Podcast appearances and mentions of tom stafford

“I had thoughts I couldn't express at the time. It felt like we weren't just opening a hatch in space, but opening the door to a new era on Earth.”  Tom Stafford. The post Space Rocket History #463 – Apollo-Soyuz Test Project – Joint Operations first appeared on Space Rocket History Podcast.

A live rendition of Jingle Bells, played with Stafford on harmonica and Schirra on sleigh bells, became the first song performed live in space.

Témánk ezúttal az alig két hete elhunyt legendás űrhajós, a világ leggyorsabb embere, a Holdra szállás főpróbálója, az első és utolsó szovjet-amerikai űrrandevú egyik parancsnoka, a feledhetetlen Thomas P. Stafford. https://parallaxis.blog.hu/2024/04/04/sokol_ep181 https://youtu.be/52iVKOF0PTw Patreon oldalunkon támogatóink számára a nyilvános premier előtt tesszük elérhetővé podcastjeink epizódjait, illetve a Parallaxis Podcast hosszabb, különleges változatát – akár már havi 1000 forintért! (a tájékoztatás nem teljes körű) https://www.patreon.com/parallaxis Adásainkat megtalálod többek között Spotify-on, Soundcloud- és YouTube-csatornánkon, valamint Google és Apple Podcasts-en is! Kattints és válassz platformot! https://parallaxis.blog.hu/2021/07/16/podcast_platformok Még több podcast a Parallaxis Univerzumban: http://podcast.emtv.hu

On The Space Show for Wednesday, 27 March 2024: Vale Thomas P. Stafford Marking the death at age 93 of former Gemini, Apollo and Apollo-Soyuz astronaut Tom Stafford, with an explanation of how he came to be called, "The Mayor of Pad 19." (Inserts courtesy VoA) Australian Space Industry 2024 — Part 3 & Planet Earth — Episode 60 A dual topic feature: * Australian Space Agency funding grants boost * “The Democratisation of Space" (Maria Xygkaki, Senior Business Developer, Saber Astronautics, Adelaide) * Spiral Blue and the Optimus satellite (Mei He, Business Development Intern, Spiral Blue) * CyanoSat on Skykraft.

This week, war correspondent Ernie Pyle hits the beach in Normandy France just one day after the D-Day invasion, sees the allies break out of the Normandy peninsula after six weeks of hard fighting, is on hand for the liberation of Paris, and decides he has had enough of war. But try as he might, he can't really stay away and soon finds himself in the Pacific, getting ready to cover the other theater of operations.I was going to finish Pyle's story today, but a real world event popped up, causing me to shorten my bit about Pyle this week and instead write a eulogy for golden age of space exploration astronaut Tom Stafford, who passed away at age 93. His final funeral arrangements are still being made.This week's Ghosts of Arlington is Air Force Lieutenant General Thomas Patton Stafford.The Ghosts of the Pacific Theme is Ukulele and Love Birds by emjaydabayou, with a few Waves of Hawaii added for ambiance.The Ghosts of the Pacific Transition music are some Uke Chords by turkitron.As always, a very special thanks to Mountain Up Cap Company for its continued help to spread the word about the podcast on Facebook at: https://www.facebook.com/MountainUpCapCompany Climb to Glory!For more information about the podcast visit: ·       The GoA website: https://www.ghostsofarlingtonpodcast.com    ·       Facebook: https://www.facebook.com/ghostsofarlingtonpodcast·       Twitter: https://twitter.com/ArlingtonGhosts·       Instagram: https://www.instagram.com/ghostsofarlington/

#APOLLO: Tom Stafford RIP. Bob Zimmerman BehindtheBlack.com https://behindtheblack.com/behind-the-black/points-of-information/apollo-astronaut-tom-stafford-passes-away-at-93/ undated Viking

More tax cuts pass out of the State House.We remember the life of Oklahoma-native and astronaut Tom Stafford.A mild winter and recent rains result in early picking for tasty mushrooms.You can find the KOSU Daily wherever you get your podcasts, you can also subscribe, rate us and leave a comment.You can keep up to date on all the latest news throughout the day at KOSU.org and make sure to follow us on Facebook, Twitter and Instagram at KOSU Radio.This is The KOSU Daily, Oklahoma news, every weekday.

(00:23) – Welcome back to the opening show of the new season, now with a slightly different name but featuring the same familiar faces: Luke Jordan, Macdara Ferris, and Tom O'Connor. They share their hopes for the upcoming year and discuss the nature of the President's Cup game: is it a glorified friendly or a competitive match?(12:25) – Macdara Ferris offers a preview of Shamrock Rovers, pondering what success looks like for the team this season(23:55) – The conversation turns to St. Patrick's Athletic and their potential for the year. Can they mount a challenge to Rovers for their crown?(33:32) – Updates on the search for the next Irish manager are shared. The discussion covers whether Carsley is likely to take the Irish job and why Neil Lennon might be an unpopular choice(45:30) – Introduction of the First Division Preview Show concept to our loyal listeners(50:30) – Phillip Morrissey provides his insights on Cork City(52:40) – Ronan McCarthy speaks about Wexford(57:00) – James Byrne discusses Bray Wanderers(1:02:23) – Rory Morrow talks about Finn Harps(1:07:28) – Rory Merriman sheds light on UCD(1:11:15) – Andrew Dempsey interviews UCD manager Willie O'Connor following their Leinster Senior Cup match against St. Patrick's Athletic(1:15:35) – Andrew Dempsey returns to discuss Longford Town(1:20:35) – Tom Stafford provides his perspective on Cobh Ramblers(1:26:54) – The Talk is Treaty Podcast focuses on Treaty United(1:30:48) – Luke and Tom wrap up the opening show.Support the show

It was a holiday prank that resulted in the first song performed in space.

Jorge Arango is an Information architect, author, and educator, and he's written a new book, Duly Noted, about the age-old practice of notetaking. If you're like me, you've been taking notes since your school days. Back then, we used notebooks, a Trapper Keeper, and sticky notes – anything that could help us ace a test, remember important tidbits, and consolidate ideas. Notes are an extension of the mind. But it was always a headache to organize them, synthesize them, and recall them at the right time. Enter the digital age – which tried to improve on the humble art of notetaking, but apps like Notes and Stickies tried to replicate digitally what we were using in the real world. Newer apps like Obsidian let go of real-world metaphors by utilizing three principles: shorter notes, connecting your notes, and nurturing your notes to build a knowledge garden that will serve you for the rest of your life. If you bring value to the world through your thinking, you have the responsibility to look after your thinking apparatus. Duly Noted will augment, magnify, and extend your capacity to think well. Externalizing your mental processes is one of the most powerful means we have to think better. If used well, the humble note will help you be a better thinker and a more effective human. What you'll learn from this episode: - A history of notetaking tools - Why notetaking is a personal endeavor - How digital notetaking tools have evolved - About Jorge's new book and how, upon reading it, you just might become a better thinker and increase your effectiveness Quick Reference Guide [0:00:12] Introduction of Jorge and his books [0:01:18] Introduction of Jorge's new book on taking notes and creating a knowledge garden, Duly Noted [0:09:47] Books that will make you a better knowledge worker [0:14:14] Design in Product Conference [0:15:35] Managing knowledge with computers [0:26:03] Knowledge as a garden [0:28:09] On tools for nurturing a knowledge garden [0:33:08] How Jorge uses AI with Obsidian [0:36:37] Jorge's gift for listeners Resources and links from today's episode: Information Architecture for the Web and Beyond by Louis Rosenfeld, Peter Morville, and Jorge Arango https://www.amazon.com/Information-Architecture-Beyond-Louis-Rosenfeld/dp/1491911689 Living in Information: Responsible Design for Digital Places by Jorge Arango https://rosenfeldmedia.com/books/living-in-information/ Duly Noted by Jorge Arango https://rosenfeldmedia.com/books/duly-noted-extend-your-mind-through-connected-notes/ O'Reilly's book Mind Hacks by Tom Stafford https://www.oreilly.com/library/view/mind-hacks/0596007795/ Tools for Thought by Howard Rheingold www.rheingold.com/texts/tft/ Design in Product Conference, November 29 https://rosenfeldmedia.com/design-in-product/ Roam Research https://roamresearch.com/ Obsidian https://obsidian.md/ The Extended Mind: The Power of Thinking Outside the Brain by Annie Murphy Paul https://anniemurphypaul.com/books/the-extended-mind/ Figure it Out: Getting from Information to Understanding by Karl Fast and Stephen Anderson https://www.amazon.com/Figure-Out-Getting-Information-Understanding-ebook/dp/B085412Q1X Build a PKG (Personal Knowledge Garden) Workshop https://buildapkg.com

Deliberation. Debate. Conversation. Though it can feel like that's what we are doing online as we trade arguments back and forth, most of the places where we currently gather make it much easier to produce arguments in isolation rather than evaluate them together in groups. The latest research suggests we will need much more of the latter if we hope to create a new, modern, functioning marketplace of ideas. In this episode, psychologist Tom Stafford takes us through his research into how to do just that.How Minds ChangeDavid McRaney's TwitterYANSS TwitterShow NotesNewsletterPatreon

Every business can suffer financially and reputationally from Denial of Service attacks or ransomware, but in healthcare, patient safety is at risk. In this video, two cybersecurity experts advise healthcare organizations not to fret over AI and advanced attacks, but to shore up the “basic fundamentals”: training against phishing attacks, practicing responses to attacks, and proven cyber technologies. Ryan Witt, Managing Director, Industries Solutions Group at Proofpoint, guides viewers on how to apportion scarce resources. Figure out who is most likely to be attacked. (Interestingly, for reasons you can learn in the video, hospices are common targets.) Tom Stafford, Director, Healthcare Strategy at CDW, has a chance to talk with and advice a lot of healthcare organizations. One of the suggestions he shares regularly is in order to prepare for ransomware, do table-top exercises involving many departments, including senior leadership. Learn more about CDW: https://www.cdwg.com/healthcare Learn more about Proofpoint: https://www.proofpoint.com/healthcare Find more great health IT content: https://www.healthcareittoday.com/ Proofpoint is a sponsor of Healthcare Scene

n today's episode we pick up the Gemini story with preparation for Gemini IX. That means that we have to talk about the tragic events surrounding the deaths of Elliot See and Charles Basset who were the first NASA astronauts to die in the line of duty. We'll also talk about how NASA and the Gemini program moved on past this tragedy and how the backup crew of Tom Stafford and Gene Cernan stepped up to See and Basset who had been the prime crew for Gemini IX. Hosted on Acast. See acast.com/privacy for more information.

Etter ti år med iskaldt romkappløp bestemte supermaktene seg for å prøve noe annet, og resultatet ble Apollo-Soyuz Test Project. I flere år trente astronauter og kosmonauter i hverandres romsentre og lærte seg hverandres språk og arbeidsmetoder. 17. juli 1975 sto Tom Stafford og Aleksej Leonov for det første amerikansk-sovjetiske håndtrykket i rommet, og ideen om romfart som et felles fredsprosjekt ble lansert for TV-seere verden over.

In this episode we finally get the party together on orbit as Wally Schirra and Tom Stafford in Gemini VIA complete the very first rendezvous with Jim Lovell and Frank Borman in Gemini VII. Hosted on Acast. See acast.com/privacy for more information.

When we left the Gemini program Jim Lovell and Frank Borman were just getting to orbit to begin a week long wait for Wally Schirra and Tom Stafford to join them in the first-ever on orbit rendezvous of two spacecraft. Today we will finally get the crew of Gemini VI to orbit... although it may take a little while longer than we thought. Today we will finally get the crew of Gemini VI to orbit... although it may take a little while longer than we thought. Hosted on Acast. See acast.com/privacy for more information.

Các bạn đang lắng nghe Tập 38 của series podcast Học Giỏi Phát Âm Giọng Mỹ Trong 60 Ngày. Trong podcast này, nhân dịp chào mừng Lễ Giáng Sinh, chúng ta cùng tìm hiểu nguồn gốc bài hát nổi tiếng “Jingle Bells” cũng như tìm hiểu qua lời bài hát với phần từ vựng khó. Bây giờ chúng ta cùng nghe một đoạn nhỏ nhạc bài Jingle Bells trước khi vào phần nội dung chính.   Jingle Bells (Tiếng chuông ngân), là một trong những bài hát Giáng sinh nổi tiếng và được hát phổ biến nhất trên thế giới. Mặc dù được nhiều người coi là một bài hát Giáng sinh, nó được cho là viết về Lễ tạ ơn. Bài hát được sáng tác lần đầu vào năm 1840[1] với tên gọi "One Horse Open Sleigh". Tác giả của bài hát là James S. Pierpont, một người sinh trưởng tại Medford tiểu bang Massachusetts, rất có năng khiếu về âm nhạc. Jingle Bells được James Lord Pierpont sáng tácHoàn cảnh sáng tácCó hai tấm bảng kỷ niệm lịch sử ở hai thành phố, mỗi thành phố tự xưng là nơi sinh của Jingle Bells.Một tấm bảng ở Medford, Massachusetts, gợi ý rằng  Năm 1840, Pierpont được giao sáng tác một nhạc phẩm đặc biệt để hát trong dịp Lễ Tạ Ơn. Khi đang ở nhà, anh bắt gặp một nhóm người đang đua xe trượt tuyết giữa trời đông lạnh. Anh đã tham gia với họ và chiến thắng, cũng vào lúc đó, anh bị ấn tượng bởi những chiếc chuông kêu lanh canh gắn trên xe ngựa kéo. Bài hát được sáng tác trong đêm đó và được đánh thử nghiệm bằng cây đàn piano của bà hàng xóm Otis Waterman Điều này đang gây tranh cãi bởi nghiên cứu của Hamill cho rằng Pierpont không thể viết bài hát này vào năm 1850 vì lúc đó ông đang kiếm tiền trong cơn sốt vàng ở California.Ngoài ra còn có một tấm bảng ở Savannah, Georgia, nơi mọi người khăng khăng rằng bài hát được viết vào cuối năm 1857 trước khi nó lần đầu tiên được hát trong một nhà thờ địa phương. Hamill nói rằng rất có thể Pierpont đã viết bài hát này trong một căn nhà thuê không xa nơi ông sống ở trung tâm thành phố Boston vào năm 1857. James tập bài hát đó cho ca đoàn nhà thờ Medford và hoà âm cho bài nhạc để trình diễn vào lễ Tạ ơn, ngày lễ quan trọng và có rất nhiều người tham dự tại New England lúc ấy. Bài hát được hoan nghênh và yêu cầu hát lại vào dịp Gíang Sinh tại nhà thờ dù phần lời bài hát có nội dung không phù hợp lắm với nhà thờ (đề cập đến cảnh ngựa đua xe trượt băng, lối hẹn hò trai gái và cá cược).  Lần trình diễn này là một thành công lớn đến nỗi một số khách tới thánh đường dự lễ đã xin bản nhạc đem về địa phương của mình. Vì trình diễn vào lễ Gíang Sinh nên bài hát đã được xem như một bài hát Gíang Sinh thực thụ kể từ lúc đó. Pierpont tìm được người chịu xuất bản bài hát đó năm 1857,và đến năm 1864 khi tờ báo Salem Evening News đăng bài tường thuật câu chuyện về bản nhạc này khiến bài ca đã mau chóng phổ biến thành bản nhạc phổ thông nhất vùng New England rồi tràn xuống phía nam.  BẠN CÓ BIẾT? – Mở nhạc Jingle Bells từ không gian"Jingle Bells" là một trong những bài hát đầu tiên được phát sóng từ không gian, trong một trò đùa theo chủ đề Giáng sinh của các phi hành gia Tom Stafford và Wally Schirra của tàu Gemini 6. Khi đang ở trong không gian vào ngày 16 tháng 12 năm 1965, họ đã gửi báo cáo này cho Cơ quan Kiểm soát Nhiệm vụ dưới mặt đất:C6: Gemini VII, đây là Gemini VI. Chúng tôi có một vật thể, trông giống như một vệ tinh đi từ bắc xuống nam, có thể là trên quỹ đạo cực. Người này ở quỹ đạo rất thấp đi từ bắc xuống nam và tốc độ di chuyển cao.. Có vẻ như nó thậm chí có thể là một ... Rất thấp. Có vẻ như anh ấy sẽ sớm trở lại. (Nhạc – Jingle Bells – từ Tàu vũ trụ VI) Dưới mặt đất: Chúng tôi cũng thấy vậy, haha. Sau đó, các phi hành gia đã thổi bài hát Jingle Bells, trong đó Schirra thổi kèn harmonica và Stafford rung những chiếc chuông. 

In today's lesson you're going to hear the story of the creator of Jingle Bells, his questionable character and we'll  go through the lyrics of the song so if you want to sing it in English, you can. This is Part 2. In Part 1, we spoke about  the common English expression Bells and Whistles.*****In December of 1965, a spacecraft called Gemini 6 was flying in outer space, looking back down at earth. The crew members on board were on call with Mission Control when they announced the following alarming message: “We have an object, looks like a satellite going from north to south, up in a polar orbit. He's in a very low trajectory traveling from north to south and has a very high climbing ratio. It looks like it might even be a … Very low….” After a few more details, sleigh bells started to jingle and the familiar tune Jingle Bells  passed from Gemini 6 to Mission Control. With a harmonica and sleigh bells, Wally Shirra (Walter M. Shirra Jr.) and Tom Stafford, played the first live song from space: Jingle Bells. You heard me. The popular Christmas song, Jingle Bells was the first song ever played live from space.And yes, the astronauts were playing a joke on Mission Control;  they were in fact pretending to see Santa. *****Premium Content: This episode is part of Season 3. By purchasing Season 3 transcripts, you'll be able to access the full episodes, the full PDF transcripts for episodes 101 - 150, an Mp3 download  and the premium podcast player to work on your pronunciation.  Get ALL PREMIUM CONTENT FOR SEASONS 1 - 3  (with 5 in-depth courses to improve your English,  includes all transcripts + mp3s)Get the Free E-Book: 101 American English Slang Words *****Support the show

In this episode of the Terranauts podcast, NASA is about about to launch Gemini VI but something happens somethings that had never happened to a crewed mission before. As the launch of Gemini VI approached in the fall of 1965, everyone on the Gemini program was focussed on the problem of rendezvous. Last episode we talked about what that entailed. But in addition to worrying about how rendezvous would actually work, there were still some very real questions about the Gemini Agena Target Vehicle that the US Air Force and Lockheed were supplying to the program. Nevertheless by October of 1965, a target vehicle had been tested, retested and accepted by NASA. It was sitting atop it's Atlas launch vehicle preparing for it's date with destiny and the Gemini spacecraft containing Wally Schirra and Tom Stafford - which was sitting on it's own launch pad a short distance away. Hosted on Acast. See acast.com/privacy for more information.

How is your memory? Remembering things is an important function of our brain – if we can't recall how to do something, we can't survive. If you think about it, there is so much we have to remember – from where we left our car keys to how we walk. Maybe it's no surprise that sometimes we are forgetful.你的记忆力如何？记住事情是我们大脑的一项重要功能——如果我们不记得如何做某事，我们就无法生存。如果你仔细想想，我们必须记住的东西太多了——从我们把车钥匙放在哪里，到我们走路的方式。也许我们有时健忘也就不足为奇了。Memory allows the brain to store and retrieve information when required. Our short-term memory can hold a small amount of information for a short time, while our long-term memory can hold an unlimited amount of information for a long time. Our memory is amazing, but why do we still forget things?记忆允许大脑在需要时存储和检索信息。我们的短期记忆可以在短时间内保存少量信息，而我们的长期记忆可以长时间保存无限量的信息。我们的记忆力是惊人的，但为什么我们还是会忘记事情呢？It's possible we don't always store information in our memory effectively, maybe because we are in a rush or we consider it irrelevant at the time. When we do store information, we often make connections with other things, which helps us recall it later. If you don't have these connections, then it can be easier to forget. Writing for the BBC's Science Focus magazine, Luis Villazon says “It is also possible that memories decay over time. As they have not been revisited, their biological ‘trace' becomes weak.” It's true that if you don't perform a task for a long period of time, it can be difficult to recall how to do it. This could be because, just like in a computer, our memory is full, or that our short-term memory is easier to access.有可能我们并不总是有效地将信息存储在我们的记忆中，可能是因为我们很匆忙，或者我们当时认为它无关紧要。当我们确实存储信息时，我们经常与其他事物建立联系，这有助于我们以后回忆它。如果您没有这些联系，则可能更容易忘记。为 BBC 的 Science Focus 杂志撰稿的 Luis Villazon 说：“记忆也有可能随着时间的推移而衰退。由于它们没有被重新访问，它们的生物‘痕迹'变得微弱。”确实，如果您长时间不执行某项任务，则可能很难回忆起如何执行该任务。这可能是因为，就像在计算机中一样，我们的记忆已满，或者我们的短期记忆更容易访问。But sometimes even our short-term memory can let us down. Have you ever gone into a room to fetch something only to forget what you wanted when you got there? This is called ‘The Doorway Effect'. Writing for the BBC Future website, psychologist Tom Stafford explains that this “occurs because we change both the physical and mental environments, moving to a different room and thinking about different things.” Put simply, we are metaphorically trying to spin too many plates at the same time.、但有时即使是我们的短期记忆也会让我们失望。你有没有进过一个房间去取东西，到了那里却忘记了你想要什么？这被称为“门口效应”。心理学家汤姆斯塔福德为 BBC Future 网站撰文解释说，“这是因为我们改变了身体和心理环境，搬到不同的房间并思考不同的事情。”简而言之，我们隐喻地试图同时旋转太多的盘子。So, if you have a mind like a sieve, it could be because you have too much on your mind. But we do need to keep our memory sharp by continually using it, especially as beyond our 50s our brains tend to shrink in volume and our memory begins to decline. That's when we're at more risk of getting Alzheimer's disease.所以，如果你的头脑像筛子一样，那可能是因为你的想法太多了。但是我们确实需要通过不断地使用它来保持我们的记忆力，特别是在我们 50 多岁之后，我们的大脑往往会缩小体积并且我们的记忆力开始下降。那时我们患阿尔茨海默病的风险更大。However, as Luis Villazon says, “Forgetting is not always a bad thing! It would waste cognitive resources if we remembered every detail of the world around us.” That's something worth remembering!然而，正如 Luis Villazon 所说，“忘记并不总是一件坏事！如果我们记住周围世界的每一个细节，就会浪费认知资源。”这是值得记住的事情！词汇表recall 回想起forgetful 健忘的store 储存retrieve 找回short-term 短期的long-term 长期的effectively 有效地irrelevant 无关紧要的decay 减弱，衰退revisit 重新回想The Doorway Effect “门口效应”（指瞬间忘事的现象）physical 物质的mental 精神的，心理的spin too many plates 兼顾太多事情a mind like a sieve “记忆像滤网”，容易忘事，健忘on your mind 脑子里想着sharp 敏锐的，机敏的Alzheimer's disease 阿尔茨海默病cognitive resources 认知资源

Link to preorder How Minds Change and get your preorder bonuses: https://www.davidmcraney.com/howmindschangehome Deliberation. Debate. Conversation. Though it can feel like that's what we are doing online as we trade arguments back and forth, most of the places where we currently gather make it much easier to produce arguments in isolation rather than evaluate them together in groups. The latest research suggests we will need much more of the latter if we hope to create a new, modern, functioning marketplace of ideas. In this episode, psychologist Tom Stafford takes us through his research into how to do just that. Show notes at: http://www.youarenotsosmart.com Patreon: http://patreon.com/youarenotsosmart See omnystudio.com/listener for privacy information.

In this episode, Mayank Banerjee (Co-Founder & CEO, Even Healthcare), joins our host Digjay, to talk about his path leading up to Even, choosing the right co-founders, the problem statement that Even is solving for, challenges faced in the 0 to 1 journey, attracting quality talent at the earliest stages of a startup, straddling between the short term & long term vision, the importance of understanding the VC perspective when fundraising as a founder and having a thesis about the kind of investors you'd like to have on your cap table. Founded in 2020, Even is a healthtech company that partners directly with top hospitals to provide completely cashless, quality healthcare to its members. The startup aims to rid India of out-of-pocket healthcare expenses and mitigate illnesses early on with appropriate medical interventions with its partner hospitals. Even is backed by marquee investors like Khosla Ventures, Founders Fund (led by Peter Thiel) and operator investors like Palo Alto Networks CEO Nikesh Arora, Cred CEO Kunal Shah, Zerodha Founder Nithin Kamath and DST Global partner Tom Stafford. Prior to Even, Mayank co-founded Compass News, an AI based journalism platform with offices in London and New York & later worked with Entrepreneur First in Bangalore. Mayank studied at the Oxford University where he was the President of the Oxford Union. You can connect with him here on Linkedin or Twitter. ---- Show notes – (01:37) Mayank's background & path leading up to Even (05:20) Meeting his co-founders; What should one over-index on when choosing their co-founders? (09:47) The genesis phase & the problem statement that Even is solving for (17:07) Challenges faced in the 0 to 1 journey (19:12) Attracting quality talent at the early stages of a startup (20:49) North star metric for Even today (22:09) Straddling between the short term & long term vision (23:17) Fundraising experience at Even; Importance of understanding the VC perspective when fundraising as a founder (26:37) Having a thesis about the kind of investors you want to have on your cap table (29:20) Rapid fire and closing remarks ---- If you liked our episode, you can subscribe to our podcast on any podcast platforms of your choice (like Spotify & Apple iTunes). We would appreciate if you could leave us a review on Apple iTunes. This helps others discover the podcast organically. You can visit thevcpreneur.com and follow us on Twitter @thevcpreneur_ & Instagram @thevcpreneur for more episodes and interesting insights on the startup ecosystem. You can also follow our host Digjay here on Linkedin & Twitter

So, it's exam time again – have you done the necessary work to get good marks? 所以，又到了考试时间——你是否已经完成了必要的工作以取得好成绩？Sleeping with the textbook under the pillow in the hope that knowledge will be magically absorbed into your brain as you sleep doesn't work.把课本放在枕头下睡觉，希望知识会在你睡觉时神奇地吸收到你的大脑中，这是行不通的。 The best strategy is to space your practice out, rather than cram it all together. It means hit the books early!最好的策略是把你的练习分开，而不是把它们塞在一起。这意味着早点打书！In an article in the British newspaper The Guardian, Tom Stafford, a lecturer in psychology and cognitive science at the University of Sheffield, UK, advises: "If you organise five hours of study into one hour a day, you'll remember more than if you study for five hours on one day."在英国《卫报》的一篇文章中，英国谢菲尔德大学的心理学和认知科学讲师汤姆斯塔福德建议：“如果你把每天五个小时的学习安排成一小时，你会记住的如果你一天学习五个小时。”Don't rely on memory alone – get pen and paper and start working.不要只依赖记忆——拿起笔和纸开始工作。Students who can test themselves in advance will be better at retrieving material from their memory and learn that material in the long run.可以提前测试自己的学生将更善于从记忆中检索材料并从长远来看学习这些材料。 John Dunlosky, Professor of Psychology at Kent State University in the US, suggests that "you start by reading a textbook using your favourite highlighter and favourite colours, but then you go back and make flashcards of all the critical concepts and instead of just rereading those, you basically try to test yourselves on them."美国肯特州立大学心理学教授 John Dunlosky 建议：“你首先使用你最喜欢的荧光笔和最喜欢的颜色阅读教科书，然后你再回去制作所有关键概念的抽认卡，而不是仅仅重读那些，你基本上是试着在他们身上测试自己。”Good revision should give you confidence, but if you are still anxious, there's no harm in indulging in a personal ritual.在日本，学生在考试前吃Katsudon似乎是一种传统。 In Japan, it seems to be a tradition for students to eat Katsudon before a test. 好的复习应该会给你信心，但如果你仍然焦虑，沉迷于个人仪式并没有什么坏处。This is a warm bowl of rice topped with egg and a deep-fried pork cutlet. 这是一碗热乎乎的米饭，上面放着鸡蛋和炸猪排。The name of the dish reminds people of the word 'katsu', meaning 'winning'.这道菜的名字让人们想起了“katsu”这个词，意思是“胜利”。For some students in South Korea, the key to success is not washing their hair before sitting an exam because they believe they could wash all the knowledge out of their head. 对于韩国的一些学生来说，成功的关键不是在考试前洗头，因为他们相信自己可以洗掉所有的知识。And in different parts of the world there are always those who swear by their 'lucky underwear'.在世界不同的地方，总有一些人以他们的“幸运内衣”发誓。The bottom line is that you need to study, sleep well on the eve of the test, eat a nutritious meal, drink plenty of water and believe that your efforts will pay off. 底线是你需要学习，在考试前夕睡个好觉，吃一顿有营养的饭菜，多喝水，并相信你的努力会得到回报。Good luck in your exam!祝你考试顺利！词汇表mark 分数textbook 课本，教科书strategy 策略，行动计划space your practice out 把做练习的间隔时间距离拉开cram （考前）突击学习，死记硬背hit the books 学习，做功课lecturer 讲师cognitive science 认知科学retrieve 搜索、获取highlighter 荧光笔flashcard 抽任卡critical concept 关键概念ritual 老规矩，仪式，习惯sit an exam 参加考试nutritious 营养丰富的pay off 取得成功，取得好结果

On this episode of "This Week in Space," we're seeing busy times at the Kennedy Space Center! Axiom Space is set for the first launch of an all-private crew to the International Space Station from Pad 39A, the Space Launch System is testing over on Pad 39B, and SpaceX's Crew 4 mission is set to depart Pad 39A soon thereafter. Axiom's all-private flight to the ISS comes just two years after the first SpaceX crew launch to the station—and Axiom is also working on modules for the first all-private space station. Also, Hubble spies the most distant star ever, the Mars Helicopter aces another record-setting flight, and Apollo astronaut Tom Stafford tutors NASA on cooperation in space with Russia. Hosts: Rod Pyle and Tariq Malik Download or subscribe to this show at https://twit.tv/shows/this-week-in-space. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: itpro.tv/twit promo code TWIT30 Blueland.com/SPACE

On this episode of "This Week in Space," we're seeing busy times at the Kennedy Space Center! Axiom Space is set for the first launch of an all-private crew to the International Space Station from Pad 39A, the Space Launch System is testing over on Pad 39B, and SpaceX's Crew 4 mission is set to depart Pad 39A soon thereafter. Axiom's all-private flight to the ISS comes just two years after the first SpaceX crew launch to the station—and Axiom is also working on modules for the first all-private space station. Also, Hubble spies the most distant star ever, the Mars Helicopter aces another record-setting flight, and Apollo astronaut Tom Stafford tutors NASA on cooperation in space with Russia. Hosts: Rod Pyle and Tariq Malik Download or subscribe to this show at https://twit.tv/shows/this-week-in-space. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: itpro.tv/twit promo code TWIT30 Blueland.com/SPACE

Dr. Tom Stafford, NC State's vice chancellor for student affairs emeritus, is the de facto historian for the university's Memorial Belltower. Join us as we discuss this hallowed landmark's history, recent completion and more with Dr. Stafford from inside the carillon room. Transcript available here.

CDW and Sirius Healthcare have served healthcare clients for years and now they have come together. In this episode, we sit down with Imran Salim and Tom Stafford to discuss how clients will experience the new company.

In this episode, John joins Orla Gartland and producer Tom Stafford to talk about how they wrote, recorded and produced Orla's debut album ‘Woman on the Internet'. From the early stages of throwing musical ideas at the wall to the almost infinite list of recording secrets picked up from their time at Middle Farm Studios, Orla and Tom look back on trying to capture and emulate the original magic from their early sessions, along with bringing light and shade to the record as a whole. Unearthing old voice memos and opening up the original sessions, we hear stories of blind microphone testing, trying and failing to recreate cheap sounds with ‘posh' synths, and introducing some of Tom's modular madness to Orla's folk-pop sound. Listen to find out how to get good results when recording with a kids karaoke machine, what making things sound orange and sparkly means, and how gigs at a cereal cafe may have been the start of numerous musical careers. Tracks discussed:  You're Not Special Babe, Over Your Head, More Like Your Listen to ‘Woman on the Internet' here. ‘Woman on the Internet' - New Friends Music   GEAR MENTIONS A100 Analogue Modular System Korg Stage Echo Moog One MicroKorg Nord Keyboards Organelle Synth Fender Telecaster Echoplex Pedal  Warm Audio 47 API Channel Strip Summit TLA 100 Shure 267 Preamp Antares Freakshow Industries Mishby Output Movement Soundtoys Alter Boy Soundtoys Devil-Loc Logic Flex Time   SUBMIT A JINGLE For all of the details on sending in a jingle email jingles@tapenotes.co.uk   Submit your Tape Notes jingle and we'll play our favourites each week on the podcast. Jingles can be in any style, can feature the Tape Notes theme, lyrics, or none of those things - be as creative as you'd like (as long as they're between 5-15 seconds).   HELP SUPPORT THE SHOW If you'd like to help support the show you can donate as little or as much as you'd like here, (we really appreciate your contributions :)  Donate   KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk 

In this episode of Cyber Ways, Craig interviews co-host Dr. Tom Stafford about his 2021 paper, Platform-Dependent Computer Security Complacency: The Unrecognized Insider Threat, which was published in the IEEE Transactions on Engineering Management.Dr. Stafford is the J.E. Barnes Eminent Scholar in Data Analytics at Louisiana Tech University. He holds doctorates in Marketing from the University of Georgia, and Management Information Systems from the University of Texas at Arlington. In addition to publishing dozens of articles in high-quality journals, he has served as Editor-in-Chief of the Decision Sciences Journal, and is currently co-Editor-in-Chief of The DATA BASE for Advances in Information Systems,  which is the oldest continuously-published journal in information systems. Dr. Stafford also co-chaired the 2018 Americas Conference on Information Systems, and the 2019 IFIP 8.11/11.13 Information Security Workshop. He is also co-chairing the 2025 International Conference in Information Systems. Tom's paper discusses how many problematic security behaviors are the result of complacency or ignorance, rather than explicit malicious behavior. He also describes the concept of cyber-complacency, which he defines as an unconcerned dependence on technological security protections.Abstract (direct copy from the paper)This article reports on a grounded theory investigation of subject response anomalies that were encountered in the course of a neurocognitive laboratory study of computer user cybersecurity behaviors. Subsequent qualitative data collection led to theoretical development in specification of three broad constructs of computer user security complacency. Theoretical insights indicate that states of security complacency can arise in the form of a naïve lack of concern about the likelihood of facing security threats (inherent complacency), from ill-advised dependence upon specific computing platforms and protective workplace technology implementations for protection (platform complacency), as well as the reliance on the guidance on advice from trusted social others in personal and workplace networks (social complacency). Elements of an emergent theory of cybersecurity complacency arising from our interpretive insights are discussed.Link to the paper: https://ieeexplore.ieee.org/document/9373614The Cyber Ways podcast is brought to you by the Center for Information Assurance, at Louisiana Tech University's College of Business. Cyber Ways is funded through a Just Business grant, made possible through the generosity of donors to the Louisiana Tech University College of Business.Intro audio for the Cyber Ways Podcast Outro audio for Cyber Ways PodcastCyber Ways is brought to you by the Center for Information Assurance, which is housed in the College of Business at Louisiana Tech University. The podcast is made possible through a "Just Business Grant," which is funded by the University's generous donors.https://business.latech.edu/cyberways/

The Cyber Ways Podcast brings academic cyber security research into the "real world." We interview top academic researchers to find how their research can be put into practice by cyber security professionals. Our focus is on behavioral aspects of cyber security. Occasionally, we touch on related topics, such as information privacy and surveillance.Each episode discusses one published, peer-reviewed article to reveal the practical implications of the research. Your hosts, Tom Stafford and Craig Van Slyke,  are both widely published information systems academics who keep one foot in the world of practice. The Cyber Ways Podcast is brought to you by the Center for  Information Assurance at the Louisiana Tech University's College of Business. The Cyber Ways podcast is funded through a Just Business grant, made possible through the generosity of donors to the Louisiana Tech University College of Business.Cyber Ways is brought to you by the Center for Information Assurance, which is housed in the College of Business at Louisiana Tech University. The podcast is made possible through a "Just Business Grant," which is funded by the University's generous donors.https://business.latech.edu/cyberways/

In this episode, Tonya Oaks Smith talks cybersecurity with J.E. Barnes Professor of Computer Information Systems Dr. Tom Stafford. He recently had a new article, “Platform-Dependent Computer Security Complacency: The Unrecognized Insider Threat” published in IEEE Transactions on Engineering Management. Stafford recently evolved the theory of Cybersecurity Complacency to describe the actions and views of well-meaning, but bumbling workers who unintentionally violate security. He’ll tell you more about what you should or shouldn't do to ensure the safety of your information on the web. College of Business: https://business.latech.edu/ Website: https://1894.latech.edu/beyond/ Email: 1894@latech.edu

Vick Mickunas' 2002 interview with Tom Stafford

Produced by Foundersuite.com, "How I Raised It" goes behind the scenes with startup founders who have raised capital. This episode is with Nico Barawid of Casai.com, a startup that offers boutique, tech-enabled travel apartments in Mexico. In this episode, Nico talks about how to articulate a compelling vision that is "ambitious to the point of crazy," A16Z's services model and how it differentiates them from other VCs, how to balance equity and debt when raising capital, the importance of being a good story teller, and much more. The Company recently raised a $48 million Series A including $23 million in equity funding and up to $25 million in debt financing from TriplePoint Capital. The round is the largest Series A raised by a company in Mexico today and one of the largest in Latin America. Led by Andreessen Horowitz, the equity funding includes participating investors Andreessen Horowitz’s Cultural Leadership Fund, Kaszek Ventures, Monashees Capital, Global Founders Capital, Liquid 2 Ventures, Tom Stafford (managing partner of DST Global), and others. How I Raised It is produced by Foundersuite, makers of software to raise capital and manage investor relations. Foundersuite's customers have raised over $2.5 Billion since 2016. Create a free account at www.foundersuite.com

Tom Stafford reads Ron Knipfer's poem "In Love With Snowballs"

Tom Stafford reads Matt Birdsall's poems “Us" and "Hooked on a Feeling”

In this episode, Darrell chats with his good friend  Rodney Hall,  who is the president of the FAME Recording Studios in Muscle Shoals Alabama.  Rodney is also the co-owner of FAME Publishing.  Rodney's father - Rick Hall along with Billy Sherrill and Tom Stafford founded  Florence Alabama Music Enterprises in 1959. Rick Hall took over as the sole owner in 1960 and renamed the recording studio with the acronym of its original name as FAME Recording Studios, moving location to Wilson Dam Highway in Muscle Shoals. In 1962 they moved again to the current building which started construction with a $12000 bank loan raised by his family. Listen in as Rodney chats from the comfort of the newly revamped studio B at FAME, sharing some fascinating childhood memories including playing pranks on some of the most famous individuals in the music industry to funny little anecdotes his father told him when he was asked about the Rolling Stones as a guest on the late-night Jonny Carson show.  How his father gave him and his brother 5 cows each, as a way of earning money via their calf's to help pay for college and more!.  Rodney continues to build upon his fathers famous legacy and in his own right. Producing amazing music at the FAME Recording Studios. Rodney works with a family of top-flight session musicians keeping the worldwide well-earned studios reputation at the forefront of the ever evolving music industry. To read more about this famous icon of Americana music history. Especially as a safe-harbor of culture diversity and a sanctuary of a special sound - just visit their website. Also, check out the Social media channels to keep up to date with all things - past, present and future @ FAME Recording Studios...   A Big thanks to our friends at #AudioGeer and the team @shure for their awesome support! #Shure #MV7 #podcast mic! Please check out our Music Matters podcast on @spotifypodcasts Hey, also check out the New Music Matters Podcast Website- and Music Matters SWAG And a Big Shout and thanks for the support of the following: Rodney Hall FAME Recording Studios in Muscle Shoals, Alabama Shure microphones Affliction clothing  and Nigel J. my co-producer and voice over talent, all while running - Music Tribes Unite Media for our Podcast - Productions - Please, support, LIKE and helps us grow - check out our Social Media pages:       

Un tipo llamado Tom Stafford telefoneó en su momento a Billy Sherrill y a un tal Rick Hall en Hamilton, Alabama, porque quería fundar una compañía discográfica, incluyendo una editorial.

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at "You Better Move On", and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Mother-In-Law" by Ernie K-Doe. 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/ ----more---- Resources As always, I've created Mixcloud playlists with full versions of all the songs in the episode. This week it's been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander's Dot work. Much of the information in this episode comes from Richard Younger's biography of Alexander. It's unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we're going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we're going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties -- studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it's also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians -- there were jobs that weren't open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist -- many were very vocally opposed to racism -- but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we've looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we're going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we're going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we're going to look at Arthur Alexander, and at "You Better Move On": [Excerpt: Arthur Alexander, "You'd Better Move On"] Arthur Alexander's is one of the most tragic stories we'll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander's hit single "You Better Move On". He said to Harrison, "Did you know I played bass on that?" and Harrison replied, "If I phoned Paul up now, he'd come over and kiss your feet". That's how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it's hard to escape the fact that Alexander's music has an awful lot of elements of country music in it. This is something that Alexander would point out himself -- in interviews, he would talk about how he loved singing cowboys in films -- people like Roy Rogers and Gene Autry -- and about how when he was growing up the radio stations he would listen to would "play a Drifters record and maybe an Eddy Arnold record, and they didn't make no distinction. That's the way it was until much later". The first record he truly loved was Eddy Arnold's 1946 country hit "That's How Much I Love You": [Excerpt: Eddy Arnold, "That's How Much I Love You"] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place -- by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn't even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it's almost always the latter, so from this point on, I'll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander's music, but as we've seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander's father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as "June", for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it -- he forbade him from ever playing the guitar, saying that he'd never made a nickel as a player, and didn't want that life for his son. As Arthur was an obedient kid, he did as his father said -- he never in his life learned to play any musical instrument. But that didn't stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat "King" Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes -- though he wasn't satisfied by McPhatter's answer that "It's just there", thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song "One Mint Julep": [Excerpt: The Clovers, "One Mint Julep"] He formed a vocal group called the Heartstrings, who would perform songs like "Sixty Minute Man", and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn't need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening -- there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it -- W.C. Handy, Hank Williams, Sam Phillips, they'd all done truly great things, but they'd done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big -- making records of people's weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. "A Fallen Star" was done as cheaply as humanly possible -- it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time -- he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn't a hit, and was so unsuccessful that I've not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people -- Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn't understand his type of music -- but a circle of songwriters formed that would be important later. Jud Phillips, Sam's brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton's recordings were unsuccessful, but they started getting cover versions. Roy Orbison's first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, "Sweet and Innocent"] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I've been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a "reality-hacking poet", and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way -- and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I'm not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn't count. Others, like Dan Penn, have later claimed that they took an “I don't even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm's length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford's fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley's studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, "She Wanna Rock"] That record wasn't a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun's Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote "Stand By Your Man" with Tammy Wynette, and produced "He Stopped Loving Her Today" for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford's studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford's partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton's record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, "Sally Sue Brown"] It's a good record, but it didn't have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events -- his wife, Ann, had an ex who had tried to win her back once he'd found out she was dating Arthur. He took the song, "You Better Move On", to Stafford, who knew it would be a massive hit, but also knew that he couldn't produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King -- he would later say, "It was my conception that it should have a groove similar to 'Stand By Me', which was a big record at the time. But I didn't want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.": [Excerpt: Arthur Alexander, "You Better Move On"] For a B-side, they chose a song written by Terry Thompson, "A Shot of Rhythm and Blues", which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, "A Shot of Rhythm and Blues"] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on "You Better Move On", and who would go on to become one of the most successful session bass players and record producers in Nashville, later said "If it wasn't for Arthur Alexander, we'd all be at Reynolds" -- the local aluminium factory. But Arthur Alexander wouldn't record much at Muscle Shoals from that point on. His contracts were bought out -- allegedly, Stafford, a heavy drug user, was bought off with a case of codeine -- and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander's talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander's heart wasn't in it -- his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley's studio with top Nashville session players, the A-side, "Where Have You Been?" was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of "You Better Move On": [Excerpt: Arthur Alexander, "Where Have You Been?"] While the B-side, "Soldiers of Love" (and yes, it was called "Soldiers of Love" on the original label, rather than "Soldier"), was written by Buzz Cason and Tony Moon, two members of Brenda Lee's backing band, The Casuals: [Excerpt: Arthur Alexander, "Soldiers of Love"] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn't having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur's songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He'd started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he'd better write one himself, and he'd make it about the deterioration of his marriage to Ann -- though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, "Anna (Go To Him)"] Released with a cover version of Gene Autry's country classic "I Hang My Head and Cry" as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, "Go Home Girl", another attempt at a "You Better Move On" soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn't want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, "Every Day I Have To Cry"] He was throwing himself into his work at this point, to escape the problems in his personal life. He'd often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox's old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with "Snap Your Fingers": [Excerpt: Joe Henderson, "Snap Your Fingers"] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other's addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn't been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison's classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with "Raunchy" on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, "Baby For You": [Excerpt: Arthur Alexander, "Baby For You"] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life -- he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, "Johnny's Heartbreak": [Excerpt: Otis Redding, "Johnny's Heartbreak"] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur's plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him -- and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur's version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song "Every Day I Have To Cry", as "Every Day I Have To Cry Some", in a version which many people think likely inspired Bruce Springsteen's "Hungry Heart" a few years later: [Excerpt: Arthur Alexander, "Every Day I Have To Cry Some"] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn't chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland -- construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

Episode ninety-five of A History of Rock Music in Five Hundred Songs looks at “You Better Move On”, and the sad story of Arthur Alexander. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Mother-In-Law” by Ernie K-Doe. 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/ —-more—- Resources As always, I’ve created Mixcloud playlists with full versions of all the songs in the episode. This week it’s been split into two parts because of the number of songs by Arthur Alexander. Part one. Part two. This compilation collects the best of Alexander’s Dot work. Much of the information in this episode comes from Richard Younger’s biography of Alexander. It’s unfortunately not in print in the UK, and goes for silly money, though I believe it can be bought cheaply in the US. And a lot of the background on Muscle Shoals comes from Country Soul by Charles L. Hughes.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript   Before we start, a warning for those who need it. This is one of the sadder episodes we’re going to be doing, and it deals with substance abuse, schizophrenia, and miscarriage. One of the things we’re going to see a lot of in the next few weeks and months is the growing integration of the studios that produced much of the hit music to come out of the Southern USA in the sixties — studios in what the writer Charles L. Hughes calls the country-soul triangle: Nashville, Memphis, and Muscle Shoals. That integration produced some of the greatest music of the era, but it’s also the case that with few exceptions, narratives about that have tended to centre the white people involved at the expense of the Black people. The Black musicians tend to be regarded as people who allowed the white musicians to cast off their racism and become better people, rather than as colleagues who in many cases somewhat resented the white musicians — there were jobs that weren’t open to Black musicians in the segregated South, and now here were a bunch of white people taking some of the smaller number of jobs that *were* available to them.  This is not to say that those white musicians were, individually, racist — many were very vocally opposed to racism — but they were still beneficiaries of a racist system. These white musicians who loved Black music slowly, over a decade or so, took over the older Black styles of music, and made them into white music. Up to this point, when we’ve looked at R&B, blues, or soul recordings, all the musicians involved have been Black people, almost without exception. And for most of the fifties, rock and roll was a predominantly Black genre, before the influx of the rockabillies made it seem, briefly, like it could lead to a truly post-racial style of music. But over the 1960s, we’re going to see white people slowly colonise those musics, and push Black musicians to the margins. And this episode marks a crucial turning point in the story, as we see the establishment of Muscle Shoals, Alabama, as a centre of white people making music in previously Black genres. But the start of that story comes with a Black man making music that most people at the time saw as coded as white. Today we’re going to look at someone whose music is often considered the epitome of deep soul, but who worked with many of the musicians who made the Nashville Sound what it was, and who was as influenced by Gene Autry as he was by many of the more obvious singers who might influence a soul legend. Today, we’re going to look at Arthur Alexander, and at “You Better Move On”: [Excerpt: Arthur Alexander, “You’d Better Move On”] Arthur Alexander’s is one of the most tragic stories we’ll be looking at. He was a huge influence on every musician who came up in the sixties, but he never got the recognition for it. He was largely responsible for the rise of Muscle Shoals studios, and he wrote songs that were later covered by the Beatles, and Bob Dylan, and the Rolling Stones, as well as many, many more. The musician Norbert Putnam told the story of visiting George Harrison in the seventies, and seeing his copy of Alexander’s hit single “You Better Move On”. He said to Harrison, “Did you know I played bass on that?” and Harrison replied, “If I phoned Paul up now, he’d come over and kiss your feet”. That’s how important Arthur Alexander was to the Beatles, and to the history of rock music. But he never got to reap the rewards his talent entitled him to. He spent most of his life in poverty, and is now mostly known only to fans of the subgenre known as deep soul. Part of this is because his music is difficult to categorise. While most listeners would now consider it soul music, it’s hard to escape the fact that Alexander’s music has an awful lot of elements of country music in it. This is something that Alexander would point out himself — in interviews, he would talk about how he loved singing cowboys in films — people like Roy Rogers and Gene Autry — and about how when he was growing up the radio stations he would listen to would “play a Drifters record and maybe an Eddy Arnold record, and they didn’t make no distinction. That’s the way it was until much later”. The first record he truly loved was Eddy Arnold’s 1946 country hit “That’s How Much I Love You”: [Excerpt: Eddy Arnold, “That’s How Much I Love You”] Alexander grew up in Alabama, but in what gets described as a relatively integrated area for the time and place — by his own account, the part of East Florence he grew up in had only one other Black family, and all the other children he played with were white, and he wasn’t even aware of segregation until he was eight or nine. Florence is itself part of a quad-city area with three other nearby towns – Muscle Shoals, Sheffield, and Tuscumbia. This area as a whole is often known as either “the Shoals”, or “Muscle Shoals”, and when people talk about music, it’s almost always the latter, so from this point on, I’ll be using “Muscle Shoals” to refer to all four towns. The consensus among people from the area seems to have been that while Alabama itself was one of the most horribly racist parts of the country, Muscle Shoals was much better than the rest of Alabama. Some have suggested that this comparative integration was part of the reason for the country influence in Alexander’s music, but as we’ve seen in many previous episodes, there were a lot more Black fans of country music than popular myth would suggest, and musicians like Fats Domino, Chuck Berry, and Bo Diddley were very obviously influenced by country singers. Alexander’s father was also called Arthur, and so for all his life the younger Arthur Alexander was known to family and friends as “June”, for Junior. Arthur senior had been a blues guitarist in his youth, and according to his son was also an excellent singer, but he got very angry the one time June picked up his guitar and tried to play it — he forbade him from ever playing the guitar, saying that he’d never made a nickel as a player, and didn’t want that life for his son. As Arthur was an obedient kid, he did as his father said — he never in his life learned to play any musical instrument. But that didn’t stop him loving music and wanting to sing. He would listen to the radio all the time, listening to crooners like Patti Page and Nat “King” Cole, and as a teenager he got himself a job working at a cafe owned by a local gig promoter, which meant he was able to get free entry to the R&B shows the promoter put on at a local chitlin circuit venue, and get to meet the stars who played there. He would talk to people like Clyde McPhatter, and ask him how he managed to hit the high notes — though he wasn’t satisfied by McPhatter’s answer that “It’s just there”, thinking there must be more to it than that. And he became very friendly with the Clovers, once having a baseball game with them, and spending a lot of time with their lead singer, Buddy Bailey, asking him details of how he got particular vocal effects in the song “One Mint Julep”: [Excerpt: The Clovers, “One Mint Julep”] He formed a vocal group called the Heartstrings, who would perform songs like “Sixty Minute Man”, and got a regular spot on a local TV show, but according to his account, after a few weeks one of the other members decided he didn’t need to bother practising any more, and messed up on live TV. The group split up after that. The only time he got to perform once that group split up was when he would sit in in a band led by his friend George Brooks, who regularly gigged around Muscle Shoals. But there seemed no prospect of anything bigger happening — there were no music publishing companies or recording studios in Alabama, and everyone from Alabama who had made an impact in music had moved away to do it — W.C. Handy, Hank Williams, Sam Phillips, they’d all done truly great things, but they’d done them in Memphis or Nashville, not in Montgomery or Birmingham. There was just not the music industry infrastructure there to do anything. That started to change in 1956, when the first record company to set up in Muscle Shoals got its start. Tune Records was a tiny label run from a bus station, and most of its business was the same kind of stuff that Sam Phillips did before Sun became big — making records of people’s weddings and so on. But then the owner of the label, James Joiner, came up with a song that he thought might be commercial if a young singer he knew named Bobby Denton sang it. “A Fallen Star” was done as cheaply as humanly possible — it was recorded at a radio station, cut live in one take. The engineer on the track was a DJ who was on the air at the time — he put a record on, engineered the track while the record was playing, and made sure the musicians finished before the record he was playing did, so he could get back on the air. That record itself wasn’t a hit, and was so unsuccessful that I’ve not been able to find a copy of it anywhere, but it inspired hit cover versions from Ferlin Husky and Jimmy C. Newman: [Excerpt: Jimmy C. Newman, “A Fallen Star”] Off the back of those hit versions, Joiner started his own publishing company to go with his record company. Suddenly there was a Muscle Shoals music scene, and everything started to change. A lot of country musicians in the area gravitated towards Joiner, and started writing songs for his publishing company. At this point, this professional music scene in the area was confined to white people — Joiner recalled later that a young singer named Percy Sledge had auditioned for him, but that Joiner simply didn’t understand his type of music — but a circle of songwriters formed that would be important later. Jud Phillips, Sam’s brother, signed Denton to his new label, Judd, and Denton started recording songs by two of these new songwriters, Rick Hall and Billy Sherrill. Denton’s recordings were unsuccessful, but they started getting cover versions. Roy Orbison’s first single on RCA was a Hall and Sherrill song: [Excerpt: Roy Orbison, “Sweet and Innocent”] Hall and Sherrill then started up their own publishing company, with the help of a loan from Joiner, and with a third partner, Tom Stafford. Stafford is a figure who has been almost written out of music history, and about whom I’ve been able to find out very little, but who seems in some ways the most intriguing person among these white musicians and entrepreneurs. Friends from the time describe him as a “reality-hacking poet”, and he seems to have been a beatnik, or a proto-hippie, the only one in Muscle Shoals and maybe the only one in the state of Alabama at the time. He was the focal point of a whole group of white musicians, people like Norbert Puttnam, David Briggs, Dan Penn, and Spooner Oldham. These musicians loved Black music, and wanted to play it, thinking of it as more exciting than the pop and country that they also played. But they loved it in a rather appropriative way — and in the same way, they had what they *thought* was an anti-racist attitude. Even though they were white, they referred to themselves collectively as a word I’m not going to use, the single most offensive slur against Black people. And so when Arthur Alexander turned up and got involved in this otherwise-white group of musicians, their attitudes varied widely. Terry Thompson, for example, who Alexander said was one of the best players ever to play guitar, as good as Nashville legends like Roy Clark and Jerry Reed, was also, according to Alexander, “the biggest racist there ever was”, and made derogatory remarks about Black people – though he said that Alexander didn’t count. Others, like Dan Penn, have later claimed that they took an “I don’t even see race” attitude, while still others were excited to be working with an actual Black man. Alexander would become close friends with some of them, would remain at arm’s length with most, but appreciated the one thing that they all had in common – that they, like him, wanted to perform R&B *and* country *and* pop. For Hall, Sherrill, and Stafford’s fledgling publishing company FAME, Alexander and one of his old bandmates from the Heartstrings, Henry Lee Bennett, wrote a song called “She Wanna Rock”, which was recorded in Nashville by the rockabilly singer Arnie Derksen, at Owen Bradley’s studio with the Nashville A-Team backing him: [Excerpt: Arnie Derksen, “She Wanna Rock”] That record wasn’t a success, and soon after that, the partnership behind FAME dissolved. Rick Hall was getting super-ambitious and wanted to become a millionaire by the time he was thirty, Tom Stafford was content with the minor success they had, and wanted to keep hanging round with his friends, watching films, and occasionally helping them make a record, and Billy Sherrill had a minor epiphany and decided he wanted to make country music rather than rock and roll. Rick Hall kept the FAME name for a new company he was starting up and Sherrill headed over to Nashville and got a job with Sam Phillips at Sun’s Nashville studio. Sherrill would later move on from Sun and produce and write for almost every major country star of the sixties and seventies – most notably, he co-wrote “Stand By Your Man” with Tammy Wynette, and produced “He Stopped Loving Her Today” for George Jones. And Stafford kept the studio and the company, which was renamed Spar. Arthur Alexander stuck with Tom Stafford, as did most of the musicians, and while he was working a day job as a bellhop, he would also regularly record demos for other writers at Stafford’s studio. By the start of 1960, 19-year-old June had married another nineteen-year-old, Ann. And it was around this point that Stafford came to him with a half-completed lyric that needed music. Alexander took Stafford’s partial lyric, and finished it. He added a standard blues riff, which he had liked in Brook Benton’s record “Kiddio”: [Excerpt: Brook Benton, “Kiddio”] The resulting song, “Sally Sue Brown”, was a mixture of gutbucket blues and rockabilly, with a soulful vocal, and it was released under the name June Alexander on Judd Records: [Excerpt: June Alexander, “Sally Sue Brown”] It’s a good record, but it didn’t have any kind of success. So Arthur started listening to the radio more, trying to see what the current hits were, so he could do something more commercial. He particularly liked the Drifters and Ben E. King, and he decided to try to write a song that fit their styles. He eventually came up with one that was inspired by real events — his wife, Ann, had an ex who had tried to win her back once he’d found out she was dating Arthur. He took the song, “You Better Move On”, to Stafford, who knew it would be a massive hit, but also knew that he couldn’t produce the record himself, so they got in touch with Rick Hall, who agreed to produce the track. There were multiple sessions, and after each one, Hall would take the tapes away, study them, and come up with improvements that they would use at the next session. Hall, like Alexander, wanted to get a sound like Ben E. King — he would later say, “It was my conception that it should have a groove similar to ‘Stand By Me’, which was a big record at the time. But I didn’t want to cop it to the point where people would recognise it was a cop. You dig? So we used the bass line and modified it just a little bit, put the acoustic guitar in front of that.”: [Excerpt: Arthur Alexander, “You Better Move On”] For a B-side, they chose a song written by Terry Thompson, “A Shot of Rhythm and Blues”, which would prove almost as popular as the A-side: [Excerpt: Arthur Alexander, “A Shot of Rhythm and Blues”] Hall shopped the record around every label in Nashville, with little success. Eventually, in February 1961, the record was released by Dot Records, the label that Pat Boone was on. It went to number twenty-four on the pop charts, becoming the first ever hit record to be made in Alabama. Rick Hall made enough money from it that he was able to build a new, much better, studio, and Muscle Shoals was set to become one of the most important recording centres in the US. As Norbert Puttnam, who had played bass on “You Better Move On”, and who would go on to become one of the most successful session bass players and record producers in Nashville, later said “If it wasn’t for Arthur Alexander, we’d all be at Reynolds” — the local aluminium factory. But Arthur Alexander wouldn’t record much at Muscle Shoals from that point on. His contracts were bought out — allegedly, Stafford, a heavy drug user, was bought off with a case of codeine — and instead of working with Rick Hall, the perfectionist producer who would go on to produce a decade-long string of hits, he was being produced by Noel Ball, a DJ with little production experience, though one who had a lot of faith in Alexander’s talent, and who had been the one to get him signed to Dot. His first album was a collection of covers of current hits. The album is widely regarded as a failure, and Alexander’s heart wasn’t in it — his father had just died, his wife had had a miscarriage, and his marriage was falling apart. But his second single for Dot was almost as great as his first. Recorded at Owen Bradley’s studio with top Nashville session players, the A-side, “Where Have You Been?” was written by the Brill Building team of Barry Mann and Cynthia Weill, and was very much in the style of “You Better Move On”: [Excerpt: Arthur Alexander, “Where Have You Been?”] While the B-side, “Soldiers of Love” (and yes, it was called “Soldiers of Love” on the original label, rather than “Soldier”), was written by Buzz Cason and Tony Moon, two members of Brenda Lee’s backing band, The Casuals: [Excerpt: Arthur Alexander, “Soldiers of Love”] The single was only a modest hit, reaching number fifty-eight, but just like his first single, both sides became firm favourites with musicians in Britain. Even though he wasn’t having a huge amount of commercial success, music lovers really appreciated his music, and bands in Britain, playing long sets, would pick up on Arthur’s songs. Almost every British guitar group had Arthur Alexander songs in their setlists, even though he was unaware of it at the time. For his third Dot single, Arthur was in trouble. He’d started drinking a lot, and taking a lot of speed, and his marriage was falling apart. Meanwhile, Noel Ball was trying to get him to record all sorts of terrible songs. He decided he’d better write one himself, and he’d make it about the deterioration of his marriage to Ann — though in the song he changed her name to Anna, because it scanned better: [Excerpt: Arthur Alexander, “Anna (Go To Him)”] Released with a cover version of Gene Autry’s country classic “I Hang My Head and Cry” as the B-side, that made the top ten on the R&B chart, but it only made number sixty-eight on the pop charts. His next single, “Go Home Girl”, another attempt at a “You Better Move On” soundalike, only made number 102. Meanwhile, a song that Alexander had written and recorded, but that Dot didn’t want to put out, went to number forty-two when it was picked up by the white singer Steve Alaimo: [Excerpt: Steve Alaimo, “Every Day I Have To Cry”] He was throwing himself into his work at this point, to escape the problems in his personal life. He’d often just go to a local nightclub and sit in with a band featuring a bass player called Billy Cox, and Cox’s old Army friend, who was just starting to get a reputation as a musician, a guitarist they all called Marbles but who would later be better known as Jimi Hendrix. He was drinking heavily, divorced, and being terribly mismanaged, as well as being ripped off by his record and publishing companies. He was living with a friend, Joe Henderson, who had had a hit a couple of years earlier with “Snap Your Fingers”: [Excerpt: Joe Henderson, “Snap Your Fingers”] Henderson and Alexander would push each other to greater extremes of drug use, enabling each other’s addiction, and one day Arthur came home to find his friend dead in the bathroom, of what was officially a heart attack but which everyone assumes was an overdose. Not only that, but Noel Ball was dying of cancer, and for all that he hadn’t been the greatest producer, Arthur cared deeply about him. He tried a fresh start with Monument Records, and he was now being produced by Fred Foster, who had produced Roy Orbison’s classic hits, and his arrangements were being done by Bill Justis, the saxophone player who had had a hit with “Raunchy” on a subsidiary of Sun a few years earlier. Some of his Monument recordings were excellent, like his first single for the label, “Baby For You”: [Excerpt: Arthur Alexander, “Baby For You”] On the back of that single, he toured the UK, and appeared on several big British TV shows, and was generally feted by all the major bands who were fans of his work, but he had no more commercial success at Monument than he had at the end of his time on Dot. And his life was getting worse and worse. He had a breakdown, brought on by his constant use of amphetamines and cannabis, and started hallucinating that people he saw were people from his past life — he stopped a taxi so he could get out and run after a man he was convinced was his dead father, and assaulted an audience member he was convinced was his ex-wife. He was arrested, diagnosed with schizophrenia, and spent several months in a psychiatric hospital. Shortly after he got out, Arthur visited his friend Otis Redding, who was in the studio in Memphis, and was cutting a song that he and Arthur had co-written several years earlier, “Johnny’s Heartbreak”: [Excerpt: Otis Redding, “Johnny’s Heartbreak”] Otis asked Arthur to join him on a tour he was going to be going on a couple of weeks later, but fog grounded Arthur’s plane so he was never able to meet up with Otis in Atlanta, and the tour proceeded without him — and so Arthur was not on the plane that Redding was on, on December 10 1967, which crashed and killed him. Arthur saw this as divine intervention, but he was seeing patterns in everything at this point, and he had several more breakdowns. He ended up getting dropped by Monument in 1970. He was hospitalised again after a bad LSD trip led to him standing naked in the middle of the road, and he spent several years drifting, unable to have a hit, though he was still making music. He kept having bad luck – for example, he recorded a song by the songwriter Dennis Linde, which was an almost guaranteed hit, and could have made for a comeback for him: [Excerpt: Arthur Alexander, “Burning Love”] But between him recording it and releasing it as a single, Elvis Presley released his version, which went to number two on the charts, and killed any chance of Arthur’s version being a success: [Excerpt: Elvis Presley, “Burning Love”] He did, though, have a bit of a comeback in 1975, when he rerecorded his old song “Every Day I Have To Cry”, as “Every Day I Have To Cry Some”, in a version which many people think likely inspired Bruce Springsteen’s “Hungry Heart” a few years later: [Excerpt: Arthur Alexander, “Every Day I Have To Cry Some”] That made number forty-five, but unfortunately his follow-up, “Sharing the Night Together”, was another song where multiple people released versions of it at the same time, without realising, and so didn’t chart – Dr. Hook eventually had a hit with it a year later. Arthur stepped away from music. He managed to get himself more mentally well, and spent the years from 1978 through 1993 working a series of blue-collar jobs in Cleveland — construction worker, bus driver, and janitor. He rarely opened up to people about ever having been a singer. He suffered through more tragedy, too, like the murder of one of his sons, but he remained mentally stable. But then, in March 1993, he made a comeback. The producer Ben Vaughn persuaded him into the studio, and he got a contract with Elektra records. He made his first album in twenty-two years, a mixture of new songs and reworkings of his older ones. It got great reviews, and he was rediscovered by the music press as a soul pioneer. He got a showcase spot at South by Southwest, he was profiled by NPR on Fresh Air, and he was playing to excited crowds of new, young fans. He was in the process of getting his publishing rights back, and might finally start to see some money from his hits. And then, three months after that album came out, in the middle of a meeting with a publisher about the negotiations for his new contracts, he had a massive heart attack, and died the next day, aged fifty-three. His bad luck had caught up with him again.

Berlin -based cargo.one, which runs a marketplace for booking air freight, has closed an $18.6 million Series A round of funding led by Index Ventures. Next47 and prior backers Creandum, Lufthansa Cargo and Point Nine Capital also participated in the round, along with a number of angel investors — including Tom Stafford of DST Global […]

In this episode, songwriter, musician, and performer Earl “Peanutt” Montgomery talks with Community Arts Program manager Deb Boykin. Mr. Montgomery shares his memories of growing up in a musical family, recalling that he learned to write songs because his mother challenged him to emulate one of his older brothers. Like a number of musicians in the area, he got his start at the studio founded by Tom Stafford, Billy Sherrril, and Rick Hall. He wrote dozens of songs for George Jones, who became a close friend.

Twitter Facebook Twitch The guys return with one giant citation. Women's chess gets covered in depth as well as another undercelebrated master. Our erstwhile Rules feature also makes a triumphant return. 0:00 Intro 3:05 Hugh's Views 4:03 Feedback 8:58 Phil has a quiz 11:57 Tom Stafford and David Smerdon study 20:54 Scotch the French Bulldog reads the laws of chess 29:04 Christory (Günther Möhring, and the Suffragette movement) 35:06 Jon has a stupid question 40:37 Phil has a quiz answer

...................................... FULL TRANSCRIPT ...................................... Last week I shared with you how to love unconditionally and in today’s episode I will continue to share my best tips for your successful year series. Today’s tip is tip number seven: Stop judging, criticizing and increase your understanding with compassion so that you can experience personal growth and success. Hi, I’m Pascale and welcome to episode 144 of the Everyday Life Balance Show. Thank-you for listening! As you are listening to today’s episode I want you to bear in mind that my intention is to help you grow in compassion and I hope that the content I share with you today will resonate with your heart. Our society is quick to judge and criticize much more than praise and encourage. This happens at work and also in the home environment. I think there is a difference between leading negatively and leading positively. For example, if judging and criticizing is only used for the purpose of proving that we are right, it means we are limited in our belief and the result is usually resentment from the other party. On the other hand, if judging and criticizing is used for the purpose of righteousness or growth it has a positive effect and is based on love. What do you think? Do you think that a lot of our time is wasted criticizing and judging ourselves and others negatively in a way that is not very constructive? I think it could be more valuable if it was based on love as opposed to being based on the ego. What I mean by that is that judgement and criticism are best applied for the purpose of growth. It is believed that negative headlines sell more newspapers than positive ones. It increases our curiosity as if we were taking good news for granted. On the BBC Future website, the psychologist Tom Stafford wrote on the 24th of July 2014 the following headline: "Why are newspapers and TV broadcasts filled with disaster, corruption and incompetence? It may be because we’re drawn to depressing stories without realising." This s is called 'negativity bias.' I think negative news is designed to help us shrink as opposed to helping us grow. The consequences are that we are creating a fearful world where we believe that life is happening to us as opposed to happening for us. Yes, there are challenges in the world however readers and viewers also need encouragement and inspiration. I do not read the newspapers or only once in a blue moon and I tell you why. I made the experiment a couple of years ago to read the newspaper every day for a week. I must confess that at the end of the week I felt so drained and gloomy that I stopped reading the news. This was my personal experience. If you read the newspaper every day or watch the news every night try to do the same experiment for a week but the other way around. Stop reading or watching the news for a week and observe whether there is a shift in your energy levels and perception. Our minds are powerful and a mind that feeds itself with negativity expects negative news or something dreadful to happen more often than not. My seventh best tip for your successful year is to stop criticising and judging in order to grow in compassion. It is not an easy thing to do. What is compassion and how do you grow in compassion? The English dictionary gives the following definition of compassion: "To be inclined to help or be merciful." One of the best secrets to compassion is the principle Stephen Covey revealed in his international bestselling book The 7 Habits of Highly Effective People. The foundation of his principle is: “Seek first to understand then to be understood.” This is a principle I personally apply especially when I am quick to judge or criticize others or myself. I think that when we apply this principle: “Seek first to understand then to be understood” we can transform our relationships positively and a lot of conflicts and misunderstandings in relationships could be solved much faster. Conflict is often the result of another person not behaving the way we want them to behave. For example, we expect our partner to behave in a certain way however we become unhappy when they don’t. A compassionate heart seeks first to understand then to be understood. Therefore, what is needed is a lot of wisdom and viewing all of our relationships and the world with new eyes and a pure heart. Let’s say a colleague disagrees with you and seems a 'bit off.' Since you now have the awareness, it is important to remember that this person is suffering internally from a sense of lack; not being enough, beautiful enough, bold enough, rich enough, efficient enough, loved enough, good enough etc. Their attitude will reflect their sense of lack. Therefore, how they feel internally creates the particular behaviour you disagree with. This is compassion. It increases your ability to see their inner light, their greatness even though it does not seem that way from an external viewpoint. I believe that showing compassion is particularly important when you have strong views about something, you totally disagree with. The other way will be shown to you so that you accept others opinion in order to become more tolerant. It does not mean that you totally agree with them but that you accept them for who they are. This will broaden your understanding that we are all at various levels of awareness and will help you deepen your well of love. If growing in compassion resonates with your heart and you find yourself in a judging and criticizing phase which flares up particularly when you feel stressed, pause for a moment and tell yourself: “seek first to understand then to be understood.” This has the magical effect of purifying your heart, calming your mind and making you a better person. I hope that you enjoyed today’s episode and that it has inspired you to improve your relationship with others and yourself. Remember that now is your time to transform your life one step at a time. Have an amazing week, stay safe and healthy. I look forward to connecting with you next Monday. Take care and lots of love. ………………………. FREE RESOURCES ………………………. Love this? Get immediate access to my FREE eBook: YES! TO Love Success Habits – 7 Steps To Inner Peace, Joy And Happiness, so that you can boost your self-esteem and self confidence. Click on the link below: http://bit.ly/Peace7SuccessHabits Listen to The Everyday Life Balance Show on Apple iTunes: http://bit.ly/id1247430885 Listen to the Everyday Life Balance Show on Stitcher: http://bit.ly/ELBStitcher Listen to the Everyday Life Balance Show on Google Play: http://bit.ly/ElBSGoogle ………………………………….. CONNECT WITH PASCALE ………………………………….. http://www.pascalegibon.com https://facebook.com/pascalegibonfanpage https://www.linkedin.com/in/pascalegibon https://www.instagram.com/pascalegibon https://www.twitter.com/pascalegibon ……………………... ABOUT PASCALE ……………………... Pascale Gibon is the #1 Bestselling author of YES! TO Love – The Ultimate Guide to Personal Transformation for Everyday Life Balance and The Essential Guide To Success Checklist - The 30 Day Challenge to Build Your Path to Success and Fulfil Your Life's Purpose. Pascale is also the founder of YES! TO Love Academy (her live events) and YES! TO Training (or Y.T.T YES! to True Transformation) your portal for personal transformation which has been designed to help you stand back up so that you can regain your zest for life, make your life work for you and quantum leap every aspect of your life from the inside out.  The results are more joy, real happiness and success as you increase your self-expression, self-love, self-confidence and you feel empowered. Known as a 'Change Catalyst' for your growth, transformation and success Pascale is highly intuitive and she has the particular talent of helping you walk 100% in your greatness with confidence and harness your unique divine gifts and talents so that you can live your life to your fullest potential and be the best that you can be with the energy of love. As a visionary and creative, her life’s purpose is to inspire and empower you and guide you to happiness through love and joy in the context of understanding and compassion. Meet Pascale at pascalegibon.com. ……………………………………………………………... ABOUT THE EVERYDAY LIFE BALANCE SHOW ……………………………………………………………... The Everyday Life Balance Show is a weekly self-help show for individuals who want to create more balance and harmony in their life on a mental, physical and spiritual level. Every Monday you get access to insights, practical tools and strategies from experts in their field of wellness, personal development, life fulfillment, happiness and success and from your host Pascale Gibon. “Now is your time to transform your life one step at a time!” ……………….. SUBSCRIBE! ……………….. Subscribe for Pascale’s YouTube channel: http://youtube.com/pascalegibon Subscribe for Pascale’s iTunes podcast: http://bit.ly/id1247430885 Read Pascale’s latest articles and receive inspirational, transformational and motivational content: pascalegibon.com

Former CIO and current CTO of CDW-G Tom Stafford spends some time with host, Darrell Leonhardt discussing how revolutionary crafting a system designed for mobile friendly distribution is to the health care system and the net affect on quality care and securing privacy. Crossover Health - https://www.cdwg.com Be sure to leave a review and connect with us on: Linkedin - https://www.linkedin.com/company/peopleofhcare/ On today's episode: Tom Stafford, CTO of CDW-G, Former CIO at Halifax Health, https://www.linkedin.com/company/cdw-g/about/ Darrell Leonhardt, Host - People of Healthcare, https://www.linkedin.com/in/darrell-leonhardt-82b9654

It's episode 97 and the date ensures it's also the freshest TGN of 2020. For this first episode of the decade, the guys look back at their favorite experiences of 2019. A chatty retrospective, Jason and James recall fast cars, hiking in Wales, living like Fleming in Jamaica, new Jeeps, cameras aplenty, and some of the amazing people they got to meet and work with last year. Stay in the mix for a recommendation of their favorite shows, movies, podcasts, music, and books from 2019 and a solid set of deep diving and EDC-ready final notes. All the best in the new year, just press play and thanks for listening! 1:35 Lego Technics Defender http://lego.build/2QwPBh4 4:50 Olympus XA http://bit.ly/2ZCPFi0 12:05 Samsung T5 Drives http://bit.ly/36ec2Nf 12:55 DJI Mavik 2 Pro http://bit.ly/35VmCrG 14:10 Loupedeck+ http://bit.ly/37rvgz7 20:05 Train trip to Murren http://bit.ly/2G1aWK3 21:40 The Night Manager https://imdb.to/39DiFea 23:40 Porsche 911 Ice Driving http://bit.ly/2TZYv5C 23:40 McLarens in Arizona http://bit.ly/37skW9Q 24:00 James' Leica Profile http://bit.ly/2S4z98B 24:44 Pfaff McLaren http://bit.ly/2QBED8p 25:30 Lamborghini Huracan Evo http://bit.ly/2IALqvU 25:54 Hodinkee Magazine Issue 5 http://bit.ly/2O448iT 26:00 Josh Perez http://bit.ly/2MJUl0e 26:05 Jeep Roadtrip to NYC http://bit.ly/2ML7iH2 32:00 Jason's Trip to Wales http://bit.ly/2sABOwx 33:40 Imperial War Museum http://bit.ly/2LyeOFx 34:25 Bonaire http://bit.ly/2JBpmPZ 35:28 Lost Ships of Cortez http://bit.ly/35dMiiP 37:50 Hodinkee Blancpain LE shoot http://bit.ly/2SK2QfA 38:12 Tudor Pelagos Dive Weekend Shoot http://bit.ly/2MLWatH 38:25 Jason in Goldeneye, Jamaica http://bit.ly/2W8kauh 40:35 James shooting the Monaco GP http://bit.ly/36gMLSG 41:20 Tudor Vietnam “The Long Return” http://bit.ly/2sFb5ir 43:22 Cory Richards http://bit.ly/2QzHwa3 43: 28 Paul Scurfield http://bit.ly/2u60z41 43:30 “Nims” Purja http://bit.ly/35eNzGi 43:32 Andy Mann http://bit.ly/2FdqF7m 44:00 Tom Stafford on Hodinkee Radio http://bit.ly/36fRzYh 45:42 Bret Curry http://bit.ly/2UzDezM 47:51 Succession http://bit.ly/37tHAz0 48:15 Game of Thrones http://bit.ly/2F8EjZB 48:50 The Game http://bit.ly/36gNoM2 49:05 The Spy http://bit.ly/36fmiVx 49:20 Killing Eve http://bit.ly/2SDIeWp 49:40 The Irishman http://bit.ly/2MJXSf0 50:00 Two Popes http://bit.ly/2FavrCO 50:10 Once Upon A Time In Hollywood https://imdb.to/39vrLta 50:40 Apollo 11 documentary http://bit.ly/359m0y9 51:00 The Last Breath http://bit.ly/2SSv9bZ 53:15 Parasite http://bit.ly/39spgb9 54:50 Rick and Morty http://bit.ly/2sBh1sI 55:15 Barry http://bit.ly/2sBrqEO 57:13 Norman F****** Rockwell! - Lana Del Rey http://bit.ly/2ZKbBHV 58:10 Yoke Lore http://bit.ly/2QEcxcZ 58:40 All Fantasy Everything http://bit.ly/2QdZRdS 59:25 Jeselnik & Rosenthal Vanity Project http://bit.ly/39xxf70 59:55 Threedom http://bit.ly/2Qb92LZ 59:56 Collecting Cars with Chris Harris http://bit.ly/36fpUa3 59:58 Inside Skunkworks https://lmt.co/2W8YzlJ 1:00:00 The Rewatchables http://bit.ly/2N3lkoj 1:00:55 The Outlaw Sea - William Langewiesche https://amzn.to/2SRfgjS 1:01:40 The Pigeon Tunnel - John Le Carré https://amzn.to/2QeDrZN 1:02:40 The Magnetic North http://bit.ly/36h0jxg 1:03:50 Sea Salt: Memories and Essays - Stan Waterman https://amzn.to/2FbwHFW 1:04:20 Blue Water White Death https://imdb.to/2TGcDkZ 1:05:00 Where Men Win Glory https://amzn.to/2SIa4kc 1:13:55 Neal.fun The Deepsea http://bit.ly/2rJPN2C 1:16:10 Topo Designs x Gear Patrol Backpack Tote (listen for a discount) http://gear.gp/topo

It's Sunday, June 8, 1969, and KHCN-AM 4747 has learned a little more about the unexpected spin Gene Cernan and Tom Stafford took in the lunar module just a few miles above the moon's surface. NASA also is ironing out the communication problems Apollo 10 experienced near the moon’s surface so that everything can work perfectly for Apollo 11 in July. Support the show.

It’s Sunday, May 25, 1969 and Apollo 10 has almost completed its eight-day mission testing the lunar module in the moon’s orbit. The mission has been so successful that top NASA officials said that if there was enough fuel in the lunar module, they would have given Tom Stafford and Gene Cernan the go-ahead to land on the moon. Support the show.

In May 1969, Tom Stafford, John Young and Gene Cernan took their Apollo spacecraft within 48,000 feet of the lunar service.

A true space exploration legend tells us what it was like to orbit the moon and why he's never stopped wanting to fly higher. Show Notes (1:24) Apollo 10 (1:40) Gemini 6A (11:15) Skunk Works (15:00) Apollo–Soyuz Test Project (17:00) Gemini 9A (19:42) Lockheed F-117 Nighthawk (25:00) B-2 Stealth Bomber (32:30) Omega Speedmaster Moonwatch (42:00) Omega X33

This week on DisrupTV, we interviewed Anna Turman, Division CIO at Catholic Health Initiatives, Tom Stafford, VP & CIO at Halifax Health, David Chou, VP & Principal Analyst at Constellation Research. DisrupTV is a weekly Web series with hosts R “Ray” Wang and Vala Afshar. The show airs live at 11:00 a.m. PT/ 2:00 p.m. ET every Friday. Brought to you by Constellation Executive Network: constellationr.com/CEN.

Produced by Foundersuite.com, "How I Raised It" goes behind the scenes with startup founders who have raised capital. This episode is with Avi Meir, CEO of TravelPerk (www.travelperk.com) a Barcelona-based startup that is re-inventing business travel. TravelPerk recently raised a $44 million Series C led by Sweden’s Kinnevik, Russian billionaire and DST Global founder Yuri Milner and Tom Stafford. Prior investors include Target Global, Felix Capital, Spark Capital, Sunstone, LocalGlobe and Amplo. In this episode, Avi talks about building to be global from day one, questions to ask investors to ensure the vision and exit expectations are aligned, how the Company is using it's location in Spain as a recruiting advantage, and much more.

Tom Stafford and Bill Hudson were gracious enough to sit down with me at the CHIME Fall Forum to discuss healthcare technology. From Cloud to APIs we explore the influencing technologies.

In this podcast, Tom Stafford discusses the importance of using leadership principles with real world examples to motivate, guide, and transform your organization.  From being Accessible, Visible, and Approachable, to embedding core objectives into the delivery of IT, he shares how it has led his team to not only drastically reduce turnover and deliver innovation … Continue reading Episode 12: 10 Leadership Principles to Transform Your Organization feat. Tom Stafford →

We left off last week with Tom Stafford and Gene Cernan completing three rendezvous with the ATDA but, no docking because the shroud was still in place on the Docking Adapter. On June 5, 1966 at 5:30 a.m., nearly 45 hours and 30 minutes into the mission, the crew began preparations for Cernan’s walk in space…

As contractors worried about technical problems with the Atlas, Once again NASA, faced the necessity for a quick recovery plan when a target vehicle failed to reach orbit. You may recall the first time was with Gemini 6.  But this time Nasa had something in the hangar, an alternate vehicle – the Augment Target Docking Adapter also known as the  ATDA…

Tom Stafford, Vance Brand, and Deke Slayton (yes, Deke Slayton) take the last Apollo CSM up to meet with some new friends from out of town.

On today’s episode of the Patient Flow Podcast, we continue our conversation with Tom Stafford, Vice President and Chief Information Officer for Halifax Health in Daytona Beach Florida. What you'll learn from today's conversation: • The importance of doing Multidisciplinary Rounding (MDRs) with clinical teams (:30) • Getting the executive team on board (6:15) • Project Roadmap for 2019 (7:45) • Cybersecurity (9:00)

On today’s episode of the Patient Flow Podcast, we welcome Tom Stafford, Vice President and Chief Information Officer for Halifax Health in Daytona Beach Florida. What you'll learn through today's conversation: • Goals for Halifax Health System's Technology Program (2:00) • The TeleTracking Customer Conference and Key MDR Takeaways (2:30) •Multidisciplinary Rounding and It's Impact on Length of Stay (3:40) Listen for Part 2 of our conversation with Tom Stafford of Halifax Health System.

After the untimely deaths of Elliot See and Charles Basset, NASA assigned the Gemini IX prime crew positions to Tom Stafford and Gene Cernan.  This was the first time in NASA’s manned space flight history that a backup crew had taken over a mission.  The capsule was renamed Gemini IX-A…

In October 1965, Elliot M. See and Charles A. Bassett II were selected to fly Gemini IX. Chief Astronaut Deke Slayton also told them that their backups would be Thomas Stafford and Eugene Cernan.  At that time Stafford was copilot for Gemini VI…

From the previous episode, it was decided that the name of Gemini VI would be changed to Gemini VI-a to distinguish it from the originally planned mission whose objective was to rendezvous with the Agena target vehicle. Gemini VII would be launched first before Gemini VI-a and it would be considered the target vehicle effectively replacing the Agena. After Gemini VII lifted off, Gemini VI-a would be transferred to the launch pad and prepared to launch as soon as possible. After Gemini VI-a rendezvoused with Gemini VII, it would return to earth before Gemini VII.

The Gemini Program was conceived after it became evident to NASA officials that an intermediate step was required between Project Mercury and the Apollo Program. The major objectives assigned to Gemini were:1-To subject two men and supporting equipment to long duration flights — a requirement for projected later trips to the moon or deeper space.2-To effect rendezvous and docking with other orbiting vehicles, and to maneuver the docked vehicles in space, using the propulsion system of the target vehicle for such maneuvers.3-To perfect methods of reentry and landing the spacecraft at a pre-selected land-landing point.4-To gain additional information concerning the effects of weightlessness on crew members and to record the physiological reactions of crew members during long duration flights.

“We have had a conversation with the Carnarvon tracking station and their report keeps coming back – No joy – No joy.”  NASA Public Affairs Officer Paul Haney.

From the previous episode, we have Gemini VII waiting in orbit for Gemini VI-A to launch and rendezvous.  Remember, Gemini VII could only remain in orbit for 14 days, the maximum duration of its flight.  The goal was to launch Gemini VI-A on or before day 9 of Gemini VII’s mission.

Tom Stafford is a Senior Lecturer in Psychology and Cognitive Science at the University of Sheffield. He’s also the author of the book Mindhacks, a book featuring 100 DIY mind experiments you can try at home, and he runs the excellent MindHacks blog dedicated to psychology and neuroscience news & views. Tom has done some fascinating research into skill acquisition by studying the process of playing computer games (which can be tracked across the whole learning curve) drawing out some useful general insights that you can apply to any skill you’re learning. In this conversation we discuss a range of topics including:  - What Tom has discovered about the learning process through his research in cognitive science - The tradeoff between trying new things (exploration) and doing what works (exploitation) - The keys to teaching effectively and improving the classroom experience for students So whether you’re looking for some cutting edge insights from cognitive science to apply to your learning or are curious about how it can improve the classroom experience, this episode has you covered.

This week, Kutch interviews Cognitive Scientist Tom Stafford, from the University of Sheffield in UK, while Mercules is away on a work trip. The show covers research done by Tom and collaborators on how Destiny players learn and develop skills in PVP, and comes complete with homework and a request to contribute your thoughts to ongoing work with @tomstafford on Twitter! Find extended show notes and more here: http://www.destinymassivebreakdowns.com/blog Love what you hear and want to support more great content like this? Go here: https://www.patreon.com/massivebreakdownpodcast

It's hard to over-state the importance of Norbert Putnam to Southern music. As a teenager he was one of a handful of guys who built the legendary recording scene in Muscle Shoals from scratch. Working with a young Rick Hall and Tom Stafford, plus some fellow musicians, they figured out how to make records and then how to make hit records. And they made history. Then Putnam and several of his studio musician colleagues moved to Nashville and ushered in a new era when a swirl of genres from soul to rock and roll mingled with and drew from the country recording scene that was already well established. Putnam produced important music for Joan Baez, Dan Fogelberg, Jimmy Buffett - and he played for years in studio and on the road for Elvis Presley. He's a figurehead and a great storyteller. Jon Langford meanwhile grew up in Wales but made his name as a founding member of The Mekons, an influential underground band that laid the groundwork for the country punk and alt-country movements. Besides songwriting, which he's done prolifically as a solo artist and collaborator in many bands including the Waco brothers and the Pine Valley Cosmonauts, Langford's been an admired painter. He's most famous for his graphic visions of the conflicts inherent in and around country music. His work has been shown widely around the US and the UK and a couple years ago, he was asked to do the feature art for the Country Music Hall of Fame's Nashville Cats exhibit. There, he met Norbert Putnam, who invited him to come to Muscle Shoals to make a record. It's title: Four Lost Souls. With guest interviewer/producer Gina Frary Bacon.

Wally Schirra and Tom Stafford have to try a few times to get off the ground while the crew of Gemini VII is already waiting for them in orbit. Find out why VI-A comes after VII!

Professor Athene Donald, Professor Michelle Ryan, Dr Tom Stafford, and Jessica Wade discuss success, stereotypes and science, and their impact on women in science.   Full show notes:   CiW website:

Professor Athene Donald, Professor Michelle Ryan, Dr Tom Stafford, and Jessica Wade discuss success, stereotypes and science, and their impact on women in science.   Full show notes:   CiW website: http://cavinspiringwomen.com

Professor Athene Donald, Professor Michelle Ryan, Dr Tom Stafford, and Jessica Wade discuss success, stereotypes and science, and their impact on women in science.   Full show notes:   CiW website:

This is Episode Three of PsychCrunch, the new podcast from the British Psychological Society's Research Digest. In this episode we explore whether psychology can help you to win an argument. After our presenter Christian Jarrett tries his luck with an argument about Michael Jackson's legacy, we find out why convincing people of your point of view is so difficult, and we hear about a paradoxical technique that's encouraging people to change their own minds about one of the most serious arguments in the world – the Israeli-Palestinian conflict. We'll also touch on why neurobabble appears to be so convincing. Our guests are Dr Jon Sutton (Editor, The Psychologist); Dr Tom Stafford (University of Sheffield); Boaz Hameiri (Tel Aviv University); and Sara Hodges (University of Oregon).  Some of the research discussed by our guests has been covered previously on the Research Digest blog, including how superfluous neuroscience can be so persuasive, and other relevant research is in our archive. Boaz Hameiri's research on the paradoxical thinking intervention was published last year in PNAS. Tom Stafford's ebook is available on Amazon: For argument's sake: evidence that reason can change minds. Further reading from The Psychologist magazine: The truth is out there–a look at belief in conspiracy theories; Are conspiracy theories just harmless fun?; Looking back: Every believer is also a disbeliever; Falling on deaf ears–when people believe psychology is not science. Episode credits: Presenter/editor Dr Christian Jarrett. Producer Dr Lorna Stewart. Music and mixing Dr Catherine Loveday and Jeff Knowler. Art work Tim Grimshaw.

Dr.Tom Stafford is a lecturer in psychology and cognitive science at the University of Sheffield.  He explains why the way you practice affects how good you get at something - and he's got 850,000 people to back him up. Axon game:  http://axon.wellcomeapps.com/ Github: https://github.com/tomstafford/axongame Tom's blog: http://www.tomstafford.staff.shef.ac.uk/?p=221 Tom on Twitter: https://twitter.com/tomstafford

2:05- Are you born with talent? 5:45 - Valuing effort, not ability 9:20 - Getting into the discomfort zone 13:30 - Do you need talent to become great? Outliers by Malcolm Gladwell 24:15 - 10,000 hours research 26:50 - Practice theories 30:00 - Practice by writing small methods Brian Merick: “Programming with that Disreputable Part of Your Brain” from Rocky Mountain Ruby 2013 Kathy Sierra 35:35 - Developing intuition in programming 41:00 - How to start learning something new (and determine what to learn) 49:30 - Making mistakes 53:00 - Strategies for learning by reading “Teach Yourself a New Programming Language in 21 Minutes (Or 2-3 Years, It Depends)” by David Brady 72:00 - Memorization 77:20 - “If you want to learn something, give a talk on it” Picks: Mastery by Robert Greene (Katrina) The Five Elements of Effective Thinking by Edward D. Burger and Michael Starbird (Katrina) So Good They Can’t Ignore You by Cal Newport (Katrina) “The First 20 Hours- How To Learn Anything” TEDx Talk by Josh Kaufman (Katrina) “The Making of an Expert” by Ericsson (Katrina) Photoreading Personal Learning Course by Paul Scheele (David) How to be Twice as Smart by Scott Witt (David) Make the Most of Your Mind by Tony Buzan (David) Mind Hacks by Tom Stafford and Matt Webb (James) Cavalier King Charles Spaniels (James) Jam Plus Bluetooth Speaker (Charles) Lifehacker standing desk (Charles) Vegasaur (Avdi) HelloSign and HelloFax (Avdi) LastPass (Avdi)

2:05- Are you born with talent? 5:45 - Valuing effort, not ability 9:20 - Getting into the discomfort zone 13:30 - Do you need talent to become great? Outliers by Malcolm Gladwell 24:15 - 10,000 hours research 26:50 - Practice theories 30:00 - Practice by writing small methods Brian Merick: “Programming with that Disreputable Part of Your Brain” from Rocky Mountain Ruby 2013 Kathy Sierra 35:35 - Developing intuition in programming 41:00 - How to start learning something new (and determine what to learn) 49:30 - Making mistakes 53:00 - Strategies for learning by reading “Teach Yourself a New Programming Language in 21 Minutes (Or 2-3 Years, It Depends)” by David Brady 72:00 - Memorization 77:20 - “If you want to learn something, give a talk on it” Picks: Mastery by Robert Greene (Katrina) The Five Elements of Effective Thinking by Edward D. Burger and Michael Starbird (Katrina) So Good They Can’t Ignore You by Cal Newport (Katrina) “The First 20 Hours- How To Learn Anything” TEDx Talk by Josh Kaufman (Katrina) “The Making of an Expert” by Ericsson (Katrina) Photoreading Personal Learning Course by Paul Scheele (David) How to be Twice as Smart by Scott Witt (David) Make the Most of Your Mind by Tony Buzan (David) Mind Hacks by Tom Stafford and Matt Webb (James) Cavalier King Charles Spaniels (James) Jam Plus Bluetooth Speaker (Charles) Lifehacker standing desk (Charles) Vegasaur (Avdi) HelloSign and HelloFax (Avdi) LastPass (Avdi)

2:05- Are you born with talent? 5:45 - Valuing effort, not ability 9:20 - Getting into the discomfort zone 13:30 - Do you need talent to become great? Outliers by Malcolm Gladwell 24:15 - 10,000 hours research 26:50 - Practice theories 30:00 - Practice by writing small methods Brian Merick: “Programming with that Disreputable Part of Your Brain” from Rocky Mountain Ruby 2013 Kathy Sierra 35:35 - Developing intuition in programming 41:00 - How to start learning something new (and determine what to learn) 49:30 - Making mistakes 53:00 - Strategies for learning by reading “Teach Yourself a New Programming Language in 21 Minutes (Or 2-3 Years, It Depends)” by David Brady 72:00 - Memorization 77:20 - “If you want to learn something, give a talk on it” Picks: Mastery by Robert Greene (Katrina) The Five Elements of Effective Thinking by Edward D. Burger and Michael Starbird (Katrina) So Good They Can’t Ignore You by Cal Newport (Katrina) “The First 20 Hours- How To Learn Anything” TEDx Talk by Josh Kaufman (Katrina) “The Making of an Expert” by Ericsson (Katrina) Photoreading Personal Learning Course by Paul Scheele (David) How to be Twice as Smart by Scott Witt (David) Make the Most of Your Mind by Tony Buzan (David) Mind Hacks by Tom Stafford and Matt Webb (James) Cavalier King Charles Spaniels (James) Jam Plus Bluetooth Speaker (Charles) Lifehacker standing desk (Charles) Vegasaur (Avdi) HelloSign and HelloFax (Avdi) LastPass (Avdi)