Podcast appearances and mentions of matthew henderson

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

It's Thursday, and that means it's time to break down the week in politics with Stephanie Grace, editorial director and columnist for The Times Picayune/The Advocate. Today, we discuss a possible special session in the state legislature this November on tax reform and the state's fiscal cliff.It was the late 40s. Despite having worked production lines and front lines in hospitals for World War II, women could still not get a drink in a bar in downtown New Orleans unless it was Mardi Gras day.Cam Rinard, the director of Sales and Marketing at The Roosevelt New Orleans, tells us about the day women fought for their right to drink – in an event we now call “Stormin' the Sazerac.”The New Orleans Film Festival is hitting the screens this fall with a lineup of live action films and documentaries that highlight stories of the Gulf South. One of the films, “A King Like Me,” takes an intimate look at the Zulu Social Aid and Pleasure Club, the oldest Black Krewe in New Orleans. But while the film celebrates the club's history, it also examines some of the difficult things members have had to grapple with, like the pandemic, Hurricane Ida and gun violence.The film's director, Matthew Henderson, and one of the stars of the film, Terrance Rice, tells us more about this deep dive into Zulu's history and legacy.Today's episode of Louisiana Considered was hosted by [host]. Our managing producer is Alana Schreiber; our contributing producers are Matt Bloom and Adam Vos; we receive production and technical support from Garrett Pittman and our assistant producer, Aubry Procell.You can listen to Louisiana Considered Monday through Friday at noon and 7 p.m. It's available on Spotify, Google Play, and wherever you get your podcasts. Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to.Louisiana Considered is made possible with support from our listeners. Thank you!

Day 832.Today, we bring you the latest military updates from the front lines, discuss the Ukraine Recovery Conference ongoing in Berlin, and reflect on last week's commemorations for D-Day 80 in Normandy.Contributors:Dom Nicholls (Associate Editor, Defence). @DomNicholls on X.Francis Dearnley (Assistant Comment Editor). @FrancisDearnley on X.Articles Referenced:Ukraine Focus (which Francis was a guest of):To learn more about their work delivering ambulances to Ukraine, visit:https://ukrainefocus.org/ 'What if Putin Wins?' Essay Series:For seven days The Telegraph ran a series of exclusive essays from prominent international commentators imagining the consequences if Russia were successful in its war.'The West may not survive a Putin victory' (Francis Dearnley)https://www.telegraph.co.uk/news/2024/06/04/west-may-not-survive-putin-victory/'China will take the mantle of world superpower from the US' (Matthew Henderson)https://www.telegraph.co.uk/news/2024/06/03/china-biggest-beneficiary-russian-victory/'With Ukraine's resources, Putin would be unstoppable' (Liliane Bivings)https://www.telegraph.co.uk/news/2024/06/02/with-ukraines-resources-putin-would-be-invincible/'Putin's next conquests are already in his sights' (Dr Ivana Stradner)https://www.telegraph.co.uk/news/2024/06/01/putins-next-conquests-are-already-in-his-sights/'Europe's fascist future awaits' (Dr Thomas Clausen)https://www.telegraph.co.uk/news/2024/05/30/europes-fascist-future-awaits-if-putin-wins-in-ukraine/'Putin's plot to destroy Nato is reaching its devastating climax' (Aliona Hlivco)https://www.telegraph.co.uk/news/2024/05/29/putin-plot-to-destroy-nato-reaching-its-climax/'If Putin wins, expect the worst genocide since the Holocaust' (Karolina Hird)https://www.telegraph.co.uk/news/2024/05/31/europe-see-the-worst-genocide-since-holocaust/Subscribe to The Telegraph: telegraph.co.uk/ukrainethelatestEmail: ukrainepod@telegraph.co.uk Hosted on Acast. See acast.com/privacy for more information.

Matthew just turned 50, been married to his wife for 25 years and they have raised 2 Godly young men! If you want to hear how he has successfully navigated life and business, you will hear clearly what the answer is in this episode! Life is a struggle, but there is a blueprint designed by God to follow.  Matthew shares his story and how he has overcome the challenges life brings… never if, only when! To learn more about Matthew, connect with him through Facebook or to learn more about his solar business, go to: https://pureenergy.group/about-us/Please SUBSCRIBE to my YouTube channel to listen to more great stories and share this with your friends and family!

Wed, 31 Jan 2024 13:00:00 +0000 https://efm-industry-insights.podigee.io/48-global-voices-local-roots-producers-blazing-the-way f48362ae565f46d2b5efdb909fe42420 Industry Insights – The EFM Podcast is presented by the European Film Market of the Berlinale. Hosted by filmmaker Yazmeen Kanji, it delves deep into the rapidly evolving film industry. In this episode, join us as we delve into the creative journey of four trailblazing producers from equity-seeking groups; Darcy McKinnon, Gilbert Mirambeau Jr., Inuk Jørgensen and Rolla Tahir. Discover how these producers are not only making a mark on the international stage but also actively supporting and nurturing local film cultures. Gain valuable insights into the challenges they have overcome, the lessons they have learned, and the impact they aspire to make in the cinematic landscape. All four producers and the moderator, Yazmeen Kanji, are alumni of the EFM Toolbox Programmes, an initiative aimed at creating pathways into the global film industry for producers from equity-seeking groups and the Global South. Every year, around 60 feature producers from around the world take part in the programme; you can discover the 2024 Fiction & Documentary cohort here and on the EFM Producers and Project Pages. Inuk Jørgensen is award-winning short film writer/director with a Masters' in Film from Aarhus University. Inuk has been making home movies and animations since his childhood in Greenland. As an Indigenous filmmaker he has a focus on aesthetic images and personal stories that touch upon the identity, history, and culture of the Greenlandic Inuit people. Gilbert Mirambeau Jr. is a creative producer, writer and activist based in Haiti. He is the general manager of Muska Group, a leading production company specialized in advertising, producing commercials and institutional films for more than 10 years. In 2014, he wrote and produced his first TV series for children, Lakou Kajou. In 2015, he co-founded Muska Films to tell stories that matter. ''I believe cinema is a powerful weapon to convey stories, reflect, shape and challenge people's perceptions and beliefs.'' In 2017, he produced his first short film, Kafou, which won several awards and nominations (e.g., Best Film at Austin Film Festival, Orlando Film Festivals 2017). Thanks to Kafou, he was selected as one of the 25 screenwriters to watch in 2018 by Movie Maker Magazine. In 2021, he executive produced the short documentary, Brave, pre-selected at Cannes for the Directors' Fortnight which won a few awards and nominations, and another short in 2022, Port of a Prince which had a few selection (American Black Film Festival, Pan African Film Festival, Austin Film Festival). For years, Gilbert has been working on his first feature film that he cowrote and produced, Kidnapping Inc., selected to premiere at Sundance in 2024. Today, Gilbert is focused on his next two documentary projects,The Other Side (2025) and The Picture (2026), and his next fiction, Knox (2026). Gilbert is an alumni of several producer's Labs such as the Fiction Toolbox at EFM (2022), Open Doors at Locarno (2022), Producers under the Spotlight at Cannes (2023) and Eurodoc (2023). Rolla Tahir is an independent filmmaker and cinematographer based in Toronto. She's lensed short, narrative and experimental films, which screened in Canada and internationally and is currently in pre-production on her first feature film, Jude & the Jinn, through Telefilm's Talent to Watch & New Dawn. Darcy McKinnon is a documentary filmmaker based in New Orleans, whose work focuses on the American South and the Caribbean. Recently released projects include Roleplay (SXSW, 2024) Commuted (PBS, 2024), Algiers, America (Hulu, 2023), Under G-d (Sundance 2023), Look at Me! XXXTENTACION (SXSW, Hulu, 2022) and The Neutral Ground (Tribeca, POV, 2021), recipient of LEH Documentary of the Year 2022. Current projects in production include Katie Mathews' Roleplay, Jason Fitzroy Jeffers' The First Plantation, Matthew Henderson's A King Like Me, Abe Felix's Turnaround, CJ Hunt's Unlearned and Suzannah Herbert's Natchez. Her work has been on POV, Reel South, LPB, Cinemax and Hulu, and has screened at Sundance, Tribeca, SXSW, CPH:DOX and more. Darcy is an alum of the Impact Partners Producing Fellowship and the Sundance Institute Creative Producing Fellowship, and a recipient of American Documentary's Creative Visionary Award in 2023. The host Yazmeen Kanji is a Muslim Indo-Caribbean filmmaker, Hot Docs Accelerator Fellow, the podcast host of Breaking The 4th Wall powered by BIPOC TV & Film, and the CEO of Films With A Cause - a consulting firm for authentic on-screen storytelling practices. Yazmeen's first documentary, From Syria To Hope (2019), was awarded Best Short Documentary at the 2019 Toronto Short Film Festival. Her short documentary, With Love From Munera (2020), won the audience choice award at the 2021 Breakthroughs Film Festival, was an official selection at TIFF (Toronto International Film Festival) Next Wave 2021 and is now available to stream on the digital TIFF Bell Lightbox site. Yazmeen is currently developing her first documentary for broadcast in-part funded by the Hot Docs CrossCurrents Fund. The project investigates systemic racism in healthcare through a story of Sickle Cell Disease, for which she took part in the European Film Market's Doc Toolbox Programme in 2022, also attending EFM with the Hot Docs Cohort in 2023. The Berlinale's European Film Market is the first international film market of the year, where the film industry starts its business. Industry Insights - The EFM Podcast puts a spotlight on highly topical and trendsetting industry issues, thereby creating a compass for the forthcoming film year. The year-round podcast is produced in cooperation with Goethe-Institut and co-funded by Creative Europe MEDIA. full no Film Industry,Filmmaker,Yazmeen Kanji,Toolbox,European Film Market,Equity Seeking,Inuk Jorgensen,Rolla Tahir,Gilbert Mirambeau,Darcy McKinnon European Film Market 2576

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.

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 July 31st 2023. The winner will be contacted via Twitter.  Show references:  https://www.alnwickgarden.com/https://www.linkedin.com/in/ianjmcallister/https://www.itv.com/news/tyne-tees/2023-05-24/worlds-biggest-play-park-set-to-open Ian McAllister is the Strategic Head of Marketing and Communications at The Alnwick Garden and Lilidorei.  His route into attraction marketing wasn't an obvious one – from not joining the RAF (based mainly on eyesight and petulance) he dabbled in recruitment ( based mainly on proximity to his flat) then television (based mainly on flatmate work envy).  He manages a team of marketers who deliver all marketing, PR and communications to these two attractions based in Northumberland. 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. Each episode, I speak with industry experts from the attractions world. In today's episode I speak with Ian McAllister, Strategic Head of Marketing and Communications at The Alnwick Garden.Ian shares with us the magical story behind Lilidorei, logistics of creating a play structure over 26 meters tall, snot ice cream, free Fridays and the impact this will have on the local area and children. If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue. Kelly Molson: Ian, I'm so excited to have you on the podcast today. Thank you for coming to join me. Ian McAllister: No problem. Kelly Molson: Let's start with some icebreakers, shall we? Ian and I, we had a little pre podcast chat a few weeks ago and we established that we're both from sunny old Essex. This could end up quite messy, really, couldn't it? Because I tend to whenever I'm speaking to my Essex kinfolk, my accent goes, very Essex. This might get messy. Ian McAllister: The good thing is, living up here, people don't know my real accent, but once they hear that, I'm sure that it'll come out. Kelly Molson: They will after this, Ian. Right, okay, icebreakers. I want to know, topical, what's the worst Essex nightclub that you've ever been in? Ian McAllister: Tots, Southend. But it was so bad that I used to go every Friday. It was bad for the sticky floors and for the people that were there and for the music they played and everything about it was terrible. But every Friday I would still go up there. I don't know why.Kelly Molson: So bad. It's so good. I can remember driving there from my part of Essex and going out Tots. Someone broke my big toe into Tots. Literally, like, stamped on my big toe and broke it. Ian McAllister: Do you remember? There was a place called Ritzes, which I think was in Romford, and went there one night, and this was back in the day, where people thought if you were wearing trainers, you were going to cause trouble, so you weren't allowed to wear trainers. And a mate of mine, Paul Mayo. I had two good friends in Essex, Paul Mayo and Ross Gherkin, so they were the three of us. But Paul Mayo went up to the club and they wouldn't let me say trainers. So he left the queue and went around the corner, took his shoes off and took his black socks off, put his trainers back on and his black socks over his trainers, and they just let him straight in. Kelly Molson: Wow. Ian McAllister: Yeah. Which made Moonwalking brilliant, because he had a really good sock that he could moonwalk across the dance floor. Kelly Molson: That is ridiculous. That's ridiculous. So sorry, we just need to go back to your friend's names as well. Mayo and Gherkin. Are you joking? Ian McAllister: Mayo and Gherkin? No. So, I mean, I was always Mac. So I was always Ian Mac. Then there was Mayo and Gherkin. So they were the three of us that used to kick around together in Essex. Kelly Molson: That is chaos already. Ian McAllister: There you go. Opening question. Kelly Molson: This is an ethics thing as well, right? Everybody has nicknames, don't they? You know the Gavin and Stacy thing, where you got Smithy and what? Chinese Allen. That's the thing. That is so Essex, it's ridiculous. Ian McAllister: My nickname for ages was I wasn't a good looking chap growing up. And I had a brace, a demi wave, and I had these big reactor like glasses and I don't know if you've ever seen the National Lampoons European vacation, but the sun was called Rusty Grizzwald. So my friend Gary decided that I was just called Rusty, so he still calls me it to this day. So I'm still just Rusty. Kelly Molson: Oh, God, that's so weird, because my next question was going to be, if you ever been told you look like someone famous, who was it? Ian McAllister: Yeah, but that's not a positive thing. Kelly Molson: No. I wasn't expecting Rusty from National Lampoons to come up. Ian McAllister: I mean, lots of people to try and compare themselves to you, like some Brad Pitt and George Clooney, whereas I'm going for 15 year old Rusty Grizzled. Kelly Molson: Humble. I think that's quite humble, isn't it? Right, final one. I feel like the ice is well and truly broken, melted. What is your best scar story? Ian McAllister: My best scar story is a very recent one. Last year on New Year's Day, I took the kids for a lovely walk to our local woods with the dog. And me being me, I challenged them both to climb a tree. And it was a tree that was like one of these trees that's too good not to climb, do you know what I mean? It was really big branches and big trunk. So I've got twins, 14 year old twins, a boy and a girl. So my daughter was like a whippet and she went up the tree and then my son, with a bit of encouragement, went up the tree and he got his foot wedged in, like the V of the branch, about seven and a half, eight foot up, so he couldn't get out. Ian McAllister: So I climbed up behind him and I held onto a branch either side of him. I said, "Right, all you got to do is just wiggle your foot a little bit". So he obviously didn't hear a word I said. He yanked his foot out, so we both fell out the tree. So I grabbed onto him and he landed on me. And as he landed, I heard ankle snap. So I'm at the top of a woods, probably a mile into the woods. So the kids that week before have been at Scouts and they learned about what three words. So we had to phone an ambulance and they did the what three words and this, that and the other. Ian McAllister: So the ambulance had to then he couldn't drive, so you had to push the stretcher for a mile, pretty much up an incline to get to me. Had to take a breather because it was so far up, put me on the stretcher, but then the ambulance had to drop, so it's just me and the kids that live here with the dog. So the ambulance then had to drop the dog and my kids at my house before they took me to hospital. So turned out I completely broken my ankle, so I had to go for an operation. And I had a metal plate pulse, ligament and wiring all around my ankle. Ian McAllister: So I've got a treat of a scar on my ankle that they also cut through two nerves, so I also can't feel from a nerve down from the little toe, from a knee down to the little toe at the minute. Kelly Molson: I feel like we're going to have to put a warning on this podcast episode, if anyone's like a slightly queasy disposition. Wow. I was not expecting that. Ian McAllister: Yeah, it's a lovely story, isn't it? I think I've learned the lesson. I made a blue plaque on photoshop about Ian fell here and I went back to the tree afterwards and pinned it on the tree. Kelly Molson: It's a special moment. Ian McAllister: That tree will always be in my memory. Kelly Molson: But well done, your children, on learning the skills to get you out of a very tricky situation. Ian McAllister: Yeah, it was great, but they loved it because they got riding an ambulance, so their Snapchat stories were filled up that day with pictures of them and the dog in an ambulance on a muddy New Year's Day. Kelly Molson: Great story. Thank you for sharing. I feel like we've started the podcast on high. Ian McAllister: We can't really go any lower than this, can we? Kelly Molson: Not really, no. Your unpopular opinion, Ian. I dread to think what this might be. Ian McAllister: Had a few and I was trying to think which one would upset the least people. So I had a few. I was trying to think which one upset the least people. So this one's cake. And I hate cake. And I've always hated cake, really dislike cake. And I think people say to me, "what is it you don't like about cake?". And I think I've narrowed it down to the taste, the texture, the smell and the look. Because just everything about a cake, I don't like. So when it comes to birthdays, the kids obviously get me a birthday cake because they can eat it themselves, but I just don't like cake. I've got a bit of a funny not so much now, but I had a funny food thing. I'm sorry in advance. I didn't eat yellow food for about six months. Ian McAllister: It was anything yellow, even to the point where if I got a packet of M&Ms, I wouldn't eat the yellow ones. Kelly Molson: Can I just ask what age you were? Was this 30? Ian McAllister: Probably worse than that? It's about 35. Like my late 30s. Genuinely, genuinely developed an aversion to yellow food. So my friend Steven, who's head of HR at work, he went through a phase of thinking to try and reeducate me. So every Friday he'd go through Steven's adventures in food. It was all the food that I probably should have eaten by the time I was, like, 40 years and hadn't. So things like sushi or porridge. Every Friday he'd bring in something and it would be a chart, like a reward chart. And he'd put a little sticker on if I liked it or didn't like it. Just because people don't know I'm a 47 year old man with two children. Kelly Molson: Oh, God. And have you eaten a banana since? That's what I need to know. Ian McAllister: Yeah, since I started re eating yellow food, I'm all over it. I like a banana, like a bit of pineapple. Cheese is great. We just have the argument because people would say to me, and this was my bugbear, and they get really irritated with this. It's a what about chips? Chips aren't yellow. They're like a beige. So chips were allowed. Kelly Molson: Okay. And pasta as well. They're all in the beige category rather than yellow. Okay. Ian McAllister: Yeah. So can you imagine presenting me with a yellow cake? Yellow cake? That'd be my idea of h***. Kelly Molson: That's your worst nightmare, isn't it? Jaffa Cake. How do you sit about that? Is that a cake or a biscuit? Ian McAllister: But food of choice would always be a chocolate hobnob. No question. Kelly Molson: Great biscuit. Yeah. In the fridge. Ian McAllister: Great biscuit. Crunch. Good for the dunk. Always in the fridge, yeah. Chocolate. What do you think about this chocolate? Does it live in your cupboard or in your fridge? Kelly Molson: Fridge. I like a crunch. I like it to go crunch and then I like that it then melts in your mouth. It's like two different sensations in one. People will argue about this. This is not an unpopular popular opinion, by the way, but people will not be happy about this at all. Ian McAllister: No, but I mean, the people that aren't happy with it are wrong. Kelly Molson: They are. Agreed. Oh, my goodness, what a start for this podcast. Okay, how did an Essex boy end up in Northumberland? Tell me a little bit about your background, because you're not from attractions background at all, are you? You come from a completely different sector. Ian McAllister: Yeah, when I got married, which since divorced, but when I got married, my best man suggested it was witness protection. That's what kind of brought me 350 miles north. But the fact was I was working, I'm from Essex, as we've previously mentioned, and I then went to university in Surrey. I went to Kingston and I was working just locally, really, just in pubs and clubs. And I went downstairs to my flat and it was a redeployment, so I thought, it's time to get a proper job. And it was literally under my flat and I ended up working there, mainly because it was under my flat and it took about 10 seconds to commute to it. So I spent a bit of time in recruitment and at the time I was living with two flatmates weirdly, both called Marcus. Ian McAllister: So Marcus One and Marcus Two both worked in TV. One worked, I think Channel Five and One was a BBC or ITV. And I kept telling how good their jobs were and how great their life was, and I thought, "Well, you know what, can't beat them, got to join them". So I did actually beat them. So I wrote to MTV with a really cocky letter saying how much it be their big mistake if they didn't recruit me and this and the other. So I went in for my interview and the guy said, I've got you in because you're either really good or really cocky. And I don't know which one it is. So eventually they gave me a job. So I worked in media in London and I think I was there for two years. Ian McAllister: I just got sick of the rat race and it was just the commute to London. It was an hour each way and I was fed up of it, and I was fed up with the people and I was fed up of the busyness. And I met my then wife, who is from up here, but she had a flat in Edinburgh. I just thought, "You know what, I've got no real commitments down here". I don't have any kids or pets or any of that sort of stuff. So I just chose to order and we moved to Edinburgh and I kind of flipped around in recruitment and odds and ends, moved to the north and set up a property company. So were renting properties to students. Ian McAllister: Then I went to work for a marketing company and then I ended up working where I do now, The Alnwick Garden part time doing marketing and then just kind of worked my way up from there. I couldn't remember what the question was. Was it your background? Kelly Molson: Yeah, you answered it well. Yeah. Well done. Ian McAllister: Thanks. Definitely didn't come from tourism, but I kind of came from marketing kind of sales. And I think I've always been one of these people that might be clear by now that could just talk. Kelly Molson: That's coming across. Definitely getting that on this episode. But I like that you sound like someone who makes their own opportunities in life, which I like. You just go out and get what you want and what's going to fit for you. Tell us a little bit about Alnwick Garden because we're going to talk a little bit about something attached to Alnwick Garden. But Alnwick Gardens itself is quite spectacular. Think it dates back is it 1996? It dates back to is that when. Ian McAllister: It was originally about 1890s. We can date it back to. So it was the original garden kitchen garden for the Alnwick Castle. So it was throughout the two World Wars, it was what fed all the local farmers and the local community and this, that and the other. So come the 90s is when the Duchess of Northumberland, who lives in the castle, was married to the Duke. That's when she took it on as a bit of a project. And she got in some designers from, I think Belgium called Vertz Design. So it's a Vertz design garden and she took it over as a garden and she always wanted it to be she always said it was going to be a stage for people to do whatever they want in, so we can put on events. Ian McAllister: We've had random things, like we've had mixed martial arts in the garden and then we've had Peppa Pig characters coming in. So it's a real variety of things that we do in the garden. But, yeah, so it's been open for 20 odd years now. We're a charity, so we're just about celebrating the 20th year of becoming a charity. So, yeah, the Alnwick Garden itself is a garden, as you'd expect. It's got world's largest Taihaku cherry orchard outside of Japan, got Poison Garden, it's got the world's largest treehouse, which is a restaurant. It's got all these kind of unusual things that you wouldn't necessarily put in, like an RHS garden or a queue garden type place. And it's a great big open space that we market, people come and we do weird events in. Kelly Molson: So it's quite special in its own right, isn't it? But then, about twelve years ago, Jane Percy, the Duchess of Northumberland, she had another idea, didn't she? And that's what we're going to talk about today. Do you all get a little bit worried when she says, "I've got this idea?". Because this one's been a pretty mental one, hasn't it? Spectacularly mental one. Ian McAllister: Yeah. It's kind of that first glimmer of, "Oh, God, what's it going to be now with the backup of the thing is that when she has an idea, she sees it through". And I say this, I know a lot of people chuck this phrase around loosely, and I don't mean it this at all. She's a visionary, because she has these completely off the wall ideas, but has then got the determination and the team behind her to actually see them through. So the new project being the biggie, which has been years in the making and years in the planning, and I'm sure do you want to introduce it or do you want me to say what it is? Kelly Molson: Well, what do you do it. The world's biggest children's play park. Ian McAllister: Yeah. So it's called Lilidorei, which every single thing in it is from her head. And she's got this really creative outlook on life, and she's then pulls in the right people to kind of bring them to life. So she imagined this place where kids could just be away from technology, where they could play and actually play like we used to when were little. And we'd go out making dens and kind of making up our own stories. And it's called Lilidorei,. So the concept of the place is that it's a Lilidorei, village and there's nine clans that live in this village and all of the clans worship Christmas. So you've got good clans and you've got bad clans. Ian McAllister: And it's weird talking about this in a normal way now, and I've seen construction staff talk about this, and it feels weird to be saying things like the elves and the fairies and the pixies. But it got to the point when were building where you'd see the big construction workers and the joiners fags in their mouth, talking about pixies houses and fairies and elves. But the concept is that some of the clans are really good, like the fairies and the pixies, and then some are a bit more troublesome, like the goblins and the hobgoblins and the trolls. But at Christmas time, they all come together to worship Christmas. So whilst it's Christmas themed, it's not Christmas all year, apart from the gift shop, which is fully Christmas at every time. Ian McAllister: They can buy a ball tomorrow if you want, but we've also got the world's largest play structure. So the place structure was built by a company called MONSTROM, who are based in Denmark. And it's one of these things that's got to be seen to believed, which makes marketing it quite tricky because you can't really feel it until you stood underneath it. But local landmark, the angel of the north, is always a good point of reference. So our play structure is 6 meters taller than the angel of the north. And there's a slide from the top, so it's a 26 meters high structure and there's a slide that comes from 20 meters up. Ian McAllister: But to get to this slide, you go around this really convoluted system of walkways and corridors and climbing up uncomfortable spaces and squeezing through things and climbing up nets, and that's just part of it. The rest of it is all these clan houses. So it's a really fascinating place. Kelly Molson: It's amazing, isn't it, that all of this came out of her head? So I watched the ITV, did a publication on your launch, which was it was only a couple of weeks ago, wasn't it, that it opened? The presenter of the snippet, he went up the slide and came down it and he was talking it through and he was saying, 26 meters. And I was like, "Yeah, that's quite high, isn't it?". But you can't really grasp when someone says that. To me, I couldn't really kind of grasp what the height of 26 meters actually looked like. So when you said that comparison that you've just given about the angel of the north, that's really big. Ian McAllister: But there's no point. It's all enclosed. So, like, you've got open netting and this and other but there's nowhere that kids can actually fall off, if you like. So I think kids, it tests their bravery. It's handy for us from an insurance point of view, health and safety, certainly, but kids like, test themselves. So you'll see them start the session and they'll just be on the little swings at the bottom or on the little spinny mushrooms, and then by the end of the session, you see them at the top running around like it's no one's business, just testing bravery. I think that's the big thing. Kelly Molson: Yeah. And I love the idea that it opens your imagination. You can be any part of that story. You've got that underlying story of the clans and that they worship Christmas, but then you make your own part of that story to go with it, and based on where you interact and where you go and where you climb or what houses you go into and all of those kind of things. It is pure magic, isn't it? Ian McAllister: It is. And we've got a team of people that work. They're called secret keepers. So they're sitting in their outfits and costumes, but they're really extravagantly dressed with feathers in their hats and all sorts. Their job is almost to facilitate the play. So it was almost a marketer's dream when I started off because we couldn't really talk about what it was because people didn't understand until it was built, couldn't see it. So I came up with a concept, which is the most lazy marketing you'll ever think of and the whole tagline which is carried through is, what's your story? So really what we're doing is we're encouraging people to make their own narrative and to make their own story, which saves me the job for a start, but also we don't want to dictate that. Ian McAllister: Well, that clan looks like this because you can't see the clans, you can see the houses and you can imagine how they are, but you can't actually see anything. So when you get there, it's all brought together by this immersive sound we've got. It's like a million quids worth of sound system for each clan. House has got its own immersive sound system that kind of gives you implications or ideas as to what that clan might be up to or what's happening inside the house. So you can look into their house window and you can see how it's all set up. So it kind of starts to build this picture and then the secret keepers are there to encourage that with the kids and, "What do you think they look like? And could you hear that sort of noise?". Ian McAllister: And it gives this underlying narrative for every kid that comes, is obviously going to leave with a different picture of what a particular clan or a particular circumstance is like. Kelly Molson: That's amazing. So you don't have the characters. They never see what the goblins look like, for instance. They have to make all of that upload in their own minds. Ian McAllister: Yeah, I mean, we've got this sort of narrative in the background. We've got an idea of what Duchess has imagined the Clans to look like or the Clans to do, or the Clans to kind of be like. But we never tell the kids this. It's all about provoking thought and provoking story. There was books that I used to read when I was a kid, and they would choose your own adventure books, and it was kind of you make your own adventure. So every even if one kid came to Lilidorei, five times, they might have a completely different experience each time just because of their imagination and the sort of stuff that the secret keepers have fed them, if you like. Kelly Molson: I love that. While we're talking about secret keepers, you've got ahead of Play, haven't you, Nathan? I don't know any other organisations or attractions that have got ahead of Play. How did that kind of come about? Ian McAllister: So to give me his full name, it's Nathan Bonk.Kelly Molson: Excellent name. Ian McAllister: Nathan Bonk, he's come over from America specifically to organise the play and the secret keepers and this. So that's his kind of creation, if you like, in conjunction with the Duchess. So he was meeting with the duchess virtually daily to make sure he's on the right lines, and she was happy with what he was doing, but to kind of put an extra element of weirdness into the story, which in case we haven't had enough weirdness in the podcast already in the Garden going back two or three years, I'm friends with a guy called Stewart who's the reigning Mr. Gay World, and he's only reigning because they disbanded the competition after he finished it. So he kept title. He's kept that. So he got in touch to say that he wanted somewhere to host Mr. Gay England, which is like a pride initiative. Ian McAllister: And it's not just a catwalk, it's education and it's exams, and then the winner of it ends up representing the gay community to go to Parliament and lobby Parliament and speak in schools and this and the other. So I said, well, the best place, really, if you think of the most sort of unusual place that you could think of in a really rural town where there aren't many people of any persuasion, would be Alnwick. So we put it in the middle of the garden. The cat walks right down the middle of the garden, and we've rebranded that entire day, which we're doing again this year, Gay Day. So what we do is we have Gay Day, and it's everything. We've got market traders, LBTQ+ friendly market traders and face painters, and we do trails and all sorts of things. Ian McAllister: So anyway, last year we had Mr. Gay Europe and Nathan's friends with Stewart. So Nathan came over to help with the competition. Mr. Norway had COVID, so couldn't turn up. So there were one person short. So Nathan ended up weirdly representing America in the Mr. Gay Europe competition. Kelly Molson: Wow. Ian McAllister: If you get to know Nathan, as you'd understand, he's always got an outfit of two just stashed away just in case. So he came out with like, the short camouflage shorts and the face paint and waving the USA flag. Anyway, after Gay Day, he went home and he'd fallen in love with Alnwick. And it was just it wasn't New York. He lived like a six minute walk to Central Park. So it's totally different. But he fell in love with the place. And he sent me an email, a bit of a video explaining why love Alnwick and if there's any opportunities that came up, and this, that, and the other. And the only thing that popped in them ahead as soon as I saw his video was the head of play, and I just knew that he would be the person for this role. Kelly Molson: But was it a role that you were looking for or did you create. Ian McAllister: It for the role we discussed? We always discussed that we needed someone. It was going to be it's almost like a head of operations for Lillidorei, but that sounds far too boring. So we always knew there was going to be a role for somebody. I don't think we quite realised to the extent of how influential this role would be in creating the entire story and the entire visit. So Nathan, with his ideas, he's opened theme parks before. He's been in stunt performances in various theme parks. He opened, like, the Harry Potter experiences in Orlando. So he's done all this stuff already. But I remember he Zoom called me one morning. He said, you're never going to believe it. I've got an interview with the Duchess at lunchtime. Brilliant. So I gave him a few bit of background and what were working towards. Ian McAllister: About 2 hours later, he zoomed me back. He said, you're never going to believe it. I've got the job. They sort me out a house. I'm flying over next week, and I've got a tea at the castle with the Duchess. It's like every American film you've seen where they tried to represent England in a completely fictional way. He was living it. Kelly Molson: What a life. Wow. Ian McAllister: And that was it. And he's been here since. And he loves it. He's absolutely settled. He's incredible. He's got this team of amazing people who do things like juggling with Diablos and teaching kids that go on balance boards and hula hoops. Their job is to interact with everybody that comes in and just create the atmosphere. Kelly Molson: And that's what makes the place so special, isn't it? It's that interaction from the people and the encouragement of the ideas that the children have to explore them that makes it a magical place. Ian McAllister: It is. It's incredible to sit as a construction site. All of a sudden. And now to see 600, 700 kids running around each session screaming and laughing and coming out with ruddy faces and wet trousers, it's everything we wanted it to be come to life, a Kelly Molson: It sounds magic. And I've seen those faces, I've seen the kids faces on the ITV clip, which we'll put in the show notes, actually, so you can have a look at it if you haven't had a chance to go up there yet. I want to talk a little bit about, because you've said a few times now, Alnwick want to talk a little bit about, because you've said a few times now, Alnwick, it's relatively rural, a small community, there's not a huge amount going on there other than this spectacular Alnwick Garden and Lilidorei that's just launched. You offer Free Fridays. And I saw the Duchess talk about this. It's for local children, school children, to come for free on a Friday so they can experience what's happening there. What impact do you think that Lilidorei is going to have on the local community and the children there? Ian McAllister: I think so. Two elements to that, really, then, the creation of the attraction itself. We've always estimated roughly, or looking quite accurately, based on recent figures, that it's going to bring an extra 200,000 people a year into the area. And that's going to benefit, obviously, it's going to benefit us, it's going to benefit the Alnwick Garden Trust, it's going to benefit the Alnwick Castle, which is another attraction up the road. All the local restaurants, pubs, hotels, everyone's going to benefit because what we're hoping to do is turn AlnwickAll the local restaurants, pubs, hotels, everyone's going to benefit because what we're hoping to do is turn Alnwick into a multi day destination, so people won't just come for one of the things and go back to Newcastle, back to Edinburgh. They'll do it as a day trip. So we're hoping that it will really kind of drive the local economy. Ian McAllister: So in terms of local economic benefit, I think that's kind of nailed, really. The figures are already quite obvious. In terms of the Free Fridays, then you don't have to go that far out of Alnwick, particularly if you went to South Northumberland and there's quite a lot of people that are in all sorts of various situations. There's schools in different areas, there's kids that just would not be able to afford to come otherwise because it's comparable to other attractions. But it's still not a cheap day out, it's not three quid to go to the local soft play. So there's a lot of kids that the Duchess particularly just didn't think it was fair, wouldn't be able to experience it, hence Free Fridays. Ian McAllister: So the idea of Free Friday is that every school child in Northumberland, and then eventually, when we've kind of been running for a bit, we'll widen it to Tyne and Wear into Newcastle. But at the minute, every child in Northumberland should be able to experience Lillidorei without having to pay. So we've opened up this application process where local schools can apply to come to one of the sessions and that's for any Friday throughout the year. So already the mini uptake has been phenomenal and there's schools that you see that you think, you know, I know exactly what area that school is in and without making too many judgments, you know, that they just would not be able to afford to come, so we're giving them the opportunity to come. Ian McAllister: So that's part one of Free Fridays, which is well underway at the minute, and I think we're almost booked up for the rest of the next twelve months with Fridays. Kelly Molson: That's amazing. Ian McAllister: But the next part is that the Duchess is to now do other initiatives to try and put money into a ring fenced account. So then eventually when that account builds up, we'll also be able to start to subsidise travel. So if you've got a school that's an hour's journey away, hopefully this pot of money, they can apply to it to pay for their hiring of a school coach or a minibus or whatever it's going to be to actually bring the kids up. So it's an entirely free day and there's different things like she's doing private tours, we're doing packages where you can have a nice meal at the treehouse and then come into Lilidorei afterwards. So like I say, that's all going to be ring fence specifically for transport from Free Fridays. Kelly Molson: That's incredible. What an opportunity. And like you say, for the kids that just would not have that opportunity to be able to go and experience it. It's just such a wonderful thing to be able to do. Ian McAllister: It is, it's incredible. And I think a lot of the feedback we saw before we opened, because again, as I say, it was quite hard to explain the concept of it and what you actually got for your 15 quid entry fee. So a lot of people say you've outpriced us and we can't afford it and this, that and the other. And that's why it was really good to then say, "Look, if you want to bring your kids, just tell your kids to speak to their teacher and get the teacher to speak to us and we can facilitate them for free". So it's making a difference already. It's incredible. Kelly Molson: Yeah. And I guess then it's about selling what that 15 pounds gets you the benefits of that 15 pounds. Yes, it's a relatively higher price point, but you start to break it down about the experience that they get there and the magic that can actually happen that they can't get anywhere else, and then it starts to become slightly more appealing purchase.  You can stay there for quite a long time, right? You've got that dwell time as well. So when you work it out, cost per hour, it actually seemed quite reasonable. Ian McAllister: And I think having two kids myself, I think what am I going to compare this to? So you can't compare it to going to local council run park because it's nowhere near the same, it's not just a climbing frame. And then I think, "Well, what else would I do for the kids for that time period on a Saturday if we're bored?" Probably get the cinema. So the cinema is going to be 1520 quid to get in. And then, sweetness, you got 2 hours of sitting in silence watching a film and then you come out, go home and that's done. Ian McAllister: So to compare it to that, to Lilidorei, you've got a three hour session where you can come in, whole family can interact and it's running free and it's fresh air, I mean, it's not fumbling, it's always fresh air and by fresh I mean probably freezing most of the time. But you've got this it's a completely different experience and I think where people were just looking at it as it's a climbing frame, well, I could just go up the park. So it's trying to explain to people that it is different and yeah, it doesn't work out a really cheap day if you've got two parents and three kids, for example. But what we have done, we've introduced, and we're going to look at this after some holidays, we introduced the founder Lilidorei membership. Ian McAllister: My idea with this is always it's got to be for the child focused. So it's the child that has the membership. So little Johnny could have a membership for him and an adult, or him and two adults, and that means they could bring in mum and dad or they could bring in Nanny Granddad or they could bring in whoever they want. But it's always for me been the child that dictates this whole thing. So we always say that well behaved adults can come in with a responsible child. So we've kind of flipped the narrative a little bit there. And in terms of the membership itself, I used to read the Beano when I was a kid and the only thing I ever wanted grown up was Dennis the Menace fan club membership. Ian McAllister: And with that it cut a wallet, a membership card and a badge. And so for me, Lilidorei membership, you get a wallet, a card and a badge. So all these founder lidorians walk around proudly displaying their badge because there was a limited number of to be the very first people to be these members. But it's empowering the kids. The adults are allowed to come if the kid says they can come. I almost wanted to wake up on a Saturday morning and the child go, "Right, mom, you've been good, you can come with me. Dad, you got to wash the car and do the dishes". Kelly Molson: I love that. I love that giving them the choice of who they take and to take Granny as well. Yeah, it's a really good point about the memberships, isn't it? Because it is generally tied to the adult and the children that they have. But I love that you've empowered the kids to make that choice. Yeah. So you've got to be the kid. The parents have to be good all week. Ian McAllister: Exactly. That's to end the story points.Kelly Molson: Yeah. Well, we're going back to your food eating and your little sticker chart, aren't we? That's what you need. There you go. Sell that in the shop for the adults to buy their sticker reward chart, whether they get to come back or not on the next visit. Ian McAllister: That's a great idea, talking to the shop, actually, just briefly, because you may. Kelly Molson: Segue listen, I'm on fire today, Ian. Segue into the shop. Ian McAllister: My good friend Matthew Henderson, who anyone who listens to podcast will have heard him before. He has been incredible. He's been absolutely amazing. It was him that put you and I in touch in the first place. We bought him in to get the shop ready. And to say it's shop ready is the biggest understatement of the century, because I've never seen anything like it. The people that work in retail, a retail manager, Tracy, to coin a phrase, and not sound corny, it's like all the Christmases have come at once, because she's always wanted this shop that she's proud of, that she's selling things that she believes in. It's all been sourced specifically for her. And Matt has done just what a job. It's incredible. Kelly Molson: He is such a great guy, Matt. So Matthew came on our podcast. It was only a few episodes away, actually, ago, actually, and Matt used to work at Beamish and now he's out on his own. He's a consultant now and helps lots of attractions work out their special offering, the uniqueness when it comes to products. And I have seen a photograph of the shop and, oh, my God, it looks like an attraction in itself. It looks like something you'd pay to go visit in itself, like a Santa's Grotte or say. It's just incredible. Ian McAllister: It's phenomenal. And he was also fundamental in helping us with all the food and stuff that we're doing across site, but mainly in there. You know about the ice creams? Kelly Molson: I know about the ice cream. Tell us. Ian McAllister: So there's three flavours. I mean, you've got a vanilla, but then you've got the other obvious choices. You've got Troll Snot ice cream and you've got fairy dust ice cream. So fairy dust is like a raspberry ripple with popping candy. And Troll Snot is pure bright green, but it's sour apple, which sounds vile, but it's actually really nice. But I've got pictures of him with a hair net at the ice cream facility, which I keep telling him should be his next Tinder profile. He's got so involved in it, he's been instrumental in the whole thing. I don't think we'd be anywhere near where we are now without Matthew. Kelly Molson: Oh, wow. Well, that is a massive compliment to Matthew in itself, isn't it? No, he's a great guy. And I think it's something that sometimes gets a bit overlooked when it comes to shop. And you often go to places and you see the same things. Exit through the gift shop, you see the same things, and it genuinely just feels like, and I can only say this from the photos, but it just feels like you're stepping into such a magical world as an extension of the magical world that you've just come out of. Ian McAllister: It really is. It's surreal because on Press Day, we had a launch day a couple of weeks ago, it was so hot. It was a beautiful day. I clearly have the sunglasses on all day, caught a nice tan. Apart from the work stuff, it was a really nice day. But then you do, you exit into the shop and it's like you've already sudden fast forwarded six months and you're in the middle of Christmas. There's Christmas trees and candy canes and balls, not to mention the ridiculous amount of old fashioned sweet jars with trolls fingers and different fudges. And it is surreal because then you've had this 20 minutes Christmas experience in the shop and then you're back into 24 degree heat again. It's bizarre. Kelly Molson: You opened on was it the 25th of May? Is that your opening day? Ian McAllister: Yeah. So a couple of days before half term, were supposed to have a lot more testing than we had, but because of construction issues, we ended up with two testing days. We were supposed to have at least a month or two months testing, but we had to literally do it all in two days. So we opened a VIP date and then we opened for the public on the Thursday. We would never have predicted this, the Thursday Friday, and then the full half term, every single slot was sold out to the point where after a couple of days, we made a judgment call to up capacity and then we upped it again. And it's been full, absolutely full. Kelly Molson: And have you kept that capacity as well? Ian McAllister: Because I think we didn't want the risk of opening, saying, right, we're going to get 800 kids in per session, and then all of a sudden there's 800 people trying to go down a slide. So we didn't want to ruin the visitors experience with queues and with too many people and crowds and this and the other. So we opened with 300 capacity, which was, I mean, once 300 people are on the play structure, you kind of see it. It's like you can't hear them, you can't see them, they've just vanished like ants. So we upped it to five and we're looking at up in it again to, I think, 750. We're going to maybe try and push it up to for some holidays. Kelly Molson: Gosh, that's incredible. So safe to say that it's been a successful launch, then. Ian McAllister: You know what, we couldn't have asked for more. We've had the weather, we've had the publicity. Everything has been going so well. It's been a really positive experience. It was touch and go for a bit where we're all sort of walking around a few days before launch. S***, there's a bump there. There's a thing here. And the construction team, I've never seen anyone react like it like the lighting team would pretty much work until 04:00 in the morning. So they'd work all day. But then they'd want to test their lights so they'd have to wait until it got dark. But then they'd work all night till 04:00 the next morning, go home for a few hours kip and then come back again. Ian McAllister: And we've got a big thank you party tonight at Lilidorei to thank all of the staff, volunteers and construction team for everything they've done to a few hundred people coming tonight. And it's been overwhelming how everybody's got involved, even contractors that might be there for a week doing something. It's been almost like a pride project for them. Kelly Molson: It's amazing. Well, but that shines through in what you've created, right? Everybody that's touched it has taken some kind of ownership of it. What a lovely thing to do. Just throw the party as well to say thank you. It's June now. The story behind Lilidorei obviously involves Christmas. I'm really intrigued as to what you might have planned for Christmas. Are you allowed to talk about any of that yet or is it embargoed? Ian McAllister: I can talk about it a little bit because I've seen it. So we had a sneak peek. So for the last two years, we've been followed around by MGM who have been filming the documentary for Channel Four. So Channel Four documentary goes out, I think, August. So there's a six part Saturday night documentary going out all about the Duchess. It's called The Duchess, but it's all about her leading up to this project. So their last filming day was VIP press day. Kelly Molson: Wow. Ian McAllister: About three days before that, we had a preview one night at 10:00. We would like to go onto site to get a preview of Christmas. I don't even think I can come up with the words. And I'm quite good with words. I can't even put together a sentence that explains quite how magical it is. It's just the lights, the sounds, the atmosphere. And this was a summer's night at 10:00, so I can't even think what it would be like when it is actually Christmas. And we've got three Santa's grottos. To talk, you kind of back a little bit.  Ian McAllister: You've probably seen the picture of the big Lilidorei entrance gate. So when you get to the gate, you've got sounds. You've got a troll talking to a pixie and who wants pixie, wants to let us in and the troll won't let her. So you stand there and you can hear this immersive sound and they won't open the gate. So what you have to do is kind of find a way around and go through a hidden tunnel. At Christmas, those gates will open and it's like, all of a sudden, Christmas is there. So you come in, every Christmas tree is going to be lit, and bear in mind, we've got 1400 Christmas trees. Every Christmas trees got fairy lights in. The atmosphere was just phenomenal. It sounds like a cop out, but it's got to be seen to believed. Kelly Molson: Well, I look forward to that, because that sounds right up my street. Ian McAllister: You know, you're welcome. You're more than welcome. I'll even treat you to some troll snot ice cream. Kelly Molson: How could I possibly say no to that? Ian McAllister: It's the Essex charm, isn't it? Kelly Molson: Just wins me over every time Ian, thank you for coming on. So we always ask our guests to recommend a book at the end of a podcast. What have you got for us today? Ian McAllister: And it was post, COVID I read it and someone had recommended it. So I went and bought a copy and it's got to the point now where I've probably funded about 90% of the book sales because I'll keep buying copies and saying to someone, you love this, I've given them a copy and it's The Midnight Library by Matt Haig. Have you read it? Kelly Molson: Yeah. Great book. Ian McAllister: For me, I think I am where I am now and my career path, my life path, everything was based on decisions and sometimes it's easy to sit and think, that's a bad decision. If I hadn't made that decision, I'd be much happier now. And The Midnight Library, for anyone who hasn't read it, is all about going back and retrospectively looking at your decisions that you've made in life and you get a glimpse of where that decision took you. And I think for me, what it did was instead of me constantly going back, not depressed or anything, but you kind of sit and dwell sometimes instead of thinking well. Ian McAllister: So, for example, I nearly joined the RAF when I was 17 and I wanted to be military police, but because I've got terrible eyesight, they said, well, we can't give you a gun because you probably shoot the wrong person. So they offered me dentistry. So, looking at the time, I was typical Essex. Toys were out, the pram, I'm not doing this, I don't want to do it. So I went to uni and did all that stuff. But I often think back, I think, you know what? If I'd have gone in the RFN and had paid to train me as a dentist and I've done the service, I could have come out and sat me in dental practice and this, that and the other.Ian McAllister: And I often think, would I be happier had I done that and done that as a career path and been a professional, if you like, because I still don't consider myself a professional. But then this book almost made me reframe that a little bit and think, you know what, I might not have done that. I might have hated it or something else would have changed and I wouldn't have had my beautiful children, I'm a stupid dog, or wouldn't have any of that sort of stuff now if I'd have taken that career path. So in a nutshell, for me, The Midnight Library is a really good read. It's quite an easy read, I found, because I was really invested in it, but it made me reframe a little bit. Kelly Molson: Yeah, it's a great book. I've read it a couple of times now and similar to you, it's made me look back at not so much choices but events that have happened to us. Me and my partner, we've had a load of people this is quite public knowledge, we've had a load of trouble having children and we lost quite a few along the way and multiple rounds of IVF and all of that malarkey. And I think that book made me reflect on some of those things that had happened because you start to question, am I a bad person here? Or like, why are these things happening to us? We're good people, what's wrong? Kelly Molson: But some of those things that have happened regardless, despite them being really difficult and quite awful, they've led you to other things that are magic and they've given you gifts of something really tragic happened. Has been able to give us the gift of being able to talk about it openly, which has then gone on and helped other people be able to talk about it or share how they are or just given someone found them, someone that they can talk to. And I think you have to just kind of look back at those things and I don't know, it's a long winded way of saying I completely agree with you and it's a really good book. If you're feeling a bit reflective about your life, it's definitely one to go and have a read of. So yeah, good read. Ian McAllister: I think it may me kind of start to think about the ways I've handled things and how I sort of shape things moving forward so that my best friend died when were at college and my nephew died when he was eight. And all these things in your life that at the time are the worst thing that could ever possibly happen and you could either go one way or the other and it almost explained or kind of put into context a little bit. I think that these things happen not necessarily for a reason, but the way that you cope with it and deal with it and move on after it. That's almost like the learning that you take from it. But this is a different podcast altogether. This is like a griefcast, so we'll do another one. Kelly Molson: This has ended on a complete opposite spectrum than it started, Ian. Anyway, listeners, if you want to win a copy of that book, I'd highly recommend you go and do this. So go over to this podcast announcement and retweet it with the words I want Ian's book. And you will be put into the draw to win a copy of The Midnight Garden. Kelly Molson: Midnight Garden? Midnight Library. Midnight Garden is a whole different book, kids book Midnight Library.Kelly Molson: Ian, thanks for coming on today. It's been brilliant to chat to you. We will put all of the information about Lilidorei and Alnwick Gardens into the show notes so you can have a little look for yourself. But those tickets for Christmas are going to sell out quickly, people, so get yourself on the mailing list. That's all I'm going to say. Ian McAllister: Thank you, Kelly. It's been so nice to talk to you. Living this far north, it's nice to establish my roots with an Essex person again. Kelly Molson: Well, always welcome. Six months check in, right?Ian McAllister: Thanks, Kelly.  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.

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 July 31st 2023. The winner will be contacted via Twitter. Show references: www.matthewhenderson.netCreative Ideas and Solutions. Innovative consultancy and support for visitor attractions, specialising in commercial and  product development. https://www.beamish.org.uk/https://culturalenterprises.org.uk/https://www.linkedin.com/in/hendersonmatthew94/ Matthew Henderson is well known across the sector, having won many awards for his creative approach to retail and product development, and is a Trustee of the Association for Cultural Enterprises.Having increased sales and developed commercial activity as Head of Commercial Operations and Development at Beamish, The Living Museum of the North, Matthew has been inspired to launch Creative Ideas and Solutions. The aim of which is to support other organisations in enhancing their visitor engagement, commercial strategy and product development. 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 Matthew Henderson, founder of Matthew Henderson Creative Ideas and Solutions. Matt was previously Head of Commercial Operations and Development at Beamish Living Museum, where an abundance of innovative ideas drove their commercial income. We talk a lot about product development and how to develop commercial products and experiences that truly reflect your organisation. If you like what you hear, you can subscribe on itunes, Spotify and all the usual channels by searching Skip the Queue. Kelly Molson: Matthew, it is absolutely brilliant to have you on the podcast today. I'm just going to tell you, you have been, like, one of the most recommended people to me ever to come on.Matthew Henderson: Really? Kelly Molson: There are so many people, “You've got to get Matthew on. You need to get Matthew on to chat to” and finally, we are here. Matthew Henderson: Well, thank you so much. That's an amazing thing to hear, but, yeah, thank you for inviting me on. It's a real honour to be on it. Kelly Molson: Well, shuffed. It's going to be good. Okay. Right, I've got some ice breakers for you. I want to know what is your favourite crisp flavour?Matthew Henderson: Favourite crisp changes rigged, but at the moment it's probably squares just for how vinegary they are. Kelly Molson: Oh, the sort of vinegar ones? Yeah. Matthew Henderson: I would go with them, but occasionally a knickknack I would go for as well, which is quite a controversial opinion. Kelly Molson: Spicy knickknack. Did they used to do like a hang on, they did like a fishy one, didn't they? Matthew Henderson: Yeah, I wouldn't go near that, but, yeah, the spicy one, yeah. Normally I'm a chicken corner kind of guy, but I can handle a knickknack spice.Kelly Molson:  Spicy knickknacks. I'm with you on that one. That is a good solid, crisp flavour. Right, good. Okay, if you had your human body but the head of animal, what animal would you choose? Matthew Henderson: Strangely, I actually do have a pet owl, so I feel like just to keep on theme yeah, probably an owl. I think their school is taken up by three quarters. Their school is hitting up by their eyes. Their brain is very small, so maybe I'll retract that. But wise old owl is quite a myth. But they are sort of very attractive, aren't they? Kelly Molson: They are. Wow. Oh, God. So many questions. You've got a pet owl, you're like Harry Potter. This is incredible. How have you got a pet owl? Matthew Henderson: Well, yeah, it's sort of a bit more run Weasy than Harry Potter would say. Growing up, I used to help my grandma nature reserve and every weekend she used to take me to there on the Saturday and then the Budapest Centre on the Sunday. It was just the sort of thing that we always did and I ended up volunteering there and fell in love with it. And then I had this little owl, who, when he came in, was written off that he would die overnight. It was so unwell. And I think a cat tried to eat him. All this sort of tragic story. And then every day he got a bit stronger, to the point where he used to come home with me every night. We've got a tesco together because you couldn't leave. It was kind of in my hoodie pocket. Matthew Henderson: And then when I sort of stopped volunteering there and got a job, he would have died of heartbreak, really. And I think so died by that point. So 14 years on, he still lives with me. Probably the funniest thing that's ever happened with Bug is when everyone did Zoom quizzes during lockdown. Kelly Molson: Yeah. Matthew Henderson: And my friend works for Capital FM and Bug the Owl just happened to be in the background while were playing this quiz. And my friend from there was on, to which he told Roman Kemp the next day about Bug the Owl at work, to which Roman Kemp and FaceTimed me the next day to see Bug the owl. And then me and Bug coal hosted capitol breakfast for 20 minutes one morning, you think lockdown life couldn't get any stranger. And then you describe what an owl looks like on Capital FM. Kelly Molson: This question has gone to a place that I would never expect him to go to. Oh, my God. Matthew Henderson: We could get him at the end. Kelly Molson: Oh, my God. Please, I would love to meet Bug. And also, my heart has just melted massively from that story. Matthew Henderson: Yeah. I love him.Kelly Molson: Absolutely incredible. Matthew Henderson: My friends always say that I should do TikToks with them because I have a dog as well, and the owl will sit on the dog's head and groom and they'll play together. And I think if I had more time, they'd probably be a TikTok account for them. Kelly Molson: You have to make that. I would download TikTok just for that. Just for you, and Bug and your dog. Oh, my God. Honestly, Matt wasn't expecting that response. That's got me all the feels. Matthew Henderson: On the random way, I think I would have an owl's head as a head and a human body. Kelly Molson: An excellent reason why. Well, this is random. My next question was, have you ever met a famous person and lost a tiny mind a little bit, but I don't know if Roman Kemp is enough to make you lose your mind. Matthew Henderson:  Yeah, I think I actually met Russell Brand. This is another sort of bizarre lockdown story, just as it happens, but I went to his gig, he did an outdoor, socially distanced gig and then at the end he walked past and I got a selfie with him, to which I just put it on Instagram. We haven't broken any rules. It was all fine. And the Daily Mail lifted that photograph and ran it on the front page of their website with a story around Russell Brand refusing to social distance, which wasn't true. But, yeah, he ended up on Hollywood Reports and all sorts of zoom called with him afterwards to talk about it, and he absolutely loved it. But, yeah, meeting him was amazing. And then my ultimate hero is Mike Skinner from the Streets. Matthew Henderson: I have his lyrics tattooed, and that probably the only time in life I've been absolutely speechless. I just could not say a word when I met him. And he was very nice and very polite. But, yeah, meeting him was pretty amazing. Kelly Molson: Oh, my God, Matt, I want your life. Matthew Henderson: We might go downhill from there. I think they're only sort of two impressive odd stories. Kelly Molson: They're probably the best answers to any icebreaker questions I've ever asked. Matthew Henderson: It's quite nice because they don't naturally come up in conversation, either of those points. But maybe that's the art of icebreaking. Kelly Molson: Absolutely. Totally fascinating. Right, well, I don't know where this is going to go, but what's your unpopular opinion?Matthew Henderson: My unpopular opinion is that I've never had tea or coffee and I have no desire to. Kelly Molson: You've never had a brew? You've never had a cup of tea? Matthew Henderson: Never had one. Yeah. Shocking. And I actually went on a half day course about coffee once I've smelled this and learned all about it, but it's not for me. Kelly Molson: I think the coffee one I can get. I think that there's probably quite a few people that because tea and coffee are very different and I can understand that. But to never even have tried a little sip of tea?Matthew Henderson: Yeah, nobody's ever really that impressed with it. Yeah, maybe it's TikTok and tea this year, maybe that's the aim.Kelly Molson: 2023, we're coming at you. Matthew Henderson: About two or three years ago, I tried to grip for the first time, much to all my friends amusement. And I remember afterwards my friend Ben, who's a very loud lad, and he took me one side and said, “I'm so proud of you for trying that, man”. So I just loved, like, how genuine he was. Kelly Molson: Matt, it's already my favourite podcast. Sorry, everyone, Matt's got me in tears here. All right. Okay, let's start where it all began, shall we? Let's talk about Beamish. So you were there for ten years and you started out as a costume demonstrator? Matthew Henderson: Yeah, that's right. Kelly Molson: And then your path went further and further and further in. Matthew Henderson: Yeah, it was the best thing ever did. So, like I sort of mentioned, my grandma used to run a nature reserve, a little small cafe and gift shop, and she would let me organise the Christmas tree fairs when I was little. And sometimes I do little markets and fundraisers and stuff. So I think, looking back, I was always sort of destined for a career in tourism from that, because my mom always laughed that I was more excited about seeing the gift shop than I was the attraction a lot of time. When you look back, it's so obvious, really, but from there I started volunteering at the Falconry Centre, which is obviously where Bug the Owl came from, and got really interested in the sort of business side of it and the customer service side.  Matthew Henderson: And I was studying business at college, a six month college, and they said to me, "why didn't you go and try somewhere else on work experience?" And I was like, "no, I'm going to work at the Falconry Centre. That's my sort of thing I'm going to do". And they were like, "Why didn't you just go for four half days, like four afternoons to Beamish, which was about 20 minutes up the road, and just see what it's like?" And instantly, within about an hour of being there, I realised it was the people that I loved working with. And for all I loved the animal side, that it was that tourism, that business, that people and that culture that I loved. Matthew Henderson: And then, yeah, from there, I think it's sort of seven different jobs, but progressed from work experience to being a volunteer to then a costume demonstrator, and that's how it kind of started. Kelly Molson: Amazing. So many people start their career at one level in an attraction and just work and that's what happened, isn't it? So ultimately, you ended up as head of commercial operations. Matthew Henderson: Yeah, several different jobs, and was really fortunate with my time at Beamish that I did an apprenticeship, which I'm really sort of proud to have come from a non traditional route into the sector and then did an assistant role and an officer role and started did a maternity cover. And all these sort of real brilliant opportunities from Beamish led to that head of commercial role, which was final role at the museum. Kelly Molson: Yeah. So Beamish, to give context to people that haven't been to Beamish, and don't understand what it is. It's a living museum, isn't it? And you've kind of got like little mini attractions within this attraction itself. It's absolutely incredible. Matthew Henderson: Yeah, definitely. It's a living museum. It's around 400 acres in size and Beamish tells a story of everyday life in the Northeast in various different time periods. But the majority of the buildings have been moved brick by brick or stone by stone and recreated. So the buildings themselves are as much as part of the museum and the museum's collection as the object inside it. But they use everyday objects to tell the story of life in the Northeast. So rather than having it in a glass case and obviously there's a need to protect some object in the museum's collection and stores, sometimes it's replica. But the majority of real collections that have been really used, whether that's a teapot or a post tube or how can that history be brought to life? So, yeah, there's some amazing museum living museums around the world. Matthew Henderson: I think Beamish is one of the standouts, really.Kelly Molson: Yeah. I think the term immersive is being thrown around, like, a bit willy nilly at the moment. But for me, that is a really immersive museum experience, isn't it? Because when you go, people are in traditional costume and you can go and see things being made. Like, Matt very kindly people that are listening that won't be able to see this, but Matt very kindly sent me some sweets in the post from Beamish, which I'll just show on camera here. And the sweets get handmade in the shop and you can go and see that happening. And using all the traditional methods, So it is a fantastically kind of immersive museum experience that you can get involved in. So everything's going swim and knee and then all of a sudden there's a global pandemic. Life takes a bit of a turn, doesn't it?Matthew Henderson: Yeah, definitely. So I was working on product development at Beamish at the time, so we've been doing a lot of really exciting work about how could we use the museum's collections to create products that truly reflected that experience. And Beamish is a dream for that kind of thing, because, like you say, there's so many sort of hands on opportunities and there's so many stories to be told. And I think one of my favourite things about working in Beamish was that you have these pockets of specialism right around the museum. So you could go and have a conversation with the curator of transport and learn the intricacies of sort of steam and charms and buses and then try and come up with product from that. Or you could go and speak to the garden team or the horse team. Matthew Henderson: So were making all this sort of exciting product and then, yeah, the museum was on the rise. Visitor numbers have been going up, income had been going up, and then, yeah, the gates were shut and 95% of the income comes from visitors. And suddenly there was a need to try and diversify and to engage that audience, which is where some of the sort of work that we did during lockdown came from. Kelly Molson: And some of the things that you did are absolutely brilliant. So I saw you speak at the Museum and Heritage Awards last year and you shared some of the things that you did during lockdown that helped to drive revenue and they're so good. Some of the examples that you shared are just so creative and so genius. Can you tell us a little bit about some of them? Matthew Henderson: Yeah, so the first thing we did was set up an online shop. So the idea being that we didn't want it to feel like a traditional online shop, we wanted it to reflect the museum experience, where you can go into the sweet shop and buy sweets, you can go into the cooperative store and buy biscuits, you can go into the various different sort of exhibits and participate. Like the chemist, for instance, has a cold cream that's a recipe from 100 years ago. So we set up that online shop and literally between a very small team of used our existing ticketing platform. And it was a little bit like an episode of The Apprentice, really. There was like no budget, there's a half a platform there for us to use and how could you turn this around? Matthew Henderson: And I think because everyone at Beamish had such passion for it. It was a very concerning time, but also a very exciting time, thinking that we could try and drive some income. And we started seeing support from around the world. People were ordering these sort of tins of sweets and all this sort of product development work that we'd been doing. It was actually perfectly aligned that we had these unique products that could be sold. And then we started to think, well, how else could we use online? So the Head of Learning, Simon Woolley, who's a brilliant person, he started doing school lessons. So he would do murder mysteries online and Victorian school lessons for schools around the world. Me and him said, “there surely must be an opportunity for home schoolers here”. Matthew Henderson: So we started putting Victorian lessons on for home schoolers where they could order a slate and pencil in the post from the online shop and then Simon would essentially sort of scare them for an hour at the Victorian Headmaster. And the day was basically with the parents that we look after your kids for an hour, you have an hour off and they can participate in this living museum. Then we did things like afternoon tea deliveries. So we have famous of amazing bakers. They came to the museum and created these unbelievable afternoon teas along with tea and coffee that were sourced from local supplies and branded as Beamish specific blends for them. And we sent out costume staff to deliver them. Matthew Henderson: So you could only order them, you could order them from around the world, but they would only be delivered in the Northeast because we wanted to deliver them by hand, safely, but in full costume. And I remember a quote that came from Jeff, who was one of the costume team that was delivering them and he said, "people ordered them from as far and wide to the nearest and dearest, the United States, Australia and Europe. And occasionally there were real tears of gratitude from the receiver where it felt a privilege to be bringing a ray of happiness to someone." And that sums it up for me, really. Kelly Molson: That is incredible, isn't it? Matthew Henderson: Because it wasn't only about generating income, it was about keeping connected with that community. And 50% of Beamish's audience is local, so being able to sort of literally go to the doorstep of 1200 people, which is like the equivalent of visiting every family that came on a bank holiday. If you think in terms of scale of two or three drivers out there for a few weeks delivering them and that was a really special thing. And then I think probably we still we started wholesale ventures, we started selling to the likes of Fenix and farm shops when retail shops could be opened. But museums and visit attractions weren't just a diversified income and that was like, again, about generating income, but also that connection with people. Matthew Henderson: And it was really exciting for those shops when Beamish returned up in full costumes with these handmade sweets and keeping that name out there, that sort of museum alive. But I think for me the most special thing was were faced with the prospect that maybe Father Christmas has grown, wouldn't go ahead and how could we do an online offer of that was the challenge put forward. So we did for 13 hours a day, we did zoom calls with Father Christmas around sort of well over 1000 children took part in that.  And every ten minutes, Father Christmas would call a different family and would have these absolutely amazing moments where grandparents would join in the call and seeing their children engage, their grandchildren engage with Father Christmas. Matthew Henderson: And you would see parents, grandparents just in floods of tears saying these really special moments because we could collect information in advance that Father Christmas could use to make it even more special. And really did sort of bring the magic. So that was me and Father Christmas and a small team for sort of hours a day and it was just a really special way of connecting with our audience. Kelly Molson: There's so many different ideas there as well, Matthew. I mean, obviously you've got your team around you as well. How did you go about working out what you were going to do? Because I can imagine that there were more ideas that actually didn't happen as well. Right, so how did you work out that process of going, yeah, that's the one, we can run with that. No, these ones, they're just not going to work for us. Matthew Henderson: I think essentially there's a little bit of looking at the resource that was available and the sort of finances behind it. If it was a nice thing to do, was it at least going to sort of generate a small income and then what were the things that were going to really drive income from the museum? And Rhiannon Hiles is the CEO of Beamish, was incredibly supportive as she was sort of leading the museum and me and her would have these conversations where one of us would come up with an idea. And the Father Christmas thing actually started out it was going to be pre recorded videos and it was her that said, “no, this needs to feel exactly like the experience of the museum. We need to create that magic”. Matthew Henderson: So, yeah, just really great support from her, really great team that were willing to give everything a go and it was just a real chance to bring commercials to the front of everything the museum was doing. And I think from there we really did connect with that audience. I remember one of the Father Christmas calls, a parent had written that a child no longer believed in Father Christmas because the last time they saw him was in America, and he has an American accent. And our Father Christmas, luckily, could speak different languages. So straight away he said, "loving to meet you". If it was Bethany, he said, "Love it to meet you, Bethany. I saw you last time in Florida, didn't I?" And you could see a little bit of magic. Matthew Henderson: He said, “the thing is, wherever I go, I change my accent, I change the language, like when I go to France”. And then spoke in fluent French, and you could see this kind of like moment where the magic was just literally back in that house. It's like on a film where you sort of see the sort of stars coming back in and it's back to life, and you could see the joy in her parents face. And you think, if we hadn't been allowed to do those calls, what would that magic have been for her in these horrible circumstances? Equally, on the flip side, our Father Christmas only really knew French and English. Matthew Henderson: We were hoping there's not going to any last minute request as we kind of moved on the conversation. Kelly Molson: So you saw magic in one window and sweat in another window.Matthew Henderson: Behind the zoom screen. Yeah. Father Christmas sometimes had a little auto queue that I could give him prompts on, and we had a great time doing those things. Kelly Molson: It's incredible to go to that level of detail as well. To be able to put that magic back is absolutely phenomenal. What you mentioned, you said that everyone was willing to give it a go, and I think that's something that's really important to talk about because there was a level of like during the pandemic, well, let's just try it, right? What can we do? Can't do anything worse than actually is what's happening, right? So let's just give it a go. So people were quite brave in some of the things that they were doing. Do you think that's got lost a little bit now? Do you think people are a bit more cautious about what they're doing? Matthew Henderson: I think there's definitely a thing where the day to day takes over again, and I think there's a real opportunity to look at sort of strategy and given the opportunity for teams to come up with ideas, creative ideas, and then allowing them to happen, I think, with Beamish, I'm not certain we would have made an online shop within the last few years because you managing multiple different exhibits, outlets, operations, and it was never sort of creeping to the top of the priorities list.  So I think the pandemic offered an opportunity to really question what you were doing and like, I said, give things a go. And Beamish has certainly carried on that sort of innovation with Rhiannon Hiles, CEO, I'm sure that will continue.Matthew Henderson: But, yeah, I think there is perhaps a thing where the day to day takes over and I think it's maybe coming together through things like the podcast that you do and the work at  Association for Cultural Enterprise does and Museum and Heritage Show and hearing those inspirational stories. And I think we've all got those moments where you sit and hear somebody speak and then you just can't wait to get back to where you work to try and sort of pivot from that point, really. Kelly Molson: Yeah. It's the same with me, to be honest. I went on a new business and marketing workshop last week and came out of that completely and utterly inspired by the people that were delivering the course, by the people that were on the course with me as well. And now we're kind of back in the day to day doing. You have to really be careful to make sure that you carve out the time to do those things, don't you? You have to give time for innovation, you have to give time to be creative because you need the headspace to be able to actually do it, don't you?  Matthew Henderson: Definitely. And I think if you're working in a visit attraction, there's a lot to be said around the fact that it is a joy to work in these places, because the whole purpose of them is to bring joy to people. So for me, it's often about sort of standing and looking at the attraction, walking through it when it's busy, sort of hearing those conversations, working front of house. And then I always find that at the moment when you realise, for me, I started as a costume demonstrator and that was the thing that I loved. Every time you got the opportunity to work with the visitors, to work with those people, it reignited that passion of, this is why we're here. So for all in management, you might sort of step further away and you might be more in sort of meetings and the like. Matthew Henderson: I think it's about still being connected and realising why we're all in this industry. Kelly Molson: Yeah. Off podcast earlier, when Matthew and I were chatting, we actually had a conversation about how our earliest memories are from attractions, aren't they? They're from places that we've been to, so I can remember one of my earliest memories is feeding the ducks, a place called Forty Hall in Enfield. It's a lovely heritage home. It's got beautiful grounds. It was really close to where my nan and granddad lived, so we used to always visit my nan and grandad and then go there afterwards. And it's one of my earliest memories of really happy times. And it's a visitor attraction, so we have to remember the impact that we're having on people from a really young age. And that's a huge responsibility and also something wonderful to be part of. Matthew Henderson: Yeah, completely. I went to Sovereign Hill in Australia, which is a living museum, a few years ago, and one of their directors said to me, "it's an honour to bring joy to millions of people". And often you might see that joy firsthand, but then it's like you say, you would never really know the impact of that work. You would never know that people like you and me are talking about feeding the ducks all them years later. And I think it's every time you get an opportunity to create something or to work with someone, it's about making it the most special thing and that's how you get that legacy. Matthew Henderson: And I think for Beamish in particular, the people of the Northeast have a real love for it because everybody has a connection to it, whether they donate as an object, whether they know somebody that used to live in one of the houses before it was moved, whether they went there on a school trip. And I think it's about working with all those generations. And I love the idea that we might create retail products and you don't really know where in the world they end up or who's going to treasure them. And it's a real honour and I think you have to keep remembering that, especially when sort of day to day work maybe sort of takes over or feels a little heavy. Kelly Molson: Yeah. So you've moved on from Beamish now. Let's talk a little bit about some of the things you're doing. I'm a recent Trustee of the Museum of the Broads, which is quite a big responsibility, actually, and I'm really enjoying it, but it's all quite new for me. But you've been a trustee for quite a while, haven't you, for the Association for Cultural Enterprises? Matthew Henderson: Yeah. So off the back of the work that Beamish did during lockdown, I've got the opportunity to speak at the Cultural Enterprise Conference and then met some of the team there and had kept in touch with Jill, who's the brilliant CEO. And then yeah, the advert went out that they were looking for trustees and it was one of those things I spoke to Rhiannon at Beamish and sort of said, "do you think you would apply for this?" And she was saying, "Well, I think you should." And it said, "Why didn't you give this a go?" And I think that's what I was really asking was, "should I give this a go?" So I applied and interviewed and, yeah, it's been one of the best things ever done, connecting with the work of the association, but also the other board members. Matthew Henderson: So sitting on a board for me, like some of my sort of industry heroes, really, and getting to hear them speak. And sometimes I'll be in these board meetings and I'll realise I haven't spoken in a little while because you're so busy listening to them and you kind of forget that you're part of it, really.  So, yeah, they've been really welcoming to me and been a big part in the decision to give this new venture a go. Kelly Molson: Yeah. So this is exciting. So I am going to guess that everyone that you've been speaking to there has been really supportive of this. But you have jumped in with 2ft and you've set up a new consultancy. Tell us a little bit about it. Matthew Henderson: So where it came from was, through the work that I've been doing and the work for the Association for Cultural Enterprise, people had been very kind in the sort of words that they were saying about some of the work we've done. And then often I was visiting other attractions or meeting them and helping to come up with creative ideas. So the new sort of venture is allowing that to be a full time thing for me so that I can offer more support to these organisations, whether that's on product development, whether that's on community co production, creative strategy. So, yeah, it's a very new thing, but really exciting. And like we sort of said at the start, I think from that moment of helping my grandma at the nature reserve, you kind of look back and it was always meant to be that you would work in tourism and then this path has come quite naturally, really. Kelly Molson: It's really exciting. And congratulations on getting set up and taking the big leap into doing it for yourself. How do you start this process with an attraction? Because I guess just thinking about what you've been through at Beamish, I mean, it was perfectly set for all of the things that you did. You've got this amazing heritage there, you've got these artefacts that you can take design elements from for packaging and everything kind of came together so beautifully. How do you start to look at that, doing those things in a different organisation? Matthew Henderson: So I think if it's a product development, there's a lot to be said around, hopefully getting to know the team that are working in the shop. They'll know what sells well and what doesn't, and if they have any data to sort of back that up. But a lot of the time, those informal conversations of, "I wish we had a magnet wave exxon”, or speaking to the front of house teams of what are the things that the visitors find emotive, what do they laugh at? What do they cry at? What do they take a photograph of? And then, how can we draw inspiration from that to create product ranges? And that's a lovely challenge and it takes working with the team, I think, because it's a new venture. Matthew Henderson: One of the things I'm really keen on is that the support isn't a standard package, so depending on the attraction, I can sort of flex up, flex down and take different approaches, but very much about putting those people at the heart. It's not a consultant coming in to say this is how you should be doing it's more about allowing them to discover this is the different way you can do it. And we don't all have to have the same I keep using magnets, but magnets or food and what are the opportunities to support local, to create different things to be sustainable in terms of packaging and environmental impact? So, yeah, really exciting. But it's about putting those people at the heart of it all, I think.Kelly Molson: Because we talk quite a lot, don't we? About having things that are niche, like products and things on your shelves that you can only get at that attraction.  Not just the blanket. Everybody's got these things. It's just another thing with the logo on it. And I think there's also a big part about at the moment especially, where we still don't really know what's coming this year. Attractions, I guess, still pretty nervous. They've had a really rough time the last few years and this year might not be that much better, we don't know. But it's thinking about what more they can do with what they already have. So looking at the products they already have and actually can we improve those rather than something from scratch? What more can we do to make this better? Matthew Henderson: Yeah, definitely. And I think people understandably in the current climate are even more cautious with money. So it's about making sure that it's an experience, that the experience doesn't stop when you get to the gift shop door that carries on. So how can you create product that is reflective of that amazing day they've had that memory and that they can take a piece of it home? And I think that's the challenge and one that is really exciting to work with organisations and attractions to do and not always the most expensive thing to do. I think there's always ways to find smaller suppliers, local suppliers that can offer that bespoke and offering support both ways. Matthew Henderson: So if it's a small producer that works in a certain town, reassuring them that, "look, it is a risk for you, it is an investment for you to partner with an attraction and to do something bespoke but look at the benefits when this happens”. What can we put in place to work both sides? Do we make an agreement that we'll keep stocking it until you've run all those labels out? Because those labels might be a big investment for a small company or a small business. So, yeah, it's adaptable solutions, but making sure experience is key, I think.Kelly Molson: That's really nice as well, isn't it? Because it builds the partnership between local organisations and therefore you're kind of actively both promoting each other. Matthew Henderson: Yeah, completely. And I think especially now, I think there is so many from lockdown. A lot of people change their lives, didn't they? And a lot of people set up as local producers or suppliers. And if they were there before, I think they had a really rough time during that. And that was one of the things with the work at Beamish, was really support and local and it's such an exciting thing to find a coffee supplier or a tea supplier. Not that I'd be sampling either of them.Kelly Molson: Wasted on you. Matthew Henderson: Yeah, a fudge supplier, and bring them into the heart of the thing that often they pay to take their family to. And how can you find opportunities to involve them? So could they go to morning briefings and bring everyone a cup of tea to try it? How do you make sure that the person stands in behind the till has as much passion about that coffee as the person that makes it? And it's by showing them that connection that every time they get an order that there's sort of a celebration in that office. Really, that, "wow, look, we've had another order from this organisation". Our business is strengthening and it goes back to the point where the customer is buying something and you want that person selling it to have as much passion. Matthew Henderson: So a lot around staff ownership, I think, is quite key with it. Kelly Molson: Yeah. I love that idea of celebration, isn't it? That's really important, isn't it, to drive that kind of passion for what you're doing. Matthew Henderson: Yeah, completely. And I think in all of our own businesses, often that's a private thing, isn't it, to celebrate it and while we're chuffed, because you have to kind of look cool and as if you don't really need the work or don't. But actually, it's about sort of really celebrating those moments. And I think through the work that the Museum and Heritage Show do and the Association of Cultural Enterprise, I think it's about celebrating those moments and really enjoying it on a bigger scale. But for those local producers, I love the idea that someone might buy something local and have a feel good moment. Matthew Henderson: So, yeah, it's really nice to buy something that's a memory or a part of the attraction, but also that feel good of supporting the attraction, which is often a charity within the cultural heritage sector, but then also supporting local and UK businesses. So, yeah, there's a lot of lovely moments to be had, I thinkKelly Molson: Isn't there? I've got, like, a big grin on my face while we're chatting about now. It's lovely, Matt. And I think, actually, we can't talk about celebrating without discussing your recent award, because you won quite a fantastic award recently, didn't you? Let's talk about it. Let's celebrate it. Matthew Henderson: Thank you. Yeah, it was an amazing thing. So my great friend Matthew Hunt, who was formerly at the Science Museum, nominated me for Rising Star, the Cultural Enterprise Awards. And then I was sort of blown away that he would even consider that and then somehow won that. And literally this isn't something maybe I shouldn't be saying on the podcast, but I was literally talking to the person next to me and didn't hear because I didn't know that ever seen that I would win. So went up and was like, over the moon to win. And to be in that room full of those people years was I remember getting back to the hotel. I just couldn't sleep. Sort of reliving that. But then actually, there'd been a vote for the overall winner during the conference and amazingly won that as well. Matthew Henderson: So, yeah, it was certainly something that it was something that sent to my mom, really, a photograph of those two awards. And then the museum had great success as well, with Best Shop for the market stalls, a lot of market stalls that they did in the museum. And heritage awards and the Pandemic Pivot award. And best products for the cold cream and the chemist shop. So it was lovely as a team, really, at Beamish to celebrate those wins. And Allison, who's the stock manager at Beamish, we had a little shelf for those trophies and it was just in our little stock room. But it's a really special thing for a team that had sort of been brought to the front through lockdown because of the needs. Kelly Molson: I think that's wonderful and it's really good. Like you say, it's really important to celebrate all those little wins and they're big wins and they definitely need to be celebrated. It's been phenomenal talking to you today. Thank you so much for coming on. We always ask our podcast listeners to recommend a book that they love for us, something that might be something that they just enjoy reading to their children. It might be something that's helped shape their career in some way. What have you got for us today? Matthew Henderson: Thank you. So I'm actually, in between leaving Beamish and this new venture, I had four weeks off where I went to the movie theatre to volunteer. So my thing was that I was going to take loads of books and to sort of read. And actually being a walking by lines in the middle of the night and not being able to sleep was a need to do that. And I read a book called A Bit Of A Stretch by Chris Atkins, and it's not a book that would normally jump off the shelf to me, but it's a real story about his time that he spent in Wandsworth Prison after being involved in a tax avoidance scheme. And it's this day by day diary of his time in Wandsworth. And the reason that I picked that is previously, Johnson King hearing outreach, working in prisons.Matthew Henderson: And I think at the moment, everyone's looking at the things that we can see in terms of cuts and the things that need support, but actually, for prison and sort of rehabilitation, it's behind a wall. And we never sort of look at it or think about it because it's not in many of our day to day lives. But that book and that sort of time for the work that I did in there really brought those people and those people that work there to the front. So I would recommend that I feel like every person in the country should have a copy of that book and it's just the most emotive funny book that I've ever read. So, yeah, I would definitely recommend it. Matthew Henderson: You could keep out the lions roaring over the top of it, but certainly I would recommend to anybody to read that. Kelly Molson: Brilliant. That great recommendation. Never been recommended before either, so this is a new one for us. Well, listen, if you want to win a copy of that book, as ever, if you go over to our Twitter account and you retweet this episode announcement with the words, I want Matthew's book, then you'll be in with the chance of winning it. It's been brilliant to have you on, Matthew. I'm so glad that everybody recommended you to come on. I'm so glad that I took their advice. Your new venture is called Creative Ideas and Solutions. Your website address is your name, right? Matthew Henderson: It is, yes. It's MatthewHenderson.net. Kelly Molson: There we go. We're going to put all of that in the show notes, so if you do fancy a chat with Matt, you'll be able to find him there. Matt, keep being you, because, honestly, this has been such a delight to talk to you. I've loved every single minute of it. I hope Bug is well and continues to be your best bud. Matthew Henderson: Thanks so much for the invitation here. It's a real honour. So thank you for that. Kelly Molson: It's been great. And maybe you'll come on again. Maybe come on again next year and you can tell us how things have been going. Matthew Henderson: Yeah, that'd be amazing. Yeah, I'll bring Bug with me. Kelly Molson: That's what I was hoping for. 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.

“If it works, I say it's my team,” says Matthew Henderson, the CEO of the project management consultancy company Kolme Group. Throughout the years Matt has hired more than 1000 project managers and has worked with all sizes of businesses from startups to Fortune 500 companies. Today we talk about the beginnings of Kolme Group, their partnership with ClickUp and TimeJam, the qualities Matt is looking for in a project manager, the importance of clear communication within the company, and the right set of tools for your size.This Podcast is brought to you by Growit Group and produced in collaboration with Circle Audio.Get in touch with Matt:Email: matt@kolmegroup.com Linked In: https://www.linkedin.com/in/hendersonmatthewa/ Kolme Group Website: www.kolmegroup.com Support the show

Do you have a bestseller in you? Would you like to help discover tomorrow's bestselling books, authors and writers? Then join us live every Sunday to take part in POP-UP SUBMISSIONS, the net's first live and open manuscript submission event! You'll learn the tricks of the trade – direct from publishing professionals, bestselling authors and of course your host – literary agent Peter Cox. Each week we look at five submissions. Then it's up to you to tell us what you think of each one – and to VOTE! Each month's winner is fast-tracked straight to a leading publisher for serious publishing consideration. So join us and be part of the most exciting thing to have happened to book publishing since the bookmark... POP-UP SUBMISSIONS! Today's submissions are: * Beyond the Bounds - Memoir by Anna Meryt; * The Weight of the World - Memoir by Rebecca Quinlan; * Mabel's War: Love and Hope Beyond the Blitz by Mabel Hewitt - Memoir, Military, History by Matthew Henderson; * A Twenties Scandal, True story of an 'utterly immoral novel' and the First World War chaplain author - Biography by Simon Keable-Elliott; * Felix - Memoir by John Buchanan-Nicol. Featuring Special Guests Kate Salisbury and Kaylie Finn! Join us live in the YouTube chat room every Sunday at 5pm UK / 12noon EST Make a submission: https://subs.litopia.com Audio podcast: https://pop.litopia.com Our Narrators: https://voice.litopia.com Vote on today's show: https://vote.litopia.com #writingcommunity #writingtips

We have some stunning native flora in Victoria, as well as around the rest of Australia, and many of the most beautiful plants you can imagine are at-risk or endangered. What if we brought some of those plants into cultivation in order to preserve them?Royal Botanic Gardens Victoria (RBGV) is doing just that with their Raising Rarity program, and in this episode, Karen Smith, editor for our sponsor Hort Journal Australia, interviews 2 gardeners from the Botanic Gardens, Dr Megan Hirst and Matthew Henderson, about this fantastic initiative.Meg and Matt wrote an article for the Journal, along with a previous guest Russel Larke, called "Raising Rarity: A community approach to plant conservation", which is linked below.Make sure you subscribe to Hort Journal Australia so you receive a physical copy of the magazine every month to read in the smoko room, while you're having your morning coffee, or on the dunny.EPISODE LINKSRead the Raising Rarity article: https://hortjournal.com.au/2021/10/raising-rarity-a-community-approach-to-plant-conservation/Raising Rarity fact sheet: https://www.rbg.vic.gov.au/media/0xrjtmhj/raising-rarity-factsheet.pdfVisit Hort Journal Australia: https://hortjournal.com.au/Contact Hort Journal Australia: https://hortjournal.com.au/contact/Subscribe to Hort Journal Australia: https://hortjournal.com.au/plans/hort-journal-subscriptions/Royal Botanic Gardens Victoria: https://www.rbg.vic.gov.au/Cranbourne Botanic Gardens: https://www.rbg.vic.gov.au/cranbourne-gardens/Royal Botanic Gardens Victoria Facebook: https://www.facebook.com/BotanicGardensVictoriaFOLLOW US ON SOCIAL MEDIATwitter: @PlantsGrowHere / Facebook: @PlantsGrowHerePodcast - Join our Facebook group!VISIT OUR WEBSITEwww.PlantsGrowHere.comLET'S WORK TOGETHERAre you in the industry or an enthusiast with something of value to share? We're always on the hunt for interesting people, doing interesting things. If you'd like to work with us send a message via our online form or a direct email to plantsgrowhere@gmail.com.

Ohio-based political operative extraordinaire Matthew Henderson joins the show to talk about the KY budget, KY and Ohio redistricting, the mess in the US Senate, the Book of Boba Fett and cryptocurrency and NFTs.

In the twenty-third episode of Geostrategy360, Viktorija talks to our Associate Fellow in Indo-Pacific Geopolitics, Matthew Henderson. They discuss the reasons several countries have decided to boycott the Beijing Winter Olympics, the case of Peng Shuai, and how China has reacted so far.

China doesn't need to spy on the West; its stooges are out in the open”.Is China the most powerful nation on earth? Xi Jinping has been accused of being the most authoritarian Chinese dictator since Mao, whilst China's economic might only continues to strengthen. To discuss what a Chinese superpower might look like, Steven Edginton is joined by the former diplomat Matthew Henderson, who spent many years working in China.Watch this interview: https://youtu.be/NxlMNPtNMyY |Read more from The Telegraph's award-winning comment team: www.telegraph.co.uk/opinion |For 30 days' free access to The Telegraph: www.telegraph.co.uk/audio |See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info. Hosted on Acast. See acast.com/privacy for more information.

China doesn't need to spy on the West; its stooges are out in the open”.Is China the most powerful nation on earth? Xi Jinping has been accused of being the most authoritarian Chinese dictator since Mao, whilst China's economic might only continues to strengthen. To discuss what a Chinese superpower might look like, Steven Edginton is joined by the former diplomat Matthew Henderson, who spent many years working in China.Watch this interview: https://youtu.be/NxlMNPtNMyY |Read more from The Telegraph's award-winning comment team: www.telegraph.co.uk/opinion |For 30 days' free access to The Telegraph: www.telegraph.co.uk/audio |See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In today's episode I'm talking with Matthew Henderson, Senior Pastor of Gerrard Street Baptist Church in Aberdeen. I found this to be a very eye opening conversation that helped to reduce some of my ignorance in regard to the Christian faith. Matthew talks at length about his true awakening to God that came from the realisation that he could be in relationship with God as opposed to just the 'doing' aspects of faith. He outlines practices and ways of communing with God that I found were quite similar to my own practices, finding much common ground. For example, he highlights feeling God in his chest in a similar way to the heart chakra being the place where people feel true love. One of my favourite moments is where he says not to allow the practices to become ritualistic and that to not get up from your knees until you have experienced him. I think that very much talks to the importance of a heart felt intention to engage freshly in daily practice which transforms it from rote habit, to a true present moment awareness. The podcast was meant to be released a couple of weeks ago, but there were some technical problems with it, a hint of which you will hear around the 25 minute mark. Apologies for that and apologies to Matthew as we did record quite some time ago. However, it's now here, and ready to be heard.  If you enjoyed the episode, please subscribe, and if you listen on Apple Podcasts, leave a review. If you wish to get in touch for any comments or feedback, please email admin@practicaltranscendence.com. There is also a Facebook page that people can join, and there will soon be clips and episodes on YouTube as well as postings on other social media sites. Until next time.

Hear how an apprenticeship at sixteen took Matthew Henderson away from a potential career training owls for a living(!) and helped mould him into one of the sector's most creative and enthusiastic leaders...

Security can be tricky, especially when comes to serverless. Azure App Service Auth (also referred to as “Easy Auth”) does provide some support for adding auth to your applications with writing minimal or no code.In this episode, Christos is joined by Matthew Henderson from the Azure Functions team to show[01:11] - What does EasyAuth do?[04:18] - What are the supported providers ?[06:10] - Setting up an identity provider (DEMO) Useful LinksAuthentication and authorization in Azure App ServiceIntroduction to Azure FunctionsMicrosoft Identity Web authentication library

Security can be tricky, especially when comes to serverless. Azure App Service Auth (also referred to as “Easy Auth”) does provide some support for adding auth to your applications with writing minimal or no code.In this episode, Christos is joined by Matthew Henderson from the Azure Functions team to show[01:11] - What does EasyAuth do?[04:18] - What are the supported providers ?[06:10] - Setting up an identity provider (DEMO) Useful LinksAuthentication and authorization in Azure App ServiceIntroduction to Azure FunctionsMicrosoft Identity Web authentication library

Susan B. Wilde, Ph.D, Associate Professor of Aquatic Science at the University of Georgia, joins host Lauren Richardson to discuss the results and implications of the article "Hunting the eagle killer: A cyanobacterial neurotoxin causes vacuolar myelinopathy" by Steffen Breinlinger, Tabitha J. Phillips, Brigette N. Haram, Jan Mareš, José A. Martínez Yerena, Pavel Hrouzek, Roman Sobotka, W. Matthew Henderson, Peter Schmieder, Susan M. Williams, James D. Lauderdale, H. Dayton Wilde, Wesley Gerrin, Andreja Kust, John W. Washington, Christoph Wagner, Benedikt Geier, Manuel Liebeke, Heike Enke, Timo H. J. Niedermeyer and Susan B. Wilde, published in Science.

In this episode we touch base with former league secretary Matthew Henderson.

Professor Karol Sikora talks about mask wearing enforced in shops. John McTernan speaks to Mike about Labour MPs being silenced over an antisemitism report. Matthew Henderson, from the Henry Jackson Society informs Mike on Huawei. Tom Whipple, Science editor of the Times takes the homeschooling segment. Check out his Chemistry text book, 'Get Ahead in Chemistry.' See acast.com/privacy for privacy and opt-out information.

Matthew Henderson from the Henry Jackson Society starts the show with China. Conservative MP Chris Clarkson tells Mike ahead of the Mini Budget what to expect from the Chancellor. Professor Karol Sikora discusses an antibody study, that suggests herd immunity to Covid-19 is 'unachievable.' Caller Marie speaks to Mike about Care Homes, and finally, Nick Freeman, Criminal Defence Lawyer talks about how unsafe e-scooters are on the road. See acast.com/privacy for privacy and opt-out information.

We often talk about geopolitics in terms of superpower competition - at the moment, particularly between the US and China. But where does this leave mid-sized countries like the UK? How should they respond to China’s already large and ever-growing influence over global affairs - do they need to pick sides, or is a more delicate balancing act required? Issues like Huawei and Hong Kong lend these questions a particular prominence in the UK at the moment, so this week we've invited two former British diplomats to debate them. Kerry Brown is Professor of Chinese Studies at King’s College London and an Associate Fellow at Chatham House; and Matthew Henderson is Director of the Asia Studies Centre at the Henry Jackson Society. What does the UK's experience of dealing with China teach us about an emerging new world order? And most pressingly for the UK and countries like it - what leverage - if any - do middle powers have in it?Support the show (https://twitter.com/AsiaMattersPod)

Michael speaks to Matthew Henderson, former British diplomat in China and the Director of Asia Studies Centre at the Henry Jackson Society, who has co-authored a report saying China should be sued under international law for trillions of dollars over its initial cover-up of the coronavirus pandemic which so far has caused more than 60,000 deaths and trillions of dollars in worldwide economic damage. The report claims that the Chinese government’s early handling of the disease and failure to adequately report information to the WHO breached Articles Six and Seven of the International Health Regulations [IHRs], a Treaty to which China is a signatory and legally obliged to uphold. These breaches allowed the outbreak to rapidly spread outside Wuhan, its place of origin.

AzureABILITY host Louis Berman discusses Azure Serverless with Matthew Henderson, or as he likes to refer to the dude: SERVERLESS GOD. Listen in as Louis and Matt talk all things Severless: Function Apps, Logic Apps, security, performance, durability, gotchas, and a whole lot more.----more---- Matthew Henderson is a Senior Program Manager at Microsoft working on Azure Functions and Azure App Service. His primary mission is to unlock developer productivity by removing barriers to identity and integration. He loves helping developers leverage serverless solutions to get more done and is proud to have worked on Azure Functions from its outset. Outside of computing, Matthew is a runner, a volleyballer, and a culinary adventurist.  To learn more about Azure Serverless, be sure to check out the following links.  As a heads up, if you click on no other link you'll certainly want to click on the last: "Serverless Compute Options in Azure.  This quick video is the perfect way to get you up to speed with Serverless: Azure Serverless Azure Functions Documentation Azure Functions on GitHub @AzureFunctions Serverless Community Library Customer Stories Serverless Compute Options in Azure One more thing.  If you have kids, know kids, want to help kids--maybe even like kids!-- then be sure to check out http://kodable.com.  To quote Kodable founder Gretchen Huebner: "...kids that are introduced to programming early on are more likely to pursue it in college..."  Just sayin'... Oh yeah, one more (more!) thing. Visit http://azureability.com for show notes and additional episodes.  Also, if you like (or even hate!) what we're doing, please take the time to share your comments and suggestions. CREDITS: Louis Berman (Host); Matthew Henderson (Guest); Gretchen Huebner (PSA); Vincent Tone / PremiumBeat (Music); Heather Walsh (Intro/Outro); Cameron Tomisser (Engineer); East Coast Studio (Editing) TRANSCRIPT: https://www.videoindexer.ai/accounts/1c5a0342-11e8-4e1d-b656-d0bf35b80614/videos/4c4a006dc2/; automatically generated by Microsoft's Video Indexer service (http://videoindexer.ai).

Matthew Henderson does a demo for Scott Hanselman to show how simple it can be to build serverless apps that leverage bindings for Microsoft Graph (e.g., reading data from a Microsoft Excel spreadsheet in a OneDrive folder) to avoid writing laborious initialization and authentication code, all using Azure Functions. For more information, see: Microsoft Graph Azure Functions Azure Functions HTTP and webhook bindings Create a Free Account (Azure) Follow @SHanselman Follow @AzureFriday Follow @mattchenderson

Matthew Henderson does a demo for Scott Hanselman to show how simple it can be to build serverless apps that leverage bindings for Microsoft Graph (e.g., reading data from a Microsoft Excel spreadsheet in a OneDrive folder) to avoid writing laborious initialization and authentication code, all using Azure Functions. For more information, see: Microsoft Graph Azure Functions Azure Functions HTTP and webhook bindings Create a Free Account (Azure) Follow @SHanselman Follow @AzureFriday Follow @mattchenderson

01:58 - Ahmed ElSayed Introduction Twitter GitHub Blog 02:09 - Chris Anderson Introduction Twitter GitHub 02:19 - Microsoft Azure Functions iPhreaks Show Episode #157: Azure App Services with Matthew Henderson 02:28 - Building the Azure Functions Portal on Angular 2 09:37 - The Backend 11:18 - Approaching Leadership for Approval to Build in Angular 2/Beta; Deciding Factors 15:18 - App Organization and Architectural Pattern 18:38 - Ease and Hardships of Starting the App 22:33 - Use Cases 24:13 - Browser Issues 25:39 - Debugging Augury 26:52 - Angular CLI jspm.io 28:59 - Workflow 40:08 - Observables & Streaming 41:36 - Upgrading 42:15 - Would you recommend Angular 2? 44:35 - Testing   Picks Progressive Web Apps (John) NativeScript (John) Ionic 2 (John) Billy Collins (Ward) Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek (Chuck) Audible (Chuck) Sapiens: A Brief History of Humankind by Yuval Noah Harari (Ahmed) Promise Theory (Chris)

01:58 - Ahmed ElSayed Introduction Twitter GitHub Blog 02:09 - Chris Anderson Introduction Twitter GitHub 02:19 - Microsoft Azure Functions iPhreaks Show Episode #157: Azure App Services with Matthew Henderson 02:28 - Building the Azure Functions Portal on Angular 2 09:37 - The Backend 11:18 - Approaching Leadership for Approval to Build in Angular 2/Beta; Deciding Factors 15:18 - App Organization and Architectural Pattern 18:38 - Ease and Hardships of Starting the App 22:33 - Use Cases 24:13 - Browser Issues 25:39 - Debugging Augury 26:52 - Angular CLI jspm.io 28:59 - Workflow 40:08 - Observables & Streaming 41:36 - Upgrading 42:15 - Would you recommend Angular 2? 44:35 - Testing   Picks Progressive Web Apps (John) NativeScript (John) Ionic 2 (John) Billy Collins (Ward) Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek (Chuck) Audible (Chuck) Sapiens: A Brief History of Humankind by Yuval Noah Harari (Ahmed) Promise Theory (Chris)

01:58 - Ahmed ElSayed Introduction Twitter GitHub Blog 02:09 - Chris Anderson Introduction Twitter GitHub 02:19 - Microsoft Azure Functions iPhreaks Show Episode #157: Azure App Services with Matthew Henderson 02:28 - Building the Azure Functions Portal on Angular 2 09:37 - The Backend 11:18 - Approaching Leadership for Approval to Build in Angular 2/Beta; Deciding Factors 15:18 - App Organization and Architectural Pattern 18:38 - Ease and Hardships of Starting the App 22:33 - Use Cases 24:13 - Browser Issues 25:39 - Debugging Augury 26:52 - Angular CLI jspm.io 28:59 - Workflow 40:08 - Observables & Streaming 41:36 - Upgrading 42:15 - Would you recommend Angular 2? 44:35 - Testing   Picks Progressive Web Apps (John) NativeScript (John) Ionic 2 (John) Billy Collins (Ward) Start with Why: How Great Leaders Inspire Everyone to Take Action by Simon Sinek (Chuck) Audible (Chuck) Sapiens: A Brief History of Humankind by Yuval Noah Harari (Ahmed) Promise Theory (Chris)

01:05 - Matthew Henderson Introduction Twitter GitHub Blog 03:04 - Azure App Services Parse 04:27 - Cross-platform Options 05:05 - Getting Started 07:13 - APIs 09:34 - Azure Mobile App Engagement 11:51 - HockeyApp and Xamarin Episode #152: HockeyApp with Thomas Dohmke 12:52 - Data 16:49 - Writing Your Own Backend Using Azure 19:22 - Security 29:37 - Use Cases 33:01 - Testing tryappservice.azure.com   Picks ThisCouldBeUsButYouPlaying (Andrew) Tosh's Ramen (Chuck) Fully Alive: Lighten Up and Live - A Journey that Will Change Your Life by Ken Davis (Chuck) Fitbit One (Chuck) Hamilton Soundtrack (Matt)

01:05 - Matthew Henderson Introduction Twitter GitHub Blog 03:04 - Azure App Services Parse 04:27 - Cross-platform Options 05:05 - Getting Started 07:13 - APIs 09:34 - Azure Mobile App Engagement 11:51 - HockeyApp and Xamarin Episode #152: HockeyApp with Thomas Dohmke 12:52 - Data 16:49 - Writing Your Own Backend Using Azure 19:22 - Security 29:37 - Use Cases 33:01 - Testing tryappservice.azure.com   Picks ThisCouldBeUsButYouPlaying (Andrew) Tosh's Ramen (Chuck) Fully Alive: Lighten Up and Live - A Journey that Will Change Your Life by Ken Davis (Chuck) Fitbit One (Chuck) Hamilton Soundtrack (Matt)