Podcasts about Palm house

On this weeks Anfield Wrap we look at the current Liverpool squad and what Andoni Iraola might make of what he has available to him, the opportunities for some on the fringes of the squad and how her own get the best out of his star players. Also in the show, Neil Atkinson is joined by CEO of Red Archive CIC Kate Johnson and Hayley Smallman from the Woodlands Hospice to talk about the Palm House's 'Community Gardens' project. Neil Atkinson is joined by Joel Penny, Sean Rogers and Jake Nolan. Get Exclusive NordVPN deal at https://nordvpn.com/TAW - it's risk-free with Nord's 30-day money-back guarantee! Subscribe to The Anfield Wrap for more on Liverpool's summer plans… Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recording inside three different zones of the Palm House at Tallinn Botanic Garden, with the natural reverby acoustic of the space, piped birdsong, and the sounds of various fans and heating devices. Recorded in Tallinn, Estonia by Cities and Memory. 

In The Ring with Dan Donnelly - The Palm House - Excalibur at 45

An acoustic portrait of Belfast where I visited the famous Sonorities Festival at the Queen's University where my composition VIRIBVS VNITIS for harpsichord and toy piano was performed by Yonit Kosovske and Xenia Pestova Bennett. Binaural production - please listen with headphones! A generative soundscape based on a two-dimensional random walk between four binaural soundscapes, which were recorded in Belfast (Northern Ireland) from 16-17 April, 2026. 1) Post-concert talks in the Harty Room at Queen's University after a performance by Xenia Pestova Bennett and Yonit Kosovske during the Sonorities Festival. 2) A visit to the Botanical Gardens in Belfast. 3) A walk through the Palm House in the Botanical Gardens. 4) Waiting for the bus at Grand Central Station in Belfast.

What a pleasure it was to talk to Ruth Scurr, author of John Aubrey: My Own Life, about the great man himself, who was born four hundred years ago this month. Aubrey is best know for his splendid Brief Lives but he preserved a huge amount of knowledge which historians still rely on. There are many things we only know because of Aubrey—things about people Hobbes and Hooke, Stonehenge, architectural history. We also talked about Janet Malcom, the genre of biography, and modern fiction.HENRY OLIVER: Today I'm talking to Ruth Scurr. Ruth is a fellow of Gonville and Caius College in the University of Cambridge, where she specializes in the history of political thought. But more importantly, she is the biographer of John Aubrey, one of my favorite writers, who is celebrating 400 years of his birth this year. Ruth, hello.RUTH SCURR: Hi, Henry.OLIVER: Can you begin by giving us a brief life of John Aubrey?SCURR: So born in 1626, 17th-century antiquarian, collector, early fellow at the Royal Society. Well connected to scientific and the literary circles of his day. Someone who sees himself more as a whetstone: a person who could help sharpen other people's ideas. As a recorder, someone who treasured the details, the minutiae of the lives he encountered, and pass those details on to posterity.He's nonjudgmental, witty, kind, inventive. Very, very sociable. Very good friend. But he's hopeless at self-advancement. Begins his life as a gentleman, but he inherits debts from his father and he can never really achieve financial stability.Never marries, ends up homeless and worried about being arrested for his debts. And he has to sell his precious collection of books periodically through his life to raise some much-needed cash, but he keeps his manuscripts safe. And he does this at the end of his life by putting them into the Ashmolean Museum in Oxford, afterwards known as the Bodleian, and where they still are today.OLIVER: So how many manuscripts did he save for us?SCURR: Of his own manuscripts or other people's manuscripts?OLIVER: Other people's. Because he was collecting all sorts of precious things.SCURR: Oh, absolutely. He was the person who, when someone died, would go round if he could to their house and ask what was happening about the manuscripts. He's particularly concerned, obviously, with his friends. So he had a close relationship with Robert Hooke and he wanted to make sure that Hooke's many inventions and scientific contributions were recorded.And he has this wonderful line in the life of Hooke where he says, “It's so hard to get people to do right by themselves.” And in his childhood, he had seen the fallout from the dissolution of the monasteries. He'd become very troubled by the habit of using manuscript pages which had been displaced in the dissolution. He saw them being used in schools to cover textbooks. He saw them being used to—or he heard about them at least being used—to wrap up gloves or to create stoppers in bottles. And this really troubled him from, from a very early age.And I think he has another beautiful line where he says after the dissolution of the monasteries, whereas these manuscripts had been kept safe, they flew around like butterflies. And he wanted to catch them and preserve them and to stop people letting the papers and the precious manuscripts of their relatives do the same. So he was very instrumental in rescuing manuscripts, other people's manuscripts. And then fortunately with his own, he knew Ashmole and they had the shared astrology interest.Ashmole was a very different sort of person who basically said to Oxford, look, I'll give you my collections, but there has to be a museum for them. And luckily Aubrey was able to use that museum as a safe place for his own manuscripts.OLIVER: So we know things about Robert Hooke and Thomas Hobbes and all these other luminaries of the 17th century, thanks to Aubrey. What else do we know, thanks to him?SCURR: We know what Stonehenge looked like in his day because he was a very good draftsman. He drew pictures of Stonehenge. He'd grown up in Wiltshire, he'd known those stones from childhood. He understood that Avebury nearby was a comparable monument, and he took Charles II to see it, and persuaded the king to get the locals to stop breaking up the stones, to reuse the stones, which was the practice.He also made drawings of windows because he was possibly the first person as a historian of architecture to realize that you could date buildings by the style of their windows. So we have those drawings. He was also interested in the history of costume. He did a survey of Surrey, of Wiltshire.So these are all sort of focuses in his manuscripts and people who've used them come to really appreciate how pioneering Aubrey was. But of course he doesn't finish them. He doesn't publish those manuscripts. So it's very easy really to overlook the innovation and the contribution and the wonderful imagination that he had.OLIVER: You mean if he'd published a book, he would have a much bigger reputation?SCURR: Well, I think there's two things. Yes, but in a sense, you know, the Brief Lives have been published after his death in various forms. But I think one of the most engaging things about Aubrey is that he's a modest and self-effacing person. And I already mentioned the idea he had of himself as a whetstone to other people's talents.There aren't that many people—certainly not in my life, maybe there are in yours—but who would effortlessly describe themselves as a whetstone to other people's talents. Most people want to be at the center. They're happy to have clever and literary friends, but they want a place there at the table as well.And Aubrey really was very, very invested in helping other people to do right by themselves, as he said about Hooke. And he very movingly—this is one of the inspirations really for my book that I wrote about him—he spent all that time collating the information about other people's lives. And for his own life, he puts down a few lines, a couple of facts and everything.He says, well, this could be used as the binding of a book. You know, it's sort of waste paper really. So he doesn't write his own life. Other people's lives he's going to convey to posterity. He doesn't see his own life as really being at that level of needing the attention that he gave, for example, to Milton or to Harvey or Hobbes, as you mentioned.OLIVER: He's born the year after Charles I comes to the throne. So he obviously lives through a fairly terrible period of history and very tumultuous, changeable in lots of different ways. The new world, the new learning, new religion, new politics, everything is changing. And he's obsessed with the old ways. How did these historical events—is he reacting against his time? Is he just born in a lucky time in a way?SCURR: So he was a student in Oxford during the Civil War. And you are right. The upheaval is very disturbing for his generation. It means he gets called back from Oxford by his father because it's dangerous to be there. And he's really, really upset by that because, it's like us, when we were students or our students today. You finally get away from your family and there you are in this place with all these exciting peers and access to books that you've never had before or at least to that extent, libraries, et cetera.And suddenly there's a war on and you've got to go home. So there's that disturbance. Then there is the fact that actually he was close to Hobbes. Hobbes actually was a Malmesbury man, so Wiltshire, very near Aubrey. And had come back to visit the school where Hobbes had been, which was where Aubrey was at school. And so they had met in Aubrey's childhood, and then he would've been aware of Hobbes having to go into exile. And then Hobbes coming back, of course. And that's a very important time in his life.And it's not an accident that Hobbes asks Aubrey to write his life because Hobbes knows how careful Aubrey is. And he knows that Aubrey has information that he can convey in the life. So that is really the first life that he writes. And it's different from the others. There's a different sort of origin. And it's after he's done that, that he starts to think, well, actually, you know, I can think of at least 50, 55 other people's lives. And now I've got my hand in, I might start on those as well.So in that period of upheaval there are wonderful stories. Maybe we'll look at some of the Brief Lives, but there's this amazing story that he captures in the life of William Harvey, which is a description of Harvey having been at the battlefield in Edgehill and recording one of the people who had been fighting and wounded, surviving by having the good sense to pull a dead body on top of himself, to keep himself warm on the battlefield. Things like that, which make the war very much alive. This is brutal, this civil war. It's a long time ago and we think we passed over it, but the really brutal reality of war is captured in the Brief Lives through the anecdotes and the stories of that generation that Aubrey preserves.OLIVER: How English is he?SCURR: Well, as opposed to what?OLIVER: Welsh.SCURR: Okay. Well he goes to Wales often and is very interested in Wales. I think he sees himself as English. I think he's very invested in English customs and stories and people. He's not nationalistic in any sense like that. What he's interested in is the inherited ways of living.And he's very interested in language and different dialects. That's one of the other things; he starts to collect different words. He was very aware of the Cornish dialect, for example. So I'd say it's a very decentered England that's rooted in customs, traditions, inherited stories.And there's a big place there for both the future and the past. Huge excitement about The Royal Society, English science, what can be achieved through the sharing of knowledge. But again, Aubrey's not an insular person in that respect. So, he wished he could go on the Grand Tour when he was a student. He would really have loved to have done that. It's one of the things that he actually talked to Harvey about, going and traveling as his contemporaries, for example, John Evelyn did.But Aubrey actually says—this is very typical of Aubrey—that his mother persuaded him out of it. His mother didn't want him going off on the Grand Tour. She was afraid for him. And he regretted it later in life. But it's so typical of Aubrey that he would pay attention to his mother and her anxieties.OLIVER: This interest in the present and the past—so he loves all the history, but he's in the Royal Society. One thing I like in your book is the way he talks about, oh, my grandfather still dresses in the old ways, like he's an Elizabethan, but at the same time he's doing a very sort of Baconian project. He's influenced by Bacon. Is Aubrey a sort of paradox? Does this make sense in a way?SCURR: Only in so far as lots of other people are as well. I was just looking at the Harvey life, and there's a story there about how when Harvey was a student he was meant to be setting sail with some friends. And he's stopped and told, “No, you can't get on this boat. You have to wait.” And he says, “Well, what have I done wrong? Why can't I get on this boat?” He said, “No, honestly, we need to have a word with you. You are not going on the boat.” And then the boat sinks, everyone dies. And this is apparently because the guy who stopped him had a dream that he needed to stop Harvey going. Harvey told Aubrey that story.Harvey also is—as Aubrey sort of slightly inaccurately puts it, is the inventor of the circulation of the blood. And you think, well, that's going a little bit far, perhaps not actually the inventor, but certainly the first person to discover, to understand about circulating blood.So there's another example of someone's life includes, I wouldn't be alive unless somebody had had this premonition and dream that I was about to die. Which is from a completely different world, from the rational, scientific understanding of the body or the other scientific advances that are going on at the time.OLIVER: And Aubrey's happy to just sort of coexist with both of those because of his interest in astrology?SCURR: And not just astrology. He's very interested in astrology and nativities, as he called it. In some of the Brief Lives, you see the sort of recording of the information that would be needed to cast an astrological shape for the life.But he is also interested in the fact that people believe in fairies and ghosts. He doesn't look down on those beliefs. Nor does he say that he necessarily believes in the presence of fairies or the interventions of the supernatural. But he's got a very open mind in relation to that. And certainly being simultaneously interested in early astronomy and astrology together is, to us, very striking. But then I think it was much more normal.OLIVER: Why do you think he resisted ordination?SCURR: Because he said the cassock stinks. He considered ordination several times because he knew it would be a living, it would be a way of being able to have some income, probably not very onerous duties. Some of his friends say to him, “Come on, Aubrey, it really won't be that much work. You'll just get a curate who'll do it all, and you'll get the living, and then you won't have to be worrying all the time about your paycheck. You haven't got a paycheck. It would be a living coming to you.”And on one occasion, one of the reasons he gives for not doing that is he thinks well, what if there's another religious upheaval and I have to change sides again? What if Roman Catholicism comes back and I ended up on the wrong side of it?And, again, would it really have been that difficult to go with the flow? But I think, in his own way, he had found his way of living, which was intensely sociable. And perhaps he didn't want that constraint of being a member of the clergy around him.OLIVER: Do you think he was a nonbeliever?SCURR: Well. I don't know the answer to that. I don't think so at all. I think he probably was a straightforward Christian believer. I think perhaps he'd seen enough of the religious conflicts and wars to be afraid of fanaticism on both sides. And that would fit certainly with his relationship with Hobbes.I don't have any reason to think he's an atheist. He's got a beautiful way of writing about death and there's this wonderful line he has when he says, “God bless you and me in our in and out world.” So the fact that we refer to his works as the Brief Lives because they're short, but everybody's life is brief.And even those who live, as he did, into his 70s, it feels brief. And there's these very moving descriptions of him at funerals. I was thinking about this the other day because he often records where someone's buried. And I recently wrote my first entry for the Dictionary of National Biography. I did the one for Hilary Mantel, which was a great honor and extremely interesting.And when I came back to the Brief Lives, I thought, gosh, I wish I'd put at the end of that DNB entry where she's actually buried, that would've made sense to do that. And I didn't do it because the DNB is quite formalized; they've got their formula and you need to stick to it.But maybe I'll add it in. Because it seems to me very moving to record where people are actually buried. That would fit I think with her religious sensibility, with a regard for the afterlife, and with the rites of passage at the end of life.OLIVER: What is it that makes Aubrey such a good biographer?SCURR: So I think the modesty that is in his spirit, the noticing, the minutiae that he both notices and values and his wit. He has a sensitivity to these funny and revealing quirky stories about the people that he knows. Or he finds them in the stories he's told by people who did know them.There's an eyewitness account aspect to it as well. Or at least it's an oral history. “I was told this by . . .” He's extremely precise. He'll try to assemble the facts so far as he can, and then he'll tell you what people's close friends said about them, and he will do so very, very carefully so that you know this is a story that he's been told that he's passing on.And then he doesn't pass moral judgment. He doesn't adjudicate. And finally, he thinks of himself as doing all of this for posterity and that posterity, i.e. us or the people who come after us, will find things there and he's not going to tell them what to find. He's not going to shape the life and say, this is what you should think about it.He will give you the raw materials, he'll give you the stories, he'll give you a flavor of the details of the life, and then posterity can look there and can see, for example, the disagreements between Hobbes and Isaac Newton. There are people who've written lives of Hooke and Newton. And there are people who've written lives and you can be team Newton or team Hooke. Interestingly, Aubrey is team Hooke. He doesn't write a life of Newton. And he wants, as I said, to do well by Hooke. But his way of doing that isn't to say Mr.Hooke was fantastic and Newton robbed him of lots of his ideas. He says, let me show you, let me assemble and make a catalog, if I can, of all these hundreds of contributions that Hooke made.OLIVER: When did you discover Aubrey?SCURR: So I discovered Aubrey because I was reviewing for the LRB, The Biographer's Tale, and I had come across a really interesting—and it's still in the introduction to my book—a really interesting reflection on the difference between Aubrey and Lytton Strachey, a reflection made by Anthony Powell, and I had quoted it or alluded to it in my review. And I had gone and started to read Aubrey as a result of that. So I was led to it through reviewing, via Anthony Powell, and then into the Brief Lives.But then another very strange thing happened, which is I met for the very first time, Janet Malcolm, who is someone who became very important in my life. And because she knew or had been told that I'd written this review, she read the review before we met. And she said to me, she said, “Ruth, I read your review”—and I doubt Janet Malcolm was a massive fan of A.S. Byatt, to be absolutely honest. We never really discussed that further, but she said, “I read your review and I was really interested in this Aubrey. I was so interested in what you quoted about Aubrey and the difference between his biographical approach and Lytton Strachey.”And then it sort of stuck in my mind and suddenly as I was coming toward the end of my first book, which was a totally different book on Robespierre and the French Revolution, I just knew I wanted to write about Aubrey. And I think at the time my then-husband really thought I'd gone mad actually, because you're not supposed to do that, are you?I mean, you're supposed to stick in your period and certainly build on it. So, you know, a book on Marra or even Napoleon would've been okay, that would've made sense. But to circle back to the 17th century and write about Aubrey seemed extremely eccentric.OLIVER: Well, what was Janet Malcolm like?SCURR: Oh, Janet was absolutely wonderful. She has this reputation of being sort of terrifying. And, of course, I was extremely interested in her forensic examination of biography which we had very interesting conversations about. She was a deeply kind person, extremely nurturing of younger writers, and extremely funny as well.That's the other thing that you don't associate with her sometimes from this sort of public image of a very austere interviewer, The Journalist and the Murderer, In the Freud Archives, et cetera. Actually, she was a really warm and extremely witty person.OLIVER: A lot of historians don't think biography is real history. Why do you take biography seriously?SCURR: Well, Michael Holroyd writes Works on Paper—and I love Michael Holroyd so much. And he has this wonderful line—I won't remember it exactly—but it's about biography being the b*****d offspring of history and the novel, and both are ashamed of it.And I think some of those distinctions actually have broken down. I know lots of historians who are very interested in biographical writing. I think it depends. There are certain historical schools that maybe are not so interested in lives.And to be fair, the history of ideas is—which I belong to, and in a sense I'm a rebel from—is one of those. I remember there coming a point where I had spent so much time thinking about the constitutional ideas for the representative republic in the middle of the French Revolution, that actually the French Revolution could have been happening on Mars for all it mattered about the actual sequence of events. What mattered was the structure of the ideas.And it's difficult because the school I belong to in Cambridge wants to put the ideas into context all the time. But again, by context you don't really mean people's lives; more the discourses and the conversations and the ideas of the time that are the landscape, the intellectual landscape, if you like.So I rebelled at a certain point and I was like, well, you know, I'm actually going to go through the revolution day by day because that period is short. And I think it really matters, the lived experience there. I think many, many history books quote Aubrey with enormous respect and say, “as Aubrey says,” or, “according to Aubrey,” and pull those details forwards.I suppose some history is quite instrumental in its use of biography, so it wants to draw the reader in with a few anecdotes and a little bit of what does somebody wear on their head? And who was their first love, that kind of thing. But it's perhaps not very engaged with the real work of trying to capture the shape or the feel of a life.OLIVER: And of a temperament, right? I think one thing biography gives us is that sense that a lot of these big decisions or events in history are quite temperamental. As well as being based in ideas and events.SCURR: Oh, yeah. Absolutely.OLIVER: Your life of Aubrey, at one point you tried to write as a novel.SCURR: Yeah. I had to stop that quite fast.OLIVER: Why?SCURR: Because Aubrey is too important. I didn't want to make up things for him. As someone who's come right up to that line of the history and the novel, I do think it's very clear to be on one side or the other. And again, going back to Hilary Mantel, she wrote those wonderful Reith Lectures on historical fiction.And, like her, I think that it's not about ignoring the facts or embellishing the facts. It is about the gaps. It's about imagining what isn't in the record and should have been, and trying to reconstruct that inside the novel. But at the time, I felt that the gaps with Aubrey didn't actually matter that much.There was so much there that I could pull together to give a sense of him and his sensibility. Now actually, scholars in this field will all be very, very keen to advance our knowledge of those gaps. And that's wonderful. You know, what exactly was Aubrey doing when he visited France? You know, at the time I wrote my book that seemed very unclear.I think my colleague in Oxford, Kate Bennett, knows that now and will write her own biography. And she will fill in many of these gaps that I sort of happily included in the form that I'd found for his life because giving him that first person voice, I was able to focus on the evidence that I thought had been very underused at that point.OLIVER: Now Kate Bennett did a wonderful edition of the Brief Lives with lots of excellent footnotes and investigations. And you wrote that it gave us a new understanding of Aubrey.SCURR: Absolutely. And of the lives themselves. And Kate and I got to know each other and became friends while we were both writing our books. And people we knew before we met were very keen to sort of set us against each other. So they would wind us up. I would meet someone and they'd say, “Ruth, there you are. You've written a book about the French Revolution and now you are going to write a book about Aubrey. But don't you know there is a scholar in Oxford who spent her entire academic life working on Aubrey?” And it built up a picture of fear that you shouldn't trespass on somebody else's ground.And then people would do a sort of reverse thing to her that they would say, “Oh, Kate, gosh, you've been working a long time on Aubrey and where is your Clarendon edition after all? And did you know there's somebody in Cambridge who's going to write this popular book about Aubrey?”Anyway, finally we met at a conference and we really actually just liked each other and we decided it's fine. I was doing my thing. She's doing something very different. And we became friends, and I see that as a triumph over a sort of more traditional, maybe even dare I say, male and territorial approach to academic life and to knowledge in general actually.OLIVER: Yeah. Because the two books are great complements to each other. They're not rivalrous in that sense.SCURR: Absolutely not. Kate's book, it's not just an addition. It's as much as you can ever do. It's a reconstruction of the manuscript as Aubrey left it and intended it with all the gaps and the notes to himself to fill this in. And his changes of mind and his deletions and all of that. And so it's an astonishing thing. Because it's not just a copy of it. It takes you in, it helps you understand what he was intending with those collections, as you called them, my pretty collections.And so that edition that she had been working on for a very long time came out in 2015, the same year as my book came out. And it felt like an amazing year for Aubrey. And now, we'll be celebrating the 400th anniversary of his birth. But that year, 2015, was a very special, obviously for us, but I think for Aubrey more broadly.OLIVER: How much of an influence has Aubrey had on English biography?SCURR: As we know, there's the huge influence in terms of “Aubrey says.” Open any book on the 17th century, and it will be “Aubrey says,” “according to Aubrey,” et cetera. So a huge influence in that respect. With regard to the actual form, I think it's very, very pervasive and important, and we have to look at it very carefully.I mentioned earlier the very important difference between what Aubrey does and what Lytton Strachey did. There are some similarities in so far as Strachey will go for the vivid detail. He give you these powerful anecdotes. But actually he spins them as well.And that's what Anthony Powell so brilliantly showed. And the example was of Francis Bacon, the life of Francis Bacon who Aubrey has a description of Bacon right at the end of his life, the circumstances leading up to Bacon's death where he is on Highgate Hill and he decides to conduct an experiment to see if snow will preserve a chicken or a hen as well as salt. So he is stuffing this carcass of the hen with snow. Catches a cold, ends up having to stay with a friend, sleeps in a bed that hasn't been aired for a long time, and dies. And that's the end of Lord Bacon.So Aubrey gives us all this, and then along comes Lytton Strachey. And he takes it, and he says an old man disgraced, shattered, alone on Highgate Hill, stuffing a dead foul with snow, which makes it sound like he's lost his mind at the end of his life. And then Anthony Powell examined that and he said, look, the story of stuffing the hen with snow is Aubrey's.Bacon was certainly an old man at the time of the incident. He was disgraced. He may have been shattered. No doubt at times he was alone. But Aubrey's story of stuffing the foul on Highgate Hill shows Bacon accompanied by the king's physician, conducting a serious experiment to test the preservative properties of snow and, on becoming indisposed, finding accommodation in the house of the Earl of Arundel.And so you take that same story and, as Anthony Powell says, you combine the story, the fragment preserved by Aubrey with some epithets, and you convey an oblique point. It's a biographical method for actually building up a picture of the person. And it really matters what you do with those fragments.So I think the fact that Aubrey is pretty pure about this, he gives you the fragments and another biographer might come along and think, okay, what's going on here with Venetia Stanley and dying in her bed after drinking Viper wine? Let's build up a story about that. And there was a rumor at the time that her husband had murdered her, et cetera. Aubrey doesn't comment. He just gives you the fragment. And I think afterwards, people have not only used the fragments in their own work, but they've also developed a technique of working up those fragments into whatever picture you decide as a biographer you are going to draw.OLIVER: Now as well as a historian, you are a literary critic. You review novels. You are a Hilary Mantel admirer. Who else among the modern fiction writers do you admire?SCURR: Amongst the modern fiction writers? I'm getting quite old, Henry. Lots of my people are dead now. Alice Monroe is someone I'm extremely interested in. Hilary Manel, obviously, Beryl Bainbridge, Penelope Fitzgerald. And I love the fact Penelope Fitzgerald was a biographer simultaneously with becoming a novelist.And I was thinking back to this actually, that Charlotte Mew and Her Friends—that's the title. And then the Anthony Powell is John Aubrey and His Friends. And I was thinking, is there something about these people who have a lot of friends and the biographical genre? It's interesting.In terms of younger people writing, I just read a wonderful short story by Gwendoline Riley in the latest Paris Review. “A–Z” it's called—very disturbing. Very, very good story. And Gwendoline has a novel coming out later this year, which I shall read with enormous interest. It's going to be called Palm House. I absolutely revered George Saunders, although I haven't yet read Vigil. I'm only on Substack for George Saunders and you Henry. That's it, basically.OLIVER: That shows very good taste.SCURR: Very good taste. Yeah. And a couple of others. My friend Danielle Allen's The Renovator, I also subscribe to, but very few. But George Saunders wrote a wonderful post on his Substack about maybe a year and a half, maybe more even ago, about how he found the solution to the beginning of Lincoln in the Bardo. And he wanted to find a way to tell the story of the death of Lincoln's son. It's so typical of him—and I love this—he said he didn't want the ghosts. He knew it was going to be narrated by the ghosts in the morgue. And he couldn't have them coming home one evening saying, “Oh, you know, I just popped over the wall and had a look in through the White House window. And guess what I saw?” So how was he going to get the voices in?And then he said he'd got these extracts from the letters and from the literature that he needed. And he ended up putting them all on the floor and thinking, what order shall I put them in? And that reminded me of when I was struggling to find a way to write about Aubrey. I suddenly had the idea that I could just put them as diary entries without comment.I would sort of curate these entries and things like that. So, that was a very interesting moment for me about sort of the construction and the choices that go in both to writing a novel and to writing, in my case, a sort of experimental biography.OLIVER: So Hilary Mantel, Lincoln in the Bardo, Penelope Fitzgerald, Beryl Bainbridge—there's a lot of historical fiction here. This is the genre you most enjoy. It's been a sort of golden age for historical fiction.SCURR: But those people aren't just historical fiction writers. It's very important. They have all written historical fiction, but actually they write other novels as well. It doesn't matter the order in their careers, they go in and out of it. So I would say that actually it's those people as writers and sensibilities that attract me.Anita Brookner is another example. I love Anita Brookner's novels. I also love her book on David, the revolutionary painter, that she wrote—Jacques-Louis David—that's a fantastic book. So there's a sense in which I see them as writers and the genre of historical fiction, you are right, it does cut across, but I don't think that's what I'm following. I think I'm following what I find on the page from a particular sensibility and of course a command of language, which is in all of those cases, absolutely extraordinary.OLIVER: Because they're all quite innovative as historical novelists as well. And it's not the main part of what is recognized as their achievement in a way.SCURR: No, no.OLIVER: It's been quietly a second great period of the historical novel. It seems crazy to say Hilary Mantel is our Walter Scott, but that is quite high praise.SCURR: So I think you deal much more definitely than I do with these sort of epoch-defining ideas. I think I'm just more intermittently focused on particular things that I like. I used to do an enormous amount of reviewing. I've had to stop it because—talk about being the whetstone.I was constantly reviewing when I was in my 30s and much of my 40s actually. And I don't regret it in the least. And one of the reasons I don't regret it, especially with novels, was because I would never have read all those novels if I hadn't been reviewing them.And even some of the nonfiction, I wouldn't. But here's an example: Because I'd been reviewing so much, I ended up quite early 2007, becoming a Booker judge. And part of that process is that anyone who's been on the list before they automatically get entered by the publisher—McEwen and Barnes, et cetera. Fine.And then the publisher can put forward two books they choose and they can be anything. And then they assemble a list of so-called call-ins. And those are the books where the publisher says, “Oh, please, please call this in. I mean, we didn't make it one of our two, but we think it's absolutely amazing and you must read it.” And you think, well, if it's so amazing, what were you doing not making it one of your two. But anyway, whatever, we call it in. And on that call-in list there was actually, Anne Enright's novel, The Gathering, and that ended up winning the year I was a judge.And I knew Anne Enright's writing because I had reviewed several of her earlier books, especially one called What Are You Like?, which is quite obscure. It's not the book people think of when they think about Anne Enright. But I knew because I'd done all that time in the reviewing trenches, as it were, how extraordinary Anne Enright is as a writer. And we were able to say, well, absolutely go ahead and call this in. And then sure enough it won.OLIVER: What about biography? Modern biography? You like Michael Holroyd?SCURR: Well, we've already talked about Janet Malcolm. She's a sort of anti-biographer in some respect, sort of subversive of the entire genre. I very much like and respect Antonia Fraser's historical biographies and especially her one of Marie Antoinette which, again, came out very close to when my Robespierre book came out. And it's like seeing the other side of the story and that was absolutely extraordinary.And one of the biographies I go back to over and over again I'm extremely interested in Virginia Woolf. You are obviously a fan with The Common Reader. I was looking at it, preparing for this, that she's got this absolutely hilarious short biography of John Evelyn, and it is called Rambling Round Evelyn. Do you know it?OLIVER: Yes.SCURR: It's so beautifully constructed. It's got the butterflies landing on the dahlias pretty much throughout the actual text of the short biography. But then it's got this brilliant bit where she sort of makes fun of John Evelyn. And she says, the difference between then and now is, if we saw a red admiral, we would admire it, but we wouldn't—and this is very mean of her—we wouldn't rush into the kitchen and get a kitchen knife in order to dissect the red admiral's head. Right? It's so ridiculous and it so makes fun of Evelyn.I was listening to the podcast you made with Hermione Lee. And Hermione was saying that she thought what made Woolf such a good critic was that she was very empathetic. But I also think she's capable of that kind of sharp, wicked distance as well, where she goes, I see you, John Evelyn, you are so proud of your garden, and you're actually—looked at from my point of view—a bit of an idiot in some respects as well.OLIVER: I like her because she's so judgmental, which is not a very popular thing to say, but she is. She is really capable of saying that, you know, as long as prose will be read, Addison will be read. But on the other hand, he's boring and rambling and not very good in many ways. Absolutely cutting.SCURR: No, totally, totally. Yeah.OLIVER: What about some of the sort of big names: Richard Holmes, Claire Tomalin?SCURR: Yeah. Oh, Claire, absolutely. I mean, goodness, they've been such influences on me, both of them. Absolutely Richard and his Footsteps and then of course, and those other books, The Ratters of Lightning Ridge and then The Age of Wonder. That's so important, so wonderful.Claire, I revere, I loved and still recommend to my students her book on Mary Wollstonecraft. I also, by the way, love Virginia Woolf's essay on Mary Wollstonecraft. I think that's a different sort of thing where Woolf describes Mary Wollstonecraft pursuing her lover like a dolphin. She won't let him go. He thought he'd hooked a minnow. He wasn't expecting a dolphin to come after him. It was Mary Wollstonecraft. So, Claire Tomalin, her Peyps, Hardy, absolutely hugely important books and deeply, deeply humane actually.And that's the other thing, I think biography, by definition, you do get the sharpness of Woolf or Strachey, but I think to put someone else's life at the center of your book, that's a humane act. It's to say, no, I'm going to spend this number years of my life preserving and communicating this other person's life. And that's a very wonderful thing to do.OLIVER: What do you think of the sort of standard criticism of biography, that it's just not accurate enough? So, for example, Austen Scholars will point to various things in the Tomalin biography where she's deleted the facts or said things to make the narrative flow, but it's just not really accurate enough. The novelistic tendency overwhelms the historical one or whatever. You've obviously avoided that with various decisions you made in the Aubrey book, but as a genre.SCURR: I'd never say that. That would be a real hostage to fortune, wouldn't it?OLIVER: Well, you know what I mean?SCURR: And saying, look at, look at this—OLIVER: Page 28.SCURR: —at this piece of nonsense you introduced. Well, accuracy is extremely important. What I think about that is it all contributes to knowledge. If someone comes along and finds a mistake or wants to bring in some other evidence—And actually Kate Bennett, she does this with Aubrey as well. She says that, oh, Aubrey's really got this wrong, or he's gotten in a muddle about that. She's not saying, and therefore let's just chuck it out because it's inaccurate. You need to see this as well as that. So I think of it more as a collaborative relationship about adding to knowledge and if somebody corrects a previous book or previous claim or something, or point something, then that's fine actually.Again, going back to Holroyd, he thought that that biography was an art form constrained by the facts. So he's got a place for art in it. And I know what he means by that. And I think ultimately that's probably why I couldn't write a novel about a biographical subject because of being constrained by the facts. And yet Hilary Mantel has written many historical novels that are absolutely constrained by the facts. It's just what they're doing besides the facts, alongside the facts. So perhaps some people are going to come along and contribute other information and other people will come along and contribute some imaginative answer to the whole. And both are fine. I think we should be liberal broad church here.OLIVER: Is the genre dying?SCURR: Not so far as I'm aware. We are always doing this about genres dying, aren't we? Those things are always dying.OLIVER: People talk about biography dying a lot.SCURR: Well, perhaps they do. I haven't been listening to that. Why do they say it's dying?OLIVER: Because you can't sell these 700-page lives of people.SCURR: We can't sell most books. I mean, if we're going to go buy sales . . .OLIVER: This, yeah. Well, this story in The Times recently as well, that all the nonfiction that sells now is trash and that the serious books aren't there. And the whole civilization's dying routine.SCURR: Well if it is, we just have to carry on doing what we are doing.OLIVER: Yeah. What do you think is going to be the future of biography? Because I think more than a lot of other nonfiction genres, it's so changeable, it's so flexible. If you look at any decade, you see so much variety in structure and form. What do you think is coming next?SCURR: I'm like Aubrey; I think that's going to be for posterity to decide. As long as there are human beings, we will tell stories and we will want to tell stories about ourselves, and we will want to tell stories about the people we have loved and or hated, or the people who we think matter, for whatever reason, in science, in art, in literature. There will always be a need for the story of the human life.I think it will inevitably change enormously in ways that we couldn't possibly imagine. Just as Aubrey knew that he couldn't possibly imagine what posterity was going to make of the information that he had collected, and he didn't think that was something that he should be constrained by. He thought it was about passing it on.OLIVER: And what will Ruth Scurr do next?SCURR: I'll ask her. I think she's supposed to be writing about Rousseau and is very excited about that, but has been massively distracted by the Royal Society of Literature and becoming chair of that. So, I'm trying to pull myself back into my project. And I was very excited actually, because again, when I was looking at The Common Reader I saw Woolf refer to the Montaigne, Pepys, and Rousseau as people who had provided these spectacular portraits of themselves. And I was very excited by that. So I'm going to write a book about Rousseau and his time in England.OLIVER: Very exciting. I look forward to it. Ruth Scurr, author of John Aubrey: My Own Life, thank you very much.SCURR: Thank you, Henry. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

How do I maintain a hot compost bin? Do Begonias have a finite life? How do I successfully grow a pineapple?Kathy Clugston and a panel of hearty horticulturalists venture to the Sefton Park Palm House in Liverpool, while digging into the GQT postbag, to solve your trickiest gardening conundrums.Joining Kathy to explore this historic palm house are botanist James Wong, proud plantswoman Bethan Collerton, and  head of RHS Bridge Water, Marcus Chilton Jones. They're also joined by head gardener of Sefton Park, Colin Hughes.Producer: Rahnee PrescodA Somethin' Else production for BBC Radio 4

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Find more of my photos on PixelFed   Read more on this topic: Quince Flowers (Cydonia oblonga ‘Pineapple'), Adelaide, Australia [Photography] Koi Pond in Tropical Conservatory 2, Sherman Library and Gardens, Corona del Mar, California Recently Favorited: Brugmansia Blossoms Prints and More Vintage Botanical Print – 81 in a series – Aquilegia Canadensis from The Floral world and garden guide (1878) Palm House, Adelaide Botanic Garden, Adelaide, Australia [Photography]

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Find more of my photos on PixelFed   Read more on this topic: Palm House, Adelaide Botanic Garden, Adelaide, Australia [Photography] Tropical Conservatory View, Sherman Library and Gardens, Corona del Mar, California Tibouchina Flowers, Sherman Library and Gardens, Corona del Mar, California [Photography] Thunbergia, Sherman Library and Gardens, Corona del Mar, California [Prints Available] Three Sisters – Daffodils 2006 [Photography]

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Kew's Palm House is a wonder of the Victorian age. When it opened in 1848, it was the largest glass house ever constructed. But the hot and humid conditions inside that are essential for the tropical plants it houses have taken their toll on the building. Its ornate painted metalwork is rusting, and 16,000 panes of glass need to be replaced.邱园的棕榈温室是维多利亚时代的奇观。在 1848 年开放时，它曾是当时人类建造过的最大的玻璃温室。然而，它内部的高温潮湿环境对于它所收容的热带植物来说是必需的，不过这也让建筑本身受到了损害。棕榈温室装饰华丽的、涂有颜料的金属部件开始生锈，1 万 6 千块玻璃窗板也需要被更换。The renovation will begin in two years' time. But the horticulturalists at Kew have already started to relocate some of the precious plants as more than 1,000 species need to be removed and safely stored before work can start. Kew is also taking the opportunity to make the greenhouse much greener, replacing the gas boilers with huge heat pumps to drastically cut its emissions.翻新工程将在两年后开始。但邱园的园艺师们已经开始着手迁移部分珍贵的植物，因为有超过 1000 种植物品种需要在施工前被移出并妥善保存。邱园还将借此机会让温室变得更加环保，用大型热泵替代燃气锅炉，以大幅减少污染物排放量。

In this edition of DIG IT Peter Brown and Chris Day chat with Matthew Biggs, best known for his appearances on the long running BBC Radio 4 programme Gardeners' Question Time. He shares his special story, which is packed with anecdotes, wisdom, solace and plant stories from his amazing career which started at Pershore College of Horticulture and the Royal Botanic Gardens, Kew and into writing, TV and so much more.Plants mentioned: Apple Cordons, Apple varieties ‘Scrumptious' and ‘Reverend W Wilks' (cooker). Beetroot, Redcurrants, packets of annual seeds, Tomatoes, Alpines, Hanging baskets and HerbsPeople mentioned: King Charles III, passionate about gardens and nature. Bunny Guiness, Clay Jones, Christine Walkden, Ernest Wilson (plant hunter), Joseph Banks (plant hunter), Gertrude Jekyll (British horticulturist and garden designer), Mr Middleton (earliest radio and television broadcasters on gardening for the BBC), Professor Alan Gemmell, Roy Lancaster, Geoffrey Smith, William Robinson (the great plantsman) and James Wong.Places mentioned: Pershore College, Kew Gardens (Temperate House, Princess of Wales Conservatory and the Palm House. Sandringham Gardens, Buckingham Palace Gardens. Bluebell Nurseries, Hidcote Manor Gardens and The Beechgrove Garden in Scotland.Garden restoration project at Mount Vernon Hospital, Northwood. A collaboration between the Hospital and Sunnyside Rural Trust at Hemel Hempstead. Matt is working with several key people including gardener designer Tom Stuart-Smith (and his wife, Sue Stuart-Smith author of The Well Gardened Mind, a Sunday Times Bestseller), National Garden Scheme new CEO Dr Richard Claxton, founder of the Gardening4health charity, and Mark Gregory, top RHS Chelsea Garden builder with over 160 RHS gardens to his credit! Mount Vernon Hospital's garden is currently at the planning and fundraising stage, it's hoped to start planting in September. Details on how to donate to this amazing project can be found on this Just Giving pageMatt's award-winning podcast, Gardening with Cancer, featuring BBC Gardeners' World gardening journalist David Hurrion can be found at this linkMatt's Desert Island plant: Handkerchief Tree (Davidia involucrate).You can find Matt's books at most independent bookshops and on second-hand book platforms such as World of Books. Instagram: @matthewbiggs55X: @plantmadmanOur thanks to Chiltern Music Therapy for supplying the music. Hosted on Acast. See acast.com/privacy for more information.

After three UK heatwaves so far this summer, our plants and gardens have enjoyed a much-appreciated spell of wet weather. In this edition of DIG IT Peter Brown and Chris Day (for the final time), explore the latest gardening news stories, what's on's and tasks to be getting on with this month.What's on14th – 17th August: Southport Flower Show, Victoria Park, Southport.15th – 17th August: RHS Garden Rosemoor Flower Show, Torrington, Devon.29th – 31st August BBC Gardeners' World Autumn Fair, Audley End House, Essex.If you are out and about this month - don't forget to support the National Garden Scheme, locally or if you are holidaying in the UK, search out one of the many garden treasures.NewsKew Gardens' 175-year-old Palm House will close for five years for major makeover.Sycamore Gap: Daniel Graham and Adam Carruthers jailed for over 4 years for felling of iconic tree.The gardening and lifestyle retail brand sarahraven.com has been acquired by its original founder and creative director, Sarah Raven.Current hosepipe restrictions in the UK.Could selling second-hand gardening products bring in a new demographic to Garden Centres?Eden Project Dundee moves one step closer.Further expansion plans at RHS Wisley.OmVed Gardens builds UK's first food and ecology centre.The buzz about trees: Scientists at Wakehurst harness sound to understand bee abundance.Gertrude Jekyll ® named world's famous rose 2025.‘Coral Gardens' announced as Rose of the Year for 2026.The UK drought dominates RHS enquiries.Wootten's of Wenhaston future threatened due to a lack of water on site.Plant theft crime on the rise.Michael Perry aka Mr Plant Geek becomes the HTA's new ambassador.Dutch urban greening of a bus station pergola using wisteria hailed as a major success.DIG IT Top 5 Ornamental grassesTop seller is Festuca glauca ‘Compact Blue' 2nd Festuca glauca ‘Intense Blue'* 3rd Stipa tenuissima * 4th Carex Prairie Fire, and 5th Festuca ‘Elijah Blue' *RHS AGM.Plants mentioned: Apple cordon tree, Carnations, Bananas (Musa), Blackberries, Bonsai trees, Trachycarpus, Phoenix canariensis, Variegated Monstera, Dahlias, Leeks, French and Runner Beans, Lavender, Tree Ferns, Strawberries, Pinks, Cherries, Rhubarb, Tomatoes, Cucumbers, Melons, Sow Marjoram, Basil, Coriander, Dill, Chives, Seed Potatoes to provide a crop for Christmas. Good varieties to consider include Charlotte, Desiree, Maris Piper and Maris Peer. Horse Chestnut and Lime trees. Take cuttings of Mint, Rosemary, and Sage.Products mentioned: Blagdon Fresh Start Pond (removes Chlorine so makes tap water safe for pond fish, Straw, Barley Straw, Bamboo canes, Plant pots, Peat-Free Seed & Cutting Compost, Perlite, Green Up Enhance Liquid Lawn Feed (it has added seaweed and a turf wetting agent which helps reduce grass stress and improves root growth), Taylors Bulbs, Tomato Feed, Nematodes to treat lawn leatherjackets, lawn edging tool, Vitax Citrus Summer Food and Water Butts.Our thanks to Chiltern Music Therapy for supplying the music. Hosted on Acast. See acast.com/privacy for more information.

On this week's Spectator Out Loud: Ian Thomson on what the destruction of the Hotel Oloffson means for Haiti (00:54); Patrick Kidd analyses Donald Trump and the art of golf diplomacy (06:43); Mike Cormack reviews Irvine Welsh's Men In Love (16:49); Ursula Buchan provides her notes on the Palm House at Kew (20:38); and, Richard Bratby argues that Johann Strauss deserves better than to be the victim of snobbery – plus listen to the end for an extract from Strauss's Emperor Waltz (24:24). Produced and presented by Patrick Gibbons.

On this week's Spectator Out Loud: Ian Thomson on what the destruction of the Hotel Oloffson means for Haiti (00:54); Patrick Kidd analyses Donald Trump and the art of golf diplomacy (06:43); Mike Cormack reviews Irvine Welsh's Men In Love (16:49); Ursula Buchan provides her notes on the Palm House at Kew (20:38); and, Richard Bratby argues that Johann Strauss deserves better than to be the victim of snobbery – plus listen to the end for an extract from Strauss's Emperor Waltz (24:24). Produced and presented by Patrick Gibbons.Become a Spectator subscriber today to access this podcast without adverts. Go to spectator.co.uk/adfree to find out more.For more Spectator podcasts, go to spectator.co.uk/podcasts. Contact us: podcast@spectator.co.uk

The iconic Grade I listed greenhouses at the Royal Botanic Gardens of Kew will experience a major renovation.The world-famous Palm House and Waterlily House date back to around 1848, and haven't been touched for over forty years.To hear more about the reasons behind the £60 million renovation project, and the innovative approaches to make these iconic greenhouses net zero, we spoke to Reuben Briggs, Head of Estate Projects at Kew.‘It's a really aggressive environment. The iron is starting to corrode. Some of the glass is coming loose, and we're getting lots of heat escaping.'Virtual eye clinics in shopping centres could significantly reduce waiting times, as well as support government policies ‘for a future ready NHS'.That's according to Siyabonga Ndwandwe from UCL's Research Department of Primary Care and Population Health, who joined us to discuss their latest study in more detail.According to the Association of Optometrists, during the pandemic, waits for NHS eye appointments rose sharply, resulting in a backlog.Also in this episode:-Cyberpunk 2077 is launching for Mac on July 17th-Yoga, tai chi, walking and jogging could be some of the best ways to tackle insomnia-Why the influencer behind Sylvanian Drama TikTok is getting sued Hosted on Acast. See acast.com/privacy for more information.

Have you heard of the Titan Arum? It's not only the largest inflorescence in the world, but it's also the smelliest plant in the world, unofficially! Michael popped into Kew Gardens to speak to Leif Starkey about this botanical phenomenon, which has just bloomed in the Palm House. Check Instagram for photos of its rather beautiful withered form!     Series 18 is sponsored by British Garden Centres. British Garden Centres are the largest family owned, and family run garden centre group in the UK, with over 70 garden centres. “We aim to provide you with great plants and gardening products at affordable prices, with a first-class service delivered by a passionate team.” – The Stubbs Family.  With garden centres offering plants, food  and gift areas, outdoor living, Christmas departments, restaurants, homeware and so much more. All garden centres are pet friendly, and many welcome coach parties. The business also boasts a variety of retail partners across the group inside each garden centre. www.britishgardencentres.com

Kew Gardens near London is one of the most famous botanical gardens in the world, welcoming countless visitors every year. But what many visitors may not know is that the history of Kew and that of the British Empire are intimately intertwined… At the height of the empire, Queen Victoria visited the iconic glass Palm House six times in the first few weeks it opened, and palm houseplants became a proud symbol because of her patronage. The botanical gardens also served as a laboratory that allowed imperial industries to boom. For example, seeds collected by Kew gardeners developed rubber plants that were shipped around the empire. The rubber plantations in British Malaya became so valuable that Britain fought a bloody war in 1948 to keep them. Listen as Anita and William are joined by Sathnam Sanghera, author of Empireworld, to discuss how Kew was instrumental to the empire. Twitter: @Empirepoduk Email: empirepoduk@gmail.com Goalhangerpodcasts.com Assistant Producer: Becki Hills Producer: Anouska Lewis Senior Producer: Callum Hill Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hey, it's Alex. Ok, so mind is officially blown. I was sure this week was going to be wild, but I didn't expect everyone else besides OpenAI to pile on, exactly on ThursdAI. Coming back from Dev Day (number 2) and am still processing, and wanted to actually do a recap by humans, not just the NotebookLM one I posted during the keynote itself (which was awesome and scary in a "will AI replace me as a podcaster" kind of way), and was incredible to have Simon Willison who was sitting just behind me most of Dev Day, join me for the recap! But then the news kept coming, OpenAI released Canvas, which is a whole new way of interacting with chatGPT, BFL released a new Flux version that's 8x faster, Rev released a Whisper killer ASR that does diarizaiton and Google released Gemini 1.5 Flash 8B, and said that with prompt caching (which OpenAI now also has, yay) this will cost a whopping 0.01 / Mtok. That's 1 cent per million tokens, for a multimodal model with 1 million context window.

In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia.   Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney's tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre.   The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio.   Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook   International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik. Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone. Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson pinning up Palm House Series #2: The Glass House. Jenny Robinson (British, born 1957). Palm House #1, 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson (British, born 1957). Paradigm. Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Above L.A. Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks, 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist. Jenny Robinson's converted warehouse home, Sydney. Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021. Installation shot of Jenny Robinson's exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021. Institut de France, Paris, 2021. Installation shot of Jenny Robinson (British, born 1957). Structures, 2019. Drypoint on Gampi. Courtesy of the Artist. Jenny Robinson Print Studio, Sydney. Jenny Robinson Print Studio, Sydney.

The tranquil spaces of Kew Gardens are a perfect place for a bit of quiet reflection. And there's more than one way to do that now. Dotted across the landscape is a series of sculptures, many of them made in stainless steel. The lush green vegetation of Kew is mirrored back from their shiny surfaces. There are 16 works to spot, some sitting on the open lawns, others buried between the plants inside the famous glasshouses. All are the work of artist Marc Quinn who was inspired by Kew's scientific research to create five sculptures in the collection. "Kew approached me to do something and I came down, and I hadn't really been for a long time. And when I came here and realized that they have hundreds of scientists doing research and horticulturists and I spent more and more time here, I realized that there was actually a whole show to do here, so we worked together to do that,” he says. “I mean, the sculpture we're standing on next to now is from a herbarium sample, and they're sculptures of plants that have been used to create anti-cancer medicines." The famous Palm House inspired a series of sculptures based on the fronded plants it houses. Those artworks have been placed outside the glasshouse, reflecting land, sky and the water of the nearby pond. Orchids have also been created in steel. The artist thinks it's only right that they are on display in the place that inspired him. "I love the way they interact with the gardens and I love also the idea that these sculptures that were conceived here are now shown here. So they're kind of like being born into their own environment. And it's such a beautiful place. And because there's so much about reflection, you see this beauty doubled, trebled, redoubled. It just feels to me like a beautifully integral presentation," Quinn says. While Kew hopes the new exhibition will drive more visitors to come and see the gardens, it also wants people to reflect on the wider importance of plants. The exhibition ‘Light into Life' opened on May 4 and runs until September 29. This article was provided by The Associated Press. 

Just one away from his 5 times guest jacket, Steve Mesh joins us to discuss… education, semantics, UL924, emergency controls, security, and in-rush. You already know Steve knows his stuff and he'll always open your eyes to something. Listen to his interesting perspective on emergency vs life saving controls. Steve has been a lighting designer and educator for 43 years. He was the Senior Lighting Program Coordinator at the Pacific Energy Center in San Francisco from 2008-2011. Steve is a member of the Illuminating Engineering Society and was the IES/Northeast Regional Vice President. He was also part of the development team for the California Advanced Lighting Controls Training Program. Steve has taught lighting for 38 years. He won an IALD award for the Palm House at Dowling College and an EPRI award for Brower Commons at Rutgers University. Since 1992, he has given several workshops at LightFair and has spoken at Lux Pacifica in New Delhi, India. He is also a private pilot. Connect with Steve: www.linkedin.com/in/steven-mesh-lc-iesna-b156b83 lightingcontrolsassociation.org/?s=%22Steve+Mesh%22 Sponsor: mwConnect www.mwconnect.com

TW: In this episode we mention (not in huge detail) anxiety, depression, dementia, cancer, in particular breast cancer – please listen carefully and when you feel you canLast summer I had the pleasure of being invited to the beautiful Palm House in Sefton Park in Liverpool for a very special all day Wellbeing Event. At this event I was given permission to do a roaming podcast – some of that you will hear later in the series, but I didn't know I would come across this queen!Amanda from Zoti Project, Zone Out Tune In, had a beautiful set up outside with her sound bath, various instruments, mats, head rests, eye pillows – I think my daughter stayed there pretty much all day!! Amanda was generous enough to say that I could record her sessions whilst people were attending. Amanda is a meditation, breathwork and sound healing practitioner and talks much about the mind body connection. In the first section of the recording, she also takes us through the emotional freedom technique commonly referred to as tapping. This can be a way of identifying where anxiety is felt in the body and then we can use tapping to see, process and transform that energy. It can help to calm the nervous system by tapping on meridian points whilst repeating affirmations. The second section focuses on how vibrations and in particular sound healing can be a powerful therapy tool. Sound healing has long been used as a therapeutic relaxation method. She talks about how there is more and more scientific and medical investigation into vibrations and sound waves with regard to chronic illnesses. She also talks about the benefits of sound healing when dealing with grief or trauma that we may hold in the body and how it can gently and lovingly awaken our mind, soul and spirit. It is fascinating work and I thought it might be a thought-provoking episode to introduce you to some different practices should you wish to investigate further. I really hope you enjoy it and get something from it, I know I did!A huge thank you to Amanda for being so open and allowing me to sit by her with my mic and record her freely whilst engaging with her practice. You can contact Amanda at Zoti project via her email Amanda@zotiproject.co.uk or on Instagram @zotiproject Hosted on Acast. See acast.com/privacy for more information.

Legendary SF barman Johnny Love (Metheny) and his partner, Duncan Wedderburn of  San Rafael's Ranch Water, join us to talk about their journey to Marin County

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 2023 Visitor Attraction Website Report - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends on 29th March 2024. The winner will be contacted via Twitter. Show references: https://www.kew.org/ https://www.linkedin.com/in/julia-willison-22347a10/ Julia Willison is Head of Learning and Participation for the Royal Botanic Gardens, Kew.  She is passionate about engaging people – young and old and from all walks of life - in learning about the importance of plants and fungi and the need for sustainable development.  Julia is responsible for schools, communities and access, families and early years, outreach, youth and volunteers at Kew Gardens.  She previously worked with botanic gardens internationally to advocate for and establish education programmes for the benefit of local communities and the environment. Transcription:  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 Julia Willison, Head of Learning and Participation at Royal Botanic Gardens, Kew.We discuss Kew's inspiring manifesto - their 10 year strategy to end extinction crisis and protect nature. Julia shares with us the 5 key priorities, and we focus on Kew's desire to improve inclusivity and what initiatives have been formed to support the organisation in doing this.If you like what you hear, you can subscribe on all the usual channels by searching Skip the Queue.Kelly Molson: Julia, it's really lovely to have you on the podcast today. Thank you for joining me. Julia Willison: My pleasure, Kelly. Thank you for inviting me. Kelly Molson: So we're recording this right at the beginning of January. It's the 9 January that we're recording it. So icebreakers have got a new year's resolution theme because I thought we should talk about this. I want to know, do you set them? If so, what have you set yourself for this year? Julia Willison: I do tend to set them in my own mind. I don't often share them, but I do set them. And this year I've set the resolution. I want to start learning to play the piano and I've actually had my first lesson. I'm really pleased with that. Kelly Molson: I love this. So we just had a little chat about this off air, because that was one of the other icebreaker questions I was going to ask you is, what's the one thing that you've always wanted to learn? And then we had this conversation and you're doing it already, and I was like, "Oh, this is great." So you've had your first lesson and how did it go? Julia Willison: Well, I found myself apologising to the teacher profusely because of my lack of ability to play the piano, but it went really well and he was absolutely delightful, very supportive, and I learned quite a lot in the first lesson, so I'm looking forward to the second lesson now. I've got a lot start playing and practising every day, which I'm enjoying doing. Kelly Molson: That's the thing about learning something new is that you've got to make it a habit, haven't you? So you need to kind of. This is the thing that I did about the gym, is that I had to diarize it, so I had to make sure that it was like in red in my diary, immovable. At the same time, on those days, that I could go so that you could do it. Are you going to do that with your lessons and your training? Julia Willison: Well, the lessons obviously will have to be in my calendar, but I have almost crossed the threshold where I made a decision to play the piano. I've got a long term goal that in maybe ten years time, I'll be able to play in a group or something like this. So I'm really committed to wanting to learn. So we'll see. You have to revisit this space. Maybe in five years time. See if I'm still doing it.Kelly Molson: Right. I'm popping you on the list for five years to make sure that I check in with you, that you've achieved your goals. Okay. What is the worst thing that you've ever eaten or drunk? Julia Willison: Well, eaten for me is mussels, because I'm allergic to them. Kelly Molson: Oh, wow. Julia Willison: I only learned that through, obviously, eating mussels and even just a small piece just made me incredibly sick. Drinking advocaat. How do you say it. Advocaat? Kelly Molson: Is that what goes into snowballs? Julia Willison: Yes. I can't think of anything worse actually.  Kelly Molson: I love snowballs. I had one over Christmas. Julia Willison: You can have mine. Kelly Molson: I'll have your mussels. And your advocaat. What a mixture. And probably not at the same time either. Julia Willison: No. Kelly Molson: Yeah. My friends did a Christmas party and we had a snowball and it was, "This is so retro." I can remember my grandparents drinking these when I was a child. I remember if you ever come to my house for a Christmas party that you are not to have snowballs.Julia Willison: I'll bring my own, Kelly. Kelly Molson: Okay. Right. What's your unpopular opinion, Julia? Julia Willison: What I do feel, I suppose, strongly about is that, and I arrived at this opinion after talking to my children, after I had done this. And it says, I don't think that people should post pictures of their children and friends on social media without their consent. Kelly Molson: Yes. Yeah. This is an interesting one, isn't? Oh, ok. And actually, at what point do you ask their consent? Because I post pictures of my daughter. She might not be comfortable with me, she might not be happy with me, her face being over my Twitter account or my Instagram account. So, yeah, I guess at some point we'll have that conversation. If she says no, that's it. No more pictures go up.   Julia Willison: Oh, sad. And the thing is, you can't take down the ones that you've already put up, can you? Kelly Molson: No. Well, I guess you can go back and delete them from an Instagram account or delete them from your Twitter account. So you could go back and delete, but then they're out there, so that doesn't mean that they're not elsewhere in the ether. Julia Willison: Interesting. Kelly Molson: It is interesting, yeah. But I think you're right, I think. Absolutely, for other people. I've definitely had this conversation with a friend of mine about. We've been out together with our children and we've both taken pictures and she's actually asked my permission if she can post the pictures on her social media, but her platforms are quite. Her Instagram is a private Instagram account, for example, so she's happy to post pictures of her daughter on that, but she's not happy for other people to post those pictures if they're not private account. It is a huge debate, isn't it? Well, it'll be interesting to see what people think. How do you feel about this? Kelly Molson: People on Twitter, which is where we do a lot of our talking about this podcast, how do you feel about posting pictures of your children or your friends and your family on social media without having their consent? Let us know. Could start a little Twitter debate there. Julia Willison: I'd be interested to read it. Kelly Molson: Right, Julia, tell us about your role at Kew and what a typical day looks like for you. Julia Willison: So, I'm Head of Learning and Participation at Kew Gardens and what I'm responsible for is providing leadership in this particular area at Kew and wanting to position Kew as a centre for excellence in plant and fungal science education. And under my remit comes formal learning. That's all the schools programmes and teacher training. So we've got about 90,000 school pupils that come on site each year and we engage with about 200,000 online. We have a youth programme which is growing. There's a lot of demand there for young people to get involved environmentally as well. Families, in early years, we run programmes for families, but up to seven year olds, specific sessions.  Julia Willison: We run community engagement, and that includes community horticulture. I'm responsible for the access programmes across the site as well. That's for people who may have sensory needs or different access needs. We have a national outreach learning programme and then slight anomaly is that the volunteers also sit with me. So we've got 800 volunteers across Kew Gardens and Wakehurst, and the central function of that sits with my remit. So looking at some of the strategies around what we're doing with volunteers and diversifying our volunteers, et cetera, that's my remit.Kelly Molson: They're quite a bit. Julia Willison: Yeah. No, it's fantastic. I'm very lucky. And there's no one typical day, but you can imagine. Well, I get going with a cup of coffee every day and sometimes I'll spend one day a week working from home. Julia Willison: But the rest of the time, I like to be on site. Kew has got to be one of the most beautiful locations to work. Kew has got to be one of the most beautiful locations to work. I am so lucky. I know that.Julia Willison: And I've probably got the best office in Kew. If you come and visit Kelly, you'll see that the office I have looks out over the Palm House of Kew, which is the most iconic glass house. It was a glass house that was built between 1844 and 48 and it houses the tropical plants, so it is just the most amazing place to work. I attend a lot of meetings, as you can imagine, with my teams and staff across the organisation about operations sometimes, and strategy and new and exciting projects that we're looking at what we can do. I sit on cross organisational steering groups and committees that focus on public programmes. Julia Willison: We have a strong focus on equality, diversity and inclusion across the organisation. And safeguarding. Well, I still am the designated safeguarding lead for Kew, so I'm involved in that still. And I also lead the steering group for Kew on the outreach strategy and the schools learning strategy. And then, as well, I often work on preparing project proposals, because funding is a major issue for our organisation, and so funding and reporting and then talking to potential donors. So that's my sort of typical day, really. Kelly Molson: I feel quite privileged that I get to speak to so many incredible women that have these hugely varied roles and do so much in a day. Very capable people that I get to speak to. It's quite humbling. We're going to talk quite a lot today about a manifesto that Kew implemented. I'm just going to take you back. So I think it was in March 2021, Royal Botanic Gardens, Kew launched a ten year strategy to end extinction crisis and protect nature. And it's a really bold and incredibly inspiring manifesto. I'm just going to read out the ethos of it. Kelly Molson: So, the mission of Royal Botanic Gardens, Kew is to understand and protect plants and fungi for the well being of people and the future of all life on earth. Our aspiration is to end the extinction crisis and to help create a world where nature is protected, valued by all and managed sustainably. So this was back in 2021. How has the manifesto been implemented within the organisation? How did it get created in the first place, and how does that kind of get explained and put into practise? Julia Willison: Good question. We started in the pandemic, looking at the need to build a new strategy, because our older strategy was coming to the end, and over the years has been a building of staff in Kew, talking about wanting to see more urgency in the work that we do, or to describe it in a more urgent terms, what we're trying to do at Kew. And so the pandemic, while it was a terrible time, it was a time that Kew took to step back and look at the bigger picture and then come together around this urgency of climate change and biodiversity loss. And there was a lot of consultation, a lot of iterations of the strategy that went out to staff to feed into this. Julia Willison: It was a significant job, and there was a team, a small team of people that were working on it, taking the consultation back in centrally. And then what emerged through the consultation were five key priorities that we then agreed, or was agreed then for the next ten years. And that was agreed then by the executive board and signed off by the board of trustees. I'll mention the five priorities, and I can give a few bits of examples of some of the work we do around those. The first priority is deliver science based knowledge and solutions to protect biodiversity and use natural resources sustainably. Kew is primarily a scientific and horticultural organisation, and we struggle sometimes that many people see Kew Gardens as the gardens and don't see the science behind the gardens. Julia Willison: The gardens are essential and they contain precious plant collections. There is also science and research behind that. We've got over 400 scientists and about 150 horticulturalists. And so it's the bedrock accused contribution to ending biodiversity and maintaining sort of healthy ecosystems. So there are lots of examples that I could give. People probably don't know this. We have a resource centre in Madagascar, scientific resource centre, and scientists there are working with the rural Malagasy people on food security and particularly on conserving yams that are native to Madagascar. We work in over 120 countries, working with partners in Ethiopia to reduce biodiversity loss. The Ethiopian economy depends very much on coffee, and something like 25% of the population rely directly or indirectly on coffee for their livelihood. And so Kew is working with partners to maintain traditional forest based areas where coffee grows natively. Julia Willison: And that is proving vital for sustainability, for livelihoods and also for biodiversity. Close to home. We have scientists here at Kew working on the chemistry of nectar and pollen, because many bee species in the UK, there are around 240 different species of bees in the UK. So honey bees are just one species. There's lots of different bumblebees, lots of different native bee species, and they're under threat because of climate change from disease and parasites. So what scientists here are identifying plants that have compounds in the nectar and pollen that could help bees themselves manage their own diseases more sustainably. So that's an important area of research. Kew is also, as part of manifesto, we're digitising our collections. We've got a wrap quarter a way through digitising 8.25 million preserved plants and fungal specimens. So it's an enormous task. And 200,000 botanical illustrations. What else we're doing? Julia Willison: We have a sister site. I don't know if you know this, Kelly. We have a sister site at Wakehurst. It's our wild botanic garden in West Sussex and it's a site of excellence, really, in conservation and science. It's home to the Millennium Seed Bank, where we've banked something like 2.4 billion seeds from more than 40,000 plant species. And so there's the project being run at Wakehurst called Nature Unlocked, and that's using the landscape of Wakehurst, which is about two kilometres squared, as a living laboratory. And the idea is to collect high quality scientific evidence of the value of biodiversity in the soil as well as in the landscape. This evidence to inform land management policies and practises, so that can then key develop. Decision makers can then use this evidence to make informed decisions about what they do around the land. Kelly Molson: That's just one point. Julia Willison: I'll be quicker with the other. Kelly Molson: Please feel free to share. Don't hold back. But it's quite mind blowing, isn't it, how much that you do that people just aren't aware of? Julia Willison: Yeah, this is just a very small snapshot. I mean, I could have taken any one of hundreds of examples of what scientists here at Kew are doing. The second priority is inspire people to protect the natural world, and that really is threaded through all our public engagement work. And that's going from our festivals, our exhibitions, all the interpretive panels we do, the website, our social media, all the learning and participation programmes we do. So we use this as a lens to look through and to make sure that the work we're doing is all checking ourselves, that we are inspiring people to protect the natural world. I mentioned earlier we have a national outreach programme and this programme is inspiring communities to take action for biodiversity, specifically through transforming their local spaces with UK native plants. Julia Willison: So community groups we know will grow other plants, but we also encourage them to focus also on UK native plants as well. Another plan in the manifesto is to create a carbon garden, and that's to communicate stories around how carbon is captured in plants and soil, and how we use this to mitigate climate change, for example, through planting trees and also looking at different carbon related services, such as biofuels. And we have the plans for the garden. It's in planning permission. It's gone for planning permission at the moment and we're waiting to hear. And as soon as we hear, it'll probably take us about a year or so to build the garden, but we'll use it then very much for learning and communicating about the importance of carbon, so people know. So that's priority two. Julia Willison: Priority three is train the next generation of experts, new scientists and horticultural is critical to the future of life on earth. And so Kew has accelerated its work in this. And we offer three month PhD placements for anybody across the UK who's doing a PhD. Part of their PhD often includes a placement. So we offer those placements at Kew and we're very keen to attract PhD students. We also are working in partnership with a couple of universities, Queen Mary, University of London and the Royal Holloway, University of London, to run in partnership master's courses. MSc courses. And we've got three courses that we run. MSc in biodiversity and conservation, an MSc in plant and fungal taxonomy, diversity and conservation. And then the newest MSc is on global health, food security, sustainability and biodiversity. Kelly Molson: I can imagine that the world that we're in now, there's actually a lot more demand for those courses as well. I imagine that they're oversubscribed multiple times. Julia Willison: Yes. And they're open to international students, so we get quite a lot of international students coming. So that's really good. We had 60 students starting this year on the courses, but on a master's course, taking 20 students, it's quite an intense course. And I know that Kew has, like you say, there's a demand to study further in this area, and so there are still developing the possibility of new courses with universities. That's good. Julia Willison: But one of the things for my remit that I'm very keen about is that there's a pathway and that Kew considers its pathway from very early years, attracting kids to become very interested in nature, and then going through and providing school programmes that then encourage children to then take science as a possible career choice, or be informed about science, which is one of the reasons why we launched the Endeavour Online programme to make our resources that focus on educational resources that focus on Kew, science and horticulture, but make them available to schools across the UK. Kelly Molson: That's phenomenal. And that's a lot of the things that we're going to talk about today. What point are we at? We've done point 3. Julia Willison: Okay. So extend our reach. Kelly Molson: Extend reach. That's right. Point 4. Julia Willison: That's about cubing a go to place for anyone and everyone to explore the importance of plants and fungi and how they add value to our lives. And we're working hard to expand our digital resources to make sure that we can engage with as many people as possible. But we also recognise that there are large numbers of the population that would love to visit Kew or either have never heard about us or don't see Kew as a place for them. So we've set down a target to increase tenfold the number of visitors from underrepresented communities to the gardens. And one of the ways that we've done this straight away is to introduce a one pound ticket for people who were on universal credit or pension credit, and that's to remove the economic barrier to visiting. Julia Willison: To date, around 50 - 60,000 people have taken advantage of the initiative in 18 months. However, we have a very ambitious director and he feels that we should be able to dial this up to about 100,000 per year. So that requires us then to go out specifically targeting people who are on universal credit and pension credit and say, "Look, we want you to come to Kew." But on top of this, we also run a range of programmes specifically for people who face barriers to Kew. And that's not only economic, that could be social barriers, psychological or physical barriers. That's priority four, which I think we're going to go into more about some of that.  Kelly Molson: Three and four we're going to focus on. Julia Willison: Yeah. So the fifth one is influencing national and international opinion and policy. So in order to do that, we need to encourage debate and shape decision making. And Kew works with a lot of policymakers. Kew is a large institution.  Julia Willison: We've got about 1400 staff that work at Kew and 800 volunteers. We have lots of different teams and departments. We do have a department that focuses specifically on working with government and policy makers. And the idea is to support them, to provide the evidence that Kew brings to the table so that people can make well informed decisions. One example is about Tropical Important Plant Areas, those TIPA for short. Kew is working with six countries across the globe and the idea is to work with partners in the countries to help them identify important plant areas so that these areas will then be conserved. That involves an enormous amount of negotiation, discussion, and to date there's three TIPAs that have already been established, so that's really important for conservation of those areas. Julia Willison: And, of course, we work closely with Defra, that's our sponsoring department in the UK government, and they've recently asked you to take the leading role as a strategic science lead for a new institution, I suppose, that has been set up. It's not a physical institution. It's a consortium. It's been called the Global Centre on Biodiversity for Climate. So what Kew will do is write the research strategy that will define the key themes for funding calls that will be given money, and then the projects that will then provide the evidence to feed into policies that will then help make decisions about the impact of biodiversity on climate and people's livelihoods. So that's a really significant thing that Kew's done. Kelly Molson: This is such an eye opener for myself, having been a visitor to Kew, appreciated the beautiful gardens and the plants that you have there, but actually really having no idea about all of the things that happen in the background. So this is just like you say, the attraction is just one very small part of this huge organisation. There's so much that you do. I hope this is eye opening for people that are listening to this as well, because there's a lot going on here. The points from the manifesto, the key priorities for manifesto are, I mean, each one of them you could take and break down into a different podcast episode. What we're going to talk about is points three and four. We're going to focus on those today. Kelly Molson: So point 3 was to train the next generation of experts, and point 4 was to extend our reach. We're going to focus on them because there's a huge desire at  Kew to improve inclusivity, and so we're going to kind of break down what is happening within those points to actually help support do that. So you said that one of the key changes that Kew has committed to achieving by 2030, I think this is to increase tenfold the number of visitors from the presently underrepresented communities to the gardens. And obviously the gardens facilitate the start of that learning journey. Right. That it's exposing people to, I guess, a world that they might not be familiar with, plants that they definitely won't be familiar with, or even just certain job roles that they might not have thought was for them. Kelly Molson: How do you begin to change the kind of views and attitudes from the general public who don't think that Kew is for them, a place for them in the first place? Julia Willison: Well, our aim is to break down that perception. So I think one of the things that has happened to be able to start on this journey is an organisational commitment to include everyone and bringing everybody on board, that we are really intent, we really want to do this. So that's involved training our visitor facing staff and our volunteers so that they provide a warm welcome to anyone, regardless of their background. We've trained our staff in accessibility and safeguarding and then diversity and inclusion. And this year we will roll out more diversity and inclusion training to staff across all areas of the organisation. So when people come here, it's making sure that they feel safe and they feel represented in the gardens. But just providing a welcome is not going to be sufficient. Julia Willison: We do need to reach out and connect with different communities to tell them that Kew exists. We have people visiting Kew from our local boroughs that have never heard of us, which is extraordinary, really. So we really try and encourage them to visit. So we have teams of staff who, in different teams, will visit the different groups and they'll run workshops with the groups at their venues so that groups can find out about Kew before they visit. They realise that the people that come to visit them are really quite friendly and really excited about them coming to Kew. And also, people have said that Kew is a very large place when you come here. I mean, people come and visit Kew, they come for a day, but you never see everything at Kew for a day. Julia Willison: So people feel that it can be a bit intimidating, especially if they've not visited before. So when we bring people on site for the first time, when we've made connections with community groups or other teams, what we do is we'll offer a programme or a tour, so that when they come to visit us, that they make them feel comfortable about returning on their own. Kelly Molson: Sure. So it gives them that level of familiarity by doing the tour that they can then come back and explore. They can do that again, or they could go and explore the different areas that were particularly appealing to them. Julia Willison: Yeah. So we have all sorts of different programmes and we have a community access scheme as well as the one pound ticket. We have community access scheme. So any groups that provide services to people who face barriers from visiting Kew, which I said earlier, sensory, psychological, social barriers, they can join our community access scheme and they can get 60 tickets for 36 pounds. So that works out about 60 pence a ticket and they can always top up as they go along. And then as part of the scheme, they all receive a newsletter and that informs them about the community activities that we run. So that's another way of connecting groups to feel that Kew is a place for them to come and visit. Kelly Molson: That's lovely. I was going to ask about the community access scheme and what initiatives have been formed to kind of support the organisations to do that, because I guess it's one thing the welcome is great, right. But that means that people have to come and get the welcome. So there's so much outreach that has to be done to bring the people to you in the first place. So the community access scheme, what kind of organisations would that be relevant for? Julia Willison: All sorts. We have about 350 members on our access scheme. When I first started at Kew, most of those groups, there were fewer number of groups, but most of those groups were, I would say, for third age people, different groups, but mainly servicing older people. Now we've got all sorts of groups, so we've got LGBT+ groups, we have deaf groups, asian women's groups. We have a whole different range of groups that see Kew as a place that they could join and come and bring with their members. And one of the things that we do run is continuing professional development training for group leaders, specifically for those leaders, so that they then feel confident to come to Kew with their groups on their own and will provide resources for them to use in the landscapes and enjoy with Kew. Kelly Molson: And that adds to that, I guess, like what you were saying earlier about, you want this to be the start of the journey. You need it to be the start of the journey for those groups as well, don't. You don't want to encourage them to come along once and that's like a box that they've ticked. They've done Kew. You want them to come back and keep reengaging with the environment there. So that's brilliant to then be able to train those leaders to take that bit on themselves. Julia Willison: I was just to say, a few years ago, we started a community open week, which is a free week for community groups, any community groups across London. In fact, some groups come from further afield, but we put on a range of workshops and tours during that week for groups to come and just experience Kew and the idea is, if we can, is to try and encourage them to sign up to the access scheme and continue, as you say, the journey and come back and find out more. Kelly Molson: I guess that's the community access scheme. And obviously you've got kind of partnerships going ongoing with kind of local community. What about national community groups? So how do you kind of expand your remit into the wider audience of people that aren't located near Kew?Julia Willison: Yeah. That's a good question because that costs money, doesn't it, for them to come to Kew. So we have had people come from Birmingham and people can join. We've initially contained it within the M25, so a lot of people coming within the M25, but we've just removed that barrier now, I mean, it didn't need to be there. And we have seen some people, some groups coming from outside. We don't have bursaries to be able to provide, sadly, to groups to come to Kew. They are, of course, very welcome. I think one of the things is that we've just brought somebody on board this year who is doing some more community outreach to going out and trying to connect with new groups to visit Kew and part of that will involve producing some marketing materials that can then travel further than just our confines. Julia Willison: So we'll see. We may then receive other groups in from much further afield, which would be great. And also Wakehurst, our sister site, has set up a community access scheme as well, so they will hopefully then encourage those organisations and groups in further south of London.Kelly Molson: Amazing. How is Kew helping to remove barriers and improve access to nature for children and families, both kind of on site and off site? Julia Willison: We've been running an early years programme since about 2018. Before that, we had a family programme and we've made connections with children's centres in our local boroughs. Every borough, every county in the UK will have a children's centre or multiple children's centres. And the aim of the children's centres is to try and help those families that may slip through the net to be able to ensure that they don't. And so what we have done is we have a recent project which is to work with children's centres in London and we're working in five boroughs with different about ten children's centres. And the team is going to the children's centres running nature based play sessions in the children's centres. And then over the summer, we invite the families to come to Kew. We give them funding to do that. Julia Willison: We refund their travel, we run activities on site and then later in the year, we've been running training sessions specifically for the children's centre leaders so that they can then take this work forward when Kew has to step back from going to the children's centres. And we've got this project running for about three or four years now, which is great. But on top of this, we also run on site sessions for early years and half of them are paid for sessions for those families that can afford to pay for earlier sessions. And then the money that we use from that, we then subsidise those families from children's centres, community groups that can't afford to pay. So we try and get a balance, because we don't ourselves have an endless pot of money and we're constantly looking for funding to try and support this work. Kelly Molson: It's really hard, isn't it, to get that balance right. There is a commercial aspect here, right. You have to make money to be able to do all of these incredible projects and initiatives that you have, but you also need the funding to be able to support the incredible initiatives that you're running, to be able to allow everybody access to it. So it's like a vicious circle. What about schools outreach? How are you kind of broadening your reach to engage all schools? And how does that become more inclusive against the manifesto? Julia Willison: So we've been very intent on saying that we want to extend our reach to embrace all schools, sort of all schools in different areas, but also, at the moment, we have about 60, 70. Well, it's now changed to 60% of pupils that come on site are from primary schools. We want to increase the number of secondary school pupils that we engage with. Children make career decisions around their GCSEs and their A levels, and many children from certain schools from more deprived areas will go for general science rather than triple science. And all the research shows that if children choose triple science, they're more likely to do science at a levels. So looking to try and influence those children in their career choices is important for us. And that means that we want to increase the number of secondary schools that we engage with. Julia Willison: And we also have an intent on increasing the number of schools that have higher pupil premium, because in London, pupil premium is, you probably know, is that those children who are generally on those children, on free school meals, the school will receive a bursary from the government to try and reduce the attainment gap between those children on free school meals and those children on not. Julia Willison: So we have had bursaries, we don't have any at the moment, but we have had bursaries then to attract specifically those schools on much higher pupil premium, and we've shifted the dial on this and we have higher numbers of schools with higher pupil premium students and those schools, then we try to influence and think about science as a possible aspect that they can consider further in their careers. So, in planning permission at the moment, we're looking at building a new learning centre at Kew, which would be really exciting. And we're going through ecology reports at the moment before we can get the planning permission through. Julia Willison: But part of the learning centre will include four science laboratories, and so pupils can come on site to Kew will be able to come on site to queue and do science experiments in the heart of a scientific organisation. And all pupils doing GCSE and A levels have to do practical science experiments. We know from all the research that teachers don't necessarily feel confident in teaching about plants. So this is something that Kew really can uniquely offer schools to come to Kew and bring their pupils and get hands on with plant and fungal science experiments. Kelly Molson: Oh my goodness. That would be incredible. Julia Willison: Yes. And also it will provide us with the facilities to be able to do CPD online as well. So that's something that we're really keen to do. Kelly Molson: That's a really interesting side of this, is because I know that one of your goals is to engage with all schools. Now, all schools aren't local to Kew. My school definitely wasn't local to Kew. So how do you do that? How do you make that jump from engaging with local schools that can actually access the site? What can you do digitally that can engage with more schools and more people, regardless of location? Julia Willison: And one of the reasons that we are committed to engaging with all schools is because Kew is a national institution and we are funded partly. About 28% of our funding comes from the government, so it's paid for by taxes by people all over the country. So our commitment is to make our resources as available as widely as possible. And so we have an online programme called Endeavour, and that's a bank of resources specifically for teachers on all sorts of different. It's strongly linked to the national curriculum, but all sorts of different activities that teachers can use then to teach about plant science and fungi. But it straddles the natural curriculum not only in science, but for the primary ages. Julia Willison: It will also look at history, it will look at geography, et cetera, so that we can try and make our resources as relevant as possible to teachers. Kelly Molson: Yeah, that is a phenomenal resource that maybe more teachers need to hear about that. I think I would have been really excited. I did do Science at school. I can remember. I'd have been really excited about doing something that was connected to Kew Gardens. There's quite a big buzz about that, you know what I mean? I don't know why there's a connection to that organisation that I think would have been really exciting to know that you were working on something that had been created by Kew.Julia Willison: That's nice to hear that. We have a youth programme, which I'm very proud of. I think that the youth team is phenomenal, as are all the teams, but we run a youth explainer programme and that's on site, and young people come for a training programme every Saturday for six months and they go behind the scenes. They meet the horticulturist scientists and they learn communication skills. And what they do is we bring a game designer on site and they learn how to design their own game to play with the public about endangered plants or habitats. And the young people have to work together in groups and they produce this game. And then six months after, once they've finished their training, they then become explainers in the glass houses. Julia Willison: And the public, actually, they love interacting with young people and they bring a real buzz about it. So that's been a very successful programme. And on the back of this, we've developed a young environmental leader award. And the idea is that young people will develop their project and they will evidence different dimensions of leadership through their project. So they'll keep a portfolio and they have to evidence how they've developed their leadership skills during this journey. And then we award them with a young environmental leader award, and that's something that we do in house. But then the possibility is then to scale that, to make that available to young people outside Kew as well. Kelly Molson: That would be incredible, wouldn't it? Yeah, that would be a really special thing to be involved in. Okay, so we said earlier we're recording this. It's January 2024. Wow. How is Kew delivering against the manifesto after its first full two years? Julia Willison: Well, Kew is nothing if not ambitious. There is a real strong commitment to ending the extinction crisis. I mean, we can't do this alone and we have to do it in partnership. But I would say that we're firmly on the way to achieving many of the deliverables in the manifesto. And there's a real. People have really bought into. The staff have really bought into the manifesto, and you see that through. We run a staff survey every year and ask for feedback about whether what people think about the manifesto, do they feel their work is contributing to delivering it? And we get very high scores on that consistently we have since the manifesto was published. One of the deliverables in there is to revision the Palm House that I sit opposite in my office. Julia Willison: And we want that to become net zero and engage new generations with science and conservation work and make our data available to everyone. So we are moving towards that. And we've got some seed funding to be able to do this. I'd say that the bricks are in place and the foundations have been laid, and much of the work requires external funding and partnerships. But we have a vision, and I think people and organisations recognise what Kew's work is as vital. And I don't think that's overstating it, but that helps to open doors for support. So I think we're moving forwards, and I think there's a very positive feel about the work that we're doing. We're very fortunate. Kelly Molson: Yeah, it sounds very positive. And like we said earlier, there's so much to cover in this, Julia, and thank you for coming on and just talking about a very small element of all of the incredible things that are actually happening at Kew. So we always end our podcast by asking our guests to recommend a book that you love, something that you love personally or something that's helped shaped your career in some way. What have you chosen for us today? Julia Willison: Well, I chose a book that is a phenomenal book and by a woman who is phenomenal, and it is related to my work. But I chose the book because I think it is so inspirational. It's a book called Finding the Mother Tree: Discovering the Wisdom of the Forest by Suzanne Simard. And we awarded her the 16th Kew International Medal for her work and her devotion to championing biodiversity in forests. She's worked in British Columbia all her life in Canada, and she was the pioneer of the theory that plants communicate with each other through a huge subterranean fungal network. And the book reveals how trees connect and cooperate with each other, and that each forest contains hub trees. So mother trees. And that these trees in the forest play a critical role in the flow of information and resources. Julia Willison: So I feel that the book will change the way people look at forests. They're not simply a source for timber or pulp, but they are really part of a complex, interdependent circle of life. And I think it's a magnificent book. Well, if one reader reads it and enjoys it, I think that will be brilliant. Kelly Molson: Do you know what? I have to read this book. So this is the second podcast, interestingly, where. Oh, not the book. The book has never been recommended before. No, this is a completely new one. So David Green, Head of Innovation at Blenheim, was on the podcast a couple of episodes ago, and he talked about how trees communicate with each other, and that was a new thing for me. I had no idea that trees talk to each other, and the way that he described it was really interesting. And now this has come up in this as well. And I feel like someone is sending me a message that I need to read this book. So that's going to go top of my list, right.Kelly Molson: Erveryboday, listeners, you know what to do if you want to win a copy of Julia's book, then head over to our Twitter account and retweet this episode announcement with the words, I want Julia's book and you could potentially be learning about how trees communicate with each other and are a vital part of an ecosystem. Thank you. That's fascinating. Everything that you've talked about today is so exciting, and I know that there's so much work still to be done. Thank you for coming on and sharing about all of the things that you do there and all of the things that you're hoping to achieve. I have no doubt that you will do them. It's been an absolute pleasure. Julia Willison: Yeah, it's a real privilege. Thank you very much, 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. The 2023 Visitor Attraction Website Report 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 report now for invaluable insights and actionable recommendations!

Listen to part II of Ivonne's visit to Kew Gardens in London. Second and third stops on your tour are the Palm House and the Temperate House.  We learn how important these glasshouses are for protecting species. First, in this Discucoverage we discover the oldest pot plant in the world ...  As always, you'll find more information in the shownote.  December 2023 = Kew Gardens month!  We release a four-part podcast series on the famous Royal Botanic Gardens, Kew in December 2023. Learn about the highlights, listen to some very special sounds.  To accompany the podcasts, we publish blogs about Kew Gardens, their history and importance for now and for our future.  Visit content about Kew Gardens on Discutafel.nl.

This episode dives into the journey of Anderson Pugash, a sound meditation facilitator, Reiki master practioner, co-founder of Palm House Hospitality which owns and operates Palm House, The Dorian, Bergerac, and Audio, and is a partner in the Flamingo Resort in Santa Rosa, CA. We dive into his journey in healing his debilitating pain and herniated neck and how that took him off the path of hospitality to spirituality.    Resources: Anderson Pugash Website Anderson's Instagram In this episode we cover: Overcoming grief and death of a parent Various healing modalities including Reiki and energy healing neurofeedback sound healing Yogic perspective of non-dualism Anderson's practice of Kashmir Shaivism

Emergency Lighting Controls primary purpose is to provide sufficient illumination during emergencies for building evacuation and maneuvering. So just transfer the circuitry from utility power to emergency power. But wait, it's not that simple. As Steve reveals in this episode, there are many considerations, like what kind of emergency is it? Power failure? Fire? Security? Steve points out the irony of the “bug-eye” security light at an emergency exit that blinds anyone who is approaching that exit. As more designers/engineers use general luminaires with controls for their emergency lighting, it further expands how these systems are wired and interact with each other. It might be complicated, but it's not rocket science. Get educated and have that detailed conversation at the beginning of the project to avoid last-minute changes. Steve has been a lighting designer and educator for 42 years. He was the Senior Lighting Program Coordinator at the Pacific Energy Center in San Francisco from 2008-2011. Steve is a member of the Illuminating Engineering Society and was the IES/Northeast Regional Vice President. He was also part of the development team for the California Advanced Lighting Controls Training Program. Steve has taught lighting for 38 years. He won an IALD award for the Palm House at Dowling College and an EPRI award for Brower Commons at Rutgers University. Since 1992, he has given several workshops at LightFair and has spoken at Lux Pacifica in New Delhi, India. He is also a private pilot. Connect with Steve: https://www.linkedin.com/in/steven-mesh-lc-iesna-b156b83/ lightingcontrolsassociation.org https://lightingcontrolsassociation.org/2023/05/24/egress-and-emergency-lighting-in-a-controls-world/ Catch Webster's presentation at NYControlled (nycontrolled.com) on November 14, 2023. 

This week RBG Kew's director of gardens Richard Barley and arboretum supervisor Rebecca Lane join the Horticulture Week Podcast.Kew has changed a lot over the last 10 years, including the introducing the Great Broadwalk Borders, the Children's Garden, Agius Evolution Garden, "reinvigorating" the Kitchen and Winter gardens, plus and the restoration of the Temperate House.These days a visitor coming to Kew today might say "there's a bit more obvious horticulture and perhaps a bit more of an eye for design on the site", Richard says.The staff culture at Kew has also changed, says Rebecca, "giving more autonomy with the view of improving design and I think that's made a really big difference to how people are looking after their areas and the drive within the teams has really improved as a result of that". Kew recently achieved Plant Healthy certification (only the third garden in the UK to receive it) and Richard explains why it was so important to Kew:"Plant health and biosecurity are incredibly important for this country and for any country because the risk and cost that arises from accidental introduction of pathogens and pests and diseases as everyone knows can be horrendous - not only monetary cost, but costs to the landscape."We are really focused [on this] and we need to be because our collections are hugely important, but also as we feel it's our responsibility to set that example for other organisations as well."Faced with the vagueries of climate change for its outdoor collections, Kew is undertaking research on future climate conditions 2050 to 2100 in the London area and whether its plant stock will be suited to them. Strikingly, "By 2050 approximately a quarter of what we are growing currently will be out of its range of comfortable growing conditions", Richard says. "So our gaze shifts to parts of the world which have conditions that are better matched to the future climate in this part the country, and that's where we look to find species that we can substitute into the landscape for the future". Rebecca explains how they are working to monitor individual species, relocating them where necessary so as not to lose collections.Visitor numbers have bounced back strongly since Covid but Kew is continuing work on its diversity agenda to reach all communities within the UK and overseas and they discuss developments on the educational front.As for the future, fundraising will be key with significant developments in the pipeline. Chief among these is a "carbon-neutral Palm House", an expansion of the Mediterranean Garden and a "'Carbon Garden' or possibly a 'Climate Change Garden', we're still debating the name of it" where the connection between carbon and nature can be explored. Hosted on Acast. See acast.com/privacy for more information.

We explore different ways to look at the restaurant business with Benson Wang the co-founder of Palm House Hospitality, which owns and operates the Palm House and the Dorian in SF, and the Flamingo Resort and Nick's Cove in the North Bay

Concrete is one of the most widely used building materials in the world, with one third of global resources going into its production. However, the production of concrete has a significant impact on the environment, and there is a growing need for sustainable alternatives.Host Sue Stockdale interviews Roisin Hyde, a chartered architect specialising in sustainable design and 3D printing of low carbon concrete components as concrete alternatives. Her business, Nomad, has recently been nominated for the EarthShot prize, which supports start-up companies working in the area of habitat restoration and decarbonization. Her goal is to decarbonize the construction industry through her work with concrete. About Roisin HydeRoisin Hyde is a Chartered Architect specialising in Sustainable Design with a PhD in Parametric Design, Novel Materials and Digital Fabrication. She spent 5 years developing, testing and validating a sustainable model for the 3d Printing low carbon concrete components as a PhD Student in Queen's and Fulbright Visiting Researcher at UNC. In 2001 Roisin was awarded Startup funding through Innovate UK's ICURe program for the production of 3D printed low carbon concrete components made with industrial by-product and waste materials. Roisin is currently working with partners Balfour Beatty, FP McCann and Enva to produce 3DP concrete seating, planters and paving made with recycled glass from the Palm House of the Royal Botanic Gardens in Edinburgh as art of the current restoration works.Connect with Roisin Hyde on LinkedIn and via her website, or watch her TED Talk. Partners and SupportersWe partnered with the Royal Scottish Geographical Society to bring you this series. Take a look at their Climate Solutions course, developed by leaders and experts in climate change and endorsed by the Institute of Directors.We are also supported by Squadcast –the remote recording platform which empowers podcasters by capturing high-quality audio and video conversations.Connect with us on Twitter : Facebook : Instagram : LinkedIn : Read our Impact ReportActions to take after listening to the podcastWe have created a list of questions to help you reflect on the podcast episode and what you heardSign up for our Zoom listener discussion on the topics raised in this series on Friday 21st July from 1300 to 1345hrs BST.Key Quotes "I think one third of global resources goes into the production of concrete." "The technology is already 20 years ahead of the industry" "Geopolymer it's really a super material like carbon fibre or carbon nanotubes or graphene, it's a pretty incredible material""I think it's really important to connect with young people and say this is your planet.""It would be great to develop a wonderful circular economy for the moon and we can start over on a planet and do it right from from day one""I just feel that it has great potential for creating more equal society globally. People will be able to access this technology wherever they are and we'll be able to share our knowledge bigger communities and have more impact in mitigating against climate change"Credits:Sound Editor: Matias de EzcurraProducer: Sue Stockdale

With a guy like Steve Mesh, it's hard to keep the discussion to an hour. In this episode, Webster taps into Steve's vast knowledge of lighting controls to find out how he became a lighting controls specialist and what can be done now to formalize the education of lighting controls specialists. Steve knows so much that he is a much sought-after lecturer and teacher. Oh - and he can fly planes! Steve has been a lighting designer and educator for 42 years. He was the Senior Lighting Program Coordinator at the Pacific Energy Center in San Francisco from 2008-2011. Steve is a member of the Illuminating Engineering Society and was the IES/Northeast Regional Vice President. He was also part of the development team for the California Advanced Lighting Controls Training Program. Steve has taught lighting for 38 years. He won an IALD award for the Palm House at Dowling College and an EPRI award for Brower Commons at Rutgers University. Since 1992, he has given several workshops at LightFair and has spoken at Lux Pacifica in New Delhi, India. He is also a private pilot. 

With a guy like Steve Mesh, it's hard to keep the discussion to an hour. In this episode, Webster taps into Steve's vast knowledge of lighting controls to find out how he became a lighting controls specialist and what can be done now to formalize the education of lighting controls specialists. Steve knows so much that he is a much sought-after lecturer and teacher. Oh - and he can fly planes! Steve has been a lighting designer and educator for 42 years. He was the Senior Lighting Program Coordinator at the Pacific Energy Center in San Francisco from 2008-2011. Steve is a member of the Illuminating Engineering Society and was the IES/Northeast Regional Vice President. He was also part of the development team for the California Advanced Lighting Controls Training Program. Steve has taught lighting for 38 years. He won an IALD award for the Palm House at Dowling College and an EPRI award for Brower Commons at Rutgers University. Since 1992, he has given several workshops at LightFair and has spoken at Lux Pacifica in New Delhi, India. He is also a private pilot. 

 PLANT OF THE WEEK Scientific Name: Rubus parvifolia Common Name:Native raspberry Native Habitat: found mainly along the east coast in rainforest or coast heath communities. Description:A scrambling vine or shrub the shoots from underground rhizomes with hooked thorns to help it climb.  Height-Width: 2 x 2 m Flowering: December to April Fruiting:Juicy fruit produced in clusters. Position: Full sun or part shade. Attributes: Dry tolerant once established.   Rubus parvifolia Not all fruiting vines or canes come from the northern hemisphere, Australia has quite a lot of its own. These plants have similar fruits and are easier to grow than there northern counterparts so why are we growing them more?  My experience is observing one such plant in Sydney Botanic gardens, scrambling on a stream bank near the Palm House. This plant is part of the native garden along with banksias, grass trees, lomandras, carpobrotus and many others, including a peppermint gum. The habit of rubus species is to keep suckering and spreading, much like the non-native blackberry bushes, so take care where exactly you plant it in your garden. Listen to the podcast to find out more. I'm talking with horticulturist and native plant afficionado, Adrian O'Malley  PLAY : Rubus parvifolius_25th August 2021

Humans have always been delighted by sweetness. In this three part series Lainy Malkani explores how sugar forged the modern world, from its role in the slave trade and the European colonisation of the Americas, to the consequences of our dependency on it today. For some countries, their past is built on it; for others, their futures depend on it. Across Britain, the USA and Thailand, Lainy digs into the past, present and future of sugar. Beginning in London, Lainy samples sweet treats in Brick Lane with the food writer Ruby Tandoh, examines sugar cane in the tropical Palm House at Kew Gardens with botanist Dr Maria Vorontsova, and traces sugar's journey from luxury to necessity centuries ago with the historian James Walvin. She visits the West India Docks on the River Thames where sugar - harvested by slaves in the Caribbean – arrived for refining in the early 1800s, and considers how sugar has shaped the city today. (Photo: Spoonful of sugar added to coffee)

Roger Sosa Executive Director Evanston Chamber of Commerce came on the show to talk with Pete Jansons about: 100 Year Anniversary!!! COVID experience and learnings ***NEW SMALL BUSINESS $100 SPECIAL TO CELEBRATE 100 YEARS IN THE COMMUNITY MashUp 2021! Register Now for This Extraordinary Fall Event You're invited to the event of the year: MashUp 2021! September 29 | 6:00-9:00 p.m. PALM HOUSE, 619 Howard Street Evanston Your Evanston Chamber Staff: Roger Sosa Executive Director Roger@evchamber.com 847-328-1500 Angela Iantosca Membership & Developments Director angela@evchamber.com 847-328-1500 Sara Jane Abbott Director of Marketing SaraJane@evchamber.com 847-328-1500 https://business.evchamber.com/member/newmemberapp/ Have an idea for a topic or guest? pete@northshorepodcast.com --- Send in a voice message: https://anchor.fm/pete-jansons3/message

Some of you might have caught our Instagram live interview last week but we had so much fun and I knew I had to share it permanently. Episode 166 features the incredibly talented DJ/Producer Duo iLLEST and Perry!! These guys are without a doubt some of the coolest and most skilled musicians I've ever met. Individually they are world class but together they are truly legendary and we got their full story in this one

We take a trip to Belfast once again, this time stopping in with the host of BBC Radio Ulster show 'Beat Seekers' and local DJ and producer, Reger. Being somewhat new to the Irish DJ circuit, Robbie McCammon aka Reger started playing out in Belfast in 2019, and has since appeared at venues such as Ulster Sports Club, Thompson’s Garage and Palm House for events such as Misfit and Stereo Sessions. In 2020, Robbie began work at BBC Radio Ulster's Across The Line [Now Beat Seekers] showcasing exclusive Irish talent. Robbie's passion for radio and showcasing new Irish talent, alongside influences from the likes of Special Request, Blawan, Overmono, Objekt, Andrew Weatherall, Gilles Peterson, Timmy Stewart and Carlton Doom all contributes to such a wide variety of sounds you hear within Reger productions and mixes. Read the article here: https://fourfourmag.com/new-mix-local-selection-119-reger/ REGER ----------------- SC: @regersound FB: www.facebook.com/RegerSound Four Four Magazine --------------------------- FB: www.facebook.com/FOURFOURDANCE/ IG: www.instagram.com/fourfourmagazine/ Web: www.fourfourmag.com/

In this week's books podcast my guest is Kate Teltscher, who tells the fascinating story of one of the greatest showpieces of Victorian Britain: the Palm House in Kew Gardens. Though the gardens and their glassy centrepiece are now a fixture of London's tourist map, as her new book Palace of Palms reveals, they very nearly weren't. She tells me how a team of brilliant mavericks used cutting-edge science and engineering to build one of the greatest constructions of its era... in just the wrong place. With walk-on parts for Darwin, Humboldt and Alfred Russel Wallace, she reveals the way in which Victorian botany extended its tendrils through the whole Empire, shows how the palm was seen as the "prince of plants", and describes the quest for the palm of all palms, the elusive coco-de-mer. Subscribe to the Spectator's first podcast newsletter here (https://www.spectator.co.uk/podcast-highlights) and get each week's podcast highlights in your inbox every Tuesday.

Our Moderator Emily Pearson leads our Weekly Baste Segment with a fast paced game of word association and a lively discussion of all things Popeyes chicken sandwiches, WeWork, rice balls, biodiversity, food journalism, and more! Our guests for The Weekly Grill are Dave Campaniello of Arancini Bros., Jessica Geddis of Vinegar Hill House and Sarena Snider of Eating Animals and current grad student at Columbia's School of Journalism. Join Heritage Radio Network on Monday, November 11th, for a raucous feast to toast a decade of food radio. Our tenth anniversary bacchanal is a rare gathering of your favorite chefs, mixologists, storytellers, thought leaders, and culinary masterminds. We'll salute the inductees of the newly minted HRN Hall of Fame, who embody our mission to further equity, sustainability, and deliciousness. Explore the beautiful Palm House and Yellow Magnolia Café, taste and imbibe to your heart's content, and bid on once-in-a-lifetime experiences and tasty gifts for any budget at our silent auction. Tickets available now at heritageradionetwork.org/gala.The Main Course O.G. is powered by Simplecast. 

It's HALLOWEEN! Our Moderator Emily Pearson leads our Weekly Baste Segment with a fast paced game of word association and a lively discussion of all things Halloween, candy, the perfect Irish coffee, Guiness, The New York Irish Whiskey Fest and more! Our guests for The Weekly Grill are Jack McGarry and Sean Muldoon of The Dead Rabbit, NYC's most famous Irish Pub and one of the World's Best Bars. Learn more at DeadRabbitNYC.com and NYIrishWhiskeyFest.com!Join Heritage Radio Network on Monday, November 11th, for a raucous feast to toast a decade of food radio. Our tenth anniversary bacchanal is a rare gathering of your favorite chefs, mixologists, storytellers, thought leaders, and culinary masterminds. We'll salute the inductees of the newly minted HRN Hall of Fame, who embody our mission to further equity, sustainability, and deliciousness. Explore the beautiful Palm House and Yellow Magnolia Café, taste and imbibe to your heart's content, and bid on once-in-a-lifetime experiences and tasty gifts for any budget at our silent auction. Tickets available now at heritageradionetwork.org/gala.The Main Course O.G. is powered by Simplecast.

It's a full house this week with co-hosts Patrick Martins, Brandon Hoy, Mike Edison and special guest Daniel Sharp of The Meatball Shop. Our Moderator Emily Pearson leads our Weekly Baste Segment with hard-hitting stories of food in the news and a fast paced game of word association. This week we discuss all things GOAT, goat cheese and Goatober, British tabloids, neighborhood favorites, lunch ladies, UberEats, Meghan Markle and more. Our guest for The Weekly Grill is James Whetlor of Cabrito Goat Meat, Goatober International and the James Beard Award Winning Author of Goat: Cooking and Eating. Learn more at Goatober.com and by following @goatobernews! Join Heritage Radio Network on Monday, November 11th, for a raucous feast to toast a decade of food radio. Our tenth anniversary bacchanal is a rare gathering of your favorite chefs, mixologists, storytellers, thought leaders, and culinary masterminds. We'll salute the inductees of the newly minted HRN Hall of Fame, who embody our mission to further equity, sustainability, and deliciousness. Explore the beautiful Palm House and Yellow Magnolia Café, taste and imbibe to your heart's content, and bid on once-in-a-lifetime experiences and tasty gifts for any budget at our silent auction. Tickets available now at heritageradionetwork.org/gala.The Main Course O.G. is powered by Simplecast.

Our Moderator Emily leads our Weekly Baste Segment with hard-hitting stories of food in the news and a fast paced game of word association. This week we discuss all things drinking and beverage! Coffee, champagne, liquor, apertifs, digestifs, wine and beer! Our guest for The Weekly Grill is Natalie Grindstaff. Natalie is the Director of Beverage Programs at Crafted Hospitality and oversees diverse wine, cocktail, beer and coffee programs for the groups restaurants in New York and Los Angeles. Follow Natalie on Instagram @nattinara!Join Heritage Radio Network on Monday, November 11th, for a raucous feast to toast a decade of food radio. Our tenth anniversary bacchanal is a rare gathering of your favorite chefs, mixologists, storytellers, thought leaders, and culinary masterminds. We'll salute the inductees of the newly minted HRN Hall of Fame, who embody our mission to further equity, sustainability, and deliciousness. Explore the beautiful Palm House and Yellow Magnolia Café, taste and imbibe to your heart's content, and bid on once-in-a-lifetime experiences and tasty gifts for any budget at our silent auction. Tickets available now at heritageradionetwork.org/gala.The Main Course O.G. is powered by Simplecast.

Patrick Martins and Emily Pearson traveled to the Carolina Meat Conference hosted by NC Choices in Charlotte, North Carolina on October 7, 2019 for a live recording of The Main Course OG. Guests for The Weekly Grill include: Donna Moore, CEO Piedmont Custom Meats; Greg Collier, Owner of The Yolk Cafe and Executive Chef at Loft & Cellar; Jeremiah Jones, President of the NC Natural Hog Growers Association; Sam Suchoff, Owner of Lady Edison Meats & The Pig Restaurant; and Steven Goff, Executive Chef/Co-Owner AUX Bar and Blind Pig.Join Heritage Radio Network on Monday, November 11th, for a raucous feast to toast a decade of food radio. Our tenth anniversary bacchanal is a rare gathering of your favorite chefs, mixologists, storytellers, thought leaders, and culinary masterminds. We'll salute the inductees of the newly minted HRN Hall of Fame, who embody our mission to further equity, sustainability, and deliciousness. Explore the beautiful Palm House and Yellow Magnolia Café, taste and imbibe to your heart's content, and bid on once-in-a-lifetime experiences and tasty gifts for any budget at our silent auction. Tickets available now at heritageradionetwork.org/gala.The Main Course O.G. is powered by Simplecast.

Yousef brings you his weekly radio show recorded live from his sets around the globe... -

Yousef brings you his weekly radio show recorded live from his sets around the globe... -

Neil Atkinson is joined by Andy Heaton, Philippa Smallwood and Paul Senior to talk about Liverpool's defensive worries against Crystal Palace and also to work through some solutions. Robbie Scotcher joins to talk about the Eagles. He's convinced their attack can worry The Reds. Kev McArthur is in with John Gibbons to talk about the Smithdown Road Festival with its main stage now being at The Palm House. But it is all about Palace. Another big push, Reds, come on! Learn more about your ad choices. Visit megaphone.fm/adchoices