Podcasts about Utley

#839 - Michael Utley Returns The Michael Utley Returns Interview on The Paul Leslie Hour. Are you here? What do you say we get this rolling? Oh, as the announcer I should tell you that this is The Paul Leslie Hour. It's an interview show. Been going for 19 years. If it's your first time: welcome. Thank you for tuning in. So, this is a very brief interview. It's an impromptu episode with returning guest Michael Utley. Michael Utley has been the musical director and keyboardist with Jimmy Buffett and the Coral Reefer Band since 1973. He's far too humble to admit this, but he's an authority on Jimmy Buffett. He played on every single album since A White Sport Coat and a Pink Crustacean. Mr. Utley also happens to be an incredibly nice man. That's just the way it is. So, it can be a strange thing that reunites people. In this case, Utley called Paul to comment about the country song “When the Wild Life Betrays Me,” that he co-wrote with Jimmy Buffett and Will Jennings. It appeared on Buffett's 1984 album “Riddles in the Sand.” Utley was just about to do a sound check. You see, the evening of this interview he was just about to take the stage with Jimmy and the band in Key West, Florida. They talk about that and a little more. We're really working on growing the Paul Leslie YouTube channel. Please subscribe for more exclusive content like this. Yes, folks. It's free and quick. And we thank you. Let's get right into it with a masterful musician, Mr. Michael Utley. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

This week on DisrupTV, we interviewed Miguel Gamino, Chief Experience Officer & Founding Partner at Simplicity and Jeremy Utley, Author of Ideaflow. DisrupTV is a weekly Web series with hosts R “Ray” Wang and Vala Afshar. The show airs live at 11:00 a.m. PT/ 2:00 p.m. ET every Friday. Brought to you by Constellation Executive Network: constellationr.com/CEN.

Joining host Jeff Saviano on today's episode is Jeremy Utley, Director of Executive Education and professor at Stanford's d.school - and a master storyteller. Jeremy has dedicated his career to helping others unleash their innovative potential, changing deeply ingrained behaviors, and discovering better innovation through improved ideaflow, the optimal KPI for innovation. In conversation with Jeff, Jeremy vividly recounts life experiences demonstrating the power of treating every problem as an idea problem. Jeremy's leading innovation practices are brought to life in discussions around his provocative, newly released book Ideaflow, helping innovators with proven strategies to discover breakthrough ideas and unleash new creativity within their organization.

#45: David Utley, M.D. is the founder and CEO of Pivot, a digital health company helping users eliminate their tobacco use. Pivot has raised over $40 million, and David has over 100 published US patents. David is a seasoned entrepreneur and had previously been a founder at BARRX, which raised $70+ million in VC funding before being acquired in 2012. He has also served on the board of numerous startups and continues to engineer new solutions towards improving health outcomes.In this episode we dive into: Establishing partnerships with employers and large companiesWhy you may want to consider hiring an experienced CEOThe power of innovating a neglected space___________________________________________________Transcripts, episode summaries, and more can be found at https://startupsavant.com/podcast!Subscribe to our YouTube channel: https://www.youtube.com/@StartupSavantPodcastFollow Startup Savant:Instagram: https://www.instagram.com/startupsavant/Twitter: https://twitter.com/StartupSavantTikTok: https://www.tiktok.com/@startupsavantpodcast

What if I told you, every problem is an idea problem? Today's guest is the co author of Ideaflow alongside Perry Kleiban, former COO of Patagonia. Jeremy has also spent over a decade at Stanford in Education as the Director of Executive Education at the Haaso Platner School of Design. Jeremy Utley graduated the Stanford GSB the same year Earl did, 2009 and we are excited to have him on the podcast for a conversation about why "Ideaflow" is an important way of thinking in today's work environment. I know kung fu moments (8:21) Experience is a Liability The Obsessive Pursuit that characterized the months before Bill Bowerman's waffle maker moment for Nike (13:55) Keep a bug list (15:50 ) Experience is a liability (19:50) Why Jeremy wrote a book (23:17) Purchase your copy of Ideaflow: The Only Business Metric that Matters on Amazon. Want to meet a couple quintessential masters of ideaflow? Check out the free bonus chapter, How to Think Like Bezos and Jobs Join our newsletter and get fresh insights from our guests conversations straight to your inbox!

Jeremy Utley's journey to authorship began when he discovered something that was equally rigorous but much more enjoyable than finance consulting. The Ideaflow: The Only Business Metric That Matters Co-Author and Adjunct Professor at the renowned Stanford d.school shares how he learned to stop chasing “being the best” and instead pursue his passions. Growing up, Jeremy dabbled in various activities: soccer, acting, music, books, and poetry. Despite what we'd consider more creative pursuits, the traditional notion that work was not created for fun that placed him on a finance career track. Jeremy excelled at his classes, but found he disliked each one more than the next. Still, the idea of excellence–being the best versus doing what was best for him–stayed rooted in his system until a summer job in India. Time and again, he found himself enthralled with the problems the company's designers were talking about. They pegged Jeremy as an MBA misfit stuck in the wrong career and introduced him to Stanford's d.school, where creative thinking is unlocked to solve problems. Life is full of unexpected turns. Jeremy's decision to listen to that little whisper, to explore the d.school, launched him down another path that revealed work can be fun. That epiphany gave Jeremy permission to explore what it means to be creative and ways to create a real-world impact. Tune in for a journey through how we can acknowledge our instincts and trust our creativity. We discuss how there's no shortage of problems in the world today, but taking the time to explore all ideas could potentially unlock true innovation.

TOPICS WE EXPLOREWho is Jeremy Utley and how did he find his way to education from business work around the globe?Young people need permission to not knowNot asking a young person what they want to be when they growThe Einstellung effect where we cease to search when we think we have a plausible first answer AND how Ideaflow works to push through this issue of thinking.Connection of creativity and an arm splintWe are not practicing what we are saying we are saying in education? How do we do this type of work of Ideaflow and the space for it?What do we mean by creativity?Don't always evaluate. Simple challenge going, "Oh good! and fill in with a response" Start with a gift of good and the try a gift of bad.What if we couldn't do, then what would we do? Repeat this process for your first new idea to work to get past our first idea.Power of framing a prompt or challenge where it is more on the approach vs. the answer."Curiosity can pull you where discipline and willpower would otherwise have to push"YOUR CHALLENGEShare ideas you gathered from the conversation with us on the socials.What resonated with you?RESOURCE MENTIONED IN SHOWIdeaflow: The Only Business Metric That Matters Blog: jeremyutley.designTwitter: @jeremyutleyStanford's Masters of CreativityLeading Disruptive InnovationLaunchPadAstro Teller who is the head of Google X

In This Episode You Will Learn About:  The top hacks to coming up with the most creative ideas in the room Spoiler alert: anyone can do this it is not limited to a select group of people The reasons why you haven't been able to come up with creative ideas thus far and how to fix it now A simple method for solving complex problems everyone needs to know  Why stopping when you have come up with a decent idea is your worst idea yet.  Resources: Website: www.jeremyutley.design  Pre Order Idea Flow  Listen to The Paint & Pipette Podcast   Email: jeremyutley@gmail.com  LinkedIn: @Jeremy Utley  Facebook: @Every Day Interesting Twitter: @jeremyutley Overcome Your Villains is Available NOW! Order here: https://overcomeyourvillains.com  If you haven't yet, get my first book Confidence Creator Show Notes:  It's time to tap into your creative potential and LEVEL UP! Most of the time people don't realize a breakthrough moment really feels like a break IN. Jeremy Utley, Director of Executive Education at Stanford and creativity expert, is here to help us discover where we can become our MOST creative and innovative self. Tune in to discover the BEST ways for you to brainstorm, where you can turn when you're feeling stuck, and how to think smarter instead of harder. Remember, everyone is capable of being creative!  About The Guest: Jeremy Utley is the director of executive education at Stanford's d.school, a program where students learn to use design to develop their creativity, and an adjunct professor at the Stanford school of engineering. He's the host of the d.schools's widely popular program, Masters Of Creativity and one of the authors of Idea Flow.  If You Liked This Episode You Might Also Like These Episodes: The Formula For STRONG Relationships, With Kathryn Gordon Relationship Expert & Best Selling Author  Don't Take NO For An Answer, With Heather!  Discover The POWER Of Your Voice! With Speaking Coach & Voice Expert Caroline Goyder 

Jeremy Utley is the Co-Author of "Ideaflow: The Only Business Metric That Matters" and an adjunct teacher at Stanford University. Jeremy has helped the world's most innovative entrepreneurs and companies with the methods he teaches over at StanfordIn this episode, we discuss the importance of innovation and creativity in a business, how scrappy experimentation can weed out good and bad ideas, and the importance of inspiration as a driver to grow and evolve your business. Links:Website: https://www.jeremyutley.design/  Book Links: Ideaflow: The Only Business Metric That Matters by Jeremy Utley and Perry KlebahnGuest Social Links:LinkedIn: https://www.linkedin.com/in/jeremyutley/ Instagram : https://www.instagram.com/jdutley/ Twitter: https://twitter.com/jeremyutley  Connect with Brian Twitter, LinkedIn, & Instagram Join the Franchise Freedom community

About Jeremy Utley: My first guest on The One Percent Project this year is the exuberant Jeremy Utley. Jeremy is a Stanford Adjunct, a celebrated keynote speaker, and co-author of the brilliant book "Ideaflow: The Only Business Metric That Matters.". Jeremy co-teaches two wonderful courses at Stanford, Leading Disruptive Innovation (d.leadership) and LaunchPad, which focus on creating real-world impact with design and innovation tools. Jeremy intended to use his time in Africa and South America as a springboard for a career in economic development when he applied to Stanford's Graduate School of Business, but a contact with the d.school while working at an Indian start-up altered his plans. He learned throughout his time as a post-graduate design fellow that how he worked was more significant than what he accomplished. Today, Jeremy works to assist individuals in transforming their established self-perceptions and learn, like him, that it is possible to contribute creatively to the world without being exceptional. His book “Ideaflow: The Only Business Metric That Matters,” is a product of his journey in helping people develop the skill of generating new problem-solving ideas. Jeremy believes one can cultivate the habit of generating ideas with practice and techniques he explores in his book, much like any other habit. Once that is achieved, innovation flows naturally. The conversation yielded great insights on practising the meta-skill of idea generation, the novel concepts of idea ratio, idea quota, and innovation sandwich to facilitate business innovation in organizations, attracting and retaining innovative people, finding better problems to solve, and much more. Join our No-Spam WhatsApp group Bonus Chapter: How to Think Like Bezos and Jobs? Entrepreneur.com: How to generate 100s of ideas in 1 hour? In this conversation, he talks about: When it comes to creativity, why is quantity more important than quality? Why shouldn't you be judging yourself when coming up with ideas? What does he mean by "every problem is an idea problem"? About Ideaflow What is an Idea Ratio- How do you calculate it? How does Idea flow co-relate with the success of an organisation? How to learn creativity and turn it into a daily activity? How to make a hackathon an effective way to drive innovation? How to run effective brainstorming sessions? How to identify, recruit, and retain innovative people? How to use Ideaflow as a metric for organisations, companies and startups? How is storytelling tied to Ideaflow? What is his counter-intuitive insight from teaching entrepreneurship? What is the nicest thing anyone has done for him?

#ELB 233 w Blake Utley: Teacher, Coach, & Mr. Half-Marathon!

The Football History Dude is part of the Sports History Network - The Headquarters For Sports Yesteryear.EPISODE SUMMARYWith the tragic news of Damar Hamlin's injury this week, I thought it best to play the upbeat interview of Mike Utley, a player that suffered a catastrophic injury in 1991. Mike exemplifies positivity, tenacity in life, and someone that will fight for every inch no matter the circumstance. I felt his words can help us, help Damar, fight through. We will return to the originally scheduled episode next week.THE FOOTBALL HISTORY DUDE BACKGROUNDThe Football History Dude is a show dedicated to teaching NFL fans about the rich history of the game we all know and love. I'm your host, Arnie Chapman, and I'm just a regular dude that loves football and is a nerd when it comes to learning about history. I created this show to share the gridiron knowledge nuggets I gain from researching various topics about the history of the National Football League. Each episode I welcome you to climb aboard my DeLorean to travel back in time to explore the yesteryear of the gridiron, and yes, that's a reference to the Back to the Future Movies.

John's guest this week is Dr. Jonathan Utley, the author of Going to War with Japan–1937 to 1941. This follows the program where Utley traced the context of the relations with the Great Powers involved in World

A fun Christmas day visit here with Perlie and famed golf instructor, Stan Utley. He has recently worked with the one and only, Charles Barkley, to remaster his golf game. Listen here:

In this week's episode, we talk with Jeremy Utley. Jeremy is the Director of Executive Education at Stanford's d.school and an Adjunct Professor at Stanford's School of Engineering. He is the co-host of the d.school's widely popular program, “Stanford's Masters of Creativity.” He is the co-author of Ideaflow: The Only Business Metric That Matters (Portfolio) with Perry Klebahn. He is also on the teaching teams of d.org, an organizational design course, and Transformative Design, a course that turns the tools of design onto graduate students' lives. One of the most prodigious collaborators at the d.school, Jeremy has taught alongside the likes of Lecrae, Dan Ariely, Laszlo Bock, and Greg McKeown. He holds a BBA with Honors in Finance from The University of Texas at Austin and an MBA from the Stanford University Graduate School of Business.    

Today I'm chatting with former-analyst-turned-design-educator Jeremy Utley of the Stanford d.school and co-author of Ideaflow. Jeremy reveals the psychology behind great innovation, and the importance of creating psychological safety for a team to generate what they may view as bad ideas. Jeremy speaks to the critical collision of unrelated frames of reference when problem-solving, as well as why creativity is actually more of a numbers game than awaiting that singular stroke of genius. Listen as Jeremy gives real-world examples of how to practice and measure (!) your innovation efforts and apply them to data products.   Highlights/ Skip to:   Jeremy explains the methodology of thinking he's adopted after moving from highly analytical roles to the role he's in now (01:38) The approach Jeremy takes to the existential challenge of balancing innovation with efficiency (03:54) Brian shares a story of a creative breakthrough he had recently and Jeremy uses that to highlight how innovation often comes in a way contrary to normalcy and professionalism (09:37) Why Jeremy feels innovation and creativity demand multiple attempts at finding solutions (16:13) How to take a innovation-forward approach like the ones Jeremy has described when working on internal tool development (19:33) Jeremy's advice for accelerating working through bad ideas to get to the good ideas (25:18) The approach Jeremy takes to generate a large volume of ideas, rather than focusing only on “good” ideas, including a real-life example (31:54) Jeremy's beliefs on the importance of creating psychological safety to promote innovation and creative problem-solving (35:11) Quotes from Today's Episode “I'm in spreadsheets every day to this day, but I recognize that there's a time and place when that's the tool that's needed, and then specifically, there's a time and a place where that's not going to help me and the answer is not going to be found in the spreadsheet.” – Jeremy Utley (03:13) “There's the question of, ‘Are we doing it right?' And then there's a different question, which is, ‘Are we doing the right “it”?' And I think a lot of us tend to fixate on, ‘Are we doing it right?' And we have an ability to perfectly optimize that what should not be done.” – Jeremy Utley (05:05) “I think a vendetta that I have is against this wrong placement of—this exaltation of efficiency is the end-all, be-all. Innovation is not efficient. And the question is not how can I be efficient. It's what is effective. And effectiveness, oftentimes when it comes to innovation and breaking through, doesn't feel efficient.” – Jeremy Utley (09:17) “The way the brain works, we actually understand it. The way breakthroughs work we actually understand them. The difficulty is it challenges our definitions of efficiency and professionalism and all of these things.” – Jeremy Utley (15:13)   “What's the a priori probability that any solution is the right solution? Or any idea is a good idea? It's exceptionally low. You have to be exceptionally arrogant to think that most of your ideas are good. They're not. That's fine, we don't mind because then what's efficient is actually to generate a lot.” – Jeremy Utley (26:20) “If you don't learn that nothing happens when the ball hits the floor, you can never learn how to juggle. And to me, it's a really good metaphor. The teams that don't learn nothing happens when they have a bad idea. Literally, the world does not end. They don't get fired. They don't get ridiculed. Now, if they do get fired or ridiculed, that's a leadership problem.” – Jeremy Utley (35:59)   [The following] is an essential question for a team leader to ask. Do people on my team have the freedom, at least with me, to share what they truly fear could be an incredibly stupid idea?” – Jeremy Utley (41:52)   Links Ideaflow: https://www.amazon.com/Ideaflow-Only-Business-Metric-Matters-ebook/dp/B09R6M3292 Ideaflow website: https://ideaflow.design Personal webpage: https://jeremyutley.design LinkedIn: https://www.linkedin.com/in/jeremyutley/ Twitter: https://twitter.com/jeremyutley/ Brian's musical arrangement of Gershwin's “Prelude for Piano IIfeaturing the Siamese Cat Song” performed by Mr. Ho's Orchestrotica - listen on Spotify

Jeremy Utley is the Director of Executive Education at Stanford's d.school and an Adjunct Professor at Stanford's School of Engineering. He is the co-host of the d.school's widely popular program, “Stanford's Masters of Creativity.” He is the coauthor of Ideaflow: The Only Business Metric That Matters._____Get your copy of Personal Socrates: Better Questions, Better Life  Connect with Marc >>>  Website | LinkedIn | Instagram | Twitter Drop a review and let me know what's resonating with you about the show!Thanks as always for listening and have the best day yet!*Behind the Human is proudly recorded in a Canadian made Loop Phone Booth*Special props

In this HCI Podcast episode, Dr. Jonathan H. Westover talks with Jeremy Utley about his new book, Ideaflow: The Only Business Metric That Matters. Jeremy Utley (https://www.linkedin.com/in/jeremyutley/) is the Director of Executive Education at Stanford d.school and an Adjunct Professor at Stanford's School of Engineering. He is the host of the d.school's widely popular program, "Stanford's Masters of Creativity." Please consider supporting the podcast on Patreon and leaving a review wherever you listen to your podcasts! This episode is sponsored by/brought to you by BetterHelp. Give online therapy a try at www.BetterHelp.com/HCI and get on your way to being your best self. Check out Ka'Chava at www.Kachava.com/HCI. Check out BELAY here. Check out the HCI Academy: Courses, Micro-Credentials, and Certificates to Upskill and Reskill for the Future of Work! Check out the LinkedIn Alchemizing Human Capital Newsletter. Check out Dr. Westover's book, The Future Leader. Check out Dr. Westover's book, 'Bluer than Indigo' Leadership. Check out Dr. Westover's book, The Alchemy of Truly Remarkable Leadership. Check out the latest issue of the Human Capital Leadership magazine. Each HCI Podcast episode (Program, ID No. 592296) has been approved for 0.50 HR (General) recertification credit hours toward aPHR™, aPHRi™, PHR®, PHRca®, SPHR®, GPHR®, PHRi™ and SPHRi™ recertification through HR Certification Institute® (HRCI®). Learn more about your ad choices. Visit megaphone.fm/adchoices

About the book Great Ideas. Methods, not Magic. Innovation is not an event; it's a practice. Don't leave the big ideas to the creatives. Revolutionize your creative process by mastering Ideaflow: the proven strategy that anyone can use to routinely generate and commercialize innovative ideas. Whether you're an entrepreneur, student, C-suite leader, or anything in between, this book will teach you how to unleash creativity and innovation to magnify and accelerate all your other efforts, by simply building it into your daily routine About the authors Jeremy is the Director of Executive Education at Stanford d.school and an Adjunct Professor at Stanford's School of Engineering. He is the co-host of the d.school's widely popular program “Stanford's Masters of Creativity.” Perry is a seasoned teacher, entrepreneur, product designer, chief executive and co-founding member of the Stanford d.school's faculty with over 20 years of experience. Find out more about the book and authors here. Big ideas 1) All problems are idea problems 2) You're not testing enough 3) ElevateSupport my book habit: https://www.buymeacoffee.com/stephsbookshelfSee omnystudio.com/listener for privacy information.

Welcome to episode #854 of Six Pixels of Separation - The ThinkersOne Podcast. Here it is: Six Pixels of Separation - The ThinkersOne Podcast - Episode #854. As a dynamic and engaging speaker, Jeremy Utley translates his research into the history of invention and discovery into transformative learning experiences. He co-leads the d.school's Executive Education programs, and co-teaches two celebrated courses at Stanford, Leading Disruptive Innovation and LaunchPad, which focus on creating real-world impact with the tools of design and innovation. One of the most prodigious collaborators at the d.school, Jeremy has taught alongside the likes of Lecrae, Dan Ariely, Laszlo Bock, and Greg McKeown. He has a new book out called, Idealflow - The Only Business Metric That Matters (along with co-author Perry Klebahn). In Ideaflow, they focus on offering their proven strategy for coming up with great ideas by yourself or with your team, and quickly determining which are worthy. Creativity is everyone's business... and this book proves it. Enjoy the conversation... Running time: 58:22. Hello from beautiful Montreal. Subscribe over at Apple Podcasts. Please visit and leave comments on the blog - Six Pixels of Separation. Feel free to connect to me directly on Facebook here: Mitch Joel on Facebook. Check out ThinkersOne. or you can connect on LinkedIn. ...or on Twitter. Here is my conversation with Jeremy Utley. Idealflow - The Only Business Metric That Matters. Free bonus chapter: How To Think Like Bezos & Jobs. d.school. Perry Klebahn. Follow Jeremy on LinkedIn. Follow Jeremy on Twitter. This week's music: David Usher 'St. Lawrence River'.

If you want to be more innovative, you need to start by changing the way you think about creativity. Good ideas aren't the result of pure wisdom, but rather the practice of innovation. Learn how to tap into surprising and valuable ideas on demand and fill the creative pipeline with breakthrough ideas. Subscribe for ad-free interviews and bonus episodes https://plus.acast.com/s/the-unmistakable-creative-podcast. Hosted on Acast. See acast.com/privacy for more information.

JEREMY UTLEY the Director of Executive Education at Stanford's d.school and an award-winning Adjunct Professor at the world-renowned Stanford's School of Engineering. He is the co-host of the d.school's widely popular program, “Stanford's Masters of Creativity.” He is the coauthor of Ideaflow: The Only Business Metric That Matters. LISTEN TO THIS EPISODE IF: You want to understand how great ideas are born You want to learn how to increase your creative output in your professional and personal life You want to learn from a world-renowned professor and one of the top experts in the world on innovation and creativity You want to increase your creativity and become a better leader You want to learn how to generate and commercialize breakthrough ideas

Former tour winner turned teaching pro Stan Utley joins this week's episode of the podcast and reveals how he was able to pull off the impossible - fixing Charles Barkley's golf swing. Utley, once known as a short game and putting guru, is now best known for repairing the Round Mound of Rebound's hitch, which has gained him all sorts of cred in the teaching pro streets. He's also worked with the likes of Jay Haas, Rocco Mediate, and Sergio Garcia, who Utley believes is a far better putter than he's been given credit for in his career. Alex and Steve also recap a huge hit on Tony Finau at the Houston Open, and we make our RSM and NFL picks.As always, check GolfDigest.com for our full array of gambling content, including picks from our anonymous caddie, Pat Mayo of DraftKings/Mayo Media Network; Rick Gehman of RickRunGood.com; Brandon Gdula of numberFire/FanDuel; and Lee Alldrick of FanShareSports.

In this episode we sit down with Jeremy Utley of the Stanford d.school to discuss his new book, Ideaflow, which is all about how to create a practice for producing and trading ideas in massive quantities – whether in an organization or as an individual entrepreneur or content-creator – along with a system for sorting the garbage from the gold. We discuss, among many other things, why it is important to focus on input more than output, how to stop obsessing over quality while generating quantity, and peanut butter pumps.Jeremy Utley: https://www.jeremyutley.designIdeaflow: https://www.ideaflow.designStanford d.school: https://dschool.stanford.eduHow Minds Change: www.davidmcraney.com/howmindschangehomeShow Notes: www.youarenotsosmart.comNewsletter: https://davidmcraney.substack.comJeremy Utley's Twitter: https://twitter.com/jeremyutleyDavid McRaney's Twitter: https://twitter.com/davidmcraneyYANSS Twitter: https://twitter.com/notsmartblogBerkeley Alembic Event: https://www.eventbrite.com/e/how-minds-change-with-david-mcraney-tickets-443811591417

PGA Tour player Stan Utley discusses his newest book The Art of the Swing that incorporates an awesome new feature allowing smartphone users to launch YouTube videos to enhance each chapter. Fred and Stan break down chapter 6 "One Club, Five Shots".

Jeremy Utley, director of executive education at Stanford's d.school, joins the podcast to share how anyone can innovate by building their ability to be creative. Jeremy reveals misconceptions about creativity, defines “Ideaflow,” and how your team can achieve it. He shares strategies to discern good ideas from bad ones by creating a lab environment. Jeremy covers other topics from his new book, Ideaflow, including how teams can best develop and select ideas, and the impact of ideating with remote teams.   Jeremy's Blog: https://www.jeremyutley.design/blog   Ideaflow Website: https://www.ideaflow.design/ Ideaflow: The Only Business Metric That Matters

If you were to choose just one metric by which to measure your success, what would it be?Revenue? Well, we all know that revenue can be a tricky KPI because it doesn't say anything about profitability. If I make a million dollars while spending two million, it doesn't really mean much.Product shipped? Again, this doesn't speak to the efficiency of my operation.Today's guest argues that for any organization, there's only one metric that truly matters. It's what he calls Idea Flow. His name is Jeremy Utley. As the Director of Executive Education at Stanford's renowned d.school, his courses have been experienced by nearly a million students of innovation worldwide. On today's show, he shares why Idea Flow is the one thing you should be paying attention to in your organization. Mentioned in this episode:Please Support This Episode's Sponsors:Indeed: Indeed.com/creative Athletic Greens: AthleticGreens.com/Accidental Decko: GetDecko.com

#410: You face plenty of problems. But you have a scarcity of good solutions. Stanford Professor Jeremy Utley can help. He says that solving complex problems requires creativity. And creativity comes from deliberate practice. It's not an innate talent. It's a skill. And it's useful in any occupation, from accounting to zookeeping. Jeremy speaks and writes on the history of invention, discovery, creativity, and innovation. He also leads Stanford d.school's work with professionals. Today he talks to us about how some of the greatest innovators produce new ideas. He tells us about their creative process. He describes how researchers and authors improve their skills. And he shares pointers to help you understand how to do the same. Timing of discussion points as per November 2022: 3:00: How to focus while staying open to creativity 6:23: Definition of creativity 14:02: Different cognitive biases faced 17:35: The idea quota 19:28: Where ideas come from: the Lego analogy  21:32: How Ben Franklin honed his creativity 28:36: Capturing inspiration 46:04: The importance of reviewing the problems in your life 50:24: The roles of creative collaboration and distributed reasoning 54:49: The argument for quantity over quality  56:07: The value of bad ideas For more information, visit the show notes at https://affordanything.com/episode410 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Too often when faced with a problem we rush to find a single solution – something safe, based on solutions we already know.  These comfortable answers are nice, but what if you could create an opportunity to not only solve the problem, but excel? Jeremy Utley and Perry Klebahn are the co-authors of Ideaflow: The Only Business Metric that Matters. It is a book that explores how you and your team can generate a volume of ideas for any situation, by overcoming outdated, stagnant thinking traps. Jeremy Utley is a dynamic and engaging speaker who co-leads the d.school's Executive Education programs at Stanford University. Perry Klebahn is an Adjunct Professor and Director of Executive Education, also at Stanford's d.school. We start our conversation discussing Ideaflow, and how the creation of ideas can be summed up as a complex mathematical equation of ideas over time. Perry explains how, when rushing for a solution, we often fall short because we don't have a volume of ideas. More ideas means more potential directions to overcome a challenge, and even ideas that eventually get discarded may have something to offer our final solution. People often think that generating ideas is a task for a single, individual mind - but that's not the case. In fact, creating ideas with a team can create broader insights,by drawing on a wider pool of perspectives and backgrounds to create ideas that might be outside the experience of a single person.The more, the merrier! Much of the work Perry and Jeremy do is with entrepreneurs and students. For more than 10 years, they've been encouraging their students to use Launchpad, an accelerator which shows teams how to incorporate, develop prototypes, find customers, and prove their proposed offerings are viable. This kind of rigorous idea-testing is invaluable if you want to create solutions that make a real difference. If you want to increase the ideas moving through your organization at all levels this is one episode you won't want to skip! Three Key Takeaways: *  To find great ideas, you have to let the unworkable and goofy ideas flow, as well. Don't stifle the process! *  In the early stages of business, resist the urge to "lock in" on something just because it is working. Continue to generate ideas and innovate. *  To become a better idea generator, ensure that you are working with a wide net of professionals and not the same small team every week.

Jeremy Utley, Co-Author of Ideaflow: The Only Business Metric That Matters shares with us how the proactive practice of exercising creative muscles so that the very best ideas can rise to the surface is vital for all to focus on these days. In this thought-provoking episode, we go deep into the concept of cross-pollination and cover several other strategies to discover as we discuss the ‘dumb things' that geniuses just so happen to do to create great ideas and companies. Plus we talk about Jeremy's own career journey and his role at Stanford's d.school. Tune in and get your ideas flowing! On this episode of #TheKaraGoldinShow. Enjoying this episode of #TheKaraGoldinShow? Let me know by clicking on the links below and sending me a quick shout-out on social. Or reach out to me at karagoldin@gmail.com https://www.linkedin.com/in/karagoldin/ https://www.instagram.com/karagoldin/ https://twitter.com/karagoldin https://www.facebook.com/KaraGoldin/ Check out our website to view this episode's show notes: https://karagoldin.com/podcast/308 List of links mentioned in this episode: https://twitter.com/jeremyutley https://www.instagram.com/opco_vc/ https://www.linkedin.com/in/jeremyutley https://dschool.stanford.edu/ To learn more about Ideaflow and Jeremy Utley: https://www.ideaflow.design/

Stanford professor Jeremy Utley joins us on Passion Struck to discuss his new book Ideaflow: The Only Business Metric that Matters, co-written with Perry Klebahn. Brought to you by American Giant (get 20% off using code PassionStruck at https://www.american-giant.com/). Let's face it. We all strive for grand ideas, but very few truly comprehend how novel ideas are born. Innovation is not a one-time event, nor is it a sprint or a hackathon. It comes from the mastery of ideaflow, a technique that advances everything else you do. The simple fact is that ideas matter. That is why innovators focus on inputs instead of outputs. According to Jeremy, innovators don't obsess over quality, they develop quantity. Jeremy Utley is the Director of Executive Education at Stanford's d.school and an Adjunct Professor at Stanford's School of Engineering. He is the co-host of the d.school's widely popular program, “Stanford's Masters of Creativity.” Purchase Idea Flow: https://amzn.to/3SwyXKM  (Amazon Link) --► Get the resources and all links related to this episode here: https://passionstruck.com/jeremy-utley-on-mastering-ideaflow/  --► For information about advertisers and promo codes, go to: https://passionstruck.com/deals/  --► Prefer to watch this interview: https://youtu.be/0JZ0btOHz5g  --► Subscribe to Our YouTube Channel Here: https://www.youtube.com/c/JohnRMiles --► Subscribe to the Passion Struck Podcast: https://podcasts.apple.com/us/podcast/passion-struck-with-john-r-miles/id1553279283  Where to Follow Jeremy Utley Website: https://www.jeremyutley.design/  Instagram: https://www.instagram.com/stanford/  LinkedIn: https://www.linkedin.com/in/jeremyutley/  Twitter: https://twitter.com/jeremyutley/  -- John R. Miles is the CEO, and Founder of PASSION STRUCK®, the first-of-its-kind company, focused on impacting real change by teaching people how to live Intentionally. He is on a mission to help people live a no-regrets life that exalts their victories and lets them know they matter in the world. For over two decades, he built his own career applying his research of passion-struck leadership, first becoming a Fortune 50 CIO and then a multi-industry CEO. He is the executive producer and host of the top-ranked Passion Struck Podcast, selected as one of the Top 50 most inspirational podcasts in 2022. Learn more about John: https://johnrmiles.com/  ===== FOLLOW JOHN ON THE SOCIALS ===== * Twitter: https://twitter.com/Milesjohnr * Facebook: https://www.facebook.com/johnrmiles.c0m * Medium: https://medium.com/@JohnRMiles​ * Instagram: https://www.instagram.com/john_r_miles * LinkedIn: https://www.linkedin.com/in/milesjohn/ * Blog: https://johnrmiles.com/blog/ * Instagram: https://www.instagram.com/passion_struck_podcast * Gear: https://www.zazzle.com/store/passion_sruck_podcast

Jeremy Utley is an award winning Stanford professor who teaches creativity at the d.school.

What is one problem you are dealing with in your business right now? What is one problem you are dealing with in your life right now? Well, whatever problems you are facing, this conversation with Jeremy Utley is the answer, because as he says in his new book, Ideaflow, "Every problem is an idea's problem." Today I've invited my friend Jeremy to talk about his research, his insights, developed over many years at the D School, the design school at Stanford University. He and I co-created a class designing life, essentially, and now I'm thrilled to be able to explore these new insights that he's put together to your benefit. By the end of this episode, you will have, in effect, the solution to every problem. Join my weekly newsletter at GregMcKeown.com/1mw Learn more about my books and courses at GregMcKeown.com Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today asserts that we all want great ideas, but few of us actually understand how great ideas are born. Innovation, he says, is not an event, a workshop, a sprint, or a hackathon. It's a result of mastering ideaflow, a practice that elevates everything else you do. His name is Jeremy Utley, and […] The post 446: The Only Business Metric That Matters with Jeremy Utley first appeared on Read to Lead Podcast.

What's the secret to coming up with good ideas? For Jeremy Utley, it's about generating as many as possible. The director of executive education at the Stanford d.school, Utley says, “very few problems we face in business or in life have a single right answer.” All ideas — the good, the bad, and the ugly — are “a necessary input to an innovation process,” and an essential step in getting to solutions that will actually work.In this episode of Think Fast, Talk Smart, Utley and host Matt Abrahams explore how we can focus less on finding the “right” answer and open ourselves up to more innovative ideas.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kelly ideates with Jeremy Utley, the Director of Executive Education at Stanford d.school and an Adjunct Professor at Stanford’s School of Engineering. He is the co-author with Perry Klebahn of the book “Ideaflow: The Only Business Metric That Matters.” “Traditional leadership and management training that prioritizes error-free efficiency runs counter to creativity, which involves divergence and dead […]

Jeremy Utley is a Director of Executive Education at Stanford's d.school and an adjunct professor at Stanford's School of Engineering. He is the host of the d.school's widely known program, “Stanford's Masters of Creativity.” Perry Klebahn is an adjunct professor and Director of Executive Education at Stanford's d.school. Previously he served as COO for Patagonia and CEO of Timbuk2. In their new book, IDEAFLOW: The Only Business Metric That Matters, Jeremy and Perry explain that creativity is not reserved for a select few, but can be developed like any other skill and applied to any problem. Together with Martin Reeves, Chairman of BCG Henderson Institute, Jeremy and Perry discuss the concept of “ideaflow”, which can be described as the rate at which one is able to generate ideas. They share various techniques for leaders to master and implement a culture of ideaflow, such as setting up metrics that communicate to their teams that they value creativity, creating evaluation and selection techniques to move ideas forward, and deploying diversity. *** About the BCG Henderson Institute The BCG Henderson Institute is the Boston Consulting Group's think tank, dedicated to exploring and developing valuable new insights from business, technology, economics, and science by embracing the powerful technology of ideas. The Institute engages leaders in provocative discussion and experimentation to expand the boundaries of business theory and practice and to translate innovative ideas from within and beyond business. For more ideas and inspiration, sign up to receive BHI INSIGHTS, our monthly newsletter, and follow us on LinkedIn and Twitter.

The single biggest determinant of how good your ideas are is the quantity of your ideas. Entrepreneurs get stuck so much on the quality of their ideas when they should just be doing more ideas. Have options and quantity in everything you do. You're not just going down one narrow straight path. It's okay to deviate from that and pave your own path. This is exactly what our guest today did. Join Michael Zipursky as he talks to the Director of Executive Education at Hasso Plattner Institute of Design at Stanford, Jeremy Utley. Jeremy is also a keynote speaker and the author of Ideaflow: The Only Business Metric That Matters. Learn how he got rid of this "If I could, I should" mindset so he can do what he truly loves. Discover more about inspiration, innovation, and creativity, and start creating and pursuing more options today!Love the show? Subscribe, rate, review, and share! https://www.consultingsuccess.com/podcast

In this episode Oz and Tony sit down with Debbie aka @alwayschasingutley to discuss her passion for sports and of course her card collection.

Creativity and innovation are commonly viewed as fleeting moments of inspiration that must be grand, life-altering, and totally new. No wonder they can feel so intimidating. But what if they were actually muscles that could be stretched and grown slowly over time with practice?In this episode Director of Executive Education at Stanford's acclaimed Hasso Plattner Institute of Design (aka the d.school), Jeremy Utley is here to teach you how to do that. Jeremy is a self-proclaimed “recovering MBA, spreadsheet junkie, and management consultant,” who now studies innovation in large enterprises and startups. In this episode, he'll teach you how to tap into your Idea Flow, reframe problems, and provoke your imagination so that creativity becomes as natural as learning any other skill.Jeremy's Book List:The Idea Factory by Jon GertnerShoe Dog by Phil NightBenjamin Franklin by Walter IsaacsonWhere Good Ideas Come From by Stephen JohnsonCreativity Inc by Ed CatmullIn This Episode:Buy a copy of Jeremy's book IdeaFlowListen to Jeremy's PodcastVisit Jeremy's Website: ideaflow.design and jeremyutley.designFollow Jeremy on Twitter or LinkedInGrab your copy of the 2023 Finish Calendar!Book me to speak at your event or to your team!You can get more info on the Soundtracks Video Course.Follow Jon on Instagram, Twitter, YouTube, and Facebook.Order Soundtracks, Jon's newest book available wherever you find quality books!

We go back to 2008 for our Shibe Sports Moment

Jeremy Utley and Perry Klebahn are the authors of, Ideaflow: The Only Business Metric That Matters, which is available on October 25th. Jeremy is the Director of Executive Education at Stanford d.school and an Adjunct Professor at Stanford's School of Engineering. He is the co-host of the d.school's widely popular program “Stanford's Masters of Creativity.” Perry is a co-founding member of Stanford's d.school faculty. He is an Adjunct Professor and Director of Executive Education at Stanford d.school. He has served as COO of Patagonia and as CEO of Timbuk2. Learn more at ideaflow.design. Support the Show - Become a Patron! Help us grow and become a Patron today: https://www.patreon.com/smartpeoplepodcast Sponsors: Blinkist - Go to Blinkist.com/SMART to start your 7-day free trial and get 25% off of a Blinkist Premium membership. MasterClass - Go to masterclass.com/SMART for 15% off an annual membership! ButcherBox - Sign up today at butcherbox.com/SMART and use code SMART to get one 10-14 lb Turkey FREE in your first box. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode one hundred and fifty-four of A History of Rock Music in Five Hundred Songs is the last of our four-part mini-series on LA sunshine pop and folk-rock in summer 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Baby, Now That I've Found You" by the Foundations. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There is no Mixcloud this week, because there were too many Turtles songs in the episode. There's relatively little information available about the Turtles compared to other bands of their era, and so apart from the sources on the general LA scene referenced in all these podcasts, the information here comes from a small number of sources. This DVD is a decent short documentary on the band's career. Howard Kaylan's autobiography, Shell Shocked: My Life with the Turtles, Flo and Eddie, and Frank Zappa, Etc.,  is a fun read, if inevitably biased towards his own viewpoint. Jim Pons' Hard Core Love: Sex, Football, and Rock and Roll in the Kingdom of God is much less fun, being as it is largely organised around how his life led up to his latter-day religious beliefs, but is the only other book I'm aware of with a substantial amount of coverage of the Turtles. There are many compilations of the Turtles' material available, of which All The Singles is by far and away the best. The box set of all their albums with bonus tracks is now out of print on CD, but can still be bought as MP3s. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've spent a lot of time recently in the LA of summer 1967, at the point where the sunshine pop sound that was created when the surf harmonies of the Beach Boys collided with folk rock was at its apex, right before fashions changed and tight sunny pop songs with harmonies from LA became yesterday's news, and extended blues-rock improvisations from San Francisco became the latest in thing. This episode is the last part of this four-episode sequence, and is going to be shorter than those others. In many ways this one is a bridge between this sequence and next episode, where we travel back to London, because we're saying goodbye for a while to the LA scene, and when we do return to LA it will be, for the most part, to look at music that's a lot less sunshine and a lot more shadow. So this is a brief fade-out while we sing ba-ba-ba, a three-minute pop-song of an episode, a last bit of sunshine pop before we return to longer, more complicated, stories  in two weeks' time, at which point the sun will firmly set. Like many musicians associated with LA, Howard Kaylan was born elsewhere and migrated there as a child, and he seems to have regarded his move from upstate New York to LA as essentially a move to Disneyland itself. That impression can only have been made stronger by the fact that soon after his family moved there he got his first childhood girlfriend -- who happened to be a Mouseketeer on the TV. And TV was how young Howard filtered most of his perceptions -- particularly TV comedy. By the age of fourteen he was the president of the Soupy Sales Fan Club, and he was also obsessed with the works of Ernie Kovacs, Sid Caesar, and the great satirist and parodist Stan Freberg: [Excerpt: Stan Freberg, "St. George and the Dragonet"] Second only to his love of comedy, though, was his love of music, and it was on the trip from New York to LA that he saw a show that would eventually change his life. Along the way, his family had gone to Las Vegas, and while there they had seen Louis Prima and Keeley Smith do their nightclub act. Prima is someone I would have liked to do a full podcast episode on when I was covering the fifties, and who I did do a Patreon bonus episode on. He's now probably best known for doing the voice of King Louis in the Jungle Book: [Excerpt: Louis Prima, "I Wanna Be Like You (the Monkey Song)"] But he was also a jump blues musician who made some very good records in a similar style to Louis Jordan, like "Jump, Jive, an' Wail" [Excerpt: Louis Prima, "Jump, Jive, an' Wail"] But like Jordan, Prima dealt at least as much in comedy as in music -- usually comedy involving stereotypes about his Italian-American ethnic origins. At the time young Howard Kaylan saw him, he was working a double act with his then-wife Keeley Smith. The act would consist of Smith trying to sing a song straight, while Prima would clown around, interject, and act like a fool, as Smith grew more and more exasperated, and would eventually start contemptuously mocking Prima. [Excerpt: Louis Prima and Keeley Smith, "Embraceable You/I've Got It Bad and That Ain't Good"] This is of course a fairly standard double-act format, as anyone who has suffered through an episode of The Little and Large Show will be all too painfully aware, but Prima and Smith did it better than most, and to young Howard Kaylan, this was the greatest entertainment imaginable. But while comedy was the closest thing to Kaylan's heart, music was a close second. He was a regular listener to Art Laboe's radio show, and in a brief period as a teenage shoplifter he obtained records like Ray Charles' album Genius + Soul = Jazz: [Excerpt: Ray Charles, "One Mint Julep"] and the single "Tossin' and Turnin'" by Bobby Lewis: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] "Tossin' and Turnin'" made a deep impression on Kaylan, because of the saxophone solo, which was actually a saxophone duet. On the record, baritone sax player Frank Henry played a solo, and it was doubled by the great tenor sax player King Curtis, who was just playing a mouthpiece rather than a full instrument, making a high-pitched squeaking sound: [Excerpt: Bobby Lewis, "Tossin' and Turnin'"] Curtis was of course also responsible for another great saxophone part a couple of years earlier, on a record that Kaylan loved because it combined comedy and rock and roll, "Yakety Yak": [Excerpt: The Coasters, "Yakety Yak"] Those two saxophone parts inspired Kaylan to become a rock and roller. He was already learning the clarinet and playing part time in an amateur Dixieland band, and it was easy enough to switch to saxophone, which has the same fingering. Within a matter of weeks of starting to play sax, he was invited to join a band called the Nightriders, who consisted of Chuck Portz on bass, Al Nichol on guitar, and Glen Wilson on drums. The Nightriders became locally popular, and would perform sets largely made up of Johnny and the Hurricanes and Ventures material. While he was becoming a budding King Curtis, Kaylan was still a schoolkid, and one of the classes he found most enjoyable was choir class. There was another kid in choir who Kaylan got on with, and one day that kid, Mark Volman came up to him, and had a conversation that Kaylan would recollect decades later in his autobiography: “So I hear you're in a rock 'n' roll band.” “Yep.” “Um, do you think I could join it?” “Well, what do you do?” “Nothing.” “Nothing?” “Nope.” “Sounds good to me. I'll ask Al.” Volman initially became the group's roadie and occasional tambourine player, and would also get on stage to sing a bit during their very occasional vocal numbers, but was mostly "in the band" in name only at first -- he didn't get a share of the group's money, but he was allowed to say he was in the group because that meant that his friends would come to the Nightriders' shows, and he was popular among the surfing crowd. Eventually, Volman's father started to complain that his son wasn't getting any money from being in the band, while the rest of the group were, and they explained to him that Volman was just carrying the instruments while they were all playing them. Volman's father said "if Mark plays an instrument, will you give him equal shares?" and they said that that was fair, so Volman got an alto sax to play along with Kaylan's tenor. Volman had also been taking clarinet lessons, and the two soon became a tight horn section for the group, which went through a few lineup changes and soon settled on a lineup of Volman and Kaylan on saxes, Nichol on lead guitar, Jim Tucker on rhythm guitar, Portz on bass, and Don Murray on drums. That new lineup became known as the Crossfires, presumably after the Johnny and the Hurricanes song of the same name: [Excerpt: Johnny and the Hurricanes, "Crossfire"] Volman and Kaylan worked out choreographed dance steps to do while playing their saxes, and the group even developed a group of obsessive fans who called themselves the Chunky Club, named after one of the group's originals: [Excerpt: The Crossfires, "Chunky"] At this point the group were pretty much only playing instrumentals, though they would do occasional vocals on R&B songs like "Money" or their version of Don and Dewey's "Justine", songs which required more enthusiasm than vocal ability. But their first single, released on a tiny label, was another surf instrumental, a song called "Dr. Jekyll and Mr. Hyde": [Excerpt: The Crossfires, "Dr. Jekyll and Mr Hyde"] The group became popular enough locally that they became the house band at the Revelaire Club in Redondo Beach. There as well as playing their own sets, they would also be the backing band for any touring acts that came through without their own band, quickly gaining the kind of performing ability that comes from having to learn a new artist's entire repertoire in a few days and be able to perform it with them live with little or no rehearsal. They backed artists like the Coasters, the Drifters, Bobby Vee, the Rivingtons, and dozens of other major acts, and as part of that Volman and Kaylan would, on songs that required backing vocals, sing harmonies rather than playing saxophone. And that harmony-singing ability became important when the British Invasion happened, and suddenly people didn't want to hear surf instrumentals, but vocals along the lines of the new British groups. The Crossfires' next attempt at a single was another original, this one an attempt at sounding like one of their favourite new British groups, the Kinks: [Excerpt: The Crossfires, "One Potato, Two Potato"] This change to vocals necessitated a change in the group dynamic. Volman and Kaylan ditched the saxophones, and discovered that between them they made one great frontman. The two have never been excessively close on a personal level, but both have always known that the other has qualities they needed. Frank Zappa would later rather dismissively say "I regard Howard as a fine singer, and Mark as a great tambourine player and fat person", and it's definitely true that Kaylan is one of the truly great vocalists to come out of the LA scene in this period, while Volman is merely a good harmony singer, not anything particularly special -- though he *is* a good harmony singer -- but it undersells Volman's contribution. There's a reason the two men performed together for nearly sixty years. Kaylan is a great singer, but also by nature rather reserved, and he always looked uncomfortable on stage, as well as, frankly, not exactly looking like a rock star (Kaylan describes himself not inaccurately as looking like a potato several times in his autobiography). Volman, on the other hand, is a merely good singer, but he has a naturally outgoing personality, and while he's also not the most conventionally good-looking of people he has a *memorable* appearance in a way that Kaylan doesn't. Volman could do all the normal frontman stuff, the stuff that makes a show an actual show -- the jokes, the dancing, the between-song patter, the getting the crowd going, while Kaylan could concentrate on the singing. They started doing a variation on the routine that had so enthralled Howard Kaylan when he'd seen Louis Prima and Keeley Smith do it as a child. Kaylan would stand more or less stock still, looking rather awkward, but singing like an angel, while Volman would dance around, clown, act the fool, and generally do everything he could to disrupt the performance -- short of actually disrupting it in reality. It worked, and Volman became one of that small but illustrious group of people -- the band member who makes the least contribution to the sound of the music but the biggest contribution to the feel of the band itself, and without whom they wouldn't be the same. After "One Potato, Two Potato" was a flop, the Crossfires were signed to their third label. This label, White Whale, was just starting out, and the Crossfires were to become their only real hit act. Or rather, the Turtles were. The owners of White Whale knew that they didn't have much promotional budget and that their label was not a known quantity -- it was a tiny label with no track record. But they thought of a way they could turn that to their advantage. Everyone knew that the Beatles, before Capitol had picked up their contracts, had had their records released on a bunch of obscure labels like Swan and Tollie. People *might* look for records on tiny independent labels if they thought it might be another British act who were unknown in the US but could be as good as the Beatles. So they chose a name for the group that they thought sounded as English as possible -- an animal name that started with "the", and ended in "les", just like the Beatles. The group, all teenagers at the time, were desperate enough that they agreed to change their name, and from that point on they became the Turtles. In order to try and jump on as many bandwagons as possible, the label wanted to position them as a folk-rock band, so their first single under the Turtles name was a cover of a Bob Dylan song, from Another Side of Bob Dylan: [Excerpt: Bob Dylan, "It Ain't Me Babe"] That song's hit potential had already been seen by Johnny Cash, who'd had a country hit with it a few months before. But the Turtles took the song in a different direction, inspired by Kaylan's *other* great influence, along with Prima and Smith. Kaylan was a big fan of the Zombies, one of the more interesting of the British Invasion groups, and particularly of their singer Colin Blunstone. Kaylan imitated Blunstone on the group's hit single, "She's Not There", on which Blunstone sang in a breathy, hushed, voice on the verses: [Excerpt: The Zombies, "She's Not There"] before the song went into a more stomping chorus on which Blunstone sang in a fuller voice: [Excerpt: The Zombies, "She's Not There"] Kaylan did this on the Turtles' version of "It Ain't Me Babe", starting off with a quiet verse: [Excerpt: The Turtles, "It Ain't Me Babe"] Before, like the Zombies, going into a foursquare, more uptempo, louder chorus: [Excerpt: The Turtles, "It Ain't Me Babe"] The single became a national top ten hit, and even sort of got the approval of Bob Dylan. On the group's first national tour, Dylan was at one club show, which they ended with "It Ain't Me Babe", and after the show the group were introduced to the great songwriter, who was somewhat the worse for wear. Dylan said “Hey, that was a great song you just played, man. That should be your single", and then passed out into his food. With the group's first single becoming a top ten hit, Volman and Kaylan got themselves a house in Laurel Canyon, which was not yet the rock star Mecca it was soon to become, but which was starting to get a few interesting residents. They would soon count Henry Diltz of the Modern Folk Quartet, Danny Hutton, and Frank Zappa among their neighbours. Soon Richie Furay would move in with them, and the house would be used by the future members of the Buffalo Springfield as their rehearsal space. The Turtles were rapidly becoming part of the in crowd. But they needed a follow-up single, and so Bones Howe, who was producing their records, brought in P.F. Sloan to play them a few of his new songs. They liked "Eve of Destruction" enough to earmark it as a possible album track, but they didn't think they would do it justice, and so it was passed on to Barry McGuire. But Sloan did have something for them -- a pseudo-protest song called "Let Me Be" that was very clearly patterned after their version of "It Ain't Me Babe", and which was just rebellious enough to make them seem a little bit daring, but which was far more teenage angst than political manifesto: [Excerpt: The Turtles, "Let Me Be"] That did relatively well, making the top thirty -- well enough for the group to rush out an album which was padded out with some sloppy cover versions of other Dylan songs, a version of "Eve of Destruction", and a few originals written by Kaylan. But the group weren't happy with the idea of being protest singers. They were a bunch of young men who were more motivated by having a good time than by politics, and they didn't think that it made sense for them to be posing as angry politicised rebels. Not only that, but there was a significant drop-off between "It Ain't Me Babe" and "Let Me Be". They needed to do better. They got the clue for their new direction while they were in New York. There they saw their friends in the Mothers of Invention playing their legendary residency at the Garrick Theatre, but they also saw a new band, the Lovin' Spoonful, who were playing music that was clearly related to the music the Turtles were doing -- full of harmonies and melody, and inspired by folk music -- but with no sense of rebelliousness at all. They called it "Good Time Music": [Excerpt: The Lovin' Spoonful, "Good Time Music"] As soon as they got back to LA, they told Bones Howe and the executives at White Whale that they weren't going to be a folk-rock group any more, they were going to be "good time music", just like the Lovin' Spoonful. They were expecting some resistance, but they were told that that was fine, and that PF Sloan had some good time music songs too. "You Baby" made the top twenty: [Excerpt: The Turtles, "You Baby"] The Turtles were important enough in the hierarchy of LA stars that Kaylan and Tucker were even invited by David Crosby to meet the Beatles at Derek Taylor's house when they were in LA on their last tour -- this may be the same day that the Beatles met Brian and Carl Wilson, as I talked about in the episode on "All You Need is Love", though Howard Kaylan describes this as being a party and that sounded like more of an intimate gathering. If it was that day, there was nearly a third Beach Boy there. The Turtles knew David Marks, the Beach Boys' former rhythm guitarist, because they'd played a lot in Inglewood where he'd grown up, and Marks asked if he could tag along with Kaylan and Tucker to meet the Beatles. They agreed, and drove up to the house, and actually saw George Harrison through the window, but that was as close as they got to the Beatles that day. There was a heavy police presence around the house because it was known that the Beatles were there, and one of the police officers asked them to drive back and park somewhere else and walk up, because there had been complaints from neighbours about the number of cars around. They were about to do just that, when Marks started yelling obscenities and making pig noises at the police, so they were all arrested, and the police claimed to find a single cannabis seed in the car. Charges were dropped, but now Kaylan was on the police's radar, and so he moved out of the Laurel Canyon home to avoid bringing police attention to Buffalo Springfield, so that Neil Young and Bruce Palmer wouldn't get deported. But generally the group were doing well. But there was a problem. And that problem was their record label. They rushed out another album to cash in on the success of "You Baby", one that was done so quickly that it had "Let Me Be" on it again, just as the previous album had, and which included a version of the old standard "All My Trials", with the songwriting credited to the two owners of White Whale records. And they pumped out a lot of singles. A LOT of singles, ranging from a song written for them by new songwriter Warren Zevon, to cover versions of Frank Sinatra's "It Was a Very Good Year" and the old standard "We'll Meet Again". Of the five singles after "You Baby", the one that charted highest was a song actually written by a couple of the band members. But for some reason a song with verses in 5/4 time and choruses in 6/4 with lyrics like "killing the living and living to kill, the grim reaper of love thrives on pain" didn't appeal to the group's good-time music pop audience and only reached number eighty-one: [Excerpt: The Turtles, "Grim Reaper of Love"] The group started falling apart. Don Murray became convinced that  the rest of the band were conspiring against him and wanted him out, so he walked out of the group in the middle of a rehearsal for a TV show. They got Joel Larson of the Grass Roots -- the group who had a number of hits with Sloan and Barri songs -- to sub for a few gigs before getting in a permanent replacement, Johnny Barbata, who came to them on the recommendation of Gene Clark, and who was one of the best drummers on the scene -- someone who was not only a great drummer but a great showman, who would twirl his drumsticks between his fingers with every beat, and who would regularly engage in drum battles with Buddy Rich. By the time they hit their fifth flop single in a row, they lost their bass player as well -- Chuck Portz decided he was going to quit music and become a fisherman instead. They replaced him with Chip Douglas of the Modern Folk Quartet. Then they very nearly lost their singers. Volman and Kaylan both got their draft notices at the same time, and it seemed likely they would end up having to go and fight in the Vietnam war. Kaylan was distraught, but his mother told him "Speak to your cousin Herb". Cousin Herb was Herb Cohen, the manager of the Mothers of Invention and numerous other LA acts, including the Modern Folk Quartet, and Kaylan only vaguely knew him at this time, but he agreed to meet up with them, and told them “Stop worrying! I got Zappa out, I got Tim Buckley out, and I'll get you out.” Cohen told Volman and Kaylan to not wash for a week before their induction, to take every drug of every different kind they could find right before going in, to deliberately disobey every order, to fail the logic tests, and to sexually proposition the male officers dealing with the induction. They followed his orders to the letter, and got marked as 4-F, unfit for service. They still needed a hit though, and eventually they found something by going back to their good-time music idea. It was a song from the Koppelman-Rubin publishing company -- the same company that did the Lovin Spoonful's management and production. The song in question was by Alan Gordon and Gary Bonner, two former members of a group called the Magicians, who had had a minor success with a single called "An Invitation to Cry": [Excerpt: The Magicians, "An Invitation to Cry"] The Magicians had split up, and Bonner and Gordon were trying to make a go of things as professional songwriters, but had had little success to this point. The song on the demo had been passed over by everyone, and the demo was not at all impressive, just a scratchy acetate with Bonner singing off-key and playing acoustic rhythm guitar and Gordon slapping his knees to provide rhythm, but the group heard something in it. They played the song live for months, refining the arrangement, before taking it into the studio. There are arguments to this day as to who deserves the credit for the sound on "Happy Together" -- Chip Douglas apparently did the bulk of the arrangement work while they were on tour, but the group's new producer, Joe Wissert, a former staff engineer for Cameo-Parkway, also claimed credit for much of it. Either way, "Happy Together" is a small masterpiece of dynamics. The song is structured much like the songs that had made the Turtles' name, with the old Zombies idea of the soft verse and much louder chorus: [Excerpt: The Turtles, "Happy Together"] But the track is really made by the tiny details of the arrangement, the way instruments and vocal parts come in and out as the track builds up, dies down, and builds again. If you listen to the isolated tracks, there are fantastic touches like the juxtaposition of the bassoon and oboe (which I think is played on a mellotron): [Excerpt: The Turtles, "Happy Together", isolated tracks] And a similar level of care and attention was put into the vocal arrangement by Douglas, with some parts just Kaylan singing solo, other parts having Volman double him, and of course the famous "bah bah bah" massed vocals: [Excerpt: The Turtles, "Happy Together", isolated vocals] At the end of the track, thinking he was probably going to do another take, Kaylan decided to fool around and sing "How is the weather?", which Bonner and Gordon had jokingly done on the demo. But the group loved it, and insisted that was the take they were going to use: [Excerpt: The Turtles, "Happy Together"] "Happy Together" knocked "Penny Lane" by the Beatles off the number one spot in the US, but by that point the group had already had another lineup change. The Monkees had decided they wanted to make records without the hit factory that had been overseeing them, and had asked Chip Douglas if he wanted to produce their first recordings as a self-contained band. Given that the Monkees were the biggest thing in the American music industry at the time, Douglas had agreed, and so the group needed their third bass player in a year. The one they went for was Jim Pons. Pons had seen the Beatles play at the Hollywood Bowl in 1964, and decided he wanted to become a pop star. The next day he'd been in a car crash, which had paid out enough insurance money that he was able to buy two guitars, a bass, drums, and amps, and use them to start his own band. That band was originally called The Rockwells, but quickly changed their name to the Leaves, and became a regular fixture at Ciro's on Sunset Strip, first as customers, then after beating Love in the auditions, as the new resident band when the Byrds left. For a while the Leaves had occasionally had guest vocals from a singer called Richard Marin, but Pons eventually decided to get rid of him, because, as he put it "I wanted us to look like The Beatles. There were no Mexicans in The Beatles". He is at pains in his autobiography to assure us that he's not a bigot, and that Marin understood. I'm sure he did. Marin went on to be better known as Cheech Marin of Cheech and Chong. The Leaves were signed by Pat Boone to his production company, and through that company they got signed to Mira Records. Their first single, produced by Nik Venet, had been a version of "Love Minus Zero (No Limit)", a song by Bob Dylan: [Excerpt: The Leaves, "Love Minus Zero (No Limit)"] That had become a local hit, though not a national one, and the Leaves had become one of the biggest bands on the Sunset Strip scene, hanging out with all the other bands. They had become friendly with the Doors before the Doors got a record deal, and Pat Boone had even asked for an introduction, as he was thinking of signing them, but unfortunately when he met Jim Morrison, Morrison had drunk a lot of vodka, and given that Morrison was an obnoxious drunk Boone had second thoughts, and so the world missed out on the chance of a collaboration between the Doors and Pat Boone. Their second single was "Hey Joe" -- as was their third and fourth, as we discussed in that episode: [Excerpt: The Leaves, "Hey Joe"] Their third version of "Hey Joe" had become a top forty hit, but they didn't have a follow-up, and their second album, All The Good That's Happening, while it's a good album, sold poorly. Various band members quit or fell out, and when Johnny Barbata knocked on Jim Pons' door it was an easy decision to quit and join a band that had a current number one hit. When Pons joined, the group had already recorded the Happy Together album. That album included the follow-up to "Happy Together", another Bonner and Gordon song, "She'd Rather Be With Me": [Excerpt: The Turtles, "She'd Rather Be With Me"] None of the group were tremendously impressed with that song, but it did very well, becoming the group's second-biggest hit in the US, reaching number three, and actually becoming a bigger hit than "Happy Together" in parts of Europe. Before "Happy Together" the group hadn't really made much impact outside the US. In the UK, their early singles had been released by Pye, the smallish label that had the Kinks and Donovan, but which didn't have much promotional budget, and they'd sunk without trace. For "You Baby" they'd switched to Immediate, the indie label that Andrew Oldham had set up, and it had done a little better but still not charted. But from "Happy Together" they were on Decca, a much bigger label, and "Happy Together" had made number twelve in the charts in the UK, and "She'd Rather Be With Me" reached number four. So the new lineup of the group went on a UK tour. As soon as they got to the hotel, they found they had a message from Graham Nash of the Hollies, saying he would like to meet up with them. They all went round to Nash's house, and found Donovan was also there, and Nash played them a tape he'd just been given of Sgt Pepper, which wouldn't come out for a few more days. At this point they were living every dream a bunch of Anglophile American musicians could possibly have. Jim Tucker mentioned that he would love to meet the Beatles, and Nash suggested they do just that. On their way out the door, Donovan said to them, "beware of Lennon". It was when they got to the Speakeasy club that the first faux-pas of the evening happened. Nash introduced them to Justin Hayward and John Lodge of the Moody Blues, and Volman said how much he loved their record "Go Now": [Excerpt: The Moody Blues, "Go Now"] The problem was that Hayward and Lodge had joined the group after that record had come out, to replace its lead singer Denny Laine. Oh well, they were still going to meet the Beatles, right? They got to the table where John, Paul, and Ringo were sat, at a tense moment -- Paul was having a row with Jane Asher, who stormed out just as the Turtles were getting there. But at first, everything seemed to go well. The Beatles all expressed their admiration for "Happy Together" and sang the "ba ba ba" parts at them, and Paul and Kaylan bonded over their shared love for "Justine" by Don and Dewey, a song which the Crossfires had performed in their club sets, and started singing it together: [Excerpt: Don and Dewey, "Justine"] But John Lennon was often a mean drunk, and he noticed that Jim Tucker seemed to be the weak link in the group, and soon started bullying him, mocking his clothes, his name, and everything he said. This devastated Tucker, who had idolised Lennon up to that point, and blurted out "I'm sorry I ever met you", to which Lennon just responded "You never did, son, you never did". The group walked out, hurt and confused -- and according to Kaylan in his autobiography, Tucker was so demoralised by Lennon's abuse that he quit music forever shortly afterwards, though Tucker says that this wasn't the reason he quit. From their return to LA on, the Turtles would be down to just a five-piece band. After leaving the club, the group went off in different directions, but then Kaylan (and this is according to Kaylan's autobiography, there are no other sources for this) was approached by Brian Jones, asking for his autograph because he loved the Turtles so much. Jones introduced Kaylan to the friend he was with, Jimi Hendrix, and they went out for dinner, but Jones soon disappeared with a girl he'd met. and left Kaylan and Hendrix alone. They were drinking a lot -- more than Kaylan was used to -- and he was tired, and the omelette that Hendrix had ordered for Kaylan was creamier than he was expecting... and Kaylan capped what had been a night full of unimaginable highs and lows by vomiting all over Jimi Hendrix's expensive red velvet suit. Rather amazingly after all this, the Moody Blues, the Beatles, and Hendrix, all showed up to the Turtles' London gig and apparently enjoyed it. After "She'd Rather Be With Me", the next single to be released wasn't really a proper single, it was a theme song they'd been asked to record for a dire sex comedy titled "Guide for the Married Man", and is mostly notable for being composed by John Williams, the man who would later go on to compose the music for Star Wars. That didn't chart, but the group followed it with two more top twenty hits written by Bonner and Gordon, "You Know What I Mean" and "She's My Girl". But then the group decided that Bonner and Gordon weren't giving them their best material, and started turning down their submissions, like a song called "Celebrity Ball" which they thought had no commercial potential, at least until the song was picked up by their friends Three Dog Night, retitled "Celebrate", and made the top twenty: [Excerpt: Three Dog Night, "Celebrate"] Instead, the group decided to start recording more of their own material. They were worried that in the fast-changing rock world bands that did other songwriters' material were losing credibility. But "Sound Asleep", their first effort in this new plan, only made number forty-seven on the charts. Clearly they needed a different plan. They called in their old bass player Chip Douglas, who was now an experienced hitmaker as a producer. He called in *his* friend Harry Nilsson, who wrote "The Story of Rock & Roll" for the group, but that didn't do much better, only making number forty-eight. But the group persevered, starting work on a new album produced by Douglas, The Turtles Present The Battle of the Bands, the conceit of which was that every track would be presented as being by a different band. So there were tracks by  Chief Kamanawanalea and his Royal Macadamia Nuts,  Fats Mallard and the Bluegrass Fireball, The Atomic Enchilada, and so on, all done in the styles suggested by those band names. There was even a track by "The Cross Fires": [Excerpt: The Cross Fires, "Surfer Dan"] It was the first time the group had conceived of an album as a piece, and nine of the twelve tracks were originals by the band -- there was a track written by their friend Bill Martin, and the opening track, by "The US Teens Featuring Raoul", was co-written by Chip Douglas and Harry Nilsson. But for the most part the songs were written by the band members themselves, and jointly credited to all of them. This was the democratic decision, but one that Howard Kaylan would later regret, because of the song for which the band name was just "Howie, Mark, Johnny, Jim & Al". Where all the other songs were parodies of other types of music, that one was, as the name suggests, a parody of the Turtles themselves. It was written by Kaylan in disgust at the record label, who kept pestering the group to "give us another 'Happy Together'". Kaylan got more and more angry at this badgering, and eventually thought "OK, you want another 'Happy Together'? I'll give you another 'Happy Together'" and in a few minutes wrote a song that was intended as an utterly vicious parody of that kind of song, with lyrics that nobody could possibly take seriously, and with music that was just mocking the whole structure of "Happy Together" specifically. He played it to the rest of the group, expecting them to fall about laughing, but instead they all insisted it was the group's next single. "Elenore" went to number six on the charts, becoming their biggest hit since "She'd Rather Be With Me": [Excerpt: The Turtles, "Elenore"] And because everything was credited to the group, Kaylan's songwriting royalties were split five ways. For the follow-up, they chose the one actual cover version on the album. "You Showed Me" is a song that Roger McGuinn and Gene Clark had written together in the very early days of the Byrds, and they'd recorded it as a jangly folk-rock tune in 1964: [Excerpt: The Byrds, "You Showed Me"] They'd never released that track, but Gene Clark had performed it solo after leaving the Byrds, and Douglas had been in Clark's band at the time, and liked the song. He played it for the Turtles, but when he played it for them the only instrument he had to hand was a pump organ with one of its bellows broken. Because of this, he had to play it slowly, and while he kept insisting that the song needed to be faster, the group were equally insistent that what he was playing them was the big ballad hit they wanted, and they recorded it at that tempo. "You Showed Me" became the Turtles' final top ten hit: [Excerpt: The Turtles, "You Showed Me"] But once again there were problems in the group. Johnny Barbata was the greatest drummer any of them had ever played with, but he didn't fit as a personality -- he didn't like hanging round with the rest of them when not on stage, and while there were no hard feelings, it was clear he could get a gig with pretty much anyone and didn't need to play with a group he wasn't entirely happy in. By mutual agreement, he left to go and play with Crosby, Stills, Nash, and Young, and was replaced by John Seiter from Spanky and Our Gang -- a good drummer, but not the best of the best like Barbata had been. On top of this, there were a whole host of legal problems to deal with. The Turtles were the only big act on White Whale records, though White Whale did put out some other records. For example, they'd released the single "Desdemona" by John's Children in the US: [Excerpt: John's Children, "Desdemona"] The group, being the Anglophiles they were, had loved that record, and were also among the very small number of Americans to like the music made by John's Children's guitarist's new folk duo, Tyrannosaurus Rex: [Excerpt: Tyrannosaurus Rex, "Debora"] When Tyrannosaurus Rex supported the Turtles, indeed, Volman and Kaylan became very close to Marc Bolan, and told him that the next time they were in England they'd have to get together, maybe even record together. That would happen not that many years later, with results we'll be getting to in... episode 201, by my current calculations. But John's Children hadn't had a hit, and indeed nobody on White Whale other than the Turtles had. So White Whale desperately wanted to stop the Turtles having any independence, and to make sure they continued to be their hit factory. They worked with the group's roadie, Dave Krambeck, to undermine the group's faith in their manager, Bill Utley, who supported the group in their desire for independence. Soon, Krambeck and White Whale had ousted Utley, and Krambeck had paid Utley fifty thousand dollars for their management contract, with the promise of another two hundred thousand later. That fifty thousand dollars had been taken by Krambeck as an advance against the Turtles' royalties, so they were really buying themselves out. Except that Krambeck then sold the management contract on to a New York management firm, without telling the group. He then embezzled as much of the group's ready cash as he could and ran off to Mexico, without paying Utley his two hundred thousand dollars. The Turtles were out of money, and they were being sued by Utley because he hadn't had the money he should have had, and by the big New York firm, because  since the Turtles hadn't known they were now legally their managers they were in breach of contract. They needed money quickly, and so they signed with another big management company, this one co-owned by Bill Cosby, in the belief that Cosby's star power might be able to get them some better bookings. It did -- one of the group's first gigs after signing with the new company was at the White House. It turned out they were Tricia Nixon's favourite group, and so they and the Temptations were booked at her request for a White House party. The group at first refused to play for a President they rightly thought of as a monster, but their managers insisted. That destroyed their reputation among the cool antiestablishment youth, of course, but it did start getting them well-paid corporate gigs. Right up until the point where Kaylan became sick at his own hypocrisy at playing these events, drank too much of the complimentary champagne at an event for the president of US Steel, went into a drunken rant about how sick the audience made him, and then about how his bandmates were a bunch of sellouts, threw his mic into a swimming pool, and quit while still on stage. He was out of the band for two months, during which time they worked on new material without him, before they made up and decided to work on a new album. This new album, though, was going to be more democratic. As well as being all original material, they weren't having any of this nonsense about the lead singer singing lead. This time, whoever wrote the song was going to sing lead, so Kaylan only ended up singing lead on six of the twelve songs on what turned out to be their final album, Turtle Soup. They wanted a truly great producer for the new album, and they all made lists of who they might call. The lists included a few big names like George Martin and Phil Spector, but one name kept turning up -- Ray Davies. As we'll hear in the next episode, the Kinks had been making some astonishing music since "You Really Got Me", but most of it had not been heard in the US. But the Turtles all loved the Kinks' 1968 album The Kinks Are The Village Green Preservation Society, which they considered the best album ever made: [Excerpt: The Kinks, "Animal Farm"] They got in touch with Davies, and he agreed to produce the album -- the first time he did any serious outside production work -- and eventually they were able to persuade White Whale, who had no idea who he was, to allow him to produce it. The resulting album is by far the group's strongest album-length work, though there were problems -- Davies' original mix of the album was dominated by the orchestral parts written by Wrecking Crew musician Ray Pohlman, while the group thought that their own instruments should be more audible, since they were trying to prove that they were a proper band. They remixed it themselves, annoying Davies, though reissues since the eighties have reverted to a mix closer to Davies' intentions. Some of the music, like Pons' "Dance This Dance With Me", perhaps has the group trying a little *too* hard to sound like the Kinks: [Excerpt: The Turtles, "Dance This Dance With Me"] But on the other hand, Kaylan's "You Don't Have to Walk in the Rain" is the group's last great pop single, and has one of the best lines of any single from the sixties -- "I look at your face, I love you anyway": [Excerpt: The Turtles, "You Don't Have to Walk in the Rain"] But the album produced no hits, and the group were getting more and more problems from their label. White Whale tried to get Volman and Kaylan to go to Memphis without the other band members to record with Chips Moman, but they refused -- the Turtles were a band, and they were proud of not having session players play their parts on the records. Instead, they started work with Jerry Yester producing on a new album, to be called Shell Shock. They did, though bow to pressure and record a terrible country track called "Who Would Ever Think That I Would Marry Margaret" backed by session players, at White Whale's insistence, but managed to persuade the label not to release it. They audited White Whale and discovered that in the first six months of 1969 alone -- a period where they hadn't sold that many records -- they'd been underpaid by a staggering six hundred and fifty thousand dollars. They sued the label for several million, and in retaliation, the label locked them out of the recording studio, locking their equipment in there. They basically begged White Whale to let them record one last great single, one last throw of the dice. Jim Pons had, for years, known a keyboard player named Bob Harris, and had recently got to know Harris' wife, Judee Sill. Sill had a troubled life -- she was a heroin addict, and had at times turned to streetwalking to earn money, and had spent time in prison for armed robbery -- but she was also an astonishing songwriter, whose music was as inspired by Bach as by any pop or folk composer. Sill had been signed to Blimp, the Turtles' new production and publishing company, and Pons was co-producing some tracks on her first album, with Graham Nash producing others. Pons thought one song from that album, "Lady-O", would be perfect for the Turtles: [Excerpt: Judee Sill, "Lady-O"] (music continues under) The Turtles stuck closely to Sill's vision of the song. So closely that you haven't noticed that before I started talking, we'd already switched from Sill's record to the Turtles' version. [Excerpt: The Turtles, "Lady-O"] That track, with Sill on guitar backing Kaylan, Volman, and Nichol's vocals, was the last Turtles single to be released while the band were together. Despite “Lady O” being as gorgeous a melody as has ever been produced in the rock world, it sank without trace, as did a single from the Shell Shock sessions released under a pseudonym, The Dedications. White Whale followed that up, to the group's disgust, with "Who Would Ever Think That I Would Marry Margaret?", and then started putting out whatever they had in the vaults, trying to get the last few pennies, even releasing their 1965 album track version of "Eve of Destruction" as if it were a new single. The band were even more disgusted when they discovered that, thanks to the flurry of suits and countersuits, they not only could no longer perform as the Turtles, but White Whale were laying legal claim to their own names. They couldn't perform under those names -- Howard Kaylan, Mark Volman, and the rest were the intellectual property of White Whale, according to the lawyers. The group split up, and Kaylan and Volman did some session work, including singing on a demo for a couple of new songwriters: [Excerpt: Steely Dan, "Everyone's Gone to the Movies"] When that demo got the songwriters a contract, one of them actually phoned up to see if Kaylan wanted a permanent job in their new band, but they didn't want Volman as well, so Kaylan refused, and Steely Dan had to do without him. Volman and Kaylan were despondent, washed-up, has-been ex-rock stars. But when they went to see a gig by their old friend Frank Zappa, it turned out that he was looking for exactly that. Of course, they couldn't use their own names, but the story of the Phlorescent Leech and Eddie is a story for another time...

Perry Klebahn & Jeremy Utley from the Stanford d.school join us on this episode of Hands On to talk shop and unpack big ideas on all things creative.  This fall, they'll be launching a new book called ‘Ideaflow: The Only Business Metric That Matters,' which encourages the proactive practice of exercising creative muscles so that the very best ideas can rise to the surface.  In this thought-provoking episode, we go deep into the concept of cross-pollination and cover several other strategies to employ the ‘dumb things' that geniuses just so happen to do.  Perry and Jeremy aren't just thought leaders – they're idea experts.  Tune in and get a head-start untapping the creative juices while we excitedly await the book's forthcoming release.Hands On gives listeners an authentic look at how startup leaders drive success, growth and strategy.  The conversations are relaxed and sincere, offering an invaluable glimpse of what's 'under the hood' – and what it takes to excel in spaces that tend to be uncharted.  In each episode, our esteemed guests speak freely about the challenges, breakthroughs and lessons learned that have shaped their growth both personally and professionally.  Like picking something up and examining it from all angles, with Hands On we look closely at what it takes to build companies, careers and relationships.  Episode resources:Get in touch with Perry Klebahn on LinkedinGet in touch with Jeremy Utley on Twitter and LinkedinIdeaflow:  The Only Business Metric That MattersStanford d.schoolLaunchpad AcceleratorRadical Candor: How to Get What You Want by Saying What You MeanFollow Index Ventures on Linkedin, Twitter and TikTokThank you for listening to Hands On, brought to you by Index Ventures.  Don't hesitate to follow our hosts Molly and Bryan on social media to know more about them.  If you enjoyed this show, please like, share and leave a review to help us reach new audiences! This show is produced by StudioPod Media in San Francisco.  Our Producer is Justin Berardi and Nicole Genova is the Show Coordinator.  Editing and music provided by nodalab.

Ben Kentish sits in and is joined on Cross Question by Conservative Home columnist Emily Carver, journalist Jonn Elledge, commentator Antonia Jennings & the Telegraph's Olivia Utley.

Train your children to live a healthy life by making wise choices in the areas of nutrition, exercise, and beyond. Melanie Utley, author of the Living Healthy homeschool curriculum by Master Books, joins the podcast to share practical tips you can use to lead your family well in the area of healthy choices. She is a homeschool mom of 7 children with various special needs and is here to help your family win at living healthy. Recommended Resources: Living Healthy: Nutrition, Exercise, & Making Wise Choices  

Author and Historian, Paul Hutton talks about his friendship and travels with Robert Utley.

Today we mark the unfortunate passing of the talented historian, researcher, and author Robert Utley who wrote 2 excellent books on Billy the Kid and the Lincoln County War. His "Billy the Kid, A Short and Violent Life" was the very first BTK book that Michael bought after watching Young Guns 2. Our thoughts go out to Melody Webb, Bob's wife of over 40 years and we wish his family peace and comfort. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On today's episode, we set the truth straight on the state of the Phillies current leadoff hitter, Kyle Schwarber, and take issue with WIP callers. The research suggests some drastic moves need to be made! With the NBA playoffs beginning, how will the Sixers fare? We're gonna provide you with our take on the key players. Other topics on today's show include the “Utley” slide rule, Rhy's Hoskins fielding, and some of the most impressive stats to start the MLB season! Last but not least, the Wiz Kid calls out Major League Baseball! On our show, we bring the truth, and one thing is for sure - we are always speaking of sports! http://speakingofsportspod.com/ https://twitter.com/Speak_of_Sports https://www.facebook.com/SpeakingofSportsPod