Podcast appearances and mentions of Callum Morton

Episode Notes KICKSTARTER HERE!!!! My guest this week is Callum Morton. Callum Morton is an up-and-coming acoustic instrumentalist with a drive to collaborate with some of the world's finest Americana musicians. Drawing inspiration from his studies at the Royal Conservatoire of Scotland and at East Tennessee State University, Callum has crafted a delightful showcase of original compositions for acoustic string-band ensembles. Callum is joined by a superlative roster of acoustic specialists; each lending their rich and thoughtful musicianship to lift the compositions to soaring heights.   In 2019 Callum achieved national recognition appearing on BBC Scotland's The Quay sessions with folk-fusion group, The Auldeners. Callum formed a Bluegrass band, The Fountaineers, during lockdown restrictions and quickly achieved an official virtual artist spot at the International Bluegrass Music Association's World of Bluegrass Ramble 2021. Callum appeared with this Bluegrass outfit performing at several landmark Bluegrass music festivals across Europe in 2022 including La Roche, France.   Callum is quickly becoming one of the rising talents in the UK Americana acoustic scene. His new music endeavour, The Callum Morton Band features stellar instrumental playing, relatable catchy earworms and stories from his time studying and touring with his mandolin.  You can keep up with Callum at his website HERE….and more importantly, you can back his KICKSTARTER HERE!!!! Song clips featured on the is episode” Train on the Island by the Fountaineers (S/T) The Folky Gibbon By The Chair (The Chair) “Tarbolton/Longford Collector/Sailor's Bonnet” by Dartry Ceili Band (The Killavil Post) “Ootpik Waltz” by Thile and Daves (Sleep with One Eye Open) “Pitchin' Wedge” by Adam Steffey (Grateful) “Lonesome Pine” by The Fountaineers (S/T) “Barrel Full of Beer” by The Daddy Naggins (A Certain Paradise) “Oban Bay” by Callum Morton (TBA) “New Essex Stomp” by Callum Morton (TBA) As Always…..thank you to my sponsors! Mandolin Cafe Peghead Nation Northfield Mandolins Ear Trumpet Labs Pava Mandolins  Ellis Mandolins Siminoff Books Straight Up Strings Elderly Instruments Tone Slabs

On this episode, two artists and two very different takes on place and belonging. Callum Morton focuses on the built environment and Naomi Hobson is deeply embedded in the natural landscape.

On this episode, two artists and two very different takes on place and belonging. Callum Morton focuses on the built environment and Naomi Hobson is deeply embedded in the natural landscape.

My guest today is Callum Morton-Smith. Callum is a Chartered Quantity Surveyor with experience in Perth, London, Dubai and Saudi Arabia.   In today's conversation, we go deep into the construction industry and Quantity Surveying in the Middle East, some trends there, and Callum's investment journey. I hope you enjoy my conversation with Callum Morton-Smith!   For the full show notes, transcript, and links to mentioned content, check out the episode page on  https://compoundingpodcast.com/ep45     ------   Show Notes: [00:00:31] - [First question] - Background [00:01:50] - What is Quantity Surveying?  [00:06:47] - The time, cost and quality triangle [00:07:44] - How difficult is it to push recommendations and get changes through? [00:08:45] - How much of the job is client management? [00:10:29] - Pre-contract vs Post-contract work in Quantity Surveying [00:12:17] - How does a project even start? [00:14:21] - How do you build a cost estimate? [00:19:18] - In Callum's pre-contract role, does he still deal with contractors? [00:21:34] - When do contractors get paid? [00:25:53] - Dealing with disputes  [00:27:08] - How long is this whole process? [00:27:40] - Being a Chartered Quantity Surveyor, the process, and is it essential [00:33:12] - Callum's pivot into finance [00:34:24] - First investment and lessons learned [00:36:24] - Callum's investing style [00:37:28] - Callum's research process [00:42:13] - Differences across the markets Callum has worked in [00:44:18] - Projects in the Middle East [00:47:33] - Favourite Investing book? [00:49:33] - Most valuable life experience? [00:51:45] - Plans for the future? [NOTE] Timestamps are a bit off for some reason so not 100% accurate. Apologies.   ------   Connect with Callum: Connect with Callum on LinkedIn: https://www.linkedin.com/in/callum-morton-smith-225780b4    ------   Mentioned/Recommended Content: How to Win Friends & Influence People by Dale Carnegie: https://amzn.to/333Do8s The Most Important Thing Illuminated by Howard Marks: https://amzn.to/33DyezO    ------   Stay up to date with the podcast by signing up to the Compounding Curiosity Substack, where I'll email you when the latest episode comes out along with my summary and takeaways, links to mentioned content, graphics and the transcript. Sign up at https://compoundingcuriosity.substack.com/    ------   Connect with Kalani: Visit the Compounding Curiosity PODCAST: https://CompoundingPodcast.com/  Visit the Compounding Curiosity SUBSTACK: https://compoundingcuriosity.substack.com/  Follow Kalani Scarrott on TWITTER: https://twitter.com/ScarrottKalani/  Sign up for Allocators Asia: https://AllocatorsAsia.substack.com/  Join the DISCORD: https://discord.gg/NPVNPVsCYb 

Antony Hamilton is the artistic director of Melbourne's fierce and feisty contemporary dance company, Chunky Move. His new work Yung Lung plunges audiences into a restless and menacing dance party held in the midst of a world in crisis. Also, WA musician and playwright David Milroy shares what's on his Top Shelf and we meet Jules Allen, a youth support and mental health care worker (and former MasterChef contestant) who can now add 'funny and searingly honest playwright' to her CV.

Antony Hamilton is the artistic director of Melbourne's fierce and feisty contemporary dance company, Chunky Move. His new work Yung Lung plunges audiences into a restless and menacing dance party held in the midst of a world in crisis.Also, WA musician and playwright David Milroy shares what's on his Top Shelf and we meet Jules Allen, a youth support and mental health care worker (and former MasterChef contestant) who can now add 'funny and searingly honest playwright' to her CV.

Antony Hamilton is the artistic director of Melbourne's fierce and feisty contemporary dance company, Chunky Move. His new work Yung Lung plunges audiences into a restless and menacing dance party held in the midst of a world in crisis. Also, WA musician and playwright David Milroy shares what's on his Top Shelf and we meet Jules Allen, a youth support and mental health care worker (and former MasterChef contestant) who can now add 'funny and searingly honest playwright' to her CV.

Join artists Simona Castricum, Michael Candy, Hoang Tran Nguyen, and Callum Morton at ACCA as they discuss their commissioned works as part of Who's Afraid of Public Space? offsite projects.

Welcome To The Hawthorns Debate Club. A West Brom Podcast with Jamie Clay, Joe Clay and Alex Collins. In this weeks episode we discuss our recent FA Cup 3rd Round exit to the Seagulls. We talk about the game itself but also why it was one of the poorest attended competitive games in recent memory. We break down some interesting news stories around the club. There's a discussion about youth prospects Reyes Cleary and Callum Morton. Before previewing our upcoming game against the Super Ranger Mighty Morphin' Hoops. Focus on the league now? Red is a mood? We don't need vibes with our system? All these questions and more will be answered. ‘Get the full experience of an Albion fan. The dizzying highs of optimism and then crushing reality.' - Jonno Voted the 21st Best Debate podcast for Growing Businesses. Thank you for downloading. If you enjoy today's podcast, please spread the word. Music Credits Stark Goes Dark by The Whole Other Emerald Seas by Aaron Kenny Sloppy Clay by Godmode A Great Darkness Approaches, Can You Feel It? By ELPHNT Downloaded from the Youtube Media Library Twitter: @HawthornsClub Instagram: thehawthornsdebateclub

Michael Appleton and Callum Morton react to the Imps' 1-1 draw against Sunderland.

Michael Appleton and Callum Morton reflect on the defeat for the Imps.

As the Plainmoor alphabet reaches the letter N, Tommy Northcott is the star of the show. Sitting in the sunshine with seagulls in the background, we talk about Wembley, Jamie Reid, Callum Morton and cardboard crowds.

An audio reliving of what will go down as one of the best matches in Cobblers history last night where the Town came back from a 2-0 deficit to beat Cheltenham 3-2 in the playoffs.Tom Reed, Andy Bodfish, Martin Maloney and Ian Brant are joined by Cheltenham fan Owen Knight to talk what went oh so right for Northampton and oh so wrong for the Robins.There's plenty of talk about the monumental performances from Callum Morton, Vadaine Oliver and Co and we discuss Town's chances again Exeter in the playoffs. A big shoutout to the magnanimous Cheltenham boss Michael Duff too.Truly a comeback that the class of '98 would be proud of and who knows the current crop might go one better at the national stadium.+ No more showings of that Bradford debacle on Sky Sports fingers crossed. See acast.com/privacy for privacy and opt-out information.

Catch up on today's show here on the full podcast!Martha Kalifatidis talks to her insta trolls; the artist who made the Eastlink Hotel, Callum Morton explains himself; Daryl Braithwaite talks about the hit song that didn't make it to Pink, and we play yet another classic round of 'Out Of / By' with carryover champ Christina! See acast.com/privacy for privacy and opt-out information.

Artist Callum Morton turns his attention to the Sirius Building in The Rocks in Sydney, and reflects on the nature of monuments and activism, in light of the Black Lives Matter protests taking place across the world.

Artist Callum Morton turns his attention to the Sirius Building in The Rocks in Sydney, and reflects on the nature of monuments and activism, in light of the Black Lives Matter protests taking place across the world.

Artist Callum Morton turns his attention to the Sirius Building in The Rocks in Sydney, and reflects on the nature of monuments and activism, in light of the Black Lives Matter protests taking place across the world.

Artist Callum Morton turns his attention to the Sirius Building in The Rocks in Sydney, and reflects on the nature of monuments and activism, in light of the Black Lives Matter protests taking place across the world.

The 2019 AFL season is nearly here, and with it, the AFL fantasy season. In this edition of the True Footy Podcast, we are joined by two guests: Callum Morton & Brendon Courtney to discuss their fantasy teams, as well as some talking points from the ongoing JLT community series.Please consider liking and subscribing for more of our content. We also do AFL analysis and highlight videos, in addition to this regular podcast. As always, we welcome you to comment below any questions or talking points. Alternatively, you can email us directly at truefootypodcast@gmail.com.We are now on Patreon! If you are in a position to support us, you can find our page here: https://www.patreon.com/user?u=15734512Discord chat link: https://discord.gg/E2ExnTT

We are so very thrilled to have the one and only Angie Hart (Frente, Splendid) come into the studio and perform two poems created exclusively for More Than a Whelan and sing a poem by Dorothy Porter. YES, sing. In her first poem Angie responds to two prompts directly by Ag (Dinosaurs) and Cameron Semmens (Fecundity) and an indirect prompt by Emilie Zoey Baker (wee on my yoga mat). Sean surprises Angie by performing a poem inspired by a Frente song ‘What’s Come Over Me’ from their 1996 album Shape. Sean also uses creative prompts from Ag and Cameron Semmens again, which was a complete accident. Angie and Sean also discuss the upcoming gig Liner Notes Live, a special event at the Melbourne Writers Festival in which Angie will be a guest using the music of Nirvana as creative prompts. Tickets available for that show right here. Sean then reveals his ambitious plans to write a serialised novel titled Letoh, a surrealist imagining of the freeway art fake hotel created by artist Callum Morton. If you wish to support this project and follow this crazy adventure, make yourself a reservation at the Letoh Hotel right now, all for the price of a cup of coffee. For the Whelan & Stealin’ segment Sean reads a poem by Alicia Sometimes. Then Angie puts the entire studio into glowing rapture by SINGING a poem from Dorothy Porters collection Bee Hut. Angie put music to two of Porters poems for a recent live show and recording called Borrowed Verse. Thank from the top to the bottom of hearts to our muses of the week: Ag, Amy and Cameron. Don’t go changing. Love MTAW. x More Than A Whelan is deftly produced by Derek Myers of Castaway Studios in sunny downtown Collingwood. The greatest suburb in the world. Castaway Studios are offering in house training on how to create your own podcast right now. Hit up Derek for more details. Recorded by Derek Myers at Castaway Studios, Collingwood, Australia. insta: @castaway_studios

Hosts Erin and Michaela had the chance to chat to designer and visual artist, CALLUM MORTON from Ranters Theatre Company to discuss Come Away with Me to the End of the World. Come Away with Me to the End of the World is being performed at Malthouse Theatre – the Beckett Theatre from the 5th – 24th July.See omnystudio.com/listener for privacy information.

Hosts Erin and Michaela had the chance to chat to designer and visual artist, CALLUM MORTON from Ranters Theatre Company to discuss Come Away with Me to the End of the World. Come Away with Me to the End of the World is being performed at Malthouse Theatre – the Beckett Theatre from the 5th – 24th July.

Panel discussions addressing the role and function of the art institution, through case-studies of art institutions and institutions by artists, and reflections on publics and publicness. Leading artists, writers, and curators such as Callum Morton, Monica Narula, Maud Page, Nikos Papastergiadis, and Courtney Pedersen;

Monash University Art, Design and Architecture (MADA) generates creatively provocative ideas and forms that examine social, economic and human issues in order to reshape the world. In this talk, MADA’s Callum Morton and Diego Ramírez-Lovering lead a discussion about the procurement of innovative architecture and public art in the City of Melbourne. Guest panellists include Geoffrey London—former Victorian Government Architect—and Charlotte Day, director of Monash University Museum of Art.

Presented by DIS-cour.se, this discussion looks at the themes prevalent in the film Cathedrals of Culture—a screening collaboration between ACMI and MPavilion in November 2014—and will deliberate on the narrative that is created by our interaction with spaces we know all too well. This panel—of multidisciplinary artist Callum Morton, architects Aaron Roberts and Kristin Green, and visual artist Marnie Edmiston—focuses on how the perception of our environment is often only a thin veil of the real space. http://www.mpavilion.org/program/mtalks-cathedrals-of-culture-dis-cour-se-presents-distraction-and-recognition

Callum Morton’s sculptures combine incisive social observation, ideas about urban design and contemporary living, and an interest in the legacy of minimal sculpture. ‘Motormouth’ continues his consideration of the intersections between public and private space and in particular the ‘non-spaces’ of urban design such as freeways, shopping centres, service stations, cinemas and convenience stores. These are the generic buildings and sites that are designed as transit zones between destinations or as backdrops to their intended function. We don’t usually notice their architecture except as an indicator of this function. Morton’s sculptural versions reintroduce narratives that are at odds with the social design of these places and yet are somehow entirely appropriate for the setting. ‘Motormouth’ is a sculpture of two freeways, scaled 1:10 and perfect in detail down to the dirty realism of their distressed, water-stained concrete marked with graffiti. It appears to be a realistic model but is in fact an elaborate representation of what a generic freeway should look like rather than being a copy of an existing structure. The freeways are raised on pylons above eye height, frustrating our desire to see what is on the superstructure, though logically it should only be scaled-down cars. Freeways are designed to move people efficiently and rapidly between city centres and satellite suburbs, from home to work, from boardroom to bedroom, or at the very least to get you across town in time for your meeting. They are the key people conduits of modern urban design and, as with other mid 20th-century projects, they had a progressive utopian agenda to make life more time efficient and productive. And on a good day they still do this. On others they are a battleground where the tensions between the private and public functions of cars and freeways erupt. In ‘Motormouth’ you can hear the sound of a traffic jam on the lower freeway. Inevitably in the frustration at being kept waiting, anger boils over and conflict ensues. Cars are a private, personal zone in which we move through a public arena, one in which we feel empowered and in control. Despite the social contract that keeps us on the correct side of the road and heading in the same direction, in our car our rules count as we adjust the seats, the climate, the music, to create a pod between us and the world. However road rage is a rapidly growing social issue and while studies have come up with several interlocking reasons for this phenomenon, it seems to hinge on the tension between the collective rules we need to regulate cars, roads and driving and our rampant individualism. There is no doubt that contemporary city life is faster: we have more to do, so we don’t expect to be kept waiting. As the title puns, we are the inevitable product of our own social and technological designs. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006

Callum Morton’s sculptures combine incisive social observation, ideas about urban design and contemporary living, and an interest in the legacy of minimal sculpture. ‘Motormouth’ continues his consideration of the intersections between public and private space and in particular the ‘non-spaces’ of urban design such as freeways, shopping centres, service stations, cinemas and convenience stores. These are the generic buildings and sites that are designed as transit zones between destinations or as backdrops to their intended function. We don’t usually notice their architecture except as an indicator of this function. Morton’s sculptural versions reintroduce narratives that are at odds with the social design of these places and yet are somehow entirely appropriate for the setting. ‘Motormouth’ is a sculpture of two freeways, scaled 1:10 and perfect in detail down to the dirty realism of their distressed, water-stained concrete marked with graffiti. It appears to be a realistic model but is in fact an elaborate representation of what a generic freeway should look like rather than being a copy of an existing structure. The freeways are raised on pylons above eye height, frustrating our desire to see what is on the superstructure, though logically it should only be scaled-down cars. Freeways are designed to move people efficiently and rapidly between city centres and satellite suburbs, from home to work, from boardroom to bedroom, or at the very least to get you across town in time for your meeting. They are the key people conduits of modern urban design and, as with other mid 20th-century projects, they had a progressive utopian agenda to make life more time efficient and productive. And on a good day they still do this. On others they are a battleground where the tensions between the private and public functions of cars and freeways erupt. In ‘Motormouth’ you can hear the sound of a traffic jam on the lower freeway. Inevitably in the frustration at being kept waiting, anger boils over and conflict ensues. Cars are a private, personal zone in which we move through a public arena, one in which we feel empowered and in control. Despite the social contract that keeps us on the correct side of the road and heading in the same direction, in our car our rules count as we adjust the seats, the climate, the music, to create a pod between us and the world. However road rage is a rapidly growing social issue and while studies have come up with several interlocking reasons for this phenomenon, it seems to hinge on the tension between the collective rules we need to regulate cars, roads and driving and our rampant individualism. There is no doubt that contemporary city life is faster: we have more to do, so we don’t expect to be kept waiting. As the title puns, we are the inevitable product of our own social and technological designs. © Art Gallery of New South Wales Contemporary Collection Handbook, 2006