Podcasts about Gasworks

Koyo Kouoh remembered, Queen Elizabeth II memorial, Jasper Johns by Robert StorrKoyo Kouoh, the Cameroon-born curator who was director of Zeitz Mocaa in Cape Town and had been invited to curate next year's Venice Biennale died on 10 May. There has been an outpouring of moving tributes to Kouoh from artists, curators and gallerists across the world, and Ben Luke speaks to Nolan Oswald Dennis, the Johannesburg-based artist who has a current show at Zeitz, and Liza Essers, the owner and director of Goodman Gallery, about her life and work. A design competition for the Queen Elizabeth II National Memorial in St James's Park in London has been launched, with five designs competing for the commission. We talk to Sandy Nairne, the former director of the National Portrait Gallery in London, who is on the committee tasked with choosing the winning design. And this episode's Work of the Week is Regrets, a painting from the series of that name made by Jasper Johns in 2013. The work is discussed in a new book of writings on Johns by the former curator at the Museum of Modern Art and of the Venice Biennale in 2007, Robert Storr. We speak to Storr about the work.Nolan Oswald Dennis: Understudies, Zeitz Mocaa, Cape Town, South Africa, until 27 July; Nolan Oswald Dennis: throwers, Gasworks, London, until 22 June.To see the five proposals for the Queen Elizabeth II National Memorial and give feedback visit competitions.malcolmreading.com/queenelizabethmemorial#overview. The opportunity to give feedback on the designs will close on 19 May.Robert Storr, Focal Points: Jasper Johns, HENI publishing, £19.99 (hb). Hosted on Acast. See acast.com/privacy for more information.

André Romão nasceu em Lisboa em 1984, cidade onde vive. O seu trabalho assume sobretudo a forma de escultura e poesia, explorando ideias de transformação, mutação e fluidez. Partindo da emoção e da intuição, as suas figuras e paisagens oníricas ocupam frequentemente um campo indefinido entre os domínios literário e natural. O seu trabalho tem sido apresentado em diferentes instituições como o Museu de Serralves (Porto), Centre d'art Contemporain Genève, Liverpool Biennial 2021, MAAT (Lisboa), Museu Berardo (Lisboa), Futura (Praga), The Green Parrot (Barcelona), Macro (Roma), Astrup Fearnley Museet (Oslo), CAPC (Bordéus), Spike Island (Bristol), Kunsthalle Lissabon, entre outras. Recebeu o Prémio EDP Novos Artistas em 2007 e o BES revelação em 2013. Foi artista residente na Kunstlerhaus Bethanien, Berlim (2010), MACRO, Roma (2014) e Gasworks, Londres (2020), entre outros. A obra de Romão está representada em colecções como a Fundação de Serralves, Fundação Gulbenkian, FRAC Franche-Comté, entre outras. Links: https://andreromaonet.wordpress.com/ https://www.publico.pt/2019/04/01/culturaipsilon/noticia/noite-andre-romao-ha-corpos-pulsam-despertam-1866702 https://umbigomagazine.com/pt/blog/2019/04/26/fauna-de-andre-romao/ https://www.dn.pt/arquivo/diario-de-noticias/andre-romao-exibe-novas-esculturas-e-poemas-sobre-a-fluidez-dos-corpos-9320081.html https://www.galleriaumbertodimarino.com/andre-romao/ https://contemporanea.pt/edicoes/07-08-09-2021/andre-romao-le-volpi https://www.veracortes.com/artists/andre-romao/ https://contemporanea.pt/edicoes/06-2018/andre-romao-fruits-and-flowers https://www.serralves.pt/en/atividades-serralves/1203-visita-orientada-andre-romao/ https://www.fundacaoedp.pt/en/edition-prize/new-artists-award-2007 Episódio gravado a 21.02.2025 Créditos introdução: David Maranha - Flauta e percussão Créditos música final: Crass - Mother Earth (1979) – interpretada por Crass / letra Crass, Eve Libertine (aka Bronwen Jones), Joy De Vivre, Steve Ignorant / produzida por Crass Records http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes © Appleton, todos os direitos reservados

Ep.223 Pio Abad (b.1983) is an artist whose work is concerned with the personal and political entanglements of objects. His wide-ranging body of work, mines alternative or repressed historical events and offers counter narratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where the artist was born and raised, his work emanates from a family narrative woven into the nation's story. He has exhibited at the Ashmolean Museum, Oxford; 58th Carnegie International; the 5th Kochi-Muziris Biennial; Ateneo Art Gallery, Manila; Museum of Contemporary Art, Tokyo; Kadist, San Francisco; Oakville Galleries, Ontario; the 2nd Honolulu Biennial; 12th Gwangju Biennial; 4A Centre for Contemporary Asian Art, Sydney and Gasworks, London. He was recently nominated for the 2024 Turner Prize. Abad's works are part of a number of important collections including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai​i State Art Museum, Honolulu and Singapore Art Museum. Abad is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila and Spike Island, Bristol. Photo Credit: Frances Wadsworth Jones Artist https://www.pioabad.com/ Tate Museum https://www.tate.org.uk/art/artists/pio-abad-30636/pio-abad-beautiful-things-can-be-vessels-for-painful-stories Ashmolean Museum https://www.ashmolean.org/exhibition/ashmolean-now-pio-abad-those-sitting-in-darkness | Shortlist Turner Prize https://www.ashmolean.org/press/ashmolean-now-pio-abad-turner-prize-shortlist-press-release Pacita Abad https://en.wikipedia.org/wiki/Pacita_Abad | https://ago.ca/events/pacita-abad-roundtable-conversation | https://tinakimgallery.com/news/205-first-of-its-kind-retrospective-of-filipino-artist-pacita-abad-opens-cbs-news/ Frieze https://www.frieze.com/article/frieze-masters-magazine-2024-pio-abad-gerret-willemsz-heda University of Oxford https://www.glam.ox.ac.uk/article/artist-pio-abads-exhibition-at-the-ashmolean-museum-shortlisted-for-2024-turner-prize Royal Academy https://www.royalacademy.org.uk/art-artists/name/pio-abad Kadist https://kadist.org/people/pio-abad/ Wallpaper https://www.wallpaper.com/art/turner-prize-2024-artists Widewalls https://www.widewalls.ch/magazine/pio-abad-2024-turner-prize Artnet News https://news.artnet.com/art-world/who-will-clinch-the-u-k-s-top-art-honor-inside-the-turner-prize-exhibition-2541699 Museums Association https://www.museumsassociation.org/museums-journal/news/2024/09/turner-prize-artist-explores-ashmolean-collection/ Vogue Philippines https://vogue.ph/lifestyle/art/pio-abad-exhibit-turner-prize/ | Pacita Abad https://vogue.ph/lifestyle/art/pacita-abad-decades-strong-path-of-color-set-ablaze/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/turner-prize-pio-abad-interview Open Space Contemporary https://www.openspacecontemporary.com/projects/10-minutes-with-open-space/10-minutes-with-pio-abad/ Silver Lens https://www.silverlensgalleries.com/artists/pio-abad

João Pedro Vale (Lisboa, 1976) licenciou-se em Escultura na FBAUL, e estudou na Maumaus, em Lisboa. Nuno Alexandre Ferreira (Torres Vedras, 1973) estudou Sociologia na Universidade Nova de Lisboa.Iniciaram a sua atividade artística no final da década de 1990, começando desde cedo a trabalhar em conjunto e realizando projetos que se destacam pela diversidade de meios, suportes e linguagens. Inauguraram no dia 10 do passado mês de julho a Casa Vale Ferreira, a sua primeira exposição antológica, ocupando a quase totalidade da Casa de Serralves, no Porto; e inauguraram Climacz, este sábado na Appleton Square, em Lisboa.De entre os seus projetos mais recentes, inclui-se a participação em festivais como Fabric, Fall River (EUA) em 2022; Walk&Talk, São Miguel, Açores (Portugal) em 2021; e MOVE19, Centre Pompidou, Paris (França), e LIAF19 — Lofoten International Art Festival, Svolvær (Noruega) em 2019. Destacam-se as exposições individuais na Rialto6, Lisboa (Portugal) em 2022; no MAAT, Lisboa, e no Museu Marítimo de Ílhavo, Ílhavo (Portugal) em 2019; na Galeria Presença, Porto, e na Galeria Cristina Guerra, Lisboa (Portugal) em 2018; e a criação de um espetáculo de circo para a primeira edição da BoCA em 2017. Participaram em exposições em locais como Haus der Kunst, Munique (Alemanha); Frac Nouvelle-Aquitaine MÉCA, Bordeaux (França); Galeria Leme, Estação Pinacoteca e Centro Municipal de Arte Hélio Oiticica, São Paulo (Brasil); NURTURart, Nova Iorque, e Smithsonian Museum, Washington (EUA); Museo de Arte Contemporáneo Unión Fenosa, Corunha, (Espanha); Centre d'art Pasquart (Suíça); Gasworks, Londres (Reino Unido); Museu de Serralves, Porto, Galeria Filomena Soares, Fundação PLMJ, Museu do Chiado, Museu Coleção Berardo e CAM – Fundação Calouste Gulbenkian, Lisboa (Portugal). Os seus filmes foram apresentados em festivais como Artprojx Cinema, Nova Iorque (EUA), Cineport, João Pessoa (Brasil), Temps d'Images, Queer Lisboa e Lisbon and Estoril Film Festival (Portugal). Realizaram inúmeras residências artísticas: em 2008, ISCP – International Studio and Curatorial Program, Nova Iorque (EUA); em 2019, em Lofoten (Noruega); em 2018 e 2020, Cité International des Arts, Paris (França). A sua obra está representada em diversas coleções nacionais e internacionais, como Tate, Fundação EDP, Fundação de Serralves, Museu do Chiado ou Fundação Calouste Gulbenkian. Entre 2014 e 2017, criaram o projeto BREGAS, em Xabregas, com o objetivo de apoiar e promover projetos de artistas e curadores locais. Atualmente, a programação decorre no ateliê que partilham na Curraleira, em Lisboa. Links: https://www.joaopedrovale.com/ https://www.serralves.pt/ciclo-serralves/casa-vale-ferreira/ https://umbigomagazine.com/pt/blog/2024/10/01/casa-vale-ferreira-joao-pedro-vale-nuno-alexandre-ferreira-na-casa-do-museu-de-serralves/ https://www.rtp.pt/noticias/cultura/a-arte-e-o-amor-casam-se-em-serralves-com-exposicao-casa-vale-ferreira_n1585166 https://www.bocabienal.org/joao-pedro-vale-nuno-alexandre-ferreira/ https://www.cristinaguerra.com/artist/ferreira-alexandre-joao-pedro-vale-nuno-1642702346636/ https://www.johnromao.com/Joao-Pedro-Vale-Nuno-Alexandre-Ferreira https://umbigomagazine.com/pt/blog/2018/03/09/artclip-joao-pedro-vale-e-nuno-alexandre-ferreira/ https://artfacts.net/exhibition/joao-pedro-vale-nuno-alexandre-ferreira:-climacz/1212792 Episódio gravado a 23.10.2024 * O título é uma apropriação da frase de José CarlosTavares, que participou na festa em 1995 no Climacz. Testemunho recolhido pelos artistas. Créditos introdução: David Maranha - Flauta e percussão Musica final: Dance with Me / Underground Sound Of Lisbon / Escrita por DJ Vibe e Doctor J http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStoryHotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geraldas Artes

Reed, Mark and Chelsea shake off the hangovers and dish about the Grand Opening Party for the Upmarket Studio at Gasworks! They get into how the party went down and if they think it justified the hefty final budget. In the second half of the show, a Special Guest comes on to talk about Cinematic twilight videos and the team gives an update on the suddenly volatile launch of the branding side of the business. Plus, ACTION ITEMS!!!! Action Items are something small that any listener can do right now to help make their Real Estate Media Business more efficient.Check out Upmarket's FREE webinar on How and Why to Scale Your Real Estate Media Business at upmarketcourse.com/webinar and our course How to Grow and Scale Your Real Estate Media Business at UpmarketCourse.com.Follow the pod on Instagram at @upmarketpod and Chelsea @feedingbeautiful and Upmarket Media @upamarket.media.The Presenting Sponsor of Upmarket is Aryeo, the best place to help grow and manage your Real Estate Media business. Use the code "Upmarket" at aryeo.com to get 15 free bonus listings with any new account.Another amazing sponsor of Upmarket is SecondFloor, the fastest way to create a finished floor plan WITH GLA square Footage. It's so fast that you can deliver the finished floor plan while you are still on-site! Not only that, but you can get UNLIMITED floorplans for one low monthly fee. We love SecondFloor and you can use the code UPMARKET at checkout and any new subscriber will get a 1 month free trial.Our Action Items are sponsored by PixlCRM, where you can scale your real estate photography business through automation. It's an all-in-one business and marketing platform that compliments your current delivery app. If you go to pixlcrm.com/upmarket you can get a 30 day risk free trial!!!

This week Reed and Mark dish about all the details and costs of the imminent Grand Opening Party of Upmarket's new studio space at Gasworks in Ventura. 200 clients are expected at the party and the guys dish about the everything that is going into the party, including the ever-ballooning budget. In the second half of the show they talk about the challenges and triumphs they've had over the last couple months in the business and then wrap up the show with Action Items! Action Items are something small that any listener can do right now to help make their Real Estate Media Business more efficient.Check out Upmarket's FREE webinar on How and Why to Scale Your Real Estate Media Business at upmarketcourse.com/webinar and our course How to Grow and Scale Your Real Estate Media Business at UpmarketCourse.com.Follow the pod on Instagram at @upmarketpod and Chelsea @feedingbeautiful and Upmarket Media @upamarket.media.The Presenting Sponsor of Upmarket is Aryeo, the best place to help grow and manage your Real Estate Media business. Use the code "Upmarket" at aryeo.com to get 15 free bonus listings with any new account.Another amazing sponsor of Upmarket is SecondFloor, the fastest way to create a finished floor plan WITH GLA square Footage. It's so fast that you can deliver the finished floor plan while you are still on-site! Not only that, but you can get UNLIMITED floorplans for one low monthly fee. We love SecondFloor and you can use the code UPMARKET at checkout and any new subscriber will get a 1 month free trial.Our Action Items are sponsored by PixlCRM, where you can scale your real estate photography business through automation. It's an all-in-one business and marketing platform that compliments your current delivery app. If you go to pixlcrm.com/upmarket you can get a 30 day risk free trial!!!

INTERVIEW: Nathan Laurie and Alex Matthew from No Danger on Riff Foundry gig at Dunedin Gasworks Museum by Zac Hoffman on Radio One 91FM Dunedin

The Upmarket Pod crew have their fancy new studio at Gasworks, but it begs the question... how will they pay for it? By launching the Branding Content side of their business, of course! Reed, Mark and Chelsea detail the steps they've been taking to lay the foundation for a successful launch. They even rope their new Upmarket Branding Photographer, Elena Anzaldo into coming on and sharing about her prep for her new role at Upmarket. They also brainstorm how they'll market the new service to the REALTOR clients when they launch it in the fall. In the second half of the show they talk about dealing with difficult clients and Elena shares her wisdom from her time as a REALTOR in regards to how to deal with those difficult agents. They wrap up the show with the ultra-rare Quad Action Items! Action Items are something small that any listener can do right now to help make their Real Estate Media Business more efficient.Check out Upmarket's FREE webinar on How and Why to Scale Your Real Estate Media Business at upmarketcourse.com/webinar and our course How to Grow and Scale Your Real Estate Media Business at UpmarketCourse.com.Follow the pod on Instagram at @upmarketpod and Chelsea @feedingbeautiful and Upmarket Media @upamarket.media.The Presenting Sponsor of Upmarket is Aryeo, the best place to help grow and manage your Real Estate Media business. Use the code "Upmarket" at aryeo.com to get 15 free bonus listings with any new account.Another amazing sponsor of Upmarket is SecondFloor, the fastest way to create a finished floor plan WITH GLA square Footage. It's so fast that you can deliver the finished floor plan while you are still on-site! Not only that, but you can get UNLIMITED floorplans for one low monthly fee. We love SecondFloor and you can use the code UPMARKET at checkout and any new subscriber will get a 1 month free trial.Our Action Items are sponsored by PixlCRM, where you can scale your real estate photography business through automation. It's an all-in-one business and marketing platform that compliments your current delivery app. If you go to pixlcrm.com/upmarket you can get a 30 day risk free trial!!!

Big news from your friends at Upmarket Pod! The long-talked-about and gestating studio space has finally come to fruition! This is the first episode coming to you from the Upmarket Studio at Gasworks in Ventura CA. Having just moved in and the space not yet quite ready for primetime, Reed, Mark and Chelsea nevertheless brave the sawdust and record an episode in the new environs, detailing the plans for the studio (which encompasses podcast studio, photo studio and Upmarket offices) and how they can grow the business by finally having a physical space. They also get into how business has been going over the last couple months and of course wrap it up with Action Items! Action Items are something small that any listener can do right now to help make their Real Estate Media Business more efficient.Check out Upmarket's FREE webinar on How and Why to Scale Your Real Estate Media Business at upmarketcourse.com/webinar and our course How to Grow and Scale Your Real Estate Media Business at UpmarketCourse.com.Follow the pod on Instagram at @upmarketpod and Chelsea @feedingbeautiful and Upmarket Media @upamarket.media.The Presenting Sponsor of Upmarket is Aryeo, the best place to help grow and manage your Real Estate Media business. Use the code "Upmarket" at aryeo.com to get 15 free bonus listings with any new account.Another amazing sponsor of Upmarket is SecondFloor, the fastest way to create a finished floor plan WITH GLA square Footage. It's so fast that you can deliver the finished floor plan while you are still on-site! Not only that, but you can get UNLIMITED floorplans for one low monthly fee. We love SecondFloor and you can use the code UPMARKET at checkout and any new subscriber will get a 1 month free trial.Our Action Items are sponsored by PixlCRM, where you can scale your real estate photography business through automation. It's an all-in-one business and marketing platform that compliments your current delivery app. If you go to pixlcrm.com/upmarket you can get a 30 day risk free trial!!!

A conversation with author Michael Lobel to discuss his new book, “Van Gogh and the End of Nature”. Lobel offers a groundbreaking reassessment of Vincent van Gogh, revealing how the artist's work is deeply intertwined with the industrial age and its environmental impacts. In the conversation, we explore how Van Gogh's art, often seen as a pure reflection of nature, is in fact a poignant commentary on the era's ecological challenges, making his work profoundly relevant to today's environmental concerns. https://yalebooks.yale.edu/book/9780300274363/van-gogh-and-the-end-of-nature/https://a.co/d/0eUB75WXhttps://huntercollegeart.org/art-history-faculty/michael-lobel/

This episode is a live recording of an event in which Sophie Hope talks with artists Amy Feneck and Ruth Beale. Together they reflect on 12 years of collaborative practice, spanning art, politics and the ongoing need to talk about economics. The conversation that forms the heart of this episode was recorded at an event organised by the Alternative School of Economics on 9 March 2023 at Gasworks,in London, England.

Martha Atienza (b. 1981, Manila, Philippines; lives and works in Bantayan Island, Philippines) has moved between the Netherlands and the Philippines throughout her life. Constantly oscillating between these two cultures has had a profound influence on Martha's focus as an artist. Her practice explores installation and video as a way of documenting and questioning issues around environment, community and development. Her work is mostly constructed in video, of an almost sociological nature, that studies her direct environment. Since graduating with a Bachelor in Fine Arts from the Academy of Visual Arts and Design in the Netherlands, Atienza has exhibited internationally at various art spaces, galleries, and video festivals. In 2017, Atienza won the Baloise Art Prize in Art Basel (Switzerland) for her work, Our Islands. In 2016, she was one of the five shortlisted artists for the Benesse Art Prize (Japan) in the Singapore Biennale. In 2015, Atienza was awarded the Thirteen Artists Awards by the Cultural Center of the Philippines. Martha Atienza has also had residencies all over the world: in 2005, she was a part of Kuvataideakatemia's art program in Finland. In 2016 and 2012, she won the prestigious Ateneo Art Award with studio residency grants in Liverpool, Melbourne, New York and Singapore. In 2016, she was the recipient of the first Mercedes Zobel/Outset Residency at Gasworks in London. In 2018, Atienza was a part of the NTU Centre for Contemporary Art's residency program in Singapore. Recent exhibitions include Equation of State, solo exhibition, Silverlens, Manila (2019) ; Honolulu Biennial: To Make Wrong / Right / Now, Honolulu, Hawaii (2019); 9th Asia Pacific Triennial of Contemporary Art, QAGOMA, Brisbane (2018); Taipei Biennale: Post-Nature – A Museum as an Ecosystem, Taipei Fine Arts Museum (2018); Bienal de Mercosul, Porto Alegre, Brazil (2018); Fair Isles, solo exhibition, Nassauischer Kunstverein Wiesbaden, Center for Contemporary Art, Germany (2018); No Man's Land, MUDAM, Luxembourg (2018);2018 Asia Project: How Little You Know About Me, MMCA, Korea (2018).

Gasworks Growers and Craft Market - Chris Edwards has established a new market that runs out of the Dunedin Gasworks Museum in South Dunedin. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

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  Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2022 Visitor Attraction Website Report - the first digital benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends on 20th December 2023. The winner will be contacted via Twitter. Show references: https://www.beamish.org.uk/https://www.linkedin.com/in/rhiannon-hiles-4469784/ Rhiannon Hiles is Chief Executive of Beamish, The Living Museum of the North.Rhiannon leads the talented team of staff and volunteers, and is responsible for strategic development and operations at the award-winning County Durham open air museum, which brings the region's history to life.With over 30 years' experience in the culture sector, Rhiannon has extensive curatorial, commercial, operational and development expertise, combined with a great passion for museums, heritage and the North East.Working with national and international museum colleagues, Rhiannon is at the forefront of leading open air and independent museum practice, focused on sharing ideas, knowledge and supporting talent and progression across the sector.Rhiannon has a background in architectural and design history and an MA in Museum Studies specialising in social, rural and folk life studies and was an antique dealer and museum volunteer early on in her career. Her professional experience includes the prestigious Oxford Cultural Leaders Programme, SPARK Association Independent Museums (AIM) senior leaders programme, appointment to the board of the Association of European Open Air Museums, North East Chamber of Commerce Council member, National Museum Directors' Council, Museums Association, Association of Leading Visitor Attractions, and the Association of Independent Museums. She has been a school governor and is currently a Museums Association mentor and Director of the Melrose Learning Trust.  Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. On today's episode, I speak with Rhiannon Hiles, CEO of Beamish Museum. We talk about wiggly careers and finding opportunities that use all of your skills. We also discuss philanthropic thinking and how to use this approach to support the funding of new projects. If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue. Kelly Molson: Rhiannon, it's lovely to have you on the podcast today. Thank you so much for coming on. I'm very excited that we've got Beamish back on, if I'm honest. So I know that we've had lovely Matthew Henderson, one of your past colleagues, came on not too long ago and talked about creative ideas for driving commercial income. Kelly Molson: But I've recently experienced Beamish, which I'm sure we'll talk about later on in the podcast. So I'm really tough to it's lovely. Rhiannon Hiles: It's a pleasure to be here. I've been dying to talk to you as well. So this is great. We had that initial conversation, didn't we? And so to be talking to you again today, it's brilliant. Kelly Molson: Well, hopefully you still feel like that after I've asked you these icebreaker questions. Let's start. Okay, I want to know what's the worst gift that you've ever received but you had to try really hard to kind of be grateful for. Rhiannon Hiles: Well, I used to have a black and white collie when I was growing up. We had a small holding and we always had collies. And I had my favourite collie was called Woody. I loved Woody. Woody came everywhere with me, black and white. And I was out somewhere once and I said, "Oh, she looks a bit like a badger." When they asked me what she looked like. And then people kept giving me badger stuff all the time. And my house was getting full and full. I was a student at the time and had a student house that's full of badger things. And I was always very polite because I was brought up to always say, "Thank you. Thank you very much for the present." Inside I was going, "Not more badger things."Rhiannon Hiles: And when I eventually thought I was moving and I thought, I'm going to put all those badger things in a box and take it to a charity shop, and I did that. Kelly Molson: And somebody would have loved that big box of badger rubbish, wouldn't they? Rhiannon Hiles: Somebody. Kelly Molson: You get this if you've got a sausage dog as well. So we used to have a sausage dog. The minute you have one of them, everyone thinks that you are a dachshund mad and you're not. You've just got a dachshund. But they buy you everything that I've got so much stuff with dachshund. I don't know if the person that bought me is listening to this. I've got like makeup bags with dachshunds on I've been bought, like, shopping bags and things like that. And I'm like, "Yeah, she's cool and all that, but I don't need to dress myself in dachshunds and paraphernalia". For now, anytime that anyone buys me anything rubbish, I'm going to put it in the badger box. Right. I love that. Kelly Molson: Okay, well, this is definitely not going to be badgers, but if you had to pick one item to win a lifetime supply of, what would you pick? Rhiannon Hiles: It's not really very sustainable and everyone who knows me will be like, "You are." It sounds so vain, mascara. Kelly Molson: Oh, yeah. No, I'm with you. Rhiannon Hiles: Sorry.Kelly Molson: No, don't apologise. Mascara would absolutely be on, like, my desert island diffs. If I was put if I was sent away somewhere, I would need not Desert Island Discs. What am I talking about? If I was on a desert island and I could take one thing, I want my mascara.Rhiannon Hiles: When I was pregnant and packing, you packed the bag, ready to go to hospital, and I was like, "Have I got everything in?” And I was like, “Have I got mascara in?" And everyone's like, "You will not want that or need it." And I was like, "I will." And to be fair, I'm not actually certain that I did care, but I was safe because it was in there. Should I need it? Kelly Molson: Yeah, at the time. Things like that are really important. Are they? Have you ever had the fake eyelashes put on so you don't have to bother with it? Rhiannon Hiles: Oh, not to that degree. When I was a teenager, I was a goth and I thought I was Susie Sue. So this is 1983. And I really thought I was Susie Sue. And I'd spent ages studying the way she had her ticks and her eyeliner and her eyebrows. So I spent ages perfecting that and I couldn't get the eyelashes to work in the corners to what I wanted. So probably from Superdrug or the Equivalent in 1983, because I can't remember where it was in Durham. I'd snuck in with my pocket money and I bought these stick ones to go along the top. They didn't stay on for very long. Rhiannon Hiles: I've never had the ones that people actually have physically put in, but then when I see people and maybe one of them's come out, I'm like, it looks a bit odd. Stick with your own eyelashes. Kelly Molson: I can't do the put them on yourself. I'm not very good with stuff like this at all. I'm not very good with makeup, but mascara is my go to because.. Rhiannon Hiles: That's easy, isn't it? Opens up your eyes, away you go.Kelly Molson: All you have to play like a new woman. But I have had the ones that someone puts in professionally before, which were amazing, but the only downside is when you decide that you don't want them any, have them taken off. Your own eyelashes look so rubbish. That you look a bit like an alien because you've got not enough lashes, because you had loads before with the extra on. So, yeah, little tip for you, everyone. You'll look like an alien.Rhiannon Hiles: I'll remember that. Kelly Molson: Right. What is your unpopular opinion for us? Rhiannon Hiles: I listen to your podcasts and I love hearing what people's unpopular opinions are. And I listened to the one with Bernard Donoghue and the other two brilliant chaps, and one of them had nicked my unpopular opinion and now I don't want to share it because they didn't nick it, because they didn't know that I was going to do it. But I used to live in the museum, I used to live in Beamish, and it was brilliant. At the end of the day, when visitors weren't there, it was amazing. Kelly Molson: Oh, this is what Paul said. Rhiannon Hiles: Yeah. Kelly Molson: Kelly said that the best thing about the attractions is when people aren't there. Rhiannon Hiles: Yeah. Now, like, during the day, I would never think that or say that, because I love being amongst all the people, but when I lived in the museum, when everyone went, when the trams went, when it was deadly quiet, it was like yet another place, and it was like, "Wow, this is amazing now." And it was so different when the people weren't there. But I have to say that, for me, is an unpopular opinion, because, obviously, visitor attractions work when they're full of people. And although I used to think, I think, “Oh, it's so lovely at nighttime, or when everyone's gone”, but then when it went into lockdown into COVID, it made me sad when the people weren't there. So then my unpopular opinion kind of shifted. A very simple unpopular opinion is that I really don't like mushy peas. Kelly Molson: I'm with you. I don't like peas of any form at all. No, I'm absolutely this might not be so unpopular because I've got, like, a group of friends that are pea haters like me, and I have passed it on to my little girl as well, which I'm trying to yeah, I know she's not great. She's really good with fruit, not good with veg, and I'm trying to kind of retract that a little bit, but she's heard me say peas and make the face and now she's like, “Peas, yucky mummy.” Yeah. I'm trying to get her to go back, but I draw the line. There's no way I'm having mushy peas in my mouth. Rhiannon Hiles: And I think it's like the husky bit. Sometimes they're not really mushed and there's still a bit of husky pea shell in and I'm like, I don't like it. Kelly Molson: It's actually turning my stomach, thinking, well, let's see, whose side of the coin are you on? Are you on the pea lovers side or the pea haters? Come and join us on the haters side. Rhiannon Hiles: Vote now. Kelly Molson: Right, I want to know a little bit about your background, because I know that you've been at Beamish for quite a while. But what did you do prior to that? Rhiannon Hiles: When I was at school, I was really into horse riding, I had ponies and I set my sights from about the age of ten, probably to be a riding instructor. And so I was determined that's what I was going to do. But I was always a very good artist and I used to love drawing buildings and animals, not always in the same picture, but I loved the shape of buildings and I was just very interested in them. And I used to travel quite a lot with my grandparents and we used to always visit museums on the continent in particular. We used to go to open air museums loads and I just loved them. We always went in the summer, really loved them. But I still thought, I want to be a riding instructor, just want to visit those museums and have fun. Rhiannon Hiles: And then as I went through school, you flick around, don't you, a bit, when you're in school? Because I love drawing, I love sketching clothes. And I was a bit of a gothy punk when I was a teenager, and I used to make my own clothes. But I also was really into how the interiors of buildings looked. But I continued to ride horses and I did train to be a riding instructor, but I soon discovered there's no money in that unless you've got really wealthy parents with your own riding school and everything. So I continued to ride, still love horses, but knew I just went on a bit of a quest and I did quite a lot of commissions of drawings whilst I was studying, while I was doing art at college, and then I went on to do architecture and design at university. Rhiannon Hiles: And while I was at university, I met some people who said, "Have you ever thought about studying this and have you ever thought about doing some work in museums? And what about open air museums?". And I thought, "Well, I've always visited them, and I love them." So I started doing some voluntary work in museums and at the same time supplementing my living by buying and selling antiques. So I was antiques dealer for a while, which is good fun, actually. I quite enjoyed doing that, but I wasn't the greatest antiques dealer because I was more interested in the history of the things than the money that I was making from them. Sometimes I'd be like, "Do you know where this is from? And I just want to buy it". I was like, "But it's really interesting."Rhiannon Hiles: So I love doing that and I think it did give me a really good grounding. So I would really like scrabble around and things. I would go into skips and get stuff out and I'd sometimes knock on people's doors and I'd say, "You've got this really interesting table in the skip, can I have it?". Sometimes I would just pass a skip and go ask paper, put it in my car, and then I'd do them up. And one of my mum's friends used to buy and sell student housing in Durham, and she used to get me to help her to get the houses ready. And she'd say to me, "I'm going to leave you.". This is in, like 1987, 88. She'd leave me with a hammer and she'd say, can you knock out that set pot in the corner? Rhiannon Hiles: And when I come back, I'll just take you home, no PPE or anything. I'll stand there with the hammer thinking I was like, I was 18, I was like, I'll just hit it everywhere. But funnily enough, I think that gave me quite a good understanding of the ins and outs of older buildings. And I just really knew that I wanted to be involved with telling the stories of people who might have lived in those older buildings. So when I started doing that voluntary work, I did it in a museum in Durham first, which is brilliant, great grounding. It was the Oriental Museum in Durham. There's loads of work in their stores. And then my uncle's friend was a curator at Beamish, and my uncle said, "Give Jim a ring, see if you can get some voluntary work at that Beamish."Rhiannon Hiles: So I rang that Beamish up and I said, "Could I get some voluntary work?" And it kind of started from there, and I thought when I went, I was like, I've always visited here. Didn't really cross my mind you could work here. And I just kind of loved it right from the start. I became immersed. I found a picture of me recently when I'm a bit older. I'm 21 by then, and it's just before I started working at the museum, because it's when I was doing my undergraduate degree, and I'm like, I'm in one of the cottages and I've got all my glass stuff on and I think I'm dead cool. I've got my camera, but I can tell in my face that I was like I'm like, "Wow, I'm in the opening.”Kelly Molson: This is amazing.Rhiannon Hiles: Yeah. So I think I had a bit of a, like, I don't know, was I going to be a horse rider, was I antique stay there, was I an artist? But then when I went into open air museums, I just knew I just had this fire in my belly, whatever you want to call it. I was like, this is where I need to be and this is what my quest is. This is where I want to lead one of these I want to be responsible for one of these fantastic places. Kelly Molson: Oh, my God, what an incredibly wiggle. I love that. So I really like hearing about where people I think the skills that people have and how they then apply them into the roles that they've ended up in. I was so shocked when you said about antiques, because I love that. I love nothing better than a Sunday morning mooch around a vintage shop or just like, scouring charity shops for any kind of bargain that I can find. And I was like, "She's literally living my life. That's amazing. I'd love to do that job.”Rhiannon Hiles: I think, briefly, because I used to go so a friend of mine who was at university with, he said, "Well, if you're dealing in antiques, why don't we set up together? Why don't we get a van together? Have you got any money?". And I loaned 500 pounds off my mum and I said, "I'll give you it back." I don't think I ever did. And we bought this really tatty van, bearing in mind this is, like, in the late 1980s, and we used to do, like, Newark. We used to go up to Isntonton in Edinburgh near the airport. We used to go around the country doing all the really big antique spares and camp and sell our goods really early in the morning to the dealers and then all the public would come in. Rhiannon Hiles: And then I started to be like, semi all right at it. And a friend of mine had a pub with a little what had been a shop attached to the pub in York, and she asked me if I wanted to sell some of my antiques in that little shop attached to the pub. So I did that for a little bit and then I thought, I think it's not quite working for me, there's something not quite right. And it was because I wanted to tell the stories of the things. So I enjoyed doing it and I learned lots doing it, but I wanted to be a curator, basically, and I hadn't clicked at that point. And then when it did click, I was, "It's clicked. That's what I'm going to do."Kelly Molson: And then you stayed at Beamish and you've just progressively worked your way through all of these different roles, up to CEO now. Rhiannon Hiles: I know. That's amazing. Kelly Molson: It is amazing. But you hear that quite a lot, don't you, where people, they find the place and then they stay there because it's got them basically, it's just got them hooked. And I totally understand this about Beamish. Were talking about this just before we hit record, but I visited Beamish a couple of months ago and had such an emotive reaction to the place. It's an incredible experience. It's the first living museum that I've ever been to. I knew what to expect, but I didn't know what to expect, if that makes sense. I knew what was there and I knew what was going to happen and how were going to experience the day, but I was not prepared for how completely immersive it is and how emotional I got, actually, at some of the areas. Kelly Molson: So can you just give us an overview of Beamish for our listeners that haven't been there. What is Beamish? Rhiannon Hiles: Yeah, I think you've described it really well there about it being immersive and emotional. So those elements will perhaps occur for the visitor. They might not. It depends what people want to get out of their visit. But you and I were talking about how increasingly, as we have more living memory that we represent in the museum, that people will have emotive responses. And I think that goes back to one of the founding principles of why Beamish was originated. So our first director, Frank Atkinson, in the 1950s and 60s had traveled around Europe looking at different types of social history museums. He was a social history curator and he'd come across open air museums in Scanson, in Stockholm, in Malhagen, in Lilyhammer. Rhiannon Hiles: And he was just mesmerised by how they told the stories of the people of the locality in a meaningful way that represented the normality, the ordinary, the typical, rather than being the high end stories of lords and ladies in aristocracy. And he wanted to recreate something similar back in the north of England because he had seen disappearing stories and communities and lives. And he foresaw that there would be more of that disappearing as he foresaw that coal mines would begin to change or close. And people laughed at him sometimes when he said things like, "I want to recreate a slag heap of coal.". They went, "Why would you do that? There's lots." And he said, "Because there won't be any soon." And he was right. Rhiannon Hiles: So the reasoning behind the creation of Beamish was to tell the stories of the rural, the industrial, the social history of the people of the north of England in a similar way to those that are told about the fork life, which is the lives of the people that you see in museums on the continent. So that's what inspired Frank. And Frank's founding principles have stayed strong throughout the museum's ups and downs. And I've seen ups and downs across the years. The 27, 28 years that I've been at Beamish, I've seen lots of ups and downs. But if ever I'm thinking, what should I do next? I always think, what does the visitor want and what would Frank think? And I don't always agree with what Frank would think. Sometimes I think," Would I agree with Frank?". But I always have those two things. Rhiannon Hiles: I think, what would Frank think and what does the visitor need to see now? And I was watching there's a YouTube film called The Man Who Was Given the Gasworks, which is about Frank and his ideas. It was filmed in the late 1960s and it's really funny to watch, very BBC when you watch it, but it tells you a lot about where the ideas came from. But some of the things that he's talking about and the people that he's meeting in Scanson in the continent and he's interviewed by Magnus Matheson as a very young man, which is quite interesting. They still ring true and they still have this philosophy that all school children would visit from the locality to their open air museum. Rhiannon Hiles: And that's still a strength that's still very important to myself, but also to our museum, but also to other open air museums that I know. So Beamish kind of evolved as a concept, and then Frank found a site to build this big open air site which would tell the story of the people of the north of England. He was shown lots of different sites around County Durham. And the story goes, and I've talked to his son about this, and his son says, "I think that's what dad did." His son's about the same age as me. So he wasn't born when Frank had this idea, but apparently he got to where you come in at the car park underneath the Tiny Tim theme hammer. Rhiannon Hiles: The story is that when Frank arrived there and the trees hadn't grown up at that point, that he looked down across the valley and turned to the county officer who was saying, "Do you want this site?". And said, "This is it. This is where I'm going to have a museum of the people of the north." He said it was the bowl and the perimeter with the trees, so it could be an oasis where he could create these undulations in the landscape and tell the stories through farming, through towns, through different landscapes, through industry, through transport. He did at one time have a bizarre idea. Maybe it wasn't bizarre to flood the valley and tell the history of shipbuilding. I'm kind of pleased that didn't happen. Kelly Molson: Yeah, me too. It's really spectacular when you do that drive in as well, isn't it? I got this really vivid memory of kind of parking my car, walking across to the visitor centre and you kind of look down across the valley and the vastness of the site, the expanse of it is kind of out in front of you and it is just like, "Oh." You didn't quite grasp how big that site is until you see it for the first time. It is really impressive. Rhiannon Hiles: It is. And actually, I'm taking trustees, our new board of trustees. I'm taking them on a walkabout. And that's one of the key things. You just explained it perfectly. I'm going to use your quote tomorrow morning. I'm going to say, this is the Kelly Molson view, because I'm taking them to that point and I'm going to say, "Look across the vastness of the museum and the woodland. We look after all the woodland, all the footpaths through the woodland.". So it's the immediacy of where the visitor comes into the museum is more than that. And so I think we are a visitor attraction and we are self sustaining, but we're sustaining environmentally as well, in terms of what we do, looking after all that woodland and farmland as well. And I think that there's a lot more still that the museum has left to do. Rhiannon Hiles: I think it's almost like it will continue to evolve and change. There'll be ever changing. Someone who I know, who runs a museum on the continent, I was saying to them, "What are you going to develop next?". And they've done a lot of development very quickly and they get some very good funding, which is brilliant for them, but they have to stop developing because their site is so small, they can't develop any further. They're in the middle of a city and they represent an old town and their site is constrained by its size. And they said, "We're very jealous of Europe Beamish, because you've got so much space.". Kelly Molson: Just carry on. Well, the self sustaining thing is actually it's part of what we're going to talk a little bit about today. So think it was last season we had Matthew Henderson, come on, who was the former head of commercial operations there, and he talked quite a lot about creative ideas for driving commercial income. So all of the amazing things that Beamish have done to really kind of expand on the Beamish brand. I mean, I'm sitting here today and in front of me I've got Beamish sweets, I've got a tin of lovely Beamish jubilee sweets sitting in front of me. And Matthew talked a lot about the things that you did during lockdown and how to kind of connect with the audience when you couldn't be open, but just expand on that whole kind of product base that you have. Kelly Molson: And that was something that I was super interested in when I came to visit Beamish as well. Because your gift shop is phenomenal, absolutely phenomenal. But all the way around the sites as well, the things that you can buy we talked about that immersive experience, but you can buy products where the packaging of those products, it hasn't just been created. It's been created from things that were in use and used as kind of branding back in the 50s and back in the18 hundreds. And that is just amazing. I guess I want to kind of just talk about Christmas. So we're on the run up to Christmas now, aren't we? Rhiannon Hiles: We are. Kelly Molson: I want to talk a little bit about how you drive revenue at what is often considered quite a quieter time of year for attractions because you've got quite a good process of doing that. Is that part and parcel of the hard work that you did during the pandemic to get these products developed? Rhiannon Hiles: Yeah. So just prior to the pandemic, Matthew and I, and Matthew talked to you about this. We had started to think about how we would turn the museum into a really good profit centre without us looking like were selling the collections, because obviously you've got to be really careful, we're a designated museum and all the rest of it. There are really easy ways to do that without it being a barrier. And we came up with all these sort of ideas and then went into pandemic, into the pandemic, and it sped it all up for us. The things which we've been thinking about, would we do it or would we not? We just said, "Look, we're going to do it because what else have we got to lose?". And Matthew did talk to you about that. Rhiannon Hiles: So we entered into this, what are we going to be doing? What are we going to replicate? Who are we going to work with? What are the things we've already got? And Matthew had been working on, for example, the monopoly, he'd been working on that just prior to the pandemic. We just sold out of that during the pandemic because everyone was at home and wanted to buy board games. So we had thought, everything will sit on the shelves, but it didn't, it flew out. We didn't have an online shop, but then we suddenly did, like, overnight and so we talked about having an online shop and were sort of getting there and then went into pandemic and like a lot of folks, it just sped everything up. It really did. Rhiannon Hiles: So some of the work which we've been doing, which was taking us quite a lot of time, I think the pandemic silver lining and people talk about the negatives and the positives of the pandemic. The silver lining for our retail and our product ranges was that it really allowed us to move swiftly through ways of helping the museum to be self sustaining through our immersive sales. When you were in the museum, you'd have been on the town street and we have stalls in there. It's a market town, you would expect to see stalls outside. And all of the products on there are all Beamish products and they've been made either in the museum or they've been made by local suppliers who then are only selling through us. Rhiannon Hiles: Our ice cream is produced by a local ice cream maker, but the method and the flavours are only sold at Beamish. You can't get them anywhere else. So it's bespoke to us, but I'm thinking about how we move us into the next phase, which is all those things which we only sell. For me, there's a lot more that we can do in terms of we've talked about brand licensing, things like that, but in terms of the Beamish reach. So during lockdown, the Harrods of the North, Fenix contacted us and said, "Can we sell Beamish products?". And were like, "Yeah, Fenix have rung us up.". We were like, "Fenix are on the phone, we're so excited.". And we thought, "We're going to sell through Fenix.". Rhiannon Hiles: But for me, that's the start of what we can do with our brand name becoming a high street name, but a high street name that has got some gravitas behind it. So I would want to make sure that we didn't sell ourselves out, we'd want to place ourselves in appropriate places, if that makes sense. So what I wouldn't want to see is that our brand became lessened because we'd maybe chosen the wrong partner or whatever that happened to be. But I think that the Beamish Museum brand is strong and I think it could stand on its own, two feet as a brand, not just at Fenix, and it does at Fenix, so that's brilliant. But elsewhere as well. Rhiannon Hiles: And I've got some conversations lined up with folks to do with High Streets and how we can link up and partner with High Streets locally and perhaps that grows and develops as well, but also in terms of what we can do through our online sales, because we've lessened our impact there, I think. But that's probably because the items which people were buying at home during the lockdown, they can now go out and get, they can come into the museum and buy and they want that in the museum experience. But I think there's other things that we could do, like we have a lot of enamel signs and posters. We wouldn't need to hold all that stock in the museum. Rhiannon Hiles: We can work with companies who can then just download that and then sell that, rather than us having to say we have this massive space where we just hold loads of stock. And for any museum, that's a challenge. Where do you store things, let alone where do you store shop stock as well? So I think at this stage we're on the cusp of something quite exciting, but we don't know what it is yet. But we've got showed Jamiejohn Anderson round, he's a good friend of ours, he's the director of commercial at National Museums Liverpool and he's brilliant. I use him as a bit of a mentor. He's great and I was walking around with him and he's done work at Warner in the past with the Butterbeer and all the can. What can we do? Rhiannon Hiles: There's just so much lists and lists of things that you could brand license and you could sell and that would bring that in. Kelly Molson: Does that make it harder, though, to make those decisions about what you do? Because there's so much it's so much that you could do. There's not an obvious kind of standout one, there's just vast reams of things that you could do.  Rhiannon Hiles: It is. And we've got a commercial manager who took over after Matthew left and she's brilliant and she's still in touch with Matthew. They talk a lot about how we would move this forward and which product comes first. And our collections team are really excited. I mentioned just now about the post, the railway posters and the enamel signs that we have. People would love those. And the collections team are like, "We need to do those first because they're brilliant and they're easy and we could do them.". So it does make it hard. And everybody has their own version across the museum about what they think we should do first. So, yeah, it is tricky. And we've just dipped our toe in. And there's other sides of things. Rhiannon Hiles: When we enter into our accommodation, which will be the first time we've done this at the museum, we've done overnight camping at the museum for a while, and that's really successful. But to have our own self catering accommodation is coming on next year. And I would like to feel that if you're staying in one of those cottages that the soap, the welcome pack, the cushion, whatever that is, that you would be able to get that, but that it's bespoke to us. But you will be able and it's not at a ridiculous price either, that it's accessible to people, but that people will be able to get those items should they wish to. Kelly Molson: This was something that was really exciting to me when I came to visit. Well, there's two facets to this. One that was were taken round a I want to say it was a 1940s. It might have been the 19 hundreds, actually. So forgive me if I've got this completely wrong, but there's an artist's house, 1950s house. Sorry, I've got it completely wrong. I said 40. So were taking around the artist house, and what struck me is how the design and the interior design of that house, how similar it is to things that I see now. So interior design is a bit of a passion of mine. It's something that I spend hours scrolling at, looking at, on Instagram. But there were things that were in that house that are now back in fashion. Kelly Molson: So things, they just come full circle, don't they, with design? And so that was really interesting to me. And I remember at the time having a conversation and saying, "I'd buy that wallpaper that was on the wall. I would buy that wallpaper. I would buy that rug that they've got, that throw that was across the bed.". And it was just like, "Yeah, I absolutely would do that.". I know so many other people that would do that as well, who really want that authentic look in their house. I mean, this is a 1930s house that I live in, but I would love to have more kind of authentically 1930s elements to it. Art deco, mirrors, et cetera. Kelly Molson: And you can kind of imagine that not only being popular with the people that come and visit, but actually extending that into, well, interior designers that are styling other people's homes. They haven't necessarily been to Beamish, but they know that they can get this incredible thing from Beamish because they know how authentic that's going to be. And then that translated into Julian telling me about the overnight stays. And I was like, "But I want to stay here now, I could stay potentially in this room.". How amazing would that be? That would really fulfill my interior design passions completely. So that's the next step for you? Rhiannon Hiles: Yeah, it is. It was the number one thing that came out of the market research that we did with people when were looking, just before we launched Remaking Beamish over ten years ago now. When went out and asked people what they would like to do, what's the most important thing to you? They all went, we want to stay in the museum. We want an Immersive, we want to be in it. So we thought, well, okay, we can do that. We thought about where that might be and it went through lots of different sort of ideas as to what it would be. It was going to be a hotel. And then we thought, "Is that going to work? Is it a hotel?". And then we had some buildings which had been unused and weren't part of any future development plan. Rhiannon Hiles: A beautiful row of workers cottages and some stabling and courtyard up Apocalypse, which were outside of the main visitor area with already a courtyard, stabling and cart shed. So I thought, "Well, let's do it there.". Talked to the lottery. They were over the moon with that idea, because it's more environmentally sustainable, because they're existing buildings, brings more of the existing museum into the public realm and it gives us an opportunity to use areas which, to be honest, how would we do something with them going forward, but also enables people to stay in the museum. So a night at the museum, literally be it's going to be phenomenal. There's so many people saying, "I want to be the first tester of the first one that's open.". There's like a massive queue of people who want to come and be the first to stay. Kelly Molson: I want to add my name to the list. I don't need to be the first. Put me on the list. What an amazing experience. I mean, you've lived in the museum, so you've actually done this yourself. But yeah, I just think to be able to extend your visit to do that would be phenomenal, because I know that you're building a cinema at the moment as well. So come in. Come for some dinner to the cinema. Rhiannon Hiles: Exactly. Kelly Molson: Stay overnight. Rhiannon Hiles: Exactly. And we had some European museum friends across. We run a leadership program across the continent and ourselves, myself, Andrew and some others in Europe, and some of them were over last week and we did a lovely dinner for them up at Popley. And I didn't know if you got time to go up to Popley when you visited. It's beautiful up there. It is magical up there. And we have this young lad, he's been a trainee chef and he's brilliant. He loves historical recipes, he loves preparing in the old style. But to make it edible, to make it something which can then be eaten in a venue. And he spent ages thinking about what we would eat and how we would describe it. And it was beautiful. Rhiannon Hiles: And as the light was going down, I thought, "This is what's going to be like for those folks who were going to be staying just across there, just right near Popley.". So I started thinking about all the ways we could make additional revenue. People will want to pay for this. They'll want to pay to have Connor come in and do them a period dinner while they're staying. There's so many other additional add ons that we can attribute to the overnight stay, should people wish to. I think that the list is endless. You've mentioned the cinemas, cinema nights, there's music, there's dance, different experience of different cuisine as well. I think there's so much that people will get from the overnight stay. Not least that you're going to be inside an exhibit staying overnight, which is really exciting in itself, isn't it? Kelly Molson: It is magic when you think about it. And I think what's nice is the way that you talk about that. There's so much opportunity, but it's the opportunities that people want. You do a lot of work about, we're not just selling things for the sake of it. What does our audience really want? And you ask them and you get their feedback from them, which is absolutely vital. Something that you mentioned as well was the lottery. So you spoke to the National Lottery about funding for what you were doing, which is brilliant, because one of the things that we said we'd talk about today was, I always struggle to pronounce this philanthropic thinking. Rhiannon Hiles: Philanthropic thinking? Kelly Molson: Philanthropic thinking. I had to say that slowly, so I got it out right. So we know what philanthropy is, we talk about it. It's charitable works that help others as a society or as a whole. What does philanthropic thinking mean to you? And how do you use this approach to support the funding of new projects? Because that's vital for you, isn't it? Rhiannon Hiles: It is, absolutely is. It's vital and we can and need and should do much more of it. And it's something which I'm exploring further. We have got a new Chief Operating Officer, we've got a new board, and I've talked to them about this and how this will help the museum to prosper for the future for our people. It'll allow us to invest in some of the what I would see as perhaps enough of us might say as core activity. So our learning program, our health and wellbeing program, our environmental sustainability. But to me, those are the things which make Beamish. They're the things which are about our communities and about our people. Rhiannon Hiles: So if we can have partners who will invest in us to work on those strong elements of what makes Beamish then that will help us substantially because that will enable those programs to grow, to develop, to add value to people's lives. While we can then use our surplus that we make through our secondary spend, through our admissions to put into those things which people don't find as interesting. And I don't like the word when people say, "Oh, it's not sexy.". But people don't find toilets that interesting. But if you don't have good toilets in a visitor attraction, if your entrance is clunky, if the admissions and if you're walking around and everything looks a little bit like it looks a bit tired. Rhiannon Hiles: So I think that all those things which are so fundamental to enhance the visitor operation but need to have that money spent on them, will be able to be spent on because we will have developed those other relationships. And I've seen really good examples just recently that have made me feel that there's a lot of opportunity out there. The Starling Bank has been sponsoring the whole summer of fun activity for National Trust. There's the wonderful philanthropic giving from a foundation to English Heritage to fund their trainees and apprentices. That's amazing. Kelly Molson: That is amazing, isn't it? I've read about this numerous times now and I just think, one, it's a fantastic opportunity for people that are going to be involved, but what an incredibly generous thing to do. So those traditions don't die out? Rhiannon Hiles: No, not at all. And I just feel that when there's more and more competition for less and less grants and foundations, which I get, and I understand that there's no point just sitting around feeling sorry for yourself on your laurels because all that will end up in is blah. And I've been in the museum where the museum sat on its laurels and expected things to happen and expected people to come and it didn't. And it had a downturn and you've got to be proactive. You've got to be the one who goes out there and talks to people and expresses what you can do, that you're a leading light. Rhiannon Hiles: We're seen as a leading light in the north of England and that's because of the work that we do with our communities and the fact that we are a little bit we'll take risks, we're entrepreneurial and we're always thinking about how we can improve the museum, improve the offer and also be there for our people. Because fundamentally that's what we're about. Right at the beginning of this conversation, were talking about unpopular opinions and how when nobody was there, I was like, "Oh, it's quite nice." But then during COVID when nobody was there, it was awful because that's not what the museum is about. The museum is fundamentally there for people. People are what brings it to life. The hug, the buzz. It's about all of that dialogue that happens on a day to day basis and that's so important. Rhiannon Hiles: And I think we already have folks who get really excited by what we offer. The Reese Foundation who are from an engineering firm, which is in Team Valley, already fund our STEM working program, because they get that. They get the work that we do. So that is an element of already successful pocket giving that we've had in the museum and I want to do more of that. We've got opportunity over the next period to really turn that around. And I think when you talk to Funders now, they expect a proportion of that to be happening. The Arts Council are talking to us about how you can be more philanthropic or work with philanthropic partners. And so even before were thinking or aware that they thought like that, we'd already had that in our mind, that's how we would work going forward. Rhiannon Hiles: And I think that it isn't just about taking money, it's about having that relationship with the partner and showing how what they've invested in. And generally it'll be something that means something to them and that's why they've made that decision to do that. So if you can show back to them we've been working with a brilliant social enterprise locally called the Woodshed at Sacrosant, which is about getting young lads and lasses who aren't in mainstream education as they come out of skill, or maybe for them, it's not working. And they have done great work together and we have been doing work with them back in the museum. Rhiannon Hiles: So those 1950s houses that you went into, they've done some of the woodwork inside there and they did the pitch and put golf and then they came along to the opening of the 1950s and two of the lads came up, they were like, "I like, you yelling. ". And I said, "I am. How are you doing?". They said, "I feel like this might be what you would call it, a graduation.". And I was like, "It's my last weekend.". And I thought, "Oh, it's exciting.". For him, it's also sad. But he said he was moving on to get another placement with a joiner. And I was like, "That's brilliant.". Another lad's gone on to do Stonemason up at Raby Castle. So it opens up pathways, it opens up journeys, it has so much benefit. Kelly Molson: Oh, goodness, do you know what? That's so weird because that kind of goes full circle to what were talking about at the beginning, doesn't it? And you had all these different skills and then you brought them together and actually they all fitted really well into the museum sector. You've just done the same with these kids who have now got these skills and they're going to take them back into the heritage space. That's amazing. Rhiannon Hiles: Yeah, it's dead exciting. And sometimes people say to me, you're opening up opportunities, people are coming along and learning, and then they move on. And I'm like, "That's okay, that's absolutely fine.". If they come and learn here, and if there is something for them here, that's brilliant. If there's not, or for whatever reason they choose to go elsewhere, they're taking that skill set and they're still contributing to the economy, to their community, and that is brilliant. So I never look at it as kind of like, "Oh, why is that?". I look at it as like, "That is a real opportunity for them", for the museum and for the economy, for the region as well, for the visitor attraction. Kelly Molson: Ultimately, with that in mind, that you want to get more people on board is a big part of your role actually going out and talking to organisations about what Beamish is? And if they don't know about you already, I'm sure that you are incredibly well known around Durham, but you have to go out and engage with those organisations to kind of see where those connections can be made. Have you got like, a targets list of..Rhiannon Hiles: I want to go and talk to. Kelly Molson: In front of these people and have these conversations, but I guess that's a creative element of what you do, isn't it, is making those connections and kind of looking and seeing how you fit with them? Rhiannon Hiles: Yeah, it absolutely is. And I think there's other elements which are really critical for museums, for charities, for the sector, with regards to how those conversations can better enabled and how businesses can feel more comfortable in then donating or becoming part of. So some friends of mine who are in Denmark, it's very usual for big money making businesses, when they get to a certain threshold, they've got no choice. It's a government responsibility that you then have to choose a charity or a museum or a culture sector organisation that you give money to. So my friend Thomas, who runs a brilliant museum, has had a lot of his developments funded directly through a very big shipping company, who I probably won't be able to say now, but a huge shipping company fund their development, basically. Rhiannon Hiles: And I was like he's like, "Oh, does this happen for you?". And I was, "No."Kelly Molson: We have to go and hunt these people down. Rhiannon Hiles: I was, like, brilliant. Could you imagine? Look, but for me, Bernard's brilliant because he can get in there into cabinet and he's a lobbyer and I think there's some additional work that we as individuals in the sector can do. So I've talked to Andrew at Blackcountry about this and what our responsibility is to help to change policy. And if nothing else, if you're part of that change and if you are able to voice how that will then impact on people's lives, then that is so important and so critical. It just depends on different parties approaches to what that impact on lives means, I suppose. Rhiannon Hiles: But at the moment, with all the parties conferences going on at the moment, we've got the ideal opportunity to go along and listen, but also to have a little pointer in there and say, “Don't forget, and this is how important we are.”Kelly Molson: That's a skill, isn't it, in itself? I can remember a conversation with Gordon Morrison from ASVA. Sorry, formerly from ASVA. He's now ACE, when we talked during the pandemic and he talked a lot about how he'd kind of taken some learnings from Bernard in the sense that Bernard, he's quite strong politically and he's a really good campaigner. And Gordon said that they were skills that he'd had to learn. He wasn't a lobbyer, it wasn't his natural kind of skill set. And I think it's really interesting that you said that, because that might not necessarily be your natural skill set either, but it's something that you've now got to kind of develop to be able to shape policy, because if there's an opportunity, take it. Rhiannon Hiles: That's right. And it's not my skill set. But when you have a strong desire to see something work through change, and you can spot how that change can come about through having the right conversations, it's who you go to for the right conversations that can also be the skill set. So that can be quite tricky. And when were looking for our new board of trustees and when were looking for a new chair, one of the key things were looking for was somebody who would have that kind of skill set. And we have got that in our new chair. He really does know how to do that. So I constantly feel like, "Where's he going to now and who's he going to talk to next and who's he going to get me linked up with?". Rhiannon Hiles: And that's brilliant and he knows how important that is. But we also know that we have to take it at the right gentle time. Yeah. So he can open doors. And I think that's so important. And our trustees, we've got a really strong set of trustees who can open doors for us. And again, that was deliberate in our approach that we took, to have a very diverse and representative board, to also have board members who can open other doors that we wouldn't normally be opening, because we have a strong set of doors. We open regularly and close regularly. But also the pace of it is so important that all of this is really needed. Because we're an independent museum, we got to make sure that we are self sustaining. Rhiannon Hiles: Our main money comes from what we make on the door, but if we want to develop, we've got to make sure that we continue to get brilliant secondary, spend brilliant revenue. But on the other hand, we've got to make sure that we bring our people with us, whether they're the staff, the volunteers, our visitors. We don't want to be garping so fast that they're not behind us when we worry about Crown. So it's very exciting times. Kelly Molson: Isn't it? Lots of exciting changes happening. Well, look, we can't have this podcast without talking about MasterChef either. Rhiannon Hiles: Oh, yeah, that was brilliant. Kelly Molson: So that's an incredible opportunity. So you're recently on MasterChef, where they came to Beamish. What an opportunity. Rhiannon Hiles: Oh, it was amazing. But the thing was, they said, "You cannot talk about it, you cannot say anything.". So, literally, for months, were like, were dying to say that we've been a MasterChef. And they were like, you can't tell anybody. But I don't know how this managed to keep under wraps, because there was literally over 200 staff and volunteers were eating all the stuff that had been prepared. How they managed to keep that under wraps is beyond me, but at the minute seemed to work. Kelly Molson: How long was it from recording to that going out as well? Rhiannon Hiles: It was from February up until just the recent airing. So that's quite a long time to keep it to yourself. Kelly Molson: Well done that team. Rhiannon Hiles: It was really hard. Like I said, "Julie, when are they showing it because I can't keep it in any longer ", because it's Julie, who you met, who was nope. They've said, "It's tight lit, but it was brilliant.". And it's great for us, for the museum. It was great fun taking part, don't get me wrong. And I was in the local court recently and the lady behind the counter kept looking over and she went, "Are you a MasterChef?". Kelly Molson: I wasn't cooking, but yes. Rhiannon Hiles: Yes. So I think my new quest now, I'd like to be a presenter on Master Chef. I don't want to cook, but I'd quite like to be a presenter. Kelly Molson: Yeah, I could do that. I could do the tasting, not the cooking. The cooking under pressure. It's another level of stress, isn't it? I like to take my time, read the instructions. Rhiannon Hiles: Don't need the pressure. It looked lovely, though. They'd used the school, they'd taken out all the benches that are in the school, in the pit village, and it turned into it looked beautiful. They'd use really lovely. I suppose they wouldn't call them props because they brought them in, but they were in keeping with the school. It looks so lovely. I mean, you probably watched it and that scene of all the staff of volunteers coming in to sit down to their meal, the lovely tables, the bunting they put up. It looked right. It was brilliant. Yeah. They had some interesting takes on some local cuisine as well. Peas Pudding ice cream was one strange one, but got peas in it, Kelly. You don't want it. Kelly Molson: Giving that one a swerve in that one. Right. What book have you got that you'd like to share with our listeners? Rhiannon Hiles: Oh, well, one of our trustees called Rachel Lennon, has written a really brilliant book called Wedded Wife, which is a great book, and I've just started reading it's about the history of marriage, and it's really interesting, so I would certainly advocate that one. I have a favourite book, which I go back to quite regularly, which is a childhood book and perhaps nobody ever would read it, but I love it and it kind of sums up for me what I was like as a child and what I continue to be like as I've gone through my career. It's called Wish For A Pony, and I really wanted a pony when I was between the ages of six and seven, and then I wished my wish came true. And from then on in, I believed that anything I wished for would happen. Rhiannon Hiles: And I still have that kind of strange, I often think I'm just going to wish that to happen, but I think it's not just that, it's holistic. I think if you really want something and you set everything towards it, yes, of course some people might say, but then you potentially set yourself up for great disappointment and failure. But I kind of think that you can't do something without taking that risk. So I just tend to think if you want it and you wish for it that much and that's what you're really aiming for, just go for it and do it. And perhaps the environment in which I've been brought up has enabled me to do that. And I completely understand that for some people that is probably difficult and challenging. I do get that. Rhiannon Hiles: So I feel that if I can help others who maybe haven't got that kind of environment to help them like those lads and lasses from the Woodshed at Sacrosanct and folks like that if we can provide spaces where they really want to try something but they're not sure how to do it then I think then we've achieved something. Kelly Molson: Yeah, that's lovely. Do you know what? So I'm reading the book at the minute I've read the book Manifest, and it is about visualisation and the power of our thoughts and how we talk to ourselves and the things that we kind of want to bring into our lives. And there was a little bit of it that I was kind of going, "Is it the power of the universe?". It felt a little bit way woo to me, but then I kind of reflected on it a bit and went, but this is about taking action, really. It's about going, "I want this to happen in my life.". And it's not about sitting back and hoping that it might happen just because you've put a picture of it on your wall. It's actually about going out and doing the bloody hard work to make it happen. Kelly Molson: So have those conversations with the right people who are the people that can open the doors for you. Go and meet them, ask out to them. And I think that's a really important element of the whole. Yes, you can wish for something to happen, absolutely. But you've got to put the legwork in to make it happen. What a great book. All right, Wish for a Pony. Rhiannon Hiles: Wish for a Pony. Kelly Molson: Listeners, as ever. If you want to win a copy of Rhiannon's book, if you go over to this podcast announcement on Twitter and you retweet it with the words, I want Rhiannon's book, then you'll be in with a chance of winning it. I'm maybe not going to show it to my daughter because I'm actually terrified of horses. Rhiannon Hiles: You don't want a horse to appear in your garden. Kelly Molson: Her cousins have got a pony. She can do it with them and not at home here. Rhiannon, it's been so lovely to have you on. Thank you. I feel like this is one of those chats that could go on and on for hours. So I want you to come back when the accommodation is open. Yeah, because I want to know all about that. I'm going to visit that cinema. But, yeah, I'd love you to come back on and tell us how it's gone once you've had your kind of first guest and stuff. I think that'd be a really great chat. Rhiannon Hiles: I'd love that. All right. Kelly Molson: All right. Wonderful. Thank you. Rhiannon Hiles: Super. Thank you, Kelly. Thank you. Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.

Jacob Thomas & Stewart Reeve interviews with James McKenzie.  Jacob Thomas designs and makes wings with the Rainbow Community Angels and joins us to celebrate Non-Binary People's Day and support our Drag Community.  Home - rainbow community angels   Singer, actor, comedian Stewart Reeve chats about his show Chameleon at Gasworks, July 27 to 29, and his amazing range of vocal interpretations.  Interview starts 28:30.  Chameleon | Gasworks Arts Park  3CR broadcasts from the stolen lands of the Kulin Nation.

In this gripping true crime podcast, join us as we delve into the extraordinary life of David Vella, a former mob hitman whose journey from a troubled teenager to a high-ranking enforcer for the Colombian Cartel is nothing short of astonishing. At just 14 years old, David Vella found himself sentenced to an adult prison, a harsh reality that would shape his future in unimaginable ways. But it was during his time as a bouncer at the notorious Toronto nightclub, the Gasworks, at the age of 17, where his life took a fateful turn. It was there that he crossed paths with Eddie Melo, a mafia enforcer and professional boxer, sparking a deep friendship that would soon lead them down a treacherous path. Bonding over their shared love for boxing, David and Eddie became inseparable, honing their skills together and unknowingly preparing for a life of violence and crime. By the time David turned 20, he was approached by a member of the mafia who offered him the opportunity to run the illicit after-hours club, La Tube. It was here that David's descent into the criminal underworld truly began. As the owner's bodyguard and enforcer, David became embroiled in a world of drug trafficking, illegal activities, and violence. The lines between right and wrong blurred as he found himself involved in a series of shocking events, including a devastating apartment building bombing and a million-dollar extortion case that ultimately led to his arrest. Serving a three-year prison sentence, David's time behind bars only fueled his appetite for power and control. Upon his release, he fully embraced the dark side, becoming a trusted associate of the ruthless Colombian Cartel. This podcast uncovers the chilling details of David Vella's involvement with one of the world's most dangerous criminal organizations. Through interviews with law enforcement officials, former associates, and David Vella himself, we explore the complex motivations and psychological factors that led him down this treacherous path. Each episode unveils shocking revelations, untold stories, and the relentless pursuit of justice that eventually brought David Vella's criminal empire crashing down. Prepare to be captivated by the harrowing tale of David Vella's transformation from a teenage prisoner to a feared mob hitman, as we uncover the dark underbelly of organized crime and the consequences it had on his life and those around him.

Vi gästas av Ingela Ihrman som är konstnär med en Masterexamen från konstfack. Hon har sin bas i Malmö och ställer ut internationellt. Hennes konst tar in existensen, det kämpande levande, köttliknande, det nära och kontaktsökande, växande. Och allt i ett allvar som drar mot det absurda, komiska. Det tar form som handgjorda skulpturer, dräkter, performances och skrivande. Kanske en påminnelse om det levande som fortgår, eller att vara levande i det levande. I samtalet hör vi hennes berätta om utställningarna Nocturne på Gasworks i London och Miss Brunnsviken på Carl Elds ateljémuseum och mycket mer. 

Dunedin Gasworks Museum - Ann Barsby offers some history and an invitation to visit Dunedin Gasworks Museum. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

David Revés é um curador, escritor e investigador português baseado entre Lisboa e Estocolmo. É licenciado em Ciências da Comunicação -Contemporary Cultures and New Technologies (Universidade NOVA) e Mestre em Estudos Artísticos (Universidade do Porto). Como curador, desenvolveu vários projectos, tais como "Ablutions", exposição colectiva na Casa de História Judaica, Elvas; "gravitas", exposição colectiva na Fundação Leal Rios; Isabel Cordovil x GAS, "The Sunlight Will Break The Party", Rua das Gaivotas 6, Lisboa; Carlos Nogueira, "wind shadows". entre águas", Arpad Szenes - Fundação Vieira da Silva, Lisboa; "um corpo, um rio", exposição colectiva na Galeria Liminare, Lisboa; Rodrigo Gomes, "Espelhos Sussurrantes", Carpintarias de São Lázaro, Lisboa; "A Hunted Time", exposição colectiva na Casa do Capitão, Lisboa; entre outros. Foi curador chefe e programador na Galeria Painel, Porto (2016-2018), co-curador da Fundação DIDAC, Santiago de Compostela, ES (2019), e parte da equipa curatorial do CINENOVA - Festival Interuniversitário de Cinema (2020-2021). David também colaborou com alguns locais-chave portugueses, tais como o Museu Nacional Soares dos Reis e o Museu de Arte Contemporânea de Serralves. Desenvolve regularmente uma actividade crítica e ensaística com a qual colabora para revistas especializadas, livros de artistas, edições académicas, palestras, e seminários. Como editor, está agora a trabalhar num livro chamado "Profanações" e como crítico/educador está a preparar um programa de residência internacional no Algarve [região sul de Portugal], proporcionando um encontro para artistas e outros autores sob o tema da natureza, cultura e o Planetário. João Conceição (Lisboa, 1991) vive e trabalha em Londres. É curador no De La Warr Pavilion, Bexhill-on-sea [UK]. Anteriormente foi Assistente de Programação na Gasworks, e trabalhou na Chisenhale Gallery, ambas em Londres. É formado em Cultura, Crítica e Curadoria pela Central Saint Martins, e tem um mestrado em Teoria de Arte Contemporânea pela Goldsmiths University of London, ambas em Londres. Entre vários projetos e exposições que curou estão: “Queering Landscapes” e “Where we see João Pedro Rodrigues” em parceira com Queer Lisboa no Deptford Cinema (Londres, 2019), “In a State of Alterity” na Galeria Painel (Porto, 2017) e “As in, us viewing the objects. the objects viewing each other. and then the objects” na Chalton Gallery (Londres, 2016).Links:https://www.artcuratorgrid.com/users/david-reves/postshttps://www.dlwp.com/https://www.magazine.artconnect.com/curators/david-reveshttps://www.artrabbit.com/people/joaoconceicao/curatorEpisódio gravado a 04.11.2022 http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral Financiamento:República Portuguesa - Cultura / DGArtes Apoio:Câmara Municipal de Lisboa

In the first of a 2 part podcast, Professor Ana Laura López de la Torre discusses the history and democratic structures of the Universidad de la República, Uruguay with Sophie Hope. Ana Laura López de la Torre is a Professor in the Facultad de Artes, Universidad de la República, Montevideo, Uruguay and for 2022-23 is an Honorary Research Fellow with the School of Arts, Birkbeck. She has an established participatory arts and research practice established between 2000 and 2012 when she lived and worked in London, with major commissions from the ICA, Whitechapel Gallery, Gasworks, Tate Modern and South London Gallery, La Casa Encendida (Spain), de kunstbank (Belgium) and Demokratische Kunstwochen (Switzerland). She also worked as Associate Lecturer at the University of the Arts, London. Since moving back to Uruguay in 2012 she has been the Director of the Centro Cultural Florencio Sánchez, a public cultural centre in Cerro, a historical neighbourhood in the periphery of Montevideo. She continued to develop her participatory arts practice in the region, developing projects related to community-based organisation, cultural democracy and environmental struggles in Uruguay, Argentina, Chile and Brazil. From 2012 to 2015 she was the Coordinator of the first Uruguayan postgraduate course in Cultural Management, at the Espacio Interdisciplinario of the Universidad de la República, where she still teaches and is part of its Academic Advisory Board. In her current post at the Universidad de la República, she leads a department specialised in community-based art, and within this department she is Coordinator of two interdisciplinary research groups: Naturaleza, Sociedad y Arte (exploring human / more-than-human relationship in urban communities) and ACTO (Art, Organised Communities and Territories). The Universidad de la República is the public university of Uruguay. Founded in 1849, it enrols over 150 thousand students annually. It offers free tuition at undergraduate and postgraduate level in all disciplines and fields of knowledge. With its main infrastructure in Montevideo, over the last 30 years the university has embarked in a decentralisation process, creating 10 university campuses in different cities. Although fully funded by the state, the autonomy of the university's governance was enshrined in a national law in 1958 following 20 years of organised action by students. The governing bodies of all the Faculties and Institutes (and its central authorities) are democratically elected, with representation of teachers, students and graduate bodies, all academic, political and managerial decisions are taken by these bodies. Voting is compulsory and takes place every 4 years. The term ‘university democracy' encompasses this form of self-governance, which over the decades has produced the ethical guides that rule academic life.

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/hsquared or use the code 'hsquared' to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!As we give up food and water for this past month, we have also tried to give up other habits we may have but if we fail to give them up, are we addicted to them? Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Kenneth Moraleda is an actor/director/writer/producer of Filipino descent. He started training at Australian Theatre for Young People before being accepted into the National Institute of Dramatic Art graduating with a Bachelor of Acting in 1995.As a performer his recent theatre credits include An Enemy of The People with Belvoir Street, and Kasama Kita for 25a, the Global Creatures national tour of Muriel's Wedding The Musical, Talk at the Sydney Theatre Company and Australian Graffiti– a debut play from Disapol Savetsila playing Boi.Other theatre credits include playing Banzai in Disney's The Lion King Musical under the direction of Julie Taymor, the National Theatre Of Great Britain and Global Creatures' production of War Horse, playing Kulygin in Sport for Jove's critically acclaimed Three Sisters by Anton Chekhov, creating the role of Roger Chan in Nick Enright's A Man With Five Children, Hilary Bell's The White Divers of Broome, David Williamson's Cruise Control, the satirical comedy Australia Day by Jonathan Biggins and Yellow Moon-The Ballad of Leila and Lee directed by Susanna Dowling. His Philippine stage debut was with Repertory Philippines in the Pulitzer Prize Winning Play August: Osage County.His directing debut was an immersive theatrical and cinematic music show They Say She's Different written and starring Cecilia Low. After a showing at Ding Dong Lounge in Melbourne, it was picked up by the Adelaide Cabaret Festival and was a highlight of the Melbourne Fringe Festival 2015 for a season at Gasworks receiving rave reviews.He was a leading artist in This Here Land. – an experimental performance part of Liveworks Experimental Arts Festival in October 2017 for Performance Space. He has several writing projects in development including One Hour No Oil co-written with Jordan Shea.Numerous television credits include Schapelle, East West 101, Maximum Choppage, Bondi Banquet, City Life, Water Rats, Wildside, White Collar Blue, City Homicide, Janet King and Bureau of Magical Things.Notable film roles include The Great Raid, Locusts and Arun in the iconic Australia comedy Lucky Miles which has won him the Best Actor Award at the Cinemanila International Film Festival. He was also in Dead Europe and lead the short films, Perfection by Jane Eakin and The Fence by Lucy Gaffy, Banana Boy by Steven Woodburn and Legacy by Josh Mawer.In December 2020, Kenneth co-founded the theatre company KWENTO alongside Jordan Shea and Jana Vass. The company seeks to create new Australian works, that challenge the norms of Australian society.In April they will premiere a new work titled ATE LOVIA by Jordan Shea which will be directed by Kenneth Moreleda.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodGrab your EXCLUSIVE NordVPN Deal by going to https://nordvpn.com/hsquared or use the code 'hsquared' to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!Dave said it well. "Crimes on the rise, hates on the rise, feel like everythin' but my mum's pay's on the rise". But what he didn't mention is gas, electricity, council tax, rent, petrol, VAT and many other things are on a rise too. So we ask, does it make sense to live in the UK anymore? Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpod Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/hsquared or use the code hsquared to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee!Whether they admit it or not, millions of men are controlled and HEAVILY influenced by their women *cough* Will Smith *cough*. Hussein & Haider sit down to talk about their experiences with this and discuss the reasons why it happens. Let us know your input down below by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

"When I look at the law and also museum policy, it's just so close to conceptual art making. You have a lot of material and you're just trying to define how it lives in the world, except with the law, everybody agrees. With conceptual art, you have to convince people to believe in it." Gala Porras-Kim is an interdisciplinary artist whose work is both conceptually rigorous and visually compelling. Born in Bogotá and based in Los Angeles, Porras-Kim creates art that explores the relationship between historical objects and the institutions that collect and display them. From writing letters questioning how museums handle artifacts to creating sculptures that honor the spiritual lives of antiquities, Porras-Kim's practice is part concept, part material manifestation. The artist's current exhibition, Precipitation for an Arid Landscape, focuses on the Peabody Museum's collection of thousands of artifacts originally found in a giant sinkhole: the Sacred Cenote at Chichén Itzá on Mexico's Yucatán Peninsula. The exhibition is one in a series of solo shows at the Amant Foundation in Brooklyn, Gasworks in London, and the Contemporary Art Museum in St. Louis. The work is based partly on research Porras-Kim carried out while she was a fellow at the Radcliffe Institute for Advanced Studies at Harvard and an artist in residence at the Getty Research Institute. In this episode, Porras-Kim muses about rummaging through museum archives, the rights of mummies, and potlucks in the Pink Palace. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-gala-porras-kim-makes-art-of-interrogation/ or http://www.getty.edu/podcasts To learn more about Porras-Kim, visit https://blogs.getty.edu/iris/meet-the-getty-research-institutes-newest-artist-in-residence/ To learn more about Precipitation for an Arid Landscape, visit https://www.amant.org/exhibitions/4-gala-porras-kim-precipitation-for-an-arid-landscape

Bradley Storer & April Holcombe interviews with James McKenzie.  Bradley Storer discusses his upcoming Melbourne performances at Red Light Confidential, Sense and Sensibility at Gasworks and his cabaret show Dark Prince.  We feature Bradley's version of Nick Cave's Little Water.  Bradley Storer - Cabaret Performer | Facebook  April Holcombe from Community Action For Rainbow Rights discusses the Oxford Street protest in Sydney last Saturday and reflects on Mardi Gras.  Community Action for Rainbow Rights | Facebook  We replay our recent interviews with trans music producer Thea Riley and political activist Neil Pharaoh about where Labor landed on the Religious Discrimination Bill.  3CR broadcasts from the stolen lands of the Kulin Nation.  Sovereignty was never ceded.

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodWe've all had our fair share of friends over the years. Some we naturally drifted from, some we intentionally cut out. Hussein and Haider sit down to discuss some of the worst traits in friends that they've come across whilst reading your ones too! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpod*Apologies for the audio quality, there was an error when filming and this is the best that we could do. We hope you can still enjoy the podcast* One of the hardest lists we've ever have to do. Our TOP 10 ARTISTS OF ALL TIME. Do you agree with some of the picks? What would you change? Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodIt's what everyone is talking about at the moment. THAT clip of Molly-Mae saying that we all "share the same 24 hours". Is she right? Do you agree with her statements? Hussein and Haider give their opinion on Molly-Mae and her statement. Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodPersonality tests.....accurate and calculated explanation of how you think as a person or just some more basic assumptions with no backing? Hussein and Haider take one each and share their results! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodWith Hussein and Haider both just coming back from holidays, we sit down to discuss how our recent trips went as well as talk about our worst holiday experiences, some of the best places we've been and tell any noteworthy story times along the way! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

It's crazy to think that two years ago we sat down, switched on our ancient camcorder, set up our standing mics and had a conversation to whoever was watching. The family is growing and we're so blessed to be where we are now all due to you! We love you from the bottom of our hearts and hope you continue to support and show love as always! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

The mystery of the "Alpha Male". For so long, millions of men have been implementing certain traits in their lives to become the desired "alpha male" but we ask what makes one an "alpha male"? Do all men aspire to be one? Do they actually exist? + a lot more! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

In episode 75 of The Great Women Artists Podcast, Katy Hessel interviews one of the most exciting young painters working today, Kudzanai-Violet Hwami !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] Born in Zimbabwe and raised between there, South Africa, and the UK, Hwami is fast becoming one of the leading artists of her generation. Having received her BA from Wimbledon College of Arts, where she was shortlisted for the Bloomberg New Contemporaries, among many other prizes; this year, Hwami completed an MFA at the Ruskin School of Art at Oxford University. In 2019, she represented her country of birth at the 58th Venice Biennale alongside three artists, and in the same year had her first institutional solo show at Gasworks in London called (15,952km) via Trans – Sahara Highway N1. Rich in colour, subject, and scale, Hwami's exuberant and vivid paintings of self-portraits and her extended family draw on the artist's autobiographical history. Sourced from images ranging from the internet to family photo albums, they explore representations of the black body, along with notions of sexuality, gender and spirituality. Experimenting with photography and digitally collaged images, and often incorporating other media such as silkscreen, pastel or charcoal, Hwami's bold painting's offer an insight into a deeply personal world, whilst also appearing universal and familiar; the artist has said, ‘with the collapsing of geography and time and space, no longer am I confined in a singular society but simultaneously I am experiencing Zimbabwe and South Africa and the UK, in my mind. I'm in the UK, but I carry those places with me everywhere I go.' But the reason why we are speaking with Kudzanai-Violet today is because she is currently the subject of and featured in two of my favourite exhibitions up in London right now: the Hayward Gallery's painting show “Mixing it Up” and her solo exhibition, “when you need letters for your skin” at Victoria Miro Gallery, a show i found utterly spellbinding with its poignant, personal and raw paintings -- painting she describes as “visual letters”. https://www.victoria-miro.com/artists/240-kudzanai-violet-hwami/ https://www.gasworks.org.uk/exhibitions/kudzanai-violet-hwami-2019-09-19/ https://www.instagram.com/mwana.wevhu/?hl=en LISTEN NOW + ENJOY!!! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Research assistant: Viva Ruggi Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodYou lot loved hearing some of the craziest icks for men so we decided to invite on The Diary Room and discuss some even more outrageous icks but this time, for women. Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, COMMENT, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Get 20% OFF @manscaped + Free Shipping with promo code HSQUARED at MANSCAPED.com! #ad #manscapedpodTrims, facial care, massages and other forms of self care is important to both men and women, but there is always a question over how much is "acceptable" for men before it starts looking less "alpha" and how frequently should you get things done? Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

There are certain rules that exist for all social media users that are unwritten but everyone just seems to know. We also talk about Nusret's new London restaurant and the petrol pandemic. Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Michaela Crimmin is an independent curator and co-director of the not-for profit agency, Culture+Conflict. For over 15 years she taught on the Royal College of Art's curating contemporary art MA.Hrair Sarkissian is a photographer who was brought up in Damascus and who now lives and works in London. His practice explores his own personal memories and histories and the relationship between visibility and invisibility.  In this podcast, our guests discuss Sarkissian's formative years working in his father's studio in Damascus, the notion of home and identity and the aesthetic and political capacities of photography, especially in relation to trauma and personal and social histories.This is the second in a new series of talks for the Roberts Institute of Art podcasts, where artists, cultural practitioners and other thinkers are invited to discuss a theme connected to our programmes and contemporary culture. MORE INFOWe recommend you take a look at Sarkissian's website where you can look closely at the photographic series discussed: ‘Home Sick', ‘Unexposed', ‘Sarkissian's Photo Centre & my father & I', and ‘Last Scene', for example.Michaela Crimmin works as an independent curator and is co-director of Culture+Conflict, a not-for-profit agency profiling and supporting artists whose work relates to international conflict. For over 15 years she taught on the Royal College of Art's curating contemporary art MA, and most recently led a major EU-funded research programme that included a residency with Delfina Foundation by Noor Abuarafeh, an artist from Palestine; a forthcoming film commission that opens at Gasworks in October this year by Adam Khalil & Bayley Sweitzer; and a symposium with The Showroom and Tate co-programmed with Elvira Dyangani Ose asking to what extent can art affect change when addressing issues of migration, displacement, and access.Previously she was Head of Arts at the Royal Society of Arts (RSA), a role that included initiating and directing the RSA Arts & Ecology Centre; and coordinating the first works of art on the Fourth Plinth, Trafalgar Square. Hrair Sarkissian is a photographer. Born and raised in Damascus, he earned his foundational training at his father's photographic studio, where he spent all his childhood vacations and where he worked full-time for twelve years after high school. In 2010 he completed a BFA in Photography at the Gerrit Rietveld Academie, Amsterdam. He lives and works in London since 2011. He will be showing in the British Art Show 9 (2021) and his first mid-career survey, Hrair Sarkissian: The Other Side of Silence, curated by Dr Omar Kholief, will be shown at the Sharjah Art Foundation, Bonniers Konsthall, Stockholm and the Bonnefanten, Maastricht (2021-2022).Have questions, comments or want to see more of what the Roberts Institute of Art does? Reach us via therobertsinstituteofart.com, @therobertsinstituteofart and subscribe to our newsletter!

"The Ick". It's different for everyone and some are more petty than others but yet everyone still has one. Hussein and Haider sit down and go through a complete list of what gives men the ick. Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Whether you know him from "shuuuuuuuuuush" or "100%, 100%", Max Khadar is on everyones 'for you page' and at just 17 years old, he's gained over 500k followers on TikTok. Hussein & Haider sit down with him to found out the secrets behind his growth, how he started and much more! Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Shengxin hasn't really believed in God for his whole life but around 6 months ago, everything changed. He started a TikTok account and shared his story and has now amassed over 600k followers on the platform! Do you believe in God? Let us know your input by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

Do you believe that there is someone destined out there for everyone and that you'll be fully compatible no matter what? Hussein and Haider are joined by their close friend Jad to discuss whether they believe soul mates exist! Let us know your input down by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

DJ Dangerish Pt. 1 on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/18/21 About DJ Dangerish - DJ Dangerish (Eric McNees) is a DJ, producer, audio engineer, music video/film producer, and just an all around great looking Seattle based friend. He started his music career playing guitar and writing songs in pop punk and emo bands from Spokane in the 2000s, with a first love in electronic music a'la big beats of The Crystal Method, The Chemical Brothers and Fat Boy Slim. In 2019 Eric began working directly with local Seattle Hip Hop artists such as Seven Da Pantha, collaborating, and remixing music of the Seattle scene. He brings Hip Hop to EDM, mixing up Tech House, Trance, PsyTrance, Big Beat with Hip Hop, Trap, and especially some of that Old School Boom Bap. Stay fresh! About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com  

DJ Dangerish Pt. 2 on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/18/21 About DJ Dangerish - DJ Dangerish (Eric McNees) is a DJ, producer, audio engineer, music video/film producer, and just an all around great looking Seattle based friend. He started his music career playing guitar and writing songs in pop punk and emo bands from Spokane in the 2000s, with a first love in electronic music a'la big beats of The Crystal Method, The Chemical Brothers and Fat Boy Slim. In 2019 Eric began working directly with local Seattle Hip Hop artists such as Seven Da Pantha, collaborating, and remixing music of the Seattle scene. He brings Hip Hop to EDM, mixing up Tech House, Trance, PsyTrance, Big Beat with Hip Hop, Trap, and especially some of that Old School Boom Bap. Stay fresh! About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com  

England lost....again and as i'm sure we all (unfortunately) predicted, black players were the target of a lot of racist abuse on social media which surely means it's time to verify your I.D before opening any sort of social media account, right? Let us know your input down by joining the discussion online with the hashtag #HSquaredPodcast​​. We hope you enjoy, as always. Please don't forget to LIKE, SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time!

DJ Dangerish Pt. 1 on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/11/21 About DJ Dangerish - DJ Dangerish (Eric McNees) is a DJ, producer, audio engineer, music video/film producer, and just an all around great looking Seattle based friend. He started his music career playing guitar and writing songs in pop punk and emo bands from Spokane in the 2000s, with a first love in electronic music a'la big beats of The Crystal Method, The Chemical Brothers and Fat Boy Slim. In 2019 Eric began working directly with local Seattle Hip Hop artists such as Seven Da Pantha, collaborating, and remixing music of the Seattle scene. He brings Hip Hop to EDM, mixing up Tech House, Trance, PsyTrance, Big Beat with Hip Hop, Trap, and especially some of that Old School Boom Bap. Stay fresh! About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com v

DJ Dangerish Pt. 2 on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/11/21 About DJ Dangerish - DJ Dangerish (Eric McNees) is a DJ, producer, audio engineer, music video/film producer, and just an all around great looking Seattle based friend. He started his music career playing guitar and writing songs in pop punk and emo bands from Spokane in the 2000s, with a first love in electronic music a'la big beats of The Crystal Method, The Chemical Brothers and Fat Boy Slim. In 2019 Eric began working directly with local Seattle Hip Hop artists such as Seven Da Pantha, collaborating, and remixing music of the Seattle scene. He brings Hip Hop to EDM, mixing up Tech House, Trance, PsyTrance, Big Beat with Hip Hop, Trap, and especially some of that Old School Boom Bap. Stay fresh! About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com v

DJ Dangerish on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/04/21 About DJ Dangerish - DJ Dangerish (Eric McNees) is a DJ, producer, audio engineer, music video/film producer, and just an all around great looking Seattle based friend. He started his music career playing guitar and writing songs in pop punk and emo bands from Spokane in the 2000s, with a first love in electronic music a'la big beats of The Crystal Method, The Chemical Brothers and Fat Boy Slim. In 2019 Eric began working directly with local Seattle Hip Hop artists such as Seven Da Pantha, collaborating, and remixing music of the Seattle scene. He brings Hip Hop to EDM, mixing up Tech House, Trance, PsyTrance, Big Beat with Hip Hop, Trap, and especially some of that Old School Boom Bap. Stay fresh! About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com  

machine_logic on The DJ Sessions presents "Silent Concert Sunday's" at Gasworks Park 7/04/21 About machine_logic - machine_logic, a curator of deep, hypnotic, progressive dance grooves with a delicate, ethereal chemistry. Always digging deep, his emotive selections tell his story.  He cut his teeth in 1999 at KGRG-Auburn as both music director and host of their industrial radio program, Propaganda Department. From there came a spattering of one-off gigs and club nights, wandering through a variety of styles, before amassing a collection of the emotive and uplifting side of techno, house and breaks. While the music he plays is happy and soulful, he's never afraid to reference his dark roots and heat up the dance floor. He's played throughout the Pacific Northwest, with jumps down the West Coast. He loves playing nightclubs, rooftops, outdoors, and festivals.    About "The DJ Sessions" - “The DJ Sessions" is a online/downloadable series featuring the hottest electronic music DJ's with live mixes and interviews, streamed live to a global audience. Check out the website: www.thedjsessions.com   With over 2,000 episodes produced over the last eleven years “The DJ Sessions”, a Twitch and Mixcloud “Featured Partner”, has featured international artists such as: BT, Simon Patterson, Lindsey Stirling, Mako, Morgan Page, Jes, Cut Chemist, Judge Jules, DubFX, DJs From Mars, Rudosa, Thievery Corporation, Sander Van Dorn, GAWP, Hollaphonic, Kissy Sell Out, Somna, David Morales, Roxanne, JB & Scooba, Massimo Vivona, Moulinx, Futuristic Polar Bears, Many Few, Joe Stone, Reboot, Truncate, Scotty Boy, Jody Wisternoff, Benny Bennasi, Dance Loud, Christopher Lawrence, Oliver Twizt, Ricardo Torres, Alex Harrington, 4 Strings, Sunshine Jones, Elite Force, Revolvr, Kenneth Thomas, Paul Oakenfold, George Acosta, Reid Speed, TyDi, Donald Glaude, Jimbo, Ricardo Torres, Hotel Garuda, Bryn Liedl, Rodg, Kems, Mr. Sam, Steve Aoki, Funtcase, Dirtyloud, Marco Bailey, Thousand Fingers, Dirtmonkey, Crystal Method, Beltek, Dyro, Andy Caldwell, Darin Epsilon, Kyau & Albert, Kutski, Vaski, Moguai, Blackliquid, Sunny Lax, Matt Darey, and many more.   In addition to featuring national/international artists “The DJ Sessions” featured hundreds local top DJs from their homebase of Seattle.   We have also undergone a massive upgrade in our TDJS studios and to our TDJS Mobile Studio to full HD streaming and HD audio to make the quality of the shows even better than before. Along with that we have launched a new website that now features our current live streams and past episodes in a much more user friendly mobile/social environment.   About The DJ Sessions Event Services - TDJSES is a WA State Non-profit charitable organization that's main purpose is to provide music, art, fashion, dance, and entertainment to local and regional communities via events and video production programming distributed through broadcast television and the internet for live and archival viewing.   "The DJ Sessions" is a Twitch "Featured Partner" and MixCloud "Featured Partner" series and has been recognized by Apple twice as a "New and Noteworthy" and "Featured Video” podcast. UStream and Livestream have also listed TDJS as a "Featured" stream in their lineups. The TDJS combined live streaming/podcast audience is over 125,000 viewers per week.   For all press inquiries regarding “The DJ Sessions”, or to schedule an interview with Darran Bruce, please contact us at info@thedjsessions.com  

Episode 04 - Tune in and get side tracked with ALBUM as they compare story lines, soundtracks and Tia Carrere's hair style from Wayne's World and Wayne's World 2. Find out who the real villain is and one of Winfield's least favorite songs ever released. Josh almost quits in Segment 2 during “Ancient Warrior” from the album The Eternal Idol by Black Sabbath. Jason gives an ALBUM update on future material and reveals an ALBUM the Podcast Rewind segment. Join ALBUM as they hit up The Gasworks, get some coffee and crullers and PARTY! --- Support this podcast: https://podcasters.spotify.com/pod/show/albumtheband/support