Podcasts about CV

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

In the March 2025 Opinion and Order for case Rodney Jones v. Sean Combs et al. (24-CV-1457), Judge J. Paul Oetken ruled on motions to dismiss brought by Sean Combs and several co-defendants. While five of Jones's seventeen claims were dismissed—including claims under the Trafficking Victims Protection Act (TVPA) and Racketeer Influenced and Corrupt Organizations Act (RICO) against Combs Global and Love Records—multiple key allegations were allowed to proceed. These surviving claims include sexual assault, battery, intentional infliction of emotional distress, and premises liability against Sean Combs, Kristina Khorram, Justin Combs, Cuba Gooding Jr., and Jane Doe 1 (allegedly “Yung Miami's cousin”). The court found that many of Jones's accusations, including being drugged, sexually assaulted, and trafficked across state and international lines, were sufficiently detailed to survive the defendants' efforts to have the case dismissed entirely.The ruling outlines severe and graphic allegations, including incidents where Jones claims he was sexually assaulted, manipulated, and trafficked while working closely with Sean Combs between 2022 and 2023. Jones alleges Combs used power and influence in the music industry to coerce him into unwanted sexual activity, promising professional success in return. The complaint details incidents in Los Angeles, Miami, New York, the US Virgin Islands, and Saint-Barthélemy, including claims of being drugged, groped, and assaulted by Combs and others in his circle. The court emphasized that while some claims lacked sufficient legal basis or specificity, the core allegations—particularly those describing direct physical and psychological abuse—were compelling enough to proceed to discovery and potentially trial.to contact me:bobbycapucci@protonmail.comsource:24cv1457 Jones v Combs MTD Opn.pdf

Visit our website:https://www.thewealthwarehousepodcast.com/Dave and Paul tackle a common stall-out point: starting IBC with one whole life policy and never building the system Nelson Nash intended. They cover when to add policies (spouse/kids/your increased income), how to plan expansions using convertible term, what to do with windfalls, and why loans and investments should originate from and return to your policy ecosystem.Becoming Your Own Banker by Nelson Nash:https://infinitebanking.org/product/becoming-your-own-banker/ref/46/Episode Highlights:0:00 - Episode beginning3:31 - IBC = a system, not one policy4:26 - Life changes → expand (income/spouse/kids)6:52 - Case study: don't cancel; CV > premium9:00 - Keep mature policies; avoid 1035 “churn”11:30 - Remember your why: capitalize & control12:31 - 20 years + a system; “accommodate all income”13:36 - How to expand (small adds, spouse/kids)15:03 - Kids' policies & compounding16:25 - Future-proof with convertible term & HLV19:12 - Windfalls → premium/loans/new premium20:55 - Policies as your emergency fund (liquidity)22:14 - Beneficiaries beat probate — update yearly25:03 - Investments start & return to your system28:22 - IBC is ongoing; control your capital29:55 - Episode wrap-upABOUT YOUR HOSTS:David Befort and Paul Fugere are the hosts of the Wealth Warehouse Podcast. David is the Founder/CEO of Max Performance Financial. He founded the company with the mission of educating people on the truths about money.David's mission is to show you how you can control your own money, earn guarantees, grow it tax-free, and maintain penalty-free access to it to leverage for opportunities that will provide passive income for the rest of your life.Paul, on the other hand, is an Active Duty U.S. Army officer who graduated from Norwich University in 2002 with a B.A. in History and again in 2012 with a M.A. in Diplomacy and International Terrorism. Paul met his wife Tammy at Norwich.As a family, they enjoy boating, traveling, sports, hunting, automobiles, and are self-proclaimed food people.Visit our website:https://www.thewealthwarehousepodcast.com/Catch up with David and Paul, visit the links below!Website: https://infinitebanking.org/agents/Fugere494 https://infinitebanking.org/agents/Befort399LinkedIn: https://www.linkedin.com/in/david-a-befort-jr-09663972/ https://www.linkedin.com/in/paul-fugere-762021b0/Email:davidandpaul@theibcguys.com

El mundo del motor está lleno de historias increíbles, mitos, leyendas, relatos que pasan de padres a hijos y de secretos susurrados en los talleres. Pero, ¿qué hay de cierto en todo ello? ¿Se diseñó el Mini en una servilleta? ¿Construyó BMW un superdeportivo para competir con Ferrari? ¿Existió un prototipo de 911 Turbodiésel? Analizamos 15 mitos… ¿verdaderos o falsos? Os recuerdo que al final de este video tenemos una visita de lujo, Jaime Sánchez que viene a ayudarnos con el “Consultorio Clásico” … no os lo perdáis. 1. BMW M8 (E31): El Superdeportivo “secreto”. Comenzamos con una leyenda que durante décadas fue el unicornio de BMW. Se decía que en los 90, en el más absoluto secreto, la división M había creado un arma definitiva, un "Ferrari-killer" basado en el Serie 8. 2. Chrysler Viper, con corazón de camión. El Dodge Viper es un icono americano. Un capó interminable y un descomunal motor V10. Desde su nacimiento, ha arrastrado una leyenda que le resta pedigrí: que su motor es una adaptación de un motor de camión. 3. Citroën: El coche que anda con tres ruedas. Esta historia parece un truco de magia. Se cuenta que modelos como el Citroën DS "Tiburón", CX, GS o SM podían circular sin una de las ruedas traseras. Suena a exageración, a un mito para ensalzar las virtudes de la suspensión hidroneumática. 4. Corvette: La promesa del motor central que duró 50 años. Antes del actual Corvette C8, la idea de un "Vette" con motor central fue el “Santo grial” de los aficionados, una leyenda recurrente que parecía que nunca se materializaría. Durante más de medio siglo, cada vez que se acercaba una nueva generación, los rumores resurgían. 5. DeLorean DMC-12 y el motor rotativo perdido. El DeLorean es famoso por el cine y por su carrocería de acero inoxidable, pero también por su decepcionante motor V6 PRV. La leyenda dice que no siempre fue así. 6. Enzo Ferrari y el sueño prohibido de las cuatro puertas. Durante décadas, un Ferrari de cuatro puertas era una herejía. Sin embargo, circulaba la leyenda de que la propia marca, e incluso Enzo Ferrari, habían coqueteado con la idea en secreto mucho antes del actual Purosangue. 7. Ford Mustang y la salvación de la tracción trasera. A mediados de los 80, el Mustang estuvo a punto de morir tal y como lo conocemos. Ford planeaba sustituir el "Fox-body" de tracción trasera por un deportivo más pequeño y eficiente basado en la plataforma del Mazda 626... con tracción delantera. 8. Honda NSX prototipo con motor V12. El Honda NSX original fue revolucionario. Pero en aquella época, Honda dominaba la F1 con motores V10 y V12. De ahí nació la leyenda de que desarrollaron en secreto un prototipo del NSX con un motor V12 derivado de la F1. 9. Mercedes 300 SL con puertas con bisagras explosivas. El Mercedes 300 SL "Alas de Gaviota" generó una leyenda siniestra: en caso de vuelco, las puertas quedarían bloqueadas, y para solucionarlo, Mercedes diseñó bisagras con cargas explosivas para volarlas en una emergencia. 10. Mini, diseñado en una servilleta. Una de las leyendas más románticas del diseño. Se dice que Alec Issigonis tuvo un momento de inspiración y esbozó el diseño básico del revolucionario Mini en una simple servilleta. 11. El motor Maserati del Citroën SM era medio V12. El motor V6 a 90 grados del Citroën SM era inusual. La leyenda, muy persistente, dice que Maserati simplemente cogió uno de sus V12 y le cortó seis cilindros para ahorrar tiempo y dinero. 12. Motor PRV un V8 al que le quitaron dos cilindros. Otro motor V6 a 90 grados fue el PRV, un diseño conjunto de Peugeot-Renault-Volvo. Además de ese ángulo contaba con un orden de encendido irregular que le daba un sonido poco refinado. La leyenda dice que nació como un V8, pero fue "capado" a última hora por la crisis del petróleo. 12+1. Porsche 911: La blasfemia de una versión Diésel. Para un purista, un 911 diésel es la máxima herejía. Aun así, el rumor de que Porsche lo consideró en algún momento ha circulado alguna vez. 14. Porsche 911 4 puertas de 1967, precursor del Panamera. ¿Un Porsche de cuatro puertas en los años 60? La leyenda habla de un 911 único, encargado por un entusiasta adinerado. 15. Toyota Supra "Top Secret", el misil V12. La leyenda del mundo del tuning dice que Kazuhiko "Smokey" Nagata, de Top Secret, creó un Supra A80 con un V12 biturbo de más de 900 CV y lo llevó a una autopista británica para intentar superar los 322 km/h (200 mph). Conclusión. Como hemos visto, el mundo del automóvil es un campo abonado para las historias increíbles. Algunas, por muy lógicas que parezcan, son pura invención, mientras que otras, las más disparatadas y asombrosas, resultan ser completamente ciertas.

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…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: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. 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

Welcome to the #ShareYourHotness Podcast episode 166! Dr. Candace Campbell (or Candy, as her friends call her) is an award-winning actor, author, filmmaker, fine artist, and ‘recovering academic.' She's also a nurse-consultant who works with corporate and individual clients to achieve peak performance cultures and success. Her nursing CV includes clinical, administrative, and academic work. As an actress, she has appeared on stage, film, radio, and TV. She was also the co-founder of an improv and stand-up comedy troupe in the San Francisco area, The Barely Insane Player_s, which led to three one-person shows, including the latest, _Florence Nightingale: Reluctant Celebrity, which has played in several US states, 3 other countries, and off-Broadway. After she retired from her post as an academic and moved to the DC area to be near grandchildren, she began touring with the Nightingale show, painting again, and writing her eighth book to accompany her award-winning screenplay, Walking Point, based on her own story and other true stories of VN War veterans and what happened when they returned. Candy is also a strong woman of faith, and discusses how God has played a part (so to speak) in all her creative endeavors. Learn more at: https://candycampbell.com https://FlorenceNightingaleLive.com https://CandaceCampbellFineArt.com Support The #ShareYourHotness Podcast by contributing to their tip jar: https://tips.pinecast.com/jar/the-syh-podcast Find out more at https://the-syh-podcast.pinecast.co

Un miembro del canal me dijo: “Tanto hablar de Saab y se os olvida Volvo” ¡Y tenía toda la razón! Si a una persona, aficionada o no, le pronuncias “Volvo”, piensan en Suecia, en seguridad y, probablemente, en un coche familiar cuadrado y robusto. Esta es la historia de una marca que convirtió la seguridad en su religión pero también fabricó coupés deportivos y que acabó teniendo los ojos rasgados… ¿se puede hablar de “final feliz”? La historia de muchas marcas comienza en un taller de coches, pero la de Volvo no. En Gotemburgo, Suecia, esta erradicada la empresa SKF era uno de los mayores fabricantes del mundo de rodamientos. Y dos de sus empleados, el economista Assar Gabrielsson y el ingeniero Gustaf Larson, compartían una pasión: los automóviles. La leyenda cuenta que sellaron su acuerdo en una cena en agosto de 1924, en el restaurante Sturehof de Estocolmo, comiendo cigalas. El 14 de abril de 1927, el primer Volvo salió de la fábrica. Era el ÖV 4, apodado "Jakob", un descapotable con un motor de 4 cilindros y 28 CV. Como en toda buena historia, el debut tuvo un problemilla. Hablar de Volvo es hablar de seguridad con propuestas concretos. Otras marcas en los años 40 y 50 se centraban en la potencia las prestaciones, pero Volvo ya pensaba en cómo sobrevivir a un accidente. En 1944, su modelo PV444 ya introdujo una jaula de seguridad y el parabrisas de vidrio laminado. En los 50, experimentaron con salpicaderos acolchados. Pero el momento que cambió todo el mundo del automóvil, llegó en 1959. Volvo contrató al ingeniero Nils Bohlin, que antes había diseñado asientos eyectables para aviones de combate en Saab. Sabía cómo mantener a un humano atado y a salvo. En menos de un año, Bohlin desarrolló y patentó el cinturón de seguridad de tres puntos de anclaje. Y aquí es donde Volvo hizo algo impensable. Tenían la patente de uno de los mayores inventos en la historia del automóvil. Podrían haber intentados cubrirse de oro, pero no, la liberaron. Dejaron que cualquier fabricante del mundo la usara, gratis. Entendieron que era un avance demasiado importante para la vida humana como para guardárselo. ¿Y las carreras? En los 80, Volvo cogió su sedán 240, con la aerodinámica de una nevera, le metió un turbo descomunal y lo apodó "El Ladrillo Volador". Ganó el Campeonato Europeo de Turismos en 1985, humillando a BMW y Jaguar. Pero la locura definitiva llegó en 1994, en el Campeonato Británico de Turismos. A finales del siglo XX, los fabricantes independientes como Volvo lo tenían difícil. Tras un intento de fusión fallido con Renault, Volvo acabó buscando un socio más grande. En 1999, Ford compró la división de coches de Volvo por 6.450 millones de dólares. Volvo pasó a formar parte del Premier Automotive Group de Ford, junto a Jaguar, Land Rover y Aston Martin… Desde donde nadie lo esperaba, llegó una oferta. Venía de China. De un fabricante relativamente desconocido llamado Geely. El pánico se apoderó de Suecia. ¿Una empresa china comprando el símbolo de la ingeniería sueca? Muchos vaticinaron el fin de Volvo, como ya había sucedido con Saab, pensando que robarían su tecnología y la calidad caería en picado. Pero el fundador de Geely, Li Shufu, era un admirador profundo de Volvo. En 2010, la venta se completó por 1.800 millones de dólares. Y Li Shufu cumplió su palabra. Geely hizo lo más inteligente que podía hacer: puso una cantidad ingente de dinero sobre la mesa y se apartó. Le dieron a Volvo la financiación y la independencia casi total para investigar y desarrollar. Liberaron al tigre. El resultado fue el renacimiento de Volvo. Con la inversión china, los ingenieros suecos desarrollaron desde cero dos nuevas plataformas modulares, SPA y CMA. Contrataron a un nuevo jefe de diseño, Thomas Ingenlath, que revolucionó la estética de la marca con señas de identidad como los faros en forma de "Martillo de Thor". El primer fruto de esta nueva era, el XC90 de 2015, fue una declaración de intenciones: lujoso, tecnológico, minimalista y, por supuesto, el coche más seguro del mundo. Fue un éxito rotundo y marcó el camino para una gama que ha devuelto a Volvo a lo más alto del segmento premium, reforzando su identidad sueca y apostando ahora por la electrificación total con su submarca Polestar.

Even if your 2025 season isn't over, it's not too early to start planning for 2026—before you hit that register button, tune in for tips on how to build a season that maximizes enjoyment, growth, and results while avoiding burnout and over-racing. In this episode, we answer the question “How much time should I take off formal training?” We also explore the Power of Belief in the Get Gritty Tip, break down Cruise Intervals in the TriDot Workout of the Week, and wrap up with some fun Fat Bear Week trivia!Vespa Power Endurance helps you tap into steady, clean energy—so you stay strong, focused, and in the zone longer. Vespa is not fuel, but a metabolic catalyst that shifts your body to use more fat and less glycogen as your fuel source. Vespa comes in CV-25, Junior and Concentrate.Less sugar. Higher performance. Faster recovery.Home of Vespa Power Products | Optimizing Your Fat MetabolismUse discount code - 303endurance20Website - Grit2Greatness Endurance CoachingFacebook - @grit2greatnessenduranceInstagram - @grit2greatness_enduranceCoach April SpildeApril.spilde@tridot.comTriDot Signup - https://app.tridot.com/onboard/sign-up/aprilspildeRunDot Signup - https://app.rundot.com/onboard/sign-up/aprilspildeCoach Lauren BrownLauren.brown@tridot.comTriDot Signup -RunDot Signup -Coach Rich SoaresRich.soares@tridot.comRich Soares CoachingTriDot Signup - https://app.tridot.com/onboard/sign-up/richsoaresRunDot Signup - https://app.rundot.com/onboard/sign-up/richsoares

The Herle Burly was created by Air Quotes Media with support from our presenting sponsor TELUS, as well as CN Rail, PSAC, and the Ontario Real Estate Association.Greetings, you curiouser and curiouser Herle Burly-ites! A topic today we've been exploring from a few different angles these last few months: can Canada build (baby build) housing anymore?We convened a panel on it back in the early summer to talk policy and what's happening in the real world – Meredith, Moffat and Butler. We had the Conservative housing critic on the pod, Scott Aitchison, who gave us his take on what needs to be done.Today, we get the government's view of things with the Honourable Gregor Robertson, Canada's Minister of Housing and Infrastructure.Mr. Robertson has a long and impressive CV, so please pardon my drastic précis here: He served as the Mayor of Vancouver for a decade, 2008 to 2018, where his focus was on transit and cycling infrastructure ... introducing modular housing to support unhoused residents ... leading on co-ops and supportive housing ... and starting the country's first successful empty homes tax. Prior to that, he was a Member of the B.C. Legislature for 3 years, 2005-2008. As well as the Co-Founder and CEO of “Happy Planet” Organic Foods.So, we're going to talk about this new government agency “Build Canada Homes” and how it plans to “supercharge housing construction across Canada”. How will the programs work? What's the timeline for success in a crisis?  And we'll get Mr. Robertson's view on why he thinks government is the solution to this problem when most people think government IS the problem.Thank you for joining us on #TheHerleBurly podcast. Please take a moment to give us a rating and review on iTunes, Spotify, Stitcher, Google Podcasts or your favourite podcast app.Watch episodes of The Herle Burly via Air Quotes Media on YouTube.The sponsored ads contained in the podcast are the expressed views of the sponsor and not those of the publisher.

This episode is a practical playbook for biotech job seekers and career climbers who want to interview with clarity, energy, and impact. Carina breaks down 25 common mistakes that quietly cost candidates offers, from rambling to over‑indexing on technical detail to skipping metrics. You'll learn how to answer the actual question asked, thread a positive through‑line across job changes, balance “I” and “we,” and anchor answers with outcomes and numbers. There's tactical guidance for recruiter screens and onsite loops, including how to read cues to be concise, translate jargon, and prepare questions that reveal culture, expectations, and first‑90‑day success metrics. If you're targeting roles across R&D, Quality, Clinical, or G&A in high‑growth biotechs, this episode will help you tighten your elevator pitch, signal motivation for the role and company, avoid negative framing, and follow up like a pro, so you leave every interviewer thinking you're the obvious next hire.Learn more about the Collaboratory Career Hub community and access our free resources:Join our Skool CommunityTake the Free 7-day Interview Sprint ChallengeCheck out our sister podcast: Building BiotechsSend Carina a connection request on LinkedIn!Stay connected with us:

Is Scrum Dying? Or Are We Just Doing It Wrong?Scrum used to be king. Now people don't even want it on their CV.Remember when being a Product Owner was cool? When Scrum Masters were change agents, not glorified note-takers?When saying “we use Scrum” signalled progressive, Agile thinking?Fast forward to now, and you'll find Product Owners ashamed of the title, Scrum Masters sidelined, and developers stuck in factory-mode delivery.Teams are jumping ship to SAFe, Kanban, or “whatever Spotify did,” chasing results Scrum couldn't deliver.How to connect with AgileDad:- [website] https://www.agiledad.com/- [instagram] https://www.instagram.com/agile_coach/- [facebook] https://www.facebook.com/RealAgileDad/- [Linkedin] https://www.linkedin.com/in/leehenson/

"The psychological aspects of having obesity are rarely recognized. The psychological burden that people carry outweighs the adipose tissue.”                                                                                              Robin Pashby PhD This episode is a must-listen for anyone struggling with obesity, or who knows someone with obesity, or a healthcare clinician who has patients with obesity.  The complex biology of why some folks have excess weight is just beginning to be fully understood. Having obesity is a complex interplay of biology and psychology, and it is time to stop framing obesity as a personal failure. The solution is not as simple as “Eat less, move more”.  Dr. Robyn Pashby is a health psychologist with expertise in the impact of obesity on mental health and the impact of mental health on obesity. Today, she is joining me for a discussion on why we need to reframe the obesity conversation and how to do it.   The training of a clinical health psychologist with expertise in obesity  The language of obesity as a chronic disease The impact of repeated traumatic experiences and shame Why “dieting” is not obesity treatment  Changing the internal narrative of “food noise” versus “shame noise” Why an underwear upgrade is important Sexual issues related to having obesity Why telehealth obesity drugs can be problematic What a scale represents to someone with obesity Getting weighed in the doctor's office- do you need to? What to say to someone who has lost a lot of weight How to respond to someone who asks about your weight How to get emotional support when being treated for obesity The New Food Fight book Robyn Pashby, Ph.D. www.healthpsychologypartners.com LinkedIn Atlantic Panel Weight, What?  https://www.youtube.com/watch?v=nzGaetHGnSY What We Carry https://www.youtube.com/watch?v=8jP9puLTXNM BOOK: The New Food Fight  https://a.co/d/fpoanrC Obesity Action Coalition (OAC) https://www.obesityaction.org/ Your Weight Matters free regional conventions https://www.yourweightmatters.com/ Lauren Streicher MD, is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause, and a Senior Research Fellow of The Kinsey Institute, Indiana University. She is a certified menopause practitioner of The Menopause Society.      Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.      LINKS   Subscribe To Dr. Streicher's Substack Information About the COME AGAIN Podcast Dr. Streicher's CV and additional bio information To Find a Menopause Clinician and Other Resources  Glossary Of Medical Terminology Books by Lauren Streicher, MD    Slip Sliding Away: Turning Back the Clock on Your Vagina-A gynecologist's guide to eliminating post-menopause dryness and pain Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Sex Rx- Hormones, Health, and Your Best Sex Ever The Essential Guide to Hysterectomy      Dr. Streicher's Inside Information podcast is for education and information and is not intended to replace medical advice from your personal healthcare clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast.          

When you're exploring nonclinical jobs, one of the very first hurdles is often the recruiter screening call. Many physicians assume this will just be a quick, casual chat but in reality, it can make or break whether you move forward in the process. In this episode, I'll walk you through how to prepare for this important conversation as if I were coaching you one-on-one. You'll learn what recruiters are really looking for, how to connect your story to their needs, and the simple but powerful ways you can build a bridge that sets you apart as a strong candidate. This isn't about rattling off your CV or giving “perfect” answers. It's about understanding the recruiter's perspective, showing authentic interest, and coming across as both capable and collaborative. By the end, you'll feel much more confident heading into that first call and know how to approach it with professionalism and ease. In this episode we're talking about: The “three-legged stool” recruiters use to assess candidates How to build a bridge between your story and the company's mission Tips for answering the classic “Tell me about yourself” opener The most common questions you'll hear—and how to be ready for them How to handle the dreaded salary question with calm confidence Thoughtful questions you can ask to stand out Why a warm, timely follow-up email makes such a difference Links for this episode:

This week on Life in Private Staffing we're joined by Veronica Lajud, an international childcare specialist based in Miami and founder of the Stellar Insight Method.With a background in Montessori education and over a decade working inside UHNW households, Veronica has built a unique approach that goes far beyond traditional nannying. She now mentors nannies, supports families worldwide, and creates tailored routines designed to unlock each child's full potential.Together we explore how childcare in UHNW homes differs from the traditional world, why empowering household staff is just as crucial as supporting the children themselves, and how one nanny's role can completely change the course of a family's future.

À Madagascar, les manifestants ont fait une nouvelle démonstration de force hier, notamment dans la capitale. Beaucoup continuent de réclamer le départ du président Rajoelina, malgré la décision de celui-ci de dissoudre son gouvernement. Quels sont les atouts politiques que le chef de l'État malgache conserve dans sa main ? Et quel rôle peut jouer l'armée dans ce moment de forte tension, qui a déjà provoqué la mort de 22 personnes selon l'ONU ? Il y a quelques années, chez Karthala, l'économiste et politologue Olivier Vallée a publié La société militaire à Madagascar. RFI : Beaucoup de manifestants réclament le départ du président Rajoelina, mais celui-ci a eu la souplesse de limoger son gouvernement et de faire un début de repentir. Est-ce que cela peut satisfaire une partie de la rue ? Olivier Vallée : Je ne crois pas, parce que ses réactions étaient quand même très lentes. Le limogeage du gouvernement est apparu quand même improvisé, dans la mesure où il demandait à ce qu'on lui envoie des CV pour constituer un nouveau gouvernement. Donc ça parait vraiment un peu comme une comédie un peu grotesque à la plupart des manifestants, et aussi à l'ensemble des observateurs politiques, y compris dans son camp. Avec le limogeage du gouvernement, le président Rajoelina se sépare du Premier ministre Christian Ntsay qui était en poste depuis sept ans et qui paraissait indéboulonnable. Est-ce que ce n'est pas une grosse perte pour lui ? Ce n'est pas une grosse perte dans l'immédiat, parce qu'il remplit pour la première fois son rôle de fusible. Mais par contre, c'est un poids lourd du système politique et ça va laisser effectivement dès maintenant le président en tête-à-tête avec les manifestants et avec les politiques, un tête-à-tête dans lequel il ne sera pas du tout à l'aise. Il a tendance plutôt à s'emporter, alors que son Premier ministre est certainement quelqu'un qui prépare ses coups sur la longueur. Les manifestants réclament aussi la mise à l'écart de l'homme d'affaires Mamy Ravatomanga. Mais vu que c'est un homme de l'ombre, comment le président Rajoelina pourrait-il mettre en scène sa disgrâce ? Je pense qu'il y a énormément de moyens et Mamy Ravatomanga, sa maison et certains de ses établissements ont été attaqués, mais il bénéficie d'une milice qui est presque aussi puissante que la police de Tananarive. Donc sa milice est responsable d'un certain nombre de morts. Et il faudrait que le président mette en cause justement cette milice et l'Académie de sécurité, dirigée par un Français, que Mamy Ravatomanga a créée et qui lui permet justement d'entretenir ces milices de sécurité privées. Il y a énormément de moyens d'ordre public de s'en prendre à son protecteur et bienfaiteur, sans mettre sur la place publique leurs relations financières qui datent de très longtemps. C'est un financeur de campagnes électorales, etc. Mais là, il s'est illustré pendant les manifestations par la brutalité de sa milice. À lire aussiMadagascar: des milliers de manifestants défilent et appellent à la démission de Rajoelina En 2009, quand le président Rajoelina a été porté au pouvoir par la rue, l'armée a joué un rôle clé en sa faveur. Quelle peut être la stratégie des militaires aujourd'hui ? Ce que l'on voit, c'est que l'armée qui est, comme je l'ai écrit dans mon livre, une agglomération de différentes tendances, de différentes unités… Andry Rajoelina n'avait été soutenu, lors de son coup d'Etat de 2009, que par une partie, une toute petite partie de l'armée qui se trouvait à Tananarive. Les autres unités ont rallié le coup d'Etat sans y participer vraiment. Donc aujourd'hui, ce à quoi on a assisté, c'est quand même une certaine passivité. L'armée a accueilli le président de la République quand il est revenu sur la base aérienne d'Ivato. À son retour de New York ? Oui, tout à fait. Et l'a transféré en hélicoptère dans son palais forteresse qu'avait créé Didier Ratsiraka, qui se trouve à peu près à une quinzaine de kilomètres du centre-ville. Mais ses bons offices en sont restés là. Le président a lui-même sa milice. Et les forces qui se sont déployées dans la capitale, ce sont essentiellement celles de la gendarmerie, qui continue à obéir et être sous l'influence d'un homme lige de Ange Rajoelina, qui s'appelle le général Ravalomanana, qui est à la fois au Sénat et l'animateur souterrain de la gendarmerie. Celle-ci joue la stratégie de la force. Ses hommes ont tiré. On a énormément de vidéos. Mais le reste de l'armée ne s'est pas engagée. Quant à la police, elle a été complètement passive pendant les pillages. Donc pour l'instant, l'armée est attentiste, c'est ça ? Oui, l'armée est attentiste. Donc c'est un moment difficile parce qu'il y a vraiment un mouvement de masse qu'on n'a pas toujours vu. En 2009, ce n'était pas un mouvement de masse, donc l'armée a laissé faire et ensuite a repris la main. Là, elle laisse faire, mais elle n'est pas sûre de reprendre la main et elle sait que, si elle se compromet, ça lui coûtera plus cher qu'en 2009. À lire aussiÀ Madagascar, la Gen Z en appelle à la génération X

Link promocional para audiência do Narrativas. Beway Idiomas:   https://mkt.bewayidiomas.com.br/?a=16517723  Narrativas analisa os acontecimentos do Brasil e do mundo sob diferentes perspectivas.     Com apresentação de #MadeleineLacsko, o programa desmonta discursos, expõe fake news e discute os impactos das narrativas na sociedade.     Abordando temas como geopolítica, comunicação e mídia, traz uma visão aprofundada   e esclarecedora sobre o mundo atual.     Ao vivo de segunda a sexta-feira às 17h.   Apoie o jornalismo Vigilante: 10% de desconto para audiência do Narrativas  https://bit.ly/narrativasoa   Siga O Antagonista no X:  https://x.com/o_antagonista   Acompanhe O Antagonista no canal do WhatsApp. Boletins diários, conteúdos exclusivos em vídeo e muito mais.  https://whatsapp.com/channel/0029Va2SurQHLHQbI5yJN344  Leia mais em www.oantagonista.com.br | www.crusoe.com.br 

O czym marzy dziewczyna, gdy dorastać zaczyna? Ważniejsze jest pytanie o czym marzy polityk, któremu w polityce się nie udało? Się nie rymuje, ale problem pozostaje. W takiej samej sytuacji jest polityk jak skończył być na przykład prezydentem. Otacza go pustka, nuda, z nudów umyje po sobie szklankę, kopnie w odkurzacz, owinie się w firankę i tak postoi. Pojawił się informacja Szymon Hołownia chce odejść z polskiej polityki. Postanowił aplikować i wysłał swoje CV na stanowisko wysokiego komisarza ONZ do spraw uchodźców. To jest właśnie to marzenie nieudanych polityków: ciepła posadka, najlepiej w międzynarodowej organizacji, gdzie się nie narobisz, a przytulisz rzetelny grosz w dolarach. Ale jak się nie uda, to może jakieś inne, mniej eksponowane stanowisko w ONZ.

Is chronic pain really “in the body”… or in the brain's predictions about the body?Today on the Crackin' Backs Podcast, we sit down with Dr. Jorge Esteves, PhD, DO—an osteopath, educator, and researcher whose work reframes low back pain, sciatica, and other MSK issues through the lens of predictive processing, active inference, and interoception. Dr. Esteves explains why pain is more than a physical signal: it's shaped by mood, memory, context, and environment—and how the right mix of smart touch, simple movement, precise language, and meaning can rewrite faulty predictions and dial down threat in the nervous system.We explore what he calls “smart touch”—the affective, well-timed, well-paced contact that improves therapeutic alliance, entrains breath and rhythm, and helps the brain feel safe enough to update its story about the spine. We also unpack fresh imaging work suggesting hands-on care can influence connectivity in pain and interoceptive hubs, including the insula—right where body-signal meaning is made. You'll leave with a 5-minute daily recalibration (breath cue + one gentle movement + one self-touch drill) to keep predictions aligned with reality—especially during a flare.What You'll LearnPain ≠ damage: Why back pain often persists due to over-protective predictions and how to nudge them toward safety.Smart touch, real change: How affective touch, pacing, and breath cues shift interoceptive processing and calm threat.Therapeutic alliance matters: The first 10 minutes that build trust—and the phrases clinicians should avoid because they raise threat.Brains on hands-on care: New imaging insights on how manual therapy may modulate brain connectivity in chronic low back pain.Learn More / Contact Dr. EstevesOfficial site: Prof Jorge EstevesGoogle Scholar (Atlântica University, Portugal): Google ScholarResearchGate: https://www.researchgate.net/profile/Jorge-Esteves-3 ResearchGate(En)active Inference paper (open-access): FrontiersEmail (from CV): osteojorge@gmail.com Pro OsteoLinkedIn: https://www.linkedin.com/in/dr-jorge-esteves-27371522/ Pro OsteoTwitter/X: https://twitter.com/JEsteves_osteo Pro OsteoWe are two sports chiropractors, seeking knowledge from some of the best resources in the world of health. From our perspective, health is more than just “Crackin Backs” but a deep dive into physical, mental, and nutritional well-being philosophies. Join us as we talk to some of the greatest minds and discover some of the most incredible gems you can use to maintain a higher level of health. Crackin Backs Podcast

Ya en otoño de 1995, viendo las revistas de la época, parecía que, al menos para los deportivos, no había “vida” si tenían menos de 200 CV… Y si en vez de 200 CV pueden ser 321 CV como en el BMW M3 o 520 CV como en el Ferrari F50… Mejor que mejor. Bienvenidos a los Podcast de los Lunes de Garaje Hermético.

Ep 213 - One World in a New World with Gill Tiney - Collaboration CatalystWhat does conscious collaboration really look like in practice?In this empowering episode of One World in a New World, Zen Benefiel welcomes the effervescent and purpose-driven Gill Tiney—founder of Collaboration Global and host of Tribe Builders. Gill brings decades of business wisdom, heart-centered leadership, and collaborative energy into a conversation that's equal parts inspiring and actionable.From the power of asking “What if?” to nurturing communities that lead with love and shared vision, Gill offers a new blueprint for how we build sustainable futures—together. This isn't networking. It's next-working—a deeply human approach to conscious co-creation, where contribution becomes the new metric of success.

Are you the reliable one who always delivers but never seems to get promoted? This episode tackles the frustrating reality many high performers face: excelling in your current role can actually become a barrier to career progression.We explore why organisations often struggle to see top performers as leadership material and share practical strategies for breaking free from the "expert trap" – whether you choose to make changes internally or seek fresh opportunities elsewhere.Key points from this episodeThe hidden trap of becoming "too valuable" in your current role and making everything look effortlessWhy staying in your lane and seeking external validation can sabotage your career progressionHow to decide whether to fight for change internally or pursue opportunities elsewhereThe power of saying no and building boundaries to shift perceptionsWhy updating your CV should be your first step, even before you're ready to move00:00 Introduction: When Excellence Becomes a Career Obstacle01:00 The Expert Trap: Why Being Indispensable Can Limit Growth02:00 Common Patterns That Keep You Stuck04:00 The People-Pleasing and Praise-Seeking Combination07:00 Can You Change Perceptions Internally?10:00 Building the "No" Muscle: Setting Boundaries for Career Growth12:00 Recognising When It's Time for a Fresh Start15:00 Overcoming Loyalty That Limits Your Progress16:00 Taking the First Step: Why Your CV Is the Key to Clarity18:00 Using CV Updates to Create Career DirectionUseful LinksJoin The Catalyst Career Club for 50k+ LeadersConnect with Pam on LinkedIn: https://www.linkedin.com/in/pamelalangan/ Connect with Jacqui on LinkedIn: https://www.linkedin.com/in/jacqui-jagger/ Follow the Catalyst Careers LinkedIn page for career tips and adviceInterested in working with us? Get in touch about career or leadership development, outplacement workshops or recruitment support via the Catalyst Careers website Enjoyed this Episode? If you enjoyed this episode, please take the time to rate and review it on Apple Podcasts or SpotifyMentioned in this episode:Catalyst Career Club for £50k+ Leaders & Managers Moving up the career ladder needs an inside edge - strategies that allow you to unlock your full potential and position yourself as a true leadership talent. And that's exactly what the Catalyst Career Club for 50k+ Leaders provides. No fluff, no corporate jargon. Just a down to earth, purposeful injection of oomph for your career from Pamela & Jacqui Use the code PODCAST to get your first month for £1 https://www.pamelalangan.com/catalystcareerclub

Episode 508: 9 Coach-Approved Strategies to Finish Your Season StrongIt's the last weekend of September, and while the calendar says fall, the racing season is still going strong! Whether you're heading to Kona, IRONMAN California, 70.3 Worlds, Cozumel, Florida, or another big race, this is your moment to lean into the grit and finish the season with purpose.In this episode, Rich shares 9 coach-approved strategies to help you stay mentally and physically sharp for your late-season push. From mindset shifts to training tweaks, these tips are designed to help you show up strong and finish proud.What's inside this week:

A bold trial in valvular heart disease, a CV prevention trial whose message is humility, VTE dogma challenged, more news on oral GLP-1 agonists, and a few public service announcements are the topics John Mandrola, MD, discusses in this week's podcast. This podcast is intended for healthcare professionals only. To read a partial transcript or to comment, visit: https://www.medscape.com/twic I DOUBLE-CHOICE: Minimalist Approach to TAVI May Be as Good as Standard of Care https://www.medscape.com/viewarticle/double-choice-minimalist-approach-tavi-may-be-good-standard-2025a1000pp7 Patient & Physician Perspectives on CV Risk https://www.ahajournals.org/doi/10.1161/CIRCOUTCOMES.124.011837 II KP Vaccinate Trial KP Vaccinate Trial https://evidence.nejm.org/doi/full/10.1056/EVIDoa2500208 IAMI trial https://www.ahajournals.org/doi/10.1161/CIRCULATIONAHA.121.057042 Increasing Flu Vaccinations in Patients With Chronic Disease https://jamanetwork.com/journals/jama/fullarticle/2824956 MI FREEE Trial https://www.nejm.org/doi/full/10.1056/NEJMsa1107913 III Hi PRO Trial Apixaban for Extended Treatment of VTE https://www.nejm.org/doi/full/10.1056/NEJMoa2509426 Recurrent VTE in Patients with Provoked VTE https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/226140 IV Oral GLP-1 Agonists ATTAIN 1 Trial https://www.nejm.org/doi/full/10.1056/NEJMoa2511774 You may also like: The Bob Harrington Show with the Stephen and Suzanne Weiss Dean of Weill Cornell Medicine, Robert A. Harrington, MD. https://www.medscape.com/author/bob-harrington Questions or feedback, please contact news@medscape.net

TALENT POOLING: LESSONS FROM TA COMMUNITY BUILDERS   We all know that it easier to get engagement from people who already know you or your brand. Have a think about how you respond to known contacts in WhatsApp vs unknown callers on your phone! As we move toward a world where AI generated communication will come to dominate, we can anticipate that the establishment of trust relationships with your target audience is going to be key in effective hiring.   Lets deep dive:   - What is talent pooling, how is this different from 'collecting CV's - What needs to be done in order to 'acquire' someone into a talent pool? - How do you convert a database into a community? - What are the policies of exclusion in this community? - How do we balance this with an inclusive ethos? - How to police bad behaviour? - How formal should be safe spaces? - What is the best tech platform to use to organise communities? - If we are planning to hire from this community, do we remove people who then get a job? - What professions are most suited for community building? - What circumstances make most sense when putting together a talent pooling plan? - Do we need a specialist function to do this? - What can AI do to help build community - or is this antithetical to how things are done?   All this and more, with Willem Wijnans, Community Lead (Ashby), Marie Chaponiere, Founder (Behind the Mask), Vanessa Raath, Founder (Talent Hunter) & Mahmoud Aly, Community Lead (Egypt Recruiting Community) & Lars Schmidt, Head of Talent (Fruitist)   We are on Friday 26th Sep, 2pm BST - follow the channel here (recommended) and save your spot for this demo by clicking on the green button.     Ep333 is sponsored by our friends Ashby   Ashby just raised $50M in Series D funding, and they're going all in on what modern recruiting teams actually need.   So, what's next?   AI is moving from novelty to necessity. Most tools talk about AI, Ashby makes it work. Their all-in-one platform gives AI real structure so recruiters get time back with AI note-taking, feedback summaries, and personalized outreach emails. In fact, 57% of Ashby's customer base is now using AI within the platform, up from 23% at the start of 2024.   Quality of Hire is finally getting real. More teams are rolling out Quality of Hire programs with Ashby than ever before. What used to be a slide in a quarterly review is now a real strategy, with surveys and reporting built in. It's clearer, faster, and easier to connect to business outcomes.   Community is the new operating system. Ashby already made a big splash with Ashby One, their first customer conference that brought hundreds of talent leaders and RecOps professionals together for a week of sessions, panels, dinners, and live events. With this new funding, they're doubling down on the community by expanding ACE (Ashby Customer Expert) chapters, scaling education programs, and giving local leaders more ways to connect, share learnings, and build lasting networks.   … and the word is out. Enterprise teams like Shopify and Snowflake are already in. With 123% growth and fresh funding to fuel what's next, Ashby is just getting started.   Bottom line: Ashby is not just building software. They are building the infrastructure for modern recruiting.   See the full announcement.   Not on Ashby yet? Get a demo today.

Moshe's tenure as leader of the Jews was chock full of magnificent accomplishments. He spearheaded the Exodus, he brought the Torah down from Heaven, in his merit came the manna – Moshe's CV is unparalleled. But now it's time for him to hand over the reins to Joshua, his disciple and successor. In this Parsha […]

Moshe's tenure as leader of the Jews was chock full of magnificent accomplishments. He spearheaded the Exodus, he brought the Torah down from Heaven, in his merit came the manna - Moshe's CV is unparalleled. But now it's time for him to hand over the reins to Joshua, his disciple and successor. In this Parsha podcast, we make a remarkable observation that connects the beginning of Moshe's tenure and its conclusion that fundamentally changes our perspective on maintaining devotion and commitment to a life mission from beginning to end.– – – – – – – – – – – – – – – – – – – – – –This Parsha Podcast is dedicated in honor and for the success of Noam Yitzhak ben Shlomi. May he be blessed with a Shana Tova UMetuka, a happy and healthy and sweet New Year of only Blessing and Goodness.– – – – – – – – – – – – – – – – – – – – – –DONATE: Please consider supporting the podcasts by making a donation to help fund our Jewish outreach and educational efforts at https://www.torchweb.org/support.php. Thank you!– – – – – – – – – – – – – – – – – – – – – –Email me with questions, comments, and feedback: rabbiwolbe@gmail.com– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to my Newsletterrabbiwolbe.com/newsletter– – – – – – – – – – – – – – – – – – – – – –SUBSCRIBE to Rabbi Yaakov Wolbe's PodcastsThe Parsha PodcastThe Jewish History PodcastThe Mitzvah Podcast This Jewish LifeThe Ethics PodcastTORAH 101 ★ Support this podcast ★

Geddit Geddit Foot Locker Friday! It is a special day, we have a close friend and brother of the show stopping by today, a man who has worn many hats, one of the countries best sportsmen, Mr. Shaun Johnson who can now also add published author to the CV... Shaun's stopping by to talk about his new book 'Perspective By Shaun Johnson' Available to pre order now!... A lucky Shifter has the chance to claim the BIG Foot Locker prize from the two remaining lockers, will they choose the right one?... SIT DOWN!... Don't ever cross Matua Marc or else you will get a side of him you haven't seen before (well one you'll seen if you listen to todays show)... Hit that link below to stay caught up with anything and everything TMS. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/groups/3394787437503676/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We dropped some merch! Use TMS for 10% off. Here is the link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youknowclothing.com/search?q=tms⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you to the team at Chemist Warehouse for helping us keep the lights on, here at The Morning Shift... ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.chemistwarehouse.co.nz/⁠⁠⁠⁠⁠⁠⁠⁠ 00:00 - Intro 4:34 - Check In 8:05 - Daily Bread 19:53 - Our Brother Is An AUTHOR! 32:46 - FOOT LOCKER FRIDAY 37:11 - SIT DOWN! 44:22 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Damian Barrett and Kate McCarthy bring you the latest footy news on AFL Daily. We are one sleep away from the 2025 AFL Grand Final, will the Lions go back to back or does Chris Scott add a third premiership to his already incredible CV. The Trade Period is still over a week from officially starting but all the attention will head in that direction once the siren sounds on Saturday. Congratulations to Ally Anderson from Brisbane and Ebony Marinoff from the Crows who will both play their 100th games of AFLW this weekend, the first two players in the competition to reach the milestone. Subscribe to AFL Daily and never miss an episode. Rate and review wherever you listen to podcasts.See omnystudio.com/listener for privacy information.

In this episode of Skip the Queue, host Paul Marden speaks with Andy Hadden, founder of the Lost Shore Surf Resort in Scotland. Andy shares the remarkable journey from his sporting background and early property career to discovering wave technology in the Basque Country, which inspired him to bring inland surfing to Scotland. Despite starting with no money and no land, Andy raised over £100 million and built one of the world's most advanced inland surf destinations. He explains how Lost Shore Surf Resort combines world-class waves with a strong community focus, sustainability initiatives, and partnerships with schools and universities to deliver real social and economic impact.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, with co host Andy Povey and roving reporter Claire Furnival.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:  Lost Shore Surf Resort website: https://www.lostshore.com/Andy Hadded on LinkedIn: https://www.linkedin.com/in/andy-hadden-94989a67/Andy Hadden is the founder of Lost Shore Surf Resort, Scotland's first inland surf destination and home to Europe's largest wave pool. Opened in November 2024 near Edinburgh, Lost Shore is the country's largest sports infrastructure project since the Commonwealth Games and now attracts a truly international audience of surfers, families, and brands. With a background in insolvency and investment surveying, Andy led the venture from concept to completion - securing major institutional backing and building a multidisciplinary team to deliver a world-class destination. Long before 'ESG' was a buzzword, he embedded environmental and social value into Lost Shore's DNA, helping set new benchmarks for responsible development. As home to the Surf Lab with Edinburgh Napier University, Lost Shore also serves as a global hub for performance, product R&D, and surf therapy. Live from the show floor, we'll also be joined by:Bakit Baydaliev, CEO/ Cofounder of DOF Roboticshttps://dofrobotics.com/https://www.linkedin.com/in/bakitbaydaliev/Hamza Saber, Expert Engineer at TÜV SÜDhttps://www.tuvsud.com/enhttps://www.linkedin.com/in/hamzasaber/David Jungmann, Director of Business Development at Accessohttps://www.accesso.com/https://www.linkedin.com/in/davidjungmann/Kristof Van Hove, Tomorrowlandhttps://www.tomorrowland.com/home/https://www.linkedin.com/in/kristof-van-hove-2ba3b953/ Transcriptions:  Paul Marden: Welcome to Skip the Queue, the podcast about attractions and the amazing people who work with them. I'm your host, Paul Marden, and with my co-host Andy Povey and roving reporter Claire Furnival, we're coming to you from IAAPA Expo Europe. This is the first of three episodes from the show floor that will come to you over the next three days. Firstly, I'm joined today by Andy Hadden, the founder of Lost Shores Surf Resort.Paul Marden: Andy, tell us a little bit about your journey. You've opened this amazing attraction up there in Scotland where I was on holiday a couple of weeks ago. Tell us a little bit about that attraction. Why this and why in Scotland?Andy Hadden: Well, I grew up locally and I came from more of a sporting family than so much of a business family. My father was the international rugby coach for a while and I played a lot of sport. Paul Marden: Oh, really? Andy Hadden: Yeah, yeah. So we always had this thing about there wasn't enough facilities here in Scotland because Scotland is a place which doesn't necessarily have all the resources and the access to funds and everything else like that. But one thing we noted with, you know, if you created facilities, whether they be good tennis facilities, good 4G football pitches, whatever it was. It allowed the environment around it to prosper, the communities around it to prosper. And, of course, I was a charter surveyor by trade, so I worked in insolvency and then in investment. So I sold two sites to that market. Andy Hadden: But I always surfed. I always surfed. So whilst I was down in Birmingham in England, when I actually got an email in 2012 talking about some, you know, some surfy thing that might have been happening in Bristol, I called the head of destination consulting up and I said, 'this sounds like nonsense, to be honest', because I surf and you can't really be talking about real surfing waves here. It's got to be something, you know, different. He said, 'No, no, there's these guys in the Basque country.' So I took a flight over there and that day changed everything for me. Paul Marden: So what was it that you saw? Andy Hadden: I went to see what was back then a secret test facility in the mountains of the Basque Country. It was very cloak and dagger. I had to follow the guide and give me the email address. I found this all very exciting. When I went and actually saw this facility, I realised that for the decade before that, there'd been all these amazing minds, engineers and surfers working on what they believed could be, you know, a big future of not just the inland surfing movement that's now burgeoning into a multi-billion dollar global movement, but it could really affect surfing. And if it was going to affect surfing as a sport, and it's now an Olympic sport because of these facilities, they wanted to make sure that it was a very accessible piece of kit. So surfing, it could affect surfing if ran by the right people in the right ways and really communicate that stoke of the sport to the masses.Paul Marden: So what is it that you've built in Edinburgh then? Tell me a little bit about it.Andy Hadden: So we've delivered a wave garden cove, which is a 52-module wave garden, which is about the size of three football pitches, and it can run hundreds of waves an hour, touch of a button and it can run in skiing parlance anything from green runs right through to sort of black powder runs. And the beauty of it is you can have people that are the better surfers out the back and just like at the beach at the front you've got their kids and learning how to surf on the white water. So we're finding it to be a really amazing experience— not just for surfers who are obviously flocking to us, but already here in Scotland, eight months in, tens of thousands of new surfers are all coming back and just going, 'Wow, we've got this thing on our doorstep.' This is blowing our minds, you know. Paul Marden: Wowzers, wowzers. Look, I'm guessing that the infrastructure and the technology that you need to be able to create this kind of inland wave centre is key to what you're doing. That you've got to access some funds, I guess, to be able to do this. This is not a cheap thing for you to be able to put together, surely.Andy Hadden: Yeah, correct. I mean, you know, I have questioned my own sanity at times. But when I started 10 years ago, I had no money and no land. But I did have some property expertise and I wanted to do it in Edinburgh, a close-up place that I cared about. So we have excellent networks. For a few years, you know. Whilst we've ended up raising over  £100 million in structured finance from a standing start, it took me a couple of years just to raise £40,000. And then I used that to do some quite bizarre things like flying everyone that I cared about, you know, whether they were from the surf community or... Community stakeholders, politicians, and everyone over to the test facility to see themselves— what I could see to sort of—well, is it? Am I just getting carried away here? Or is there something in this? And then, on top of that, you know, we sponsored the world's first PhD in surf therapy with that first $5,000. So now we have a doctor in surf therapy who now takes me around the world to California and all these places. How does business actually really genuinely care about, you know, giving back? And I'm like, yeah, because we said we're going to do this once.Andy Hadden: We got to do it right. And it took us a decade. But yeah, we raised the money and we're very happy to be open.Paul Marden: So I mentioned a minute ago, I was holidaying in Scotland. I bookended Edinburgh— both sides of the holiday. And then I was in Sky for a few days as well. There's something about Edinburgh at the moment. There is a real energy. Coming up as a tourist, there was way too much for me to be able to do. It seems to be a real destination at the moment for people.Andy Hadden: Yeah, well, I think, coming from the background I came from, if I knew I was going to deliver a surfing park in the edge of Edinburgh, I then wanted to do it in the least risky way possible. So to do that, I felt land ownership was key and three business plans was also very key. Edinburgh's in need of accommodation regardless, and Edinburgh's also in need of good places, a good F&B for friends and family just to go and hang out on the weekends. And then, of course, you have the surfing, and we've got a big wellness aspect too. We also sit next to Europe's largest indoor climbing arena. And we're obviously very well connected in the centre of Scotland to both Edinburgh and Scotland. So, so many things to do. So, yeah, I mean, the Scottish tourism landscape has always been good, but it's just getting better and better as we see this as a future-proof marketplace up here. You know, we're not building ships anymore.Andy Hadden: Well, in fact, we got a contract the other week to build one, so maybe that's wrong. But the point is, we see it as a very future-proof place because the Americans are flagging, the Europeans are flagging, and they just want to feel like they're part of something very Scottish. And that's what we've tried to do in our own special way.Paul Marden: And when you think of coming to Scotland, of course, you think about surfing, don't you? Andy Hadden: Yes, who knows. Paul Marden: Exactly, exactly. Look, you had some recent high-profile support from Jason Connery, the son of the late James Bond actor Sean Connery. How did that come about?Andy Hadden: Well, I think we've got, there's a real Scottish spirit of entrepreneurialism that goes back, you know, probably right the way through to the Enlightenment where, you know, I'm sure. I'm sure a lot of you know how many inventions came from Scotland. And this is, you know, televisions, telephones, penicillin. I mean, just the list goes on.Andy Hadden: Of course, you know, that was a long, long time ago, but we still feel a lot of pride in that. But there seems to be a lot of people who've had success in our country, like someone like Sir Sean Connery. These guys are still very proud of that. So when they see something— very entrepreneurial— where we're using a lot of local businesses to create something bigger than the sum of its parts. And to do it truly— not just to be a profitable private business, which is what it is, but to give back 18 million into local economy every year, to work with schools in terms of getting into curriculums. We've got Surf Lab. We work with universities, charities, and so on. They really want to support this stuff. So we have over 50 shareholders, and they've each invested probably for slightly different reasons. They all have to know that their money is a good bet, but I think they all want to feel like they're part of creating a recipe. For a surf resort, which we believe there'll be hundreds of around the world in the next few years. And we can create that recipe here in Scotland. That's hopefully another example of Scottish innovation and entrepreneurialism.Paul Marden: So you've got the test bed that happened in the Basque Country. You've got Scotland now. Are there surf resorts like this elsewhere in the world?Andy Hadden: Yeah, there are eight other open in the world. There's actually, there's various technologies. So there's about 25 different surf parks open at the moment. But there's... doesn't under construction. Pharrell Williams has just opened one in Virginia Beach a few weeks ago there in America. And what the equity, I think, is looking at quite rightly, the big equity, you know, the type that go right, if this really is a, you know, kind of top golfing steroids in that property developers can look at them as.Andy Hadden: You know, excellent ways to get through their more standardised property place, residential, office, industrial. Usually they have to do that in a kind of loss-leading way. But if you look at this as a leisure attraction, which councils and cities actually want because of the benefits, and it makes you money, and it increases the prices of your residential around it. I think developers are starting to realise there's a sweet spot there. So the equity, the big equity, I think, is about to drop in this market over the next couple of years. And it's just waiting for the data set to enable them to do that.Paul Marden: Wow. I guess there's an environmental impact to the work that you do, trying to create any big... a big project like this is going to have some sort of environmental impact. You've put in place an environmental sustainability strategy before it was mainstream as it is now. Tell us some of the things that you've put in place to try to address that environmental impact of what you're doing.Andy Hadden: Well, we're in a disused quarry. So it was a brownfield site. So already just by building on it and creating an immunity, we're also adding to the biodiversity of that site. And we're obviously there's no escaping the fact that we're a user of energy. There's just no escaping that. So the reality is we've got as much sustainable energy use as we can from air source heat pumps to solar. And we're looking at a solar project. So it becomes completely self-sustaining. But we also, the electricity we do access from the grid is through a green tariff. But you'll see a lot of the resorts around the world, this is going to become the sort of, the main play is to become sort of sustainable in that sense. Where we really fly is with the S and ESG. And like you say, the reason we were the world's first institutionally backed wave park, of course, we like to think it was purely down to our financials. But the reality is, they started saying, 'Wow, you're as authentic an ESG company as we've come across.'Andy Hadden: And it's the same with our mission-based national bank. So, because we didn't really know what that meant, we just knew it was the right thing to do. So we fit squarely into that ESG category, which I know is a tick box for a lot of funds, let's face it. There's a lot of them that really want to do that. There's a lot of investors out there that want to do it. But let's understand our place in the system, which is we're really market leading in that area. And I think that's very attractive for a lot of funds out there. But the S in ESG is where we really fly with all the work we're doing socially around the site.Paul Marden: So talk to me a little bit about that. How are you addressing that kind of the social responsibility piece?Andy Hadden: Well, two examples would be we're not just looking at schools to come here to surf. That's an obvious one. They'll go to any attraction to surf if you could go to Laser Quest, go up to visit the castle, do whatever. But we reverse engineered it. We got schools coordinated to go around the headmasters and the schools and say, 'Well, Look, you're all teaching STEM, science, technology, engineering, maths, for 9 to 13-year-olds. And you're all looking for outdoor learning now, which is definitely a big part of the future in education in general. Can you allow us to create some modules here? So we've got six modules that actually fit into that STEM strategy. For instance, last week, there was a school in learning physics, but they were using surf wax on a surfboard friction.Paul Marden: Amazing.Andy Hadden: So these kids so it works for schools and headmasters which is very important and for parents and it obviously works for the kids and they love it and the reason we do that and we give that it's all at discounted low times and everything is because it's a numbers game they come back at the weekend and so on so that's example one and another would be we've created a surf lab with Napier University, a higher education. So we sponsored the world's first doctor. It got a PhD in surf therapy, but then the university was like, 'hold on a minute, you know, this is good marketing for us as well'.Andy Hadden: This surf lab, which has the infrastructure to host great competitions, but also PhD students can come down and learn engineering. They can learn sustainable energy. So we've got more PhD students working there. And this higher university collaboration has not only led to Alder kids coming down but other universities in the area are now what can we do with lost shore now that's cool and fun so we're working with the other universities in town too so that's a couple of examples alongside the standard, employing local people and actually having the economics of putting money into the local economy.Paul Marden: It's interesting, isn't it? Because... So for many people, ESG, and especially the social responsibility piece, feels a little bit worthy. It feels an altruistic move for the organisation to go and do those things. But you've hit on the quid pro quo what do you get back for doing all of this stuff well you're bringing in these kids you're enriching their learning, you're helping them to learn valuable skills but you're also giving them a taster of what life is like at the the resort and seeing the benefit of the return visits that flow from that is crazy.Andy Hadden: You know, I like to think we've fought as hard as anyone to ingrain this stuff in your DNA because we're year one. And of course, we have our cash flow difficulties like everyone does. You know, you don't know how to... run the place for the first three months or that's what it feels like even though you've done all this preparation and so on and so forth but at no point does anyone turn around and go let's get rid of the schools program let's get rid of the university partnership and that's why i think it's very important to build it into your dna because it doesn't have to be this zero-sum game that people attribute you know or we're giving here so that means we have to take over here it's like there's cute ways to do everything you can do the right thing but also drive traffic for your business and it's very good right. It's good reputation, because the people that stay there, when they see that we're doing this stuff, they feel like they're part of it, and then they want to book again. So I believe it doesn't have to be a zero-sum game, but it is a different way of creating a business— that's for sure.Paul Marden: For sure. So there's going to be a listener out there, I'm sure, with a crazy idea like you had a few years ago. What advice would you give for somebody just starting out thinking of opening a business in the leisure and attraction sector?Andy Hadden: I would just try your best to make it as simple as possible. I think it was Yves Chouinard, the founder of Patagonia, who said, 'One of the hardest things in life is to make it simple. It's so easy to make it complex.' And when you're dealing with a business plan, it's very exciting, right? Well, what if we get into this market? What if we do this? And splitting it all into those components. I think arm yourself with very good people around you. They don't even have to be part of the company. If you've been a good person in your life, I'm sure you've got friends who you can tap into. Everyone knows an architect. Everyone knows an accountant. Everyone knows a lawyer. You're a friend of a friend. Andy Hadden: And I think just overload yourself with as much information to get you to the point where you can be assertive with your own decisions. Because at the end of the day, it's going to come down to you making your own decisions. And if you've got a very clear path of what success and failure looks like, understanding that it ain't going to look like your business plan. As long as it's got the broad shapes of where you want to go, it can get you out of bed every day to try and make things happen. So, yeah, just go for it. Really, that's it.Paul Marden: See where it takes you. So look, in the world of themed entertainment, we talk a lot about IP and storytelling and creating magical experiences. Are any of these concepts relevant to a destination like yours?Andy Hadden: Yeah, well, you know, technically, from an IP perspective, you know, we're using the WaveGround Cove technology. You know, we've purchased that. So from a strictly business perspective, you know, we have access to their sort of IP in that sense and we deliver that. But I think for us, the IP is the destination. It's so unique, it's so big that it becomes defendable at scale. So it does sound like a bit of an all-in poker hand. But it would be more risky to go half in because these things are very hard to build. But when they are built, they're also very hard to compete with. So as long as your customer experience is good enough. You're going to maintain a kind of exclusivity in your locality for long into the future. So, yeah, there's obviously IP issues in terms of technologies. But for us, it was all about creating a destination with three business plans that's greater than the sum of its parts. And if we can do that in our location, then it's very hard to compete against, I would say.Paul Marden: Andy, it sounds like such an exciting journey that you've been on. And one year in, that journey has still got a long way to play out, doesn't it? You must be on quite the rollercoaster. Well, surfing quite a wave at the moment, if I don't mix my metaphors so badly.Andy Hadden: Yeah, we're just entering maybe the penultimate phase of the sort of 20-year plan. You know, we've gone through our early stages, our fundraising, our construction. We've gone through the very hard sort of like getting the team together and opening year one. And we're just starting to go, 'OK, we understand we've got data now'. We understand how to run this place now. So I think we now want to push through to stabilise the next two or three years. And then hopefully we've got a lot of irons in the fire globally as well. Hopefully we can go to the next phase, but we'll see what happens. Worst case scenario, I just surf a bit more and try and enjoy my lot.Paul Marden: Well, Andy, it's been lovely talking to you. I've been really interested to hear what you've been up to. This was only a short snippet of an interview. I reckon there's some more stories for you to tell once you're into year two. So I'd love for you to come back and we'll do a full-on interview once you've got year two under your belt. How's that sound to you?Andy Hadden: Absolutely, Paul, and thanks very much for the platform.Paul Marden: Next up, let's hear from some of the exhibitors on the floor. Bakit.Paul Marden: Introduce yourself for me, please, and tell me a little bit about where you're from.Bakit Baydaliev: We have two companies located in Turkey, Istanbul, and Los Angeles, USA. We develop attractions, equipment, but not just equipment— also software, AI, and content, games, and movies. Paul Marden: Oh, wow. So you're here at IAPA. This is my very first morning of my very first IAAPA. So it's all very overwhelming for me. Tell me, what is it that you're launching at IAAPA today?Bakit Baydaliev: Today we're launching our bestseller, Hurricane. It's a coaster simulator. In addition to that, we're also launching a special immersive tunnel, Mars Odyssey. We're sending people to Mars, we're sending people to space, and the story, of course, may change. After you install the attractions, you always can create different kinds of content for this attraction. It's completely immersive and what is very unique for this attraction is edutainment. Theme parks, science centres, space centres, and museums all benefit from it. It's not just to show and entertain, but also educate and provide a lot of useful information for people. Paul Marden: So what would you say is unique about this? Bakit Baydaliev: There are several factors. First of all, it's equipment. We have a very special software that amazingly synchronizes with the content and it doesn't create motion sickness at all. Paul Marden: Oh, really? Bakit Baydaliev: This is very important. Independently on the speeds, which is... We have very high speeds in our simulators. In addition to that, we have special effects, unusual effects, which feel like cold, heat, sounds.Paul Marden: So it is truly 4D, isn't it?Bakit Baydaliev: Completely. In addition to that, it's interactive content. It's not just the content which you can sit and... watch and entertain yourself and get a lot of useful information, but also you can interact. You can play games, you can shoot, you can interact. And of course, the most important thing which makes this attraction innovative is the educational aspect.Paul Marden: I find that really interesting that you could see this ride at a theme park, but similarly you can see it as an educational exhibit at a science centre or space centre. I think that's very interesting.Bakit Baydaliev: Very, very. Especially, you know, the standard experience for space centres, science centres, and especially museums, it's just walking around, touch some stuff. Some you may not even touch it. It's exponents which you can watch, you can read, it's very nice. But it's even better when you let people live it in real with a nice simulation atmosphere environment, like immersive tunnel.Paul Marden: Absolutely. Bekit, thank you so much for joining us on Skip the Queue, and I look forward to enjoying one of the rides.Bakit Baydaliev: Please ride, and you will be amazed.Hamza Saber: My name is Hamza. I work for TÜV SUD Germany. Our main job is to make sure attractions are safe, parks are safe. We do everything from design review to initial examination of rides, to yearly checks and making sure that we push the standards and the norm to the next level and cover everything that comes in new in the industry as well to make sure this industry stays safe and enjoyable for people. Paul Marden: It's so important though, isn't it? At an event like this, you don't have a sexy stand with lots of really cool rides to experience, but what you do is super important.Hamza Saber: Yes, I guess it's not one of the big colourful booths, but it's at the heart of this industry. It's in the background. If you look at the program for the education, there is a lot of safety talks. There is a lot of small groups talking about safety, trying to harmonise norms as well. Because if you look at the world right now, we have the EN standards. We have the American standards and we're working right now to try to bring them closer together so it's as easy and safe and clear for all manufacturers and operators to understand what they need to do to make sure that their guests are safe at the end of the day.Paul Marden: So Hamza, there's some really cool tech that you've got on the stand that's something new that you've brought to the stand today. So tell us a little bit about that.Hamza Saber: So as you can see, we have one of the drones right here and the video behind you. So we're trying to include new technologies to make it easier, faster, and more reliable to do checks on big structures like this or those massive buildings that you usually see. You can get really, really close with the new technologies, the drones with the 4K cameras, you can get very, very precise. We're also working on AI to train it to start getting the first round of inspections done using AI. And just our expert to focus on the most important and critical aspects. So we're just going to make it faster, more reliable.Paul Marden: So I guess if you've got the drone, that means you don't have to walk the entire ride and expect it by eye?Hamza Saber: No, we still have to climb. So what we do is more preventive using the drones. So the drones, especially with the operators, they can start using them. And if they notice something that does not fit there, we can go and look at it. But the actual yearly inspections that are accepted by the governments, you still need to climb, you still need to check it yourself. So the technology is not right there yet, but hopefully we're going to get there. Paul Marden: We're a long way away from the robots coming and taking the safety engineer's job then. Hamza Saber: Yes, exactly. And they don't think they're going to come take our jobs anytime soon. Using technology hands-in-hands with our expertise, that's the future.Paul Marden: It must be so exciting for you guys because you have to get involved in all of these projects. So you get to see the absolute tippy top trends as they're coming towards you.Hamza Saber: Yeah, for sure. Like we're always three years before the public knowledge. So it's exciting to be behind the scene a little bit and knowing what's going on. We're seeing some really fun and creative ideas using AI to push the attractions industry to the next level. So I'm excited to see any new rides that will be published or announced at some point this week.Paul Marden: Very cool. Look, Hamza, it's been lovely to meet you. Thanks for coming on Skip the Queue.Hamza Saber: Yeah, thank you so much.Kristof Van Hove: My name is Kristof. I live in Belgium. I'm working for the Tomorrowland group already now for three years, especially on the leisure part.Paul Marden: Tell listeners a little bit about Tomorrowland because many of our listeners are attraction owners and operators. They may not be familiar with Tomorrowland.Kristof Van Hove: Yeah, so Tomorrowland is already 20 years, I think, one of the number one festivals in the world. Actually, already for the last years, always the number one in the world. And what makes us special is that we are not just a festival, but we are a community. We create. special occasions for people and it starts from the moment that they buy their tickets till the festival we make a special feeling that people like and I think we create a world and each year we work very hard on new team that goes very deep so not only making a festival but we go very deep in our branding not only with our main stage but we also make a book about it we make gadgets about it so it's a completely.Paul Marden:  Wow. Help listeners to understand what it is that you're doing new here at the moment. You're blending that festival experience, aren't you, into attractions.Kristof Van Hove: Yeah, that's right. So because we are already 20 years on the market building IP, the more and more we really are able to create a complete experience, not only the IP as a brand, but also all the things around it. We have our own furniture. We have our own plates. We create actually all elements that are needed to build a leisure industry project. And that makes it magnificent. I think we are capable now, with everything that we do in-house, to set up and to facilitate water park and attraction park projects completely. Paul Marden: So, have you got any attractions that are open at the moment? Kristof Van Hove: Well, we have the Ride to Happiness, of course, the coaster that is built in Plopsaland three years ago. That is already now for five years the number one steel coaster in Europe and the fifth steel coaster in the world. So this is a project we are very proud of. Besides that, we have already a lot of immersive experiences. And we are constructing now a secret project that will be announced in the beginning of next year somewhere in Europe.Paul Marden: Give us a little sneak peek what that might look like.Kristof Van Hove: It's not that far from here. Okay, okay, excellent. So it's more an outdoor day project that we are constructing. That for sure will be something unique. Excellent.Paul Marden: So look, you're already planning into 2026. Help listeners to understand what the future might look like. What trends are you seeing in the sector for next year?Kristof Van Hove: Well, I think more and more the people expect that they get completely a deep dive into branding. I don't think that people still want to go to non-IP branded areas. They want to have the complete package from the moment that they enter. They want to be immersed. With everything around it, and they want a kind of a surrounding, and they want to have the feeling that they are a bit out of their normal life, and a deep dive in a new environment. And I think this is something that we try to accomplish. Paul Marden: Wow.David Jungmann: David Jungman, I'm the Director of Business Development here at Accesso, based in Germany. I'm super excited to be here at IAPA in Barcelona. We're exhibiting our whole range of solutions from ticketing to point of sale to virtual queuing to mobile apps. And one of the features we're calling out today is our Accesso Pay 3.0 checkout flow, which streamlines donations, ticket insurance, relevant payment types by region on a single simple one-click checkout page.Paul Marden: What impact does that have on customers when they're presented with that simple one-click checkout?David Jungmann: Well, as you guys know, conversion rate is super important. The number of clicks in an e-commerce environment is super important. And because we're at IAAPA Europe, we've got guests here from all over Europe. Different regions require different payment types. And it's important to not overload a checkout page with like eight different types for, let's say, German guests, Dutch guests, Belgium guests, is to be able to only offer what's relevant and to keep it short and sweet. And then rolling in additional features like donations, ticket insurance and gift cards, stuff like that.Paul Marden: Amazing. So get your crystal ball out and think about what the world in 2026 is going to be like.David Jungmann: I think this year was a little bit soft in terms of performance for the parks, certainly in Europe, what we've seen. I think what that will mean is that maybe some will consider, you know, really big capex investments. But what that also means is they will get creative. So I envision a world where, instead of buying new protocols for 20 million, maybe some operators will start thinking about how can we make more out of what we've got with less, right? How can we be really creative? And I think there's a lot to uncover next year for us to see.Paul Marden:  Sweating their assets maybe to be able to extend what they do without that big CapEx project.David Jungmann:  Yes, how can we keep innovating? How can we keep our experience fresh? Without just buying something very expensive straight away. And I think that's what we see.Paul Marden: What is going to be innovating for Xesso and the market that you serve?David Jungmann: Well, for us, it's really about that streamlined, consistent guest experience, but also tying into things like immersive experiences, right, where you could maybe change the overlay of an attraction and feed in personalised information that you have for your visitors and collect it during you know the booking flow when they enter the venue and feeding that into the actual experience i think that's something i'm excited about.Paul Marden: I think that there is a missed opportunity by so many attractions. There's so much data that we build and we collect the data, but oftentimes we don't bring it together into a central place and then figure out the ways in which we want to use it. There's so much more you can do with that rich data, isn't there?David Jungmann: 100% exactly. And I don't just mean from a marketing perspective. I mean from an actual experience perspective. Let's say you ride through Dark Ride and all of a sudden your name pops up or your favorite character pops up and waves hello to you. That's the type of stuff you want to do, not just market the hell out of it.Paul Marden: Absolutely. Look, David, it's been so good to meet you. Thank you ever so much. And yeah, thank you for joining Skip the Queue. David Jungmann: Thanks, Paul. Have a great day at the show. Paul Marden: Isn't it great? I mean, we have got such an amazing job, haven't we? To be able to come to a place like this and be able to call this work.David Jungmann: Absolute privilege. Yes, absolutely.Paul Marden: Now, before we wrap up, Andy and I wanted to have a little chat about what we've seen today and what we've enjoyed. Why don't we sit down? You have clearly returned to your tribe. Is there a person in this place that doesn't actually know you?Andy Povey: There's loads. I've been doing the same thing for 30 years. Paul Marden: Yeah, this ain't your first radio, is it? Andy Povey: I'm big and I'm loud, so I'd stand out in a crowd. I mean, there are all fantastic things that I should put on my CV. But this is really where I feel at home. This industry continues to blow me away. We're here, we're talking to competitors, we're talking to potential customers, we're talking to previous customers, we're talking to people that we've worked with, and it's just all so friendly and so personally connected. I love it.Paul Marden: It has been awesome. I've really enjoyed it. Although I'm beginning to get into the Barry White territory of my voice because it's quite loud on the show floor, isn't it? Andy Povey: It is. It's actually quieter than previous shows, so I don't know why, and I don't know whether... Maybe I'm just getting old and my hearing's not working quite so well, but... You used to walk out of the show and you could almost feel your ears relax as they just stopped hearing and being assaulted, I suppose, by machines pinging and blowing.Paul Marden: It really is an assault on the senses, but in the very best way possible. Andy Povey: Absolutely, absolutely. I feel like a child. You're walking around the show, you're going, 'Wow, Wow, Wow, Wow, Wow, Wow, Wow.' Paul Marden: So what has been your highlight? Andy Povey: Do you know, I don't think I could give you one. It really is all of the conversations, the connections, the people you didn't know that you hadn't spoken to for two years.Paul Marden: So for me, my highlight, there was a ride that I went on, Doff Robotics.Andy Povey: I've seen that, man.Paul Marden: So it was amazing. I thought I was going to be feeling really, really sick and that I wouldn't enjoy it, but it was amazing. So I had Emily with the camera in front of me. And within 10 seconds, I forgot that I was being recorded and that she was there. I was completely immersed in it. And I came off it afterwards feeling no motion sickness at all and just having had a real good giggle all the way through. I was grinning like, you know, the Cheshire Cat. Andy Povey: A grinning thing. Paul Marden: Yeah. So, tomorrow, what are you looking forward to?Andy Povey:  It's more of the same. It really is. There's going to be some sore heads after tonight's party at Tribodabo. We're all hoping the rain holds off long enough for it to be a great experience. But more of the same.Paul Marden: Well, let's meet back again tomorrow, shall we? Andy Povey: Completely. Paul Marden: Let's make a date.Paul Marden: Thanks for listening to today's episode from IAAPA Expo Europe. As always, if you've loved today's episode, like it and comment in your podcast app. If you didn't like it, let us know at hello@skipthequeue.fm. Show notes and links can also be found on our website, skipthequeue.fm. Thanks to our amazing team, Emily Burrows and Sami Entwistle from Plaster Creative Communications, Steve Folland from Folland Co., and our amazing podcast producer, Wenalyn Dionaldo. Come back again tomorrow for more show news. 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

The Swedes do central banking a little different to us, and I reckon it's good news we've got a Swede in charge. Riksbank - their RBNZ equivalent - is really big on this thing called transparency. There's three things to know - this is stuff they do that we don't, currently. 1. They rank amongst best performing on openness and honesty in the world.2. They publish an actual forward forecast for the OCR - we don't.3. They publish alternative scenarios and minutes. In the minutes, you get to see which of these guys voted which way and their justifications for dong so. Currently, we don't even get to know which way the committee members voted, let alone why. And remember, the Fed in the US and the Bank of England do - as does Riksbank. So here's hoping the Swede in charge will help shake things up and that changes will be made and sunlight will be shone. A new dawn, perhaps, for 2 The Terrace, after a dark and cloudy rollercoaster ride of terror under Adrian Orr. Her name is Anna Breman and her CV reads as you'd expect - current 2IC of Riksbank in her home country. And she's held academic jobs and been the Chief Economist at a retail bank. She's moving here with the family. Which is nice - but I don't know how NZ First will feel about us importing another migrant for a Kiwi job. The reality is, most of the heavy lifting will - hopefully - have been done by the time she sits down for her first briefing on December 1st. We've got two more reviews under Hawkesby in October and November. Then he's gone. Not just from the top job, but the bank entirely. And then they shut up shop for Christmas till February. Let's hope as she enjoys what I'm sure will be a welcome sunny Kiwi summer, she brings a bit of that sunshine - the best disinfectant in town - to 2, The Terrace. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Questions? Comments? Episode suggestions? Send us a text message!#215: Graeme Jordan is a job application, CV and interview consultant.  He explains what you should include in your CV, common mistakes people make when applying for jobs, and how employers screen job applications.What you'll learn[01:42] What role the CV plays in 2025. [03:25] How to get jobs that aren't advertised to the general public. [07:08] What happens to your CV when you send it to an employer. [09:29] How employers use AI to screen CVs. [11:09] The different stages of review a CV goes through. [15:09] Common problems with the recruitment process. [19:21] What the application tracking system is and how it works. [23:06] How to improve your CV. [25:11] The type of jobs you should apply for. [25:43] What criteria to include in a job application. [28:28] What to include in your CV and how to keep it relevant. [30:37] How much you need to tailor your CV to each job. [33:30] Why you shouldn't use the ‘easy apply' feature. [36:14] How to format your CV and how long it should be. [38:16] What to include in a cover letter. [42:23] The sales skills you need to get a job. [44:30] Marketing techniques you can use to improve your CV. [51:52] How you should respond to a personality test in a job application.  Resources mentioned in this episodePlease note that some of these are affiliate links and we may get a commission in the event that you make a purchase.  This helps us to cover our expenses and is at no additional cost to you.Surrounded By Idiots, Thomas EriksonChange Work Life CoachingFor the show notes for this episode, including a full transcript and links to all the resources mentioned, visit:https://changeworklife.com/how-to-write-a-cv-in-the-age-of-ai-and-automation/Re-assessing your career?  Know you need a change but don't really know where to start?  Check out these two exercises to start the journey of working out what career is right for you!

Welcome to Impact Quantum, the podcast where career paths are anything but straight lines and curiosity is the ultimate quantum skill. In today's episode, hosts Frank La Vigne and Candice Gillhoolley are joined by the extraordinary Christopher Bishop—TEDx speaker, futurist, deep tech MC, and host of Qubit Confidential—whose eclectic journey has taken him from performing on stage with rock legends like ZZ Top to driving innovation at IBM, and now delving deep into the world of quantum technologies.Together, they explore the rapidly evolving landscape of quantum careers—the surprising roles you didn't know exist (or will exist soon), how to transition into this transformative field, and why the right mix of adaptability, lifelong learning, and even a solid LinkedIn profile might be the keys to success in the quantum workforce. Christopher draws on his own nonlinear, multi-career trajectory to inspire listeners to embrace reinvention, leverage transferable skills, and dive headfirst into opportunities at the intersection of technology, business, and creativity.So, whether your CV looks like a Jackson Pollock painting or you're just quantum-curious, this episode is packed with practical advice, industry insights, and plenty of wit. Grab your favorite beverage and get ready to ponder a future where the only constant is change—and possibility.Time Stamps00:00 "Exploring Future Quantum Careers"05:05 "Career Journey: From Agencies to Author"09:56 Evolving Careers Through Technology12:29 Essential Roles in Quantum Startups15:39 Quantum Computing Epiphany at AI Conference19:16 "Past Tech vs. Future Innovations"23:52 Quantum Security Innovations Expand27:45 Emerging Quantum Networking Revolution30:20 "Cryptanalysis: Key Distribution Weaknesses"34:27 Lifelong Learning Approach36:08 "Invisible Technology"40:47 Vertical-Specific Business Solutions44:10 Networking and Conversation Strategies48:31 Deep Tech MC: Quantum Tech Speaker49:57 "From Bass to Quantum Bits"

Think your LinkedIn profile is just a digital CV? Think again. In this eye‐opening conversation with Louise Brogan (Founder, Brogan Partners; LinkedIn: Louise Brogan Ltd. – Video Content Marketing) LinkedIn UK, author of Raise your Visibility on LinkedIn, we uncover the strategic approach that transformed her business from a failing craft shop to a thriving LinkedIn consultancy serving global clients.Louise breaks down her four‐stage system for LinkedIn success that goes far beyond basic profile tips. She explains why your headline should communicate value rather than just your job title, how your “About” section should focus on helping potential clients (not showcasing your achievements), and why the often‐overlooked “Featured” section might be your most powerful conversion tool.What's particularly fascinating is Louise's approach to networking and selling on the platform. Rather than connecting with everyone who sends a request, she maintains a carefully curated network of relevant contacts. “It's so much better to have a network of people who are interested in what you have to say,” she explains, comparing LinkedIn to an in-person industry conference where strategic connections and thoughtful conversations lead to business opportunities.Perhaps most surprising is Louise's revelation about YouTube's role in her business growth. With 110,000 subscribers watching her short, targeted LinkedIn tutorials, she's built a powerful lead generation engine that funnels prospects to her consulting services. “I have 3.3 million views on YouTube,” she shares, “and I have less than 16,000 followers on LinkedIn.”Whether you're a marketing professional looking to build thought leadership, a business owner seeking quality leads, or simply tired of getting spammy connection requests, Louise's practical advice will transform how you approach LinkedIn. Stop wasting time on random connections and irrelevant content – start treating LinkedIn as the powerful business development tool it can be.Ready to raise your visibility and start meaningful conversations that actually lead to business? This episode is your blueprint. Is your marketing strategy ready for 2025? Book a free 15-min discovery call with Chris to get tailored insights to boost your brand's growth.

So, you're moving abroad and need to update your resume and cover letter to get a job in Europe? If that's you, you're in the right place. In this episode, I break down exactly how to create a strong cover letter (called a CV in Europe) and cover letter that stands out to European employers.You'll learn:The key differences between U.S. resumes and European CVs.What employers in Europe actually look for in applications.How to write a compelling cover letter that connects your skills and motivation.Must-do strategies to make your application stronger.The biggest mistakes to avoid if you want to get hired.By the end of this episode, you'll know how to adapt so European recruiters take you seriously. If working abroad is on your list, this is your step-by-step guide to getting noticed in you're resume and cover letter so you can land interviews.

Plusieurs débats au cœur de l'actualité, les Grandes gueules ont le choix, en débattre ou non : Sébastien Lecornu a menti sur son CV ! 40 ans du TGV : une fierté française ?

durée : 00:08:34 - Nouvelles têtes - par : Mathilde Serrell - Romy Alizée, photographe, autrice et performeuse, "artiste visuelle" écrit-elle sur son CV officiel, est l'invitée de Daphné Burki. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The institutions are coming! And they're currently driving the next wave of investment and growth in Web3. But what are they looking for in 2025, and how has the go-to-market offering changed for VCs as the industry matures? Mathias and CV VC have been one of the leading institutions driving forward Web3 adoption, first in Crypto Valley and today across the globe. From partnerships in the UAE, reach into LatAm and AsPac. The model today, as with Web3, is truly global.But it's not just capital that the CV team bring to the table. The business model has evolved a LOT since 2018, as has the competition, as TradFi, Exchanges and even wealthy OGs look to muscle in on traditional VC turf.On this show, Mathias will take us through: - The origins of CV VC and CV Labs - What's changed over the years in terms of thesis and offerings - What has the 2025 'Institutional Wave' brought from his viewpoint - What more is needed from VCs to support wider Web3 growth - A look forward to CV Summit in Zurich, Sept 23-24th

This episode provides an in-depth guide for Acute Care Nurse Practitioners (NPs)on securing locum tenens and contract opportunities, emphasizing career control and increased earning potential. It outlines a comprehensive five-step process, beginning with preparing a professional package including an updated CV and essential credentials. The guide then moves to registering with top staffing agenciesand directly pitching to facilities, offering specific strategies and negotiation tips for setting competitive hourly rates. Finally, it stresses the importance of adopting a business mindset, recommending the establishment of an LLC and diligent expense tracking to maximize contract benefits.

Ep 212 - One World a New World with John Bunzl, Founder and Trustee❓ Why can't nations solve global problems alone?❓ What is destructive global competition, and how do we overcome it?❓ How does inner consciousness connect to political change?❓ What role can citizens play in global cooperation?Step into a transformative dialogue where politics, consciousness, and cooperation converge. In this episode of One World in a New World, Zen Benefiel welcomes John Bunzl, founder of the International Simultaneous Policy Organization (Simpol). Together, they explore how global challenges like climate change, inequality, and destructive competition can only be solved through cooperation across nations—acting not separately, but simultaneously. This conversation shines a light on the power of unity consciousness, the courage to rethink governance, and the potential of everyday citizens to influence systemic change.John shares his journey from a personal awakening in 1998 to a lifelong commitment to creating practical political solutions for global problems. He and Zen explore themes of ego, oneness, and responsibility, weaving insights from ancient wisdom, science, and economics. From the balance of inner and outer worlds to the urgent need for collective frameworks, this episode uncovers how small sparks of awareness can ignite global transformation. Whether you're curious about politics, consciousness, or building a better future, this apocalyptic chat will open your mind to new possibilities.Connect with John: https://www.linkedin.com/in/john-bunzl-226672172/John's books: https://amzn.to/3K7KUrV#GlobalCooperation #ConsciousPolitics #UnityInDiversity #OneWorldNewWorld #Simpol #PlanetaryCitizensJoin this channel to get access to perks:https://www.youtube.com/channel/UCuZl_29zHxehqeL89KSCWFA/join__________One World in a New World Compilation (3 years): https://amzn.to/3VdhQSg__________Visit: https://PlanetaryCitizens.netConnect with Zen: https://linkedin.com/zenbenefielZen's books: https://amazon.com/author/zendorZen's Coaching: https://BeTheDream.com Zen's CV et al: https://zenbenefiel.comThe Octopus Movement (non-linear thinkers): https://theoctopusmovement.org Live and Let Live Global Peace Movement: https://liveandletlive.org

ON TODAYS SHOW K'Lee & Charlie help Azura fix up her rental CV, but did is it really going to help? Charlie judged at his son's talent quest and it didn't go down well. Plus, Lilo Heimuli, the combat legend joined the team with his new doco premiering tonight. For more, follow our socials: Instagram Facebook TikTokSee omnystudio.com/listener for privacy information.

NEW RECRUITMENT KPI'S FOR TOMORROW'S TALENT ACQUISITION   We are beginning to see some step change improvements in recruiter capability. The promise of AI has been overblown in many areas, but it is clear huge efficiency gains have been seen in areas such as sourcing, CV review, interview note taking, interview scheduling and more. These are areas which previously took large teams for recruiters a lot of time to manage. Now with increased in capability, what does this do to how we measure recruiter performance?   Lets deep dive:   - Pre AI, what were the industry avg numbers: how many reqs per capita, how many hires per month - What is the number today in 2025? - What does it look like in 2026? - Areas of greatest efficiency gain: Applicant Review, Sourcing New Candidates etc - How has the time distribution changed once AI comes into production? - Are we spending more time per candidate? Do we have more or less candidate interviews? - QoH...does this measure change? - What would we expect once every TA team becomes AI-enabled? - How do we design a dynamic system of performance measures, which takes into account AI maturity? - What does this mean for people currently in TA - what skills to develop? - How do we ensure early entry talent flow?   All this and more, with Adriano Herdman, CEO (We Are Move), Emma Mirrington, Founder (The Talent Labs), Alan Price, Global Head of Talent Acquisition (Deel), Neil Morelli, Founder (Workplace Labs) & friends.   We are on Friday 19th Sep, 2pm BST - follow the channel here (recommended) and save your spot for this demo by clicking on the green button.     Ep331 is sponsored by our friends Teamtailor   Let's change it up this week, updated copy below;   Remember when hiring felt simple? A candidate applied, you picked up the phone, and great conversations just… happened.   Somewhere along the way, recruitment became more complicated. Too many tools, too many tabs, and too little time for the human side of hiring.   That's why Teamtailor exists, to put people back at the heart of the process. From creating career sites candidates love, to managing every step of the journey in one seamless platform, we help you focus on what matters most: building great teams. Join more than 185,000 recruiters and discover the new way to attract and hire top talent — with all the AI powered tools you need.   Let's make hiring human again.   See why 11,000+ companies trust us

¿Qué hace a un coche realmente rápido? Para muchos un motor muy potente. Pero no para Colin Chapman, el legendario fundador de Lotus, autor de la famosa frase: “Prefiero un kilo menos que un caballo más”. Su filosofía era radical y simple: eliminar todo lo innecesario para lograr la máxima ligereza y agilidad. Una obsesión que le valió grandes éxitos, pero que también generó controversia y críticas por la seguridad de sus coches. De hecho, su enfoque radical llevó a que sus coches de F1 fueran considerados frágiles y peligrosos, una realidad que se hizo tristemente evidente con la muerte del campeón Jochen Rindt en 1970 a bordo de un Lotus 72. Sus creaciones con "efecto suelo" como el Lotus 78 y 79, si bien eran muy eficaces hubo quienes los consideraron peligroso, pues podían volverse inestables de manera súbita. Colin Chapman tenía verdadera obsesión por el peso. Su famosa frase, que parece evidente, ya verás requiere explicación. Por un lado, la equivalencia de 1 kilo y un CV es figurada… deben ser más kilos para compensar. 1. Lotus Mark VI (1952). Empezamos por el principio, o casi. El Lotus Mark VI no fue el primer coche que Chapman construyó, pero sí el primero que se vendió en serie. Fue el coche que convirtió su visión de “simplificar y añadir ligereza” en un producto comercial. 2. Lotus Seven (1957). Si hay un coche que representa mejor que ninguno la esencia de Lotus, es el Seven. Nacido para reemplazar al Mark VI, este roadster realmente minimalista es todo un Lotus por excelencia. Sin lujos y sin concesiones a la comodidad. El Seven también se vendió en kit de nuevo y era poco más que un esqueleto con motor y cuatro ruedas. Su chasis de acero tubular y su carrocería de aluminio casi inexistente lo hacían increíblemente ligero. 3. Lotus Elite Type 14 (1958). Mientras el Seven era la simplicidad en su máxima expresión, el Elite fue la elegancia y la innovación. Este coupé de dos plazas fue el primer coche de producción en serie del mundo con una carrocería monocasco de fibra de vidrio. Esta técnica era revolucionaria en la época, ya que permitía una estructura muy ligera y rígida. La carrocería pesaba tan solo 54 kg. El Elite no solo era innovador, era bello. Su diseño aerodinámico, obra de Peter Kirwan-Taylor, es uno de los más icónicos de la historia de Lotus. 4. Lotus Elan (1962). El Elan fue la respuesta de Lotus a la necesidad de un coche deportivo de carretera algo, aunque fuese un poco, más que el Elite. Buscaban en éxito en las ventas y lo consiguieron con creces. El Elan es considerado por muchos como uno de los roadsters más importantes de la historia. Fue el primer Lotus de carretera con un chasis de acero con forma de tubo central, una técnica que se usaría en modelos posteriores. 5. Lotus 25 (1962). El primer F1 de esta lista, porque la filosofía de Chapman no se limitaba a los coches de calle, fue la base de su éxito en la Fórmula 1. Y el 25 es el ejemplo perfecto. Fue el primer monoplaza de Fórmula 1 en utilizar un chasis monocasco de aluminio. Esta innovación estructural, que ahora usan todos, aunque con carbono y no aluminio, revolucionó el diseño de los coches de carreras. 6. Lotus 72 (1970). Uno de mis Lotus favoritos, el 72 es uno de los monoplazas más exitosos y significativos de la historia de la Fórmula 1. Su diseño innovador fue obra de Colin Chapman y Maurice Philippe. Introdujo varias innovaciones clave, ganando los campeonatos de 1970, 1972 y 1973 con Jochen Rindt y Emerson Fittipaldi. Es un coche que definió una era. 7. Lotus Esprit (1976). Volvemos a los coches de calle con el Esprit marcó un cambio de rumbo para Lotus. Y con un diseño nada menos que de otro genio: Giorgetto Giugiaro. Este coupé de motor central fue un superdeportivo en toda regla. Su diseño angular, en forma de cuña, lo convirtió en una estrella del cine. Debutó en la película de James Bond "La espía que me amó" donde se convertía en un submarino. 8. Lotus 78 (1977). El coche que muchos especialistas consideran el F1 más influyente de la historia… me sumo a esa idea. El Lotus 78 popularizó la aerodinámica de efecto suelo en la Fórmula 1. 9. Lotus 88 (1981). Para mí un coche “maltratado” por la FIA. Y es que este excepcional y original Lotus 88 nunca llegó a competir, pero para mí es un ejemplo de la genialidad de Colin Chapman. Con la prohibición de la aerodinámica de efecto suelo con faldones, Chapman buscó una solución. El 88 tenía dos chasis: uno interno, donde iba el motor y la cabina, y otro externo, que era la carrocería aerodinámica. 10. Lotus Excel (1982). Un gran olvidado y que a mí, particularmente, me encanta. El Lotus Excel fue el último coche de producción de Colin Chapman antes de su muerte. Es un desarrollo del Eclat, pero con una mejora radical.

¿Mercedes usando motores BMW? ¡Sacrilegio!, ¡Traición! Pero… ¿y si os dijera que esta "traición" no es la primera vez que la hace Mercedes? ¿Y si os dijera que es una de las prácticas más antiguas en el mundo del motor? Como de costumbre, mi objetivo es sorprenderos. Hoy en Garaje Hermético vamos a descubrir alianzas impensables y coches legendarios o casi cuyo “corazón” es prestado… La noticia ha corrido como la pólvora: Mercedes-Benz podría empezar a usar motores de cuatro cilindros de BMW a partir de 2027. Antes de que los más puristas os se vayáis a las puertas de Stuttgart a manifestaros, ,hay que entender el por qué. Desarrollar un motor desde cero es una de las inversiones más costosas a las que se enfrenta un fabricante. Hablamos de cientos, a veces miles de millones de euros en investigación, desarrollo, pruebas, utillaje para las fábricas y, sobre todo, en superar las cada vez más estrictas normativas anticontaminación. En un mundo que supuestamente va hacia lo eléctrico, invertir una fortuna en un nuevo motor de combustión que tiene fecha de caducidad es una apuesta muy arriesgada. Por eso, las sinergias, las colaboraciones y las alianzas estratégicas están a la orden del día. A veces es por pura supervivencia, otras por acceder a una tecnología que no se posee, y en ocasiones, simplemente, porque otra marca ya ha fabricado el motor perfecto que necesitas. Mercedes-BMW (2027). El rumor que ha desatado este guion apunta a un futuro muy cercano. A partir de 2027, se espera que Mercedes utilice motores de cuatro cilindros de origen BMW. Mercedes-Renault (2012). Esta colaboración es el ejemplo perfecto de la estrategia moderna. Con la llegada de la tercera generación del Clase A (W176), Mercedes necesitaba un motor diésel pequeño y muy eficiente. Mitsubishi Lancer TDi (2007). Si te hablo de Lancer enseguida tu mente se va a los Rallyes… pero Mitsubishi necesitaba un motor diésel de 2 litros para ser competitiva en Europa con su nueva generación del Lancer. Y en lugar de desarrollar uno propio, recurrió al proveedor por excelencia de la época: Volkswagen. Chrysler Sebring-VW (2007). A mediados de los 2000, el mercado europeo demandaba berlinas diésel. Chrysler, que por entonces formaba parte de DaimlerChrysler, no tenía un motor de gasóleo competitivo de 2 litros. La solución fue fácil y directa: comprarle a Volkswagen su archiconocido motor 2.0 TDi de 140 CV. Lotus-Toyota (2004). Lotus es la quintaesencia del chasis perfecto y la ligereza, pero la fiabilidad no siempre fue su fuerte y nunca fabricó motores. Con la llegada del Elise 111R, la marca británica tomó una de sus mejores decisiones: usar el motor 2ZZ-GE de Toyota. Lamborghini Gallardo-Audi (2003). Un Audi R8 vestido de gala. Aquí entramos en sinergias de grupo, pero no deja de ser chocante para los más puristas. Koenigsegg CC8S-Ford (2002). La exclusiva marca sueca recurrió a un V8 muy "plebeyo" de Ford. Mercedes Vito VR6 (1996). Esta es una de esas colaboraciones que rompen todos los esquemas. A mediados de los 90, Mercedes necesitaba un motor de gasolina potente y refinado para el tope de gama de su nueva furgoneta, la Vito 280 de la serie W638. Aston Martin DB7 “by Jaguar” (1994). El Aston Martin DB7 salvó a la marca de la quiebra en los 90. Era precioso, elegante... y un puzle de piezas de otras marcas. Su plataforma derivaba del Jaguar XJS y su motor de seis cilindros en línea era una evolución de un bloque de Jaguar, convenientemente sobrealimentado por un compresor. McLaren-BMW F1 (1992). Para muchos, el mejor superdeportivo de todos los tiempos. Pero Gordon Murray no tenía motor. Llamó a la puerta de Honda y no le “abrieron”. ¿La solución? Acudió a BMW M y el resultado fue el legendario S70/2, un V12 de 6.1 litros y 627 CV que es una obra de arte de la ingeniería. Mercedes 500 E "Made by Porsche" (1990). E incluido este coche para mostraros que los chicos de Mercedes son muy “promiscuos”. A principios de los 90, Mercedes quería competir con el BMW M5. Tenían el motor V8 perfecto, pero no cabía en la línea de montaje de su berlina, el W124. ¿A quién le pides ayuda cuando tienes un problema de ingeniería en Stuttgart? ¡Pues a tu vecino, Porsche!

The big news in Westminster today is that there has been another defection to Reform. But this time it feels slightly different: a front bench Tory with a CV that spans multiple Tory leaders and a number of books on Conservative thought is now batting for Reform.Danny Kruger, Nigel Farage's latest defector, served as David Cameron's speechwriter, Boris Johnson's political secretary and Robert Jenrick's campaign manager just last summer. His defection will therefore come as a serious blow to those who argue that the Conservative party stands a better chance than Reform of winning the next election.Kruger told the room that he believes Reform now stands the best chance of saving the country at the time of the next election and that his former Tory party was ‘finished as the main opposition to the left'. His argument is that Reform is the ‘new home' of conservatism. Where does this leave Kemi Badenoch? And will his defection open up the floodgates for more to follow?Oscar Edmondson speaks to James Heale and Lucy Dunn.Produced by Oscar Edmondson.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts.Contact us: podcast@spectator.co.uk Hosted on Acast. See acast.com/privacy for more information.

✨ Think the Hugo, Nebula, and Locus Awards caught all the best science fiction of the 1980s? Think again. In this episode of Fantasy for the Ages, Jim digs deep into the decade that gave us cyberpunk, space opera epics, and dystopian thrillers—spotlighting the amazing books that somehow slipped through the awards radar.From forgotten alien invasions to near-future technothrillers, post-apocalyptic survival tales to deep philosophical thought experiments, these are the novels readers loved but committees overlooked. For each year of the decade, you'll get Jim's pick for the “best” snubbed book plus a worthy runner-up—and maybe discover some new favorites for your TBR.

Blooming heck the Premier League is back! Today, Marcus and Luke kick off our weekend preview by encouraging Pete to apply for the job of Manchester United DJ to try to improve the atmosphere at Old Trafford. With Alpacafest on his CV surely they can't refuse.Speaking of which, the Ferryman is now driving a party boat as the vibes are flying high at Everton after Jack Grealish's 30th birthday this week. Plus, Luke gives us his thoughts ahead of the "second biggest game of the weekend": Southampton vs Portsmouth.Please fill out Stak's listener survey! It'll help us learn more about the content you love so we can bring you even more - you'll also be entered into a competition to win one of five PlayStation 5's! Click here: https://bit.ly/staksurvey2025Sign up to the Football Ramble Patreon for ad-free shows for just $5 per month: https://www.patreon.com/footballramble.Find us on Bluesky, X, Instagram, TikTok, WhatsApp and YouTube, and email us here: show@footballramble.com.***Please take the time to rate us on your podcast app. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

Ahoy there, it's Crushed by Margaret Cabourn-Smith; the podcast about unrequited love.  This episode features awesome writer-performer and podcaster AMY HOGGART who has a hugely varied CV and currently hosts TWO excellent podcasts - What's Left? and FeMANism. Check her out on instagram at ⁠@amyhoggart.⁠ Absolutely loved chatting to Amy and felt at home discussing her many disasters. My favourite moment was the total delusion caused by a Valentine's Card. Thanks for downloading and supporting us. You're my people. If you can bear to go and lob us a 5 star review Come and find us... On Substack at crushedbymcs; where if you subscribe, you'll have access to the podcast ad-free and exclusive content from me as well as a lot of gushy love from me. On Instagram @crushedbymcs where I occasionally dress up and lip-synch to Chappell Roan. On email, where you can send us anecdotes, adoration and arguments  crushedbymcs@gmail. Who doesn't love post!? And if you want to do nothing but gratefully chuck me £4 to buy myself some sellotape and a copy of the Radio Times to make a collage, head for ⁠ko-fi.com/crushedbymcs⁠ Just out of interest: you can currently see me in Not Going Out on the iplayer, if you fancy seeing me  being pedantic in a pencil skirt.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Life in Private Staffing, I sit down with Daniela Vasconcelos, a Brazilian-born estate manager and personal assistant who has spent over a decade building her career in Miami's ultra-competitive private staffing market.From launching her own cleaning business to overseeing 30+ luxury properties, and later managing the lifestyle of a single UHNW principal, Daniela's journey is nothing short of inspiring. Together, we explore:✨ Her transition from recruitment into private staffing – and what her HR background taught her about leadership✨ The reality of Miami's luxury market and why personality fit is more important than skills alone✨ How to balance resilience, discretion and heart when managing UHNW households✨ The challenges of returning to work after a career break – and why candidates deserve respect in the recruitment process✨ Some of the quirkiest client requests she's ever received (including sourcing a lion

2012 F150 Ford no crank 2013 Town and Country fast bulb flash 2016 Ram 1500 EcoDiesel DEF light only after refill 04 Corolla brake grab 08 F350 Ford white exhaust smoke 07 Accord popping sound from CV shaft 2011 Equinox transmission bad shifting 24 GMC Sierra black radio screen 15 Subaru low brake pedal feel 08 Ranger Evap canister failure