Podcast appearances and mentions of Paul Clayton

In this episode, Cherise is joined by Paul Clayton, Principal, and Sky Currie, Associate at Clayton Korte in their Austin, Texas office. Clayton Korte also has an office in San Antonio, Texas. They discuss the Cosmic Saltillo restaurant and bar in East Austin.You can see the project here as you listen along.In the heart of East Austin, where rail lines once delivered petroleum to a pair of early 20th-century warehouses, a new kind of energy now flows. Cosmic Saltillo, the second outpost of Cosmic Coffee & Beer, has converted these long-abandoned structures through historic preservation into a lush, all-day retreat—equal parts bar, café, garden, and urban oasis. If you enjoy this episode, visit arcat.com/podcast for more. If you're a frequent listener of Detailed, you might enjoy similar content at Gābl Media. Mentioned in this episode:ARCATemy

We've got IKEA, haircuts, tonks and three wins out of three to talk about (first hour) before the conclusion of our Goodbye Goodison series with Robert Goggins, Robbie Gaffney, and Rovers and Everton fans Paul Clayton, Anto Matthews & Craig Mahon (Members Corner) and Dean O'Reilly.

Evadons-nous à l'occasion du sujet de la semaine, au pays du Far West, des Cow-Boy, des rodéos, de la Country, des saloons, des « durs à cuire ». Puisqu'en effet nous abordons le travail de l'agence Clayton-Korte implantée à Austin et San Antonio au Texas aux Etats-Unis. Une agence dont la création remonte en 2014 année ou Paul Clayton et Brian Korte font connaissance lors d'une rencontre sur l'architecture.Dans ce numéro de Com d'Archi et comme il est d'usage, le désir d'architecture des protagonistes est interrogé et deux des projets de l'agence sont étudiés: une grange en Californie très exposée à l'ensoleillement, une cave à vin à flan de colline au Texas dont la fraicheur doit être régulée. Quelles réponses architecturales l'agence Clayton Korte apporte-t-elle à ces deux situations contrastées? A découvrir dans ce numéro.Image teaser © Casey DunnIngénierie son : Julien Rebours____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pourretrouver de belles images, toujours choisies avec soin, de manière à enrichirvotre regard sur le sujet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The Clayton Korte agency chooses the projects it wants to work on, fine ones, often on a small scale, even if the agency works on different scales. Projects that inspire an enduring spirit, while giving the desire to return again and again. Places that capture the imagination, that invite contemplation, and that naturally turn towards others, that are the product of a strong vision, a sensitivity to context, and I quote: "in a symphony of interdisciplinary contributions" they say themselves.In this issue of Com d'Archi, discover Paul Clayton and Brian Korte and their architectural approach, as told by themselves! What we like best about this agency is the quality of its projects, which respect their natural and cultural environment. The result is efficient, attractive projects with a strong environmental approach.This interview was conducted as a duplex between Austin, Texas, USA and Paris, France.Images © Clayton KorteSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Paul Clayton is joined by fx Medicine by BioCeuticals ambassador Dr Adrian Lopresti, who together deep dive into the role of PEA in all conditions (beyond pain), and where PEA can relieve symptoms and support resolution. Paul is an advocate of lifestyle and nutrition in the prevention and management of disease. As a pharmaconutritionist, Paul understands the vital importance of how nutrition impacts chronic disease, and the role that chronic inflammation plays in driving ageing, as well as the onset and development neuroinflammatory and neurodegenerative disease. Together Adrian and Paul examine the role of PEA in the treatment of inflammatory disease states, dosage and supplementing, and its use in the effective management of both acute and chronic conditions. Covered in this episode (00:57) Welcoming Dr Paul Clayton (01:58) What is a Pharmaconutritionist? (09:12) Drivers of ageing (11:15) Introduction to PEA (13:45) Endogenous production of PEA (14:30) Therapeutic benefits of PEA (18:40) PEA supplementation (21:04) PEA and the brain (21:55) Supplemental dosing (22:42) Bioavailability of PEA (25:15) PEA and neuroinflammatory stress (27:06) Drivers of chronic inflammatory stress (30:37) PEA in the treatment of neurodegenerative diseases (31:34) PEA as an alternative to CBD (33:52) Sources and dosage guidelines (42:29) Thanking Paul and final remarks Find today's transcript and show notes here: https://www.bioceuticals.com.au/education/podcasts/pea-perspectives-from-a-pharmaconutritionist-with-dr-adrian-lopresti-dr-paul-clayton Sign up for our monthly newsletter for the latest exclusive clinical tools, articles, and infographics: https://bit.ly/signupFX ***DISCLAIMER: The information provided on fx Medicine by BioCeuticals is for educational and informational purposes only. The information provided is not, nor is it intended to be, a substitute for professional advice or care. Please seek the advice of a qualified health care professional in the event something you learn here raises questions or concerns regarding your health.***

Paul Clayton is joined by fx Medicine by BioCeuticals ambassador Dr Adrian Lopresti, who together deep dive into the role of PEA in all conditions (beyond pain), and where PEA can relieve symptoms and support resolution. Paul is an advocate of lifestyle and nutrition in the prevention and management of disease. As a pharmaconutritionist, Paul understands the vital importance of how nutrition impacts chronic disease, and the role that chronic inflammation plays in driving ageing, as well as the onset and development neuroinflammatory and neurodegenerative disease. Together Adrian and Paul examine the role of PEA in the treatment of inflamatory disease states, dosage and supplementing, and its use in the effective management of both acute and chronic conditions. Covered in this episode (00:57) Welcoming Dr Paul Clayton (01:58) What is a Pharmaconutritionst? (09:12) Drivers of ageing (11:15) Introduction to PEA (13:45) Endogenous production of PEA (14:30) Therapeutic benefits of PEA (18:40) PEA supplementation (21:04) PEA and the brain (21:55) Supplemental dosing (22:42) Bioavailability of PEA (25:15) PEA and neuroinflammatory stress (27:06) Drivers of chronic inflammatory stress (30:37) PEA in the treatment of neurodegenerative diseases (31:34) PEA as an alternative to CBD (33:52) Sources and dosage guidelines (42:29) Thanking Paul and final remarks Find today's transcript and show notes here: https://www.bioceuticals.com.au/education/podcasts/pea-perspectives-from-a-pharmaconutritionist-with-dr-adrian-lopresti-dr-paul-clayton Sign up for our monthly newsletter for the latest exclusive clinical tools, articles, and infographics: https://pages.blackmores.com.au/FXM-signup.html ***DISCLAIMER: The information provided on fx Medicine by BioCeuticals is for educational and informational purposes only. The information provided is not, nor is it intended to be, a substitute for professional advice or care. Please seek the advice of a qualified health care professional in the event something you learn here raises questions or concerns regarding your health.***

Donovan Strauss, Florence Motor Speedway winner; Patrick Mullen, Bowman Gray Stadium winner; and Paul Clayton, SCDRA announcer are this week's guests.

Lucy's journey from battling a life-threatening illness to founding LYMA is nothing short of inspiring. Her personal struggle with ineffective treatments and supplements led her to a chance encounter with Dr. Paul Clayton, whose approach revolutionized her health. This pivotal moment not only restored Lucy's well-being but fueled her determination to create LYMA, a brand rooted in scientific integrity and genuine efficacy. At the core of LYMA's ethos is the commitment to deliver tangible results through meticulously researched, patented ingredients. LYMA's products are formulated at active levels, ensuring optimal absorption and real benefits for users. Lucy's mission to empower individuals to take control of their well-being resonates in every aspect of LYMA, from the groundbreaking LYMA Laser to the transformative skincare and supplements. Lucy's unwavering dedication to scientific excellence continues to drive LYMA's innovations, making a profound impact on lives worldwide and reaffirming her belief in the power of proactive health choices.In this episode, Lucy also discusses:Her health journey and the transformative experience“Pharmaceutical” grade longevity pillsWhy the body is fighting inflammation every dayThe value of paying for efficacyLaunching a luxury lifestyle brandHow the LYMA laser is the first clinical grade laser that has ever been FDA cleared for at home useWe hope you enjoy this episode and gain valuable insights into Lucy's journey and the growth of LYMA. Don't forget to subscribe to the Glam & Grow podcast for more in depth conversations with the most incredible brands, founders, and more.Be sure to check out LYMA at https://lyma.life/us/ and on Instagram at @lymalifeThis episode is sponsored by Shopify.Shopify POS is your command center for your retail store. From accepting payments to managing inventory, Shopify has EVERYTHING you need to sell in-person. Sign up for a one-dollar-per-month trial period at www.shopify.com/glamThis episode is brought to you by WavebreakLeading direct-to-consumer brands hire Wavebreak to turn email marketing into a top revenue driver.Most eCommerce brands don't email right... and it costs them. At Wavebreak, our eCommerce email marketing agency helps qualified brands recapture 7+ figures of lost revenue each year.From abandoned cart emails to Black Friday campaigns, our best-in-class team manage the entire process: strategy, design, copywriting, coding, and testing. All aimed at driving growth, profit, brand recognition, and most importantly, ROI.Curious if Wavebreak is right for you? Reach out at Wavebreak.co

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Pais Movement Founder and BuilderHelp Vision to keep 'Connecting Faith to Life': https://vision.org.au/donateSee omnystudio.com/listener for privacy information.

Paul Clayton is joined by fx Medicine ambassador Dr. Adrian Lopresti, who together deep dive into the role of PEA in all conditions (beyond pain), and where PEA can relieve symptoms and support resolution. Paul is an advocate of lifestyle and nutrition in the prevention and management of disease. As a pharmaconutritionist, Paul understands the vital importance of how nutrition impacts chronic disease, and the role that chronic inflammation plays in driving ageing, as well as the onset and development neuroinflammatory and neurodegenerative disease. Together Dr. Lopresti and Dr. Clayton examine the role of PEA in the treatment of inflammatory disease states, dosage and supplementing, and its use in the effective management of both acute and chronic conditions. Find today's transcript and show notes here: https://www.fxmedicine.com.au/podcast/pea-perspectives-pharmaconutritionist-dr-adrian-lopresti-and-dr-paul-clayton Sign up for our monthly newsletter for the latest exclusive clinical tools, articles, and infographics: https://pages.blackmores.com.au/FXM-signup.html ***DISCLAIMER: The information provided on fx Medicine is for educational and informational purposes only. The information provided is not, nor is it intended to be, a substitute for professional advice or care. Please seek the advice of a qualified health care professional in the event something you learn here raises questions or concerns regarding your health.***

My Christmas Time Capsule Part 1 features Alex Horne, Jon Harvey AKA Count Binface, Lindsay Santoro, Aled Jones, Iain Lee, Gabrielle Glaister, Matthew Crosby, Simon Parkin and Paul Clayton. Merry Christmas!Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

Bob Dylan was 20 years old, lovesick and lonely in 1962. His beautiful girlfriend, Suze Rotolo, had prolonged her stay in Italy indefinitely, and Bobby wouldn't see her again for almost another year.Consequently, Suze figured prominently in a number of early Dylan verses, including some of his best love/angst songs of the period, including "Tomorrow Is a Long Time,” "One Too Many Mornings" and "Boots of Spanish Leather.”Above all, the Suze song was Bob's classic and most covered creation of the period: “Don't Think Twice, It's All Right.” When Dylan first performed the song publicly — 61 years ago this week at New York's Gaslight Cafe — Suze was already gone. For four months already, she had been away taking art classes at Italy's University of Perugia.Bob's bitterness over her long absence is evident throughout the song's lyrics. In fact, Dylan later told critic Nat Hentoff that the song wasn't a love song at all, but rather “a statement that maybe you can say to make yourself feel better ... as if you were talking to yourself.”Enter Paul ClaytonThe melody of the song was greatly influenced by the tune of a public domain traditional song called "Who's Gonna Buy Your Chickens When I'm Gone,” which Bob learned from fellow folkie Paul Clayton. (Clayton himself had recorded it two years earlier, though he tweaked it to be "Who's Gonna Buy You Ribbons When I'm Gone?”)Now, legend has it that Clayton had an unrequited crush on the young Dylan, but those tender feeling didn't stop him (or at least didn't stop his music publisher) from suing Bob for plagiarism.In addition to a similar melody, Dylan's song also borrowed a few lines — some word-for-word, others slightly altered — from the Clayton recording, notably, the opening words: “It ain't no use to sit and wonder why.” Most of the subsequent verses also open with “It ain't no use to….”As Phillippe Margotin and Jean-Michel Guesdon note in their authoritative Bob Dylan: All the Songs, Paul's lawsuit resulted in “a generous compensation for Clayton shortly before the two folksingers, reconciled, toured together in February 1964.”(Incidentally, another of Clayton's original lines — "So I'm walkin' down that long, lonesome road, babe, where I'm bound, I can't tell” — Dylan subbed out in subsequent recordings with "So long, honey babe, where I'm bound, I can't tell.”)Spreading the WordIn 1963, Columbia Records released “Don't Think Twice,” first on the Freewheelin' Bob Dylan album, then as the B side of the single of “Blowin' in the Wind.” However, neither of those efforts really resonated with the record-buying public.But then that same year, Peter, Paul and Mary came into Bob's life. Dylan's manager, Albert Grossman, also managed PP&M, and Grossman started offering his songs to them and to other artists as they headed into recording studios."Don't Think Twice, It's Alright" was one of three Dylan songs Peter, Paul and Mary picked up for their third album, In the Wind (the other two being “Blowin' in the Wind” and "Quit Your Lowdown Ways").Released as a single, the trio's recording of “Don't Think Twice” reached No. 9 on the Billboard Hot 100 and and No. 2 on its Easy Listening charts. That disc not only popularized the song but also introduced many listeners around the world to a new name: “Bob Dylan.”Our Take on the TuneThis Dylan classic has been in the Floodisphere forever — Roger and Charlie used to sing it together a half century ago — but only recently has it made a move to be in the regular repertoire. That's when Randy stepped to sing his signature harmonies and Danny and Sam started doing double duty on the solos. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

We want to look good and feel good, but can't always afford the in-office anti-aging treatments. Luckily, daily at-home tools are becoming more powerful, affordable and equally effective as some professional treatments. From LED masks to micro current machines it's available at home except one new innovation is causing quite a stir. It's a brand called Lyma Life. They debuted with a medical grade supplement engineered to have your body look and feel its best. Users have reported a ‘profound difference' in their hair, skin, nails and more.  Now they've added an at-home laser bringing something wholly unique to the beauty tech space. The Lyma laser promises all the power of a medical-grade laser (improved skin texture, reduced redness, and fewer fine lines) without any downtime, pain, or side effects. Celebrities such as Kim Kardashian, Paris Hilton, Jessica Simpson, and Kate Hudson have all been cited as huge fans of Lyma laser with a pre-launch record breaking wait-list of 10,000! Lucy Goff, Lyma founder, spent six weeks in the hospital battling septicemia in 2012. After months of consulting with several leading physicians, a chance meeting with the world renowned pharmacy nutritionist Dr. Paul Clayton changed the course of her life and subsequently the course of the wellness industry. Lucy not only felt better but she uncovered the truth about the supplement industry, that almost all supplements sold today deliver no provable benefits. Lucy left her career in journalism and public relations to set out to change people's lives with the creation of The LYMA Supplement. When it launched in 2018 the supplement sold out and garnered high-profile and celebrity clientele, with the product described as “Miracle Pills” by Vogue and “a massive scientific breakthrough” by the Telegraph. LYMA now exists to give everyone the advantage with proven products, based on proven science and breakthrough technology.  Lyma founder, Lucy Goff, breaks down the science of her supermodel supplement and laser device spearheading the beauty tech boom: 5:15 personal health struggle after her daughter's birth 7:00 story of chance meeting Dr. Paul Clayton  10:20 the problem with mass produced supplements 11:15 why menopause supplements don't solve everything 12:00 inflammation is the core health problem  13:00 Lucy had a son at 50 she's that healthy 13:45 why our body's not meant to handle the pace of today's technology 14:40 why it's important to take a peer reviewed supplement 15:30 difference between Lyma and general market supplements 16:30 how one patented supplement formula works 17:30 the misconception about keratin products for hair and nails 18:23 supplement ingredient benefits explained 19:55 a better ingredient than CBD 21:15 how long to see results with the supplement 22:00 why you need try it for 12 weeks 24:30 Christine's experience with at home laser 25:30 how the Lyma laser came to market  27:00 laser light vs. LED light 28:00 Benefits of the Lyma laser 29:15 why the Lyma laser is unique  30:20 difference between in-office lasers vs. Lyma  32:45 lasers depend on your goal for skin, pigmentation and age 35:00 downside to microcurrent, just puts energy into your skin 36:15 Lucy's skin looks like it's 30 and no plastic surgery 37:00 Christine's results with the laser 38:00 why oxygen facials don't really work 39:20 skincare that goes with the laser 40:30 how the Lyma laser works with everything 41:00 importance of oxygen for our skin 44:00 what sets Lyma apart from the rest   Connect with Lyma @lymalife Shop the products www.lyma.life/us/    Connect with Christine Instagram https://www.instagram.com/christinebullock/ Facebook https://www.facebook.com/ChristineBullockFitness Pinterest https://www.pinterest.com/chrissybullock/_created/ Text Christine 1-310-361-8697   Sponsored by Kayo Body Care Kayo Body Care was the first to create Face Grade Body Care® products. Kayo believes in restoring vitality for your whole body both inside and out. Kayo's highly-potent formulas are designed to care for your skin and your body so that you can both look and feel your best. Shop Kayo's body care and supplement line www.KayoBodyCare.com

Ashley finds herself right in the middle of the scoop of the century.Cast includes Bethan Cullinane, James Corrigan, Lucy Phelps, Shazia Nicholls, Paul Clayton, Robin Morrissey & Michael Marcus.

Join us for a very special interview with the founder of LYMA, Lucy Goff as we discuss the brand's newest launch featuring topical products to go with their impressive lineup that includes the first ever at home laser device and supplements ! About LYMA: LYMA is the creator and leader of WellTech™, a new industry fusing the worlds of wellness and tech. Founded in 2018, the British company launched with the LYMA Supplement, the first formula engineered with ten peer-reviewed, patented ingredients in dosages proven to work, setting a new standard within the nutraceutical market. In 2020, it revolutionised the beauty industry with the LYMA Laser, the first clinic-grade laser cleared for use at home, 100x more effective than LED. In 2021, LYMA was named one of Fast Company's Most Innovative Beauty Companies for its category-defining products.About Lucy Goff, Founder:In 2012, Lucy spent six weeks in hospital battling septicaemia. After months of consulting with several leading physicians, and trying to get back on her feet, a chance meeting with the world renowned pharmaconutritionist Dr Paul Clayton changed the course of her life. And subsequently changed the course of the wellness industry.Dr Clayton prescribed Lucy a protocol using only peer-reviewed, patented ingredients, each dosed at active levels with a rigorous sourcing procedure, Lucy not only felt better but she uncovered the truth about the supplement industry. Lucy learnt that almost all the supplements sold today deliver no provable benefits yet are still perfectly legal for sale.Lucy left her career in journalism and public relations to set out to change people's lives with the creation of The LYMA Supplement. When it launched in 2018 the supplement sold out and garnered high-profile and celebrity clientele, with the product described as “Miracle Pills” by Vogue and “a massive scientific breakthrough” by the Telegraph.LYMA now exists to give everyone the advantage with proven products, based on proven science and breakthrough technology.Support the showFollow The Show On All Socials Using The Tag @skincareanarchy

Finns matberoende på riktigt? Vad är så fall definitionen av begreppet? Och vad är det egentligen som driver ohälsa när det kommer till maten? Lina har pratat med Dr. Paul Clayton som är forskare inom nutrition, och han har svar på dessa frågor. Hosted on Acast. See acast.com/privacy for more information.

Paul Clayton is and actor, director and writer best known for playing Olivia Colman's dad in the comedy Peep Show with David Mitchell and Robert Webb. He also played Graham, in the comedy Him & Her with Russel Tovey, Sarah Solimani, Kerry Howard and Joe Wilkinson. He's about to star in the new Disney+ series of The Full Monty starting the original cast, plus Paul as Dennis! Other TV appearances include. television appearances include One Foot in the Grave, Drop the Dead Donkey, Doctor Who, Wire in the Blood, My Family, Danny Boy, Breeders, Shakespeare and Hathaway, Delicious, Drifters, Wolf Hall, The Frankenstein Chronicles, Mr Selfridge and The Crown. His novels, The Punishment and The Hoax are available now.Paul Clayton is guest number 296 on My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Paul's books are available here: amazon.co.uk/Paul-Clayton/e/B08YXTGCMCGrim & Co - grimmandco.co.ukThe Hope Theatre - thehopetheatre.comConnor Calland reading My Corner Shop by Joe Shackley - fb.watch/k_MOlOFz9hFollow Paul Clayton on Twitter: @Claytoncast & Instagram @claytoncastgram .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people. Get this podcast ad-free by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

The Clayton Korte agency chooses the projects it wants to work on, fine ones, often on a small scale, even if the agency works on different scales. Projects that inspire an enduring spirit, while giving the desire to return again and again. Places that capture the imagination, that invite contemplation, and that naturally turn towards others, that are the product of a strong vision, a sensitivity to context, and I quote: "in a symphony of interdisciplinary contributions" they say themselves.In this issue of Com d'Archi, discover Paul Clayton and Brian Korte and their architectural approach, as told by themselves! What we like best about this agency is the quality of its projects, which respect their natural and cultural environment. The result is efficient, attractive projects with a strong environmental approach.This interview was conducted as a duplex between Austin, Texas, USA and Paris, France.Images © Clayton KorteSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On this episode of the podcast we catch up with friend of the show Paul Clayton the PNN. Paul took a trip up to West Virginia for the Lucas Oil race at WVMS and visited the Ritchie County Fairgrounds home of the legendary Pennsboro Speedway. Paul talks about his Pennsboro experience, the Lucas Oil Late Model Series race at West Virginia Motor Speedway. The awesome fan support he saw at WVMS, the eventual rain out, we look ahead to the XR Super Series at Kokomo and more on this episode.

In French in this CDA S4#72/FR (monday online), "A sunny barn, a cool wine cellar, California-Texas" by Clayton-Korte, read by Anne-Charlotte and in English in the CDAS4#73 /EN (wednesday online), "The places that capture our imaginations" an interview with Paul Clayton and Brian Korte founders of Clayton-Korte.En français dans le CDA S4#72/FR (lundi en ligne) "Une grange en plein soleil, une cave à vin au frais, Californie-Texas" par Clayton-Korte, lu par Anne-Charlotte et en anglais dans le CDAS4#73/EN (mercredi en ligne), "Les lieux qui captent notre imagination" une interview avec Paul Clayton et Brian Korte fondateur de Clayton-Korte.___Evadons-nous à l'occasion du sujet de la semaine, au pays du Far West, des Cow-Boy, des rodéos, de la Country, des saloons, des « durs à cuire ». Puisqu'en effet nous abordons le travail de l'agence Clayton-Korte implantée à Austin et San Antonio au Texas aux Etats-Unis. une agence dont la création remonte en 2014 année ou Paul Clayton et Brian Korte font connaissance lors d'une rencontre sur l'architecture.Dans ce numéro de Com d'Archi, et comme il est d'usage, le désir d'architecture des protagonistes est interrogé et deux des projets de l'agence sont étudiés: une grange en Californie très exposée à l'ensoleillement, une cave à vin à flan de colline au Texas dont la fraicheur doit être régulée. Quelles réponses architecturales l'agence Clayton Korte apporte-t-elle à ces deux situations contrastées? A découvrir dans ce numéro.Image teaser © Casey DunnRéalisation son : Julien Rebours____Si le podcast COM D'ARCHI vous plaît n'hésitez pas :. à vous abonner pour ne pas rater les prochains épisodes,. à nous laisser des étoiles et un commentaire, :-),. à nous suivre sur Instagram @comdarchipodcast pourretrouver de belles images, toujours choisies avec soin, de manière à enrichirvotre regard sur le sujet. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

05.05.23 Pt 2 - Gareth wants to put the energy drink saga to bed, but as a final point of conversation discusses the outrageous amounts of caffeine in each can. Paul Clayton joins the conversation to discuss his wild adventures, where he travels around Africa with other like-minded enthusiasts in crazy custom cars. George Mienie then jumps in for the AutoTrader Pod.

George Mienie drops into The #GCS to engage with Paul Clayton, a car fanatic who sets up rallies in Africa for charity. We find out what's the cheapest car listed on AutoTrader that could be used on one of the rallies. If money wasn't an object, and you could bring any car, what would George pick? And what have you left behind in your Uber? AutoTrader

On this episode of the All Gas No Brakes Podcast we talk to Paul Clayton (PNN) as he recaps his weekend in Talladega, Alabama with the World of Outlaws Late Model Series. Paul tells us about conditions, moods and things he heard over the radio system during this past weekend's events.

https://paismovement.com Have you ever wanted to share the bible with a client or colleague but didn't know how to start? Paul Clayton Gibbs, Founder of Pais Movement, has spent decades closely studying the life of Jesus, and in particular how he passed on his Kingdom methods to his disciples. In this conversation with Shaz Jones, he discusses how Pais has spread to 20 nations by adapting those ancient methods to our post modern world. By the end of this episode you'll know how to teach anyone, anywhere. https://fb.me/biblehax Join our community of kingdom entrepreneurs.

On this episode of the All Gas No Brakes Podcast we talk to Paul Clayton from Florida. Paul is becoming known on social media as "PNN" for his real time posting about dirt track racing. We talk to Paul about his desire to do that, All-Tech Raceway, Floridaman and more on this episode.

We’re talking to the Author of the book ’The Shapes Test’ - Paul Gibbs.Help Vision to keep 'Connecting Faith to Life': https://vision.org.au/donateSee omnystudio.com/listener for privacy information.

"When you trust teachers, I think it's magic."Welcome to Season 4!To kick things off we have the brilliant character actor Paul Clayton who talks about his time at the hallowed Maltby Grammar School. Listen until the very end...Support the show

Improving gut health with Dr. Paul Clayton. Learn how to reduce inflammation by addressing leaky gut, dysbiosis and more. For the transcription and for more helpful information visit http://www.rheumatoidsolutions.com Paddison Program for Rheumatoid Arthritis http://www.paddisonprogram.com/rheumatoid-arthritis Rheumatoid Support - http://www.rheumatoidsupport.com

Tadcaster Albion 1-4 Guiseley/ Paul Clayton post match by Guiseley Radio

Darlington 5-1 Guiseley AFC, Paul Clayton Post Match by Guiseley Radio

Our guest today, Dr. Paul Clayton, brings the proof that you are what you eat. A few episodes ago (episode 71) The Made To Thrive Show did the water episode, and today's episode will definitely be known as the food episode. Dr. Paul Clayton is a clinical pharmacologist and pharmaco-nutritionist. His passion is to obsess about food, nutrition and health, collating science updates, analysis, opinion and advice about diet and health on his website https://drpaulclayton.eu. He is also the author of books and e-books Health Defence, After Atkinds, Natural Defences, Out of the Fire and Let Your Food be Your Pharmaco-nutrition. He graduated summa cum laude in Medical Pharmacology from Edinburgh University, prior to obtaining his PhD. Dr. Clayton is a former Chair of the Forum on Food & Health (UK), and Senior Scientific Advisor to the UK government's Committee on the Safety of Medicines, he is currently a Fellow of the Institute of Food, Brain & Behaviour (Oxford). He works with leading doctors and clinical scientists at centres of clinical expertise in many countries, designing and supervising pre-clinical and clinical trials of pharmaco-nutritional interventions. Join us as we explore:Why the story of modern living extending life span is totally untrueHow history shows it is not normal to develop the chronic disease at any ageThe foundations of the epidemic of global dis-ease How history and science show 90% of disease is avoidableIf we are living through a terrifying slow motion “holocaust”?Why BigPharma wants to keep you sick How the escape from BigFood's prison is actually very simple (yet not easy)The four horsemen of the nutritional apocalypse The best breakdown of omegas (3, 6 and 9) you'll ever hear If animal protein is really cancer-promoting? (spoiler – not necessarily)The big deal people don't talk about called polyphenolsWhy food is always the best source of nutrientsDr Paul's view on fasting and glucose monitoring – it will surprise you An interesting debate between Paul and Steve on inflammatory markers    Is there light at the end of the tunnel? Support the show on Patreon:As much as we love doing it, there are costs involved and any contribution will allow us to keep going and keep finding the best guests in the world to share their health expertise with you. I'd be grateful and feel so blessed by your support: https://www.patreon.com/MadeToThriveShowCONTACT Steve StavsTo make it easier for you to engage with me, send me a WhatsApp to 064 871 0308. This is not a group, but a private direct line. I would love to hear your feedback, answer your questions, and walk a health journey with you. MENTIONSBarry M. Popkin PhD, “Nutrition Transition”, https://www.cpc.unc.edu/research-themes/projects/nutrition-transition-program/ Ken Izumori's research while affiliated with Kagawa University, https://www.researchgate.net/scientific-contributions/Ken-Izumori-38585573   The Made To Thrive Show Episode 70 - Dr. Thomas Levy,https://www.youtube.com/watch?v=eXX3DHk_NrA Dr. Dominik Nischwitz, “It's All in Your Mouth: Biological Dentistry and the Surprising Impact of Oral Health on Whole Body Wellness”, 

Actor Paul Clayton reminisces with Scott about growing up in Yorkshire, 1960s Doctor Who crushes, taking HIV tests to get a mortgage, and coming out to his mother in front of Sir Ian McKellen. Hosted on Acast. See acast.com/privacy for more information.

You ain’t seen nothing yet! It’s gonna be a night you’ll never forget!  Chris and Holly are back with a special all-new bonus update, partly because they haven’t got anything else to do, and partly because so much has happened in the Carrie-verse since the series launched!  Think of it a bit like the megamix at the end of your favourite jukebox musical: we’ve got never-heard-before Carrie recordings to share! We’ve got updates from your favourite cast members - and some new ones! We hear from more famous Friends of Carrie! We’ve got a great story about a pig! We’ve got another extra sassy Barbara Cook incident to share! We might watch Streetwalkin’ again! We try and work out what the hell we could do for a second season now we’ve picked a very Carrie-specific name for this podcast! And much more!  So put on your best unitard, settle down on the nearest massive white staircase, grab a glass of something sparkly and join us for one final* Carrie chat! *or is it?  Includes new contributions from Paul Schwartz (Musical Director), Michael Starobin (Orchestrator), Annie Golden and Todd Graff (workshop production), Stafford Arima (revival Director), Joe Iconis, Alice Ripley, Shelley Hodgson (original ensemble member), Jeremy Sturt, (original Deputy Stage Manager), Paul Clayton, David Hunter, Lee Proud, Mike Borowski and more! Friends of Carrie - join us on our social channels and share your feedback! Instagram Facebook Twitter Out for Blood is hosted by Holly Morgan and Chris Adams, edited by Tom Moores, with original music by Odinn Orn Hilmarson and artwork by Rebecca Pitt. Out for Blood is a proud member of the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

On The Alfred Daily Today: Dorset's new High Sheriff wants to meet Shaftesbury's heroes. Motcombe treasure trail helps kids understand climate crisis. Tip and skip foraging with Compton Abbas upcycling expert Tim Kerridge. Tom and Jan Perrett's weekly walk - a circuit of East Stour. Shaftesbury chicken keeper Kate Scott's birds freed from avian flu lockdown. Paul Merefield's pub quiz Shaftesbury area jobs Shaftesbury what's ons Shaftesbury book blogger Karen Cole reviews ‘The Hoax' by Paul Clayton. Soundscapes – a white-tailed bumblebee in Hartgrove by Nick Crump.

The boys are joined by the fantastic Paul Clayton, best known for his work in Dr Who, Peep Show and multiple voice acting roles across the world! On this weeks episode: Favourite TV show or Film set in/around a hospital? Most wooden acting performance? Favourite Peeping Tom / Stalker Film? Like/Subcribe to never miss our content! @Twitter - cagefightingpod Email: - Cagefightingpod@gmail.com

Martyn is joined by actor, writer, producer and director, Paul Clayton. Paul is perhaps best known for his work on Peep Show, Him & Her and, Torchwood. The podcast is available from all good podcast services, such as but not limited to Spotify, Amazon Music, Podchaser, Player FM, Stitcher, and Apple Podcasts. We also have a Smartlink. Equipment used in the creation of this feature was purchased through a grant from Graeae and The Paul Hamlyn Foundation. If you'd like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you. We also have a Ko-Fi. Check out Paul's website. Socials: Twitter: Paul Clayton-@ClaytonCast Martyn – @BadWilf Gerrod –@InGerrodsMind Pete – @BeeblePete Instagram: Podcast-@TheBWPodcast Martyn-@BadWilf Chris-@ChrisWalkerThomsonofficial Sam-@Sammichaelol TikTok Martyn-@BadWilf Sam-@SamMichaelol

On this week’s podcast, we set another record with our oldest guest ever. Colin Rose, the author of 10 published books including Health Defence and Delay Ageing, talks the talk and walks the walk. If you look at the accompanying video you would never believe that Colin is 80 years old, and listening to him you wouldn’t think that either.  I met Colin many years ago when I was introduced to his UniVite supplements business and he is linked with two of my previous guests, Toby Baxendale and Dr. Paul Clayton. I read 'Delay Ageing’ prior to chatting with Colin and much of the advice and guidance dispensed by Colin in the book covers much of the information that I have covered with other guests in the last 12 months.  It’s reassuring to find that we are on the same path. If, like me, you have a goal of sliding up to the graveside screaming, “yea ha, what a ride!” then you’ll love this conversation as we give you all of the knowledge you need to make that happen. I hope you enjoy the conversation as we chat about: The importance of a healthy microbiome Why you should choose foods with different colours Another vote for balance and diversity in your diet Genetics vs Epigenetics (nature vs nurture) The Japanese practice of 'Hara hachi Bu’ or “Stop eating when you are 80% full’ The real reason why the Mediterranean diet works Intermittent fasting, autophagy, and why you need to rid the body of zombie cells How to be the master of physical and biological ageing Strength training, aerobic exercise, and their contributions to delayed ageing  You can follow Colin on his various social media channels Wikitia page Facebook  UniVite HealthCare Accelerated learning Systems Uni-Vite healthcare YouTube site     The following list includes podcasts with topics related to today’s conversation Dr Paul Clayton - How to live as healthy as possible for as long as possible Toby Baxendale - High Performance Human Bella Lindemann - Why the gut is the second brain   To purchase a copy of Colin’s latest book, 'Delay Ageing’ please go HERE Valter Longo - Longevity Diet  Dirty Dozen - The ‘dirtiest' fruit and veg in the UK with regards to pesticide levels The Hallmarks of Ageing research paper  To find out more about Simon’s SWAT programme, please click HERE  Visit Simon's website for more information about his coaching programmes Links to all of Simon's social media channels can be found here For any questions please email Beth@TheTriathlonCoach.com

Living to 100 and getting my telegram from the Queen (actually it’ll probably be a king by then) has never really interested me that much. On the other hand, living until I’m in my mid 80’s and still having a full and active life - working, travelling, hanging out with friends, riding my bike - now that does interest me. I think I’ve said before that the triathletes I see crossing the Ironman finish line aged 80+ are a real inspiration. There is actually a term for living a healthy and active final stage of life and then passing away after a very short illness. It's called 'morbidity compression’ and today’s guest is an expert on how we can make this happen. Dr. Paul Clayton is a  clinical pharmacologist and pharmaco-nutritionist. He states, “I obsess about food, nutrition and health so that you don't have to”.  I don’t think I need to remind you that in recent years I’ve become much more focussed on health, and how nutrition plays a big part in this and subsequently in our athletic performance.  According to Dr. Clayton, we (as humans in the western world) are much less healthy than the mid Victorian navigators (the labourers who dug the canals and railways by hand). In fact, the Victorians were poster models for morbidity compression, with males enjoying life spans very smilier to our own but being healthy and active for much much longer. If you are interested in the actions that you can take to live a full and active life, then you’ll find many simple ideas in this podcast as we chat about: Why your athletic performance will always be sub-optimal if your nutrition is below par The Victorian navigator daily workload and why it would cripple most 21st century humans What your grandmother had in common with Hippocrates Why you should get an allotment You’ve finished an Ironman, but are you really that healthy? Dr. Clayton’s top tips on how to live a healthy and active old age Some advice for those who work night shifts, especially rotating shift patterns Why you should avoid the medical profession if you want to live long and healthy To follow Dr. Paul Clayton the best place is his website, https://drpaulclayton.eu/ And you should definitely visit the Blog page on Paul’s website HERE as well as the page titled ‘White Papers”  including the subject matter for this podcast Health Extension - a better road to life extension Dr. Clayton has written 5 books Strengthening your Immune system - How to fight infection, allergy and auto-immune disease Let Food be your Pharmaco-Nutrition After Atkins and other low carb diets Out of the Fire - why chronic inflammation is the root of all disease, and how to put out the flames Health Defence - how nutrition is the key to a maximum healthy lifespan We also talked about the working life and diet of the Mid Victorians. You can read more about those in these 3 papers, titled “An unsuitable and degraded diet? . . “ Part one: public health lessons from the mid-Victorian working class diet Part two: realities of the mid-Victorian diet Part three: Victorian consumption patterns and their health benefits For more information on health protocols, please email mdorricott@yahoo.com To find out more about Simon’s SWAT programme, please click HERE  Visit Simon's website for more information about his coaching programmes Links to all of Simon's social media channels can be found here For any questions please email Beth@TheTriathlonCoach.com

Dr. Paul Clayton's Website: https://drpaulclayton.eu/ Recommended Omega 3 Test & Oil: BalanceTest: https://www.zinzino.com/2007290440/US/en-US/products/Premier-Offers/Balance-Kits/910298? BalanceOil: https://www.zinzino.com/2007290440/US/en-US/products/Health/Balance/300000? My Website: https://www.thehealthyskincoach.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/healthyskincoach/message

Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at “Only the Lonely” by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts — part one of a two-part Q&A and a ten-minute bonus on “Walk Don’t Run” by the Ventures. 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 Apologies for the delay this week — I’m still trying to catch up after last week.    As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books — The Authorised Roy Orbison written by Jeff Slate and three of Orbison’s children, and Rhapsody in Black by John Kruth.  For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music.   There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It’s been nearly a year since we last looked at Roy Orbison, so it’s probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, “Ooby Dooby”, but eventually got dissatisfied with the label and asked to be allowed to go to another label — Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he’d recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing “Claudette”, which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from “Claudette” ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we’re going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we’re going to look at “Only the Lonely”, and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, “Only the Lonely”] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone “Why are you trying to destroy Nashville by making these…” and then used an expletive I can’t use here and a racial slur I *won’t* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters’ hit “Picking Sweethearts”: [Excerpt: The McGuire Sisters, “Picking Sweethearts”] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there — he was in favour of moving into the rockabilly market, while his superiors in the company weren’t. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we’ve already covered in this podcast, Lloyd Price’s version of “Stagger Lee”. He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label’s logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, “Done Laid Around”, which had recently been recorded by the Weavers under the name “Gotta Travel On”: [Excerpt: The Weavers, “Gotta Travel On”] However, after putting out Grammer’s version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don’t know if Clayton actually wrote the song or not — it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, “Done Laid Around” had to be withdrawn from sale, and reissued under the name “Gotta Travel On”, with Clayton credited as the composer — something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer’s record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, “Gotta Travel On”] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians — people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison’s last sessions for RCA, where he’d seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA — his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry — he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison’s music publisher, Rose was also Orbison’s manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time — he was also the Everly Brothers’ manager and publisher, which is how Orbison had managed to place “Claudette” with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them — for example, none of Bob Moore’s fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison’s sessions from this point on, it’s probably reasonable to think of Bob Moore as at the very least an uncredited co-producer — he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn’t believe that anyone wanted to sign him at all — he was convinced even after signing that Fred Foster was confusing his own “Ooby Dooby” with another Sun single, Warren Smith’s similar sounding “Rock and Roll Ruby”: [Excerpt: Warren Smith, “Rock and Roll Ruby”] Wesley Rose had very clear ideas as to what Orbison’s first single for Monument should be — that last session at RCA had included two songs, “Paper Boy”, and “With the Bug”, that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he’d been working with at RCA, and cut the same songs he’d recorded there. The single was released, and made absolutely no impact — unsurprising for a record that was really the end of Orbison’s period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar — Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison’s friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison’s second Monument single, “Uptown”, a bluesy rock and roll track which saw the first big change in Orbison’s style — the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, “Uptown”] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women’s voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison’s records, and her vocal group — with Joe Melson adding a single male voice — would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but “Uptown” started to prove him wrong. It made number seventy-two on the pop charts — still not a massive hit, but the best he’d done since “Ooby Dooby” three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. “Only the Lonely” had its roots in two other songs. Melson had written a song called “Cry” before ever meeting Orbison, and the two of them had reworked it into one called “Only the Lonely”, but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called “Teen Angel”, about a girl who gets run over by a train: [Excerpt: Mark Dinning, “Teen Angel”] Orbison and Melson were writing their own knock-off of that, called “Come Back to Me My Love”. But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing — apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, “Only the Lonely”, vocal intro] They took that vocal part and put it together with “Only the Lonely” to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it — if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished “Only the Lonely” is one of the most bizarrely structured songs ever to be a hit. Now, I’ve known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I’ve read, analysing it bar by bar. I am *still* not sure that my explanation of what’s going on with this song is right. *That’s* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first “dum dum dum” starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison’s line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella “Only the”), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, “Only the Lonely”, first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre — country, or blues, or rock and roll, or doo-wop, or whatever — almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase — although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I’m splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected — the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it’s the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn’t move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don’t get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, “Only the Lonely”, second line] There’s then another section, which in itself is perfectly straightforward — an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, “Only the Lonely”, “There goes my baby…”] The only incongruity there is a very minor one — a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that’s par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, “Only the Lonely”, “But only the lonely know why…”] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it’s structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve — instead it’s a five, a six, an eight, and a five. I think. Honestly, I’ve gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn’t sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn’t known when to come in, if the people making the record just hadn’t known how to make one properly, because this just sounded *wrong* to me. But it’s that wrongness, that strangeness, of course — along with Orbison’s magnificent voice — that made the record a hit, expressing perfectly the confusion and disorientation felt by the song’s protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed — “Blue Angel” and “I’m Hurtin'” — and they were both hits, but nowhere near as big as “Only the Lonely”, and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections — verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson’s songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned — their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to — Ravel’s “Bolero”: [Excerpt: Ravel, “Bolero” (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison’s first number one in the US, “Running Scared”: [Excerpt: Roy Orbison, “Running Scared”] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or “free time”, where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with — they were making pop music, weren’t they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn’t very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn’t work. After a while, Orbison walked back into the studio and said “I think we should play it the way it was written”, and the musicians finally went along with him. It may also have been on “Running Scared” that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I’ve seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the “Running Scared” session are the most detailed. While Orbison had a great voice, at this point it wasn’t especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison’s mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space — Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison’s voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice — something that’s very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, “Running Scared”, tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw — but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. “Running Scared” also came along just after Orbison made one big change to his image. He’d been on tour with Patsy Cline, promoting “Blue Angel”, and had left his glasses on the plane. As he couldn’t see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits — although Orbison also wrote several hits solo during this time, including “In Dreams”, which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, “Hey Mr. Cupid” is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, “Hey Mr. Cupid”] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, “Blue Bayou”. This turned out to be the beginning of the collapse of Orbison’s entire life, though it didn’t seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, “Oh, Pretty Woman”, also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, “Oh, Pretty Woman”] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn’t getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired “Oh, Pretty Woman”, in November 1964, just before signing to MGM, because he’d discovered she was cheating on him. But the two of them had been so in love they’d ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of — Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, “Coming Home”] That came out in 1986, and made the top twenty on the country charts — the first time he’d had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison’s “In Dreams” in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit “Crying”: [Excerpt: Roy Orbison and k.d. lang, “Crying”] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis’ seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, “Handle With Care”] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty — along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead — after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere — and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison’s is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.

Episode eighty-three of A History of Rock Music in Five Hundred Songs looks at "Only the Lonely" by Roy Orbison, and how Orbison finally found success by ignoring conventional pop song structure. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have two bonus podcasts -- part one of a two-part Q&A and a ten-minute bonus on "Walk Don't Run" by the Ventures. 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 Apologies for the delay this week -- I'm still trying to catch up after last week.    As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. I have relied for biographical information mostly on two books -- The Authorised Roy Orbison written by Jeff Slate and three of Orbison's children, and Rhapsody in Black by John Kruth.  For the musicological analysis, I referred a lot to the essay “Only the Lonely: Roy Orbison’s Sweet West Texas Style,” by Albin Zak, in Sounding Out Pop: Analytical Essays in Popular Music.   There are many Orbison collections available, but many have rerecordings rather than the original versions of his hits. The Monument Singles Collection is the originals.  Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript It's been nearly a year since we last looked at Roy Orbison, so it's probably a good idea to quickly catch up with where we were up to. Roy Orbison had started out as a rockabilly singer, with a group called the Wink Westerners who changed their name to the Teen Kings and were signed to Sun Records. Orbison had thought that he would like to be a ballad singer, but everyone at Sun was convinced that he would never make it as anything other than a rocker. He had one minor hit on Sun, "Ooby Dooby", but eventually got dissatisfied with the label and asked to be allowed to go to another label -- Sam Phillips agreed to free him from his contract, in return for all the songwriting royalties and credits for everything he'd recorded for Sun. Newly free, Orbison signed to a major publisher and a major record label, recording for RCA with the same Nashville A-Team that were recording with Elvis and Brenda Lee. He had some success as a songwriter, writing "Claudette", which became a hit for the Everly Brothers, but he did no better recording for RCA than he had recording for Sun, and soon he was dropped by his new label, and the money from "Claudette" ran out. By the middle of 1959, Roy Orbison was an absolute failure. But this episode, we're going to talk about what happened next, and the startling way in which someone who had been a failure when produced by both Sam Phillips and Chet Atkins managed to become one of the most important artists in the world on a tiny label with no track record. Today, we're going to look at "Only the Lonely", and the records that turned Roy Orbison into a star: [Excerpt: Roy Orbison, "Only the Lonely"] It seems odd that Roy Orbison could thank Wesley Rose for introducing him to Monument Records. Rose was the co-owner of Acuff-Rose publishing, the biggest country music publishing company in the world, and the company to which Orbison had signed as a songwriter. Fred Foster, the owner of Monument, describes being called to a meeting of various Nashville music industry professionals, at which Rose asked him in front of everyone "Why are you trying to destroy Nashville by making these..." and then used an expletive I can't use here and a racial slur I *won't* use here, to describe the slightly R&B-infused music Foster was making. Foster was part of the new wave of Nashville record makers that also included Owen Bradley and Chet Atkins, though at this time he was far less successful than either of them. Foster had started out as a songwriter, writing the words for the McGuire Sisters' hit "Picking Sweethearts": [Excerpt: The McGuire Sisters, "Picking Sweethearts"] He had moved from there into record production, despite having little musical or technical ability. He did, though, have a good ear for artists, and he made his career in the business by picking good people and letting them do the music they wanted. He started out at 4 Star Records, a small country label. From there he moved to Mercury Records, but he only spent a brief time there -- he was in favour of moving into the rockabilly market, while his superiors in the company weren't. He quickly found another role at ABC/Paramount, where he produced hits for a number of people, including one track we've already covered in this podcast, Lloyd Price's version of "Stagger Lee". He then put his entire life savings into starting up his own company, Monument, which he initially co-owned with a DJ named Buddy Deane. As Foster and Deane were based in Washington at this time, they used an image of the Washington Monument as the label's logo, and that also inspired the name. The first single they put out on the label caused them some problems. Billy Grammer, their first signing, recorded a song that they believed to be in the public domain, "Done Laid Around", which had recently been recorded by the Weavers under the name "Gotta Travel On": [Excerpt: The Weavers, "Gotta Travel On"] However, after putting out Grammer's version, Foster discovered that the song was actually in copyright, with a credit to the folk singer and folklorist Paul Clayton. I don't know if Clayton actually wrote the song or not -- it was common practice at that time for folk songs to be copyrighted in the name of an artist. But whether Clayton wrote the song or not, "Done Laid Around" had to be withdrawn from sale, and reissued under the name "Gotta Travel On", with Clayton credited as the composer -- something which cost the new label a substantial amount of money. But it worked out well for everyone, with Grammer's record eventually reaching number four on the pop charts: [Excerpt: Billy Grammer, "Gotta Travel On"] After that success, Foster bought out Buddy Deane and moved the label down to Nashville. They put out a few more singles over the next year, mostly by Grammer, but nothing recaptured that initial success. But it did mean that Foster started working with the Nashville A-Team of session musicians -- people like Bob Moore, the bass player who played on almost every important record to come out of Nashville at that time, including the Elvis records we looked at last week. Moore had also played on Roy Orbison's last sessions for RCA, where he'd seen how downcast Orbison was. Orbison had explained to Moore about how this was going to be his last session for RCA -- his contract was about to expire, and it was clear that Chet Atkins had no more idea than Sam Phillips how to make a successful Roy Orbison record. Moore told him not to worry -- he very obviously had talent, and Moore would speak to Wesley Rose about him. As well as being Orbison's music publisher, Rose was also Orbison's manager, something that would nowadays be considered a conflict of interest, but was par for the course at the time -- he was also the Everly Brothers' manager and publisher, which is how Orbison had managed to place "Claudette" with them. There were a lot of such backroom deals in the industry at the time, and few people knew about them -- for example, none of Bob Moore's fellow session players on the A-Team knew that he secretly owned thirty-seven percent of Monument Records. While Fred Foster is credited as the producer on most of Orbison's sessions from this point on, it's probably reasonable to think of Bob Moore as at the very least an uncredited co-producer -- he was the arranger on all of the records, and he was also the person who booked the other musicians on the sessions. Orbison was by this point so depressed about his own chances in the music industry that he couldn't believe that anyone wanted to sign him at all -- he was convinced even after signing that Fred Foster was confusing his own "Ooby Dooby" with another Sun single, Warren Smith's similar sounding "Rock and Roll Ruby": [Excerpt: Warren Smith, "Rock and Roll Ruby"] Wesley Rose had very clear ideas as to what Orbison's first single for Monument should be -- that last session at RCA had included two songs, "Paper Boy", and "With the Bug", that RCA had not bothered to release, and so Orbison went into the studio with much the same set of musicians he'd been working with at RCA, and cut the same songs he'd recorded there. The single was released, and made absolutely no impact -- unsurprising for a record that was really the end of Orbison's period as a failure, rather than the beginning of his golden period. That golden period came when he started collaborating with Joe Melson. The two men had known each other for a while, but the legend has it that they started writing songs together after Melson was walking along and saw Orbison sat in his car playing the guitar -- Orbison and his wife Claudette had recently had a son, Roy DeWayne Orbison (his middle name was after Orbison's friend Duane Eddy, though spelled differently), and the flat they were living in was so small that the only way Orbison could write any songs without disturbing the baby was to go and write them in the car. Melson apparently tapped on the car window, and asked what Roy was doing, and when Roy explained, he suggested that the two of them start working together. Both men were more than capable songwriters on their own, but they brought out the best in one another, and soon they were writing material that was unlike anything else in popular music at the time. Their first collaboration to be released was Orbison's second Monument single, "Uptown", a bluesy rock and roll track which saw the first big change in Orbison's style -- the introduction of a string section along with the Nashville A-Team. This was something that was only just starting to be done in Nashville, and it made little sense to most people involved that Orbison would want strings on what would otherwise be a rockabilly track, but they went ahead: [Excerpt: Roy Orbison, "Uptown"] The string arrangement was written by Anita Kerr, of the Anita Kerr Singers, the female vocal group that would be called into any Nashville session that required women's voices (the male equivalent was the Jordanaires). Kerr would write a lot of the string arrangements for Orbison's records, and her vocal group -- with Joe Melson adding a single male voice -- would provide the backing vocals on them for the next few years. Wesley Rose was still unsure that Orbison could ever be a star, mostly because he thought he was so odd-looking, but "Uptown" started to prove him wrong. It made number seventy-two on the pop charts -- still not a massive hit, but the best he'd done since "Ooby Dooby" three years and two record labels earlier. But it was the next single, another Orbison/Melson collaboration, that would make him into one of the biggest stars in music. "Only the Lonely" had its roots in two other songs. Melson had written a song called "Cry" before ever meeting Orbison, and the two of them had reworked it into one called "Only the Lonely", but they were also working on another song at the same time. They had still not had a hit, and were trying to write something in the style of a current popular record. At the time, Mark Dinning was having huge success with a ballad called "Teen Angel", about a girl who gets run over by a train: [Excerpt: Mark Dinning, "Teen Angel"] Orbison and Melson were writing their own knock-off of that, called "Come Back to Me My Love". But when they played it for Fred Foster, he told them it was awful, and they should scrap the whole thing -- apart from the backing vocal hook Joe was singing. That was worth doing something with: [Excerpt: Roy Orbison, "Only the Lonely", vocal intro] They took that vocal part and put it together with "Only the Lonely" to make a finished song. According to most reports, rather than have Orbison record it, they initially tried to get Elvis to do it -- if they did, they must have known that they had no chance of it getting recorded, because Elvis was only recording songs published by Hill and Range, and Orbison and Melson were Acuff-Rose songwriters. They also, though, tried to get it recorded by the Everly Brothers, who were friends of Orbison, were also signed with Acuff-Rose, and were also managed by Wesley Rose, and even they turned it down. This is understandable, because the finished "Only the Lonely" is one of the most bizarrely structured songs ever to be a hit. Now, I've known this song for more than thirty years, I have a fair understanding of music, *and* I am explaining this with the help of a musicological essay on the song I've read, analysing it bar by bar. I am *still* not sure that my explanation of what's going on with this song is right. *That's* how oddly structured this song is. The intro is straightforward enough, the kind of thing that every song has. But then the lead vocal comes in, and rather than continue under the lead, like you would normally expect, the lead and backing vocals alternate, and push each other out of phase as a result. Where in the intro, the first "dum dum dum" starts on the first bar of the phrase, here it starts on the *second* bar of the phrase and extends past the end of Orbison's line, meaning the first line of the verse is actually five bars (from where the instruments come in after the a capella "Only the"), and not only that, the backing vocals are stressing different beats to the ones the lead vocal is stressing: [Excerpt: Roy Orbison, "Only the Lonely", first line of verse] This is quite astonishingly jarring. Pop songs, of whatever genre -- country, or blues, or rock and roll, or doo-wop, or whatever -- almost all work in fours. You have four-bar phrases that build up into eight- or twelve-bar verses, choruses, and bridges. Here, by overlaying two four-bar phrases out of synch with each other, Orbison and Melson have created a five-bar phrase -- although please note if you try to count bars along with these excerpts, you may come out with a different number, because phrases cross bar lines and I'm splitting these excerpts up by the vocal phrase rather than by the bar line. The lead vocal then comes back, on a different beat than expected -- the stresses in the melody have moved all over the place. Because the lead vocal starts on a different beat for the second phrase, even though it's the same length as the first phrase, it crosses more bar lines, meaning two five-bar phrases total eleven bars. Not only that, but the bass doesn't move to a new chord where you expect, but it stays on its original chord for an extra two beats, giving the impression of a six-beat bar, even though the drums are staying in four-four. So the first half of the verse is eleven bars long, if you don't get thrown by thinking one of the bars is six beats rather than four. Structurally, harmonically, and rhythmically, it feels like someone has tried to compromise between a twelve-bar blues and an eight-bar doo-wop song: [Excerpt: Roy Orbison, "Only the Lonely", second line] There's then another section, which in itself is perfectly straightforward -- an eight-bar stop-time section, whose lyric is possibly inspired by the Drifters song that had used strings and rhythmic disorientation in a similar way a few months earlier: [Excerpt: Roy Orbison, "Only the Lonely", "There goes my baby..."] The only incongruity there is a very minor one -- a brief move to the fifth-of-fifth chord, which is the kind of extremely minor deviation from the key that's par for the course in pop music. That section by itself is nothing unusual. But then after that straightforward eight-bar section, which seems like a return to normality, we then get a five-bar section which takes us to the end of the verse: [Excerpt: Roy Orbison, "Only the Lonely", "But only the lonely know why..."] The song then basically repeats all its musical material from the start, with a few changes – the second time, the verse starts on the third of the scale rather than the first, and the melody goes up more, but it's structured similarly, and finishes in under two and a half minutes. So the musical material of the song covers twenty-four bars, not counting the intro. Twenty-four bars is actually a perfectly normal number of bars for a song to cover, but it would normally be broken down into three lots of eight or two lots of twelve -- instead it's a five, a six, an eight, and a five. I think. Honestly, I've gone back and forth several times about how best to break this up. The song is so familiar to most of us now that this doesn't sound strange any more, but I distinctly remember my own first time listening to it, when I was about eight, and wondering if the backing vocalists just hadn't known when to come in, if the people making the record just hadn't known how to make one properly, because this just sounded *wrong* to me. But it's that wrongness, that strangeness, of course -- along with Orbison's magnificent voice -- that made the record a hit, expressing perfectly the confusion and disorientation felt by the song's protagonist. It went to number two in the US, and number one in the UK, and instantly made Roy Orbison a star. A couple of slightly more conventional singles followed -- "Blue Angel" and "I'm Hurtin'" -- and they were both hits, but nowhere near as big as "Only the Lonely", and this seems to have convinced Orbison and Melson that they needed to follow their instincts and go for different structures than the norm. They started to make their songs, as far as possible, through-composed pieces. While most songs of the time break down into neat little sections -- verse, chorus, verse, chorus, middle eight, instrumental solo, chorus to fade, or a similar structure, Orbison and Melson's songs rarely have sections that repeat without any changes. Instead a single melody develops and takes twists and turns over the course of a couple of minutes, with Orbison usually singing throughout. This also had another advantage, as far as Orbison was concerned -- their songs hardly ever had space for an instrumental break, and so he never had to do the rock and roll star thing of moving around the stage and dancing while the instrumentalists soloed, which was something he felt uncomfortable doing. Instead he could just stand perfectly still at the microphone and sing. The first single they released that fit this new style was inspired by a piece of music Fred Foster introduced Orbison to -- Ravel's "Bolero": [Excerpt: Ravel, "Bolero" (West-Eastern Divan Orchestra)] Orbison and Melson took that basic feel and changed it into what would become Orbison's first number one in the US, "Running Scared": [Excerpt: Roy Orbison, "Running Scared"] That song was apparently one that met some resistance from the Nashville A-Team. A chunk of the song is in rubato, or "free time", where the musicians speed up or slow down slightly to make the music more expressive. This was not something that Bob Moore, in particular, was comfortable with -- they were making pop music, weren't they? Pop music was for kids to dance to, and if kids were going to dance to it, it had to have a steady beat. Orbison wasn't very good at all at dealing with conflict, and wherever possible he would try to take the most positive attitude possible, and in this case he just went into the control room and waited, while the musicians tried to figure out a way of playing the song in strict tempo, and found it just didn't work. After a while, Orbison walked back into the studio and said "I think we should play it the way it was written", and the musicians finally went along with him. It may also have been on "Running Scared" that they pioneered a new recording technique, or at least new for Nashville, which was surprisingly conservative about recording technology for a town so rooted in the music industry. I've seen this story written about three different early Orbison songs, and it could have been any of them, but the descriptions of the "Running Scared" session are the most detailed. While Orbison had a great voice, at this point it wasn't especially powerful, and with the addition of strings, the band were overpowering his voice. At this time, it was customary for singers to record with the band, all performing together in one room, but the sound of the instruments was getting into Orbison's mic louder than his voice, making it impossible to get a good mix. Eventually, they brought a coatrack covered with coats into the studio, and used it to partition the space -- Orbison would stand on one side of it with his mic, and the band and their mics would be on the other side. The coats would deaden the sound of the musicians enough that Orbison's voice would be the main sound on his vocal mic. In this case, the reason his voice was being overpowered was that right at the end of the song he had to hit a high A in full voice -- something that's very difficult for a baritone like Orbison to do without going into falsetto. It may also be that he was nervous about trying this when the musicians could see him, and the coats in the way helped him feel more secure. Either way, he does a magnificent job on that note: [Excerpt: Roy Orbison, "Running Scared", tag] Apparently when Chet Atkins popped into the studio for a visit, he was utterly bemused by what he saw -- but then he was impressed enough by the idea that he got RCA to build a proper vocal isolation booth at their studios to get the same effect. "Running Scared" also came along just after Orbison made one big change to his image. He'd been on tour with Patsy Cline, promoting "Blue Angel", and had left his glasses on the plane. As he couldn't see well without them, he had to resort to using his prescription sunglasses on stage, and was astonished to find that instead of looking gawky and rather odd-looking, the audience now seemed to think he looked cool and brooding. From that point on, he wore them constantly. For the next three years, Orbison and Melson continued working together and producing hits -- although Orbison also wrote several hits solo during this time, including "In Dreams", which many consider his greatest record. But Melson was becoming increasingly convinced that he was the real talent in the partnership. Melson was also putting out singles on his own at this time, and you can judge for yourself whether his most successful solo track, "Hey Mr. Cupid" is better or worse than the tracks Orbison did without him. [Excerpt: Joe Melson, "Hey Mr. Cupid"] Eventually Melson stopped working with Orbison altogether, after their last major collaboration, "Blue Bayou". This turned out to be the beginning of the collapse of Orbison's entire life, though it didn't seem like it at the time. It was the first crack in the team that produced his biggest hits, but for now he was on a roll. He started collaborating with another writer, Bill Dees, and even though Beatlemania was raging in the UK, and later in the US, he was one of a tiny number of American artists who continued to have hits. Indeed, two of the early collaborations by Orbison and Dees were the *only* two records by an American artist to go to number one in the UK between August 1963 and February 1965. The second of those, "Oh, Pretty Woman", also went to number one in the US, and became one of his most well-known songs: [Excerpt: Roy Orbison, "Oh, Pretty Woman"] That song again caused problems with his new collaborator, as Bill Dees sang the harmony vocals on it, and felt he wasn't getting enough credit for that. But that was the high point for Orbison. Wesley Rose and Fred Foster had never got on, and Rose decided that he was going to move Orbison over to MGM Records, who gave him an advance of a million dollars, but immediately the hits dried up. And the events of the next few years were the kind of thing that would would break almost anyone. He had divorced his wife Claudette, who had inspired "Oh, Pretty Woman", in November 1964, just before signing to MGM, because he'd discovered she was cheating on him. But the two of them had been so in love they'd ended up reconciling and remarrying in December 1965. But then six months later, they were out riding motorbikes together, Claudette crashed hers, and she died. And then a little over two years later, while he was on tour in the UK, his house burned down, killing two of his three children. Orbison continued to work, putting out records that no-one was buying, and playing the chicken-in-a-basket circuit in the UK. He even remarried in 1969, and found happiness and a new family with his second wife. But for about twenty years, from 1965 through to 1985, he was in a wilderness period. Between personal tragedy, changing fashions in music, and the heart condition he developed in the 70s, he was no longer capable of making records that resonated with the public, even though his voice was as strong as ever, and he could still get an audience when singing those old hits. And even the old hits were hard to get hold of -- Monument Records went bankrupt in the seventies, and reissues of his old songs were tied up in legal battles over their ownership. But then things started to change for him in the mid-eighties. A few modern artists had had hits with cover versions of his hits, but the big change came in 1985, when he collaborated with his fellow ex-Sun performers Johnny Cash, Carl Perkins, and Jerry Lee Lewis, on an album called Class of 55: [Excerpt: Roy Orbison and the Class of 55, "Coming Home"] That came out in 1986, and made the top twenty on the country charts -- the first time he'd had an album make any chart at all since 1966. Also in 1986, David Lynch used Orbison's "In Dreams" in his film Blue Velvet, which brought the record to a very different audience. He collaborated with k.d. lang, who was then one of the hottest new singers in country music, on a new version of his hit "Crying": [Excerpt: Roy Orbison and k.d. lang, "Crying"] That later won a Grammy. He recorded a new album of rerecordings of his greatest hits, which made the lower reaches of the charts. He got inducted into the rock and roll hall of fame, and recorded a live TV special, A Black and White Night, where he was joined by Elvis' seventies backing band, Bruce Springsteen, Elvis Costello, k.d. lang, Bonnie Raitt, Jackson Browne and Tom Waits, among others, all just acting as backing singers and musicians for a man they admired. He also joined with George Harrison, Jeff Lynne, Tom Petty and Bob Dylan in a supergroup called The Travelling Wilburys, whose first album made the top five: [Excerpt: The Travelling Wilburys, "Handle With Care"] And he recorded an album of new material, his best in decades, Mystery Girl, produced by Lynne and with songs written by Orbison, Lynne, and Petty -- along with a couple of songs contributed by famous admirers like Bono and the Edge of U2. But by the time that came out, Orbison was dead -- after a day flying model aeroplanes with his sons, he had a heart attack and died, aged only fifty-two. When Mystery Girl came out a couple of months later, it rose to the top five or better almost everywhere -- and in the UK and US, he had two albums in the top five at the same time, as in the UK a hits compilation was also up there, while in the US the Wilburys album was still near the top of the charts. Orbison's is one of the saddest stories in rock music, with one of the greatest talents in history getting derailed for decades by heartbreaking tragedies unimaginable to most of us, and then dying right at the point he was finally starting to get the recognition he deserved. But the work he did, both as a songwriter and as a singer, would inspire people long after his death.

In recent years, research on aging has seen some major advancements, including the discovery that the rate of aging is controlled, at least to some extent. And according to Dr. Paul Clayton, who has researched, written and presented about the process of cellular aging, one’s chronological age and biological age are not necessarily the same. He says some people age faster than their calendar years, while others age more slowly.

In recent years, research on aging has seen some major advancements, including the discovery that the rate of aging is controlled, at least to some extent. And according to Dr. Paul Clayton, who has researched, written and presented about the process of cellular aging, one’s chronological age and biological age are not necessarily the same. He says some people age faster than their calendar years, while others age more slowly.

In recent years, research on aging has seen some major advancements, including the discovery that the rate of aging is controlled, at least to some extent. And according to Dr. Paul Clayton, who has researched, written and presented about the process of cellular aging, one’s chronological age and biological age are not necessarily the same. He says some people age faster than their calendar years, while others age more slowly.

Paul Clayton Interview by Guiseley Radio

Nick and Benji present... Reviews of Gallifrey Time War 3 and Donna Noble: Kidnapped... Behind-the-scenes: The Lives of Captain Jack Volume 03 ... Doctor Who: Short Trips - Decline of the Ancient Mariner... Drama Tease: The Lives of Captain Jack Volume 03: Crush

There's plenty of talk on radio, but with 20twenty you'll find Life, Culture & Current events from a Biblical perspective. Interviews, stories and insight you definately won't hear in the mainstream media. This feed contains selected content from 20twenty, heard every weekday morning. See www.vision.org.au for more details Help Vision to keep 'Connecting Faith to Life': https://vision.org.au/donate See omnystudio.com/listener for privacy information.

After a long break, we finally return to kick off series four! We begin with Sophie's Parents, and are thrilled to welcome special guest Paul Clayton to the show! We take a look at Mark meeting his in-laws for the first time, and how Jeremy ends up making the best impression of all... Paul tells us all about his time on the show, and answers ours (and your) questions. Help support the podcast with Patreon: https://www.patreon.com/podcastpharaohs

Welcome to episode 2 of The Spokesman Speaks podcast. In this episode, we hear about China, Japan, Europe and other trade markets from the Trump administration's Chief Agricultural Trade Negotiator, Ambassador Gregg Doud, and Paul Clayton of the U.S. Meat Export Federation. Also, podcast host Laurie Johns sits down with former NASA astronaut Dr. Peggy Whitson to talk about Whitson's inspiring journey from a small family farm in Ringgold County, Iowa to NASA and outer space -  where she still holds multiple records, including most total days in space by an American. 

In this episode of the CIO 24/7 Podcast series, Stephen Cutchins and Paul Clayton join host Jason Warnke to discuss technology accessibility at Accenture. Among the topics they cover are Accenture's ambition to have all of our interactions with software, devices and services be compliant with globally defined accessibility standards and how this impacts them on a daily basis. Listen and subscribe now. http://accenture.com/ciopodcast

In this episode of the CIO 24/7 Podcast series, Stephen Cutchins and Paul Clayton join host Jason Warnke to discuss technology accessibility at Accenture. Among the topics they cover are Accenture's ambition to have all of our interactions with software, devices and services be compliant with globally defined accessibility standards and how this impacts them on a daily basis. Listen and subscribe now. http://accenture.com/ciopodcast

What can we know about the future? And where do we look? We plan ahead by speculating. We can’t imagine not imagining the next hour, the next day, the next email. In this show we look at the nature of guessing, of predicting, and what that can tell us about the future. And the past. Host: Yue Li Producers: Chris Leboa, Cameron Tenner, Yue Li, Claudia Heymach, Noelle Chow, Sam Kargilis, Risa Cromer, Sam Greenspan Featuring: Corrie Dekkar, Julie Parsonnet, Julie Fogarty, Jeff Lindner, Jim Blackburn, Mark Beauregard, Kyla Schuller Story 1: Miner Threat Meet the last Bitcoin miners of Stanford. Producer: Sam Kargilis Music (from Free Music Archive): Curves, Jhhhzzr Story 2: Vanquishing Vaccines During the 2017-2018 flu season over 60 million Americans were infected with influenza and an estimated 50,000 died. Why has there been so much sickness when a vaccine does exist? Producer Chris LeBoa investigates the process and guesswork that goes into creating the flu shot each year and what is being done to take guesswork out of future vaccines. Producer: Chris LeBoa Featuring: Corrie Dekkar, Julie Parsonnet, Julie Fogarty Story 3: The Coming Storm In the aftermath of Hurricane Harvey, Houstonians Yue and Claudia wonder how future storms can be predicted. And if they can be predicted, whose responsibility is it to protect Houston? Producers: Yue Li, Claudia Heymach, Noelle Chow Featuring: Jeff Lindner, Jim Blackburn Music (from freesound.org): vision- ambient gamelan by that jeff carter, Ambient Drone Solfeggio by Headphaze, Cosmos by pointpark cinema, cyclone hurricane hugo by solostud Story 4: My Dear Melville Herman Melville’s “great American novel,” Moby Dick, has fascinated, entertained, bored, and horrified audiences for the past 150 years, but … is Moby Dick gay? Was Herman Melville caught up in a same-sex-love affair? Producer Cameron Tenner searches for answers and learns about exploring queerness in the past. Producer: Cameron Tenner Featuring: Mark Beauregard, Kyla Schuller Music: Cylinder Five by Chris Zabriskie, Gentle Chase by Podington Bear, Skeptic by Podington Bear, Vanagon by Podington Bear, Little Black Cloud by Podington Bear, Waltz for an Imaginary Piano by Johnny Ripper, Lonesome by Podington Bear, Lucky Stars by Podington Bear, In My Head by Podington Bear, Sensitive by Podington Bear, Whaling Song by Paul Clayton

This week on StoryWeb: Jean Ritchie’s book Singing Family of the Cumberlands. If you’re looking for bona fide old-time mountain music – the real deal, before bluegrass, before the Carter Family even – then look no further than Jean Ritchie. Perhaps more than any other performer of her generation, Jean Ritchie gives us the traditional old-time stories and songs and the story of the lived experience of growing up in a family in the Cumberland Mountains of Eastern Kentucky. Many Americans know Jean Ritchie from her singing and songwriting career. In addition to songs she wrote (such as “The L & N Don’t Stop Here Anymore”), Ritchie took special delight in preserving, performing, and passing down traditional ballads and other old-time songs. She sings “play party” game songs, she sings murder ballads, and of course, like any mountain balladeer worth her salt, she has her own version of “Barbary Allen.” In her performances, she both told stories and sang songs, accompanying herself on lap dulcimer. I had the great fortune of hosting Jean Ritchie at Shepherd University’s Appalachian Heritage Festival in 1997. That October I got to not only see and hear her perform (complete with “Skin and Bones,” a spooky game song), but I also had the privilege of spending time with her backstage. I found her to be shy, quiet, soft-spoken, completely unassuming. She seemed to know she was “the” Jean Ritchie, but she was remarkably humble about that – both proud of her heritage and her ability to share it and receptive to meeting new folks who appreciated that heritage. If you want to experience Jean Ritchie as a performer, I highly recommend the following CDs: Jean Ritchie: Ballads from Her Appalachian Family Tradition; Jean Ritchie: The Most Dulcimer; Mountain Hearth & Home; Jean Ritchie: Singing the Traditional Songs of Her Kentucky Mountain Family; British Traditional Ballads in the Southern Mountains, Volumes 1 and 2 (both recorded for Smithsonian Folkways); and her fiftieth anniversary album, Mountain Born, which she recorded with her sons. Collaborations include Jean Ritchie and Doc Watson at Folk City; A Folk Concert in Town Hall, New York, featuring Ritchie along with Oscar Brand and David Sear; and American Folk Tales and Songs, recorded with Paul Clayton. Recordings of carols and children’s songs are also available. If you want to try your hand at singing mountain ballads and playing dulcimer, check out Ritchie’s instructional album, The Appalachian Dulcimer, as well as The Dulcimer Book. A book/CD combo, Traditional Mountain Dulcimer, also provides instruction. Once you’ve gotten the hang of the dulcimer, you’ll want to buy the collection by famed folklorist Alan Lomax: Folk Songs of the Southern Appalachians as Sung by Jean Ritchie. The second edition of this volume features eighty-one songs, including “the Child ballads, lyric folksongs, play party or frolic songs, Old Regular Baptist lined hymns, Native American ballads, ‘hant’ songs, and carols” as passed down through the famous American ballad-singing family, the Ritchie family of Perry County, Kentucky. To go deeper in your exploration of Jean Ritchie, consider reading her 1955 book, Singing Family of the Cumberlands, part autobiography, part family songbook. Born in 1922 as the youngest of fourteen children in the Singing Ritchie Family, Jean Ritchie tells the stories behind the songs, the rich family context that gave life and meaning to these songs. Be forewarned: once you pick up Singing Family of the Cumberlands, you won’t be able to put it down. Ritchie’s writing voice is engaging, sweet, light-hearted, even light-spirited in a way. She invites you in to share her world in the Cumberland Mountains. Though she hailed from Kentucky, Jean Ritchie spent most of her adult life living in New York, both in New York City and in Port Washington. She was married to photographer and filmmaker George Pickow, who hailed from Brooklyn. Together, they raised two sons. George, too, was warm and unassuming – and completely devoted to Jean. In the 1950s, she began to record albums and became friends with Pete Seeger, Woody Guthrie, and Alan Lomax, each of whom had an immense impact on American folk music. By the early 1960s, Greenwich Village was the site of a lively folk music revival. Alan Lomax gathered many of the leading musicians in 1961 and invited them to his apartment on West 3rd Avenue to swap songs. Ritchie’s husband, George Pickow, filmed the impromptu jam session. Of course, you’ll find Jean Ritchie in this rare film, but you’ll also see Roscoe Holcomb, Clarence Ashley, Doc Watson, Memphis Slim, Willie Dixon, Ramblin Jack Elliott, Guy Carawan, and the New Lost City Ramblers. And if you look closely in the film’s opening moments, you’ll spy Bob Dylan clogging in the audience. In the 1960s, Jean Ritchie won a Fulbright scholarship to collect traditional songs in the United Kingdom and Ireland and to trace their links to American ballads. In preparation, Ritchie wrote down 300 songs she had learned from her mother. During her Fulbright travels, she spent eighteen months recording and interviewing British and Irish singers. Some of these recordings are collected on Field Trip. In 2015, Jean Ritchie died at age 92 in Berea, Kentucky – and by that time, she had accumulated numerous awards and accolades, including a National Endowment for the Arts National Heritage Fellowship, the United States’ highest honor for folk and traditional artists. A wonderful tribute to Jean Ritchie – including many outstanding recordings as well as photographs by George Pickow – is featured on the Library of Congress’s American Folklife Center website. Also notable are the New York Times and NPR obituaries. Widely known as “The Mother of Folk,” Ritchie had an immeasurable impact on other musicians who came after her, as evidenced by the 2014 two-CD set titled Dear Jean: Artists Celebrate Jean Ritchie, which features Pete Seeger, Judy Collins, Janis Ian, Kathy Mattea, Tim O’Brien, John McCutcheon, Suzy Bogguss, and others. Her songs have also been recorded by the likes of Linda Ronstadt, Emmylou Harris, and Johnny Cash. Awards, honors, and tributes aside, in the end it all comes back to Jean Ritchie singing a spare, simple ballad like “Barbary Allen.” Take my advice, and check out Jean Ritchie’s recordings and writing. You won’t be disappointed. Visit thestoryweb.com/Ritchie for links to all these resources, to listen to recordings of Jean Ritchie singing “Barbry Allen,” “Shady Grove,” and “Skin and Bones,” and to listen to her talk about writing Singing Family of the Cumberlands. Listen now as Jean Ritchie talks about and sings the song “Nottamun Town.”

Paul Clayton talks with Gary Oldman at the Theatre Royal Drury Lane. In association with The Actors Centre and Really Useful Theares.

This week actor and director, Paul Clayton star of Peep Show, Coronation Street, Him and Her and countless other TV appearances joined Samantha Baines in the studio for the latest Baines Plus One. Sam made a series of discoveries about Paul’s hidden talents including his secondary career as a bingo caller, fire eating skills and Paul’s fashion designer extraordinaire, which he utilises modifying period costumes for humid filming conditions. Listen to the full show to hear poems from both Sam and Paul, find out about Paul’s recent acting work in ‘very very hot’ Bucharest and how to be grumpy properly. @SamanthaBaines @claytoncast

Xmas Puddings

Paul Clayton talks with Celia Imrie live at The Theatre Royal Drury Lane for The Actors Centre. Celia talks about her career, training, auditioning, self belief and working with Victoria Wood.

Paul Clayton talks with Mark Rylance Live at the Theatre Royal Drury Lane.

A brand new Off The Record - Live at The Theatre Royal Drury Lane with Paul Clayton and Zoe Wanamaker

Paul Clayton talks to Alex Jennings recorded live at The Theatre Royal, Drury Lane.

Is training necessary? We turn the tables on previous Off The Record Host Paul Clayton. In this revealing interview, Paul talks of his experiences of Drama School, working on Film/TV and reveals some vital tips on Role Play work.

Listen to a brilliant interview with Imelda Staunton & Paul Clayton. Recorded live at The Actors Centre, Covent Garden, hear what inspired Imelda to start acting, her thoughts on training, working on Harry Potter and what's it's like attending the Oscars.

I know Paul Clayton (imdb link) not just from his many many TV and film appearances (Ali G Indahouse, Peep Show, Him and Her and he is recently deceased in Hollyoaks) but also he is the Chair of the Actors Centre and in January this year he played my husband in Sunday Dinner With The […]

Today we bring you an Off The Record with Josie Lawrence and Paul Clayton. Hear her story and brilliant interview live at The Actors Centre, Covent Garden.

Listen to the third "Off the Record" talk at the Actors Centre with Paul Clayton. Hear how the careers of Clive Swift and Bruce Alexander began and how they set up the Actors Centre with Sir Ian McKellen being first in the queue!

In this episode, hear an interview with Hugh Bonneville and Paul Clayton live at the Actors Centre, Covent Garden as part of their “Off the Record” Talks. Hear Hugh talk about doing one term at drama school, working with Kevin Spacey at the Old Vic, juggling two TV shows and more.

"It's taken me 38 or 40 years to learn how to do nothing.." We talk role play and the benefits of doing role play work (other than the money!). Get tips and advice from Paul Clayton, currently in Hollyoaks, Him & Her and Chairman of the Actors Centre who wrote the book "so you want to be a corporate actor?" Jump straight to Paul's tips at the 20 minute mark.

We discuss, with our special guest Paul Clayton (“oinkoink8383” on YouTube), why B-spec even exists. We also talk about some features in GT5, we don’t want to see in the next Gran Turismo, and how they could make them much better, if they appear in GT6. Episode 8

Featuring music by Paul Clayton, Kilby Snow, the David Nelson Band, the Flying Other Brothers, Ewan MacColl and Peggy Seeger, Sarah Hawkes, and Peter Rowan and the Rowan Brothers. Hosted by Tony Bove of the Flying Other Brothers. The post Ballad Roots of California Folk-Rock appeared first on Rockument.