moment than the army was and that was the reason I was late" and the psychiatrist thought it was neurotic of Garcia to have his own set of values separate from that of the Army. After discharge, Garcia did various jobs, including working as a transcriptionist for Lenny Bruce, the comedian who was a huge influence on the counterculture. In one of the various attacks over the years by authoritarians on language, Bruce was repeatedly arrested for obscenity, and in 1961 he was arrested at a jazz club in North Beach. Sixty years ago, the parts of speech that were being criminalised weren't pronouns, but prepositions and verbs: [Excerpt: Lenny Bruce, "To is a Preposition, Come is a Verb"] That piece, indeed, was so controversial that when Frank Zappa quoted part of it in a song in 1968, the record label insisted on the relevant passage being played backwards so people couldn't hear such disgusting filth: [Excerpt: The Mothers of Invention, "Harry You're a Beast"] (Anyone familiar with that song will understand that the censored portion is possibly the least offensive part of the whole thing). Bruce was facing trial, and he needed transcripts of what he had said in his recordings to present in court. Incidentally, there seems to be some confusion over exactly which of Bruce's many obscenity trials Garcia became a transcriptionist for. Dennis McNally says in his biography of the band, published in 2002, that it was the most famous of them, in autumn 1964, but in a later book, Jerry on Jerry, a book of interviews of Garcia edited by McNally, McNally talks about it being when Garcia was nineteen, which would mean it was Bruce's first trial, in 1961. We can put this down to the fact that many of the people involved, not least Garcia, lived in Tralfamadorian time, and were rather hazy on dates, but I'm placing the story here rather than in 1964 because it seems to make more sense that Garcia would be involved in a trial based on an incident in San Francisco than one in New York. Garcia got the job, even though he couldn't type, because by this point he'd spent so long listening to recordings of old folk and country music that he was used to transcribing indecipherable accents, and often, as Garcia would tell it, Bruce would mumble very fast and condense multiple syllables into one. Garcia was particularly impressed by Bruce's ability to improvise but talk in entire paragraphs, and he compared his use of language to bebop. Another thing that was starting to impress Garcia, and which he also compared to bebop, was bluegrass: [Excerpt: Bill Monroe, "Fire on the Mountain"] Bluegrass is a music that is often considered very traditional, because it's based on traditional songs and uses acoustic instruments, but in fact it was a terribly *modern* music, and largely a postwar creation of a single band -- Bill Monroe and his Blue Grass Boys. And Garcia was right when he said it was "white bebop" -- though he did say "The only thing it doesn't have is the harmonic richness of bebop. You know what I mean? That's what it's missing, but it has everything else." Both bebop and bluegrass evolved after the second world war, though they were informed by music from before it, and both prized the ability to improvise, and technical excellence. Both are musics that involved playing *fast*, in an ensemble, and being able to respond quickly to the other musicians. Both musics were also intensely rhythmic, a response to a faster paced, more stressful world. They were both part of the general change in the arts towards immediacy that we looked at in the last episode with the creation first of expressionism and then of pop art. Bluegrass didn't go into the harmonic explorations that modern jazz did, but it was absolutely as modern as anything Charlie Parker was doing, and came from the same impulses. It was tradition and innovation, the past and the future simultaneously. Bill Monroe, Jackson Pollock, Charlie Parker, Jack Kerouac, and Lenny Bruce were all in their own ways responding to the same cultural moment, and it was that which Garcia was responding to. But he didn't become able to play bluegrass until after a tragedy which shaped his life even more than his father's death had. Garcia had been to a party and was in a car with his friends Lee Adams, Paul Speegle, and Alan Trist. Adams was driving at ninety miles an hour when they hit a tight curve and crashed. Garcia, Adams, and Trist were all severely injured but survived. Speegle died. So it goes. This tragedy changed Garcia's attitudes totally. Of all his friends, Speegle was the one who was most serious about his art, and who treated it as something to work on. Garcia had always been someone who fundamentally didn't want to work or take any responsibility for anything. And he remained that way -- except for his music. Speegle's death changed Garcia's attitude to that, totally. If his friend wasn't going to be able to practice his own art any more, Garcia would practice his, in tribute to him. He resolved to become a virtuoso on guitar and banjo. His girlfriend of the time later said “I don't know if you've spent time with someone rehearsing ‘Foggy Mountain Breakdown' on a banjo for eight hours, but Jerry practiced endlessly. He really wanted to excel and be the best. He had tremendous personal ambition in the musical arena, and he wanted to master whatever he set out to explore. Then he would set another sight for himself. And practice another eight hours a day of new licks.” But of course, you can't make ensemble music on your own: [Excerpt: Jerry Garcia and Bob Hunter, "Oh Mary Don't You Weep" (including end)] "Evelyn said, “What is it called when a person needs a … person … when you want to be touched and the … two are like one thing and there isn't anything else at all anywhere?” Alicia, who had read books, thought about it. “Love,” she said at length." That's from More Than Human, by Theodore Sturgeon, a book I'll be quoting a few more times as the story goes on. Robert Hunter, like Garcia, was just out of the military -- in his case, the National Guard -- and he came into Garcia's life just after Paul Speegle had left it. Garcia and Alan Trist met Hunter ten days after the accident, and the three men started hanging out together, Trist and Hunter writing while Garcia played music. Garcia and Hunter both bonded over their shared love for the beats, and for traditional music, and the two formed a duo, Bob and Jerry, which performed together a handful of times. They started playing together, in fact, after Hunter picked up a guitar and started playing a song and halfway through Garcia took it off him and finished the song himself. The two of them learned songs from the Harry Smith Anthology -- Garcia was completely apolitical, and only once voted in his life, for Lyndon Johnson in 1964 to keep Goldwater out, and regretted even doing that, and so he didn't learn any of the more political material people like Pete Seeger, Phil Ochs, and Bob Dylan were doing at the time -- but their duo only lasted a short time because Hunter wasn't an especially good guitarist. Hunter would, though, continue to jam with Garcia and other friends, sometimes playing mandolin, while Garcia played solo gigs and with other musicians as well, playing and moving round the Bay Area and performing with whoever he could: [Excerpt: Jerry Garcia, "Railroad Bill"] "Bleshing, that was Janie's word. She said Baby told it to her. She said it meant everyone all together being something, even if they all did different things. Two arms, two legs, one body, one head, all working together, although a head can't walk and arms can't think. Lone said maybe it was a mixture of “blending” and “meshing,” but I don't think he believed that himself. It was a lot more than that." That's from More Than Human In 1961, Garcia and Hunter met another young musician, but one who was interested in a very different type of music. Phil Lesh was a serious student of modern classical music, a classically-trained violinist and trumpeter whose interest was solidly in the experimental and whose attitude can be summed up by a story that's always told about him meeting his close friend Tom Constanten for the first time. Lesh had been talking with someone about serialism, and Constanten had interrupted, saying "Music stopped being created in 1750 but it started again in 1950". Lesh just stuck out his hand, recognising a kindred spirit. Lesh and Constanten were both students of Luciano Berio, the experimental composer who created compositions for magnetic tape: [Excerpt: Luciano Berio, "Momenti"] Berio had been one of the founders of the Studio di fonologia musicale di Radio Milano, a studio for producing contemporary electronic music where John Cage had worked for a time, and he had also worked with the electronic music pioneer Karlheinz Stockhausen. Lesh would later remember being very impressed when Berio brought a tape into the classroom -- the actual multitrack tape for Stockhausen's revolutionary piece Gesang Der Juenglinge: [Excerpt: Karlheinz Stockhausen, "Gesang Der Juenglinge"] Lesh at first had been distrustful of Garcia -- Garcia was charismatic and had followers, and Lesh never liked people like that. But he was impressed by Garcia's playing, and soon realised that the two men, despite their very different musical interests, had a lot in common. Lesh was interested in the technology of music as well as in performing and composing it, and so when he wasn't studying he helped out by engineering at the university's radio station. Lesh was impressed by Garcia's playing, and suggested to the presenter of the station's folk show, the Midnight Special, that Garcia be a guest. Garcia was so good that he ended up getting an entire solo show to himself, where normally the show would feature multiple acts. Lesh and Constanten soon moved away from the Bay Area to Las Vegas, but both would be back -- in Constanten's case he would form an experimental group in San Francisco with their fellow student Steve Reich, and that group (though not with Constanten performing) would later premiere Terry Riley's In C, a piece influenced by La Monte Young and often considered one of the great masterpieces of minimalist music. By early 1962 Garcia and Hunter had formed a bluegrass band, with Garcia on guitar and banjo and Hunter on mandolin, and a rotating cast of other musicians including Ken Frankel, who played banjo and fiddle. They performed under different names, including the Tub Thumpers, the Hart Valley Drifters, and the Sleepy Valley Hog Stompers, and played a mixture of bluegrass and old-time music -- and were very careful about the distinction: [Excerpt: The Hart Valley Drifters, "Cripple Creek"] In 1993, the Republican political activist John Perry Barlow was invited to talk to the CIA about the possibilities open to them with what was then called the Information Superhighway. He later wrote, in part "They told me they'd brought Steve Jobs in a few weeks before to indoctrinate them in modern information management. And they were delighted when I returned later, bringing with me a platoon of Internet gurus, including Esther Dyson, Mitch Kapor, Tony Rutkowski, and Vint Cerf. They sealed us into an electronically impenetrable room to discuss the radical possibility that a good first step in lifting their blackout would be for the CIA to put up a Web site... We told them that information exchange was a barter system, and that to receive, one must also be willing to share. This was an alien notion to them. They weren't even willing to share information among themselves, much less the world." 1962 brought a new experience for Robert Hunter. Hunter had been recruited into taking part in psychological tests at Stanford University, which in the sixties and seventies was one of the preeminent universities for psychological experiments. As part of this, Hunter was given $140 to attend the VA hospital (where a janitor named Ken Kesey, who had himself taken part in a similar set of experiments a couple of years earlier, worked a day job while he was working on his first novel) for four weeks on the run, and take different psychedelic drugs each time, starting with LSD, so his reactions could be observed. (It was later revealed that these experiments were part of a CIA project called MKUltra, designed to investigate the possibility of using psychedelic drugs for mind control, blackmail, and torture. Hunter was quite lucky in that he was told what was going to happen to him and paid for his time. Other subjects included the unlucky customers of brothels the CIA set up as fronts -- they dosed the customers' drinks and observed them through two-way mirrors. Some of their experimental subjects died by suicide as a result of their experiences. So it goes. ) Hunter was interested in taking LSD after reading Aldous Huxley's writings about psychedelic substances, and he brought his typewriter along to the experiment. During the first test, he wrote a six-page text, a short excerpt from which is now widely quoted, reading in part "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist ... and then sort of cascade tinkley-bell-like (must I take you by the hand, ever so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resounding bells" Hunter's experience led to everyone in their social circle wanting to try LSD, and soon they'd all come to the same conclusion -- this was something special. But Garcia needed money -- he'd got his girlfriend pregnant, and they'd married (this would be the first of several marriages in Garcia's life, and I won't be covering them all -- at Garcia's funeral, his second wife, Carolyn, said Garcia always called her the love of his life, and his first wife and his early-sixties girlfriend who he proposed to again in the nineties both simultaneously said "He said that to me!"). So he started teaching guitar at a music shop in Palo Alto. Hunter had no time for Garcia's incipient domesticity and thought that his wife was trying to make him live a conventional life, and the two drifted apart somewhat, though they'd still play together occasionally. Through working at the music store, Garcia got to know the manager, Troy Weidenheimer, who had a rock and roll band called the Zodiacs. Garcia joined the band on bass, despite that not being his instrument. He later said "Troy was a lot of fun, but I wasn't good enough a musician then to have been able to deal with it. I was out of my idiom, really, 'cause when I played with Troy I was playing electric bass, you know. I never was a good bass player. Sometimes I was playing in the wrong key and didn't even [fuckin'] know it. I couldn't hear that low, after playing banjo, you know, and going to electric...But Troy taught me the principle of, hey, you know, just stomp your foot and get on it. He was great. A great one for the instant arrangement, you know. And he was also fearless for that thing of get your friends to do it." Garcia's tenure in the Zodiacs didn't last long, nor did this experiment with rock and roll, but two other members of the Zodiacs will be notable later in the story -- the harmonica player, an old friend of Garcia's named Ron McKernan, who would soon gain the nickname Pig Pen after the Peanuts character, and the drummer, Bill Kreutzmann: [Excerpt: The Grateful Dead, "Drums/Space (Skull & Bones version)"] Kreutzmann said of the Zodiacs "Jerry was the hired bass player and I was the hired drummer. I only remember playing that one gig with them, but I was in way over my head. I always did that. I always played things that were really hard and it didn't matter. I just went for it." Garcia and Kreutzmann didn't really get to know each other then, but Garcia did get to know someone else who would soon be very important in his life. Bob Weir was from a very different background than Garcia, though both had the shared experience of long bouts of chronic illness as children. He had grown up in a very wealthy family, and had always been well-liked, but he was what we would now call neurodivergent -- reading books about the band he talks about being dyslexic but clearly has other undiagnosed neurodivergences, which often go along with dyslexia -- and as a result he was deemed to have behavioural problems which led to him getting expelled from pre-school and kicked out of the cub scouts. He was never academically gifted, thanks to his dyslexia, but he was always enthusiastic about music -- to a fault. He learned to play boogie piano but played so loudly and so often his parents sold the piano. He had a trumpet, but the neighbours complained about him playing it outside. Finally he switched to the guitar, an instrument with which it is of course impossible to make too loud a noise. The first song he learned was the Kingston Trio's version of an old sea shanty, "The Wreck of the John B": [Excerpt: The Kingston Trio, "The Wreck of the John B"] He was sent off to a private school in Colorado for teenagers with behavioural issues, and there he met the boy who would become his lifelong friend, John Perry Barlow. Unfortunately the two troublemakers got on with each other *so* well that after their first year they were told that it was too disruptive having both of them at the school, and only one could stay there the next year. Barlow stayed and Weir moved back to the Bay Area. By this point, Weir was getting more interested in folk music that went beyond the commercial folk of the Kingston Trio. As he said later "There was something in there that was ringing my bells. What I had grown up thinking of as hillbilly music, it started to have some depth for me, and I could start to hear the music in it. Suddenly, it wasn't just a bunch of ignorant hillbillies playing what they could. There was some depth and expertise and stuff like that to aspire to.” He moved from school to school but one thing that stayed with him was his love of playing guitar, and he started taking lessons from Troy Weidenheimer, but he got most of his education going to folk clubs and hootenannies. He regularly went to the Tangent, a club where Garcia played, but Garcia's bluegrass banjo playing was far too rigorous for a free spirit like Weir to emulate, and instead he started trying to copy one of the guitarists who was a regular there, Jorma Kaukonnen. On New Year's Eve 1963 Weir was out walking with his friends Bob Matthews and Rich Macauley, and they passed the music shop where Garcia was a teacher, and heard him playing his banjo. They knocked and asked if they could come in -- they all knew Garcia a little, and Bob Matthews was one of his students, having become interested in playing banjo after hearing the theme tune to the Beverly Hillbillies, played by the bluegrass greats Flatt and Scruggs: [Excerpt: Flatt and Scruggs, "The Beverly Hillbillies"] Garcia at first told these kids, several years younger than him, that they couldn't come in -- he was waiting for his students to show up. But Weir said “Jerry, listen, it's seven-thirty on New Year's Eve, and I don't think you're going to be seeing your students tonight.” Garcia realised the wisdom of this, and invited the teenagers in to jam with him. At the time, there was a bit of a renaissance in jug bands, as we talked about back in the episode on the Lovin' Spoonful. This was a form of music that had grown up in the 1920s, and was similar and related to skiffle and coffee-pot bands -- jug bands would tend to have a mixture of portable string instruments like guitars and banjos, harmonicas, and people using improvised instruments, particularly blowing into a jug. The most popular of these bands had been Gus Cannon's Jug Stompers, led by banjo player Gus Cannon and with harmonica player Noah Lewis: [Excerpt: Gus Cannon's Jug Stompers, "Viola Lee Blues"] With the folk revival, Cannon's work had become well-known again. The Rooftop Singers, a Kingston Trio style folk group, had had a hit with his song "Walk Right In" in 1963, and as a result of that success Cannon had even signed a record contract with Stax -- Stax's first album ever, a month before Booker T and the MGs' first album, was in fact the eighty-year-old Cannon playing his banjo and singing his old songs. The rediscovery of Cannon had started a craze for jug bands, and the most popular of the new jug bands was Jim Kweskin's Jug Band, which did a mixture of old songs like "You're a Viper" and more recent material redone in the old style. Weir, Matthews, and Macauley had been to see the Kweskin band the night before, and had been very impressed, especially by their singer Maria D'Amato -- who would later marry her bandmate Geoff Muldaur and take his name -- and her performance of Leiber and Stoller's "I'm a Woman": [Excerpt: Jim Kweskin's Jug Band, "I'm a Woman"] Matthews suggested that they form their own jug band, and Garcia eagerly agreed -- though Matthews found himself rapidly moving from banjo to washboard to kazoo to second kazoo before realising he was surplus to requirements. Robert Hunter was similarly an early member but claimed he "didn't have the embouchure" to play the jug, and was soon also out. He moved to LA and started studying Scientology -- later claiming that he wanted science-fictional magic powers, which L. Ron Hubbard's new religion certainly offered. The group took the name Mother McRee's Uptown Jug Champions -- apparently they varied the spelling every time they played -- and had a rotating membership that at one time or another included about twenty different people, but tended always to have Garcia on banjo, Weir on jug and later guitar, and Garcia's friend Pig Pen on harmonica: [Excerpt: Mother McRee's Uptown Jug Champions, "On the Road Again"] The group played quite regularly in early 1964, but Garcia's first love was still bluegrass, and he was trying to build an audience with his bluegrass band, The Black Mountain Boys. But bluegrass was very unpopular in the Bay Area, where it was simultaneously thought of as unsophisticated -- as "hillbilly music" -- and as elitist, because it required actual instrumental ability, which wasn't in any great supply in the amateur folk scene. But instrumental ability was something Garcia definitely had, as at this point he was still practising eight hours a day, every day, and it shows on the recordings of the Black Mountain Boys: [Excerpt: The Black Mountain Boys, "Rosa Lee McFall"] By the summer, Bob Weir was also working at the music shop, and so Garcia let Weir take over his students while he and the Black Mountain Boys' guitarist Sandy Rothman went on a road trip to see as many bluegrass musicians as they could and to audition for Bill Monroe himself. As it happened, Garcia found himself too shy to audition for Monroe, but Rothman later ended up playing with Monroe's Blue Grass Boys. On his return to the Bay Area, Garcia resumed playing with the Uptown Jug Champions, but Pig Pen started pestering him to do something different. While both men had overlapping tastes in music and a love for the blues, Garcia's tastes had always been towards the country end of the spectrum while Pig Pen's were towards R&B. And while the Uptown Jug Champions were all a bit disdainful of the Beatles at first -- apart from Bob Weir, the youngest of the group, who thought they were interesting -- Pig Pen had become enamoured of another British band who were just starting to make it big: [Excerpt: The Rolling Stones, "Not Fade Away"] 29) Garcia liked the first Rolling Stones album too, and he eventually took Pig Pen's point -- the stuff that the Rolling Stones were doing, covers of Slim Harpo and Buddy Holly, was not a million miles away from the material they were doing as Mother McRee's Uptown Jug Champions. Pig Pen could play a little electric organ, Bob had been fooling around with the electric guitars in the music shop. Why not give it a go? The stuff bands like the Rolling Stones were doing wasn't that different from the electric blues that Pig Pen liked, and they'd all seen A Hard Day's Night -- they could carry on playing with banjos, jugs, and kazoos and have the respect of a handful of folkies, or they could get electric instruments and potentially have screaming girls and millions of dollars, while playing the same songs. This was a convincing argument, especially when Dana Morgan Jr, the son of the owner of the music shop, told them they could have free electric instruments if they let him join on bass. Morgan wasn't that great on bass, but what the hell, free instruments. Pig Pen had the best voice and stage presence, so he became the frontman of the new group, singing most of the leads, though Jerry and Bob would both sing a few songs, and playing harmonica and organ. Weir was on rhythm guitar, and Garcia was the lead guitarist and obvious leader of the group. They just needed a drummer, and handily Bill Kreutzmann, who had played with Garcia and Pig Pen in the Zodiacs, was also now teaching music at the music shop. Not only that, but about three weeks before they decided to go electric, Kreutzmann had seen the Uptown Jug Champions performing and been astonished by Garcia's musicianship and charisma, and said to himself "Man, I'm gonna follow that guy forever!" The new group named themselves the Warlocks, and started rehearsing in earnest. Around this time, Garcia also finally managed to get some of the LSD that his friend Robert Hunter had been so enthusiastic about three years earlier, and it was a life-changing experience for him. In particular, he credited LSD with making him comfortable being a less disciplined player -- as a bluegrass player he'd had to be frighteningly precise, but now he was playing rock and needed to loosen up. A few days after taking LSD for the first time, Garcia also heard some of Bob Dylan's new material, and realised that the folk singer he'd had little time for with his preachy politics was now making electric music that owed a lot more to the Beat culture Garcia considered himself part of: [Excerpt: Bob Dylan, "Subterranean Homesick Blues"] Another person who was hugely affected by hearing that was Phil Lesh, who later said "I couldn't believe that was Bob Dylan on AM radio, with an electric band. It changed my whole consciousness: if something like that could happen, the sky was the limit." Up to that point, Lesh had been focused entirely on his avant-garde music, working with friends like Steve Reich to push music forward, inspired by people like John Cage and La Monte Young, but now he realised there was music of value in the rock world. He'd quickly started going to rock gigs, seeing the Rolling Stones and the Byrds, and then he took acid and went to see his friend Garcia's new electric band play their third ever gig. He was blown away, and very quickly it was decided that Lesh would be the group's new bass player -- though everyone involved tells a different story as to who made the decision and how it came about, and accounts also vary as to whether Dana Morgan took his sacking gracefully and let his erstwhile bandmates keep their instruments, or whether they had to scrounge up some new ones. Lesh had never played bass before, but he was a talented multi-instrumentalist with a deep understanding of music and an ability to compose and improvise, and the repertoire the Warlocks were playing in the early days was mostly three-chord material that doesn't take much rehearsal -- though it was apparently beyond the abilities of poor Dana Morgan, who apparently had to be told note-by-note what to play by Garcia, and learn it by rote. Garcia told Lesh what notes the strings of a bass were tuned to, told him to borrow a guitar and practice, and within two weeks he was on stage with the Warlocks: [Excerpt: The Grateful Dead, “Grayfolded"] In September 1995, just weeks after Jerry Garcia's death, an article was published in Mute magazine identifying a cultural trend that had shaped the nineties, and would as it turned out shape at least the next thirty years. It's titled "The Californian Ideology", though it may be better titled "The Bay Area Ideology", and it identifies a worldview that had grown up in Silicon Valley, based around the ideas of the hippie movement, of right-wing libertarianism, of science fiction authors, and of Marshall McLuhan. It starts "There is an emerging global orthodoxy concerning the relation between society, technology and politics. We have called this orthodoxy `the Californian Ideology' in honour of the state where it originated. By naturalising and giving a technological proof to a libertarian political philosophy, and therefore foreclosing on alternative futures, the Californian Ideologues are able to assert that social and political debates about the future have now become meaningless. The California Ideology is a mix of cybernetics, free market economics, and counter-culture libertarianism and is promulgated by magazines such as WIRED and MONDO 2000 and preached in the books of Stewart Brand, Kevin Kelly and others. The new faith has been embraced by computer nerds, slacker students, 30-something capitalists, hip academics, futurist bureaucrats and even the President of the USA himself. As usual, Europeans have not been slow to copy the latest fashion from America. While a recent EU report recommended adopting the Californian free enterprise model to build the 'infobahn', cutting-edge artists and academics have been championing the 'post-human' philosophy developed by the West Coast's Extropian cult. With no obvious opponents, the global dominance of the Californian ideology appears to be complete." [Excerpt: Grayfolded] The Warlocks' first gig with Phil Lesh on bass was on June the 18th 1965, at a club called Frenchy's with a teenage clientele. Lesh thought his playing had been wooden and it wasn't a good gig, and apparently the management of Frenchy's agreed -- they were meant to play a second night there, but turned up to be told they'd been replaced by a band with an accordion and clarinet. But by September the group had managed to get themselves a residency at a small bar named the In Room, and playing there every night made them cohere. They were at this point playing the kind of sets that bar bands everywhere play to this day, though at the time the songs they were playing, like "Gloria" by Them and "In the Midnight Hour", were the most contemporary of hits. Another song that they introduced into their repertoire was "Do You Believe in Magic" by the Lovin' Spoonful, another band which had grown up out of former jug band musicians. As well as playing their own sets, they were also the house band at The In Room and as such had to back various touring artists who were the headline acts. The first act they had to back up was Cornell Gunter's version of the Coasters. Gunter had brought his own guitarist along as musical director, and for the first show Weir sat in the audience watching the show and learning the parts, staring intently at this musical director's playing. After seeing that, Weir's playing was changed, because he also picked up how the guitarist was guiding the band while playing, the small cues that a musical director will use to steer the musicians in the right direction. Weir started doing these things himself when he was singing lead -- Pig Pen was the frontman but everyone except Bill sang sometimes -- and the group soon found that rather than Garcia being the sole leader, now whoever was the lead singer for the song was the de facto conductor as well. By this point, the Bay Area was getting almost overrun with people forming electric guitar bands, as every major urban area in America was. Some of the bands were even having hits already -- We Five had had a number three hit with "You Were On My Mind", a song which had originally been performed by the folk duo Ian and Sylvia: [Excerpt: We Five, "You Were On My Mind"] Although the band that was most highly regarded on the scene, the Charlatans, was having problems with the various record companies they tried to get signed to, and didn't end up making a record until 1969. If tracks like "Number One" had been released in 1965 when they were recorded, the history of the San Francisco music scene may have taken a very different turn: [Excerpt: The Charlatans, "Number One"] Bands like Jefferson Airplane, the Great Society, and Big Brother and the Holding Company were also forming, and Autumn Records was having a run of success with records by the Beau Brummels, whose records were produced by Autumn's in-house A&R man, Sly Stone: [Excerpt: The Beau Brummels, "Laugh Laugh"] The Warlocks were somewhat cut off from this, playing in a dive bar whose clientele was mostly depressed alcoholics. But the fact that they were playing every night for an audience that didn't care much gave them freedom, and they used that freedom to improvise. Both Lesh and Garcia were big fans of John Coltrane, and they started to take lessons from his style of playing. When the group played "Gloria" or "Midnight Hour" or whatever, they started to extend the songs and give themselves long instrumental passages for soloing. Garcia's playing wasn't influenced *harmonically* by Coltrane -- in fact Garcia was always a rather harmonically simple player. He'd tend to play lead lines either in Mixolydian mode, which is one of the most standard modes in rock, pop, blues, and jazz, or he'd play the notes of the chord that was being played, so if the band were playing a G chord his lead would emphasise the notes G, B, and D. But what he was influenced by was Coltrane's tendency to improvise in long, complex, phrases that made up a single thought -- Coltrane was thinking musically in paragraphs, rather than sentences, and Garcia started to try the same kind of th