Podcast appearances and mentions of Robert West

Anyone who wants to get involved in politics and make a dramatic impact. The Five Star Plan shows you how to do this, up to and including getting politicians to resign. Robert West's 'The Five Star Plan' empowers citizens to reclaim government control from career politicians. Through practical guidance, it encourages Texans to engage in local and state politics, ensuring accountability and preserving constitutional values. A must-read for those seeking to protect liberties and drive positive change. Visit The Patriot Cause Today https://thepatriotcause.com GETRR https://gettr.com/user/minutemanbud X (Twitter) https://x.com/minutemanbud Truth Social https://truthsocial.com/@thepatriotcause Rumble: https://rumble.com/c/ThePatriotCause

In this episode, Dr Elle Wadsworth talks to three generations of tobacco/nicotine researchers: Dr Sarah Jackson and Emeritus Professors Martin Jarvis and Robert West, all from the Department of Behavioural Science and Health at University College London. They discuss a recent editorial, ‘The price of a cigarette: 20 minutes of life?' – why the message resonated, what was and is difficult to convey in tobacco research, and how the media coverage has changed for tobacco research over the years. · What the editorial is about [00:56]· Why the editorial resonated with the public and the media [01:40]· What messages were difficult to convey to the public [03:05]· Why the number of ‘20 minutes of life' has increased since the last estimate and why it is longer for women [07:43]· Choosing persuasive pieces and soundbites to communicate to the public [12:13]· The misinterpretation of research in the media and the difficulty in delivering nuance [14:08]· How the media coverage on tobacco and smoking has changed over the years [16:23]Dr Sarah Jackson is a Principal Research Fellow within UCL's Tobacco and Alcohol Research Group. She has authored >100 peer-reviewed articles on nicotine and tobacco. Her research activity focuses primarily on modelling population trends in smoking, evaluating smoking cessation interventions and policies, and advancing the evidence base on vaping. She is President of SRNT Europe, Senior Editor for Addiction, and Social Media Editor for Nicotine & Tobacco Research. Martin Jarvis is Professor Emeritus of Health Psychology at the Department of Behavioural Science and Health, UCL, having for many years worked with Michael Russell's smoking research group at the Institute of Psychiatry and then Cancer Research UK's Health Behaviour Unit. He has researched and published widely on tobacco smoking, with special interests in the role of nicotine, social and family influences on smoking, smoking cessation methods and passive smoking. He was awarded an OBE in 2002.Robert West is Professor Emeritus of Health Psychology at UCL. He specialises in behaviour change and addiction. He is former Editor-in-Chief of Addiction, and has acted as an advisor to the English Department of Health on tobacco control and currently advises the Public Health Wales Behavioural Science Unit. He helped write the blueprint for the UK's national network of stop-smoking clinics and is co-founder of the Capability-Opportunity-Motivation, Behaviour (COM-B) model of behaviour, the Behaviour Change Wheel framework for intervention development, and the PRIME Theory of motivation. Original article: The price of a cigarette: 20 minutes of life? https://doi.org/10.1111/add.16757 Authors praised the seminal work of the late Professor Michael Anthony Hamilton Russell (1932–2009). For further reading on the legacy of his landmark research, see here: https://doi.org/10.1111/add.14043The opinions expressed in this podcast reflect the views of the host and interviewees and do not necessarily represent the opinions or official positions of the SSA or Addiction journal. The SSA does not endorse or guarantee the accuracy of the information in external sources or links and accepts no responsibility or liability for any consequences arising from the use of such information. Hosted on Acast. See acast.com/privacy for more information.

David Dunne describes a perennial problem for practitioners in elite sports.“There's a fundamental mismatch between what practitioners can deliver and what athletes actually want and desire,” he told Joe Lemire and John Portch on the People Behind the Tech podcast.“So we pivoted towards the COM-B model.”During this episode we spoke at length about Hexis' continued growth following a successful seed round, technology's ability to influence the evolution of the practitioner, and the fundamental union of academic rigour and those so-called softer skills.COM-B was a major part of that conversation. It has been integral to Hexis' growth. The company used it in tandem with elements of design thinking which, as Dunne explains, stems from his time working for teams including Harlequins and Ryder Cup Team Europe. The model is a framework for understanding and changing behaviour. It was developed by Susan Michie, Maartje van Stralen and Robert West in 2011. The model posits that behaviour (B) is a result of an interaction between three components:Capability (C): this refers to an individual's psychological and physical capacity to engage in the activity. It includes having the necessary knowledge, skills and abilities.Opportunity (O): this encompasses all the factors outside the individual that make the behaviour possible, including social and physical environmental factors.Motivation (M): this includes the brain processes that direct behaviour, such as habits, emotional responses, decision-making and analytical thinking.Listen to the full conversation.Joe Lemire LinkedIn | XJohn Portch LinkedIn | XListen above and subscribe today on iTunes, Spotify, Stitcher and Overcast, or your chosen podcast platform.

In this episode Zoe Swithenbank talks to Professor Robert West about his work on ontologies within addictions. Robert begins by summarising the definitions and constructions that relate to addiction, as well as their meanings and the implications for treatment. He also explains how different definitions can frustrate progress in addiction-related research.Zoe and Robert then discuss how the addictions sector can learn from other sciences - particularly the biological sciences - about how to use those definitions, labels and ontologies to aid research. Robert covers the work on AddictO Vocab (https://addictovocab.org/) and explains the goal to develop a well-defined construct for anything that anyone might want to refer to in a research paper."Ontologies are very specific ways of representing the world that have been developed primarily for use in computer science and data science.... They are very formal systems for representing things called entities. Entities are literally anything you can imagine whether it's real or not real. So 'unicorn' for example, can be an entity for example, as can 'addiction' - as can 'horse'."Original article: Achieving consensus, coherence, clarity and consistency when talking about addiction by Robert West and colleagues. Published in Addiction (2023)The opinions expressed in this post reflect the views of the host and interviewees and do not necessarily represent the opinions or official positions of the SSA or Addiction journal.The SSA does not endorse or guarantee the accuracy of the information in external sources or links and accepts no responsibility or liability for any consequences arising from the use of such information. Hosted on Acast. See acast.com/privacy for more information.

Robert West has a new version of his political self help manual. I take some time to discuss it's importance and the difference it makes.

Robert West.  The author of "The Five Star Plan" Replacing Politicians with Patriots and "Practical Solutions for America." Robert was born in Corpus Christi, Texas. Growing up in South and East Texas he enlisted in the Navy right out of high school. After six years in the service, for 30 years he's been working around the world on aircraft electronics in addition to land development. https://thefivestarplan.com/

Go listen to his first.  https://rumble.com/v2r8ogo-paxton-impeachment-and-phelan-censure-ep-63.html

How to "End career politicians" ! https://thefivestarplan.com/

There used to be a formula in politics, you went to law school, became a lawyer, you'd start on the city council, and then you would end up going to Washington eventually. But these days, they're electing people who have never held elected office before. It tells me that there is an undercurrent of what are we doing with these career politicians all the time? To talk about that, Robert West, he's the Author of The Five Star Plan.

In this episode we chat with the King of COM_B Professor Robert West as we discuss his popular behavioural science model --- COM_B --- As one of the original authors alongside Susan Michie and Lou Atkins we explore with Professor West how he feels about the success and popularity of the framework. We cover the basics What is COM-B and how did it come about? What are some of the benefits of using behavioural science? We chat about his current work with the new Welsh Behavioural Science Unit and their joint publication Improving health and wellbeing: A guide to using behavioural science in policy and practice: (Co-Author Ashley Gould) with a focus on: What is the egocentric bias and how can it be overcome? The NEAR and AFAR framework. 3 AHA moments The COM_B framework was inspired by Perry Mason. We didn't know that when we developed the Murder Mystery COM_B training! (We were inspired by Death in Paradise.) Egocentric bias is where we rely too heavily on our own opinions. We all have it to some degree so when running the COM_B analysis to overcome the egocentric bias always treat your perspective as a hypothesis until and unless you get insight or data from other sources to make you more confident. NEAR and AFAR are frameworks to help you design your intervention once you have completed your COM_B analysis. It works with the Behaviour Change Wheel. Episode Outline [00:01:07] - Thank you for your support [00:02:11] - 2022 By the Data [00:03:07] - 2023 2 Words to live By [00:06:00] - A dosage of Kindness at the core [00:08:15] - Introducing guest Robert West [00:10:06] - Rise of COM-B Model [00:12:56] - COM-B Model value in other markets and vertices [00:14:51] - Wales creating a behavior science guide [00:19:30] - Straight from the principles [00:23:07] - Breaking down Egocentric bias [00:25:57] - Energise: The secrets of motivation [00:28:13] - Treat your Perspective as a Hypothesis [00:29:13] - The NEAR-AFAR framework [00:33:57] - Health and Well-being is a shared responsibility Quotes “The popularity of COM-B is due to its ability to provide a formal framework for a concept that has long been intuitively understood by many” Professor Robert West Approximately mentioned @ 00:10:06 “The COM-B model provides a starting point for understanding behaviour change, allowing you to use the four elements of normal, easy, attractive, and routine to determine the right behaviour change techniques to use in a given context.” Professor Robert West Approximately mentioned @ 00:29:33 Recommended Book Tools for Thought, by Waddington (1977) Guest Resources/useful links Improving health and wellbeing: A guide to using behavioural science in policy and practice – https://phwwhocc.co.uk/resources/improving-health-and-wellbeing-a-guide-to-using-behavioural-science-in-policy-and-practice/ Robert West YouTube - https://www.youtube.com/@unlockingbehaviourchange Academic publications here: https://scholar.google.com/citations?user=cU9Sx1IAAAAJ&hl=en (2022) Harness your animal brain. Robert West & Jamie West (2021) The Secrets of Motivation. Robert West & Jamie West Subscribe Our February bootcamp sold out before the end of January. Be the first to hear about the next Bootcamp training by signing up to our weekly podcast email called Brainfuel - it's a mini breakdown of what we covered in the podcast and useful links to events and what's happening in the busy world of behavioural science. Subscribe by visiting www.socialinsightmarketing.co.uk/podcast

Host Nate Wilcox and Tony discuss the career of Eddie Floyd and his connections to the wider world of R&B. Buy the book and support the show.Download this episode.Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.comFollow us on Twitter.Follow us on Facebook.Let It Roll is proud to be part of Pantheon Podcasts.

What is addiction? A paper released in 2019 says, 21 million Americans suffer from addiction and that's just one country. While not the only cause, addiction is a large contributor to the 350,000 people who die every year due to overdoses, and this stat doesn't include the number one drug related killer in the world; tobacco. How does addiction work and what can we do to solve it? Professor Robert West is the author of "Theory of Addiction," and he joined me today to help explain this phenomenon. Bio: Robert West is Professor of Health Psychology and Director of Tobacco Studies at the Cancer Research UK Health Behaviour Research Centre, University College London, UK. Professor West is also co-director of the National Centre for Smoking Cessation and Training and is Editor-in-Chief of the journal Addiction. He is co-author of the English National Smoking Cessation Guidelines that provided the blueprint for the UK-wide network of stop-smoking services that are now an established part of the UK National Health Service. His research includes evaluations of methods of helping smokers to stop and population surveys of smoking and smoking cessation patterns. Book: An understanding of addiction theory is vital to understanding addiction itself. Theory of Addiction takes theory development from a simple ‘rational addiction model', adding elements such as compulsion, self-control and habit, to explain the ‘big observations' in the field. As well as explaining and evaluating the arguments of each of the prevailing schools of thought, the book develops a new, synthetic theory of addiction that brings together the diverse elements of current models. Designed to enable students, practitioners and researchers to establish a starting point in the labyrinthine world of addiction theory, Theory of Addiction supports abstract thinking with concrete and realistic scenarios, underlining the centrality of theoretical understanding to working with addiction. Book - https://www.amazon.com/Theory-Addiction-Robert-West/dp/1405113596 Website - http://www.rjwest.co.uk/index.php Artwork by Phillip Thor - https://linktr.ee/Philipthor_art The Way Podcast - www.PodcastTheWay.com - Follow at Twitter / Instagram - @podcasttheway (Subscribe/Follow on streaming platforms and social media!) To watch the visuals with the trailer go to https://www.podcasttheway.com/trailers/ Thank you Don Grant for the Intro/Outro. Check out his podcast - https://threeinterestingthings.captivate.fm Intro guitar copied from Aiden Ayers at https://www.youtube.com/watch?v=7UiB9FMOP5s *The views demonstrated in this show are strictly those of The Way Podcast/Radio Show*

In this episode, we host Dr. Robert West, Professor in MSU's Department of English and Interim Department Chair of MSU's Classical and Modern Languages and Literatures Department, to discuss Phi Beta Kappa here at MSU. Dr. West is currently the president of the chapter.

Seth Keshel in Kville Monday nite - SethKeshelKerrville.rsvpify.com TheFiveStarPlan.com - Check this out!

Episode 15! In this episode, we discuss Robert's experience as an addiction and behaviour change researcher. We discuss habit change, how to increase our motivation and a lot more!For more expert health information like this like, share, and subscribe!https://lnkd.in/gKWWGQVe #nutrition #help #experience #buildingTimestamps: 1:00 Roberts current work in his retired emeritus position that he is continuing to do..5:05 The difficulty with writing literature reviews that Robert is working to make easier8:12 The A.I supported smoking cessation project Robert is working on with his partner and fellow academic Susan Michie12:12 Smoking cessation tips Robert has learned from his research 20:09 Effective habit change principles which apply across all habit changes 28:30 Why is it that we sometimes carry out our habits and sometimes we don't? 31:51 What happens when we slip up on our habits and we follow through? 35:27 The abstinence violation effect, “not a puff rule” - a commitment to a quit date 37:20 How to remain flexible and compassionate when changing our habits 40:39 Don't be a leaf in the wind of the current world's marketing and influences 41:58 The com-b model - capability - opportunity - motivation - principles to effectively change behaviour change, think of proving someone guilty of a crime - Means, opportunity and motive46:40 How to combine identity and motivation to change our habits more effectively - set small goals to be achieved so the process is enjoyable and it's good - always think going forward 51:45 Be more compassionate with yourself when making habit changes 53:15 Is religion affecting our identity and related to the rise in the disease of obesity?59:27 Why are huge companies like McDonald's and TikTok so effective at habit change? The importance of a clear and strong moral compass63:53 When habits can become addictions and para-addictions? Addiction - a powerful motivation to continue a behaviour that also has harmful consequences 73:19 Robert's book “The longer we are from our quit date the more likely we are to maintain a habit” E.g we are more likely at 6 months to maintain a habit change than we are at 3 In the moment how can we “strengthen the rider and tame the horse”Rider = human brain Horse = animal brain Form specific “if-then plan” vague plans are hopeless - implementation intentions in research - anticipate moments when we're tempted to not do our desired habit - use if-then plans The atom bomb of behaviour change - identity change - our identities are incredibly powerful drivers of behaviour change e.g I am a drug addict or I am a crossfitter Surrounding ourselves with the right environmental cues - set up your environment - to facilitate the desired behaviour change e.g leaving out your gym clothes before working out / throwing out alcohol, cigarettes or sweets. COM-B Model - what will it take to develop the habit at the key moment it is needed - e.g a novice driver crashes their car in the first year of driving - the key moment - due to a lack of motivation due to a careless recklessness Roberts links:Energise: The Secrets Of MotivationDeep thinking book #health #share #like #progressionhealth #coachingprogress #sanfrancsico #progressionhealth #progressiondaily #progressdaily #healthprogress #dailyprogress #nutritiontips #nutritionfirst #nutritiongoals #nutritioniskey #podcasthost #podcastcommunity #podcastepisode #podcastepisodes #podcastguest #podcastlistening

Replacing government officials with patriots? Author Robert West says, “save Texas, save our nation.” In his latest book, “The Five Star Plan,” he outlines step by step a plan for regular people and groups to put Texas voters back in charge and replace career politicians with patriots. Could this work? In Blah Blah News, Chad has some words for the CDC Director Rochelle Walensky after she said, “We may need to update our definition of fully vaccinated in the future…” And Moderna co-founder Noubar Areyan indicated that blah blah boosters will potentially be needed annually. Are you paying attention America?  Today's Sponsors I recommend that your head on over to http://cowboywines.com. You'll find a malbec from the 3rd highest vineyard in the world. That's 8,950 feet.  No inflated prices. You're getting top quality wine for about half the price. Plus my audience gets 50% off today. No promo code necessary. The headlines are getting worse every day – with NO SOLUTION in sight! So do the right thing. Go to http://PrepareWithChad.com TODAY and PREPARE while you can.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 134 of A History of Rock Music in Five Hundred Songs looks at “In the Midnight Hour", the links between Stax, Atlantic, and Detroit, and the career of Wilson Pickett. 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 "Mercy Mercy" by Don Covay. 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/ Errata I say “After Arthur Alexander had moved on to Monument Records” – I meant to say “Dot Records” here, the label that Alexander moved to *before* Monument. I also misspeak at one point and say "keyboard player Chips Moman", when I mean to say "keyboard player Spooner Oldham". This is correct in the transcript/script, I just misread it. Resources No Mixcloud this week, as there are too many songs by Pickett. The main resource I used for the biographical details of Wilson Pickett was In the Midnight Hour: The Life and Soul of Wilson Pickett. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. The episodes of Cocaine and Rhinestones I reference are the ones on Owen Bradley and the Nashville A-Team. And information on the Falcons comes from Marv Goldberg. Pickett's complete Atlantic albums can be found in this excellent ten-CD set. For those who just want the hits, this single-CD compilation is significantly cheaper. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start, just to say that this episode contains some discussion of domestic abuse, drug use, and abuse of employees by their employer, and one mention of an eating disorder. Also, this episode is much longer than normal, because we've got a lot to fit in. Today we're going to move away from Motown, and have a look at a record recorded in the studios of their great rival Stax records, though not released on that label. But the record we're going to look at is from an artist who was a bridge between the Detroit soul of Motown and the southern soul of Stax, an artist who had a foot in both camps, and whose music helped to define soul while also being closer than that of any other soul man to the music made by the white rock musicians of the period. We're going to look at Stax, and Muscle Shoals, and Atlantic Records, and at Wilson Pickett and "In the Midnight Hour" [Excerpt: Wilson Pickett: "In the Midnight Hour"] Wilson Pickett never really had a chance. His father, Wilson senior, was known in Alabama for making moonshine whisky, and spent time in prison for doing just that -- and his young son was the only person he told the location of his still. Eventually, Wilson senior moved to Detroit to start earning more money, leaving his family at home at first. Wilson junior and his mother moved up to Detroit to be with his father, but they had to leave his older siblings in Alabama, and his mother would shuttle between Michigan and Alabama, trying vainly to look after all her children. Eventually, Wilson's mother got pregnant while she was down in Alabama, which broke up his parents' marriage, and Wilson moved back down to Alabama permanently, to live on a farm with his mother. But he never got on with his mother, who was physically abusive to him -- as he himself would later be to his children, and to his partners, and to his bandmates. The one thing that Wilson did enjoy about his life in Alabama was the gospel music, and he became particularly enamoured of two gospel singers, Archie Brownlee of the Five Blind Boys of Mississippi: [Excerpt: The Mississippi Blind Boys, "Will My Jesus Be Waiting?"] And Julius Cheeks of the Sensational Nightingales: [Excerpt: The Sensational Nightingales, "God's World Will Never Pass Away"] Wilson determined to become a gospel singer himself, but he couldn't stand living with his mother in rural Alabama, and decided to move up to be with his father and his father's new girlfriend in Detroit.  Once he moved to Detroit, he started attending Northwestern High School, which at the time was also being attended by Norman Whitfield, Florence Ballard, and Melvin Franklin. Pickett also became friendly with Aretha Franklin, though she didn't attend the same school -- she went to school at Northern, with Smokey Robinson -- and he started attending services at New Bethel Church, the church where her father preached. This was partly because Rev. Franklin was one of the most dynamic preachers around, but also because New Bethel Church would regularly feature performances by the most important gospel performers of the time -- Pickett saw the Soul Stirrers perform there, with Sam Cooke singing lead, and of course also saw Aretha singing there. He joined a few gospel groups, first joining one called the Sons of Zion, but he was soon poached by a more successful group, the Violinaires. It was with the Violinaires that he made what is almost certainly his first recording -- a track that was released as a promo single, but never got a wide release at the time: [Excerpt: The Violinaires, "Sign of the Judgement"] The Violinaires were only moderately successful on the gospel circuit, but Pickett was already sure he was destined for bigger things. He had a rivalry with David Ruffin, in particular, constantly mocking Ruffin and saying that he would never amount to anything, while Wilson Pickett was the greatest. But after a while, he realised that gospel wasn't where he was going to make his mark. Partly his change in direction was motivated by financial concern -- he'd physically attacked his father and been kicked out of his home, and he was also married while still a teenager, and had a kid who needed feeding. But also, he was aware of a certain level of hypocrisy among his more religious acquaintances. Aretha Franklin had two kids, aged only sixteen, and her father, the Reverend Franklin, had fathered a child with a twelve-year-old, was having an affair with the gospel singer Clara Ward, and was hanging around blues clubs all the time. Most importantly, he realised that the audiences he was singing to in church on Sunday morning were mostly still drunk from Saturday night. As he later put it "I might as well be singing rock 'n' roll as singing to a drunken audience. I might as well make me some money." And this is where the Falcons came in. The Falcons were a doo-wop group that had been formed by a Black singer, Eddie Floyd, and a white singer, Bob Manardo. They'd both recruited friends, including bass singer Willie Schofield, and after performing locally they'd decided to travel to Chicago to audition for Mercury Records. When they got there, they found that you couldn't audition for Mercury in Chicago, you had to go to New York, but they somehow persuaded the label to sign them anyway -- in part because an integrated group was an unusual thing. They recorded one single for Mercury, produced by Willie Dixon who was moonlighting from Chess: [Excerpt: The Falcons, "Baby That's It"] But then Manardo was drafted, and the group's other white member, Tom Shetler, decided to join up along with him. The group went through some other lineup changes, and ended up as Eddie Floyd, Willie Schofield, Mack Rice, guitarist Lance Finnie, and lead singer Joe Stubbs, brother of Levi. The group released several singles on small labels owned by their manager, before having a big hit with "You're So Fine", the record we heard about them recording last episode: [Excerpt: The Falcons, "You're So Fine"] That made number two on the R&B charts and number seventeen on the pop charts. They recorded several follow-ups, including "Just For Your Love", which made number 26 on the R&B charts: [Excerpt: The Falcons, "Just For Your Love"] To give you some idea of just how interrelated all the different small R&B labels were at this point, that was originally recorded and released on Chess records. But as Roquel Davis was at that point working for Chess, he managed to get the rights to reissue it on Anna Records, the label he co-owned with the Gordy sisters -- and the re-released record was distributed by Gone Records, one of George Goldner's labels. The group also started to tour supporting Marv Johnson. But Willie Schofield was becoming dissatisfied. He'd written "You're So Fine", but he'd only made $500 from what he was told was a million-selling record. He realised that in the music business, the real money was on the business side, not the music side, so while staying in the Falcons he decided he was going to go into management too. He found the artist he was going to manage while he was walking to his car, and heard somebody in one of the buildings he passed singing Elmore James' then-current blues hit "The Sky is Crying": [Excerpt: Elmore James, "The Sky is Crying"] The person he heard singing that song, and accompanying himself on acoustic guitar, was of course Wilson Pickett, and Schofield signed him up to a management contract -- and Pickett was eager to sign, knowing that Schofield was a successful performer himself. The intention was at first that Schofield would manage Pickett as a solo performer, but then Joe Stubbs got ideas above his station, and started insisting that the group be called "Joe Stubbs and the Falcons", which put the others' backs up, and soon Stubbs was out of the group. This experience may have been something that his brother later had in mind -- in the late sixties, when Motown started trying to promote groups as Lead Singer and The Group, Levi Stubbs always refused to allow his name to go in front of the Four Tops. So the Falcons were without a lead singer. They tried a few other singers in their circle, including Marvin Gaye, but were turned down. So in desperation, they turned to Pickett. This wasn't a great fit -- the group, other than Schofield, thought that Pickett was "too Black", both in that he had too much gospel in his voice, and literally in that he was darker-skinned than the rest of the group (something that Schofield, as someone who was darker than the rest of the group but less dark than Pickett, took offence at). Pickett, in turn, thought that the Falcons were too poppy, and not really the kind of thing he was at all interested in doing. But they were stuck with each other, and had to make the most of it, even though Pickett's early performances were by all accounts fairly dreadful. He apparently came in in the wrong key on at least one occasion, and another time froze up altogether and couldn't sing. Even when he did sing, and in tune, he had no stage presence, and he later said “I would trip up, fall on the stage and the group would rehearse me in the dressing room after every show. I would get mad, ‘cos I wanted to go out and look at the girls as well! They said, ‘No, you got to rehearse, Oscar.' They called me Oscar. I don't know why they called me Oscar, I didn't like that very much.” Soon, Joe Stubbs was back in the group, and there was talk of the group getting rid of Pickett altogether. But then they went into the studio to record a song that Sam Cooke had written for the group, "Pow! You're in Love". The song had been written for Stubbs to sing, but at the last minute they decided to give Pickett the lead instead: [Excerpt: The Falcons, "Pow! You're in Love"] Pickett was now secure as the group's lead singer, but the group weren't having any success with records. They were, though, becoming a phenomenal live act -- so much so that on one tour, where James Brown was the headliner, Brown tried to have the group kicked off the bill, because he felt that Pickett was stealing his thunder. Eventually, the group's manager set up his own record label, Lu Pine Records, which would become best known as the label that released the first record by the Primettes, who later became the Supremes.  Lu Pine released the Falcons' single "I Found a Love",   after the group's management had first shopped it round to other labels to try to get them to put it out: [Excerpt: The Falcons, "I Found a Love"] That song, based on the old Pentecostal hymn "Yes Lord", was written by Pickett and Schofield, but the group's manager, Robert West, also managed to get his name on the credits. The backing group, the Ohio Untouchables, would later go on to become better known as The Ohio Players. One of the labels that had turned that record down was Atlantic Records, because Jerry Wexler hadn't heard any hit potential in the song. But then the record started to become successful locally, and Wexler realised his mistake. He got Lu Pine to do a distribution deal with Atlantic, giving Atlantic full rights to the record, and it became a top ten R&B hit. But by this point, Pickett was sick of working with the Falcons, and he'd decided to start trying for a solo career. His first solo single was on the small label Correc-Tone, and was co-produced by Robert Bateman, and featured the Funk Brothers as instrumental backing, and the Primettes on vocals. I've seen some claims that the Andantes are on there too, but I can't make them out -- but I can certainly make out the future Supremes: [Excerpt: Wilson Pickett, "Let Me Be Your Boy"] That didn't do anything, and Pickett kept recording with the Falcons for a while, as well as putting out his solo records. But then Willie Schofield got drafted, and the group split up. Their manager hired another group, The Fabulous Playboys, to be a new Falcons group, but in 1964 he got shot in a dispute over the management of Mary Wells, and had to give up working in the music industry. Pickett's next single, which he co-wrote with Robert Bateman and Sonny Schofield, was to be the record that changed his career forever. "If You Need Me" once again featured the Funk Brothers and the Andantes, and was recorded for Correc-Tone: [Excerpt: Wilson Pickett, "If You Need Me"] Jerry Wexler was again given the opportunity to put the record out on Atlantic, and once again decided against it. Instead, he offered to buy the song's publishing, and he got Solomon Burke to record it, in a version produced by Bert Berns: [Excerpt: Solomon Burke, "If You Need Me"] Burke wasn't fully aware, when he cut that version, that Wilson Pickett, who was his friend, had recorded his own version. He became aware, though, when Double-L Records, a label co-owned by Lloyd Price, bought the Correc-Tone master and released Pickett's version nationally, at the same time as Burke's version came out. The two men were annoyed that they'd been put into unwitting competition, and so started an unofficial nonaggression pact -- every time Burke was brought into a radio station to promote his record, he'd tell the listeners that he was there to promote Wilson Pickett's new single. Meanwhile, when Pickett went to radio stations, he'd take the opportunity to promote the new record he'd written for his good friend Solomon Burke, which the listeners should definitely check out. The result was that both records became hits -- Pickett's scraped the lower reaches of the R&B top thirty, while Burke, as he was the bigger star, made number two on the R&B chart and got into the pop top forty. Pickett followed it up with a soundalike, "It's Too Late", which managed to make the R&B top ten as there was no competition from Burke. At this point, Jerry Wexler realised that he'd twice had the opportunity to release a record with Wilson Pickett singing, twice he'd turned the chance down, and twice the record had become a hit. He realised that it was probably a good idea to sign Pickett directly to Atlantic and avoid missing out. He did check with Pickett if Pickett was annoyed about the Solomon Burke record -- Pickett's response was "I need the bread", and Wilson Pickett was now an Atlantic artist. This was at the point when Atlantic was in something of a commercial slump -- other than the records Bert Berns was producing for the Drifters and Solomon Burke, they were having no hits, and they were regarded as somewhat old-fashioned, rooted in a version of R&B that still showed its roots in jazz, rather than the new sounds that were taking over the industry in the early sixties. But they were still a bigger label than anything else Pickett had recorded for, and he seized the opportunity to move into the big time. To start with, Atlantic teamed Pickett up with someone who seemed like the perfect collaborator -- Don Covay, a soul singer and songwriter who had his roots in hard R&B and gospel music but had written hits for people like Chubby Checker.  The two got together and recorded a song they wrote together, "I'm Gonna Cry (Cry Baby)": [Excerpt: Wilson Pickett, "I'm Gonna Cry (Cry Baby)"] That did nothing commercially -- and gallingly for Pickett, on the same day, Atlantic released a single Covay had written for himself, "Mercy Mercy", and that ended up going to number one on the R&B chart and making the pop top forty. As "I'm Gonna Cry" didn't work out, Atlantic decided to try to change tack, and paired Pickett with their established hitmaker Bert Berns, and a duet partner, Tami Lyn, for what Pickett would later describe as "one of the weirdest sessions on me I ever heard in my life", a duet on a Mann and Weil song, "Come Home Baby": [Excerpt: Wilson Pickett and Tami Lyn, "Come Home Baby"] Pickett later said of that track, "it didn't sell two records", but while it wasn't a hit, it was very popular among musicians -- a few months later Mick Jagger would produce a cover version of it on Immediate Records, with Ronnie Wood, Keith Richards, and the Georgie Fame brass section backing a couple of unknown singers: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] Sadly for Rod Stewart and P.P. Arnold, that didn't get past being issued as a promotional record, and never made it to the shops. Meanwhile, Pickett went out on tour again, substituting on a package tour for Clyde McPhatter, who had to drop out when his sister died. Also on the tour was Pickett's old bandmate from the Falcons, Mack Rice, now performing as Sir Mack Rice, who was promoting a single he'd just released on a small label, which had been produced by Andre Williams. The song had originally been called "Mustang Mama", but Aretha Franklin had suggested he call it "Mustang Sally" instead: [Excerpt: Sir Mack Rice, "Mustang Sally"] Pickett took note of the song, though he didn't record it just yet -- and in the meantime, the song was picked up by the white rock group The Young Rascals, who released their version as the B-side of their number one hit, "Good Lovin'": [Excerpt: The Young Rascals, "Mustang Sally"] Atlantic's problems with having hits weren't only problems with records they made themselves -- they were also having trouble getting any big hits with Stax records. As we discussed in the episode on "Green Onions", Stax were being distributed by Atlantic, and in 1963 they'd had a minor hit with "These Arms of Mine" by Otis Redding: [Excerpt: Otis Redding, "These Arms of Mine"] But throughout 1964, while the label had some R&B success with its established stars, it had no real major breakout hits, and it seemed to be floundering a bit -- it wasn't doing as badly as Atlantic itself, but it wasn't doing wonderfully. It wasn't until the end of the year when the label hit on what would become its defining sound, when for the first time Redding collaborated with Stax studio guitarist and producer Steve Cropper on a song: [Excerpt: Otis Redding, "Mr. Pitiful"] That record would point the way towards Redding's great artistic triumphs of the next couple of years, which we'll look at in a future episode. But it also pointed the way towards a possible future sound for Atlantic. Atlantic had signed a soul duo, Sam & Dave, who were wonderful live performers but who had so far not managed to translate those live performances to record. Jerry Wexler thought that perhaps Steve Cropper could help them do that, and made a suggestion to Jim Stewart at Stax -- Atlantic would loan out Sam & Dave to the label. They'd remain signed to Atlantic, but make their records at Stax studios, and they'd be released as Stax records. Their first single for Stax, "A Place Nobody Can Find", was produced by Cropper, and was written by Stax songwriter Dave Porter: [Excerpt: Sam and Dave, "A Place Nobody Can Find"] That wasn't a hit, but soon Porter would start collaborating with another songwriter, Isaac Hayes, and would write a string of hits for the duo. But in order to formalise the loan-out of Sam and Dave, Atlantic also wanted to formalise their arrangement with Stax. Previously they'd operated on a handshake basis -- Wexler and Stewart had a mutual respect, and they simply agreed that Stax would give Atlantic the option to distribute their stuff. But now they entered into a formal, long-term contract, and for a nominal sum of one dollar, Jim Stewart gave Atlantic the distribution rights to all past Stax records and to all future records they released for the next few years. Or at least, Stewart *thought* that the agreement he was making was formalising the distribution agreement. What the contract actually said -- and Stewart never bothered to have this checked over by an entertainment lawyer, because he trusted Wexler -- was that Stax would, for the sum of one dollar, give Atlantic *permanent ownership* of all their records, in return. The precise wording was "You hereby sell, assign and transfer to us, our successors or assigns, absolutely and forever and without any limitations or restrictions whatever, not specifically set forth herein, the entire right, title and interest in and to each of such masters and to each of the performances embodied thereon." Jerry Wexler would later insist that he had no idea that particular clause was in the contract, and that it had been slipped in there by the lawyers. Jim Stewart still thought of himself as the owner of an independent record label, but without realising it he'd effectively become an employee of Atlantic. Atlantic started to take advantage of this new arrangement by sending other artists down to Memphis to record with the Stax musicians. Unlike Sam and Dave, these would still be released as Atlantic records rather than Stax ones, and Jerry Wexler and Atlantic's engineer Tom Dowd would be involved  in the production, but the records would be made by the Stax team. The first artist to benefit from this new arrangement was Wilson Pickett, who had been wanting to work at Stax for a while, being a big fan of Otis Redding in particular. Pickett was teamed up with Steve Cropper, and together they wrote the song that would define Pickett's career. The seeds of "In the Midnight Hour" come from two earlier recordings. One is a line from his record with the Falcons, "I Found a Love": [Excerpt: The Falcons, "I Found a Love"] The other is a line from a record that Clyde McPhatter had made with Billy Ward and the Dominoes back in 1951: [Excerpt: Billy Ward and the Dominoes, "Do Something For Me"] Those lines about a "midnight hour" and "love come tumbling down" were turned into the song that would make Pickett's name, but exactly who did what has been the cause of some disagreement. The official story is that Steve Cropper took those lines and worked with Pickett to write the song, as a straight collaboration. Most of the time, though, Pickett would claim that he'd written the song entirely by himself, and that Cropper had stolen the credit for that and their other credited collaborations. But other times he would admit "He worked with me quite a bit on that one". Floyd Newman, a regular horn player at Stax, would back up Pickett, saying "Every artist that came in here, they'd have their songs all together, but when they leave they had to give up a piece of it, to a certain person. But this person, you couldn't be mad at him, because he didn't own Stax, Jim Stewart owned Stax. And this guy was doing what Jim Stewart told him to do, so you can't be mad at him." But on the other hand, Willie Schofield, who collaborated with Pickett on "I Found a Love", said of writing that "Pickett didn't have any chord pattern. He had a couple of lyrics. I'm working with him, giving him the chord change, the feel of it. Then we're going in the studio and I've gotta show the band how to play it because we didn't have arrangers. That's part of the songwriting. But he didn't understand. He felt he wrote the lyrics so that's it." Given that Cropper didn't take the writing credit on several other records he participated in, that he did have a consistent pattern of making classic hit records, that "In the Midnight Hour" is stylistically utterly different from Pickett's earlier work but very similar to songs like "Mr. Pitiful" cowritten by Cropper, and Pickett's longstanding habit of being dismissive of anyone else's contributions to his success, I think the most likely version of events is that Cropper did have a lot to do with how the song came together, and probably deserves his credit, but we'll never know for sure exactly what went on in their collaboration. Whoever wrote it, "In the Midnight Hour" became one of the all-time classics of soul: [Excerpt: Wilson Pickett, "In the Midnight Hour"] But another factor in making the record a success -- and in helping reinvent the Stax sound -- was actually Jerry Wexler. Wexler had started attending sessions at the Stax studios, and was astonished by how different the recording process was in the South. And Wexler had his own input into the session that produced "In the Midnight Hour". His main suggestion was that rather than play the complicated part that Cropper had come up with, the guitarist should simplify, and just play chords along with Al Jackson's snare drum. Wexler was enthusing about a new dance craze called the Jerk, which had recently been the subject of a hit record by a group called the Larks: [Excerpt: The Larks, "The Jerk"] The Jerk, as Wexler demonstrated it to the bemused musicians, involved accenting the second and fourth beats of the bar, and delaying them very slightly. And this happened to fit very well with the Stax studio sound. The Stax studio was a large room, with quite a lot of reverb, and the musicians played together without using headphones, listening to the room sound. Because of this, to stay in time, Steve Cropper had started taking his cue not just from the sound, but from watching Al Jackson's left hand going to the snare drum. This had led to him playing when he saw Jackson's hand go down on the two and four, rather than when the sound of the snare drum reached his ears -- a tiny, fraction-of-a-second, anticipation of the beat, before everyone would get back in sync on the one of the next bar, as Jackson hit the kick drum. This had in turn evolved into the whole group playing the backbeat with a fractional delay, hitting it a tiny bit late -- as if you're listening to the echo of those beats rather than to the beat itself. If anyone other than utterly exceptional musicians had tried this, it would have ended up as a car crash, but Jackson was one of the best timekeepers in the business, and many musicians would say that at this point in time Steve Cropper was *the* best rhythm guitarist in the world, so instead it gave the performances just enough sense of looseness to make them exciting. This slight delayed backbeat was something the musicians had naturally fallen into doing, but it fit so well with Wexler's conception of the Jerk that they started deliberately exaggerating it -- still only delaying the backbeat minutely, but enough to give the record a very different sound from anything that was out there: [Excerpt: Wilson Pickett, "In the Midnight Hour"] That delayed backbeat sound would become the signature sound of Stax for the next several years, and you will hear it on the run of classic singles they would put out for the next few years by Otis Redding, Sam & Dave, Carla Thomas, Booker T. and the MGs, Eddie Floyd and others. The sound of that beat is given extra emphasis by the utter simplicity of Al Jackson's playing. Jackson had a minimalist drum kit, but played it even more minimally -- other than the occasional fill, he never hit his tom at all, just using the kick drum, snare, and hi-hat -- and the hi-hat was not even miced, with any hi-hat on the actual records just being the result of leakage from the other mics. But that simplicity gave the Stax records a power that almost no other records from the period had: [Excerpt: Wilson Pickett, "In the Midnight Hour"] "In the Midnight Hour" made number one on the R&B charts, and made number twenty-one on the pop charts, instantly turning Pickett from an also-ran into one of the major stars of soul music. The follow-up, a soundalike called "Don't Fight It", also made the top five on the R&B charts. At his next session, Pickett was reunited with his old bandmate Eddie Floyd. Floyd would soon go on to have his own hits at Stax, most notably with "Knock on Wood", but at this point he was working as a staff songwriter at Stax, coming up with songs like "Comfort Me" for Carla Thomas: [Excerpt: Carla Thomas, "Comfort Me"] Floyd had teamed up with Steve Cropper, and they'd been... shall we say, "inspired"... by a hit for the Marvelettes, "Beechwood 45789", written by Marvin Gaye, Gwen Gordy and Mickey Stevenson: [Excerpt: The Marvelettes, "Beechwood 45789"] Cropper and Floyd had come up with their own song, "634-5789", which Pickett recorded, and which became an even bigger hit than "In the Midnight Hour", making number thirteen on the pop charts as well as being Pickett's second R&B number one: [Excerpt: Wilson Pickett, "634-5789"] At the same session, they cut another single. This one was inspired by an old gospel song, "Ninety-Nine and One Half Won't Do", recorded by Sister Rosetta Tharpe among others: [Excerpt: Sister Rosetta Tharpe, "Ninety-Nine and One Half Won't Do"] The song was rewritten by Floyd, Cropper, and Pickett, and was also a moderate R&B hit, though nowhere as big as "634-5789": [Excerpt: Wilson Pickett, "Ninety-Nine and One Half Won't Do"] That would be the last single that Pickett recorded at Stax, though -- though the reasoning has never been quite clear. Pickett was, to put it as mildly as possible, a difficult man to work with, and he seems to have had some kind of falling out with Jim Stewart -- though Stewart always said that the problem was actually that Pickett didn't get on with the musicians. But the musicians disagree, saying they had a good working relationship -- Pickett was often an awful person, but only when drunk, and he was always sober in the studio. It seems likely, actually, that Pickett's move away from the Stax studios was more to do with someone else -- Pickett's friend Don Covay was another Atlantic artist recording at Stax, and Pickett had travelled down with him when Covay had recorded "See Saw" there: [Excerpt: Don Covay, "See Saw"] Everyone involved agreed that Covay was an eccentric personality, and that he rubbed Jim Stewart up the wrong way. There is also a feeling among some that Stewart started to resent the way Stax's sound was being used for Atlantic artists, like he was "giving away" hits, even though Stax's company got the publishing on the songs Cropper was co-writing, and he was being paid for the studio time. Either way, after that session, Atlantic didn't send any of its artists down to Stax, other than Sam & Dave, who Stax regarded as their own artists. Pickett would never again record at Stax, and possibly coincidentally once he stopped writing songs with Steve Cropper he would also never again have a major hit record with a self-penned song. But Jerry Wexler still wanted to keep working in Southern studios, and with Southern musicians, and so he took Pickett to FAME studios, in Muscle Shoals, Alabama. We looked, back in the episode on Arthur Alexander, at the start of FAME studios, but after Arthur Alexander had moved on to Monument Records, Rick Hall had turned FAME into a home for R&B singers looking for crossover success. While Stax employed both Black and white musicians, FAME studios had an all-white rhythm section, with a background in country music, but that had turned out to be absolutely perfect for performers like the soul singer Joe Tex, who had himself started out in country before switching to soul, and who recorded classics like "Hold What You Got" at the studio: [Excerpt: Joe Tex, "Hold What You Got"] That had been released on FAME's record label, and Jerry Wexler had been impressed and had told Rick Hall to call him the next time he thought he had a hit. When Hall did call Wexler, Wexler was annoyed -- Hall phoned him in the middle of a party. But Hall was insistent. "You said to call you next time I've got a hit, and this is a number one". Wexler relented and listened to the record down the phone. This is what he heard: [Excerpt: Percy Sledge, "When a Man Loves a Woman"] Atlantic snapped up "When a Man Loves a Woman" by Percy Sledge, and it went to number one on the pop charts -- the first record from any of the Southern soul studios to do so. In Wexler's eyes, FAME was now the new Stax. Wexler had a bit of culture shock when working at FAME, as it was totally unlike anything he'd experienced before. The records he'd been involved with in New York had been mostly recorded by slumming jazz musicians, very technical players who would read the music from charts, and Stax had had Steve Cropper as de facto musical director, leading the musicians and working out their parts with them. By contrast, the process used at FAME, and at most of the other studios in what Charles Hughes describes as the "country-soul triangle" of Memphis, Muscle Shoals, and Nashville, was the process that had been developed by Owen Bradley and the Nashville A-Team in Nashville (and for a fuller description of this, see the excellent episodes on Bradley and the A-Team in the great country music podcast Cocaine and Rhinestones). The musicians would hear a play through of the song by its writer, or a demo, would note down the chord sequences using the Nashville number system rather than a more detailed score, do a single run-through to get the balance right, and then record. Very few songs required a second take. For Pickett's first session at FAME, and most subsequent ones, the FAME rhythm section of keyboard player Spooner Oldham, guitarist Jimmy Johnson, bass player Junior Lowe and drummer Roger Hawkins was augmented with a few other players -- Memphis guitarists Chips Moman and Tommy Cogbill, and the horn section who'd played on Pickett's Stax records, moonlighting. And for the first track they recorded there, Wexler wanted them to do something that would become a signature trick for Pickett over the next couple of years -- record a soul cover version of a rock cover version of a soul record. Wexler's thinking was that the best way for Pickett to cross over to a white audience was to do songs that were familiar to them from white pop cover versions, but songs that had originated in Pickett's soul style. At the time, as well, the hard backbeat sound on Pickett's hits was one that was more associated with white rock music than with soul, as was the emphasis on rhythm guitar. To modern ears, Pickett's records are almost the definition of soul music, but at the time they were absolutely considered crossover records. And so in the coming months Pickett would record cover versions of Don Covay's "Mercy Mercy", Solomon Burke's "Everybody Needs Somebody to Love", and Irma Thomas' "Time is on My Side", all of which had been previously covered by the Rolling Stones -- and two of which had their publishing owned by Atlantic's publishing subsidiary. For this single, though, he was recording a song which had started out as a gospel-inspired dance song by the R&B singer Chris Kenner: [Excerpt: Chris Kenner, "Land of a Thousand Dances"] That had been a minor hit towards the bottom end of the Hot One Hundred, but it had been taken up by a lot of other musicians, and become one of those songs everyone did as album filler -- Rufus Thomas had done a version at Stax, for example. But then a Chicano garage band called Cannibal and the Headhunters started performing it live, and their singer forgot the lyrics and just started singing "na na na na", giving the song a chorus it hadn't had in its original version. Their version, a fake-live studio recording, made the top thirty: [Excerpt: Cannibal and the Headhunters, "Land of a Thousand Dances"] Pickett's version was drastically rearranged, and included a guitar riff that Chips Moman had come up with, some new lyrics that Pickett introduced, and a bass intro that Jerry Wexler came up with, a run of semiquavers that Junior Lowe found very difficult to play. The musicians spent so long working on that intro that Pickett got annoyed and decided to take charge. He yelled "Come on! One-two-three!" and the horn players, with the kind of intuition that comes from working together for years, hit a chord in unison. He yelled "One-two-three!" again, and they hit another chord, and Lowe went into the bass part. They'd found their intro. They ran through that opening one more time, then recorded a take: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] At this time, FAME was still recording live onto a single-track tape, and so all the mistakes were caught on tape with no opportunity to fix anything, like when all but one of the horn players forget to come in on the first line of one verse: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] But that kind of mistake only added to the feel of the track, which became Pickett's biggest hit yet -- his third number one on the R&B chart, and his first pop top ten. As the formula of recording a soul cover version of a rock cover version of a soul song had clearly worked, the next single Pickett recorded was "Mustang Sally", which as we saw had originally been an R&B record by Pickett's friend Mack Rice, before being covered by the Young Rascals. Pickett's version, though, became the definitive version: [Excerpt: Wilson Pickett, "Mustang Sally"] But it very nearly wasn't. That was recorded in a single take, and the musicians went into the control room to listen to it -- and the metal capstan on the tape machine flew off while it was rewinding. The tape was cut into dozens of tiny fragments, which the machine threw all over the room in all directions. Everyone was horrified, and Pickett, who was already known for his horrific temper, looked as if he might actually kill someone. Tom Dowd, Atlantic's genius engineer who had been a physicist on the Manhattan Project while still a teenager, wasn't going to let something as minor as that stop him. He told everyone to take a break for half an hour, gathered up all the randomly-thrown bits of tape, and spliced them back together. The completed recording apparently has forty splices in it, which would mean an average of a splice every four seconds. Have a listen to this thirty-second segment and see if you can hear any at all: [Excerpt: Wilson Pickett, "Mustang Sally"] That segment has the one part where I *think* I can hear one splice in the whole track, a place where the rhythm hiccups very slightly -- and that might well just be the drummer trying a fill that didn't quite come off. "Mustang Sally" was another pop top thirty hit, and Wexler's crossover strategy seemed to have been proved right -- so much so that Pickett was now playing pretty much all-white bills. He played, for example, at Murray the K's last ever revue at the Brooklyn Paramount, where the other artists on the bill were Mitch Ryder and the Detroit Wheels, the Young Rascals, Al Kooper's Blues Project, Cream, and the Who. Pickett found the Who extremely unprofessional, with their use of smoke bombs and smashing their instruments, but they eventually became friendly. Pickett's next single was his version of "Everybody Needs Somebody to Love", the Solomon Burke song that the Rolling Stones had also covered, and that was a minor hit, but his next few records after that didn't do particularly well. He did though have a big hit with his cover version of a song by a group called Dyke and the Blazers. Pickett's version of "Funky Broadway" took him to the pop top ten: [Excerpt: Wilson Pickett, "Funky Broadway"] It did something else, as well. You may have noticed that two of the bands on that Paramount bill were groups that get called "blue-eyed soul". "Soul" had originally been a term used for music made by Black people, but increasingly the term was being used by white people for their music, just as rock and roll and rhythm and blues before it had been picked up on by white musicians. And so as in those cases, Black musicians were moving away from the term -- though it would never be abandoned completely -- and towards a new slang term, "funk". And Pickett was the first person to get a song with "funk" in the title onto the pop charts. But that would be the last recording Pickett would do at FAME for a couple of years. As with Stax, Pickett was moved away by Atlantic because of problems with another artist, this time to do with a session with Aretha Franklin that went horribly wrong, which we'll look at in a future episode. From this point on, Pickett would record at American Sound Studios in Memphis, a studio owned and run by Chips Moman, who had played on many of Pickett's records. Again, Pickett was playing with an all-white house band, but brought in a couple of Black musicians -- the saxophone player King Curtis, and Pickett's new touring guitarist, Bobby Womack, who had had a rough few years, being largely ostracised from the music community because of his relationship with Sam Cooke's widow. Womack wrote what might be Pickett's finest song, a song called "I'm in Love" which is a masterpiece of metrical simplicity disguised as complexity -- you could write it all down as being in straight four-four, but the pulse shifts and implies alternating bars of five and three at points: [Excerpt: Wilson Pickett, "I'm In Love"] Womack's playing on those sessions had two effects, one on music history and one on Pickett. The effect on music history was that he developed a strong working relationship with Reggie Young, the guitarist in the American Sound studio band, and Young and Womack learned each other's styles. Young would later go on to be one of the top country session guitarists, playing on records by Merle Haggard, Willie Nelson, Dolly Parton, Kenny Rogers, Waylon Jennings and more, and he was using Womack's style of playing -- he said later "I didn't change a thing. I was playing that Womack style on country records, instead of the hillbilly stuff—it changed the whole bed of country music." The other effect, though, was a much more damaging one. Womack introduced Pickett to cocaine, and Pickett -- who was already an aggressive, violent, abusive, man, became much more so. "I'm in Love" went to number four on the R&B charts, but didn't make the pop top forty. The follow-up, a remake of "Stagger Lee", did decently on the pop charts but less well on the R&B charts. Pickett's audiences were diverging, and he was finding it more difficult to make the two come together. But he would still manage it, sporadically, throughout the sixties. One time when he did was in 1968, when he returned to Muscle Shoals and to FAME studios. In a session there, the guitarist was very insistent that Pickett should cut a version of the Beatles' most recent hit. Now obviously, this is a record that's ahead in our timeline, and which will be covered in a future episode, but I imagine that most of you won't find it too much of a spoiler when I tell you that "Hey Jude" by the Beatles was quite a big hit: [Excerpt: The Beatles, "Hey Jude"] What that guitarist had realised was that the tag of the song gave the perfect opportunity for ad-libbing. You all know the tag: [Excerpt: The Beatles, "Hey Jude"] And so on. That would be perfect for a guitar solo, and for Pickett to do some good soul shouting over. Neither Pickett nor Rick Hall were at all keen -- the Beatles record had only just dropped off number one, and it seemed like a ridiculous idea to both of them. But the guitarist kept pressing to do it, and by the time the other musicians returned from their lunch break, he'd convinced Pickett and Hall. The record starts out fairly straightforward: [Excerpt: Wilson Pickett, "Hey Jude"] But it's on the tag when it comes to life. Pickett later described recording that part -- “He stood right in front of me, as though he was playing every note I was singing. And he was watching me as I sang, and as I screamed, he was screaming with his guitar.”: [Excerpt: Wilson Pickett, "Hey Jude"] That was not Pickett's biggest hit, but it was one of the most influential. It made the career of the guitarist, Duane Allman, who Jerry Wexler insisted on signing to his own contract after that, and as Jimmy Johnson, the rhythm guitarist on the session said, "We realised then that Duane had created southern rock, in that vamp." It was big enough that Wexler pushed Pickett to record a whole series of cover versions of rock songs -- he put out versions of "Hey Joe", "Born to be Wild" and "You Keep Me Hangin' On" -- the latter going back to his old technique of covering a white cover version of a Black record, as his version copied the Vanilla Fudge's arrangement rather than the Supremes' original. But these only had very minor successes -- the most successful of them was his version of "Sugar Sugar" by the Archies. As the sixties turned into the seventies, Pickett continued having some success, but it was more erratic and less consistent. The worlds of Black and white music were drifting apart, and Pickett, who more than most had straddled both worlds, now found himself having success in neither. It didn't help that his cocaine dependency had made him into an egomaniac. At one point in the early seventies, Pickett got a residency in Las Vegas, and was making what by most standards was a great income from it. But he would complain bitterly that he was only playing the small room, not the big one in the same hotel, and that the artist playing the big room was getting better billing than him on the posters. Of course, the artist playing the big room was Elvis Presley, but that didn't matter to Pickett -- he thought he deserved to be at least that big. He was also having regular fights with his record label. Ahmet Ertegun used to tell a story -- and I'm going to repeat it here with one expletive cut out in order to get past Apple's ratings system. In Ertegun's words “Jerry Wexler never liked Crosby, Stills & Nash because they wanted so much freaking artistic autonomy. While we were arguing about this, Wilson Pickett walks in the room and comes up to Jerry and says, ‘Jerry,' and he goes, ‘Wham!' And he puts a pistol on the table. He says, ‘If that [Expletive] Tom Dowd walks into where I'm recording, I'm going to shoot him. And if you walk in, I'm going to shoot you. ‘Oh,' Jerry said. ‘That's okay, Wilson.' Then he walked out. So I said, ‘You want to argue about artistic autonomy?' ” As you can imagine, Atlantic were quite glad to get rid of Pickett when he decided he wanted to move to RCA records, who were finally trying to break into the R&B market. Unfortunately for Pickett, the executive who'd made the decision to sign him soon left the company, and as so often happens when an executive leaves, his pet project becomes the one that everyone's desperate to get rid of.  RCA didn't know how to market records to Black audiences, and didn't really try, and Pickett's voice was becoming damaged from all the cocaine use. He spent the seventies, and eighties going from label to label, trying things like going disco, with no success. He also went from woman to woman, beating them up, and went through band members more and more quickly as he attacked them, too. The guitarist Marc Ribot was in Pickett's band for a short time and said, (and here again I'm cutting out an expletive) " You can write about all the extenuating circumstances, and maybe it needs to be put in historical context, but … You know why guys beat women? Because they can. And it's abuse. That's why employers beat employees, when they can. I've worked with black bandleaders and white bandleaders who are respectful, courteous and generous human beings—and then I've worked with Wilson Pickett." He was becoming more and more paranoid. He didn't turn up for his induction in the rock and roll hall of fame, where he was scheduled to perform -- instead he hid in his house, scared to leave. Pickett was repeatedly arrested throughout this time, and into the nineties, spending some time in prison, and then eventually going into rehab in 1997 after being arrested for beating up his latest partner. She dropped the charges, but the police found the cocaine in his possession and charged him with that. After getting out, he apparently mellowed out somewhat and became much easier to get along with -- still often unpleasant, especially after he'd had a drink, which he never gave up, but far less violent and more easy-going than he had been. He also had something of a comeback, sparked by an appearance in the flop film Blues Brothers 2000. He recorded a blues album, It's Harder Now, and also guested on Adlib, the comeback duets album by his old friend Don Covay, singing with him and cowriting on several songs, including "Nine Times a Man": [Excerpt: Don Covay and Wilson Pickett, "Nine Times a Man"] It's Harder Now was a solid blues-based album, in the vein of similar albums from around that time by people like Solomon Burke, and could have led to Pickett having the same kind of late-career resurgence as Johnny Cash. It was nominated for a Grammy, but lost in the category for which it was nominated to Barry White. Pickett was depressed by the loss and just decided to give up making new music, and just played the oldies circuit until 2004, at which point he became too ill to continue. The duet with Covay would be the last time he went into the studio. The story of Pickett's last year or so is a painful one, with squabbles between his partner and his children over his power of attorney while he spent long periods in hospital, suffering from kidney problems caused by his alcoholism, and also at this point from bulimia, diabetes, and more. He was ill enough that he tried to make amends with his children and his ex-wife, and succeeded as well as anyone can in that situation. On the eighteenth of January 2006, two months before his sixty-fifth birthday, his partner took him to get his hair cut and his moustache shaped, so he'd look the way he wanted to look, they ate together at his assisted living facility, and prayed together, and she left around eleven o'clock that night. Shortly thereafter, Pickett had a heart attack and died, alone, some time close to the midnight hour.

Antonea and Max walk through some common misunderstandings of both Jesus' baptism and the wilderness temptation, along with our usual three questions.We're so grateful for this week's lay-teachers, Robert West and Melanie Berry, who did an excellent job!To sign the official petition to get Antonea to watch Wayne's World, head here: https://www.youtube.com/watch?v=dQw4w9WgXcQ

Rob Calder talks to Professor Robert West about the Paper Authoring Tool (PAT). Professor West talks about how PAT can be used in the design and write-up phases of a randomised controlled trials, about how it saves time for reviewers and journals and about how using the PAT can make your research more rigorous, well reported and discoverable. He also discusses the future of research publishing and how computer reading can save months or years on evidence synthesis and how this relates to the Human Behaviour Change Project. There is also a small section on the interaction between computers, humans and chess.West, R. PAT: an on‐line paper authoring tool for writing up randomized controlled trials. Addiction 2021; 116: 1938-1940paperauthoringtool.com See acast.com/privacy for privacy and opt-out information.

Lulu bridges the gap between the UK and US with effects COVID had on the worldwide entertainment industry.  And let's face it...there's a LOT of laughing!  Enjoy! Support the show (https://www.patreon.com/10KDollarDay/)

Unfortunately, it finally got me - and the same goes for 1 in 75 people in the UK. In my case, I was infected before my second Moderna shot. So anyway, here's a hook for where we're at with COVID-19 and specifically Delta now - how serious is the situation, are there signs of hope in the data, will the government's strategy of blaming the public work, will the mass vaccination programme save us, or does a bleak winter beckon? I'm joined by expert Prof. Robert West to talk us all through it.Also - Dawn Butler joins us after being kicked out of Parliament for daring to tell the truth about Boris Johnson's lies.Help us take on the right-wing media here: https://patreon.com/owenjones84Support this show http://supporter.acast.com/the-owen-jones-podcast. See acast.com/privacy for privacy and opt-out information.

After a lovely interview with fellow Phoenix FM Presenter and Poet, Robert West we decided to have a go at a "poem off" - we weren't sure what would happen and listening back, I'm still not entirely sure what did happen! However, if you have been effected by any of the issues raised in these poems or if you would like to hear more about Rob's poetry book "Words, Words, Words" visit Phoenix FM.com or click here.

Ahead of Thursday's Drive I was joined by fellow Phoenix FM presenter and fellow poet, Rob West. As well as co-presenting Phoenix FM's Arts Programme Rob has found time during the pandemic to gather together a lifetime collection of his poems and publish them all alongside the story behind each one. Words, Words, Words features poems Rob has written in recent times as well as a few childhood gems that even won house points in school! We talked about his experience bringing together a lifetime collection of his poetry, what it was like revisiting some old ones, the memories they brought back and we even had a go at a new poetry podcast exclusive – a poem off!

The conclusion of the review and recap of Robert West's book on recapturing Texas from the Politicians and replacing them with Patriots.

Robert West's Book, the recap continues.

Want to take Back Texas? Robert West lays out his plan.

Our liberty is priceless. Our government was designed to protect our rights. Here is my review of The Five Star Plan book written by a fellow patriot Texas native Robert West. Consider taking part in a movement that will support candidates who will preserve, protect and defend our Constitution. --- Support this podcast: https://anchor.fm/adrienne-balkum/support

Suga's Pimento Cheeses has added two new mouth-watering flavors, Gourmet Pesto & Feta and Black Truffle, to an already-diverse menu of pimento cheese offerings. The new options join other cravable and popular flavors already on Suga's menu including Bacon Asiago, Smoked Gouda, Roasted Poblano and Monterey Jack, an extra spicy version with serrano peppers. Suga's offers eight total traditional flavors and four vegan pimento cheese options. Suga's Pimento Cheeses also launches a new interactive web site to further penetrate local Atlanta shops, larger markets in the Atlanta metro, and expand throughout the Southern region. The new web site will feature pimento cheese recipe inspiration, the story behind the cheese, a list of local stores and markets where Suga's Pimento Cheeses can be purchased and an e-commerce store where customers can purchase their favorite flavors. Web: https://sugasfood.com Follow: @sugaspimentocheeses “Pesto & Feta and Black Truffle are direct responses to what our customers asked for,” said Chef Suga, founder and creator of Suga's Pimento Cheeses. “Even though COVID-19 set everyone back, we are blessed to expand and grow our presence in stores throughout Atlanta and into Tennessee. We're confident the web relaunch will help us bring our pimento cheese to even more raving fans.” Stacey West, aka Chef Suga, and her pimento cheeses have been sought after throughout metro Atlanta thanks to her memorable presence at local farmer's markets and hyper-local shops as well as an early foray into a weekly Powder Springs brunch spot where the fan favorite was her signature Southern cheese spread. Chef Suga graduated from Le Cordon Bleu College of Culinary Arts in Atlanta with dreams of running a restaurant. After working with some of the top chefs in the Atlanta Metro area, including Chef Hilary of The Hil at Serenbe and Chef Holly, executive chef of Georgia Grown, she launched Suga's Enterprises, LLC in April 2016, taking over the kitchen and dining room of a local Powder Springs restaurant one day only for two months to serve Sunday brunch and try her hand at the restaurant industry. Stacey, her son Quinton Jones, who is also a chef, and her husband Robert West created southern brunch favorites such as chicken and waffles with maple butter, catfish po' boys, sweet potato corn muffins, and pimento cheese and grits. While they enjoyed the entire menu, customers overwhelmingly latched onto the pimento cheese. Suga's Pimento Cheeses launched just over a year later, in June 2017, thanks to the raving fans and high demand for the creative pimento cheese brand. “Our pimento cheeses are perfect on burgers, eggs, in grilled cheese or just fresh out of the container,” Chef Suga said. When she received requests for a spicier version in addition to her original pimento cheese, Chef Suga started experimenting with different types of spicy peppers, started selling her pimento cheese spread at the Marietta Square Farmers Market and sold out on the first day. Eventually the West's grew the business to many other markets and stores around metro Atlanta and into Tennessee and launched nine different flavors of pimento cheese. They debuted a 10th flavor, the smoked gouda pimento cheese, at the 2018 Atlanta Cheese Fest earning a finalist spot in the 2019 Flavor of Georgia food competition. Chef Suga and her team uses farm fresh, no preservatives and small batch ingredients from local restaurant supply companies, Atlanta farmers and other local vendors to ensure the highest and most fresh quality. Suga's Pimento Cheeses' vegan options are dairy, soy and nut free and contain potato and corn-based cheese, vegan mayo, vegan cream cheese and other non-dairy ingredients. Stacey earned the nickname “Suga” (pronounced “Shuh-gah”) when her first grandbaby was born. She didn't want to be called “grandma” so her daughter, Chanty, came up with the alternative “Suga.” She quickly began to be known as “Chef Suga.” Suga's Pimento Cheeses is headquartered in Powder Springs, Ga. and the pimento cheese is made locally in Marietta, Ga. Find more information about Chef Suga, her brand of cravable pimento cheeses, and a complete list of farmer's market and local shop locations at: www.sugasfood.com. About the show: ► Website: http://www.ashsaidit.com ► Need Goli Gummies? https://go.goli.com/1loveash5 ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH584216 ►For discount Pangea Products: https://embracepangaea.grsm.io/ashsaiditmedia3226 ► Want the ‘coldest' water? https://thecoldestwater.com/?ref=ashleybrown12 ► Become A Podcast Legend: http://ashsaidit.podcastersmastery.zaxaa.com/s/6543767021305 ► Review Us: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ► SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ► Instagram: https://www.instagram.com/1loveash ► Facebook: https://www.facebook.com/ ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog ► Pinterest: https://www.pinterest.com/1LoveAsh/ ► Newsletter: manage1.com/subscribe?u=2a2ca3b799467f125b53863http://ashsaidit.us11.list-c8&id=a6f43cd472 #atlanta #ashsaidit #ashsaidthat #ashblogsit #ashsaidit® Ash Brown is a gifted American producer, blogger, speaker, media personality and event emcee. The blog on AshSaidit.com showcases exclusive event invites, product reviews and so much more. Her motivational podcast "Ash Said It Daily" is available on major media platforms such as iTunes, iHeart Radio & Google Play. This program has over half a million streams worldwide. She uses these mediums to motivate & encourage her audience in the most powerful way. She keeps it real!

Suga's Pimento Cheeses has added two new mouth-watering flavors, Gourmet Pesto & Feta and Black Truffle, to an already-diverse menu of pimento cheese offerings. The new options join other cravable and popular flavors already on Suga's menu including Bacon Asiago, Smoked Gouda, Roasted Poblano and Monterey Jack, an extra spicy version with serrano peppers. Suga's offers eight total traditional flavors and four vegan pimento cheese options. Suga's Pimento Cheeses also launches a new interactive web site to further penetrate local Atlanta shops, larger markets in the Atlanta metro, and expand throughout the Southern region. The new web site will feature pimento cheese recipe inspiration, the story behind the cheese, a list of local stores and markets where Suga's Pimento Cheeses can be purchased and an e-commerce store where customers can purchase their favorite flavors. Web: https://sugasfood.com Follow: @sugaspimentocheeses “Pesto & Feta and Black Truffle are direct responses to what our customers asked for,” said Chef Suga, founder and creator of Suga's Pimento Cheeses. “Even though COVID-19 set everyone back, we are blessed to expand and grow our presence in stores throughout Atlanta and into Tennessee. We're confident the web relaunch will help us bring our pimento cheese to even more raving fans.” Stacey West, aka Chef Suga, and her pimento cheeses have been sought after throughout metro Atlanta thanks to her memorable presence at local farmer's markets and hyper-local shops as well as an early foray into a weekly Powder Springs brunch spot where the fan favorite was her signature Southern cheese spread. Chef Suga graduated from Le Cordon Bleu College of Culinary Arts in Atlanta with dreams of running a restaurant. After working with some of the top chefs in the Atlanta Metro area, including Chef Hilary of The Hil at Serenbe and Chef Holly, executive chef of Georgia Grown, she launched Suga's Enterprises, LLC in April 2016, taking over the kitchen and dining room of a local Powder Springs restaurant one day only for two months to serve Sunday brunch and try her hand at the restaurant industry. Stacey, her son Quinton Jones, who is also a chef, and her husband Robert West created southern brunch favorites such as chicken and waffles with maple butter, catfish po' boys, sweet potato corn muffins, and pimento cheese and grits. While they enjoyed the entire menu, customers overwhelmingly latched onto the pimento cheese. Suga's Pimento Cheeses launched just over a year later, in June 2017, thanks to the raving fans and high demand for the creative pimento cheese brand. “Our pimento cheeses are perfect on burgers, eggs, in grilled cheese or just fresh out of the container,” Chef Suga said. When she received requests for a spicier version in addition to her original pimento cheese, Chef Suga started experimenting with different types of spicy peppers, started selling her pimento cheese spread at the Marietta Square Farmers Market and sold out on the first day. Eventually the West's grew the business to many other markets and stores around metro Atlanta and into Tennessee and launched nine different flavors of pimento cheese. They debuted a 10th flavor, the smoked gouda pimento cheese, at the 2018 Atlanta Cheese Fest earning a finalist spot in the 2019 Flavor of Georgia food competition. Chef Suga and her team uses farm fresh, no preservatives and small batch ingredients from local restaurant supply companies, Atlanta farmers and other local vendors to ensure the highest and most fresh quality. Suga's Pimento Cheeses' vegan options are dairy, soy and nut free and contain potato and corn-based cheese, vegan mayo, vegan cream cheese and other non-dairy ingredients. Stacey earned the nickname “Suga” (pronounced “Shuh-gah”) when her first grandbaby was born. She didn't want to be called “grandma” so her daughter, Chanty, came up with the alternative “Suga.” She quickly began to be known as “Chef Suga.” Suga's Pimento Cheeses is headquartered in Powder Springs, Ga. and the pimento cheese is made locally in Marietta, Ga. Find more information about Chef Suga, her brand of cravable pimento cheeses, and a complete list of farmer's market and local shop locations at: www.sugasfood.com. About the show: ► Website: http://www.ashsaidit.com ► Need Goli Gummies? https://go.goli.com/1loveash5 ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH584216 ►For discount Pangea Products: https://embracepangaea.grsm.io/ashsaiditmedia3226 ► Want the ‘coldest' water? https://thecoldestwater.com/?ref=ashleybrown12 ► Become A Podcast Legend: http://ashsaidit.podcastersmastery.zaxaa.com/s/6543767021305 ► Review Us: https://itunes.apple.com/us/podcast/ash-said-it/id1144197789 ► SUBSCRIBE HERE: http://www.youtube.com/c/AshSaidItSuwanee ► Instagram: https://www.instagram.com/1loveash ► Facebook: https://www.facebook.com/ ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog ► Pinterest: https://www.pinterest.com/1LoveAsh/ ► Newsletter: manage1.com/subscribe?u=2a2ca3b799467f125b53863http://ashsaidit.us11.list-c8&id=a6f43cd472 #atlanta #ashsaidit #ashsaidthat #ashblogsit #ashsaidit® Ash Brown is a gifted American producer, blogger, speaker, media personality and event emcee. The blog on AshSaidit.com showcases exclusive event invites, product reviews and so much more. Her motivational podcast "Ash Said It Daily" is available on major media platforms such as iTunes, iHeart Radio & Google Play. This program has over half a million streams worldwide. She uses these mediums to motivate & encourage her audience in the most powerful way. She keeps it real!

Designing for financial apps hides many UX challenges. Is it all about fancy dashboards? How do you balance simplicity and information density?. Our guest today is Rob Gifford, Managing Director of Experience Design at Mad*Pow. He shares his story in the profession, and provides resources, examples, research, and inspiration for anyone looking to delve into financial product design.Podcast feed: subscribe to https://feeds.simplecast.com/4MvgQ73R in your favorite podcast app, and follow us on iTunes, Stitcher, or Google Play Music.Show NotesMad*Pow — Rob’s companyEpisode 162: Designing for Behavior Change with Amy BucherEpisode 140: Sustainable UX with James ChristieA Brief Introduction to the COM-B Model of Behaviour and the PRIM Theory of Motivation — an article by Robert West and Susan MichieBJ Fogg — the Stanford University behavior design researcher known for the Fogg Behavior ModelEpisode 131: Design Sprint with Jonathan CourtneyThe Paradox of Choice — a book by Barry SchwartzSelf-determination theory — a Wikipedia articleLemonade insurance, Betterment, Credit Karma, Mint — examples of user-friendly financial appsEngaged — a book by Amy Bucher, recommended by Rob as a great introduction to behavioral designDesign for Behavior Change — a book by Steven WendelMadpow’s upcoming eventsMadpow’s case studiesgiffordux.com — Rob’s personal websiteFollow Rob on LinkedIn and TwitterToday’s SponsorThis episode is brought to you by Userlist — a lifecycle messaging tool for SaaS companies. It’s perfect for sending smart onboarding campaigns, or any other behavior-based communication. We have everything you need to get started quickly and painlessly: developer-friendly API, campaign templates, and hands-on support from the founders. Try Userlist free at userlist.com.Interested in sponsoring an episode? Learn more here.Leave a ReviewReviews are hugely important because they help new people discover this podcast. If you enjoyed listening to this episode, please leave a review on iTunes. Here’s how.

John Marsden talks to Robert West about his time as Editor-in-Chief of Addiction See acast.com/privacy for privacy and opt-out information.

https://abdjuwear.com/

Robert West, Professor of Health Psychology at University College London sits down with Ella Jenkins and talks us through his long career in health and behaviours - as we ask 'what really motivates us?'

https://abdjuwear.com/

Anthem: He's Got the Whole World In His Hands performed by Allison Ward, Accompaniment by Keith Critcher. Arrangement by Margaret Bonds. The attached image is "A River Makes Glad" by Rev. Bekah Krevens Sermon by Rev. Sarah Almanza entitled Sermon: "How are We to Love" based on Scripture: Matthew 22:34-46 , read by Robert West.

Christopher Bartlett-Walford talks to actor, Robert West (On Your Feet, Choir Of Man, All Together Now), about listener's audition mishaps. Those awkward, cringey and embarrassing moments that happen in the Audition room. This week, it's panicked dance calls, surprise Tim Rice, football castings and dodgy props. Email your audition stories into the show at dontcalluspod@gmail.com (All will be anonymised!). Follow the show on Twitter - @dontcalluspod Follow the show on Instagram - @dontcalluspod Created and hosted by Christopher Bartlett-Walford Co-Produced & Artwork by John-Webb Carter With thanks to Jukedeck, Anchor & Zapsplat for Sounds. --- Send in a voice message: https://anchor.fm/dontcalluspod/message

Robert West, Professor in Health Psychology at UCL’s Institute of Epidemiology and Health, and a member of the Scientific Pandemic Influenza Group on Behaviours (SPI-B), which advises SAGE looks at the news social bubble and exactly what is achieves. Simon Clarke who is Minister for Regional Growth and Local Government also joins Nick to discuss the next steps in the Government's plan to ease lockdown plus Jonathan Ashworth, Shadow Health Secretary says the Government need to take responsibility on schools not reopening.

Nick speaks to Education Secretary Gavin Williamson about the controversy surrounding Dominic Cummings. Nick also examines the pros and cons of schools reopening on the 1st June. Nick is joined by Robert West, Professor in Health Psychology at UCL’s Institute of Epidemiology and Health, and a member of the Scientific Pandemic Influenza Group on Behaviours (SPI-B), which advises SAGE. HE shares his thoughts on Dominic Cummings

Big banks and institutions are making commitments to divest from fossil fuel projects, but where will new investments go? and is this the right move? Joining us this week to answer those questions is Robert West, Founder, and CEO of Thunder Said Energy, a research consultancy that looks into disruptive energy technologies that can change the energy systems and help investors put their capital in the right places. _ Connect with Robert on LinkedIn: https://www.linkedin.com/in/robert-west-cfa-2b21b614/ Learn more about Thunder Said Energy: https://thundersaidenergy.com/about-us _ Music by Jensen Instagram: https://www.instagram.com/jensen_chuah/ Twitter: https://twitter.com/jensen_chuah SoundCloud: https://soundcloud.com/jensenneedsfriends YouTube: https://www.youtube.com/channel/UCtHFEpuTjAVekbI1xz

Editor-in-Chief Robert West and Regional Editor for the Americas Keith Humphreys discuss the journal's submission and review process See acast.com/privacy for privacy and opt-out information.

Suzi Gage and Editor-in-Chief Robert West discuss "what is addiction"? How does it relate to individuals, to research and to the journal? See acast.com/privacy for privacy and opt-out information.

Suzi Gage talks to Robert West about recent US reports of deaths linked to e-cigarette use. See acast.com/privacy for privacy and opt-out information.

Winter months and January in particular can be hard on us all, with shorter days and darker evenings. We all want to wake up in the morning and go through our day feeling motivated and energised. Sadly, this doesn’t always happen, particularly as we are creatures of habit and more often than not our lifestyle patterns need to be shaken up and reinvigorated to ignite the motivation within us. How can we energise ourselves and get the motivation we all need so that we can get the most out of life? Imparting his knowledge on us and motivational technique to life your best life is,  Robert West, Professor of Psychology at University College London and an Associate of UCL’s Centre for Behaviour Change. For more information, visit Rhitrition.com (http://rhitrition.com/) ,  Instagram.com/Rhitrition (http://instagram.com/Rhitrition)  

Winter months and January in particular can be hard on us all, with shorter days and darker evenings. We all want to wake up in the morning and go through our day feeling motivated and energised. Sadly, this doesn’t always happen, particularly as we are creatures of habit and more often than not our lifestyle patterns need to be shaken up and reinvigorated to ignite the motivation within us. How can we energise ourselves and get the motivation we all need so that we can get the most out of life? Imparting his knowledge on us and motivational technique to life your best life is,  Robert West, Professor of Psychology at University College London and an Associate of UCL’s Centre for Behaviour Change. For more information, visit Rhitrition.com (http://rhitrition.com/) ,  Instagram.com/Rhitrition (http://instagram.com/Rhitrition)  

Winter months and January in particular can be hard on us all, with shorter days and darker evenings. We all want to wake up in the morning and go through our day feeling motivated and energised. Sadly, this doesn’t always happen, particularly as we are creatures of habit and more often than not our lifestyle patterns need to be shaken up and reinvigorated to ignite the motivation within us. How can we energise ourselves and get the motivation we all need so that we can get the most out of life? Imparting his knowledge on us and motivational technique to life your best life is,  Robert West, Professor of Psychology at University College London and an Associate of UCL’s Centre for Behaviour Change. For more information, visit Rhitrition.com (http://rhitrition.com/) ,  Instagram.com/Rhitrition (http://instagram.com/Rhitrition)  

On this episode, we have a special guest on the show in Robert West, we talk about the potential new Batman Arkham Game themed to the Court of Owls, what we read, and a ranking of the sexiest dudes in Comics!

Robert West, Professor of Health Psychology at the UCL Dept of Behavioural Science and Health, talks about tobacco harm reduction, closing the gap between research and practice, and reducing the stigma of addiction.

Robert West from New Orleans chats with Paul famous.

Robert John West born West Allis, Wisconsin, 3-7-67, has had an interesting supernatural filled life. Aliens, UFOS, Shadow People, and Black Helicopter Adventures, and much more...Tune In and hear his story! JOIN THERESA J MORRIS WEEKLY with her " HOW TO SOCIAL NETWORK METAPHYSICS" Book on AMAZON.com and THERESAJMORRIS.COM websites. TJ shares her friends and ask them to support their SOCIAL MEDIA ORGANIZATION WEBSITES. ROBERT found TJ in SOCIAL MEDIA on the INTERNET and has a story to share that is his truth and testimony of his life experiences. You too can become a member of our support group who gets to know you first as a friend, and second as a colleague. Theresa J Morris aka TJ Morris ET Contact Experiencer who formed the Alien Contact Org as ACO Club will interview Robert West at his request on Friday, March 31, 2016. 8-10 Central. ROBERT WEST lives in Wisconsin and has been an entrepreneur who has been visited since he was 10 years old. Robert West met TJ through social media on Facebook and had his first Radio Show on Saturday with TJ. He returned to share the Ascension Center Church Org show with TJ and Bill M Tracer.  ROBERT would like a chance to share his full story in chronological order while he gathers his life experiences for his own book he plans on writing himself as an independent on createspace. Robert plans on joining the ACO Culture Club which TJ has shared with various groups and organizations in radio shows. We would like you to listen to this platform provided for those who desire to share thie own life stories.  One does not have to have super natural experiences to come on the show but we have found the most interest among our peers in the paranormal and spirituality tracks and topics. The others are ancient wisdom to the new thought teachings we share in the Ascension Age of Awakening the Soul for the Spiritual Path.

Tony R Elliot joind Theresa J Morris on the ACO Club - ERA COP weekly internet research group of authors. Tony likes to talk about politics and environmental issues facing us on the planet. Tonight Tony wants to discuss the PARANORMAL and SUPER NATURAL. Janet Lessin and THeresa J Morris began ALien Contact Org and ERA Cop is where we share Research of this ERA in time. Tony has been in editorial columns for newspapers for years and is a well known columnist with various internet news media. Theresa J Morris is an author, radio host, speaker and research of the paranormal sciences and was a speaker on panels at the latest Mid South Convention held annually at the Memphis Hilton  TJ is now assisting Marta Thomas and her friends with the Global International Pyramid Conference which is the first of it's kind to be held in CHICAGO, ILLINOIS actually in Northbrook. See the posted in the photo here. WE also discuss ENTERTAINMENT Televisions Shows and MOVIES!   JOIN TONY and TJ WEEKLY on either THURSDAY or FRIDAY or BOTH!. CALL INS ARE WELCOME" 347-945-7207. WE DO THE SHOWS 8-10 CENTRAL/9-11 Eastern in the SPRING and SUMMER due to the time change. (Winter months are 7-9).    

We the people of the ACO - ACE Folklife Historical Paranormal Society invite all to their Metaphysical Ascension CENTER Church Org meeting every SUNDAY 7-9 Central Time. CALL IN is 347-945-7207. Host it Theresa J Morris, and Co-Hosts are Bill M Tracer, Thomas A. Sinisi (Tommy Hawksblood), Diana McClintic, Tom Greiner,Robert West and many friends who are sharing their speechcraft. We share a support group of the social paranormal kind. Theresa (TJ) Morris is Host. We encourage others to speak out about their awakening consciousness, communication of education through sharing information. We enjoy sharing our clues and views of the Ancient Astronauts and New Thought Teachings in this universe of the Cosmos. We are authors, artists, agents, consultants, organizers, engineers, astronomers, physicists, antrhropologists, archaeologists, researchers, supporters, volunteers, writers, artisans, crafters, co-creators, radio show hosts, web masters, and we make up the cyberspace community as metaphysicians sharing this place in space on a small planet we call home! We talk about the fact that there is a body-mind-spirit sharing the birth-life-death process and what that means to each of us who care to dare and share their own personal supernatural experiences and thoughts inside their heads and outside as words. We speak about communication and why we are here sharing time and space! We are always researching the why people do what they do and we hope to keep the elite in power and leadership in line with what is good and right including being law abiding citizens. The Ascension Center Church Org is a place to share at our various locations including in cyberspace communities we all gravitate too. Take what fits your energy resonating at a certain frequency and leave the rest for others to find on their own Ascension Age Path! There are many of us who share in PANEL DISCUSSIONS! Come JOIN US! See http://ascensioncenterchurch.org and http://theresajmorris.com,

The UK's first licensed e-cig, owned by a tobacco company, is now classed as a medicine paving the way for it to be prescribed on the NHS to help people quit. Robert West, Professor of Psychology at University College London and one of the world's leading experts on smoking cessation, and GP Margaret McCartney debate the issues. Asherman's Syndrome, a little known complication of surgery that is often missed but can cause infertility. Obstetrician Virginia Beckett explains how Asherman's Syndrome occurs and how it is treated. Rugby is growing in popularity, particularly among children, with 1.2 million of them now playing at schools and clubs in England alone. But at what cost? Rugby is rough and injuries are more common than most parents think. After her son and other young people were hurt repeatedly on the rugby field, Allyson Pollock, Professor of Public Health Research and Policy at Queen Mary, University of London, explored the incidence of injuries. From her research she is now recommending an end to the contact element of rugby in young people. Rugby Football Union's community medical director Dr Mike England responds.

The Problem: No migratory sex butt. This bonus episode features a live performance of Roderick on the Line that was recorded on January 23, 2015 at Verdi Club in San Francisco as part of the SF Sketchfest comedy festival. Thanks to Verdi Club Stage Manager, Robert West, for recording it. Photo Credit: Thanks to Andy Jessop. See more of Andy’s great photos from the show here. Sponsored by Cards Against Humanity This special bonus episode of Roderick on the Line is brought to you by Cards Against Humanity. They asked us not to read an ad. Enjoy the show! Buy a Shirt! Cotton Bureau – #SUPERTRAIN by Roderick on the Line ATTENTION, GENERATION #SUPERTRAIN: We have an exciting new thought technology for you. Because, right now, for the first time ever, Roderick on the Line has shirts. Shirts you can buy and then wear! Learn more »

"Work on something you’re really passionate about and make it your own" - Robert West Robert West, better known as RoboBob is an avid gamer who wanted to make games since he was a kid. After a few years in the gaming industry, he set off on his own to create Robotronic Games. He decided to make the type of games that he would love to play. Find out what makes him tick and what's in store for some of his games like Gnomoria.  Highlights: Bare feet Work/life balance Long Beach, CA  Being self taught Passion Making a living in gaming Gnomoria Connect With Robert: Website | @RoboB0b If you enjoy Outlier On Air, please Subscribe & Review on iTunes or Stitcher

As the government calls for a ban on the sale of e cigarettes to under 18s, Dr Mark Porter is joined by Martin McKee, Gerard Hastings and Robert West to discuss who is using them and how they are being advertised. The chairman of NICE, David Haslam has suggested patients should demand more NICE approved drugs from their GP. Mark is joined by David and by GP Margaret McCartney to discuss whether patients really should be more pushy. Also in the programme Mark talks to Mark Emberton at University College London Hospital in London about the PROMIS trial into the benefits of using MRI to scan men's prostate gland to detect cancer.

Sidewalk Radio focuses on art, architecture, design, development, city planning and preservation, highlighting the way we live and enjoy Atlanta. For the second episode of Sidewalk Radio, host Gene Kansas explores the Beltline and Atlantas history and self-identification with the railroad. For this episode, Gene welcomes Brian Leary (President and CEO of the Atlanta Beltline), Gordon Jones (Senior Military History for the Atlanta History Center), Jeff Morrison (an architect, sculptor and preservationist), and Robert West (a visual historian and painter of trains).