Podcasts about Billund

Paul Marden heads to the AVEA conference in front of a LIVE audience to find out why gift shops are such an important part of the attraction mix. Joining him is Jennifer Kennedy, Retail Consultant, JK Consulting and Michael Dolan, MD of Shamrock Gift Company. They discuss why your gift shop is an integral part of your brand and why it needs to be just as good as the experience you have on offer. This coinsides with the launch of our brand new playbook: ‘The Retail Ready Guide To Going Beyond The Gift Shop', where you can find out exactly how to improve your online offering to take your ecommerce to the next level. Download your FREE copy here:  https://pages.crowdconvert.co.uk/skip-the-queue-playbookBut that's not all. Paul walks the conference floor and speaks to:Susanne Reid, CEO of Christchurch Cathedral Dublin, on how they are celebrating their millennium anniversary - 1000 years!Charles Coyle, Managing Director, Emerald Park, on how they are bringing AI integrations to enhance their booking processesRay Dempsey, General Manager of The Old Jamerson Distillery on how they offering more accessible touring optionsIt's a mega episode and one you'll not want to miss. Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references:  Jennifer Kennedy — Founder, JK Consultinghttps://jkconsultingnyc.com/https://www.linkedin.com/in/jennifer-kennedy-aba75712/Michael Dolan — Managing Director, Shamrock Gift Companyhttps://www.shamrockgiftcompany.com/Catherine Toolan — Managing Director, Guinness Storehouse & Global Head of Brand Homes, Diageohttp://diageo.comhttps://www.linkedin.com/in/catherinetoolan/Máirín Walsh — Operations Manager, Waterford Museumhttps://www.waterfordtreasures.com/Dean Kelly — Photography & Visitor Experience Specialist https://www.wearephotoexperience.com/https://www.linkedin.com/in/dean-kelly-1259a316/Charles Coyle — Managing Director, Emerald Parkhttps://www.emeraldpark.ieSusanne Reid — CEO, Christ Church Cathedral Dublinhttp://www.christchurchcathedral.iehttps://www.linkedin.com/in/susannereid/Ray Dempsey — General Manager, Jameson Distilleryhttps://www.jamesonwhiskey.com/en-ie/visit-our-distilleries/jameson-bow-street-distillery-tour/https://www.linkedin.com/in/ray-dempsey-37a8665a/ Transcription: Paul Marden: Welcome to Skip the Queue, the podcast that tells the stories behind the world's best attractions and the amazing people that work in them. In today's episode, I'm at the AVEA 2025 conference in Waterford, Ireland, and we're talking about gift shop best practices. With Jennifer Kennedy from JK Consulting, a tourism and retail consultancy. And Jennifer led retail at Guinness Storehouse for more years than she would care to mention, I think. And we're also here with Michael Dolan, MD of Shamrock Gift Company, who has brought along the most amazing array of gift shop merchandise, which I'm sure we'll get into talking a little something about later on. And I've also got an amazing live audience. Say hello, everybody.Everyone: Hello.Paul Marden: There we go. So we always start with icebreaker that I don't prepare the two of you. Now this is probably a very unfair question for the pair of you, actually. What's the quirkiest souvenir you've ever bought? I can think of those little, the ones that you get in Spain are the little pooping santas.Jennifer  Kennedy: I have a thing for Christmas decorations when I go on travel, so for me, there always tends to be something around having a little decoration on my tree every year. That if I've had one or two holidays or I've been away, that has some little thing that comes back that ends up on the tree of Christmas. I have a lovely little lemon from Amalfi that's a Christmas decoration, and so you know, so a little kind of quirky things like that.Paul Marden: Michael, what about you? Michael  Dolan: One of our designers who will remain nameless? She has a thing about poo. So everyone brings her back to some poo relation. Paul Marden: Sadly, there's quite a lot of that around at the moment, isn't there? That's a bit disappointing. First question then, what's the point of a gift shop? If I put that in a more eloquent way, why are gift shops such an important part of the attraction mix?Jennifer  Kennedy: Okay, it was from my point of view, the gift shop in an attraction or a destination is the ultimate touch point that the brand has to leave a lasting memory when visitors go away. So for me, they're intrinsically important in the complete 360 of how your brand shows up— as a destination or an attraction. And without a really good gift shop and really good product to take away from it, you're letting your brand down. And it's an integral piece that people can share. From a marketing point of view, every piece of your own product that's been developed, that's taken away to any part of the world can sit in someone's kitchen. It can be in multiple forms. It can be a fridge magnet. It could be a tea towel. It could be anything. But it's a connection to your brand and the home that they visited when they chose to be wherever they're visiting. So for me, I'm very passionate about the fact that your gift shop should be as good as everything else your experience has to offer. So that's my view on it. Michael  Dolan: Sometimes it's neglected when people create a new visitor attraction. They don't put enough time into the retail element. I think that's changing, and a very good example of that would be Game of Thrones in Banbridge. We worked with them for two years developing the range, but also the shop. So the shop reflects the... I actually think the shop is the best part of the whole experience. But the shop reflects the actual whole experience.  Jennifer  Kennedy: The teaming.Michael  Dolan: The teaming. So you have banners throughout the shop, the music, the lighting, it looks like a dungeon. All the display stands have swords in them, reflecting the theme of the entrance.Jennifer  Kennedy: Yeah, it's a good example of how a brand like that has incorporated the full essence and theme of why they exist into their physical retail space.Paul Marden: They definitely loosened a few pounds out of my pocket. Michael  Dolan: Another good example is Titanic Belfast. So they spent 80 million on that visitor attraction, which was opened in 2012, but they forgot about the shop. So the architect who designed the building designed the shop that looked like something out of the Tate Gallery. Yeah, and we went and said, 'This shop is not functional; it won't work for our type of product.' They said, 'We don't have anything in the budget to redevelop the shop.' So we paid a Dublin architect to redesign the shop. So the shop you have today, that design was paid for by Shamrock Gift Company. And if you've been in the shop, it's all brass, wood, ropes. So it's an integral part of the overall experience. But unfortunately... you can miss the shop on the way out.Paul Marden: Yeah, it is very easy to walk out the building and not engage in the shop itself. It's a bit like a dessert for a meal, isn't it? The meal's not complete if you've not had a dessert. And I think the gift shop experience is a little bit like that. The trip to the experience isn't finished.  If you haven't exited through the gate. Michael  Dolan: But it's the lasting memories that people bring back to the office in New York, put the mug on the table to remind people of when they're in Belfast or Dublin to go to. You know, storehouse or Titanic. So those last impressions are indelibly, you know, set.Paul Marden: So we've already said the positioning of the shop then is super important, how it feels, but product is super important, isn't it? What product you fill into the shop is a make or break experience? How do you go about curating the right product? Michael  Dolan: Most important is authenticity. You know, it has to be relevant to the visitor attraction. So it's not a question of just banging out a few key rings and magnets. So I brought you along some samples there. So we're doing two new ranges, one for Titanic and one for the Royal Yacht Britannia, and they're totally different. But reflect the personality of each attraction.Paul Marden: Absolutely.Michael  Dolan: I mean, a good example, we worked together or collaborated together on many, many projects in Guinness. But we also worked in St. Patrick's Cathedral.Jennifer  Kennedy: Yeah.Michael  Dolan: You were the consultant.Jennifer  Kennedy: Yeah, yeah. So I suppose, again, from the product point of view. Yeah, if you can root product in why the experience exists. So in that example, a cathedral is a great example of how you can create really great product by utilising. Well, the main reason people are there is because this amazing building exists and the historic elements of it. So I suppose to make it real, some examples of products that connected with the audience in that environment are things like a little stone coaster. But the stone coaster is a replica of the floor you're standing on. So I suppose the other balance in attractions is realistic price points and realistic products. So there's no point in creating a range of products that's outside the price point of what your visitors are prepared to pay. So it's that fine balance of creating product that connects with them, which is, I'm using the cathedral as an example because you've got architraves, you've got stained glass windows, you've got stunning tiles. So all the elements of the fabric of that building. Can be utilised to create really beautiful products, but castles, you know, cathedrals, all of those sorts of spaces.Jennifer  Kennedy: When we start talking about product, always we go to, 'why are we here?' And also the storytelling elements. There's some beautiful stories that can, I can give you another really great example of a product that was created for another cathedral, which was... So in cathedral spaces, there's all these stunning doors that run the whole way through, like they're spectacular; they're like pieces of art in their own right. And every one of them has a very unique ornate key that unlocks each door. So one of the products that did one of the cathedrals was we wanted to create a ring of brass keys with replicas of all the keys in the cathedral. But as we were progressing, we forgot at the start— it was like we forgot to tell them to scale them down. They weren't the same size as all the keys in the cathedral. So it was a very intrinsically specific gift to this particular cathedral. And it's been used ever since as kind of the special gift they give to people who come to visit from all over the world. They get quite emotional about this particular gift because it's like this is the actual replica of all the keys to all the doors in the cathedral.Jennifer  Kennedy: So it's a product that's completely born. It can never be replicated anywhere else. And it's completely unique to that particular space. And I think that's the power of, for me, that's what authenticity feels and looks like in these environments. It has to be connected to the fabric of why you exist.Paul Marden: Yeah, so I was at Big Pit in Wales six months ago, I think it was. Museums Wales are redeveloping all of their gift shops and they are going through exactly that process that you're talking about, but bringing it back to the place itself because all, I think, it's six of their museums, the gift shops had much the same set of product. They described it as, you know, you were just walking into a generic Welsh gift shop with the dressed lady.Jennifer  Kennedy: And it's hard— like it really takes an awful lot of work— like it doesn't just happen, like you really have to put a lot of thought and planning into what our product should and could look like. And then, when you've aligned on with the team of people managing and running these businesses, that this is the direction you want to take, then it's the operational element of it. It's about sourcing, MOQs, and price, and all of that stuff that comes into it. Minimum order quantities.Michael  Dolan: That's where we come in. So, you know, we met Jennifer in St. Patrick's and we met Liz then, we met the Dean. So we really sat around and talked about what were the most important elements in the cathedral that we wanted to celebrate in product.Michael  Dolan: And St. Patrick obviously was the obvious number one element. Then they have a harp stained glass window. And then they have a shamrock version of that as well. So they were the three elements that we hit on. You know, it took a year to put those three ranges together. So we would have started out with our concept drawings, which we presented to the team in St. Patrick's. They would have approved them. Then we would have talked to them about the size of the range and what products we were looking at. So then we would have done the artwork for those separate ranges, brought them back in to get them approved, go to sampling, bring the samples back in, then sit down and talk about pricing, minimum order quantities, delivery times.Michael  Dolan: So the sample, you know, so that all goes out to order and then it arrives in about four or five months later into our warehouse. So we carry all the risk. We design everything, we source it, make sure that it's safely made, all the tests are confirmed that the products are good. In conformity with all EU legislation. It'll be in our warehouse and then it's called off the weekly basis. So we carry, we do everything.  So one stop shop. Paul Marden: So the traction isn't even sitting on stock that they've invested in. We know what we're doing and we're quite happy to carry the risk. So one of the things we were talking about just before we started the episode was the challenges of sourcing locally. It's really important, isn't it? But it can be challenging to do that.Jennifer  Kennedy: It can. And, you know, but I would say in recent years, there's a lot more creators and makers have come to the fore after COVID. So in kind of more... Specifically, kind of artisan kind of product types. So things like candles are a great example where, you know, now you can find great candle makers all over Ireland with, you know, small minimum quantity requirements. And also they can bespoke or tailor it to your brand. So if you're a museum or if you're a, again, whatever the nature of your brand is, a national store or whatever, you can have a small batch made. Which lets you have something that has provenance. And here it's Irish made, it's Irish owned. And then there's some, you know, it just it gives you an opportunity.Jennifer  Kennedy: Unfortunately, we're never going to be in a position where we can source everything we want in Ireland. It just isn't realistic. And commercially, it's not viable. As much as you can, you should try and connect with the makers and creators that they are available and see if small batches are available. And they're beautiful to have within your gift store, but they also have to be the balance of other commercial products that will have to be sourced outside of Ireland will also have to play a significant role as well.Máirín Walsh: I think there needs to be a good price point as well. Like, you know, we find that in our museum, that, you know, if something is above 20, 25 euro, the customer has to kind of really think about purchasing it, where if it's 20 euro or under, you know, it's...Michael  Dolan: More of an input item, yeah.Máirín Walsh: Yes, exactly, yeah.Paul Marden: And so when it's over that price point, that's when you need to be sourcing locally again. Máirín Walsh: It's a harder sell. You're kind of maybe explaining a bit more to them and trying to get them to purchase it. You know, they have to think about it.Jennifer  Kennedy: But it's also good for the storytelling elements as well because it helps you engage. So I've often found as well that even train the teams and the customer service. It's actually a lovely space to have, to be able to use it as part of storytelling that we have this locally made or it's made in Cork or wherever it's coming from, that it's Irish made.Máirín Walsh: We have, what have we got? We've kind of got scarves and that and we have local— we had candles a few years ago actually. I think they were made or... up the country or whatever. But anyway, it was at Reginald's Tower and there were different kinds of candles of different attractions around and they really connected with your audience.Michael  Dolan: So 20% of our turnover would be food and all that is made in Ireland. Virtually all of that is sourced locally here in Ireland. And that's a very important part of our overall product portfolio and growing as well.Paul Marden: Is it important to serve different audiences with the right product? So I'm thinking... Making sure that there's pocket money items in there for kids, because often when they come to a museum or attraction, it's their first time they ever get to spend their own money on a transaction. Yeah, that would be their first memory of shopping. So giving them what they need, but at the same time having that 25 euro and over price point. To have a real set piece item is?Jennifer  Kennedy: I would say that's very specific to the brand. Paul Marden: Really? Jennifer  Kennedy: Yes, because some brands can't actually sell products or shouldn't be selling products to children. Paul Marden: Really? I'm looking at the Guinness items at the end of the table.Jennifer  Kennedy: So it depends on the brand. So obviously, in many of the destinations around Ireland, some of them are quite heavily family-oriented. And absolutely in those environments where you've got gardens, playgrounds or theme parks. Absolutely. You have to have that range of product that's very much tailored to young families and children. In other environments, not necessarily. But you still need to have a range that appeals to the masses. Because you will have visitors from all walks of life and with all perspectives. So it's more about having something. I'm going to keep bringing it back to it. It's specific to why this brand is here. And if you can create product within a fair price point, and Mairin is absolutely right. The balance of how much your products cost to the consumer will make or break how your retail performs. And in most destinations, what you're actually aiming to do is basket size. You want them to go away with three, four, five products from you, not necessarily one.Jennifer  Kennedy: Because if you think about it, that's more beneficial for the brand. I mean, most people are buying for gifting purposes. They're bringing things back to multiple people. So, if I'm able to pick up a nice candle and it's eight or 10 euros, well, I might buy three of them if it's a beautiful candle in a nice package. Whereas, if I went in and the only option available to me was a 35-euro candle, I probably might buy that, but I'm only buying one product. And I'm only giving that to either myself or one other person. Whereas, if you can create a range that's a good price, but it's also appealing and very connected to why they came to visit you in the first place, then that's a much more powerful, for the brand point of view, that's a much more... Powerful purchasing options are available to have a basket size that's growing.Michael  Dolan: We worked together in the National Stud in Kildare, so we did a great kids range of stationery, which worked really well. We've just done a new range for the GAA museum, all stationery-related, because they get a lot of kids. Again, we would have collaborated on that.Jennifer  Kennedy: And actually, the natural studs are a really nice example as well, because from even a textile point of view, you can lean into equine as the, so you can do beautiful products with ponies and horses. Yeah. You know, so again, some brands make it very, it's easy to see the path that you can take with product. And then others are, you know, you have to think harder. It's a little bit more challenging. So, and particularly for cultural and heritage sites, then that really has to be grounded in what are the collections, what is on offer in these sites, in these museums, in these heritage sites, and really start to unravel the stories that you can turn into product.Paul Marden: But a product isn't enough, is it?Jennifer  Kennedy: Absolutely not.Paul Marden: Set making, merchandising, storytelling, they all engage the customer, don't they?Jennifer  Kennedy: 100%.Paul Marden: Where have you seen that being done well in Ireland?Michael  Dolan: Get a store is the preeminent example, I would think. I mean, it's a stunning shop. Have you met Catherine too? Paul Marden: No, not yet. Lovely to meet you, Catherine.  Michael  Dolan: Catherine is in charge of getting the stories. Paul Marden: Okay. Any other examples that aren't, maybe, sat at the table? Game of Thrones is a really good example and Titanic.Michael  Dolan: Game of Thrones.  I think Titanic's good. The new shop in Trinity College is very strong, I think. So it's a temporary digital exhibition while they're revamping the library. They've done an excellent job in creating a wonderful new shop, even on a temporary basis.Jennifer  Kennedy: I would say Crowe Park as well. The GAA museum there has undergone a full refurbishment and it's very tailored towards their audience. So they're very, it's high volume, very specific to their... And the look and feel is very much in keeping with the nature of the reason why people go to Crowe Park. I would say the Irish National Asteroid as well. And Colmar Abbey, Cliffs of Moher. We've got some really great offers all over the island of Ireland.Paul Marden: Yeah, absolutely. I was at W5 recently in Belfast and I think that is a brilliant example of what a Science Centre gift shop could be like. Because often there will be the kind of generic stuff that you'll see in any attraction— a notebook with rubber and a pencil— but they also had lots of, there were lots of science-led toys and engineering-led toys, so they had... big Lego section. It was like going into a proper toy shop. It was just a really impressive gift shop that you could imagine engaging a kid.Catherine Toolan: And if I could come in there for an example outside of Ireland, you've got the House of Lego in Billund. I don't know if anybody has been there, but they've got a customised range, which is only available. Really? Yes, and it's so special. They've got a really unique building, so the Lego set is in the shape of the building. They've got their original dock. But the retail store in that space, it's very geared towards children as Lego is, but also imagination play. So they've done a brilliant job on looking at, you know, the texture of their product, the colour of their product. And whilst it's usually geared to children, it's also geared to adult lovers of Lego. So it's beautiful. Huge tech as well. They've incredible RFID wristbands, which you get from your ticket at the beginning of the experience. So all of your photo ops and everything you can download from the RFID wristband. Very cool.Jennifer  Kennedy: Actually, I would say it's probably from a tech point of view, one of the best attractions I've been to in recent years. Like, it's phenomenal. I remember going there the year it opened first because it was fascinating. I have two boys who are absolutely Lego nuts. And I just— we went to the home of LEGO in Billund when it opened that year and I just was blown away. I had never experienced, and I go to experiences everywhere, but I've never, from a tech point of view and a brand engagement perspective, understood the nature, the type of product that they deliver. For me, it's, like I said, I tell everyone to go to Billund. Paul Marden: Really? We've got such amazing jobs, haven't we? However, as you're both talking, I'm thinking you're a bit like me. You don't get to go and enjoy the experience for the experience's own sake because you're looking at what everybody's doing.Jennifer  Kennedy: But can I actually just add to that? There's another one in the Swarovski Crystal in Austria.Paul Marden: Really?Jennifer  Kennedy: That is phenomenal. And in terms of their retail space, it's like, I like a bit of sparkle, so I'm not going to lie. It was like walking into heaven. And their retail offering there is world-class in that store. And the whole brand experience from start to finish, which is what you're always trying to achieve. It's the full 360 of full immersion. You're literally standing inside a giant crystal. It's like being in a dream. Right. A crystal, sparkly dream from start to finish. And then, every year, they partner and collaborate with whoever— designers, musicians, whoever's iconic or, you know, very... present in that year or whatever. And they do these wonderful collaborations and partnerships with artists, designers, you name it.Paul Marden: Sorry, Catherine, there you go.Catherine Toolan: Thank you very much. It's on my list of places to go, but I do know the team there and what they're also doing is looking at the premiumization. So they close their retail store for high net worth individuals to come in and buy unique and special pieces. You know, they use their core experience for the daytime. And we all talk about the challenges. I know, Tom, you talk about this, you know, how do you scale up visitor experience when you're at capacity and still make sure you've a brilliant net promoter score and that the experience of the customer is fantastic. So that is about sweating the acid and you know it's that good, better, best. You know they have something for everybody but they have that halo effect as well.  So it's really cool.Paul Marden: Wow. Thank you. I'm a bit of a geek. I love a bit of technology. What do you think technology is doing to the gift shop experience? Are there new technologies that are coming along that are going to fundamentally change the way the gift shop experience works?Jennifer  Kennedy: I think that's rooted in the overall experience. So I don't think it's a separate piece. I think there's loads of things out there now where you can, you know, virtual mirrors have been around for years and all these other really interesting. The whole gamification piece, if you're in an amazing experience and you're getting prompts and things to move an offer today, but so that's that's been around for quite some time. I'm not sure that it's been fully utilised yet across the board, especially in I would say there's a way to go in how it influences the stores in Ireland in attractions at the moment. There'll be only a handful who I'd say are using technology, mainly digital screens, is what I'm experiencing and seeing generally. And then, if there is a big attraction, some sort of prompts throughout that and how you're communicating digitally through the whole experience to get people back into the retail space. Paul Marden: Yeah, I can imagine using tech to be able to prompt somebody at the quiet times of the gift shop. Michael  Dolan: Yeah, also Guinness now you can order a pint glass with your own message on it in advance. It's ready for you when you finish your tour. You go to a locker and you just open the locker and you walk out with your glass. Catherine Toolan: Could I just say, though, that you just don't open a locker like it's actually lockers? There's a lot of customisation to the lockers because the idea came from the original Parcel Motel. So the locker is actually you key in a code and then when you open the customised locker, there's a Guinness quote inside it and your personalised glass is inside it. And the amount of customers and guests that we get to say, could we lock the door again? We want to actually open it and have that. whole experience so you know that's where I think in you know and one of the questions that would be really interesting to talk about is you know, what about self-scanning and you know, the idea of checkouts that are not having the human connection. Is that a thing that will work when you've got real experiences? I don't know. But we know that the personalisation of the engraved glasses and how we've custom designed the lockers— not to just be set of lockers— has made that difference. So they're very unique, they're colourful, they're very Guinnessified. And of course, the little personal quote that you get when you open the locker from our archives, make that a retail experience that's elevated. Paul Marden: Wow.Jennifer  Kennedy: But I would also say to your point on that, that the actual, the real magic is also in the people, in the destinations, because it's not like gift shops and destinations and experiences. They're not like high street and they shouldn't be. It should be a very different experience that people are having when they've paid to come and participate with you in your destination. So I actually think technology inevitably plays a role and it's a support and it will create lovely quirks and unusual little elements throughout the years.Paul Marden: I think personalisation is great.  Jennifer  Kennedy: And personalisation, absolutely. But the actual, like I would be quite against the idea of automating checkout and payouts in gift shops, in destinations, because for me... That takes away the whole essence of the final touch point is actually whoever's talked to you when you did that transaction and whoever said goodbye or asked how your experience was or did you enjoy yourself? So those you can't you can't replace that with without a human personal touch. So for me, that's intrinsically important, that it has to be retained, that the personal touch is always there for the goodbye.Dean Kelly: I'm very happy that you brought up the human touch. I'm a photo company, I do pictures. And all the time when we're talking to operators, they're like, 'Can we make it self-serve? Can we get rid of the staffing costs?' I'm like, 'I'm a photographer. Photographers take pictures of people. We need each other to engage, react, and put the groups together. No, we don't want the staff costs. But I'm like, it's not about the staff costs. It's about the customer's experience. So all day long, our challenge is, more so in the UK now, because we operate in the UK, and everybody over there is very, we don't want the staff.' And I think, if you lose the staff engagement, especially taking a picture, you lose the memory and you lose the moment. And photographers have a really good job to do, a very interesting job, is where to capture people together. And if you lose that person— touch point of getting the togetherness— You just have people touching the screen, which they might as well be on their phone.Paul Marden: And the photo won't look as good, will it? Anybody could take a photo, but it takes a photographer to make people look like they're engaged and happy and in the moment.Dean Kelly: Yeah, exactly, and a couple of other points that you mentioned— with the brand, personalisation, gamification, all that kind of cool, juicy stuff, all the retail stuff, people going home with the memory, the moment, all that stuff's cool, but nobody mentioned photos until Cashin, you mentioned photos. We've had a long conversation with photos for a long time, and we'll probably be still chatting for another long time as well. But photography is a super, super retail revenue stream. But it's not about the revenue, it's about the moment and the magic. Jennifer  Kennedy: Yeah, you're capturing the magic. Dean Kelly: Capturing it. And fair enough that what you guys do at Shamrock is very interesting because you talk to the operators. You kind of go, 'What gifts are going to work for your visitors?' And you turn that into a product. And that's exactly what we do with all the experiences. We take pictures.Dean Kelly: But what's your demographic saying? What's your price points? What's your brand? What's your message? And let's turn that into a personalised souvenir, put the people in the brand, and let them take it home and engage with it.Paul Marden: So... I think one of the most important things is how you blend the gift shop with the rest of the experience. You were giving a good example of exiting through the gift shop. It's a very important thing, isn't it? But if you put it in the wrong place, you don't get that. How do you blend the gift shop into the experience?Jennifer  Kennedy: Well, I would say I wouldn't call it a blend. For me, the retail element of the brand should be a wow. Like it should be as invaluable, as important as everything else. So my perspective would be get eyes on your retail offering sooner rather than later. Not necessarily that they will participate there and then.Jennifer  Kennedy: The visual and the impact it has on seeing a wow— this looks like an amazing space. This looks like with all these products, but it's also— I was always chasing the wow. I want you to go, wow, this looks amazing. Because, to me, that's when you've engaged someone that they're not leaving until they've gotten in there. It is important that people can potentially move through it at the end. And, you know, it depends on the building. It depends on the structure. You know, a lot of these things are taken out of your hands. You've got to work with what you've got. Jennifer  Kennedy: But you have to work with what you've got, not just to blend it, to make it stand out as exceptional. Because that's actually where the magic really starts. And it doesn't matter what brand that is. The aim should always be that your retail offering is exceptional from every touch point. And it shouldn't be obvious that we've spent millions in creating this wonderful experience. And now you're being shoehorned into the poor relation that was forgotten a little bit and now has ten years later looks a bit ramshackle. And we're trying to figure out why we don't get what we should out of it.Michael  Dolan: And it has to be an integral part of the whole experience.Jennifer  Kennedy: Yeah, and I think for new experiences that are in planning stages, I've seen that more and more in recent years. Now, where I was being called to retrofix or rip out things going, this doesn't work, I'm like, okay, well, we have to retro do this. Now, when people are doing new builds or new investments into new spaces, I'm getting those calls at the planning stages where it's like, we've allocated this amount of space to retail. Do you think that's enough? And I don't think I've ever said yes, ever. At every single turn, I'm like... No, it's not enough. And, you know, what's your anticipated football? Oh, that's the numbers start to play a role in it. But it's not just about that. It's about the future proofing. It's like what happens in five years, 10 years, 15? Because I've been very lucky to work in buildings where it's not easy to figure out where you're going to go next. And particularly heritage sites and cultural heritage. Like I can't go in and knock a hole in the crypt in Christchurch Cathedral. But I need a bigger retail space there.Jennifer  Kennedy: The earlier you start to put retail as a central commercial revenue stream in your business, the more eyes you have on it from the get-go, the more likely it is that it will be successful. Not now, not in five years, not in ten years, but that you're building blocks for this, what can become. Like it should be one of your strongest revenue streams after ticket sales because that's what it can become. But you have to go at it as this is going to be amazing.Catherine Toolan: I think it's important that it's not a hard sell and that's in your face. And, you know, that's where, when you think about the consumer journey, we always think about the behavioural science of the beginning, the middle, and the end. And people remember three things. You know, there's lots of other touch points. But if retail is a really hard sell throughout the experience, I don't think the net promoter score of your overall experience will, you know, come out, especially if you're, you know, and we're not a children's destination. An over 25 adult destination at the Guinness Storehouse and at our alcohol brand homes. But what's really important is that it's authentic, it's really good, and it's highly merchandised, and that it's unique. I think that uniqueness is it— something that you can get that you can't get anywhere else. You know, how do you actually, one of the things that we would have done if we had it again, we would be able to make our retail store available to the domestic audience, to the public without buying a ticket. So, you know, you've got that opportunity if your brand is the right brand that you can have walk-in off the high street, for example.Catherine Toolan: So, you know, there's so many other things that you can think about because that's an extension of your revenue opportunity where you don't have to come in to do the whole experience. And that is a way to connect the domestic audience, which is something I know a lot of the members of the Association, AVEA are trying to do. You know, how do we engage and connect and get repeat visits and and retail is a big opportunity to do that, especially at gifting season.Paul Marden: Yeah, yeah, sustainability is increasingly important to the narrative of the whole retail experience, isn't it? How do you make sure that we're not going about just selling plastic tat that nobody's going to look after?Michael  Dolan: We've made this a core value for Shamrock Gift Company, so we've engaged with a company called Clearstream Solutions, the same company that Guinness Store has. have worked with them. So it's a long-term partnership. So they've measured our carbon footprint from 2019 to 2023. So we've set ourselves the ambitious target of being carbon neutral by 2030.Michael  Dolan: So just some of the elements that we've engaged in. So we put 700 solar panels on our roof as of last summer. All our deliveries in Dublin are done with electric vans, which we've recently purchased. All the lights in the building now are LED. Motion-sensored as well. All the cars are electric or that we've purchased recently, and we've got a gas boiler. So we've also now our shipments from China we're looking at biodiesel. So that's fully sustainable. And we also, where we can't use biodiesel, we're doing carbon offsetting as well.Paul Marden: So a lot of work being done in terms of the cost of CO2 of the transport that you're doing. What about the product itself? How do you make sure that the product itself is inherently something that people are going to treasure and is not a throwaway item?Michael  Dolan: We're using more sustainable materials, so a lot more stone, a lot more wood. Paul Marden: Oh, really? Michael  Dolan: Yeah. Also, it begins with great design. Yeah. So, you know, and obviously working with our retail partners, make sure that the goods are very well designed, very well manufactured. So we're working with some wonderful, well, best in class manufacturers around the world. Absolutely.Jennifer  Kennedy: I think as well, if... you can, and it's becoming easier to do, if you can collaborate with some creators and makers that are actually within your location.Jennifer  Kennedy: Within Ireland, there's a lot more of that happening, which means sourcing is closer to home. But you also have this other economy that's like the underbelly of the craft makers market in Ireland, which is fabulous, which needs to be brought to the fore. So collaborations with brands can also form a very integral part of product development that's close to home and connected to people who are here—people who are actually creating product in Ireland.Paul Marden: This is just instinct, not knowledge at all. But I would imagine that when you're dealing with those local crafters and makers, that they are inherently more sustainable because they're creating things local to you. It's not just the distance that's...Jennifer  Kennedy: Absolutely, but in any instances that I'm aware of that I've been involved with, anyway, even the materials and their mythology, yeah, is all grounded in sustainability and which is fabulous to see. Like, there's more and there's more and more coming all the time.Michael  Dolan: We've got rid of 3 million bags a year. Key rings, mags used to be individually bagged. And now there are 12 key rings in a bag that's biodegradable. That alone is 2 million bags.Paul Marden: It's amazing, isn't it? When you look at something as innocuous as the bag itself that it's packaged in before it's shipped out. You can engineer out of the supply chain quite a lot of unnecessary packaging Michael  Dolan: And likewise, then for the retailer, they don't have to dispose of all that packaging. So it's a lot easier and cleaner to put the product on the shelf. Yes.Paul Marden: Something close to my heart, online retail. Have you seen examples where Irish attractions have extended their gift shop experience online, particularly well?Jennifer  Kennedy: For instance, there are a few examples, but what I was thinking more about on that particular thought was around the nature of the brand again and the product that, in my experience, the brands that can do that successfully tend to have something on offer that's very nostalgic or collectible. Or memorabilia and I think there are some examples in the UK potentially that are where they can be successful online because they have a brand or a product that people are collecting.Paul Marden: Yeah, so one of my clients is Jane Austen House, only about two miles away from where I live. And it blew me away the importance of their online shop to them. They're tiny. I mean, it is a little cottage in the middle of Hampshire, but they have an international audience for their gift shop. And it's because they've got this really, really committed audience of Jane Austen fans who want to buy something from the house. Then everybody talks about the Tank Museum in Dorset.Paul Marden: Who make a fortune selling fluffy tank slippers and all you could possibly imagine memorabilia related to tanks. Because again, it's that collection of highly curated products and this really, really committed audience of people worldwide. Catherine Toolan: The Tank were here last year presenting at the AVEA conference and it was such an incredible story about their success and, you know, how they went from a very small museum with a lot of support from government to COVID to having an incredible retail store, which is now driving their commercial success.Paul Marden: Yeah, absolutely. Nick has done a load of work. Yeah, that leads me nicely onto a note. So listeners, for a long time, Skip the Queue has been totally focused on the podcast. But today we have launched our first playbook. Which is hopefully the first of many. But the playbook that we're launching today is all about how attractions can focus on best practice for gift shop e-commerce. So we work with partners, Rubber Cheese, Navigate, and Stephen Spencer Associates. So Steve and his team has helped us to contribute to some sections to the guide around, how do you curate your product? How do you identify who the audience is? How do you create that collection? The team at Rubber Cheese talk about the mechanics of how do you put it online and then our friends at Navigate help you to figure out what the best way is to get bums on seats. So it was a crackpot idea of mine six months ago to put it together, and it is now huge.Paul Marden: It's packed full of advice, and that's gone live today. So you can go over to skipthequeue.fm and click on the Playbooks link there to go and download that. Thank you. So, Jennifer, Michael, it has been absolutely wonderful to talk to both of you. Thank you to my audience. You've also been fabulous. Well done. And what a packed episode that was. I get the feeling you two quite enjoy gift shops and retailing. You could talk quite a lot about it.Jennifer  Kennedy: I mean, I love it.  Paul Marden: That didn't come over at all. Jennifer  Kennedy: Well, I just think it's such a lovely way of connecting with people and keeping a connection, particularly from a brand point of view. It should be the icing on the cake, you know?Paul Marden: You're not just a market store salesperson, are you?Jennifer  Kennedy: And I thoroughly believe that the most successful ones are because the experiences that they're a part of sow the seeds. They plant the love, the emotion, the energy. All you're really doing is making sure that that magic stays with people when they go away. The brand experience is the piece that's actually got them there in the first place. Paul Marden: Now let's go over to the conference floor to hear from some Irish operators and suppliers.Charles  Coyle: I'm Charles Coyle. I'm the managing director of Emerald Park. We're Ireland's only theme park and zoo. We opened in November 2010, which shows you how naive and foolish we were that we opened a visitor attraction in the middle of winter. Fortunately, we survived it.Paul Marden: But you wouldn't open a visitor attraction in the middle of summer, so give yourself a little bit of a run-up to it. It's not a bad idea.Charles  Coyle: Well, that's true, actually. You know what? I'll say that from now on, that we had the genius to open in the winter. We're open 15 years now, and we have grown from very small, humble aspirations of maybe getting 150,000 people a year to we welcomed 810,000 last year. And we'll probably be in and around the same this year as well.  Paul Marden: Wowzers, that is really impressive. So we are here on the floor. We've already heard some really interesting talks. We've been talking about AI in the most recent one. What can we expect to happen for you in the season coming in?Charles  Coyle: Well, we are hopefully going to be integrating a lot of AI. There's possibly putting in a new booking system and things like that. A lot of that will have AI dynamic pricing, which has got a bad rap recently, but it has been done for years and years in hotels.Paul Marden: Human nature, if you ask people, should I be punished for travelling during the summer holidays and visiting in a park? No, that sounds terrible. Should I be rewarded for visiting during a quiet period? Oh, yes! Yes, I should definitely. It's all about perspective, isn't it? Very much so. And it is how much you don't want to price gouge people. You've got to be really careful. But I do think dynamic pricing has its place.Charles  Coyle: Oh, absolutely. I mean, a perfect example of it is right now, our top price is not going to go any higher, but it'll just be our lower price will be there more constantly, you know, and we'll... Be encouraging people to come in on the Tuesdays and Wednesdays, as you said, rewarding people for coming in at times in which we're not that busy and they're probably going to have a better day as a result.Susanne Reid: Hi, Suzanne Reid here. I'm the CEO at Christchurch Cathedral, Dublin. What are you here to get out of the conference? First and foremost, the conference is a great opportunity every year to... catch up with people that you may only see once a year from all corners of the country and it's also an opportunity to find out what's new and trending within tourism. We've just come from a really energising session on AI and also a very thought-provoking session on crisis management and the dangers of solar panels.Paul Marden: Yes, absolutely. Yeah, the story of We the Curious is definitely an interesting one. So we've just come off the back of the summer season. So how was that for you?Susanne Reid:Summer season started slower than we would have liked this year in 2025, but the two big American football matches were very strong for us in Dublin. Dublin had a reasonable season, I would say, and we're very pleased so far on the 13th of the month at how October is playing out. So hoping for a very strong finish to the year. So coming up to Christmas at Christchurch, we'll have a number of cathedral events. So typically our carol concerts, they tend to sell out throughout the season. Then we have our normal pattern of services and things as well.Paul Marden: I think it's really important, isn't it? You have to think back to this being a place of worship. Yes, it is a visitor attraction. Yes, that's an aside, isn't it? And the reason it is a place of worship.Susanne Reid: I think that's obviously back to what our earlier speaker was talking about today. That's our charitable purpose, the promotion of religion, Christianity. However, you know, Christchurch is one of the most visited attractions in the city.Susanne Reid: Primarily, people do come because it will be there a thousand years in 2028. So there is, you know, the stones speak really. And, you know, one of the sessions I've really benefited from this morning was around accessible tourism. And certainly that's a journey we're on at the cathedral because, you know, a medieval building never designed for access, really. Paul Marden: No, not hugely. Susanne Reid: Not at all. So that's part of our programming and our thinking and our commitment to the city and to those that come to it from our local communities. But also from further afield, that they can come and enjoy the splendour of this sacred space.Paul Marden: I've been thinking long and hard, and been interviewing people, especially people like We The Curious, where they're coming into their 25th anniversary. They were a Millennium Project. I hadn't even thought about interviewing an attraction that was a thousand years old. A genuine millennium project.Susanne Reid: Yeah, so we're working towards that, Paul. And, you know, obviously there's a committee in-house thinking of how we might celebrate that. One of the things that, you know, I know others may have seen elsewhere, but... We've commissioned a Lego builder to build a Lego model of the cathedral. There will obviously be some beautiful music commissioned to surround the celebration of a thousand years of Christchurch at the heart of the city. There'll be a conference. We're also commissioning a new audio tour called the ACE Tour, Adults, Children and Everyone, which will read the cathedral for people who have no sense of what they're looking at when they maybe see a baptismal font, for example. You know, we're really excited about this and we're hoping the city will be celebratory mood with us in 2028.Paul Marden: Well, maybe you can bring me back and I'll come and do an episode and focus on your thousand year anniversary.Susanne Reid: You'd be so welcome.Paul Marden: Oh, wonderful. Thank you, Suzanne.Paul Marden: I am back on the floor. We have wrapped up day one. And I am here with Ray Dempsey from Jameson Distillery. Ray, what's it been like today?Ray  Dempsey: Paul, it's been a great day. I have to say, I always loved the AVEA conference. It brings in such great insights into our industry and into our sector. And it's hosted here in Waterford, a city that I'm a native of. And, you know, seeing it through the eyes of a tourist is just amazing, actually, because normally I fly through here. And I don't have the chance to kind of stop and think, but the overall development of Waterford and the presentation from the Waterford County Council was really, really good. It's fantastic. They have a plan. A plan that really is driving tourism. Waterford, as a tourist destination, whereas before, you passed through Waterford. It was Waterford Crystal's stop and that was it. But they have put so much into the restoration of buildings, the introduction of lovely artisan products, very complimentary to people coming to here, whether it is for a day, a weekend, or a week. Fantastic.Paul Marden: What is it? We're in the middle of October and it's a bit grey and drizzly out there. But let's be fair, the town has been packed. The town has been packed.With coaches outside, so my hotel this morning full of tourists.Ray  Dempsey: Amazing, yeah it's a great hub, a great hub, and they've done so much with the city to enable that, and you see, as you pass down the keys, you know that new bridge there to enable extra traffic coming straight into the heart of the city, it's fantastic. We're all learning from it, and hopefully, bring it all back to our own hometowns.Paul Marden: I think it's been really interesting. We were talking earlier on, before I got the microphone out, saying how it's been a real mixed bag this year across the island of Ireland, hasn't it? So some people really, really busy, some people rubbish year.Ray  Dempsey: Yeah, I mean, I feel privileged the fact that, you know, we haven't seen that in Dublin. So, you know, there's a it's been a very strong year, a little bit after a little bit of a bumpy start in January, February. But, like, for the rest of the year onwards, it's been fantastic. It's been back to back festivals and lots of things, lots of reasons why people come to Dublin. And, of course, with the introduction of the NFL. That's new to us this year. And hopefully, we'll see it for a number of years to come. But they're great builders for organic growth for our visitor numbers. So I'm happy to say that I'm seeing a growth in both revenue and in visitor numbers in the Jameson Distillery. So I'm happy to see that. Now, naturally, I'm going to have to work harder to make sure it happens next year and the year after. But I'm happy to say that the tourism product in Dublin has definitely improved. And Dublin-based visitor attractions are doing well. Paul Marden: Exciting plans for summer 26? Ray  Dempsey: Yes, every year is exciting, Paul. And every year brings a challenge and everything else. But I'm delighted to say that our focus for 2026 really is on building inclusion. So we're looking at language tours.Ray  Dempsey: We're looking at tours for... you know, margins in society. And I think it's a really interesting way for us to be able to embrace accessibility to our story. And also, we have increased our experience repertoire to engage more high-end experiences, not private experiences. More demand for those. Okay. So we're delighted to say that we have the product in order to be able to do that. So that's exciting for us, you know, to be building into 2026. Great. Paul Marden: Thank you so much for joining us. I am the only thing standing in the way of you and a drink at the cocktail reception later on. So I think we should call it quits. Ray  Dempsey: And for sure. Paul Marden: If you enjoyed today's episode, then please like and comment in your podcast app. It really does help others to find us. Today's episode was written by me, Paul Marden, with help from Emily Burrows from Plaster. It was edited by Steve Folland and produced by Wenalyn Dionaldo. See you next week. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Von einer kleinen Tischlerwerkstatt im dänischen Billund zur bekanntesten Spielzeugmarke der Welt. LEGO hat eine beispiellose Entwicklung hinter sich. In dieser Folge sprechen Michi und Moritz über die Anfänge des Unternehmens, den Ursprung des Namens und die Erfindung des Klemmbausteins. Sie zeigen, wie LEGO mit dem „System of Play“ zur Weltmarke wurde, welche Bedeutung Serien wie Duplo, Technic und die Einführung der Minifigur hatten und wie LEGO sich in Bildung, Kunst und Popkultur etablierte. Doch auch die Schattenseiten kommen zur Sprache: von der schweren Krise Anfang der 2000er Jahre über Preisgestaltung, Lizenzkritik und Qualitätsdiskussionen bis zum teils schwierigen Verhältnis zur Fan-Community. Abschließend werfen Michi und Moritz einen Blick auf Alternativen wie BlueBrixx, Cobi oder Cada und fragen sich: Wo steht LEGO heute und wohin geht die Reise?

Von einer kleinen Tischlerwerkstatt im dänischen Billund zur bekanntesten Spielzeugmarke der Welt. LEGO hat eine beispiellose Entwicklung hinter sich. In dieser Folge sprechen Michi und Moritz über die Anfänge des Unternehmens, den Ursprung des Namens und die Erfindung des Klemmbausteins. Sie zeigen, wie LEGO mit dem „System of Play“ zur Weltmarke wurde, welche Bedeutung Serien wie Duplo, Technic und die Einführung der Minifigur hatten und wie LEGO sich in Bildung, Kunst und Popkultur etablierte. Doch auch die Schattenseiten kommen zur Sprache: von der schweren Krise Anfang der 2000er Jahre über Preisgestaltung, Lizenzkritik und Qualitätsdiskussionen bis zum teils schwierigen Verhältnis zur Fan-Community. Abschließend werfen Michi und Moritz einen Blick auf Alternativen wie BlueBrixx, Cobi oder Cada und fragen sich: Wo steht LEGO heute und wohin geht die Reise?

LEGO Masters are now found in Billund! Get double the points on LOTRs sets and find the golden ticket to win all the LEGO you want! (I wish) That and more on this week's short but great Bricking News episode!FOLLOW MY NEW INSTAGRAM: @backtwobrickSet Review: 76444 Diagon Alley Wizarding ShopsRebrickable Review: Roller Coaster HP Magical Creatures Motorbike Adventure Univerals Islands of Adventure by coasters.bricks.worldwide Willy WonkaDouble points LOTRIdeas Perfect VacationUNLIMITED RENEWABLE POWER!Black Pearl backorderMinifigures in WonkaStuart Harris to retireInsiders' points - time to use themBricklink Designer Program is open!Voyagers reviewLEGO Masters AcademyNew HQ in PhoenixBricklink & LEGO.com IntegrationThank you, Patrons! - Bellefonte Bricks Studio, Jimmy Tucker, David, Paul Snellen, Lee Jackson, Pop's Block Shop, Richael Rice, Steve Miles, David Support the showSee some of the designs I've built - REBRICKABLE.COMHead over to Back2brick.com for links to the latest LEGO set discounts!Support the podcast through our affiliate links AND join the Back 2 Brick Patreon!Have a question? Want to be a guest? Send me a message!backtobrick@gmail.comBack 2 Brick Podcast is not an affiliate nor endorsed by the LEGO Group.LEGO, the LEGO logo, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies. ©2025 The LEGO Group.

In dieser Folge tauchen wir tief ein in die Welt der Brandlands und Branded Attractions – also Erlebnisse, bei denen Marken zu echten Freizeitattraktionen werden. Von der Autostadt in Wolfsburg über das Legoland in Billund bis zur Ritter-Sport Schokowelt in Berlin: Ich zeige, wie Marken durch immersive Erlebnisse, kreative Gestaltung und persönliche Interaktion mit den Besuchenden ihre Werte greifbar machen.

“you could just fill that gap on that second shelf” [EMPT]    If you discovered Sherlock Holmes when you were young, you might still recall the joy of your first reading. The world of Baker Street is fun, so much so that some adults still extend the Great Detective's career with their own stories.  Many adults also enjoy LEGO as a nostalgic, relaxing, and creative outlet. That's why we were eager to talk to LEGO Group Design Master Antica Bracanov and Graphic Designer Crisy Dyment about their creation of the LEGO Sherlock Holmes Book Nook.  Joining us from LEGO's offices in Billund, Denmark, Antica and Crisy take us through the concept, the process, and the community of designers, engineers, and model-makers who brought it to life. You'll hear how the key moments and objects Sherlock Holmes fans will recognize were selected, and how they were adapted to fit LEGO's style and humor. You'll find there are some self-described “Sherlock Holmes nerds” on the LEGO team, too. Speaking of Sherlockian nerds (guilty), we share upcoming events for the first half of September in our "The Learned Societies" segment. Then, you will not want to miss this episode's Canonical Couplet quiz, which this time is . This episode's prize is a LEGO Sherlock Holmes Book Nook! Send your answer to comment @ ihearofsherlock.com by August 14, 2025 at 11:59 a.m. EST. If your correct answer is selected at random, you'll win!   Don't forget to become a  of the show on the platform of your choice ( | ).        Leave I Hear of Sherlock Everywhere a five-star rating on  and ; listen to us .     Sponsors  has a number of new Sherlock Holmes books out by various authors. You'll want to check out the breadth of their offerings by  to learn more.   Would you care to advertise with us? You can find . Let's chat!     Links (LEGO) (Barnes & Noble) Other episodes mentioned: The Learned Societies:  Find all of our relevant links and social accounts at .     And would you consider leaving us a rating and or a review on Apple Podcasts, Spotify, or Goodpods? It would help other Sherlockians to find us.   Your thoughts on the show? Leave a comment below, send us an email (comment AT ihearofsherlock DOT com), call us at 5-1895-221B-5. That's (518) 952-2125.    

En esta tercera parte de la gira por Europa, visitamos Suecia y Dinamarca. Desde la planta de camiones de Volvo en Gotemburgo hasta las oficinas creativas de Lego en Billund. En este episodio te platico sobre algunos aprendizajes sobre el modelo nórdico de capitalismo social, los retos actuales de estos países y su sorprendente interés por invertir en México. Un episodio lleno de datos, cultura, economía, negocios y visión global.

I denne uge skal vi blandt andet høre om magnetisme på Månen, exomåner i kredsløb om fjerne planeter, og et rumskrot-skjold på den kinesiske Tiangong-rumstation. Og i vores hovedhistorie sætter vi fokus på en helt aktuel politisk begivenhed, nemlig den høring om den danske rumstrategi, der fandt sted på Christiansborg her onsdag den 28. maj. Den var Erhvervsudvalget som sammen med Uddannelses- og Forskningsudvalget havde inviteret til det de kaldte "en åben høring om Danmarks rumstrategi med fokus på rumforskning, rumteknologi og de kommercielle muligheder, der ligger heri." Lyt med

Lust bekommen auf das LEGO® SERIOUS PLAY®-Barcamp am 13.05? Last Minute bekommt ihr 50% Rabatt auf das Ticket, wenn ihr euch zu zweit anmeldet. Melde dich dafür bei Konstantin Eckert oder bei mir - David Hillmer. Zum Beispiel auf LinkedIn oder per Mail an david@helloagile.de In dieser Episode wurde es spielerisch und gleichzeitig hoch spannend: Ich sprach mit Ludwig Maul, Senior Innovation Coach bei Bosch und ehemaliger Senior Designer bei LEGO in Billund. Unterstützt wurde ich dabei von meinem HelloAgile-Kollegen Konstantin Eckert, Unit Lead unserer LEGO® SERIOUS PLAY®-Unit. Gemeinsam tauchten wir in die Welt der Spielzeuge ein – und entdeckten, was wir daraus für die Arbeitswelt lernen können: ✨ Wie radikale Nutzerzentrierung aussieht, wenn Kinder die Haupttester sind. ✨ Warum Co-Creation durch Spiel oft bessere Innovationen hervorbringt. ✨ Weshalb emotionale Werte wichtiger sind als klassische Produktanforderungen. ✨ Wie Agilität bei LEGO gelebt wird – offen, ehrlich und manchmal chaotisch. ✨ Und: Warum ein "Play Mindset" nicht nur bei LEGO, sondern auch in Unternehmen ein echter Gamechanger sein könnte. Neben spannenden Einblicken aus Ludwigs Zeit bei LEGO sprachen wir über Rapid Prototyping, kreative Experimente im LEGO Creative Play Lab, die Rolle der Digitalisierung im Spiel und darüber, was Unternehmen erreichen könnten, wenn sie Arbeit wieder spielerischer denken.

What makes people want to go to museum? How can they ensure they still remain relevant? I spend a lot of my time in museums.  They inspire me, inform me and put me into mindsets I wouldn't otherwise be in.  So I wanted to learn more about them.Episode Summary On this episode, I sit down with Matthew McNerney, Chief Creative Officer of Luci Creative, to explore the hidden psychology behind museum design. Matthew has worked on everything from the Lego House in Denmark to presidential libraries, science museums, and even the NASCAR Hall of Fame.Together, we dive into the ways museum spaces are meticulously crafted to shape how we learn, feel, and interact with history, culture, and ideas. We also discuss the challenges museums face today—from declining visitor numbers to evolving audience expectations—and what it takes to design experiences that are both educational and entertaining.Along the way, Matthew shares fascinating insights from his career, from how a single professor changed the trajectory of his life to the unexpected lessons learned from working on hospital play spaces. If you've ever been inspired by a museum visit or wondered why some exhibits engage while others fall flat, this conversation is for you.Guest Biography: Matthew McNerney Matthew McNerney is the Chief Creative Officer at Luci Creative, a museum and brand experience design firm that works at the intersection of curiosity and change. His work spans a vast array of projects, from designing experiences for the Lego House in Billund, Denmark, to working on presidential libraries, science museums, and the NASCAR Hall of Fame. Matthew's career in museum design began in an unexpected way — he originally considered becoming a wedding designer before a professor introduced him to the world of exhibition design.Since then, he has spent over 20 years in the field, crafting experiences that spark curiosity and create lasting impressions. His work is deeply influenced by behavioral science, storytelling, and the psychology of engagement, all of which help him transform physical spaces into immersive learning environments.Beyond museums, Matthew has also worked on brand experiences, including designing retail environments for New Balance and flagship stores for Tiffany & Co. His expertise lies in creating multisensory experiences that connect people with content in compelling ways. AI-Generated Timestamped Summary[00:00:00] Introduction[00:01:00] Introducing Matthew McNerney and his work in museum design[00:02:00] How Matthew got into museum design—pivoting from wedding planning[00:06:00] The role of museums in shaping collective memory and conversatio[00:08:00] How museums balance education and entertainment[00:11:00] The variety of projects Matthew has worked on, from LEGO to NASCAR[00:14:00] The complexity of designing exhibits that engage diverse audiences[00:17:00] Museums as the most trusted institutions—but with declining attendance[00:19:00] Competing for attention: Museums vs. other forms of entertainment[00:24:00] The challenges of working with subject-matter experts and overcoming "the curse of passion"[00:29:00] The Mona Lisa effect—why some artworks become pilgrimage sites[00:32:00] Designing for different visitor experiences and expectations[00:37:00] Using behavioral science to map visitor engagement strategies[00:40:00] The hidden barriers that stop people from visiting museums[00:45:00] The challenge of curating history while staying objective[00:50:00] Creating curiosity: Making museums a launchpad for deeper exploration[00:53:00] How Lego taught Matthew a lesson about designing for engagement[00:55:00] Gamifying museum experiences—how the Cleveland Museum of Art makes learning fun[00:57:00] The risks and security challenges of modern museum spaces[01:00:00] Matthew's favorite museum recommendations[01:02:00] Where to find Matthew's work and final thoughtsLinks & ReferencesLuci Creative – https://lucicreative.com/Matthew McNerney's Website – https://matthewmcnerney.com/Lego House, Billund, Denmark – https://www.legohouse.com/Tenement Museum, New York – https://www.tenement.org/Micropia, Amsterdam – https://www.micropia.nl/en/Cleveland Museum of Art – ArtLens Exhibit – https://www.clevelandart.org/artlens-galleryPrevious episode of the show featuring Professor Tom Schössler talking about museum innovation - https://www.humanriskpodcast.com/professor-tom-schossler-on-deploying/

10354 The Lord of the Rings: The Shire And we are back. We'd like to thank you for your your ongoing support, but if you are a first time listener - Welcome. After a chat about Jay's upcoming trip to Star Wars Celebration, we launch headlong into a discussion about 10354 The Lord of the Rings: The Shire. The latest LEGO® ICONs set to depict a location from The Lord of the Rings was released this week, and we both had the chance to put it together and gather some thoughts. Richard's initial thought (as well as the tale of how he discovered The Lord of the Rings) can be read here: https://ramblingbrick.com/2025/03/26/a-long-awaited-party-10354-the-shire-revealed/ If you are on the fence about purchasing the set, you can listen to our thoughts about its strengths and weaknesses. We had the chance to catch up with Model designer Kenyon Brady and Graphic Designer Ashwin Visser, a small part of the overall team that designed this set, at the Fan Media days in Billund last year. It was great to hear their insights into the set, and understand some of the thinking that went into the final design of the set. You can read our reviews on our blogs at Jay's Review: https://jaysbrickblog.com/reviews/review-lego-10354-the-shire-bag-end/ Richard'‘s Two part review: https://ramblingbrick.com/2025/03/28/10354-the-shire-minifigures/ https://ramblingbrick.com/2025/04/02/10354-the-shire-part-2-the-build/ Of Course, there is a gift with purchase: possibly the darkest scene depicted in a LEGO set - 40761 Sméagol and Déagol. You can read our reviews here: https://ramblingbrick.com/2025/04/03/40761-the-lord-of-the-rings-smeagol-and-deagol-hands-on-review/ https://jaysbrickblog.com/reviews/review-lego-40761-smeagol-and-deagol-gwp/ Thanks for joining us, and if you have enjoyed the show, please leave a 5 star review to help other fans find the show. You support means the world to us. Thanks to

In this weeks episode: Kev is clambering over buildings; Anna is clambering over buildings; Pab is clambering over buildings and Sheepdog is one shotting everything. All this and much more on episode 597 of MGP!If you have any messages or questions for the gang then send them over to : Mgukpodcast@gmail.comKev now has an affiliate link with The Lego Store so if you do all your Lego shopping through this link you'll be helping ol' Kev out:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://blockpartyuk.shop/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kev also has an affiliate link with CDKeys; so if you want the latest PC/ console games at low prices click the link below:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://bit.ly/CDKeyslollujo

Lego er for alle - uanset, alder, køn, race og religion. Sådan har mantraet lydt i årevis fra legetøjsgiganten i Billund. Men i deres seneste årsrapport og bæredygtighedsrapport er alle spor om diversitet, ligestilling og inklusion fjernet. Det samme er de klare mål, der nu erstattet med ambitioner. Lyt til denne Finans Lyn-analyse, og bliv kloggere på, hvorfor Lego udadtil har valgt at fjerne afsnit, der tidligere blev set som centrale dele af selskabets værdier og kultur - og om udviklingen i USA spiller en rolle. Gæst: Iben Schmidt, journalist, Finans. Vært: Mads Ring. Producer: Mads Ring. See omnystudio.com/listener for privacy information.

Verdens første LEGO Festival kommer til LEGOLAND i Billund Helgi Sigurdsson Entertainment & Events Manager, kan her fortælle hvornår den kan opleves.

Folge 1/4: Die bunten Steine von Lego sind weit mehr als nur ein Klassiker im Kinderzimmer. Sie sind längst ein weltweites Symbol für Kreativität. In unserer neuen Staffel erzählen wir die faszinierende Geschichte hinter dem legendären Spielzeug. Diese Geschichte beginnt in den 1930er-Jahren, als Ole Kirk Christiansen eine kleine Holzspielzeug-Werkstatt in Billund gründet. Trotz Wirtschaftskrise und gegen den Willen seiner Familie. Die ersten Lego-Bausteine aus Plastik erweisen sich nicht als der erhoffte Erfolg. Womöglich, weil sie die Steine eines Konkurrenten kopieren...Folge "Kampf der Unternehmen", um keine Folge zu verpassen.Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

The Danish toy brand Lego may be celebrating its 91th anniversary in 2023, but it's showing no signs of slowing down! An average of 31 billion bricks are sold each year around the world, and the company appeals to a wide range of people.  Back in 1932, in the small Danish town of Billund, carpenter Ole Kirk Christiansen decided to expand his business by building small wooden toys. A couple of years later, Christiansen chose the name Lego, as an abbreviation of Leg Godt, which means “to play well” in Danish. It was only after the second world war that Lego started producing its first plastic bricks, when the material became more widely available in Denmark. How did Lego start out? How did Lego stay so strong over the years? What about Lego's environmental footprint? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: How to make the most out of a rental property? What is CoreCore, the latest aesthetic taking over Tiktok? How can I meditate without meditating? A Bababam Originals podcast, written and produced by Joseph Chance. First Broadcast: 12/3/2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

Vi er i godt driv i 2025, og ukens episode spilles inn mandag 27. januar. Vi har nye flyselskap, nye fly og ikke alt går som planlagt. men først skal vi selvsagt snakke om Dornier 328! Velkommen ombord på flight 328!Dornier 328 Deutsche Aircraft D328ecoUlykkesflight 328: British Airtours 328 Uhellsflight 328: United 328 AKTUELT: Avinor-statistikk uke 3 (+6%) Air Greenland vil supplere flåten med A320neo SUA - nytt flyselskap i Uruguay Ryanair legger ned Billund-basen (igjen) Airbus legger ned Airbus Beluga Transport SAS skal installere Starlink internett ombord

Det er godt 92 år siden, at Ole Kirk Christiansen fik ideen til klodsen, som han kaldte Lego. I dag er virksomheden fra Billund verdens ubetinget største legetøjsproducent og samtidig et af verdens stærkeste brands. Hør den fascinerende historie om Lego i Finans Weekend. Og hør, hvordan det næsten gik galt for 20 år siden, og hvorfor legetøjsproducenten i dag formår at tage markedsandele og vokse markant, mens konkurrenterne kæmper. Gæst: Lone Andersen, journalist, Finans. Vært: Mads Ring. Producer: Kasper SøegaardSee omnystudio.com/listener for privacy information.

Eine neue Ausgabe unseres Seniorenmagazins ging am Freitag, dem 3. Januar, wieder live auf Sendung und wir hatten interessante Beiträge vorbereitet. Jetzt könnt ihr die Sendung in unserer Audiothek nachhören. Zunächst berichtet Klaus-Peter über das Projekt „Oma, Hund & Co“ , bei dem Seniorinnen und Senioren Kinder im Friedrich-Ebert-Krankenhaus betreuen, um ihnen den Aufenthalt erträglicher zu machen. In unserer Rubrik „Mit Enkelkindern unterwegs“ erzählt Brigitte von einem Besuch mit zwei Enkelkindern im LEGO-Haus in Billund und den vielen Aktivitäten, die dort angeboten werden . Eine besondere Empfehlung unter unseren Sendungen ist immer die Kolumne von Jochen Korte. Diesmal geht es um die Gendersprache. Seid gespannt! Wie immer haben wir die aktuellen Nachrichten und Tipps für die Audiotheksausgabe heraus geschnitten. Dazwischen spielen wir wie immer die Musik, aus rechtlichen Gründen gekürzt.

Patrick & Marco tauschen sich über ihre Erfahrungen mit LEGO aus. Die #Lego A/S (auch The LEGO Group, Eigenschreibweise: LEGO) ist ein #dänisches Unternehmen mit Sitz in #Billund und gehört zu den drei größten #Spielwarenherstellern der #Welt nach Erlös und ist 2020 der größte nach Umsatz. Das Unternehmen wurde durch die mittlerweile als Spielzeugklassiker geltenden #Legosteine bekannt, bei denen es sich im Wesentlichen um ein #Baukastensystem handelt, in dem Häuser, Fahrzeuge und anderes aus farbigen #Kunststoff-Klemmbausteinen und -Steckbauteilen gebaut werden können. Es werden vor allem #Bausätze verkauft, die man zu vorgegebenen oder selbsterfundenen #Modellen zusammensetzen kann. 

September's Super LEGO sets! Welcome back! This is Richard and Jay's final episode recorded in Australia before we both head off to Billund, Denmark for Fan Media Days 2025. We'll be interviewing and chatting to LEGO Designers, so let us know if there's any specific questions you'd like us to ask! In today's episode, we cover some of the recent September 2024 releases! Sets discussed include: LEGO Legend of Zelda: Great Deku Tree 2-in-1 The Nightmare Before Christmas Harry Potter: The Burrow 71486 Castle Nocturnia 71484 Coopers Robot Dinosaur C. Rex We hope you enjoy the episode. We love your feedback: please leave a review or comment on your favourite podcast platform, or get in touch with us via @extrapiecespod And if you are at The AFOL Day at the LEGO House, or Skaerbaek Fan Weekend next weekend, tap us on the shoulder. We might have some tiles to give away.

Ein Park mit Klemmbausteinen als Hintergrund und dabei kuriose Fahrgeschäfte? Klingt fast nach einem Park in Billund oder Windsor - wir bleiben aber sehr regional. Schauen wir an den Rande Niedersachsens finden wir nämlich das Rasti-Land. Der Park hat in 2023 seinen 50. Geburtstag gefeiert und ist mit vielen seiner Eigenarten fast schon exotisch. Was den Park so exotisch macht und woher der Name Rasti-Land eigentlich kommt - erzählt uns der Inhaber Steffen Ratzke im Interview.

In this episode we're going to Billund, a charming town in Denmark which truly has something for all ages. From playing with futuristic robots and designing your own toys at LEGOLAND Billund Resort, to lounging on sandy beaches and cycling through ancient forests, you'll be anything but bored in Billund. Behind the PageJenny Eaves, mum of two and writer of the popular Monkey and Mouse blog, reminisces on her trip to Billund and LEGOLAND Billund Resort with her sons. Did you know you can find rollercoasters, robotic arms, and pirate ships at LEGOLAND Billund Resort? And that's just the tip of the iceberg!Find Jenny on Instagram @JennySEaves or online at MonkeyAndMouse.co.uk. 20 Questions: Top 5 EditionHear from mum of five and seasoned traveller Laura Dove as she breaks down the Top Five must-see sights of  LEGOLAND Billund Resort. As a sneak peek, the list includes one of the largest slides in Denmark...and maybe even some cheeky monkeys!  You can find her on Instagram @FiveLittleDoves or online at FiveLittleDoves.com. Then, hear from expert travel writer and mum Laura Hall as she shares the Top Five attractions to do in the greater Billund Area. This list includes multiple Viking cultural sites (yes, there is dress-up involved!) as well as something called a Seaweed Safari. You'll have to listen to find out! Find Laura's work on her website at HelloLauraHall.com. Mama Knows Best...Live!We catch up with mum Joanna Peñaranda - in a special live recording during her visit to LEGOLAND Billund Resort! - for on-the-ground thoughts, tricks, and tips from somebody who's close to the action. Listen closely and you'll also hear from her adorable four-year-old twins, Sylvia and Oriol...they particularly love the new Peppa Pig play area.Bedtime StoryWe finish with a sweet, playful fairytale, inspired by the LEGOLAND Castle Hotel. Close your eyes and listen as Aaron whisks you away to a faraway land full of delightful sunny afternoons and starlit summer nights spent laughing together. PLAN YOUR TRIPFor more information on visiting LEGOLAND Billund Resort, go to Legoland.dk.Thank you to Visit Denmark for supporting this episode. Go to VisitDenmark.com for more information about planning your next Denmark trip to Billund and beyond. CREDITSThis show was written and produced by Jenny Allison. It was hosted by Aaron Millar, award-winning travel writer and not very award-winning dad of two. Find more of their work at armchair-productions.com.Brought to you by Family Traveller magazine, the global voice of authority on family travel.

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden, CEO of Rubber Cheese.Fill in the Rubber Cheese 2024 Visitor Attraction Website Survey - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcast.Competition ends on 3rd July 2024. The winner will be contacted via Twitter. Show references:Lego House in BillundSutton Hoo (National Trust)Sutton Hoo at the British MuseumThe Dig on NetflixSutton Hoo mask on Lego IdeasThe Dig: Lego version of Sutton Hoo treasure 'amazing' (BBC News)Events at The Hold IpswitchAndrew Webb is a LEGO enthusiast who uses bricks in outreach programmes for teams and organisations as diverse at Arm, Pinset Mason, The National Trust, English Heritage, and the Scouts. During the UK's second Lockdown in early 2021, He made the 1500 year old Sutton Hoo Helmet out of LEGO bricks and submitted it to LEGO Ideas. The build achieved international media coverage, and has since been donated to the National Trust. Andrew continues to help attractions and institutions with LEGO programmes. By day, he works as a global head of content marketing for a B2B tech company. Find out more at http://teambuildingwithbricks.com Transcription:  Paul Marden: Welcome to Skip the Queue, a podcast for people working in and working with Mister attractions. I'm your host, Paul Marden. Today I'm talking to Andrew Webb. By day, Andrew is a content marketer for a tech firm, but in his spare time helps attractions to use Lego as a tool to attract and engage diverse audiences and enable them to interpret history and culture. We're going to talk about what it means to be an building, a model of anglo saxon helmet, and the 24 skills that are used when building with Lego. Paul Marden: So welcome to the podcast. Andrew Webb: Thank you. Paul Marden: On Skip the Queue, we always start with some icebreaker questions that you know nothing about. So let's launch into a couple of those. Book and a pool or museums and galleries for your city break. Andrew Webb: Museum and galleries.Paul Marden: Yeah. I'd expect nothing less given what we're about to talk about. This is one from one of my colleagues, actually, who is really good at icebreakers whenever we do a team building eventually. So he said, “Would you rather have it and lose it or never have it at all?”Andrew Webb: Oh, gosh, I'll have it and lose it for sure. Paul Marden: Yeah, gotta be. That one's from miles. Say thank you, Myles. That was a cracker. Andrew Webb: Do you remember the word there was a great one. Would you rather eat ten donuts or raw onion? Paul Marden: Oh, ten donuts, hand down. I could easily do that. Andrew Webb: I'd get onion. I'd get onion. Every time I would take an onion over ten donuts. I'd be sick after ten donuts. Paul Marden: Oh, no, I reckon I could take that. No problem. Andrew Webb: Okay. Paul Marden: Okay. So we're going to talk a little bit about your adventures in Lego over the last few years. So why don't we kick off and talk a little bit about your original interest in Lego? Because I know it goes back not a long way, because that would be rude. But it goes back to a few years ago, doesn't it? Andrew Webb: It does. I mean, like most people growing up in what we might loosely term the west, I had like, I was a kid, you know, I think most of us grew up with it like that. And then like, you know, growing up in that first age of plastics with Heman, Transformers, Lego, Star wars, all of that sort of stuff. Paul Marden: You're just describing my childhood. Andrew Webb: It's funny because that was. It was all sort of ephemeral, right? I mean, the idea was that the reason why that boom happened, just to dwell on why they're going plastic things. Before that, toys were made out of either tin or wood. So, you know, they were very labour intensive produce there's certainly injection moulding comes along and we could just have anything coupled with the tv shows and the films and all this sort of stuff. So we all grew up in this sort of first age of disposable plastic, and then it all just gets passed down as kids grow up. It gets given away, gets put in the loft and forgotten about. There's a moment when a return of the Jedi bedspread doesn't look cool anymore, right? You hit about 13, 14 and you're like, “Mom, I really want some regular stuff there.”Andrew Webb: So like everybody, you know, I gave it all away, sold it and whatever, but I kept onto my lego and then fast forward, you know, I become a parent and Lego starts to come back into my life. So I'm sort of at a stage where I'm working for a travel startup and I get a press release to go to the Lego House, which if no one has heard about it, where have you been? But also it is a fantastic home of the brick, which Lego built in, opened in 2016. And it is a phenomenal temple to Lego. Not in terms of like a Legoland style approach with rides and things like that, but it's all about the brick and activities that you can do in a brick. Andrew Webb: There is great pools and huge pits of Lego to play with there, as well as displays and all this sort of stuff. They've actually got a Lego duplo waterfall.Paul Marden: Really? Andrew Webb:  Oh, I mean, it's a fantastic attraction. And the way they've done it is just incredible. So they blend a lot of digital things. So if you make a small fish and insert it into this thing, it appears in the tank and swims around and this sort of stuff and the way you can imprint your designs on things. I should just quickly tell you about the cafeteria there as well, just really quickly. So the cafeteria at the Lego House, everyone gets a little bag of Lego and then whatever you build and insert into this sort of iPad sort of slots type thing, and that's what you're. Andrew Webb: So a pink brick might be salmon, a yellow brick might be chicken, whatever, and you put it all in and it recognises it all and then it comes down a giant conveyor belt in a Lego. Giant Lego box and is handed to you by robots. I mean, mind blowing stuff. This is not like with a tray at the National Trust place or somewhere like that for us to come. It is a technological marvel. Absolutely fascinating. So, of course, on the day went, it was a press preview, so there was no canteen workers, so there was no food in the box when me and my daughter, so went without that data, was a bit disappointed. Andrew Webb: But that started that whole reappreciation of Lego, both as a toy to play with my daughter, but also as a way of using Lego in different ways. And that manifests itself in lots of different things. So currently, now, you know, fast forward a little bit. I use Lego for team building exercises, for workshops, for problem solving with organisations, and also just for having fun with adult groups as well as kids. And I think one of the biggest things we've seen since this kind of started around 2000s with the sort of adults reading Harry Potter, do you remember that was like, why are you reading this children's book type of thing? Paul Marden: Yeah. Andrew Webb: And then all the prequel Star wars films came out and Lego made sets about both those two things. And it kind of. I mean, Bionicle saved the company, as only AFOL will know, but it started that whole merchandising thing and adding Lego into that firmament of IP. Right. And we fast forward now, and it's Marvel and Star wars and everything. Paul Marden: You just said AFOL. I know what an AFOL is, but many of our listeners may not know what AFOL is.Andrew Webb: Just to go for acronyms here. So an AFOL is an Adult Fan of Lego. And we've seen actually Lego in the past five years, even earlier. I mean, Lego always had an adult element to it. And one of the original founders used to use it for designing his own house. And there was a whole architectural system called Molodux. So it's always had that element to it. But just recently we've seen, you know, almost retro sets. So we see the Lego Atari 2600 video game system from 1976, which, yeah. Paul Marden: An original NES wasn't there. Andrew Webb: Exactly. NES that's come out. I've got a Lego Optimus prime back here for transformers, you know, all that kind of stuff. So with what's been really interesting is this kidault or whatever, however, call it. And I think that's really fascinating, because if we think about Lego as a toy, we are rapidly approaching the age where we might have three generations of people that have grown up with Lego. Lego first came around in the very late ‘60s, early '70s. And so it's not inconceivable that you might have three generations that had Lego as a child, especially if you grew up in Denmark. A little bit different when it would come to the rest of Europe as they expanded out. So I get to this point, and I'm getting into Lego and doing all this sort of stuff. Andrew Webb: And then, of course, COVID happens and then lockdown happens and we all think the world's going to end and no one knows. Everyone's looking for hobbies, aren't they? They say you were either hunk, drunk or chunk after lockdown. You either got fit, got fat or got alcoholic. So try to avoid those three things. And, you know, everyone's looking for stuff to do, so you have so much banana bread you can bake. And so I stupidly, with my daughter's help, decided to make the Lego Sutton Hoo helmet, the 1500 year old Sutton Hoo helmet found at Sutton Hoo in Suffolk, now in the British Museum. Out of Lego, as you do. Paul Marden: I mean, just exactly. Just as you do. So just a slight segue. I was at the National Attractions Marketing Conference yesterday and there were two people presenting who both talked about their experiences of wacky things that they did during lockdown. There was one person that opened a theatre in her back garden and had various different stars just randomly turn up in her backyard up in North Yorkshire. And you choose to build a Lego Sutton Hoo helmet.Andrew Webb: Lockdown, there will be a time, I think, as we look back, tragic though it was, and, you know, a lot of people died, but it was that moment when society sort of shuffled around a bit and people sort of thought, “Well, if I don't do it now, why not?” People were launching bakeries in their kitchens and serving their community and like. And that element of it. And so people have that. The good side of that, I suppose, is that people did find new outlets of creativity. And Joe Wick's yoga class is in their front row walking groups, you know, all this sort of stuff and beating beaten horsemans and learning to play the violin and dust and stuff. Suddenly we all had to find hobbies because we're all just in. Andrew Webb: No one was going to restaurants, no one's going to bars, no one's going to gigs, nightclubs, theatres. We like to make entertainment at home. It was like the middle ages. So I decided to build the Lego Sutton Hoo helmet, as you do. And so I start this in lockdown, and then, like, I get wind that Netflix is making a film called The Dig. And The Dig is all about, I think it's Lily James and Ray Fiennes in it, and it's all those other people. And it's all about when they found theSutton Hoo helmet. And the guy who found it was called Basil Brown, and he was asked by Edith Pretty, who owned the land, to excavate these humps in the ground that were on her estate. Paul Marden: Okay, so she owns this big estate, in Suffolk, right? And, so she can clearly see there's burial mounds in the back garden, but doesn't know what's in them. Doesn't have any clue that there's treasure locked up inside this. Andrew Webb: I'm not even sure she knew there were anglo saxon burial maps since it was. Paul Marden: They were just lumps of ground in the garden. Andrew Webb: Yeah. I mean, she may have had inkling and other stuff I've turned up over the years and whatever. And some of them were robbed sort of georgian times around then. So some people knew what they were and they were somewhere excavated and gold was taken to fund the polynomial wars and whatnot. But she asked Basil Branson, he was like an amateur archaeologist, right? And so he was just like this local guy would cycle over and do. And the film goes into all that, and the film kind of portrays it as working class. Basil Brown should know his place against the sort of British Museum who are sort of the baddies in this film who think they know what. And of course, this is all set against the backdrop of war. So they escalated it all, then they had to rebury it. Andrew Webb: And then it was used as a tank training ground, so lots of tanks rolled over it. So it's a miracle anything was ever found. But when he did find the Sutton Hoo, who told me and a bunch of other things, clasp brooches, shields, weapons and whatever, when he did find it, so people think it kind of popped out the ground as a helmet, but it didn't. And if you look at the photos, it came out the ground in hundreds of pieces. Paul Marden: Oh, really? So you look at this reconstructed mask that's now in the British Museum, and you think, “Oh, so they just found that in one piece,” lifted out as if it was a Lego hat, you know, for a minifig. In one piece? No, not at all. Andrew Webb: It was actually more like a big parlour Lego in the fact that it was just in hundreds of thousands of pieces. And so there was the first guy to have a go at it was an elderly architect at the British Museum who was, I think, blind in one eye. And he had a go at putting it all together. And he used an armature and clay and pins and whatever, put it all together and said, “Yes, I think it was this.” And then actually it wasn't. He got it all wrong. Lots of different pieces after some more research, and then it falls to this. Nigel Williams is another sub architect, and he was famous for. Andrew Webb: There was a famous Portland vase that was broken in a museum by someone pushing it over as a sort of what you might call, like a just stop oil type of protest now, I can't remember what the call was, but someone smashed an exhibit. And he had painstakingly pieced all this together. He was a total dapper dude. Three piece suit, Chelsea boots, proper swinging sixties, and he had to go and put it all together. His version is the one that's in the British Museum, but he was a massive jigsaw fan. And if you think about Lego, what it is a 3d jigsaw. You get a bunch of pieces and you have to make. Make it into a 3d sculpture. So that was one reason, the dig was the other reason. Andrew Webb: The third reason was that the relationship between East Anglia and essentially Denmark and Billand and Anglo Saxon and Jutland and all that area, I'm talking like Vikings and Anglo Saxons and invasions and all this kind of stuff against the native British, there is essentially a relationship between East Anglia, a trade relationship and a conquest relationship between them. So I built this thing and I frantically put it together and I'm late nights and just losing my marbles trying to get this thing to work. Because Lego is not designed to make, like, spherical shapes, necessarily. It's quite blocky. Right. Everyone knows this. It's the square. Paul Marden: Really easy to make a car, really easy to make a house. A spaceship. Andrew Webb: Houses. Brilliant. Yeah. Square stuff is fantastic. But baking, not only a sort of a semicircle, but a hemisphere, which is what essentially a helmet is. Is even harder because you have to get the Lego to bend in two directions. And so a lot of work went into that just to get the actual face piece came together quite easy. And there was once I had the scale of the pieces under the eyes that formed that sort of thing, and then I could build the nose and face. Ideally, it was going to be so that I could put it on my head. I've actually got a massive head. So in the end, I had to realign that and sort of make it into this sort of child sized head. Paul Marden: But it's a wearable thing, right? Andrew Webb: It is. It is wearable. I mean, at one point, it was probably more fragile than the one in the British Museum because it just kept dropping to pieces. So there's a lot of sub plates that are holding together the outer plate. So it's actually sort of. So just quick Lego terminology here. So bricks, obviously are bricks. The flat things with bubbles on are called plates and then the smoother ones are called tiles. Okay. And used a combination of these to create. There's also a technique called SNOT, which stands for Studs Not On Top. We love acronyms in the Lego community. Right? Paul Marden: Completely.Andrew Webb:  So if you say, “Oh, man, I'm an AFOL covered in SNOT,” people know what you want to know what you mean. So after a night in the tiles, I got covered. Yeah. Andrew Webb: Anyway, so I make the helmet, I make the thing, and then, you know, I get a lot of support from the National Trust, specifically East of England National Trust and Sutton, who site itself because it's there. It's their crown jewels. The British Museum, not so much, because they was like, we've got a billion exhibits here. No, it's just one of them. When you've got the Tippecar moon and the Rosetta stone, it kind of pales into significant. But actually, they were helpful. And one of the curators there, who was on Twitter, who sent me a link to some 3d photos, because if you. If you google it's all pictures at the front. That's fantastic. But what does the back look like? Paul Marden: Oh, right, okay. Andrew Webb: So actually, buried deep in the British Museum's website, in their research department, under a filing cabinet, in the back of a server somewhere, are some quite technical photographic images of it, turning every sort of 30 degrees so that. That it's documented as to what it looks. Because you got to remember that everything on the helmet is symbolic of various different things. There is symbols that mean there's a guy on a horse who's sort of fighting and all this sort of stuff. And it all has quite a lot of meaning. I can occur from different parts of history as well. So there's some sort of roman influencing things there and symbols. And so this whole thing is designed to be not only a battle helmet, but it is also because, remember, crowns haven't been invented yet. Crowns are a later mediaeval sort of invention. Andrew Webb: So this is both a symbol of authority, headwear, like a crown, but also a weapon or a piece of defensive armour and equipment. So it has several functions in its life. So it's quite a complex piece of equipment, that this symbol of authority. So I make all this and then I also submit it to a thing called Lego Ideas. So Lego Ideas is a fantastic programme where anybody in the world, members of the public, can submit Lego Ideas, right? And they go onto a website. There's certain criteria, they have to meet a certain checklist, but then the rest of the public can vote for them. So, I mean, if Taylor Swift just stuck together a load of blocks and said, “Vote for this,” she probably hit the 10,000 threshold instantly. Andrew Webb: But I'm not sure Lego would necessarily take that forward as a build. So there is a judging panel that. But actually, some of the most recent really fantastic sets have come out of Lego Ideas. Members of the public, and they're designing things that the Lego designers wouldn't have thought of themselves. So I think that's been kind of interesting. Sadly, Paul, we didn't make the 10,000 threshold. We did a lot of media coverage. By then, lockdown was over and were sort of getting back to our lives and all this sort of stuff. And my daughter was entering her dark ages. And so it sat in my studio for another sort of year and a half and I thought, “What am I going to do with this?” And so in the end, I thought, “Well, you know what? It's gathering dust here. I'm fed up with it, dustin it.”Andrew Webb: And so I actually approached Josh Ward at the National Trust at Sutton Hoo, who has been a fantastic advocate for Lego and for this particular project, and I have to thank him immensely for that. And they got some money and some funding to build a cabinet and also to house it. So I donated it to National Trust and it is now on display there as part of their firmament of interpretational trail. Paul Marden: That must feel pretty good fow you. Andrew Webb: Yeah, it is quite good looking in there and watching kids go, “Wow.” Because Lego is one of those things instantly recognisable for kids. But certain hill as a site is quite complex for children to contextualise because essentially it's several mounds in the ground. And the helmet itself is at the British Museum. Right. They've got a replica built by the royal armouries. There were several of those. They've got those. They have loads of dress up, they have great explainers and videos and they do a lot of work to show the size and shape and things as a cast iron sculpture, to represent the boat, to show just how big it was when it was pulled up from the sea, because he's buried in a boat. So do a lot of that work, sort of that sort of work as well. Andrew Webb: But having this extra funding in the. They opened up Edith's pretty's house now, and having this room where we've got some other things as well, like crayons and paper and other tools and drawings and colouring in and Lego and big chest of Lego just helps, particularly smaller children who, by the time they've walked from the car park around the site, and it has probably flagged it a little bit. And so just providing that little support for them, it's been a fantastic way to contextualise and another way to interpret that. And I think more and more venues could look into that. When you think, well, how else can we add stuff, particularly for children to help tell the story of this place? Paul Marden: Yeah, absolutely. Absolutely. We went to. It was half term last week and went to the City Museum in Winchester. So they've got some mediaeval, they've got some Roman finds there, and there was lots of fun, but they had. It was full of lots of ways for kids to engage, so there was trails to go around, there was colouring in, make your own mediaeval shield. And all of these things are ways that, you know, my ten year old could engage with it because there's only so many glass cabinets of stuff dug up from the ground that she actually wants to look at. Andrew Webb: I mean, I love. I love pit rivers, right, in Oxford, my favourite museum. Paul Marden: It's crazy, isn't it? I love it. Andrew Webb: But basically, he just went around the world nicking stuff. Right, but as a collection of objects, It's fantastic. Paul Marden: It's deeply unnerving. Andrew Webb: Sorry, sorry if any pit rivers curators are listening there, nick, and stuff about it, but, it is my favourite museum because it's just for kids. It's probably really kind of like, how do you tell that story? I also think there was an article in the garden recently that, you know, the cost of living crisis as well. Parents are looking for value solutions now and so I think it wasn't Peppa Pig World, it was Paddington World. And a family ticket is 170 pounds. That is a huge dent in the family finances for a 70 minutes experience. If you are watching the pennies, if you can afford that and save up for it, whatever. And I know these things are, you know, memory making and all that sort of stuff, and I've been to Harry Potter with my daughter. Andrew Webb: That is not cheap, but it's a fantastic day out because once you're in, you spend the whole day there. If you take a packed lunch, you can save a lot of money on that, on the thing. But I suppose what I'm saying is that, you know, our museums and galleries, particularly traditionally, the what you might call free spaces, public spaces, are facing unprecedented demand in terms of parents looking for cost effective value days out, as well as funding being cut from central government and that sort of. So they have to do a huge amount with less and less for a bigger audience. And that is a strain on any institution and things like that. Other examples of places that get this. Andrew Webb: So obviously with the Sutton Hoo helmet, the hold in Ipswich, which is Suffolk Council's kind of flagship museum in the county town of Ipswich, but instead of calling it, you know, the Museum of Suffolk, they've called it The Hold, which is a reference to the fact it's on, I think it's either because it's on the shore or it's doing sheep, I'm not sure anyway. But a fantastic space, contemporary modern space  had a Lego exhibition a few years ago, borrowed my helmet, had some Lego exhibition stuff to do. And the good thing about that is when these teams have to do quite a lot of comms marketing and, you know, that has a cost as well, but often you see different demographics than perhaps would normally go to a stones and bones museum, if you know what I mean. Right. Andrew Webb: You'll see that it makes it more accessible to the community and to different people who don't like going and looking at the Magna Carta or whatever. For some kids, a day at the British Library is fantastic. Look at all these old books for more, maybe more boisterous children. That's probably not a really great idea. So I think galleries can take a leaf out of this and think, or museums or any institution really can take a leap out of this and think, “How can we do more for less? And what tools can we have that perhaps we haven't considered before, like Lego, as a way to open up our interpretation and our offering?” So this could work in Museum of Docklands, for example. This could work in the royal armouries. Andrew Webb: There's lots of places where if you looking to improve your children's offering that some form of lego, I mean, it ends up all over the floor, it ends up being taken away. Sometimes you've got to watch out for things like that. But that's why I always recommend, like, just the basic blocks and plates, not minifigures and stuff like that, because, you know, they just end up in kids' pockets and trousers. But I do think it is a fantastic tool for developing that interpretation piece. Paul Marden: So I run a coding club using Lego. Okay. So I work with years four, five and six, typically. And we normally start off by the end of two terms, we will be building robotics, programming things, doing amazing things. But we start at the very beginning with just open up a box, and it is amazing what a bunch of seven, eight and nine year olds can do with a two by four red brick just given bricks. Yeah. And they will build amazing things. Yeah. And they will tell you amazing stories. And you also see real diversity in the behaviours of children, because some children, in that free play context, they do not have the skills to do that. And I had one girl recently who hasn't played with Lego, and free play just blew her mind, and she was in tears because she couldn't embrace the creativity of it.Paul Marden: But then the following week, when we were following instructions, she was great at building from a set of instructions, You can do that from a limited palette and give them a mission. Sutton Hoo, build a, I don't know, a sword, build a shield, build something to interpret what you have seen. You're in the transport museum. Build, build. How did you get to the museum this morning? Give them something to do and then let them go. And half an hour later, you will be amazed by what they will have built. Andrew Webb: I actually did something this at the National Archives down in Kew, where they had a kids exhibition. Well, an exhibition in the summer about wacky inventions, because obviously the National Archives holds the patents for all these things, and they've got things like Victorian top hats with umbrellas in, and, you know, all this kind of crazy Heath Robinson style stuff that, you know, forks with four sets of tines, so you can eat four times as much. It just bonkers. Really interesting things. The curators had gone through and found this wacky world, sort of. What's his name? The guy that illustrates Roald Dahl. They got illustrations and all that. Paul Marden: Quentin Blake. Andrew Webb: Yeah, Quentin Blake, yeah. So they had this Quentin Blake sort of stuff, and, like, there was activities. And I came down for some special stuff because they had the first Lego brick patent in the UK. When it was first launched in the UK, 1963, I think it was. That's when they filed the patent. Paul Marden: And I bet. So that patent would be exactly the same as a two by four brick, now, won't it? Andrew Webb: The patent was for a one by four brick. Isometrically dawn. Just three diets. Just three views with what? It was a construction toy. And then the page. Sorry. And the address was just Railway Station Billund.  There wasn't like, just all the mail just went to the railway station in Billund just addressed for attention of Lego. And it's only like. I mean, it's not even a sheet of A4, It's a piece like this. And after it is something like a lamp that won't blow out on a thing, and before it's like some special kind of horse comb, but it's kind of this bonkers catalogue of just these things. But again, it was about, “Right. We did some work. The curators and interpreters looked, you know, had kids analyse the painting to think, what could it be? And look at the dates and structure. Look at that.” Andrew Webb: And then I came out and, like, did some Lego. So we did things like, who can build the longest bridge? Who can build the tallest tower out of a single colour? Those sorts of exercises. But then also the free play was build your own wacky invention. And kids are building automatically dog washers, where the dog ran on a thing and it scrubbed its back. And one kid built something that was like a thing for removing getting pips out of apples. It was just like this sort of like this crazy little tool. They like some sort of problem that he had. Andrew Webb: And I think what this also speaks to is developing those stem skills in children and adults and building that engineering, because I've also ran Lego workshops with explorers who I used to, I thought were between Cubs and scouts, but are actually after scouts. So I did this in my local town, here in Saffron Walden, and was like, “Oh, my God, these kids are like, 15, 16. They're not going to want to play Lego. Some of them are in my daughter's year at school, so. Hello, Amy.” And it was really interesting because we did a series of challenges with them. So the egg drop challenge, can you protect an egg and drop it from the floor? And can you build this and work together? Another good one is looker, runner, builder. Andrew Webb: So you give everybody two sets of the same bricks, and one person is the looker, one person is the runner, one person is the builder. So the looker can't touch, but he can tell the runner. The runner can't look at the model, he can only tell the builder, and the builder can't speak back. And so this is a really useful exercise. And I've done this with teams where, because this is exactly what businesses see, engineering will build a product. Sales or their marketing are like, what the hell is, you know, or whatever it might be. Paul Marden: It's that. It's that classic cartoon of a Swing, yeah. Andrew Webb: Yeah. So it's that, you know, this is what the brief said. Engineering interpreter does this. Marketing saw it. So it's a great tool for things like that. Especially when you put people like the C Suite or CEO's or leaders at the end, because all they're getting is the information and it. It's there and it's how to build communications. Because in life, the fluctuations reverse. A CEO says, “Let's do this.” And by the time it's cascaded down to engineering, who don't get a say, it's not at all what he imagined so, or they imagined so, it's. It's an interesting case of using tools like that. So I did that with these kids and it was fascinating because they're 14, 15, 16.Andrew Webb: A group of three girls won two out of the three challenges and probably could have won a third one if I felt that I couldn't award it to them again because it would just look weird. And they were smashing the looker runner builder thing. They were working together as a team, they were concentrating, they were solving problems, they were being creative, they took some time to prototype, they refined and iterated their design. They were doing all this sort of work. And it's brilliant because 15 year old girls don't often take engineering related STEM subjects at GCSE. Certainly, probably don't take them at a level and more than enough. And I think that I once interviewed Eben Upton, who invented Raspberry Pi, and he said, “We think about the eighties as this sort of like golden age of computing, but actually it was terrible. It was terrible for diversity, it was terrible for inclusion.“Andrew Webb: And he said, “Like growing up, there was one other kid in his town that had a computer, you know, so there was no sort of way to sort of getting other people involved and make this accessible.” And part of the reason now computers have got smaller. Some of the work I did at Pytop was like trying to make technology more accessible and seeing it not just video games and things like that, but actually I can use this in a fashion show, or I can make music, or I can use this to power some lights to do a theatre production, and trying to bring the, I guess, the creative arts into technology. And that's when we start to see the interest application of technology. Andrew Webb: And Lego plays a part in that, in the fact that it is a tool, a rapid prototyping tool that everybody is familiar with. And it is also, you know, clean, safe. There's no, you don't need blow torches and saws and those sorts of things to kind of prototype anything. You don't even need a pair of scissors, you know, it's completely tool free, unless you're using that little mini separator to get your bricks apart. And so I think that just circle back on, like, how the Science Museum or what's the one down there? Isabel Kingdom Brunel Museum and things like that. I can see those guys could be and should be thinking about, “How could we have a Lego programme?“Andrew Webb: You don't have to have a permanent deployment like they've got at Sutton Hoo although that is great because they've got the mast there as the head piece of it. But certainly a programme of events or summer camps or summer events, because I did this with English Heritage at Kenilworth Castle as well. They were having, like, a big Lego build and the public were invited in 15-minute shifts into a big marquee and everyone got given a tile. And the idea was to build the gardens because the gardens at Kenilworth Castle were laid out to impress Elizabeth the first. And so everybody got there was like bunches of stuff and regular bricks, also flowers and this sort of stuff. And it was like, “Come on, we've got to build something to impress a queen.” Andrew Webb: He said to kids, like, “Yeah, you've got to impress. Bling it up, like, dial it to ten.” And were just getting these enormous, like, avatar sized trees with just incredible bits hanging off it. And like, “There she has a teapot because she might want a cup of tea.” And you're like, “Brilliant, excellent. Of course she does.”  And so I think that. And then they moved through. Some of the Legos were selected to be displayed and things like that. So there's different ways you can do it. You can either do it as like. And I'm a big fan of the drop in sessions because kids and parents can just naturally build it into their day rather than the pre built. My child was. We were rubbish at, like, organising things. Andrew Webb: People like, “Oh, great. Half term, it's a chocolate thing, sold out ". And you're like, yeah, because there's 30 spaces for three and a half thousand kids who want to do it. Whereas if it's like a walkthrough or a. In groups phase through and then the activity, small kids kind of conk out after about 20 minutes, half an hour anyway. You get much more people through and much more people get to enjoy the experience rather than the 30 organised people who got up early and booked. So that's my other top tip to any institution, because it's heavily weather dependent as well. Sun comes out, everyone piles pass into the nearest sort of stately home, national attraction. All of those places can definitely benefit English Heritage. Did a really big push this half term, just gone on Lego at several events. Andrew Webb: We had one here at Audley End, there was one at Kenilworth that I was at. There's been pairs of the ones all around the country, because again, you just need a marquee, which most venues have access to because they use them for other things or some sort of space in case it rains. And you just see someone like me and a whole massive tub of Lego and you're off to the races. Paul Marden: Exactly. So we were talking about this at the conference yesterday about ways in which. So for many attractions, people turning up is a literal flip of a coin. Is the weather good or is the weather bad? What can you do to adapt your attraction to be able to deal with when it's bad? And then what can you do to bring people when you have made that adaptation? So, you know, you've now got a marquee and you have a Lego exhibit that you can put into there. So it's just dumping a pile of Lego and a bunch of well trained volunteers or visitor experienced people who can facilitate that, police it, little Johnny sticking minifigs in his pocket. Paul Marden: And then you turn on your Google Adwords and show that you've got this, you know, bad weather reason to go to a stately home that my daughter would turn her nose up to all of a sudden, “Okay, we're going to go and do that. We're going to go and have afternoon tea and you're going to go and play with some Lego and see some animals, maybe.” Yeah, what can you do to attract that extra audience and adapt to the bad weather and service different sorts of people? Andrew Webb: I think that comes down to a bear in mind. I convert some of my Lego lens rather than a venue lens. But I think speaking as a parent and someone who does this is you need a reason to go back to somewhere that you already know. Okay, so you go to Stonehenge, you go and look at the stones, you go, “Wow.” You look at the visitor centre and then it's ticked off. I mean, you see busloads of tourists. Stonehenge is at Cambridge, maybe, or Oxford people, when people do England, Lambeth, Heathrow, London Crown Jewels, Tower Bridge, West End, day trip out on a coach to Stonehenge, maybe to Cambridge, and that's it, off to Paris. Right? So parents like British people like that too. Like why go to Stonehenge four times a year? Or why go to any venue when you're familiar with it? Andrew Webb: It's always about offering something new and something different. Audley End up near where I live, I think, is English Heritage. All through July, every Sunday, they're just doing music. So there's a string quartet or someone with a harp or maybe someone with a guitar or whatever. And you've got a book, but it's. It's not like there's 30 places and it's a bonfight. It's just like, “Oh, wow, they've done something different.” They do a really great thing. Like, they do victorian falconry, for example. So they get someone in who talks about how Victorians use falconry for hunting as a sport, but also for the kitchen table, and they're flying falcons around and doing the whole bit of meat on a string and all this sort of stuff. And everyone, like, “They do a world war two one.”Andrew Webb: I mean, the editorial calendar for any venue's got to look like, “Go and make Christmas food. January, we're closed to kind of dust and clean everything. Valentine's Day, chocolate make you put. It's daffodils”, it's whatever it might be. And then you just build that. Build that programme in and you need. This is why I think that venues now, again, I'll just come back to that. You talk about AdWords, but that, again, is more spend. It's like, how'd you build that mail list? How do you drop into the local Facebook groups and Mumsnet and all that kind of stuff? You know, that's where you can do it organically rather than. Because people don't sit in front of Google necessarily, or think, like, what should we do? Paul Marden: You sit on the sofa on a Thursday night trying to figure out what on earth are we going to do this weekend? Yeah, so you're completely right. The mum's net, the content marketing, is hugely important, isn't it? Andrew Webb: Which is my job. But also it's kind of like how can institutions become part of that? When I say community, if you think about most people travel a thin hour to go somewhere. I mean, people go further afield, you know, but. But basically it's like, what? My mom turns, like, a tea and a pee. So you've got to go somewhere. You've got to have a cup of tea, visit the loos. It's all about tea. It's all about canteens and loos, basically. You could have a World Heritage Site, UNESCO World Heritage site. And it's like, how good's the caf? And are the toilets clean? Yeah, that's what people remember. Gar went hens at dawn. I was awed by the majestic. But that Looney D cleaning, you know, it's not good. It's all that people come home with. Andrew Webb: So, you know, institutions go into place that they are trying to offer different things. Like late nights. We've talked about that. How can we use this space after hours? Because if you think about it, if your institution's open 10 till 6, most people are at work five days a week, you're gonna have students and pensioners who are gonna be not great spenders, either of those two groups. So, late nights, I went to a great one in the National Gallery when the James Bond film. I was kind of sitting royale or whatever. He's still on the top of the National Gallery overlooking Trafalgar Square, and they've got the national dining rooms there and they had Vesper Martini, everyone got a cocktail. Andrew Webb: And then went to look at the fighting Temeraire, which is the bit where he's standing with Q, the new Q, who voices Paddington, whose name escapes me and gives him, like, a gun and a radio, but they're like the fighting Temeraire by Turner is this little thing. And so, you know, you've got to make hay out of that, right? You've got to sort of, like, do a late night, various ones. And so all it was a few cocktails in the cafe next door and are taught by the curator and stuff like that. But 30 people just looking for an experience. And so if venues are clever, of course, the dark side of this is when you get Willy Wonka world up in Scotland. Andrew Webb: Or interestingly, some of the Lego events that have been happening at NEC have caused a massive online backslash in the community for just being exceptionally bad value for money. And so you read about these things that people have said, “Come and visit Santa's grotto, and it's just a muddy field with a tree in it,” so you've got to be careful. But I think those events, those sort of fly by night kind of institutions, don't really work. But how galleries can leverage the creativity of what they're doing? Whether they are come and paint in our, you know, our local gallery, come and have an art class, come and do that. People are looking for stuff to do that is value for money. That isn't always drink lead, you know, it's not always cocktail making or things like that. Andrew Webb: And that comes with a whole heap of other things and dietary requirements for cookery courses and just clean up and the mess and all that kind of stuff. So I think that, yeah, canning organisations, the ones that can really think about that, and I'm happy to help organisations who want to think about this, especially through the life of Lego. They will be the ones that will start to add and build out and develop their. What you might term this whole sector needs a name. The kind of extracurricular offering, we might say, above and beyond their collection and then their traditional interpretation and if they're. Paul Marden: Thinking of doing this. So there's a good why. Yeah, the why is you can reach diverse audiences, helps people with interpretation. Andrew Webb: Quite cheap. Paul Marden: Yeah, absolutely. It's a cheap way of extending your offering and diversifying what you do. You can bring in event elements to this, but how do they do it? Apart from engaging with somebody like you? And I'm going to guess there's not many people like you. So that's going to be a tricky thing for some people to do. But if they were starting from scratch, how would they go about doing this? You said earlier, “Don't go mad with buying the bricks and spending a fortune on.”Andrew Webb: There are people like me that can do all this as well as myself. I think that the first thing is plan it. Plan what you need to do. You can't throw this stuff together. You might be looking at. Already the hold have been contacting me for a late night they're doing in September. They contacted me April. Paul Marden: Okay. Andrew Webb: Because if you're a creator, you're planning exhibitions, you are thinking on that long term cycle. Paul Marden: Yeah, completely. Andrew Webb: And so what you need to do is bake this in as part of that curational process or part of the interpretation of things at the start, rather than like, “Right, we're doing exhibit on Peter Rabbit, let's chuck in a load of fluffy bunnies or whatever.” You know, it's got to be. You've got to think about it and have it contextualised. I think the best things are. What success looks like is, first of all, you need a space. Now you can hire a marquee that comes with a cost. If you're a venue and you've got your own or you've got a hall or a stables or interpretational room or something like that, often spaces, specifically bigger ones, will have classroom spaces for school groups anyway. So that's often that can be where you can host these sorts of events. Kids are very familiar. Andrew Webb: The chairs are all small wall colour, you know, etc. Industrial strength carpet in case stuff gets built. So locations like where you're going to stage this? Paul Marden: Yeah. Andrew Webb: Secondly, I think you need to think about, what do we want people to do? What is the experience? What is the narrative piece? Because you can't just say, here's a big part of Lego. Kids will just build cars and houses, right? You know, they need context. You know, if you give a kid a sheet of paper, you could draw anything. They're like, well, what? And so you need to give them a mission almost. They need a task, I think. Also think about, as I said before, keeping the tasks around 20 minutes, because actually adding the time running out jeopardy element is quite fun for kids because they'll go, “Well, I've only got five minutes left.” And often that's when it all falls apart and then they have to iterate the design. Andrew Webb: So think about that kind of moving people through in 15 to 20 minutes cycles. We had kids at Kenilworth, that would go out the exit and just walk back around and come in the front like that. Like four or five times. One boy came in, he was loving it. So think about that. Think about how you're going to move people through the space. Think about what you need to envisage it. So the Kenilworth, for example, there was me hosting it from dawn toward dusk. We had another builder there who was helping take break it all down and put them against the model that we built. There were two members of staff who were letting people through, so just monitoring it from an entry exit point of view, walkie talkies, in case people had issues and things like that. Andrew Webb: And think about when you're going to do it. Okay, so half term is a good one. It's a good thing to do. We saw a lot of this at Kenilworth, but I've seen other places as well, particularly half terms and things like that. You often see grandparents caring for grandchildren, right? Because parents are at work and grandparents can only walk around the site so much before they want to sit down. So sometimes have it, like, think about where they can. And when I was at Kenilworth, grandparents came in with their two grandkids, and the kids started playing and I was like, you could join in, too. Oh, no, I don't want it. You know, they were almost like, “I can't do this. It's like, come on, get in, get in. Come on, grandma. Come on. I'll show you how it works. “Andrew Webb: By the end of that session, they were memory making. I then took their photo with their phones, they'd have this sort of grandparent. But, you know, you always say it like, my grandfather taught me to fish. Like Sean Connery says in the hunt for red October. This sort of moment where sort of, it's a Hollywood trope that grandfather knowledge is sort of passed on type of thing. Right. And so you can see that where you could have this, almost either the reverse of that, of kids showing grandparents, but also they're all having this event outside of the parental unit. So it's a new type of experience. It adds value, it gets people to play with their grandkids. Paul Marden: Priceless. Andrew Webb: So I think that's kind of an interesting way. So think about when, think about where and think about what will be my three sort of tips for any institution looking to put this together. Paul Marden: You gave one the other day which I thought was priceless, which was, don't give them wheels. Andrew Webb: Oh, yes. Paul Marden: Don't include the wheels. Andrew Webb: Take the wheels out of any sets, unless you are the Transport Museum or the, you know, a car based museum, because kids will do wings as well. I'd probably suggest taking those out because kids have just built cars. Some kids have just built cars, you know, even if you give them a mission. Unless that is the mission. The other thing that I would think that venues could do as well as sort of all day events, because it's quite a time drain, you know, on staff and this sort of stuff, but it is a value. The other thing you can think about is one off evening events for adults. Yes, I've done this. I did this at my local add them shops. Bricks, beers and bubbles challenges supercompass teams. Think of it like a pub quiz with brick is the answer. Andrew Webb: So build me a thing that does that kind of thing. Teams all get together, you can race them, you can see who goes the furthest. You can do all this stuff. And the hold is what I'm doing at the hold in September. I did it at the hold a couple of years ago. And what was interesting was that we had quite diverse groups of adults. We had just couples who were clearly AFOLs and were like, “Yeah, I'm going to go to that.” We had a group of friends. One of them had just come back from years travelling and they didn't want to go sort of straight to the pub and just interrogate him about his travelling, whatever. Andrew Webb: They kind of like, “Well, we wanted something to do where we could have a beer and have a chat, but were doing something else whilst we're doing that.” And that's the joy of Lego. Your hands are doing the work and you're almost like the back of your brain is doing the work and you're like, “Oh, yeah, yeah. Before you kick them.” And the concentration levels are there and then you can kind of get into that state of flow. And so they were just having this lovely chat, had a beer, talking about stuff, but also memory making in terms of when he came back from his travelling. So I think that's really important. Andrew Webb: Did you know that this is your brain, right? And then your brain on Lego, there are 24 discrete skills that are happening in your brain. So Lego research this, things like fine motor skills, cognitive sort of thinking about things, future planning, my favourite emotional regulation that is not going, “Oh, my God, it's not working. And smashing all to pieces.” So I've seen this as well with children, is that when you give them a Lego, if you gave them jelly and a football, they'll all just. They're a high energy kind of things, right? And that's fine, great outdoors, kids want to burn off energy. Here's a load of balls. Go crazy, right? Or ball pits, trampolines, bouncy castles, those sorts of things. When you get on Lego, what actually happens is it's very hard to be anarchic, to use a wrong word, but a word. It's very hard to be anarchic with Lego because you can't really do it. Andrew Webb: And so you can get a group of kids together and they'll almost self invigilate. And at one point, I ran it at a local toy shop and the parents are all hanging about and like, “I've never seen them so quiet.” They were just in the state of flow. And so, I think, you know, again, back to the. Back to the explorers and the scouts, that was one of the best sessions that those kids had done as teenagers because the reason was they were given permission to play with Lego. They still had the muscle memory from when they were smaller children. They were solving. They weren't just being told to play with Lego, they were actually solving engineering challenges. How can you design a bridge that will take this weight? How can you protect an egg? How can you think about this? Andrew Webb: And so you need to think about the challenge and the what. You need to think about that, the where and you think about the when, as I said, and get those right. You can have a very exceptional visitor experience for not a huge amount of effort. It's not highly costly, it's not highly technical, it's just a bit of elbow grease and a bit of forward thinking in terms of what we might need. And I think that parents appreciate just that minute away where they can. It's almost like a 20 minute babysitter, right, where they can just go, “Don't touch that.” You know, you're walking around a stately home, “Don't sit there, don't touch. Mind the lady.” All that kind of no data that parents give out institutions, they can just take a breather and check their phones and whatever. Paul Marden: And the kids are just having an amazing time. Andrew Webb: Yeah. And the kids are happy. And at the end of the day, as a parent, we all do our best and you just want, you know, them to be playing with something screen free, getting along and learning something. And, you know, that is the win. That is the ultimate takeout. You can layer on your own institution in context and rev up the visitor experience, bring in new visitors, attract a more diverse group of people that perhaps wouldn't normally come to a Regency Rococo style villa or whatever it might be, then that's all to the better, because, you know, you can start to use this in your planning and you can do what Suntton Hoo did? And go, right, well, we've done this and it's really worked. Andrew Webb: And then I can apply for funding for it and I can expand and I can make it permanent and then I can sort of say, well, this now becomes a tool and a string and arbo for our educational. It doesn't have to be split between visitor attractions and development. It can, you know, you can split it between several parts of the institution and use it in different ways, use it for educational purposes as well as visitor experience. So the world's your oyster with a bit of thinking. Paul Marden: With a bit of Lego and a bit of thinking. Andrew Webb: Bit of Lego, yeah. A few bricks and a couple of tricks and you're off to the races. Paul Marden: Andrew, this has been brilliant. Thank you ever so much. Andrew Webb: You're welcome. Paul Marden: I've got one more question for you before we finish. Now, you bottled this earlier on when I said we always have a book recommendation from our guests. And in spite of having the fullest bookshelf I've seen in quite a long time, you've bottled it on a book. But you did offer me a favourite movie. And so what would be your movie recommendation of choice? Andrew Webb: My go to movie would probably be Withnail and I, Richard E. Grant's first film. Every line has came down from God on a tablet. I mean, it is just. Yeah. Richard Griffiths as Uncle Monty, Paul McGann. It's just one of my favourite films and, you know, cult classic that no one's really. Well, people have heard of it now, but again, they even make stuff out with Alan Eyright. So you can go and watch a screening of it at the farm at Crow Crag up in Penrith, you know, and everyone dresses up and everyone comes with Mister blathering sets tea and I come on holiday by mistake and Jessie says, Danny. Andrew Webb: And, you know, fortunately, for better or for worse, I know these are tough times, but people try and find the fun in things. They try and at the end of the day, everyone's looking for a good time, whether we're children or an adult. You want something to just have a laugh and take you away for a moment. And if films and culture but also experiences can do that, then that's all for the good. Paul Marden: Well, look, this is going to be a challenge, but listeners, if you would like a copy of Andrew's film recommendation, then when we release the show message on X, if you can retweet that and say, “Give me Andrew's movie”, then the first person that does that, somehow I will get the movie to you. It might be on VHS, it might be on DVD, but somehow we will get you a movie. Andrew Webb: I found a CD the other day from a bar I used to go to in Clapham in the noughties and late ‘90s. I said to my mate, look, I'm great, put it on. And I went, “I can't.” I haven't got a CD player anymore. I had to go dig through a box somewhere in the study to find a portable CD player that plugged into my computer that could. By the end of it, we're just laugh. Forget it. Paul Marden: Andrew, this has been wonderful. Thank you ever so much. Andrew Webb: You're welcome. Cheers. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, SkiptheQueue.fm. The 2024 Visitor Attraction Website Survey is now LIVE! Help the entire sector:Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsFill in your data now (opens in new tab)

Everyone has a LEGO story, but not that many people know the story of LEGO. So while we've always loved the toy, it wasn't until we started researching for this episode that we became obsessed with the (still entirely family owned!) company. Yes, LEGO is the biggest and most profitable toy company in the world–nearly twice the size of Mattel. But what makes LEGO so lovable is how from day zero they have taken kids seriously and believed in learning through play. This vision is as real now as it was 91 years ago when LEGO was founded as a small woodshop in Billund, Denmark. If you, too, would like to look at a brightly-colored 8x10mm plastic cuboid and see a spectacular tale of craft, vision, and creative constraints, then stick around for the story of LEGO. (2:31) LEGO Today (4:23) Bet the Shop. And a preponderance of fires (1916-1950) (31:47) “System of Play” (1950 - 1990)  (46:04) The Destructive Era (1990s - early 2000s) (53:40) Back to the Brick & Last Honest People (2000s - 2010s) (1:19:04) “Spaceship!!!!” LEGO in The Digital Age (1:24:59) The future of LEGO? (1:31:56) Operator Playbook

Fluent Fiction - Danish: The Lego Heart: A Tale of Creativity and Homecoming Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-lego-heart-a-tale-of-creativity-and-homecoming Story Transcript:Da: Midt i hjertet af Danmark ligger der en særlig by, Billund, kendt for sin fantastiske Legobutik. Her, blandt tårne af farverige klodser, finder vi Lars. Lars er en glad og energisk dreng, altid parat til et nyt eventyr.En: In the heart of Denmark lies a special city, Billund, known for its fantastic Lego store. Here, among towers of colorful bricks, we find Lars. Lars is a happy and energetic boy, always ready for a new adventure.Da: En solrig dag i juli, tog Lars på en spændende tur til Legobutikken med sine forældre. Med livlige øjne kiggede han på de farverige klodser, der kunne blive til alt, hvad hans vilde fantasi kunne forestille sig. Men et øjeblik senere, mærkede han panik strømme gennem ham. Han var alene.En: One sunny day in July, Lars went on an exciting trip to the Lego store with his parents. With lively eyes, he looked at the colorful bricks that could become anything his wild imagination could envision. But a moment later, he felt panic rush through him. He was alone.Da: Lars så rundt. Han var omringet af Lego i alle retninger. Han var blevet væk fra sine forældre. Hans hjerte begyndte at banke hurtigere. Men inden længe pustede han ud og besluttede at tænke praktisk. Han ville finde en vej tilbage ved hjælp af et sprog, han kendte bedre end noget andet: Lego.En: Lars looked around. He was surrounded by Lego in all directions. He had become separated from his parents. His heart began to beat faster. But soon he calmed down and decided to think practically. He would find his way back using a language he knew better than anything else: Lego.Da: Hurtigt blev Lars' hænder guidet af hans kreative hjerte. Klods for klods, lod han et lillebitte hus tage form. Han fandt en rød klods, en blå klods, en gul og en grøn... og snart havde han skabt det mest vidunderlige, små hjem. Det havde en dør og vinduer, en have og endda en lille sti, der ledte til døren.En: Quickly, Lars' hands were guided by his creative heart. Block by block, he let a tiny house take shape. He found a red brick, a blue brick, a yellow and a green... and soon he had created the most wonderful, little home. It had a door and windows, a garden and even a little path leading to the door.Da: Med huset i hånden, gik Lars op til en Legobutiksmedarbejder. Bredt smilende præsenterede han sit hus, "Jeg er blevet væk," forklarede han. "Men jeg byggede huset her til at finde vej. Kan du hjælpe mig?"En: With the house in hand, Lars approached a Lego store employee. With a wide smile, he presented his house, "I got lost," he explained. "But I built this house to find my way. Can you help me?"Da: Legobutiksmedarbejderen, der blev rørt af Lars' kreative tilgang, smilede tilbage og hjalp straks. De brugte taget til huset som en pejlemærke og inden længe, blev Lars genforenet med sine bekymrede, men lettede forældre.En: Touched by Lars' creative approach, the Lego store employee smiled back and immediately assisted. They used the roof of the house as a landmark and before long, Lars was reunited with his worried but relieved parents.Da: Den dag, glemte Lars aldrig sin tur til Legobutikken. Han mindede os alle om, at selv i øjeblikke af frygt, kan kreativitet og fantasi bringe os hjem.En: That day, Lars never forgot his trip to the Lego store. He reminded us all that even in moments of fear, creativity and imagination can bring us home.Da: Tilbage i virkeligheden med hans forældre efter hans lille eventyr, var der en ting, der ikke ændrede sig: hans kærlighed til Lego. Og hver gang han byggede et nyt hus, ville han altid inkludere en lille sti, en påmindelse om den dag, han brugte sin kreativitet til at finde vej. Og tilsyneladende var der i virkeligheden ingen grund til at være bekymret, for uanset hvor han gik hen, ville Lars altid finde sin vej hjem.En: Back in reality with his parents after his little adventure, there was one thing that didn't change: his love for Lego. And every time he built a new house, he would always include a little path, a reminder of the day he used his creativity to find his way. And apparently, there was really no need to worry because no matter where he went, Lars would always find his way home. Vocabulary Words:city: byLego: Legostore: butiktowers: tårneLars: Larshappy: gladenergetic: energiskboy: drengadventure: eventyrparents: forældrecolorful: farverigebricks: klodserimagination: fantasipanic: paniksurrounded: omringetdirections: retningerseparated: vækheart: hjertebeat: bankepractically: praktisklanguage: sprogbetter: bedrehands: hændercreative: kreativehouse: huslost: vækhelp: hjælpeapproach: tilgangsmile: smilehome: hjem

Aufreger der Woche: Valve killt Counter-Strike auf dem Mac +++ Von wegen „Prime“: enttäuschende Deals auf Amazon // Neues aus Cupertino: Nicht viel passiert in Cupertino – findet 2023 noch ein Event statt? // Hörer:innen-Feedback: Sebastian ist krank – und hat noch das SQ-iPhone bei sich. Daher gibt es diese Episode kein Feedback, wohl aber eine Bitte: Wer die Mac Life 11/2023 bereits gelesen hat, nehme bitte an unserer Umfrage teil! // Hardware: Thomas ist in SQ223 zu Gast – und das heißt: Neues von Google! Thomas berichtet vom Chromebook Plus, Pixel 8, Pixel Watch 2 und mehr! +++ Sven beschallt die Äcker Schleswig-Holsteins mit den neuen Soundboks 4 +++ Demnächst in diesem Podcast: FYTA Pflanzensensor ausprobiert // Streaming & Gaming: Stefan war spielen und gewährt einen Einblick in das Lego House im dänischen Billund+++ Svens Tipp für das Wochenende: Last Exit Schinkenstraße // Danke fürs Zuhören. Abonniert „Schleifenquadrat“ gerne im Podcatcher eurer Wahl (außer Spotify), hinterlasst uns ein paar Sterne und kommentiert die Folge bei Apple Podcasts!

Ed is back from Billund, Denmark and has the details on Lego House.  TLDR: it's not just for kids! This week's epsiode is sponsored by NordVPN.  Both Ed and Richard use NordVPN.  Download NordVPN now and enjoy a 50% discount on an annual mobile subscription. Here's why Ed and Richard use NordVPN: Protects your privacy and blocks malicious websites. Helps you stream your favorite content (live sports, movies, etc) when you're traveling. Fastest VPN out there, connect in one click on desktop and mobile devices! Richard and Ed are also breaking down a listener follow-up question about Marriott versus Hyatt and how credit cards affect the award pricing for both chains.  And, they also discuss a scary story about a United flight that almost ended up in the ocean. If you're looking for a way to support the show, consider joining our Slack Community. You can support the show and purchase access below: Monthly access Annual access Personal consultation plus annual access We have witty, funny, sarcastic discussions about travel, for members only. My fellow travel experts are available to answer your questions and we host video chats multiple times per month. I appreciate your support! Don't forget that you can leave us a voicemail or text us at (571) 293-6659‬. Listen for your question on a future show! Shoot us an e-mail (ed@pizzainmotion.com) or you can tweet me and Richard if you have questions.

Udsendelsen, hvor lytternes betragtninger, tips og spottings får den kærlighed, de fortjenerSee omnystudio.com/listener for privacy information.

Udsendelsen, hvor lytternes betragtninger, tips og spottings får den kærlighed, de fortjenerSee omnystudio.com/listener for privacy information.

(Edward - Adult Fan Of LEGO)   In this episode, I had the honour to have Edward as my guest. He shared with me his interest in being an adult fan of LEGO as his hobby.   Definition: Lego is a line of plastic construction toys that are manufactured by the Lego Group, a privately held company based in Billund, Denmark. Lego consists of variously colored interlocking plastic bricks made of acrylonitrile butadiene styrene that accompany an array of gears, figurines called minifigures, and various other parts. Lego pieces can be assembled and connected in many ways to construct objects, including vehicles, buildings, and working robots. Anything constructed can be taken apart again, and the pieces reused to make new things In Wikipedia contributors. (2023, July 13). Lego. In Wikipedia, The Free Encyclopedia. Retrieved 01:04, July 25, 2023, fromhttps://en.wikipedia.org/w/index.php?title=Lego&oldid=1165111378   Edwards's links: Twitter: https://twitter.com/The80sMoviePod   Time For Your Hobby links: Website: Time For Your Hobby website (click to find Apple, Spotify, Google and more) Merch: TFYHpodcast(on Redbubble) Instagram: @timeforyourhobby Twitter: @tfyhpodcast Podchaser: Time For Your Hobby  Patreon: Timeforyourhobby  Email: timeforyourhobby@gmail.com   If you like this episode and think it can be helpful to someone you are more than welcome to share it and leave a review. If you want to be on my podcast or have any questions at all, by all means, contact me through any of the platforms above.   So until the next episode... make some time for your hobby.   Shout out to my Patrons: Chess Talk (https://chesstalk.podbean.com/) Mélissa Sabrina Hughes Berry    Take care,

For 90+ years, the LEGO Group has been owned by the Kristiansen family in Billund, Denmark. What started as a wooden toy workshop in 1932 would grow into one of the most recognizable toy brands in the world after it started making injection-molded plastic bricks. Part of LEGO's success comes from its commitment to its company values: fun, creativity, and inclusivity. These values are the foundation of the LEGO VIP rewards program and are built into every promotion and reward it offers. At the 2023 Loyalty360 Loyalty Expo in Orlando, FL, the LEGO Group was recognized as a 360 Degree Award winner and a platinum award winner in the following Loyalty360 Awards categories:·       Customer Analytics, Insights, and Metrics ·       Offer, Incentive, and Reward Design Mark Johnson, CEO of Loyalty360, spoke with Jason Whiting, Director of Membership at the LEGO Group, about the brand's recent award presentation and recognition at the Loyalty Awards.

Support on PATREON!!!Thank you Patrons! - Dylan Evans, Jimmy Tucker, Ryan S, David, & Cam RussellSUPPORT MY BRICKLINK DESIGN! - Oscillating Desk Fan!AS promised…. our Inside Tour episode!  My wife, Danielle, was able to make time in her busy schedule to come onto the podcast to help me talk about our time in Billund!  To put it just a few words, it was phenomenal!  We had the time of our lives being surrounded by LEGO!  We had so much fun talking about our time in Billund and what an amazing experience it was. To get the chance to see behind-the-scenes, meet new people, and getting to experience the true pilgrimage to LEGO! Here is the website to see if YOU'D be interested for next year!LEGO House Inside TourTuesday:Arrive in Billund and enjoy LEGOLANDWednesday:First presentationsOle Kirk Christensen home tour and musuemLEGO VaultDinner with the designerBuild competitionThursday:PresentationsLEGO Factory TourLEGO Employee headquartersLEGO Employee storeFinal dinner and build contest winnersFriday:Final presentationTour of the LEGO HouseInside Tour exclusive setexploring the LEGO House From Secretary to CEOWelcome to "From Secretary to CEO", the podcast that takes you on a journey of personal...Listen on: Apple Podcasts Spotify Practicing Connection: Working together to help families and communities thrive.Jessica Beckendorf and Bob Bertsch host this exploration of personal and collective...Listen on: Apple Podcasts Spotify Teaching While Queer PodcastTeaching While Queer Podcast is a space for LGBTQIA+ educators, administrators, and...Listen on: Apple Podcasts SpotifySupport the showHave a question? Want to be a guest? Send me a message!backtobrick@gmail.comCheck my pages outBack 2 Brick Links!Back 2 Brick Podcast is not an affiliate nor endorsed by the LEGO Group.LEGO, the LEGO logo, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies. ©2023 The LEGO Group.

Support on PATREON!!!Thank you Patrons! - Jimmy Tucker, Ryan S, David, & Cam RussellI'm Back! We were in Billund last week and we did NOT have the time for me to record an episode! I am so sorry about that but I know you of all people understand!  I'll have a special episode about it all sometime very soon!  This week we talk about Mario not being so super anymore, a racing game that makes you start over too often, and a Bat Cave that might as well be placed in a cave!  There are good things too! Just stick around to hear it all!60283 Holiday Camper VanYoda Fountain - Instructions2K Fun but problems...Star Wars Mechs Spacial Awareness + MathNinjago City MarketBricklink Designer Program Series 2Batman Returns... does he?Dreamzzz on the big screenHeroes of LEGODreamzzz on the small screenGWP Taco Stand - Mexico onlySuper Mario ending earlyBricklink Series 1 resultsEye is on ChinaIreland store goes big!Battersea Power minibuildLucas Film Yoda FountainConcorde rumorSupport the showHave a question? Want to be a guest? Send me a message!backtobrick@gmail.comCheck my pages outBack 2 Brick Links!Back 2 Brick Podcast is not an affiliate nor endorsed by the LEGO Group.LEGO, the LEGO logo, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies. ©2023 The LEGO Group.

The Danish toy brand Lego may be celebrating its 91th anniversary in 2023, but it's showing no signs of slowing down! An average of 31 billion bricks are sold each year around the world, and the company appeals to a wide range of people.  Back in 1932, in the small Danish town of Billund, carpenter Ole Kirk Christiansen decided to expand his business by building small wooden toys. A couple of years later, Christiansen chose the name Lego, as an abbreviation of Leg Godt, which means “to play well” in Danish. It was only after the second world war that Lego started producing its first plastic bricks, when the material became more widely available in Denmark. How did Lego start out? How did Lego stay so strong over the years? What about Lego's environmental footprint? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: How to make the most out of a rental property? What is CoreCore, the latest aesthetic taking over Tiktok? How can I meditate without meditating? A Bababam Originals podcast, written and produced by Joseph Chance. In partnership with upday UK. Learn more about your ad choices. Visit megaphone.fm/adchoices

Leute! Heute ist soviel dabei! Storys aus dem Hotelzimmer, unerwartete Begegnungen, Ankündigungen aus der Moccer Ecke, unerwartete Investment-Tipps und sogar eine Live-Schalte nach Billund! Also - Kaffee gemacht- und dann ab die Post! Show Notes Lars halb verpennt: https://www.youtube.com/watch?v=AOs1-jidJYk&t=374s Völlig übertriebener Schneemann: https://www.youtube.com/watch?v=W0LhrQ96SvI Mehr Infos zu unseren Werbepartnern findest Du hier: https://linktr.ee/spielwareninvestor http://www.Spielwaren-Investor.com Der Spielwaren Investor auf Instagram: https://www.instagram.com/der_spielwaren_investor/?hl=de Arne auf Instagram: https://www.instagram.com/salt_city_bricks/ Thomas auf Instagram: https://www.instagram.com/brickntosh/?hl=de Der Spielwaren Investor auf YouTube: https://www.youtube.com/channel/UCU6B66hnds2qgdewJPly_yg Das Lädchen: http://www.Bardobrick.de

Steven and Daniel are up this week to describe their awesome trip to Germany and Denmark! One of the main goals was to check out the LEGO(R) House in Billund, the birthplace of The LEGO(R) Group! They got to meet up with LEGO Master Boone Langston and he was able to get them a tour of the Ideas House, which is apparently invitation only! Have you ever been to Billund and the LEGO House? Do you plan on going one day? Let us know in the comments! Our Website: https://atlbrick.comPhone: 470-414-2208Our Facebook: https://www.facebook.com/atlbrick/Our Instagram: https://www.instagram.com/atlbrickco/?hl=en

Da Orion-kapslen som en del af Artemis 1-missionen i slutningen af 2022 tog en tur rundt om Månen, var fartøjet ubemandet. Og så dog alligevel ikke helt...for med ombord var også to LEGO minifigurer fra undervisnings-serien Build to Launch. I denne episode af RumSnak besøger vi LEGO for at møde model design manager Pelle Normann Brix, der fortæller meget mere om de to minifigurer, om Build to Launch og om flere af firmaets rum-relaterede undervisnings-aktiviteter. Tina bliver også udfordret til at bygge og programmere et lille køretøj, som kan transportere en raket fra garagen ud til affyringsrampen

Kapitän Claus steuert für eine große Airline einen Airbus durch Europa. Einen Teil der Feiertage verbringt er mit seiner Crew in Billund. Über Weihnachten im Cockpit sprechen wir in dieser Folge und Claus beantwortet Eure Fragen. Viel Spaß mit dem Podcast und Frohe Weihnachten.

Welcome back to a very special Billund-themed episode of Extra Pieces. Jay and Richard have just got back from Denmark, where they attended Skaerbaek Fan Weekend, and LEGO Fan Media Days at the LEGO Campus. After many years of isolation and no travel, it was an excellent time catching up in person with other LEGO fan media, LEGO designers and more. In this episode, we talk about the forthcoming LEGO Ideas Table Football set (21337), and because it's the 90th Anniversary, we have plenty of special guests jump on the podcast talking about significant sets in their life. https://jaysbrickblog.com/news/lego-21337-table-football-announced-build-your-very-own-lego-foosball-table/ https://jaysbrickblog.com/news/lego-designer-insights-21337-table-footballs-smaller-scale-diverse-minifigures-and-more/ https://ramblingbrick.com/2022/10/07/21337-lego-ideas-table-football-revealed/ Here's the full list of people we spoke to - you might recognise a name or two! Ashwin Visser - Senior Graphic Designer, LEGO Icons Niek Duco van Slagmaat, Designer Angel Grau Bullón, Senior Designer Antica Bracanov, Designer LEGO Icons Jordan Scott, Design Manager, LEGO Ideas Hasan Jensen, Engagement Manager, LEGO Ideas Andy Grubb, Design Manager LEGO Icons & Architecture Johnathan Pushkar -RLFM Ambassador MiniSuperheroes Today Ash - RLFM Ambassador, Ash N Flash Niko Vas - Designer Jason Zaponakis - Designer Atticus Tsoi-Macartney - Designer Signe Wiese - Corporate Historian Francesco Spreafico - RLFM Ambassador, New Elementary Mark Stafford - Senior Designer Balazs Kiss -RLFM Ambassador, Racing Brick Boris Vanrillaer - RLFM Ambassador, Stuck in Plastic Christopher Stamp - Designer Speed Champions Dave H - RLFM Ambassador - Solid Brick Studios Gwyneth Kozbial - Bricknerd Are M Heiseldal - Bricknerd Rok Zgalin Kobe - Senior Designer, LEGO Icons & Architecture William B - RLFM Ambassador Hoth Bricks James May, Designer

Renascimento! É assim que a Marta Rodrigues resume os últimos 5 anos na Dinamarca. Uma "construção" em família, que começou em jeito de "brincadeira" e que está a valer a pena!

Approximately ten Lego pieces are sold for every person on earth each year—more than seventy-five billion of the little plastic bricks. But if it wasn’t for the perseverance of Danish toymaker Ole Kirk Christiansen, there wouldn't be any Legos to snap together. Christiansen toiled away in Billund, Denmark, for decades before creating leg godt, which means “play well.” His workshop was destroyed by fire twice. He endured bankruptcy and a world war that caused a shortage of materials. Finally, in the late 1940s, he landed on the idea for self-locking plastic bricks. By the time Ole Kirk died in 1955, Legos was on the verge of becoming a household word. Persevering in the challenges of work and life can be difficult. That’s also true in our spiritual life as we strive to grow to be more like Jesus. Trouble hits us, and we need God’s strength to persevere. The apostle James wrote: “Blessed is the one who perseveres under trial” (1:12). Sometimes the trials we face are setbacks in relationships or finances or health. Sometimes they’re temptations that slow us down in our goal of honoring God with our lives. But God promises wisdom for such times (v. 5), and He asks us to trust Him as He provides what we need (v. 6). Through it all, when we allow Him to help us persevere in honoring Him with our lives, we find true blessing (v. 12).

Discover how The LEGO Group are injecting creativity and imagination into daily life in Billund, the birthplace of The LEGO brick.

Episode Notes Welcome back to another Extra Pieces episode! In today's episode, we go on a deep dive of LEGO's newest Minifigures Series 23, which is both Costumed and Holiday-themed! We also muse about the latest LEGO Ideas set, 21335 Motorised Lighthouse which has been slightly divisive due to its high pricetag. Jay and Richard will be heading to Billund, Denmark for Fan Media Days in late September, and will be at Skaerbaek Fan Weekend, so let us know if you'll be there as we'd love to say hi in person! We also took several listener questions, so keep 'em coming! Series 23 Collectable Minifigures https://jaysbrickblog.com/reviews/lego-collectible-minifigures-cmf-series-23/ https://ramblingbrick.com/2022/08/15/collectable-minifigures-series-23-rambling-review/ 31335 LEGO Ideas Motorised Lighthouse https://jaysbrickblog.com/reviews/review-lego-21335-motorized-lighthouse/ https://ramblingbrick.com/2022/08/25/time-for-a-little-light-house-keeping-21335-lego-ideas-motorised-lighthouse-unveiled/ We are still taking questions for a Q&A episode - reach out to us on Twitter or Instagram (@extrapiecespod) for any questions!

In the lead-up to the LEGO Group's 90th anniversary this month, we journey to the company's home in Billund, Denmark to talk with some of its eclectic employees about how they create the future of play, informed by the past.

Episode Notes Welcome to a special LEGO 90th Anniversary episode of Extra Pieces! It's 10 August, and The LEGO Group celebrates an incredible milestone - a 90th birthday! From humble beginnings making wooden toys, to the great leap forward to ABS plastic, and now, a cultural phenomenon that has redefined how fans young, old and everyone in between play. In this episode we discuss LEGO's remarkable staying power, some memorable sets, and how it's changed through the years. Counting down to the 90th anniversary, Richard has been recounting a decade by decade summary of the company's history: http://ramblingbrick.com/2022/08/01/counting-down-to-90-years-of-play-1930s/ http://ramblingbrick.com/2022/08/03/counting-down-to-90-years-of-play-1942-1952 http://ramblingbrick.com/2022/08/03/countdown-to-90-years-of-play-part-3-1952-1961/ http://ramblingbrick.com/2022/08/05/counting-down-to-90-years-part-4-1962-1971/ http://ramblingbrick.com/2022/08/06/countdown-to-90-years-of-play-part-5-1972-1981/ http://ramblingbrick.com/2022/08/06/counting-down-to-90-years-of-play-part-6-1982-1991/ http://ramblingbrick.com/2022/08/07/counting-down-to-90-years-of-play-part-7-1992-2001/ http://ramblingbrick.com/2022/08/08/counting-down-to-90-years-of-play-2002-2011/ http://ramblingbrick.com/2022/08/10/counting-down-to-90-years-of-play-part-9-2012-2021/ Learn more about The LEGO Group's history: https://www.lego.com/en-au/aboutus/lego-group/the-lego-group-history/ Richard and Jay will also be attending the Skaerbaek Fan Weekend in Denmark in September, as well as making a trip to LEGO HQ in Billund for fan media days! If you're at Skaerbaek, let us know so we can say g'day! We hope you enjoyed this 90th Anniversary episode of Extra Pieces! Thanks for listening. We are still taking questions for a Q&A episode - reach out to us on Twitter or Instagram (@extrapiecespod) Play Well!

Welcome Back July has been an incredibly eventful month, with early reviews of the massive slate of August releases in the lead up to LEGO's 90th Anniversary. Since we last met... Richard visited Brixpo - a LEGO Fan run expo in Adelaide There was an awesome, Minifigure-scale Imperial Light Cruiser from Star Wars on display https://www.instagram.com/reel/Cf0nK8rpyYT/?utm_source=ig_web_copy_link Inflation has become as much of a talking point as COVID With the imminent price rises from August and September, we get a peek of what sets are going up in price, and by how much. https://jaysbrickblog.com/news/partial-list-of-lego-set-price-increases-singapore-edition https://jaysbrickblog.com/news/partial-list-of-lego-sets-increasing-in-price-usa-in-august-and-september-2022/ New LEGO Reviews! 10497 Galaxy Explorer http://ramblingbrick.com/2022/07/14/10497-galaxy-explorer-an-icon-reimagined-rambling-review https://jaysbrickblog.com/reviews/review-lego-10497-galaxy-explorer-2022/ https://jaysbrickblog.com/news/lego-10497-galaxy-explorer-2022-alternate-builds/ 10305 Lion Knights' Castle https://jaysbrickblog.com/reviews/review-lego-10305-lion-knights-castle/ Richard and Jay will also be attending the Skaerbaek Fan Weekend in Denmark in September, as well as making a trip to LEGO HQ in Billund for fan media days! If you're at Skaerbaek, let us know so we can say g'day! We hope you enjoyed this episode of Extra Pieces! Thanks for listening. We are still taking questions for a Q&A episode - reach out to us on Twitter or Instagram (@extrapiecespod) Some Sets discussed were provided by the LEGO group for review purposes - all opinions are our own. Play Well!

On this day in 1968, the first theme park dedicated to LEGO bricks opened in the company's hometown of Billund, Denmark. See omnystudio.com/listener for privacy information.

This week we seek revenge when we review The Northman. We also discuss Nitram, How to Build a Time Machine, and The Witch. All while drinking Vikingernes Mjød. A mead by Dansk Mjød, out of Billund, Denmark. Intro and Beer Selection 0:00-15:55 The Northman Review 15:55-1:18:41 Nano Reviews 1:18:41-2:01:21 Outro 2:01:21-2:04:22 Like us on Facebook! www.facebook.com/SudsAndCinema/ Follow us on iTunes! podcasts.apple.com/us/podcast/id1494990925 Follow us on Spotify! open.spotify.com/show/3Ludeu2hrTDuBfSGc9y7tO Follow us on PodBean! sudsandcinema.podbean.com Follow us on Instagram! www.instagram.com/sudsandcinemapodcast/ Find our Premium Episodes Here! https://sudsandcinema.bandcamp.com/ Send your questions and comments to sudsandcinemapodcast@gmail.com Logo and Artwork by @djmikeholiday