Podcasts about Lilyhammer

Diesmal geht es um Avowed, Splatter, Lilyhammer, Arthouse, Indiana Jones, Bastis Steamdeck, Twitter, den Gamer Musk und das Problem keiner Probleme. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/AlliterationAmArsch Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Billionaire Island is a six-part Norwegian dramedy series on Netflix created by Anne Bjørnstad and Eilif Skodvin, known for Lilyhammer. Set around Norway's lucrative salmon industry, the show follows a corporate feud between two fish farming giants: Marlax and Meyer Fjordbruk. Julie Lange, the ruthless CEO of Marlax, plots a hostile takeover after the sudden death of a shareholder, Ole Richard Lykke. On the podcast, we break down the first two episodes, "Hostile Takeover" and "Desert Salmon", discover some billionaire trivia, and determine how expensive it would be to rent your own band. Welcome to Today's Episode!

On this week's episode of You Are What You Read, we are joined by Steven Van Zandt, with his memoir, Unrequited Infatuations. From his time spent as a member of Bruce Springsteen's E Street Band and Artists Against Apartheid, to his television roles as Silvio Dante in The Sopranos and as Frank Tagliano in Lilyhammer, we discuss Steven's long, successful career in the arts. He is the founder of TeachRock, a nonprofit dedicated to providing a rich arts-driven curriculum to bolster students' understanding of the history and science behind the music. Steven is recognized internationally as one of the world's foremost authorities on both Contemporary and Traditional Rock and Roll, and he was inducted into the Rock and Roll Hall of Fame. His story unfolds in an all-new documentary, DISCIPLE, now streaming on Max.   Thanks to our wonderful sponsors! This episode of You Are What You Read is sponsored by BetterHelp. Visit BetterHelp.com/WHATYOUREAD today to get 10% off your first month. Get it off your chest, with BetterHelp. We'd also like to thank Book of the Month.  Head over to bookofthemonth.com and use Promo Code ADRI to get your first book for just $9.99. Thank you for listening, and thank you for reading. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cocktail Slippers- gitarist Stine Bendiksen er innom for å avgi forklaring på en hel del:Hvordan var det å vralte rundt gravid i en hvit, tettsittende jumpsuit, som et mummitroll, backstage i New York sammen med Iggy Pop & The Stooges, The Fuzztones, The Dictators, Nancy Sinatra, The Raveonettes, The Strokes, New York Dolls etc for 20 år siden?Hvordan havna bandet Cocktail Slippers under vingene til selveste Steven Van Zandt (73), kjent fra Bruce Springsteens E Street Band, Sopranos, Lilyhammer og Little Steven's Underground Garage?Hvordan havna danskfødte Stine i Norge, og hvor har det blitt av den danske aksenten?Hvordan våknet interessen for rock i den spede begynnelse der nede i Danmark?Hvor mye av den nye singelen er skrevet av Little Steven?Og hva er egentlig problemet med Iron Maiden? Kos deg med denne, jeg ble i hvert fall støl i smilemusklene...

Scott and Scott go track by track through Springo's eighteenth studio album, High Hopes (as well as the following American Beauty EP), a collection of older songs, cover songs and outtakes that Da Boss still considers one of his proper records. They learn how the Netflix show Lilyhammer directly led to High Hopes and craft their own ultimate editions of the album. Plus: elementary school square dances, and the eternal question, “What is it?”

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Elke zaterdag- en zondagochtend tussen 6 en 7 uur horen NPO Radio 1-luisteraars de mooiste cultuurtips in Een Uur Cultuur. In deze aflevering ontvangt Eva Koreman zangeres Sue the Night. Haar meest recente album Susanne and the Sad Sunset Disco (https://open.spotify.com/album/10mdFzQe3BCbja2JYjWDug?si=hRVtFdLLRRaKINBVpeArQw&nd=1) is sinds oktober uit. Ze deelt haar cultuurtips met Eva en de luisteraar: Gast: Sue the Night (https://www.suethenight.com/) Boek: Holly van Stephen King (https://www.bruna.nl/boeken/holly-9789022599839) Tentoonstelling: Jan Kulemeier, Neo Romanticus in Singer Laren Museum. (https://www.singerlaren.nl/nl/agenda/1669/winnaar-van-vlissingen-art-foundation-grant/jan-kuhlemeier) Museum: Rock ‘n Pop Museum in Gronau, Duitsland. (https://www.rock-popmuseum.de/home-nl) Openbare kunst: Zee van Staal van Tata Steel in Wijk aan Zee. (https://eenzeevanstaal.nl/) Concert: Belle Eopque van Wildflower. (https://www.dannyvantiggele.nl/) Film (online): The Menu (https://www.imdb.com/title/tt9764362/) Serie (online): Lilyhammer (https://www.imdb.com/title/tt1958961/) Kindercultuur: Slodde & Vos in de Geluidentuin (https://www.melkweg.nl/nl/agenda/meneertjes-slodde-vos-in-de-geluidentuin-27-10-2023/?gclid=EAIaIQobChMIidLf2q6YggMVrJKDBx1BvwQ0EAAYASAAEgL24_D_BwE) Gratis: Ga demonsteren. Heb je cultuurtips die we niet mogen missen? Mail de redactie: eenuurcultuur@vpro.nl

Phil and David were born to run this episode in which they're thrilled to be joined by Maureen and Steven Van Zandt. David expresses how Steven's brilliant work with Southside Johnny & The Asbury Jukes, Bruce Springsteen & The E Street Band & Little Steven & The Disciples of Soul changed his life forever. Phil discusses food and touring the world with Steven and Maureen, as well as the cultural impact of Teachrock.org and Little Steven's Underground Garage, Maureen's life in theater and dance, as well as Steven's acting work in "The Sopranos" and "Lilyhammer." Steven offers an update on his friend and Boss's health, as well as extraordinary insights into the E Street Band as performing artists and the genius of Springsteen as a songwriter. To learn more about Teachrock.org, click here. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com

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.

                    On Skip the Middle, we watch a TV Pilot, skip the middle, and watch the Finale. For the first-ever episode, we discuss The Sopranos! Mark has seen every episode of the HBO classic series. Laura has never seen an episode. Will the story hold up based on the two bookend episodes alone? Will it make any sense at all? Find out along with us as we Skip the Middle! It's a whole new way to binge-watch!   Transcript Available Here! Check out the other shows on the Wright On Network here! Support this and other shows on our Patreon! References from this episode: Is Pine Barrens the best stand-alone episode of The Sopranos? What a cast this show had! Silvio is fine!! He just went to Lilyhammer.  Listen to Talking Sopranos here for actor insight! 

TJ Keenan is a UK producer and screenwriter of TV and Film, whose work has attracted A-List stars and talent. He is the writer/producer of "The Rosy Cross: The Rebels Who Wrote Shakespeare", A Conspiracy drama series being brought to the screen by Lasse Hallberg, executive producer of Netflix series “Lilyhammer". The series explores the controversial Shakespeare authorship debate. The cast includes Stephen Campbell Moore (“The History Boys, “Downton Abbey”), Romario Simpson (“Granite Harbour”), Samuel Barnett (“The History Boys”), co-producer Ed Hughes (“Ripper Street,” “Bolivar”) and Jonny Weldon (“House of the Dragon”). The series is based on research claiming to identify the real and diverse underground writing group of men and women who secretly crafted the plays under the pseudonym of William Shakespeare, led by the great English philosopher Francis Bacon. The show follows a shadowy order of diverse freedom fighters from all walks of life who wage a covert war to protect freedom of speech and civil rights, by using plays to spread knowledge, bury secrets and empower the masses. Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg is an American actor and musician originally from the Boston area in the US. He resides in the London area in the UK. His recent television credits include Will Willis in BBC's "Toast of Tinseltown", Mitch in Amazon Prime's major upcoming series, "The Power" , Martino Marrone in, "Transporter: the series", and Jerry Delucci in the first original series to premiere on Netflix, "Lilyhammer". Lilyhammer is still going strong and is the series attributed to introducing the world to the binging model of releasing full TV seasons all at once. On the big screen Greg is proud to have recently finished filming his supporting lead role of Padre in, "Angels Fallen 2: Warriors Of Peace" as well as his role as Tim Kingsley in, "The King Of Sunflower". Both are set for streaming services in 2023. Follow Greg on Instagram https://www.instagram.com/iamgregcanestrari, on Twitter at https://twitter.com/GregCanestrari Visit his website https://www.greglive.com === Subscribe to watch more Drop the Mic videos Listen to the Full Podcast: https://link.chtbl.com/dropthemic FOLLOW DROP THE MIC PODCASTS ON SOCIAL Daron Jenkins on Twitter https://twitter.com/thedaronjenkins Daron Jenkins on Instagram https://www.instagram.com/thedaronjenkins FOLLOW DROP THE MIC ON SOCIAL Drop the Mic on Facebook https://www.facebook.com/DTMPodcast ABOUT DROP THE MIC PODCAST Daron Jenkins is the creator, executive producer, and host of the Drop the Mic podcast series which invites fascinating personalities for thought-provoking conversations and lots of laughing. ABOUT DJ MEDIA DJ Media is the YouTube home for all things Daron Jenkins and DJ Media Podcasts. DJ Media features conversations and laughs with influencers, personalities, creatives, entrepreneurs, artists, business leaders and friends of pop culture. It also features exclusive content like live Instagram shows, live audio rooms and other funny podcasts like the Download Podcast Show, 13 Questions, and The Download 007 Podcast. DJ MEDIA on YOUTUBE https://www.youtube.com/channel/UCbxIaNjsz1DXdhgraPpuQdQ

This episode originally aired April 12, 2022. “Nobody should ever take a band for granted,” writes the justly-celebrated rocker, songwriter, actor, producer, activist and music impresario Steven Van Zandt in his wild ride of a memoir, Unrequited Infatuations: Odyssey of a Rock and Roll Consigliere (A Cautionary Tale). “Bands are miracles. They're rarely perfect, but if a band has that magical chemistry, it should not be fucked with… Every great band is a matter of individual eccentricities blending in different ways with unpredictable, inconsistent, occasionally glorious results.” Here at the As Told To office, we believe the same could be said for the pairing of subject and collaborator, and at the risk of putting our host and our guests out of business we humbly suggest that there are some artists who are meant to go it alone in the memoir-writing department. Little Steven, the shape-shifting guitarist of Bruce Springsteen's E-Street Band and Southside Johnny and the Asbury Jukes who helped to stamp the Jersey shore sound, is one of those artists. His memoir—published in September 2021 and due out in paperback in September 2022—puts a brilliant exclamation point on a singular career, and he does so in a deeply personal way. “If this book was a song, you'd want to crank up the volume,” writes the noted film critic and screenwriter Jay Cocks. “It's one of the best rock memoirs ever. It's got soul, it's got humor, it's got some tough truths and some wild stories all wrapped up in battle scars and telling memories you'd usually need a backstage pass to catch… It's so much fun you can dance to it.” Indeed you can. We know. We tried. We suggest you do as well, but tune in to this episode first as a kind of palate cleanser and walk around in Little Steven's shoes for a bit, as he talks about what it was like to roll up his sleeves and sit down to write about his coming of age in the music business, his political activism, his unlikely star turn in “The Sopranos,” his leap of faith in producing and starring in “Lilyhammer” (the first-ever show to stream on Netflix), his pioneering work as programming director and rock ‘n roll curator, and an activist streak that has lately led him to launch his Rock and Roll Forever Foundation and TeachRock, which seeks to re-imagine a new K-12 national curriculum that makes room in our schools for an interdisciplinary focus on the arts. Oh, and by the way, check out Stevie's late-career renaissance and the kick-ass new music he's been putting out with Little Steven & the Disciples of Soul, including last year's “Summer of Sorcery” live album and the expanded edition of “Soulfire Live!”—we've been playing those babies on repeat since Stevie agreed to this interview. Chef's recommendation: listen to author read his memoir in the audio edition of the book, available from our sponsor Libro.fm (code: ASTOLDTO). Learn more about Stevie Van Zandt: Website Twitter: @StevieVanZandt  Facebook Instagram: @Stevievanzandt | @littlesteven_ug Please support the sponsors who support our show. Daniel Paisner's upcoming novel Balloon Dog Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Wizard Pins (WRITERSBONE) | 20% discount

A founding member of Bruce Springsteen's E Street Band, Stevie Van Zandt has enjoyed success as a musician, an actor, an activist, a writer, and an entrepreneur. Stevie is a Rock and Roll Hall of Famer and a New York Times bestselling author, was a star on The Sopranos and Lilyhammer, and is the founder of numerous businesses, including Little Steven's Underground Apothecary. Stevie joins Adam to share his unique journey and best lessons learned along the way.

In this week's episode, we review Nexflix's Lilyhammer! (So sit back, relax, and don't blame the pilot! --- Send in a voice message: https://anchor.fm/dbtppodcast/message

This episode originally aired on May 13th, 2021. Steve Cooper talks with musician/writer/producer/actor Little Steven. Little Steven is best known for being a guitarist and Rock & Roll Hall of Fame member for Bruce Springsteen's E Street Band. After creating the “Jersey Shore” sound with the Asbury Jukes he became a founding member of Bruce Springsteen's E Street Band, and went on to become a successful solo artist in his own right recording and performing solo with his band Little Steven and the Disciples of Soul. As a songwriter his songs have been performed by Jackson Browne, Pearl Jam, Margo Price, Damian Marley, Jimmy Cliff, Southside Johnny and The Asbury Jukes, Gary U.S. Bonds, Darlene Love, Nancy Sinatra, Brian Setzer, Black Uhuru, and more. He also-co-produced the seminal Bruce Springsteen and the E Street Band albums The River, and Born in the U.S.A. and has produced albums for Southside Johnny and the Asbury Jukes, Gary U.S. Bonds, Ronnie Spector, Demolition 23, Majek Fashek, Lords of the New Church, Arc Angels, The Chesterfield Kings, The Cocktail Slippers, The Breakers, and more. As an actor he co-starred in all 7 seasons of The Sopranos and starred in, co-wrote, executive produced the award winning series Lilyhammer. Cooper Talk website: CooperTalk --- Support this podcast: https://anchor.fm/supercoolradio/support

On this episode we are Staring at the World again with Little Steven Van Zandt. Steve is an American singer, songwriter, musician, producer, actor, activist and author. He is best known as a member of Bruce Springsteen's E Street Band, but also a successful actor with beloved roles in The Sopranos and Lilyhammer.   Van Zandt has his own solo band called Little Steven and The Disciples of Soul, intermittently active since the 1980s. In 2014, he was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band. This was such an in-depth conversation, that we had to cut it into TWO PARTS! This is part two! A special thank you to our sponsor, BeBOLD Bars! An all natural energy bar brand from the founder of Stacy's Pita Chips! Go to http://www.BeBOLDBars.com for 20% off your first order with code BOLD Visit: http://www.BoDeans.com http://www.littlesteven.com  

On this episode we are Staring at the World with Little Steven Van Zandt. Steve, is an American singer, songwriter, musician, producer, actor, activist and author. He is best known as a member of Bruce Springsteen's E Street Band, but also a successful actor with beloved roles in The Sopranos and Lilyhammer.  Van Zandt has his own solo band called Little Steven and The Disciples of Soul, intermittently active since the 1980s. In 2014, he was inducted into the Rock and Roll Hall of Fame as a member of the E Street Band. This was such an in-depth conversation, that we had to cut it into TWO PARTS! Stay tuned for part TWO, Friday! A special thank you to our sponsor, BeBOLD Bars! An all natural energy bar brand from the founder of Stacy's Pita Chips! Go to http://www.BeBOLDBars.com for 20% off your first order with code BOLD Visit: http://www.BoDeans.com http://www.littlesteven.com  

Welcome to May 20, 2022 on the National Day Calendar. Today we celebrate slowing down to the speed of streaming and life in the fast lane. There was a time when if you wanted to watch a season of an entire TV series, you needed to go buy a DVD boxed set. Then in 2012, Netflix changed that forever with a show called Lilyhammer. It's the story of a New York gangster who is living in Norway and it was the first streaming series in TV history. Nowadays, we are overwhelmed with original content from streaming services, but back then this was highly unusual. Although Lilyhammer was only a modest hit, this show paved the way for things like Bridgerton, The Marvelous Ms. Maisel, and all of the Marvel shows. On National Streaming Day, grab some snacks, curl up on the couch, and get binge-ing! During Prohibition, it became very popular in the Southern states to illegally distill the alcohol known as moonshine. Federal agents would chase down vehicles during transport and destroy the barrels, so bootleggers began to soup up the engines on their cars. With these faster cars, they could outrun the Feds. Once Prohibition ended, those really fast cars were going to waste, so people began to race the vehicles and that evolved into what we know today as NASCAR. Each year on the third Friday of May, we celebrate NASCAR Day. So get comfortable on the couch, crack open a cold one and get ready for the races. I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day. Learn more about your ad choices. Visit megaphone.fm/adchoices

Steven Van Zandt is musician, actor, and activist best known for his decades long collaboration with Bruce Springsteen as a member of the E Street Band. As an actor, he starred in The Sopranos as Silvio Dante and as Frank Tagliano on the Netflix show Lilyhammer. His activism in the 1980s and 1990s included forming the group Artists Against Apartheid and producing the record Sun City.During this podcast, Van Zandt discusses his life and career and his new book "Unrequited Infatuations." He takes listeners back to the origins of the E Street Band and his work with Bruce Springsteen. Van Zandt also talks about why he left the band and then returned. He also reveals how despite a lack of acting experience or training, he was able to so effectively play the role of Silvio Dante in The Sopranos.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

“Nobody should ever take a band for granted,” writes the justly-celebrated rocker, songwriter, actor, producer, activist and music impresario Steven Van Zandt in his wild ride of a memoir, Unrequited Infatuations: Odyssey of a Rock and Roll Consigliere (A Cautionary Tale). “Bands are miracles. They're rarely perfect, but if a band has that magical chemistry, it should not be fucked with… Every great band is a matter of individual eccentricities blending in different ways with unpredictable, inconsistent, occasionally glorious results.” Here at the As Told To office, we believe the same could be said for the pairing of subject and collaborator, and at the risk of putting our host and our guests out of business we humbly suggest that there are some artists who are meant to go it alone in the memoir-writing department. Little Steven, the shape-shifting guitarist of Bruce Springsteen's E-Street Band and Southside Johnny and the Asbury Jukes who helped to stamp the Jersey shore sound, is one of those artists. His memoir—published in September 2021 and due out in paperback in September 2022—puts a brilliant exclamation point on a singular career, and he does so in a deeply personal way. “If this book was a song, you'd want to crank up the volume,” writes the noted film critic and screenwriter Jay Cocks. “It's one of the best rock memoirs ever. It's got soul, it's got humor, it's got some tough truths and some wild stories all wrapped up in battle scars and telling memories you'd usually need a backstage pass to catch… It's so much fun you can dance to it.” Indeed you can. We know. We tried. We suggest you do as well, but tune in to this episode first as a kind of palate cleanser and walk around in Little Steven's shoes for a bit, as he talks about what it was like to roll up his sleeves and sit down to write about his coming of age in the music business, his political activism, his unlikely star turn in “The Sopranos,” his leap of faith in producing and starring in “Lilyhammer” (the first-ever show to stream on Netflix), his pioneering work as programming director and rock ‘n roll curator, and an activist streak that has lately led him to launch his Rock and Roll Forever Foundation and TeachRock, which seeks to re-imagine a new K-12 national curriculum that makes room in our schools for an interdisciplinary focus on the arts. Oh, and by the way, check out Stevie's late-career renaissance and the kick-ass new music he's been putting out with Little Steven & the Disciples of Soul, including last year's “Summer of Sorcery” live album and the expanded edition of “Soulfire Live!”—we've been playing those babies on repeat since Stevie agreed to this interview. Chef's recommendation: listen to author read his memoir in the audio edition of the book, available from our sponsor Libro.fm (code: ASTOLDTO). Learn more about Stevie Van Zandt: Website Twitter: @StevieVanZandt  Facebook Instagram: @Stevievanzandt | @littlesteven_ug Please support the sponsors who support our show. Daniel Paisner's upcoming novel Balloon Dog Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Wizard Pins (WRITERSBONE) | 20% discount

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, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf 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 episode.Competition ends April 29th 2022. The winner will be contacted via Twitter. Show references: https://www.madametussauds.com/london/https://www.linkedin.com/in/neil-dolanSince recording this podcast Neil has since joined Little Lion Entertainment as their Operations Director. Neil Dolan's Bio: My career in Visitor Attractions started at The Edinburgh Dungeon while I was at University in Edinburgh studying Chemistry when I quickly realised I was more passionate about working in attractions than working in a lab.After graduating I stayed with Merlin Entertainments and moved to the London Eye (EDF Energy London Eye at the time) and held a couple of different operational roles before moving into the Head of Operations role at the start of 2018. Working in the Attractions and Hospitality industry had never been a specific plan but our industry is so unique in terms of the amazing people that work within it that it has become my passion area and I moved across to Madame Tussauds London in December 2020 to further grow that experience.I believe that an attraction is only as good as the Guest Experience it delivers and I truly believe that a guest first mentality is what turns a good attraction in a world class attraction. Guests and People have been the focus at Madame Tussauds London in 2021 and the work we have done together as a team over the last 12 months is something I'm truly proud of.Outside of work, I'm kept busy by my 3 year old son Brodie and when I can I try and keep up with my ice hockey and a bit of exercise, albeit the exercise consistency probably needs working on in 2022.  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.In today's episode, I speak with Neil Dolan, Head of Operations at Madame Tussauds, London.We'll talk about Neil's experience of switching the attraction from a predominantly international market to a domestic, how they've heavily invested in the experience and what cocktail making has to do with all of this. If you like what you hear, subscribe on all the usual channels by searching to Skip the Queue.Kelly Molson: Neil, thank you so much for coming on the podcast today. It's really lovely to see you.Neil Dolan: No, it's great. Thanks for inviting me on. I was really looking forward to it.Kelly Molson: Good. Well, you might not say that after we've done the icebreaker questions. Okay. Let's go straight in. If you could be anywhere in the world right now, where would you choose to be?Neil Dolan: I always have to do this comparison in my head that, because I think when I was probably 10, I got to go to Disneyland for the first time and absolutely loved it and became that sort of kid that every year, just almost like "We're going back to Disneyland. We're going back to Disneyland." And it was almost that amazing moment I remember when I was a child. And then me and my partner went again before we had a child and it was still just as amazing. So whenever me and my partner are talking about holiday, we use almost Disney as the par. It doesn't matter if we're going to the most luxurious resort, we always talk about the first time we get to take him to Disneyland.Kelly Molson: Oh, my god.Neil Dolan: Because that magic is just awesome.Kelly Molson: How old are your... You have children?Neil Dolan: Yes, I've got a son who'll be three in April.Kelly Molson: Okay. Right.Neil Dolan: And so I actually spent a good three hours of my night, last night, sleeping on his bedroom floor.Kelly Molson: Oh gosh. I'm so with you on Disney. I think it is just the most magical place. Your child is three now. What age are you like waiting until they're ready to go?Neil Dolan: And this is where we were a little bit selfish, because we were almost like, "How tall will he be when he's six? How tall will he be when he's seven? And does that mean we can go on these rights? I think it does." So we want to have that perfect... Because, when you're there, you see all those amazing play areas that they can play when they're really, really young. But we almost want that magical age where they really associate everything with films. And then when you almost walk through the gates at Magic Kingdom for the first time, they get what that is. And that amazing look on the face is what we're aiming. So we think probably six or seven.Kelly Molson: We have just had this same debate, but I've actually had it with my parents because they're massive Disney fans as well.Neil Dolan: Right.Kelly Molson: And they turned 70 this year. And so Edie is nearly eight months old now. And they're like, "Well, so we are thinking five because then we'll be 75 and we won't be too old that we won't enjoy it still." And I'm like, "Well, okay. I get it. But also that's a bit selfish."Neil Dolan: We've got the same train of thought. Everybody absolutely got themselves at the forefront because it doesn't matter how old you, it's just such a great place.Kelly Molson: No. And I'm five 5'2 and Lee's only about 5'8. So there's no hope that she's going to be a tall grower at so we're "Yeah, I think six is all right." Thank you for sharing that. That's so weird that we've all have the same chat about that. Okay. What did you want to be when you grew up?Neil Dolan: So I actually read through my primary school yearbook about three, four months ago. And I read, we got asked the same question and I've played ice hockey for about 25 years and I was really specific. There's a team called Colorado Avalanche. And I wrote in my yearbook because I wanted to be the left defender for the Colorado Avalanche.Kelly Molson: Wow.Neil Dolan: And I was like, "That's a really specific position and team and everything." So yeah, for years I wanted to be an professional ice hockey player.Kelly Molson: Oh my goodness. But you still play? So you got to a certain point.Neil Dolan: Yeah. I still play. I played when I was at university, played for the Edinburgh team for a year and it was significantly detrimental to my studies. And so I continued to play for fun when I was at university. And then, when I moved to London, there's not as many ice rinks and they're more difficult to get to. And I played a little bit in Streatham, when I lived in old street and I had to get two night buses back from Streatham at half past midnight. And I thought, "Maybe I'll wait until I move somewhere else."Kelly Molson: Yeah.Neil Dolan: So I played with a team in slack which is great. It's just a good bunch of guys having a laugh.Kelly Molson: It is absolutely brilliant to go and watch. Yeah. And quite brutal as well. Quite like that.Neil Dolan: Yeah, they do it and everyone always says, "Were you one of the people that was absolutely brutal?" And in my head I want to say, "Yes." Definitely not, as much as I would love to hold that up, I was not that guy.Kelly Molson: Okay. It's good that you're still doing it, though. I love how niched that was. Okay. What show on Netflix did you binge watch embarrassingly fast?Neil Dolan: Embarrassingly fast? It's probably not so much embarrassing, but the one which is almost like one of those golden nuggets was, there was a show called Lilyhammer that was about six years ago, which was a dark comedy drama about a mob boss who becomes an informant in America then goes to live in Lilyhammer because they hosted the Winter Olympics in the nineties. And it's the actor from The Sopranos, whose name always escapes me. But it's one of those embarrassing things that I can never do it justice. So, whenever I try and explain it to someone, they think, "That sounds terrible. It's an awful show."Kelly Molson: It's not something that I've watched. I haven't heard of it.Neil Dolan: It's so funny. If you're into that kind of dark sarcastic humor, it's honestly brilliant.Kelly Molson: All right.Neil Dolan: Whether or not it's still on Netflix or not.Kelly Molson: I'm going to add that to my list. That wasn't as embarrassing as I was expecting it to be. Mine's Cobra Kai, which is pretty embarrassing. I got a little bit obsessed with Cobra Kai. Okay. What is your unpopular opinion?Neil Dolan: So, this is probably the most difficult one to think of actually, but I think it's probably that I think that the Sunday roast is overrated.Kelly Molson: What?Neil Dolan: I think I would prefer to have an expertly made pizza than a Sunday roast because I think they look better. I think the product looks amazing on Instagram and there are very good Sunday roasts, but the effort to make a Sunday roast, I don't know. I just don't think the hype is.Kelly Molson: I can't agree with you on this. And I love pizza, don't get me wrong. But a Sunday roast is my favourite meal of the whole week. It is a lot of effort, I know what you're saying, to cook it all and it's gone really quickly, isn't it?Neil Dolan: Yeah, it is.Kelly Molson: But, no. Okay. All right, listeners, Tweet me. Let me know what you feel about that. I reckon I might get some stick about that, Neil. Okay. Neil, you began as Head of Operations at Madame Tussauds, in December 2020, which must have been quite an interesting time to start a new job, I can imagine.Neil Dolan: Yeah, it was my first day at Madame Tussauds, it was actually the first day of lockdown three. I basically didn't get to meet anyone. In fact, the first conversations I had with my new team was almost telling them about furlough coming back. So it began this really weird phase where I was in the role for quite a long time, but I just hadn't really met anyone. There was only a very small number of people who were still working. And, fortunately, we had weekly Zoom calls where I got to meet some of the team and get to know people to an extent. But it was nowhere near as good as it is when you actually get to go in and meet people for the first time and get to understand who people are, what makes them tick and actually get to know people.Kelly Molson: Yeah.Neil Dolan: So it was a really, really, really bizarre time. But, in many ways, it was quite exciting because I almost got to look at everything. While you're closed, you ought to look at almost the bare basics, which you don't always get to do when you're caught up in, I guess, the business as usual, the normal trading.Kelly Molson: Yeah. That's quite interesting, isn't it? Because you're looking at it from the perspective, "Okay, well, no one can come anyway." So actually this is almost like a blank canvas, so to speak, to see where the pitfalls are or the challenges are, or what's working well and what isn't working well.Neil Dolan: Yeah. And I'm still so fortunate here because the team I've got are incredible. And what I knew in the very... I mean, we're talking days where I got to speak to some people. I guess the passion that the people who work at Madame Tussauds have for Madame Tussauds I've never seen anything like it. They're so in love with this place. It's very difficult to get people to be passionate about something that they may not be. But that passion was already there. So when I started, I was like, "Well, I don't have to worry about that because they're already so far gone. They just absolutely love what they're doing.Kelly Molson: Yeah. So there wasn't a lot of, you didn't have to be really motivational for them. You didn't have to-Neil Dolan: Absolutely not. No, because they have that. We've got some people who are in my team that have been here for 30 years and they just love their job. And, when you get to sit down and speak to them about what is it that they love, they just like, "Well, I just love this place. I always worked here." That's so nice to hear. You don't always get that in new establishments or I guess different sectors.Kelly Molson: Yeah. Oh, that's really lovely, isn't it? I guess that helped with some of the things that we are going to talk about as well, because you've been through some quite big changes, haven't you? So one of the things that you needed to do was make quite a significant switch in terms of who your audience was, because you've gone from predominantly having an international market to domestic because they're international travel. Where do you even start with that?Neil Dolan: Yeah. So we were a little bit unique, I guess, in comparison to some of the market, because just before one of the lockdowns, there had already been some plans for, I guess, some renovations and some investment. And there was probably a stop/go time where the decision was made. Do we keep investing, given all the challenges that are going to come and cash flow being such a topic amongst our industry in particular? And what was really nice when I came was the view was, "We need to invest in the product, we need to invest in the experience." So we almost went the opposite way. So, rather than going into a shell of, "We need to be really conservative." It was, "We need to invest back in the experience," because London's one of those places that tourism will bounce back because London as a city is just such an amazing place.Neil Dolan: And Madame Tussauds London is such an institution that I think there is good confidence that, once the markets are back, they'll come back when they're back in the city. But to get that domestic side it was almost to think about, "Well, what is that maybe the domestics think? Or what is it domestics are passionate about?" And fine tailor the investment we were going to do to ensure that we were speaking to them.Neil Dolan: So, when we reopened, we launched our new Awards Party and we'd moved Harry and Megan, which the press jumped at because originally they were with the Royals in our Royal area. And then, when they decided to take a different step down from Senior Royals, we moved them into our new Awards Party area to be with the likes of your Leonard DiCaprios and Dwayne Johnsons. And that PR hook that we got was amazing because we were then able to speak to our domestic audience of, "Look what we're doing at Madame Tussauds. Look what you can come and see. Come and see what's on your doorstep."Kelly Molson: Yeah.Neil Dolan: And that was the first thing that we did when we reopened, that we would've probably done anyway. But the message we were trying to get to people is, "This attraction has always been here and now it's probably going to be slightly quieter. So even better, come and enjoy."Kelly Molson: It's funny, isn't it? Because I guess you've had to go through changing the perception of what Madame Tussauds is for the domestic market, because I've been there, years ago, with my parents. I can remember it. I've got my Novelty eraser from there. I've got it. I've got it right next to me, I've got my rubber from Madame Tussauds, it's for my collection. But, in my head, I do see it as a tourist destination. It's somewhere that I would love to take my daughter one day for her to experience it. But it's changing that perception of what it is in people's heads, isn't it? And that's quite a difficult thing to do.Neil Dolan: Yeah. And it's come with some with some challenges. And, going back to the benefit that I had of being able to, I guess, look under the bonnet when I started, was there was probably some things that as a team we focused on quite heavily when we reopened that have probably gone to benefit, I guess, that domestic market to maybe see a different side of us. So, when we reopened, we were very much like, "Experience. Experience. Customer service. Customer service." And what has been really, really nice is that we've probably, I guess, focused quite a lot on what our external reviews are looking like. And we don't have to shy away from the fact that we've probably had a reputation for queues. You know, everyone who used to talk about Madame Tussauds would start with the queues.Neil Dolan: So we are very much focusing on, "Let's get that reputation down about us having queues and being crowded." And what's been really nice because we've done that focus, and ultimately, I guess, simplify it a little bit, make things a lot easier. We've seen our review scores go up, we've seen the theme of our reviews completely change. And that's really good because when domestics are looking at reviews, they're rightly seeing that there are long queues and it's over crowded. And I guess by us taking a step back, looking at, "Okay, why is that the case?", we've actually been in such a better place. And the fact that that's now showing in our reviews is great because you can do all the marketing you want in the world, but if your advocacy's not strong enough, or people go into Google Reviews and have a look at what people are saying and it's all negative, people won't go there.Kelly Molson: Just talk us through a little bit what you did there, because the queue issue is the big issue to address. What did you put in place to make that better?Neil Dolan: So we've always had almost a time ticketing system. It probably improved over 2017 to 2019. But there were some technological challenges we still had, where there were some guests who still had the old school paper voucher who then had to come to the attraction to exchange that, to then get a time ticket, to then almost come back later. So already that guest has had this really mixed experience because it's not their fault. They've already bought their ticket from someone. And then the system has then almost said, "Well, yeah. But you have to come back later and queue again." So that already is completely confusing and it's a bad experience. And potentially, because we are quite an international audience, if that person doesn't speak English particularly well, it's even more frustrating.Kelly Molson: Yeah.Neil Dolan: So, when we reopened, we worked really hard with our partners so that everyone who books, I guess, even through a third party has a ticket that they only have to queue once, that has a time on it with very clear information. So we almost, instead of having, I guess, the bulk of our guests turning up within, I guess, the two to three hours in the middle of the day, when everyone tends to go to attractions, just spreading them out through the day means that there's less queues, there's less people going into the building. It's just a better experience. And it sounds really simple, but the pandemic was horrible for so many reasons. But in some ways for, I guess, the technology side businesses had to adapt and we had to do things better. And that's been a massive change for us.Kelly Molson: Yeah, definitely. We've had this conversation numerous times on the podcast about pre-booking and the benefits of it and why most will want to keep it past the pandemic, as well. So, how does it work with the international audience for you? Would people predominantly buy tickets in advance or were you more a walk-up attraction?Neil Dolan: I guess, again, that's changed or we've seen it change at the moment, since the pandemic. So we used to do quite a lot of tickets from a walk-up perspective and we do a good proportion on online and, because we are quite internationally heavy in some respects, we would do a lot through third parties and through the trade industry, what we've seen at the moment is there's been a massive swing from walk-up tickets to online booking. And it's difficult to draw conclusion from it because it's very domestic heavy at the moment. And we are just so used to doing that, it's almost ingrained. In fact, I pre-booked to go to the swimming pool the other day.Kelly Molson: Oh, yeah. I have to do the same.Neil Dolan: Which we usually just wouldn't do. You just turn up with your arm band, or I turn up with my arm bands anyway.Kelly Molson: Don't we all?Neil Dolan: Yeah, we all. Absolutely. In some ways that's really helpful because it allows you to make sure that you've got the right resource in, it allows you to plan throughout the day properly, you don't always get caught off guard. So, again, it's a massive benefit for us be able to actually manage the experience. Whereas walk-up is great and I don't think it's anything we would ever stop doing, but if you get a massive surge of people who just turn up on the day, you could be caught off guard and that, again, can be detrimental.Kelly Molson: That's an interesting question, isn't it? So, how much of your market did you lose overnight? What did it go from?Neil Dolan: Well, we're probably the majority international and even the minority domestic that we had before, there was a good proportion of that with schools. So you almost turned off the majority of our market and then, of the domestic market, we lost the school bookings because they weren't doing that either. And that's not just for us, that's almost for London, that these people just weren't there. In fact, I walked through Covent Garden two Fridays ago, on a Friday night, and it was dead.Kelly Molson: Wow.Neil Dolan: And you just think that there's, I don't know, 6 million tourists or whatever it is that comes in a short period of time that just aren't in the city. So we knew it was going to be challenging and we knew, in particular, it was going to be challenging in the times when schools weren't off because you're more reliant on, I guess, overnighter couples or families who aren't in school. So people with really young children. So just a really tough position to be in.Kelly Molson: Thinking about what you said about the pre-booking and you are always going to welcome walk-ups as well. I think that's the nature of where you're located and what you do and the market that you have. How did you counter that? For example, if you're going to keep pre-booking and you're still going to keep the time slots where you've got people, and then you get an influx of people that just want to come on that day for those times, how are you going to keep the experience as good as it is now when that market comes back and that shift happens?Neil Dolan: Yeah. So, a big part of it is communicating. A lot of it is communicating to our guests really, really, really clearly. So the benefits of almost a high percentage pre-booked model are you can get in, in the morning, and know where your full slots are. And what we've kind of got into a good position of doing now, when we know we've got capacity challenges and I'm hoping that you want to have capacity challenges in some instance, because it means you're busy, is being quite honest and telling people. So I know certainly when I was in my previous role at the London Eye, when we had a busy day and it was almost sold out, we would put that on the website, or we would maybe put it on Twitter or try and tell people in advance as best we can.Neil Dolan: What we did, and this weekend was a good example of it, where we were really busy, was that we just made the decision that we'll just stay open for a little bit longer and we can add additional availability after we would've closed. So, for anyone who does turn up, we keep the doors open a little bit longer, because we don't want them to go away disappointed. From a business perspective, we want to capitalise when there's people there to buy the ticket. And I would like to think we probably would've done that before, but I think certainly this post-COVID rebuilding time we've been trialing lots of different things and thinking probably a lot more differently than we probably would've. Less rigid, I suppose.Kelly Molson: That was going to be one of my questions. And, just to go back to address that about staying open longer, that's really surprising for me because I wouldn't have expected that level of flexibility from such a large attraction because that's... Okay. You make the decision, "Are we going to stay open an hour later tonight?" That's a lot of people that you've got to get to agree to do that, isn't it? That's really great.Neil Dolan: It is. And, again, going back to my comment about the team here, they generally just love this place and they love it when it's really busy. And I think that's probably anyone who's an operator. As much as they think, "Oh, I'm really tired after that peak period," the off peak period comes and, "Oh, wish it was peaking again."Kelly Molson: Yeah.Neil Dolan: The credit of that needs to go to my team of management, because they've got that relationship with the team that the team also know it's more beneficial because they would rather we were open a little bit longer rather than us trying to put more people through the doors, because that could be the other way of doing it. But then, going back to that whole point of you need to protect the experience to improve the advocacy, to make the business more appealing, we're very honest with our team in terms of what our strategy is. And our strategy is we need to maintain the experience. And it was one of those proud moments actually, when one of the team messages say we're going to stay open later because we're really busy, I was like, "That's awesome." And that's almost them feeling that they're empowered to make that decision. I was just like, "That's great. Do it."Kelly Molson: That is lovely. You've done your job well, that's it. Like you say, you've empowered them to do that and that's the benefit of the visitors as well. That's really fantastic. I was genuinely really surprised by that. You mentioned doing things differently and that was one of the questions that I had for you is some of the benefits of the pandemic for organisations is that we've had to think really quickly and change what we do in and take chances on stuff. Are there things that you've tried that you previously wouldn't have thought about?Neil Dolan: Yeah. So, one of the phrases that I used a couple of times was, "Let's try it because if it's 5% wrong, it's 5% of not a lot."Kelly Molson: Yeah.Neil Dolan: Whereas, if you do it in summer peak period and normal times, that could be quite massive. So we tried different promotions, we tried different pricing strategies, we tried new products. So we did a product where, last year, the last hour of the day tended to be the quietest. So we did a product with a gin company that it'd be almost a discounted ticket. And someone got a free glass of this cocktail that was made. And normally you wouldn't have been able to do it because you'd be so nervous that not too many people buy it, and we won't be able to serve the cocktails enough, who's going to make the cocktail? And in the end we was thought, "We'll just make it work. It'll be fine." So we ended up doing a cocktail making class.Kelly Molson: At Madame Tussauds?Neil Dolan: Yeah, they came in, they taught us-Kelly Molson: That's really cool.Neil Dolan:... How to make a cocktail. And then members of our frontline team, if they were happy to do it, the last hour of the day, it was called Fame & Fizz. And they were on the Fame & Fizz position, were they had to make cocktails for people who bought this ticket.Kelly Molson: Nice.Neil Dolan: And, if I'm honest, we wouldn't have done it before because I think everybody was probably in that mindset like, "Well, it wouldn't work," because operationally it wouldn't work. And no one would be able to tell you why. And I was always guilty for it. If I went back a good few years, I probably would've said the same thing, but we thought, "Let's try it. Let's see what happens." And it was good for what it was. And the guests obviously loved it, because who doesn't like a cocktail?Kelly Molson: Who doesn't have a cocktail? And if you don't, crazy. Like one of those crazy people that like pizza over roast dinners.Neil Dolan: Probably gonna be the same.Kelly Molson: So, it's quite liberating to try new things, isn't it? Like, "Let's just give it a go and see what happens." Do you feel like you can embrace that now with things going back to normal? Do you think that you'll still have the opportunity to try different things?Neil Dolan: Yeah. I think you have to. And I think, again, it's one of those things that we've... I'm going to put enjoyed in a certain way, because for some of the team, they'll be like, "Ah, it's another idea. Oh, no." But, again, it's almost that point of, "What have you got to lose?" And, if it's a success, then amazing. We'll ride that success throughout. And the important thing even with the things that don't work, what we made a really conscious effort of is make sure that we almost document why it doesn't work and keep that somewhere really available. Because the worst thing, if I use the example of some of the team that have been here for 30 years, they probably will have seen the same thing tried over and over again. And it's never fair for those people to provide almost experience of why something hasn't worked and for someone to go, "Yeah. But it's just being amusing." And actually, sometimes it hasn't worked for a very good reason, but sometimes with turnover people don't remember why.Kelly Molson: Yeah.Neil Dolan: And if there's anything certainly from the last year, is that just trying things and seeing what happens and, if it doesn't work, just don't try it again. We'll keep doing that.Kelly Molson: I like that idea of documenting it because you could get into that situation where you just think someone's being a bit of a Debbie Downer, but actually no, you have tried this before.Neil Dolan: We've tried it, yeah.Kelly Molson: Let me get the book out and tell you exactly why this didn't work. I'm intrigued to know what other crazy ideas might be your sleeves. I bet your team is quite intrigued, as well.Neil Dolan: Yeah. When I open my door, they're just about their eyes.Kelly Molson: So what about your marketing? You would've had to have made quite a significant switch in terms of what you were doing with your marketing, because domestic and international audiences, you would market to them in a completely different way. What was that shift? What did you change?Neil Dolan: So, there is some similarities we would still have selling the peak periods. We still had an element of out of home, we would still do your more traditional location advertising. And it's speaking about London here because you don't have all of the internationals in the city, you can't really focus on that location domination in the same way, because you're talking to not that many people. And that kind of marketing is just incredibly expensive. So when we were looking at, "Okay, so we've got an element of which are going to be day trippers." So we need to be speaking to them either through social media, which everybody uses more than anything else in the world now, and to an extent PR. But you also need that reach of working with the right partners, because we want to be speaking to probably people in the Northeast of England, the people in the Southwest of England, people in Scotland, because we want them to come to Madame Tussauds when they're in London and that's half the battle.Neil Dolan: But the other half, which was incredibly difficult for us, wasn't something we could do by ourself was, was getting involved in the Let's Do London campaign, because what came out of the pandemic was this buildup of demand amongst the domestic market who couldn't go abroad, but then the coastal areas did incredibly well. Cornwall I don't think will have ever recovered from the influx of people that it had. But everything you saw on the news was, "The underground's unsafe. There's too many people. It's too busy," when actually it was the complete opposite. London was dead. There was just no one around. So, whereas we would normally never have done it, a lot of what we were trying to say to people was, "We are safe. Here's the measures that we've got in place. We know what we're doing." The good-to-go thing was a great initiative that we could shout out about.Neil Dolan: So, rather than always talking about the product, we had to do an element where we were talking about, I guess, the health and safety side. And a lot of that, again, was done through PR, was, when we did have these launches, trying to caveat a bit of both like, "Come see this amazing figure. We've preserved the experience. It's absolutely safe. We can't wait to see you."Kelly Molson: Yeah, it's interesting, isn't it? The couple of times that I went into London during the pandemic, just thought London was really lovely.Neil Dolan: It was amazing.Kelly Molson: It was so nice. Just walking around, no one was bumping into you. I could get a seat on the tube. It was glorious. I wasn't in anyone's armpit.Neil Dolan: Yeah.Kelly Molson: That should be the marketing campaign.Neil Dolan: That's the marketing campaign. Absolutely.Kelly Molson: "Come now. You won't be in anyone's armpit on a tube." So what next? International travel is resuming.Neil Dolan: Mm-hmm (affirmative).Kelly Molson: You mentioned that you were really busy this weekend, which is fantastic.Neil Dolan: Yeah.Kelly Molson: So what is next for Madame Tussauds? What can we see on the horizon?Neil Dolan: A couple of things, really. So some of it is the learnings that we've taken from having a domestic focus, is not to lose it, because I guess what's been really reassuring is that we've and if it wasn't probably for, I guess, the Omicron variant over Christmas, we'd probably be further down a recovery in London than we are because October, half-term last year was really promising. And we've learned a lot about what it is that domestics like about the product, we've learned a lot about what is hopefully driving domestics here. So the main thing that we're going to do is to keep that focus, because we done to drop it. For us, that investment continues. We're continuing to invest in the product. So we've got a brand new music zone, which will open for Easter, which is going to be incredibly exciting. We had Zendaya launch in February, which has been received incredibly well. We did a documentary. That was the other thing we did last year, Madame Tussauds' documentary where it was talked about the return of the Chamber of Horrors, will come back to Madame Tussauds.Kelly Molson: Wow.Neil Dolan: So, that product focus is going to stay because if it there's one thing that I think we certainly learned from the pandemic is that you can never take your experience for granted, because your market share is not guaranteed and advocacy is not guaranteed. And we've been probably really proud of the fact that we've not been scared away from our plans because what guests are telling us, and it's also great for the team here because they're seeing great amounts of investment and areas of building just just looking amazing. Our new Awards Party is just so, so good.Neil Dolan: That continued investment, that continued focus on PR that continued focus on the experience will do us absolute wonders when internationals come back. And we talk a lot about one of our, I guess, target audiences being families with younger to middle teens who come, just really getting excited about celebrities. We talk a lot about we really want to show how amazing this is because we then want those teens to come back with their families, later on. And that continual evolution, because celebrity landscape changes all the time. That continual change at Madame Tussauds is important because we need to reflect what the landscape is. And who knows what it will look like in five or six years?Neil Dolan: So that's something we're very aware of and something we're going to have to, I guess, keep an eye on, as time goes on. Because, as we found, I think it was in 2020, there was a petition from people to not take away the One Direction figures. People are really passionate about our product, as well. So, we have to take what's being said seriously.Kelly Molson: Yeah. Gosh. People do get really upset about things, don't they? I hadn't thought about it.Neil Dolan: One Direction is a very, very passionate subject.Kelly Molson: Are they still there or did you take them away?Neil Dolan: One Direction, they were in a music zone just now, which we'll launch, as I said, it'll be for Easter. They may or may not be there when we opened, but we'll see what's the public saying.Kelly Molson: They're gone, but not forgotten.Neil Dolan: Never forgotten.Kelly Molson: Never forgotten. Neil, thank you so much. This has been such an enjoyable talk. Thanks for coming on and sharing everything that you've been through. It's been a bit of a whirlwind, I can imagine. We're at the end of the podcast. And I always ask our guests to share a book that they love. So something personal, something work related, just something that you really enjoy, that you think our listeners might, as well.Neil Dolan: Particularly, when I was coming to work, I guess, during the third lockdown, lockdown has been confusing. When you've been at work and you always use the train journey to switch off from work. I said, my son is absolutely obsessed with dinosaurs, to the point where, by virtue, now I am obsessed with dinosaurs. So I spent a good part of those train journey to reading Jurassic Park books, because I'd never read them before. I'd watched the films hundreds of times, but I'd never read the books. And I used to do this and my partner was probably sick of me talking about it. I just basically go home and tell her about what I dread in Jurassic Park. And it was such a good way to switch off because, particularly when you've got little one, you definitely need that separation of work and home. And that was almost the transition where my son, who was pretty good at talking, but was correcting me on dinosaur pronunciation, when they were years olds was bizzare.Kelly Molson: Where does this come from? Because Edie is too young for this right now, but I really liked dinosaurs when I was a kid. But our friend's little boy is obsessed, obsessed with dinosaurs. Knows all of the complicated words that I can't even pronounce.Neil Dolan: Yeah.Kelly Molson: I have no idea where it's come from.Neil Dolan: No, I have no idea. I have no idea. But being corrected by a two year old was [crosstalk 00:34:41] I didn't know what a Zuniceratops was, but when I Googled it and I was like, "He's right. Okay. I'll take that one away."Kelly Molson: Mind blown.Neil Dolan: Yeah.Kelly Molson: Okay. So we're recommending the Jurassic Park books. This is so great.Neil Dolan: Absolutely.Kelly Molson: I love this. Okay. Well, listeners, if you want to win Neil's books, then if you head over to our Twitter account and you Retweet this episode announcement with the words, "I want Neil's books," then you may be lucky enough to win them. Who knows? Neil, thank you. That's been a really lovely chat. I've really enjoyed it. Thank you for coming on.Kelly Molson: Thank you to Paul Griffiths of Painshill Park, who put me in touch with you in the first place after I put my little shout out about my Novelty rubbers. And let's try and get all of the attractions on the podcast. I'm very pleased you did because it was a really great chat. So, thank you.Neil Dolan: No, thanks for having me on. It's been great. It's been really enjoyable.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.

Warning: This one is a bit sweary. Lilyhammer is a fish-out-of-water story starring Steven Van Zandt as a gangster turned rat. We review the hell out of it. Then we dissect the coverage of the Eurovision Song Contest and go home. Josh's voice sounds like a dying fish and that's a noise that should be […]

Singer, songwriter, producer, and actor Steven Van Zandt aka Little Steven is perhaps best known as a member of Bruce Springsteen's E Street Band. But the talented musician also co-founded the band Southside Johnny and the Asbury Jukes, as well as his solo act, Little Steven & The Disciples of Soul. He later found success in an entirely different career, playing the inimitable role of Tony Soprano's consigliereSilvio Dante in The Sopranos and Frank Tagliano in Lilyhammer. The Rock and Roll Hall of Fame member recently released his autobiography, “Unrequited Infatuations,” which chronicles the many twists and turns that make up his remarkable life. Steven tells Alec why Bruce Springsteen was originally not allowed in his band, why he decided to walk away from the music business, and how he became a part of television history - twice.  See omnystudio.com/listener for privacy information.

He's been known as Miami Steve, Little Steven and Steve/Steven/Stevie Van Zandt. He's been Bruce Springsteen's and Tony Soprano's No. 2 guy, the artistic force behind Southside Johnny and the Asbury Jukes, the leader of his own Little Steven and the Disciples of Soul and the star of Netflix's Lilyhammer. He united rockers and rappers to battle South African apartheid with “Sun City,” oversees three satellite radio stations and a record label, wrote the memoir Unrequited Infatuations and he wishes he'd done more. Why does Stevie Van Zandt say the '70s were the worst time to record? Does he think Springsteen's concerts are too long? Why is he so frustrated? No one could tell this story like he does.

In our first episode for Women's History Month, I learn about how she went all in and made some bold moves to pursue their passion for making rum.  She talks about being a woman in which has been a typically a boys club. Taped live on location in Miami Beach while attending the Florida Rum Society Rum Takeover weekend, I got a chance to sit down with Judith de Bie, owner/distiller for the Netherlands-based company Rummie Club. Taping podcasts outside does present some challenges, so you will experience some of those Miami nuances. Judith also talks about making it through the pandemic which was challenging for any start-up business.  https://womenshistorymonth.gov/In Four Sips or Less:Neat or on iceWhat is something most people wouldn't know about AmsterdamWhat did she think of the show "Lilyhammer" What Olympic sport is her favoriteVisit Club Tiki at   https://www.clubtikico.com/ to order rum-based cocktails in a can. Use promo code "DRUMSANDRUMS" to receive a discount and free shipping when you order 2 four packs or some merchandise.Do you take care of your tattoos? Check out Lucky 13s Tattoo Aftercare. https://protectyourink.com/ Use our PROMO code "DRUMSANDRUM" to get 35% off your order.This podcast is brought to you by Embroidery and Sew More, makers of Drums and Rums apparel.----------------------------------------------------------------------The opening track is  Once Upon a Bottle of Rum by Brad BrockCheck out Brad Brock's Jams ' N' Cocktails Podcast live every Wednesday at 8:pm EST----------------------------------------------------------------------Check out Rummie Club's links:https://www.rummieclub.nl/enhttps://www.facebook.com/RummieclubDon't forget to check out our site and linksDrums and Rums websiteFOLLOW us on Facebook, YouTube,  InstagramSupport the show (https://www.patreon.com/drumsandrums)

The guys finish up Season 1 of Lilyhammer and Steve picks the next show to watch. Listen to find out what's next for Shows with Friends! Intro/Outro music by Eric "E da" Boss: https://eric-boss.bandcamp.com/ Follow along on IG & FB: @showswithfriends and Twitter: @showswitfriends Learn more about your ad choices. Visit megaphone.fm/adchoices

Lucky Episode 13! The guys dissect 'Lilyhammer' episodes 6 & 7 including the arrival of mafia hitmen in Lillehammer! Steve is still very in on the OG Netflix streamer and these episodes do not disappoint. Themes of loneliness and the absurdity of NY mobsters in Lillehammer collide in the penultimate episodes of Lilyhammer. Season 1 Finale coming next! Intro/Outro music by Eric "E da" Boss: https://eric-boss.bandcamp.com/ Follow along on IG & FB: @showswithfriends and Twitter: @showswitfriends Learn more about your ad choices. Visit megaphone.fm/adchoices

The guys are really enjoying Lilyhammer and episodes 4 & 5 hit some serious notes. From Frank's surprise good news to the sad unceremonious death of Geir these episodes go to another level of depth. Intro/Outro music by Eric "E da" Boss: https://eric-boss.bandcamp.com/ Follow along on IG & FB: @showswithfriends and Twitter: @showswitfriends Learn more about your ad choices. Visit megaphone.fm/adchoices

Steve and Eli are really enjoying Lilyhammer and the show really goes deep in episodes 2 & 3. From Biker gangs, to Geir Elvis, to mistaken identity there are no end to the funny and poignant moments in these 2 episodes. Intro/Outro music by Eric "E da" Boss: https://eric-boss.bandcamp.com/ Follow along on IG & FB: @showswithfriends and Twitter: @showswitfriends Learn more about your ad choices. Visit megaphone.fm/adchoices

Maureen Van Zandt (The Sopranos, Lilyhammer) tells Jack her legendary stories about growing up with The Beatles, seeing them perform live at their most historic concert, her star-studded New Year's Eve wedding, and how The Beatles have influenced her life.   Check out Maureen's podcast "Generation Gap": https://open.spotify.com/show/5tAj1TGo8HEormfBEed8SO?si=60f8f1cc54754923 Maureen's Twitter: https://twitter.com/MVZaGoGo   If you like this episode and you want to listen to the next one - don't forget to follow us wherever you get your podcasts. Follow us on Twitter: Twitter.com/BeatlesEarth and check out our website: BeatlesEarth.com

Rock legend Stevie Van Zandt (Bruce Springsteen, The Sopranos) joins us to talk about his fantastic new memoir ‘Unrequited Infatuations', the birth of and his time with the E Street Band, playing Silvio Dante, his process in writing the book, Lilyhammer, Little Steven's Underground Garage and so much more! Watch now at TheHolePodcast.com

Stevie Van Zandt from the E Street Band on seeing Jimmy Hendrix when he was still Jimmy James, changing his appearance for The Sopranos and Lilyhammer, what he gets Bruce Springsteen for his birthday, his radio show, if he's he friendly with Tom Morello and he talks about his new book, "Unrequited Infatuations", out now. www.littlesteven.com

  Stevie Van Zandt while, perhaps, best known as a founding member of Bruce Springsteen's E Street band and leader of Little Steven and the Disciples of Soul, he is also a writer, producer, actor (having starred in the Sopranos and Lilyhammer), radio host on Sirius/XM's Little Steven's Underground garage, political activist, founder of TeachRock.org, and much more. He is also a member of the Rock and Roll Hall of Fame. Join me and Stevie Van Zandt as we discuss his terrific new memoir, Unrequited Infatuations, which traces his odyssey from a teenager in suburban New Jersey to the Rock and Hall of Fame. Guest Stevie Van Zandt What story begins in a bedroom in suburban New Jersey in the early ‘60s, unfolds on some of the country's largest stages, and then ranges across the globe, demonstrating over and over again how Rock and Roll has the power to change the world for the better? This story. The first true heartbeat of UNREQUITED INFATUATIONS is the moment when Stevie Van Zandt trades in his devotion to the Baptist religion for an obsession with Rock and Roll. Groups like the Beatles and the Rolling Stones created new ideas of community, creative risk, and principled rebellion. They changed him forever. While still a teenager, he met Bruce Springsteen, a likeminded outcast/true believer who became one of his most important friends and bandmates. As Miami Steve, Van Zandt anchored the E Street Band as they conquered the Rock and Roll world. And then, in the early ‘80s, Van Zandt stepped away from E Street to embark on his own odyssey. He refashioned himself as Little Steven, a political songwriter and performer, fell in love with Maureen Santoro who greatly expanded his artistic palette, and visited the world's hot spots as an artist/journalist to not just better understand them, but to help change them. Most famously, he masterminded the recording of “Sun City,” an anti-apartheid anthem that sped the demise of South Africa's institutionalized racism and helped get Nelson Mandela out of prison. By the ‘90s, Van Zandt had lived at least two lives—one as a mainstream rocker, one as a hardcore activist. It was time for a third. David Chase invited Van Zandt to be a part of his new television show, the Sopranos—as Silvio Dante, he was the unconditionally loyal consiglieri who sat at the right hand of Tony Soprano (a relationship that oddly mirrored his real-life relationship with Bruce Springsteen). Underlying all of Van Zandt's various incarnations was a devotion to preserving the centrality of the arts, especially the endangered species of Rock. In the twenty-first century, Van Zandt founded a groundbreaking radio show (Underground Garage), a fiercely independent record label (Wicked Cool), and developed a curriculum to teach students of all ages through the medium of music history. He also rejoined the E Street Band for what has now been a twenty-year victory lap. UNREQUITED INFATUATIONS chronicles the twists and turns of Stevie Van Zandt's always surprising life. It is more than just the testimony of a globe-trotting nomad, more than the story of a groundbreaking activist, more than the odyssey of a spiritual seeker, and more than a master class in rock and roll (not to mention a dozen other crafts). It's the best book of its kind because it's the only book of its kind. Host Michael Zeldin Michael Zeldin is a well-known and highly-regarded TV and radio analyst/commentator. He has covered many high-profile matters, including the Clinton impeachment proceedings, the Gore v. Bush court challenges, Special Counsel Robert Muller's investigation of interference in the 2016 presidential election, and the Trump impeachment proceedings. In 2019, Michael was a Resident Fellow at the Institute of Politics at the Harvard Kennedy School, where he taught a study group on Independent Investigations of Presidents. Previously, Michael was a federal prosecutor with the U.S. Department of Justice.

  Stevie Van Zandt while, perhaps, best known as a founding member of Bruce Springsteen's E Street band and leader of Little Steven and the Disciples of Soul, he is also a writer, producer, actor (having starred in the Sopranos and Lilyhammer), radio host on Sirius/XM's Little Steven's Underground garage, political activist, founder of TeachRock.org, and much more. He is also a member of the Rock and Roll Hall of Fame. Join me and Stevie Van Zandt as we discuss his terrific new memoir, Unrequited Infatuations, which traces his odyssey from a teenager in suburban New Jersey to the Rock and Hall of Fame. Guest Stevie Van Zandt What story begins in a bedroom in suburban New Jersey in the early ‘60s, unfolds on some of the country's largest stages, and then ranges across the globe, demonstrating over and over again how Rock and Roll has the power to change the world for the better? This story. The first true heartbeat of UNREQUITED INFATUATIONS is the moment when Stevie Van Zandt trades in his devotion to the Baptist religion for an obsession with Rock and Roll. Groups like the Beatles and the Rolling Stones created new ideas of community, creative risk, and principled rebellion. They changed him forever. While still a teenager, he met Bruce Springsteen, a likeminded outcast/true believer who became one of his most important friends and bandmates. As Miami Steve, Van Zandt anchored the E Street Band as they conquered the Rock and Roll world. And then, in the early ‘80s, Van Zandt stepped away from E Street to embark on his own odyssey. He refashioned himself as Little Steven, a political songwriter and performer, fell in love with Maureen Santoro who greatly expanded his artistic palette, and visited the world's hot spots as an artist/journalist to not just better understand them, but to help change them. Most famously, he masterminded the recording of “Sun City,” an anti-apartheid anthem that sped the demise of South Africa's institutionalized racism and helped get Nelson Mandela out of prison. By the ‘90s, Van Zandt had lived at least two lives—one as a mainstream rocker, one as a hardcore activist. It was time for a third. David Chase invited Van Zandt to be a part of his new television show, the Sopranos—as Silvio Dante, he was the unconditionally loyal consiglieri who sat at the right hand of Tony Soprano (a relationship that oddly mirrored his real-life relationship with Bruce Springsteen). Underlying all of Van Zandt's various incarnations was a devotion to preserving the centrality of the arts, especially the endangered species of Rock. In the twenty-first century, Van Zandt founded a groundbreaking radio show (Underground Garage), a fiercely independent record label (Wicked Cool), and developed a curriculum to teach students of all ages through the medium of music history. He also rejoined the E Street Band for what has now been a twenty-year victory lap. UNREQUITED INFATUATIONS chronicles the twists and turns of Stevie Van Zandt's always surprising life. It is more than just the testimony of a globe-trotting nomad, more than the story of a groundbreaking activist, more than the odyssey of a spiritual seeker, and more than a master class in rock and roll (not to mention a dozen other crafts). It's the best book of its kind because it's the only book of its kind. Host Michael Zeldin Michael Zeldin is a well-known and highly-regarded TV and radio analyst/commentator. He has covered many high-profile matters, including the Clinton impeachment proceedings, the Gore v. Bush court challenges, Special Counsel Robert Muller's investigation of interference in the 2016 presidential election, and the Trump impeachment proceedings. In 2019, Michael was a Resident Fellow at the Institute of Politics at the Harvard Kennedy School,

Stevie Van Zandt from the E Street Band on seeing Jimmy Hendrix when he was still Jimmy James, changing his appearance for The Sopranos and Lilyhammer, what he gets Bruce Springsteen for his birthday, his radio show, if he's he friendly with Tom Morello and he talks about his new book, "Unrequited Infatuations", out now. littlesteven.com See omnystudio.com/listener for privacy information.

HEY GANG! As a special season two bonus episode, we are dropping the COMPLETE conversation we had with Brian Wecht and Leighton Gray of Leighton Night!!! This - like most of our guest eps - would only be available to our Patreon subscribers, but we LOVED this episode and this talk we had so much, we're dropping the whole ep to everybody for free. Enjoy! And thanks for listening. Oh podcasting, will, animation cells, Captain Crunch, inheritance, nerd stuff, collectibles, records, comics, antiques, valuing old stuff, Funko pop, Beanie Babies, ebay, Image comics, spiderman, the ‘Nam comic, Amazing Stories “Gather Ye Acorns,” 30 Rock, Apollo Apollo, how we know each other, UCB Theater, Kurt Braunohler, Ninja Sex Party, Neutrino improv, Leslie Meisel, horror, 30 rock lines, The Office renaissance, Brian Baumgartner, Kevin Malone, cameo, relationship sweet moments versus plain comedy, Jack Donaghy, Taxi, horror scores ambient sound, Infocom text adventure games, He-Man action figures, on card action figures, Bob the Goon, Dragon magazine, purging collections, collecting compulsion, commoditize everything- social media, podcasts, any free time, Masters of Horror, watching everything, reading everything, Fringe, starstruck, Mads Mikkelsen, Hannibal, media diet, CSI, Manhunter, Criterion collection, Brian Cox, Anthony Hopkins, Cannon Canon, Tough Guys Don't Dance, David Cronenberg, Crash, Phil Hale, Empire of the Sun, J.G. Ballard, The Sopranos, intervention episode, Parks and Rec, A Quiet Place, Alicia Wit, Dune, Stevie Van Zandt, Scorcese, therapy, Netflix, Lilyhammer, New Jersey, comforting accents, memories, Carolina, NYC pride, LA shame, LA film sites, David Lynch, Rough House, Halloween, Pig, Nicolas Cage, anxiety, being present, mindfulness, self worth, self love, breaking up with your phone, social media feelings, twitter, shame, 12 step for social media, Kenan Thompson, David Ortiz, depression, shame for feeling feelings, validation outside one's self, self-loathing, reconsidering considering, criticism for taste, truth is not black or white, false humility, liberal shaming, chan online cruelty, movie reviews, critic journalist personalities, Pixar morals, fluidity of personal truth, online recipes, Hunter S Thompson, book adaptations, Altered States, Carlos Castaneda, Time Life Mysteries of the Unknown, What's Poppin, binary thinking, tolerating complexity, cannot logic out of life, sleep, beanie baby divorce. Support the show (https://www.patreon.com/whatsthatfrom)

Steven Van Zandt is musician, actor, and activist best known for his decades long collaboration with Bruce Springsteen as a member of the E Street Band. As an actor, he starred in The Sopranos as Silvio Dante and as Frank Tagliano on the Netflix show Lilyhammer. His activism in the 1980s and 1990s included forming the group Artists Against Apartheid and producing the record Sun City.During this podcast, Van Zandt discusses his life and career and his new book "Unrequited Infatuations." He takes listeners back to the origins of the E Street Band and his work with Bruce Springsteen. Van Zandt also talks about why he left the band and then returned. He also reveals how despite a lack of acting experience or training, he was able to so effectively play the role of Silvio Dante in The Sopranos.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Stevie Van Zandt is best-known as guitarist and founding member of Bruce Springsteen's E Street Band, and for playing Silvio Dante on HBO's The Sopranos and Frank Tagliano on Netflix's Lilyhammer. But as he shares in his new memoir, Unrequited Infatuations, Stevie has done so much more with his time on this earth, even if it all didn't go exactly as he might have hoped.  As a producer, songwriter, and arranger, Stevie has helped countless artists make beautiful music. His songs have been performed by Jackson Browne, Pearl Jam, Nancy Sinatra, and many more. He co-produced Bruce Springsteen and the E Street Band's The River and Born in the USA, acted in the role of Jerry Vale in Martin Scorcese's The Irishman, programs and hosts two radio channels on Sirius/XM and—somewhere along the way—found time to fight for causes he believed in, most notably Artists Against Apartheid for which he was honored by the United Nations.  In today's conversation, Stevie shares the frustrations and occasional disappointments of putting your whole heart (and, sometimes, all your money) into your artistic vision. Yet he abides in his passionate pursuit of musical beauty. In the words of his friend, Bruce Springsteen Stevie remains "the planet's most charismatic, dedicated and visible crusader scrapping to preserve the dirty purity of rock n' roll.”   Buy several copies of Stevie's book at https://www.littlesteven.com/ Tell the world that you ❤️ Crazy Money: https://ratethispodcast.com/crazymoney   About Crazy Money: Unlike traditional personal finance shows, Crazy Money is not about how to make a million bucks, how to beat the stock market, or how to save money by switching credit cards. It is about deciding what role we want money to play in our lives and how we can use it to be our best selves. Topics covered include: philosophy, happiness, contentment, meaning, dreams, purpose, success, society, mental health, Buddhism, Stoicism, the hedonic treadmill, morality, mid-life crisis, business, work, careers, authors, books, consumerism, values, capitalism, economics, investing, saving, spending, personal finance, charity, philanthropy, altruism, affluence, wealth management, culture, society, status, ambition, accomplishment, perfectionism.     On this episode we talk about: Art, music, music business, commerce, New Jersey, HBO, Netflix, Sopranos, Lilyhammer, concerts, Little Steven, BadaBing, authors, books    Please stop reading and have a great day. Paul loves you. 

Oh podcasting, will, animation cells, Captain Crunch, inheritance, nerd stuff, collectibles, records, comics, antiques, valuing old stuff, Funko pop, Beanie Babies, ebay, Image comics, spiderman, the ‘Nam comic, Amazing Stories “Gather Ye Acorns,” 30 Rock, Apollo Apollo, how we know each other, UCB Theater, Kurt Braunohler, Ninja Sex Party, Neutrino improv, Leslie Meisel, horror, 30 rock lines, The Office renaissance, Brian Baumgartner, Kevin Malone, cameo, relationship sweet moments versus plain comedy, Jack Donaghy, Taxi, horror scores ambient sound, Infocom text adventure games, He-Man action figures, on card action figures, Bob the Goon, Dragon magazine, purging collections, collecting compulsion, commoditize everything- social media, podcasts, any free time, Masters of Horror, watching everything, reading everything, Fringe, starstruck, Mads Mikkelsen, Hannibal, media diet, CSI, Manhunter, Criterion collection, Brian Cox, Anthony Hopkins, Cannon Canon, Tough Guys Don't Dance, David Cronenberg, Crash, Phil Hale, Empire of the Sun, J.G. Ballard, The Sopranos, intervention episode, Parks and Rec, A Quiet Place, Alicia Wit, Dune, Stevie Van Zandt, Scorcese, therapy, Netflix, Lilyhammer, New Jersey, comforting accents, memories, Carolina, NYC pride, LA shame, LA film sites, David Lynch, Rough House, Halloween, Pig, Nicolas Cage, anxiety, being present, mindfulness, self worth, self love, breaking up with your phone, social media feelings, twitter, shame, 12 step for social media, Kenan Thompson, David Ortiz, depression, shame for feeling feelings, validation outside one's self, self-loathing, reconsidering considering, criticism for taste, truth is not black or white, false humility, liberal shaming, chan online cruelty, movie reviews, critic journalist personalities, Pixar morals, fluidity of personal truth, online recipes, Hunter S Thompson, book adaptations, Altered States, Carlos Castaneda, Time Life Mysteries of the Unknown, What's Poppin, binary thinking, tolerating complexity, cannot logic out of life, sleep, beanie baby divorce. Support the show (https://www.patreon.com/whatsthatfrom)

Mariana é produtora, esteve à frente da Barry Company, RT Features, Zola e Columbia Tri-Star (Madrid). Atuou em obras como os longas-metragens “Infância Clandestina” e “This Is Not a Ball”, de Vik Muniz e Juan Rendón; e séries como “Lilyhammer”, para a Netflix, e “Impuros”. Além disso, se especializou em Negócios de Cinema e Roteiro … Continue lendo "Primeiro Tratamento – Mariana Ricciardi – # 184"

Benk. How do dudes give each other presents? Cenk gets Ben a hat. Catching up. Ben speaks ill of the dead. Someone gets run over by afloat. Wallowing in other people's despair. Lilyhammer. Dubbing movies. Cenk loves hearing other accents. "Northern Aggression". Offensive accents. Norwegians. HAHAHA @ Cenk's tweets. Wyoming. Cenk bullied Old Faithful. See acast.com/privacy for privacy and opt-out information.

À l'origine producteur de films et cours métrages en Norvège, Anders Tangen s'est lancé dans l'industrie télévisuelle au début des années 2010 avec la série Lilyhammer. Celle-ci mettait en scène un ancien mafieux joué par Steven Van Zandt (Les Soprano) qui se retrouve en Norvège après être entré dans un programme de protection des témoins. Anders nous raconte commment il est arrivé dans le milieu et sa manière de concevoir une série avec l'avènement des nombreuses plateformes de streaming. Très friand de nouvelles techniques de promotion, il a été partie intégrante de la campagne marketing pour Norsemen, une série qui a réussi à figurer sur la page d'accueil de Netflix grâce à de subtiles opérations de communication sur Facebook.

À l'origine producteur de films et cours métrages en Norvège, Anders Tangen s'est lancé dans l'industrie télévisuelle au début des années 2010 avec la série Lilyhammer. Celle-ci mettait en scène un ancien mafieux joué par Steven Van Zandt (Les Soprano) qui se retrouve en Norvège après être entré dans un programme de protection des témoins. Anders nous raconte commment il est arrivé dans le milieu et sa manière de concevoir une série avec l'avènement des nombreuses plateformes de streaming. Très friand de nouvelles techniques de promotion, il a été partie intégrante de la campagne marketing pour Norsemen, une série qui a réussi à figurer sur la page d'accueil de Netflix grâce à de subtiles opérations de communication sur Facebook.

À l'origine producteur de films et cours métrages en Norvège, Anders Tangen s'est lancé dans l'industrie télévisuelle au début des années 2010 avec la série Lilyhammer. Celle-ci mettait en scène un ancien mafieux joué par Steven Van Zandt (Les Soprano) qui se retrouve en Norvège après être entré dans un programme de protection des témoins. Anders nous raconte commment il est arrivé dans le milieu et sa manière de concevoir une série avec l'avènement des nombreuses plateformes de streaming. Très friand de nouvelles techniques de promotion, il a été partie intégrante de la campagne marketing pour Norsemen, une série qui a réussi à figurer sur la page d'accueil de Netflix grâce à de subtiles opérations de communication sur Facebook.

Born and raised in Brooklyn, New York, a proud husband and father of two beautiful daughters, Christopher, in his early 40's decided to fulfill his passion and desires to become an actor in the entertainment industry. Starting off in a small role on a National Lampoons full feature, Chris jumped to the cast and crew on an Original Netflix series called Lilyhammer, starring Steven Van Zandt. From there, Chris landed many roles on HIT shows like "The Marvelous Mrs. Maisel" to "The Blacklist Redemption" and "FBI Most Wanted" on NBC.After several other shows and films, Christopher, who has studied under the famous stunt coordinator, John Cenatiempo, better known in the industry as Johnny C., hit a big one with on a role: he is credited with 16 out of 23 episodes on the hit TV series on ABC, Season 1 and 2 called "FOR LIFE" starring Nicholas Pinnock, produced by Curtis "50" Cent Jackson and written by Hank Steinberg. Currently, Chris is in pre-production with doing a TV pilot which he has written and is starring in. The show is inspired by a true story and is based on a character called "Chrisboy", who comes home from prison after 14 years to no money, no wife, or children and tries to survive in a life that his surroundings have changed dramatically.Chris is also in the middle of shooting the second season of hit Amazon Series Gravesend, written and directed by William Demeo, where he will appear as Gaetano, one of the main characters.

Join Neil Gregory & David Llong as they delve into their TV / Movie news and reviews! In this weeks episode we debate do we need another Star Trek reboot and while everyone else is reviewing The Snyder Cut we'll be reviewing The Queens Gambit, Big Sky, Dollface, Derry Girls & Lilyhammer!Support the showInteract with us on our socialshttps://twitter.com/NeededRoads (run by Neil)https://www.instagram.com/weneededroads/ (run by David)Fund our quest for a superyachthttps://www.buymeacoffee.com/WeneededroadsAnd leave us comments and 5 star reviews at...https://open.spotify.com/show/0E31ucDQy7Ha5PRdtahAjbhttps://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNjM1MDQwLnJzcw==https://podcasts.apple.com/gb/podcast/we-needed-roads-podcast/id1551792756

Lasse Hallberg er CEO i produksjonsselskapet Monday og produsenten bak suksesser som Big Brother Norge og Lilyhammer.Hør Wolfgang Wee Uncut i SpotifyHør Wolfgang Wee Uncut i Apple PodcastSe Wolfgang Wee Uncut på YoutubeUkentlig Nyhetsbrev (påmelding her) Wolfgang Wee Uncut HjemmesideInstagramFacebookTwitterFor podcast tips, podcast anbefalinger, podtoppen, podcast toppen, podkast og en oversikt over alle episodene med Wolfgang Wee Uncut, besøk https://www.pod-cast.no See acast.com/privacy for privacy and opt-out information.

Gina, Randy And Elijah tell a tale of a New York Gangster…In Norway? as they review Netflix's original series“Lilyhammer”! Plus the 15 weirdest ideas to actually get funding on kickstarter!

Matt and Alison do battle beyond the stars in Queue Shots and discuss the new Netflix series "Lilyhammer." Queue Shots Death Race 2000 Battle From Beyond the Stars Norwegian Ninja The Exterminating Angel Excelsior! Prince of Magicians I'm Glad My Mother is Alive Behind the 8-Ball (Expiration) The Dead Pool (3/1) Videocracy (3/7) Barcelona (3/10) Escape From New York (3/15) Le Cercle Rouge and Bob Le Flambeur (3/15) MST3K: Gamera Listener's Choice Review Lilyhammer Learn more about your ad choices. Visit megaphone.fm/adchoices