Podcasts about portobello market

In conversation with the incredible Fiona of London's legendary vintage store Rellik growing up in Australia in the 70s and using patterns to make her own clothes, going to Central Saint Martins in the 80s, her introduction to Portobello Market and starting her own stall in 1995, at that time selling young upcoming designers clothes along with vintage and upcycling, the fashion buyers and designers who would come to the market, how her pieces ended up in Hong Kong Department store Joyce and Topshop, Getting her shop where Rellik still resides today, the increase of Stylists pulling full vintage looks from Rellik, underrated UK designers, her love for Rick Owens, the future of fashion and so much more

This week on the SheerLuxe podcast, Georgie Coleridge Cole, Sarah Templeman (Hodge) and Louise Roe sit down to discuss some new film, TV and theatre releases, including the new Bridget Jones movie and The Greatest Showman Come Alive show. They also share their top picks from the SheerLuxe Christmas Gift Guide, before taking a look at the SheerLuxe Free People shoot. The three also give us their thoughts on this week's hottest topics – from celebrating Thanksgiving in the UK, to Abbey Clancy and Peter Crouch's new collection with Agent Provocateur. Finally, the group answers this week's reader dilemmas, including how to manage a tricky relationship with your in-laws and coping with grief after losing a friend. 00:39 Intro & Outfit Run-Through09:32 New & Noteworthy: Bridget Jones 4, Come Alive Show London, Portobello Road Markets & Tsunami On Disney+20:31 Mustn't Miss: The SheerLuxe Christmas Gift Guide & Free People Shoot29:10 Hot Topic: Thanksgiving In The UK, Our Favourite Trending Products & Abbey Clancy And Peter Crouch For Agent Provocateur37:57 Dilemmas: Managing Your Relationship With In-Laws, Dealing With Grief, Interiors Recommendations & Favourite Festive ActivitiesPANELGeorgie Coleridge Cole | @gcoleridgecole | https://www.instagram.com/gcoleridgecole/ Lousie Roe | @louiseroe | https://www.instagram.com/louiseroe/ Sarah Templeman | @sarahjtempleman | https://www.instagram.com/sarahjtempleman/ NEW & NOTEWORTHYCome Alive Show | https://comealiveshow.com/ The Floor Is Lava | https://tinyurl.com/5yr5jxc6 Tsunami 2044 | https://tinyurl.com/38u3925m Tsunami: Race Against Time | https://tinyurl.com/4k8w48kt MUSTN'T MISSChristmas Gift Guide | https://tinyurl.com/hc2na4r3 Sharland's England Candlestick Holder | https://tinyurl.com/5ypsavtf SL Free People Shoot | https://tinyurl.com/j4jzd8fu HOT TOPICBotivo | https://www.botivodrinks.com/ Estee Lauder Overnight Mask | https://tinyurl.com/2j2fdvhn DILEMMASMango Crystal Slingback Heeled Shoes | https://tinyurl.com/ye29ztyn Hosted on Acast. See acast.com/privacy for more information.

Joining me, Kelly-Anne Taylor, this week is the writer, director and actor, Dolly Wells. She grew up off of Kensington High Street in London – the youngest of six children. Aged 18 – she discovered that her stepfather was actually her biological father – the great comic actor, John Wells. In her 20s, Dolly worked as an actress – but also as a photographer's assistant, she had a stall in Portobello Market and wrote book reviews for the express. It was only when she had her daughter in her 30s that she really decided to go for it. Since then, she's made her mark – and there seems to be very little that she can't do. She's played a vampire-hunting nun in Steven Moffat's Dracula, a woman locked in a basement with David Tennant in Inside Man and an incompetent assistant in the Sky comedy Doll & Em (which, she co-wrote with her best friend, the actress, Emily Mortimer). Now, she turns her hand to directing BBC3's A Good Girl's Guide to Murder – which follows a bright-eyed, precocious teenager Pip (who decides to investigate the unsolved murder of a schoolgirl. In this episode, we talk about the beauty of ageing, her life-changing friendship with Emily Mortimer, and how female directors are changing the industry. Learn more about your ad choices. Visit podcastchoices.com/adchoices

You don't need to be any age to start something you have been passionate about. Welcome to the world of Herbie Mensah, who is a designer in upscaling vintage clothing. Taking the scenes and living through some of the most fashionable decades starting from the 60s as Herbie says till now, his inspiration comes from the way he lived through the 80s club scenes. At the moment, his store in Portobello Market is one of the hotspots of a designer who is thinking very much sustainable and ethical has become much of a full-time business. Join Herbie and myself in a conversation about how it all began and what the future holds with so many clothes that's around. You can find Herbie Mensah here www.herbiemensahvintagelondon.com/ This episode, the following research, editing, host was by Sarmilla, music by Charles J.

If you go to the Porty Market in Brighton Park today, look out for a stand selling bottles of a drink called Pochle. It's the name chosen by the man who's making Scottish Calvados or cider brandy or eau d vie from our excess apples. Rather than see them go to waste, Chris Miles will collect and store them until he can turn them into apple juice which he then sends off to be fermented and then distilled into a clear, and very strong, spirit. And Pochle? It's an old Scots word meaning to have something without quite having permission.https://pochle.co.uk/

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Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, MD of Rubber Cheese.Download our free ebook The Ultimate Guide to Doubling Your Visitor NumbersIf you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends October 1st 2022. The winner will be contacted via Twitter. Show references: www.complete-works.co.ukhttps://www.linkedin.com/in/bala-mcalinn-05406683/ Bala McAlinn began working in the Visitor Attraction industry in 2007 writing and directing shows for organisations including London Zoo and the Science Museum. In 2012 he founded Boo Consultancy Ltd, a sister company to the event agency Boo Productions Ltd. Boo Consultancy is a training and staffing agency that applies theatrical techniques to the environments of Visitor Attractions. They predominantly place actors in FOH positions to increase membership sales and visitor donations or deliver workshops to improve the sales and storytelling skills of inhouse teams. In 2021 they rebranded to Complete Works a nod to the greatest storyteller and their theatrical past and because our approach is holistic, redefining the 3 key elements of success: your visitors, your destination and your team.They work with many leading organisations including the Royal Botanic Gardens Kew, Wembley Stadium, The Macallan Distillery and the National Gallery where they won a 2019 Institute of Promotional Marketing award for increasing visitor donations by more than 300% whilst also improving visitor satisfaction scores.His parents are from Los Angeles, his wife is from Sydney and he was born in London. Thus, he has had various accents over the years and matched with the fact that he has an Indian forename and Irish surname, He has grown accustomed to people being generally intrigued, mildly amused and partially confused by him. Which is great for networking and tricky when changing energy supplier over the phone. Thankfully he does more networking than the latter. Bala has 3 hilarious children whom he enjoys making music, drawing cartoons and boxing with. Transcriptions: Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host Kelly Molson. Each episode I speak with industry experts from the attractions world. These chats are fun, informative, and hopefully always interesting.In today's episode, I speak with Bala McAlinn, founder of Complete Works. I ask Bala how you teach someone to be a good storyteller, and he shares his tips for improving visitor experience through performance.If you like what you hear, subscribe on all the user channels by searching, Skip the Queue.Kelly Molson: Thank you so much for joining me on the podcast today. It's lovely to have you on.Bala McAlinn: Very welcome, Kelly. Nice to be here.Kelly Molson: I am going to ask you a few icebreaker questions, because this is how we start every interview. We've met before though, I don't feel like we need to break the ice, but everyone loves these, so let's go ahead.Kelly Molson: We're going to talk about storytelling and we're going to talk about visitor experience. I want to know what your favourite story is?Bala McAlinn: I'm going to go with, I think my favourite story of all time is The Diamond as Big as the Ritz by F. Scott Fitzgerald, which is a short story that he wrote about, it's slightly science fiction, but within the real world.Bala McAlinn: And there's a family who for generations live on a mountain and the mountain is a diamond, but they have to control the flow of diamonds into society otherwise the price of diamonds would plummet and they wouldn't be as rich.Bala McAlinn: So they're like a secret Bond villain family who live on this diamond mountain and have servants who speak their own language.Bala McAlinn: And one of the children goes off to college and meets the protagonist of the story and invites him to come to the mountain. I won't give away what happens next, but it's bonkers and fascinating and exciting, innovative.Kelly Molson: Great. Sure. I've never read that either. So I'm going to add that to my list. All right. In terms of customer service, what has been your best ever customer service experience?Bala McAlinn: So I think in recent times, the one that instantly pops into my mind, is a client. So I will share that but I'll also potentially try to think of another one as well. So it doesn't just seem like I'm doing that.Bala McAlinn: So some of the greatest customer experience I've received in recent times is at the Macallan Distillery up in Speyside, which is just second to none, it.Bala McAlinn: When you talk about a five star customer experience, that phrase is used a lot, and people talk about world class customer, visitor, guest, whichever word you want to use, experiences and they are truly nailing it across the board in so many different ways.Bala McAlinn: So their team are fantastic, they've done a great job of investing in them, making them feel important, supporting them and you can just tell because it's so authentically good.Bala McAlinn: All the people you interact with truly want to be there, are truly passionate about Macallan and its history and there's so many good stories.Bala McAlinn: I think one of the last times I was up there, I was given a tour by one of the tour guides and they're in a unique position that not every organisation could do this, but when she was given us the tour, we're in a section that had, it wasn't a museum, but had a case that's like a museum case.Bala McAlinn: And there was an old hip flask in there. It was lady called Lindsay and she's, I would imagine, 25. So quite young in the world of whiskey. And then that was her grandfather's hip flask.Bala McAlinn: And she started telling us about how she's third generation on the estate and all this, and you're just pulled in and it was just such a powerful emotive story and such a connection with her.Bala McAlinn: And she's not unique. When you spend time there and meet other people, there's so many people who have a family connection to the place.Bala McAlinn: But it isn't just that. There's so many people who have immigrated from other parts of the world to come and work there and are equally as passionate. The whiskey is delicious and their food is sublime.Kelly Molson: Wow.Bala McAlinn: They do a incredible tasting meal that the chef Pavel creates and it certainly doesn't stay the same, it's all local ingredients.Bala McAlinn: A lot of it's come from the Spey on their estate and you'll have fascinating adaptations of trout and salmon and local beef and things all paired with wines and whiskeys and it's truly magnificent.Kelly Molson: You've sold it. If that isn't the power of storytelling I don't know what is. There's the example that we've all been listening for today.Kelly Molson: All right. Final icebreaker. I want to know, what is your guilty food pleasure?Bala McAlinn: Turkish Delight. There you go.Kelly Molson: Oh, okay.Bala McAlinn: Yeah, no, I love Turkish Delight. My palette, I've got quite a Victorian palette or something, because I don't like a lot of modern sweets, but I love Turkish Delight. I love marzipan.Bala McAlinn: So it's really convenient if there's a box of chocolates, because everybody goes in for certain truffles or different ones and the Turkish Delight or the marzipan one is often left till last.Bala McAlinn: But I'll definitely go for those or in a box of Celebrations, which I don't particularly like, but if I'm going to have one of those, I want the Bounty. I don't want the others.Kelly Molson: Why has Bounty got such a bad name? It is such a superior chocolate when it comes to Celebrations. I don't understand this. It's delicious.Bala McAlinn: Coconut's delicious. So I like those ones. But yeah, my real guilty pleasure is burgers. I had a burger last night. I eat too many burgers. It's just the perfect meal.Kelly Molson: So compact, all in one.Bala McAlinn: Picking up just a big meat sandwich with lots of cheese, lots of pickles, lots of things in it. Yeah, I'm happy with one of those.Kelly Molson: Okay. All right. And we're at unpopular opinion time. So what have you got for us?Bala McAlinn: I suppose my unpopular opinion, I don't really like technology. And a lot of people say that, but I think I genuinely don't.Bala McAlinn: And obviously I'm aware of how much technology has helped the world in so many ways and why we live longer and we can communicate with people who we wouldn't be able to have connections with if we didn't have technology.Bala McAlinn: But yeah, I find it annoying. So I don't like computers, I don't like phones. I keep a paper diary and a paper notebook, which everybody who works with me finds incredibly frustrating.Bala McAlinn: Because I can't share. I can tell them what I'm doing next Tuesday if they ask. But I can't let the counselors see it on a calendar invite.Bala McAlinn: I struggled getting on this Zoom call today. When you asked me to be on this, I said, "Yeah, but can we do it in person?"Kelly Molson: I said, "No, that's a real pain in the arse."Bala McAlinn: There's a huge insult and an indicator that you didn't really want to chat to me. And I was like, "Yeah, there's a lovely sunny day where we could be strolling through some woodland having a chat or doing something," and you could have invited your listeners to come as well, we could have had a picnic.Kelly Molson: So this will come. I just needed more time to organise it. Oh, it will happen. All right. Okay. Look, we all need technology in our lives but I know that this is quite stressful for you.Kelly Molson: But thank you. I appreciate that you've you've given this a go today for me. Do you think, now I want to talk about your background a little bit, because we've talked about this before and it is super fascinating how you've gone from being a classically trained actor to working with visitor attractions.Kelly Molson: So tell us about your background. So tell us how you've gone from being a classically trained actor to running Complete Works?Bala McAlinn: So yes, so I was an actor, not particularly successfully, but successful enough to do it for five years and pay the bills. Not Hollywood or Royal Shakespeare Company, which is where I wanted to be.Bala McAlinn: Lots of pantomime and theatre and education. And I did a couple of little bits on TV, which was fun, but nothing significant. So I enjoyed the lifestyle of being an actor and the fun and experience of it.Bala McAlinn: And then the reality is I met my now wife and she became more important to me than the lifestyle of basically not having to work that much, doing some shows, and getting to lie in the morning, which was great fun in my 20s.Bala McAlinn: But yes, so decided I needed something with a bit more stability, a bit more of a stable future progression. So yeah, started looking and thinking about what else I might do.Bala McAlinn: So I decided to become a cartoonist because that's really stable as well and the obvious progression from being an actor. So that was fun. That didn't work out.Bala McAlinn: But actually it did give me some really good experience because I started a greeting cards company.Kelly Molson: Oh, wow.Bala McAlinn: It was called Of Mice and Mice. And it was this mouse in human situations but what it did is it talked to me about sales and starting a business.Bala McAlinn: Designed the cards and had them made and website and branding and everything, and then sold them on Portobello Market in West London. So had a stall and sold them there, and they sold.Bala McAlinn: So I was like, "Great, that works." And then had to get them in shops. So I had to go through the process, which was really good for confidence building in terms of being a business person and sales, just having to book appointments, try and convince them to see you then come in and pitch your portfolio and get them to stock and supply you.Bala McAlinn: And so I did that for a year or so. I got 10 London stockists, which for ages I'd really wanted. It was like 10 London stockists, that's like a landmark.Bala McAlinn: So I got there and did it and then realised my cards, because they were printed on recyclable material with vegetable ink and recyclable and everything, costs like 50p to make and I could sell them for a pound to a shop. I have 10 shops selling me and I make about £30.Kelly Molson: Wow. Back to the drawing board.Bala McAlinn: Didn't give me the lifestyle I crave. But it was a good experience. So then I went back to thinking really about my skill set and what I'd done as an actor and the training I'd had to be an actor.Bala McAlinn: So I worked freelance for a number of years for a number of companies. So doing shows again and writing shows, but then working with visitor attractions.Bala McAlinn: So I did projects with the Science Museum and London Zoo, writing shows for them or tweaking the scripts of The Bubble Show and Rocket to Bullet show at science museum and Animal Talks at London Zoo and it was fun and I enjoyed that.Bala McAlinn: And so started doing more of that and then started a business doing that. My business, which I started in 2012, the original company, which we still do is training.Bala McAlinn: What we thought that the majority of our training work would be. The animal team, upskilling them to deliver a better gorilla talk or the workshop team, that's in the education team that museums have.Bala McAlinn: So we did that and we still do some of that, but quite quickly we saw that people were just asking us, "Oh actually, can you apply those skills to the front of house team? Because you're making the animal team better communicators. We want our front of house teams to be better communicators. And ultimately we want them to be better communicators to increase commerciality."Bala McAlinn: And that's where our business really took off for obvious reasons. If we're working to help people make more money, we get more work.Bala McAlinn: So focusing on using the skills of performance communication, improvisation, stagecraft in the environments of visitor attractions to upsell membership or increase onsite visitor donations or special exhibitions, is a huge benefit to the organisation and we are skilled and suited to do that.Bala McAlinn: So we started doing that and then the real unplanned success story of our business is then our staffing agency. So we started the business of training and consultancy, but then whilst I was working at Kew Gardens, this must be I think about 2013.Bala McAlinn: And I was doing communications training for their membership team and I'd mystery shopped them a few times to see the experience through the eyes of their guests.Bala McAlinn: And they had some membership promoters at the front, like sitting on stools behind a desk, and it said talk to me about membership. And I was looking at it and they're like, okay. And if people walked up to them, they would tell them about the membership, but there was no proactivity in it at all.Bala McAlinn: And so I'd put in the report. I was like, "It looks like you've got a real opportunity to increase the membership sales there." Because I was mystery shopping, I presumed, they were Kew staff.Bala McAlinn: They then told me that actually they were from a promotional agency that they book to promote the membership. And I said, "Well, they don't promote it. There's no proactive sales. It's just reactive. They sell the membership and it's testament to the strength of Kew Gardens offer that without any proactive sales..."Bala McAlinn: The results were good that. They were getting a decent return on investment from this company, but there was nothing proactive.Bala McAlinn: So I was like, "Well, actually I know load of actors. Let us have a go and let's see what we can do." So we trialed a summer of doing it and increased the sales exponentially and Kew were really happy.Bala McAlinn: And we were really happy and said, "Well, great, let us now do that for you." And, yeah, so our staffing agency is actors between roles predominantly working at visitor attractions and predominantly doing commercial tasks like membership sales or visitor donations.Bala McAlinn: And it's such a great model. Obviously it was my idea, but I didn't really take credit for it. It was like one of these lovely, accidental things where we saw it, we tried it, but the model worked so well.Bala McAlinn: And we love in the company, myself and my employers, supporting actors because a bunch of us are ex actors in my company so we like having that connection and supporting them.Bala McAlinn: And then the actors, we also like that we support actors and we do it by supporting the arts, which is a lovely little circle of artists supporting the arts in their job to pay the bills.Bala McAlinn: And because we're ex actors, we've managed to create an agency that works really well for our actors. We are only as good as our people on the staff and business.Bala McAlinn: And there are lots of promotional agencies and staffing agencies out there but we are quite niche and we are very good for our people, which makes them very good for us.Bala McAlinn: Because know the trials and tribulations of being an actor, whether it's London, Edinburgh, wherever, it's a tough job and you need to pay your rent and you need flexibility.Bala McAlinn: So we give our staff 100% flexibility so they aren't committed to a job if they get an audition or acting. Whereas if they're working in a bar or working somewhere else, regularly they say, "Oh, I've got an audition tomorrow." And regularly they're told, "Well, if you don't come tomorrow, you're going to lose your job."Bala McAlinn: So then they either turn up to work because they need that job, but then they're in a bad mood so they're not going to deliver great experiences or service for whatever they're doing or they just don't come or mysteriously, their grandmother gets sick or something.Bala McAlinn: So we know this can happen. Just give us as much notice as you can, but if you're not working just tell us, which means we have to restaff all the time, but it means that our staff are happy to be there.Bala McAlinn: And then appreciative that we give them that flexibility and we pay them well. It's a premium product and rightly so. We don't do any commission, which lots of our clients always ask, lots of other agencies do.Bala McAlinn: When I was an actor I did loads of sales jobs, telesales and charity fundraising and all sorts. And it was often commission based. And it's again, it's your highs and lows.Bala McAlinn: So if it's a sunny day and you are doing charity fundraising or membership at a visitor attraction, which is I didn't do myself then yeah, you're going to sell loads and it's fantastic. But if it's a rainy day, you are not.Bala McAlinn: And my experience of seeing people do it in other agencies and businesses when I did it was then on the rainy days nobody tries because everybody knows, "Oh, we're just going to get our per deal or something. We're not going to hit commission."Bala McAlinn: So everybody just sits back because there's no point. Whereas for us, we charge fair, we pay fair and our team appreciate that and the attraction can budget accordingly. It's not in terms of our billing, as can the staff.Bala McAlinn: And they know I will be able to pay my rent if I do those shifts or it might be that one might and that one not, and that emotional journey, we want them to be happy that they're there with the flexibility.Bala McAlinn: We want them to be happy that they're being paid well and then we pay them quickly as well, which lot of agencies don't because they're freelancers and they're used to being paid six weeks, two months after putting in an invoice.Bala McAlinn: So we pay our freelancers every other Friday. Used to be every Friday pre pandemic. We dropped it to every other Friday since the pandemic, but that's still much better than a lot of companies.Bala McAlinn: It means we are often in effect running a bank for our staff because our clients don't pay separate, we're not chasing invoices two months, three months, six months down the line.Bala McAlinn: But we get the results that we do with our staff because they are happy, well paid, have flexibility and know they're going to get paid next Friday.Kelly Molson: This is wonderful. Who have created an organisation or create a business that can deliver so brilliantly for both of the sectors, for both the actors that work for you and the attractions that you work for, that's a huge achievement. Something to be immensely proud about.Kelly Molson: I loved some of the things that you talked about there because I've had this conversation before. I think it was actually with Carly Straughan and a mutual friend of ours about visitor experience and attractions.Kelly Molson: And about how it does attract a lot of people from the theatrical world because you are on show, aren't you? When somebody comes to your attraction, you want that experience to be the best it possibly can be for them.Kelly Molson: And so essentially you are performing for them to make that happen. So it's amazing that you can bring people in that have that background to be able to do it.Kelly Molson: What I find fascinating is that you would never know either. So if I came along to the attraction, if I spoke to the membership people or I spoke to the donations people, whoever it is, I wouldn't know that those people didn't work there. You integrate them so seamlessly in that organisation that you would just think that they were there every single day.Bala McAlinn: Absolutely. And that's what we always tell our clients as well with the staffing offer that we do, we want them in the same uniforms as the rest of the team.Bala McAlinn: We don't want them to look like a promotional team or this is the special team that does something different because for the visitor experience, and this is something you see regularly where obviously in a large organisation there's lots of departments, lots of roles and responsibilities, but to the visitor, anyone wearing a badge or a lanyard or a green fleece or whatever it is, represents the organisation.Bala McAlinn: The visitor will just go to the most convenient person to ask a question or a query. And you do sometimes see in an organisation that isn't delivering great experiences that people work in silos and, "Oh no, that's not my department. You need to speak to someone else."Bala McAlinn: And people hate getting passed around. They just want to deal with the person there and get whatever service it is that they need at that time.Bala McAlinn: So for our guys, we want them in the uniforms so that they integrate also because we are doing sales and we want to do it in a somewhat sneaky way.Bala McAlinn: Because, and it's not malicious by any means, but it's that experience of if you're walking down a high street and you clock someone up ahead with a clipboard or an iPad smiling at you and trying to make eye contact.Kelly Molson: Run.Bala McAlinn: Can I cross it? I'm going to brave this fast moving traffic to get to the other side of the street to avoid this person who's going to either ask me questions on a survey or try and sell me something or get me to sign up something.Bala McAlinn: And that's a natural reaction that we have. So for our teams, we want them integrated and then we always lead with service. We never come straight in with sales because it's off putting. It can be jarring.Bala McAlinn: Wherever you are in the attraction, whether it's entrance, exit or mid experience, if you're suddenly interrupted with sales, it can take you aback. So our team are always trained and we have different processes at different sites, different organisations.Kelly Molson: Can we share an example of this? Because this was one of my questions about what we're talking about, because there's two very distinct trains here of what you do, but they intertwine, don't they?Kelly Molson: So it's very much about storytelling for sales, but also visitor experience as well. And this is the bit where they cross over.Kelly Molson: You've got some absolutely incredible case studies on your website about the results that you delivered. I've got here increased donations at the National Gallery by between 300 and 400%. That's phenomenal.Bala McAlinn: Yeah.Kelly Molson: How do you do that? How do you lead with the experience? What do you teach people to do?Bala McAlinn: Yeah, so that one specifically was all about improving the welcome experience at the National Gallery, which led to those results. So that was a great project.Bala McAlinn: Yeah. So that started 2016, 2017, something like that. So originally we won a tender to do a research trial and the National Gallery was great.Bala McAlinn: Because often we'll do a project like this and we just get given a week or a day even and it's hard to really work everything out in such a period of time.Bala McAlinn: But here we had four months and the tender was put out to see if you could increase onsite visitor donations with a team who self-funded themselves through increased donations, made additional income on top and did not affect the visitor experience.Bala McAlinn: The National Gallery, the director Gabriele, was absolutely resolute that he didn't want suddenly the experience to be altered. And everybody felt that they're being shaken down for cash as they came through one of the entrances.Bala McAlinn: And then in that tender, we won the tender, and then we were given six questions to answer over a four month period. It'll be, who will donate? Where will they donate? What other commerciality can you connect with donations? Times? Et cetera, et cetera.Bala McAlinn: But yeah, so we had four months. So we had four people, seven days a week for four months, with a tablet literally velcro'd to their patent and we'd change the patent every two weeks.Bala McAlinn: So we'd do something for two weeks, look at the data, record it and then tweak it and change it. So we'd try different scripts, different ask, different locations. And after every interaction they'd record on the tablet.Bala McAlinn: We split the visitors into I think, six different broad demographics. So they'd click the type of visitor, whether they donated, if they did donate the amount, and where they were and what time.Bala McAlinn: And we had something like, I can't remember exactly, 140,000 interactions over the period of time. So it was a huge amount of data. So we had the time and opportunity to get it incredibly slick.Bala McAlinn: And we found that there were really surprising, subtle changes and differences that would have dramatic effect on income. The positioning of boxes, the relationship of the positioning of boxes to where security is, or ticket desks or experiences again has dramatic effect. Security in particular. So it was fascinating.Bala McAlinn: So obviously National Gallery's on Trafalgar Square so you absolutely need security, absolutely need that. But the security does affect the visitor experience.Bala McAlinn: Because you're coming into an exquisite, arguably the world's greatest collection of art, and you're going through airport style, beepy things, having bags searched, which it's necessary, but it's not a pleasant visitor experience to have that.Bala McAlinn: So if that is happening and then immediately after that you have a welcome led donation ask, you'll get some, but you won't get as many as if you don't have that.Bala McAlinn: You can still have that, but simply by distancing it from that and distancing it can literally be a few meters and a door. So we moved security from inside the entrance to outside the entrance.Bala McAlinn: And the security guards, they're a bit like, "You can wear a coat, it's all right." We weren't always popular with the things that we did.Bala McAlinn: But yeah, by putting the security outside of the building, at both Portico and Sainsbury entrances that they're covered. So you could put the security there, people are searched, they then walk through the doors and it's like-Kelly Molson: That's the start, yes.Bala McAlinn: So they then disassociate. They then walk in and then they see a friendly, welcoming person who welcomes them to the National Gallery.Bala McAlinn: And, oh, they've now forgotten about the bag searching, forgotten that they had to shove their keys back in a bag or whatever it is.Bala McAlinn: They're now in the building, there's an instant release of tension from that and then they meet a friendly, welcoming person and their propensity to donate instantly increases.Bala McAlinn: And the training for the team there was relatively straightforward. We had 17 frequently asked questions that in such a high percentage can create a great, welcome experience.Bala McAlinn: Most people it's the Sunflowers, Whistlejacket, where's the cafe? Where's the toilet? What time do you close? That level of information can create a brilliant welcoming experience for most people.Bala McAlinn: Of course, there's occasionally somebody looking for a very particular more obscure work of art and that's different. And the team will then have to go to the very efficient in-house team who has a broader knowledge of the collection,.Bala McAlinn: But simply by welcoming people, answering a frequently asked question or two, and then informing people that the National Gallery is a charity and if you can donate, please do, donations skyrocketed.Bala McAlinn: And we kept it consistently between three to 400% for three years. So after the four month tender, we then won a two year contract to do it.Bala McAlinn: Well, there was an extension up to a year then we won a two year contract after that to do it. We kept it for three years at that level.Kelly Molson: That is phenomenal, that's phenomenal, isn't it? Because now it's not just about the visitor experience, not just about sales training, it's about location, it's about understanding how your guests enter your attraction. There's so much involved in it. That's fascinatingBala McAlinn: It's core to what we do and our background. And we predominantly look at three things, which are from the world of theatre, and that's storytelling, stagecraft, and improvisation.Bala McAlinn: Storytelling being your communications, the words you're delivering, but not just verbally with your mouth, but with your body and your tone and voice.Bala McAlinn: And we want whatever you are communicating for it to be articulate and for it to not just be heard, but to be understood.Bala McAlinn: So we look at the nuances of that, and little changes of script can have big differences in a donation ask or in a membership pitch.Bala McAlinn: And then, yeah, we look at stagecraft and if you are producing a play, of course, you have a tech rehearsal or several tech rehearsals.Bala McAlinn: And you block the play so that everybody knows exactly where they're going to be standing so that the technical team and the lighting designer plans it so that they make sure that if it's a touchy moment in the play or dramatic point that the lights are just right, and the audience can not only hear the words, but they can see what they're supposed to see.Bala McAlinn: And we look at that in the environments of visitor attractions, looking at where donation boxes are placed, membership asked, are they front and centre? Should they be?Bala McAlinn: And we'll often see them tucked away in dusty corners and people say, "Oh, nobody really ever donates." It's like, "Well, yeah, because so many people don't notice it or there's nobody interacting with it."Bala McAlinn: So we look at the stagecraft and then we look at improvisation because no two days are the same in a visitor attraction. And the ability to be able to think and adapt quickly on your feet is an incredibly useful skill.Bala McAlinn: And then match with that improvisation, that there's a principle, the yes and principle. When you are doing a scene, you don't block the scene, you don't simply say no, because if you do, it ends the scene.Bala McAlinn: So if I was doing the scene with you and you walked in and said, "Oh, hi, I've got a delivery. Are you John?" If I just say, "No." The scene ends.Bala McAlinn: Where I need to say, "Yes, I'm John. I've been waiting for my delivery. Please give it." So yes and drives the action forward. And we want that mindset within a visitor attraction as well.Bala McAlinn: We can't always say yes to every request, but we can offer an alternative. We can improvise. So somebody wants this X, if we know they can't have it, if we just say, "Oh, I want this." "No, you can't have it." Bad visitor experience.Bala McAlinn: But if I go, "Oh, wow, it's great you want that. However, I've got Y and I think you're really going to like this." Then we've driven the action forward, so yeah.Kelly Molson: I love this. Just going back to what you were talking about with Macallan right at the beginning where you talked about Lindsay and her story.Kelly Molson: Obviously she has a personal connection to the site, that was her grandfather's hip flask. She could talk about it very emotively. But how easy is it to train someone to be a good storyteller?Bala McAlinn: Everybody within reason and physical and cognitive abilities can improve their storytelling, certainly. And in the vast majority of cases, virtually everybody I meet and work with is a good storyteller.Bala McAlinn: They are just often not confident at storytelling so can't necessarily do it in a public environment. But you guarantee that when they are at home with their buddy or their family member, they've been telling stories for years.Bala McAlinn: In the vast majority of cases, there are of course exceptions to every rule, but often it's a fear of presenting or public speaking or interacting with people.Bala McAlinn: There was a study in the Washington Post, it was a year or two ago, of the most common fears in the United States and the third most common fear was snakes. The second most common fear was heights. And the number one most common fear in the United States of America was public speaking.Bala McAlinn: And there will be a correlation with the UK as well there. So I often tell people who aren't confident public speakers that that's pretty much the most normal thing to be, the most number one common fear.Bala McAlinn: So that's often in terms of delivering a briefing to a team of staff, or delivering a pitch to a board or conference speaking or something like that. Often lots of people have reticence to do that.Bala McAlinn: But storytelling in the environments of a visitor attraction is the same, this is public speaking and having the confidence to approach a family next to a work of art who are looking slightly confused and tell them the history of that takes confidence.Bala McAlinn: So to become a good storyteller, there's lots of tips and tricks. As when you go to drama school and when you become an actor in the rehearsal room, you learn lots of nuances of body, breath and voice, and that's great. Absolutely.Bala McAlinn: And that takes you to a higher level of technical ability in storytelling, but by far and above the most important thing is gaining experience more than the technique and it's gaining experience so that you become confident.Bala McAlinn: And what I say is experience leads to confidence and confidence leads to good practice. It's not about being a confident person, the most confident person in the world if you give them a task that they're inexperienced at, they may confidently give it a go, but they'll fail at it.Bala McAlinn: So whatever it is, whether it's public speaking, whether it's small interactions with a visitor, whatever it is, whatever task it is, you need to build experience.Bala McAlinn: And that takes time. So you just have to apply yourself to the task and repeat it and repeat it until there's a point that, "Oh, I've built confidence because of the experience I have."Bala McAlinn: Once I'm confident at the task, then that's when you start adding a bit of vocal technique or body language, more interaction, more humour, because you're now at a confident place where you can play around with it and get to that point of good practice.Bala McAlinn: Then that's fun, that's fun. It takes a while to get there but being at a place of good practice is joyful. And it's not just storytelling and public speaking.Bala McAlinn: We all do it in our jobs. A new job takes a while. A new job on a till, you don't know how it works, all the buttons, and you might be learnt quite quickly, but you're inexperienced for a while.Bala McAlinn: Until click, "Oh, I'm confident at it." Now I can run the products through the till whilst having a conversation with the visitor. For a while, I'm having to look at the till and do this and I can't.Bala McAlinn: Once I'm on the till at the place of good practice, I'm now asking that person how their day is and what did they say, noticing the kid. "Did you see the giraffe? That's great. He's called Henry." So I'm now adding to the experience, but because I'm at a place of good practice.Bala McAlinn: With storytelling, that place of good practice allows you to adapt and change for your audience. If you're having to think about your content and your technique, you are not fully in the moment and connected to your words.Bala McAlinn: If you've got to a place with good practice where I can deliver this animal talk, I can deliver this membership pitch, I can deliver whatever it is because I've done it so many times that I now don't need to really think about it like a person on the till.Bala McAlinn: I can be live, present in the moment, and listen and react. So because I'm not having to think about it, I notice that I start losing the attention of somebody who I'm presenting to.Bala McAlinn: And if I notice that I can probably get their attention back by changing the pitch of my voice or the volume or becoming very serious if I'm being jovial or becoming very jovial if I'm being serious.Bala McAlinn: A juxtaposition or a change brings the attention back. Or if I'm engaged in sales and I'm really confident what I'm delivering, I'll start noticing the bits of the pitch where there's a little flicker in the eye and I go, "Okay, they're interested in that benefit."Bala McAlinn: So I'll talk more about that benefit. Because if I'm not live in the moment, I'm just listing benefits and not really noticing what's good for them or not good for them.Bala McAlinn: So yeah, so to improve storytelling techniques, first and foremost it's just building experience. And you do it in safe environments, you do it with your friends, do it with your family, do it at work.Bala McAlinn: But you have to step out of your comfort zone a bit. You have to push yourself forward to learn and we can all become better storytellers.Bala McAlinn: I do it for a job and have done for a long time, but I certainly am not the best in the world and I'm certainly not the best that I can be.Bala McAlinn: And I certainly hope that, may have been doing it for 20 years, but I certainly hope in 20 more years I will be as much better then from where I am now 20 years.Bala McAlinn: It's a constant journey. It's a constant development. And to develop you need to just push yourself a bit further to the point where I am now a bit inexperienced and then do it, do it, do it until, "Oh. Now I'm confident and now I've grown and I'm better."Kelly Molson: And that's where the magic happens.Bala McAlinn: Yeah.Kelly Molson: Brilliant. Thank you. Absolutely excellent tips today that I'm sure our listeners are going to love. Just before we wrap up, I really want to ask you, how would an attraction recognise that they needed to get in touch with you?Kelly Molson: What's the pain points for them? We've talked a lot about donations side and driving membership. What's that trigger where they would need to think about calling you guys in?Bala McAlinn: So our core products are training and staffing. Some organisations we do one of those things, some we do both. So the training is we come in and deliver storytelling workshops, visitor experience workshops, or sales workshops for the in-house teams to build their confidence, build their experience at those tasks.Bala McAlinn: The staffing is where we simply come in and do it with our own people. Often we do both. I love combining the two on a project where if somebody wants to increase commerciality and wants their team to improve on it, for us to be the best we can be in the workshop, we need to experience it first.Bala McAlinn: So before a training workshop, we'll come and do some benchmarking where somebody will get in touch, say, "We want," whoever it is, "This department to sell more memberships."Bala McAlinn: We go, "Great. Can we come for a week and sell your memberships?" Then we'll come. We'll mystery shop it, look at everything, see if we recommend making a few tweaks in the stage craft.Bala McAlinn: Then we'll put some of our actors in uniforms in position for a week or two and sell the memberships because then we can say, "Okay, definitively we know on a Saturday you should be targeting X memberships. On a rainy Tuesday you should be targeting Y and it's achievable because we've just done it."Bala McAlinn: "And whilst we were doing it, we noticed that this little phrase or this benefit in the offer, that was the tipping point for so many people."Bala McAlinn: So then in the training room where we are training their staff then and we'll be using body language vocal techniques and getting their confidence to interact more with visitors.Bala McAlinn: But if we can then put in specific lines, specific little bits of script, that this little group of words had a great effect for anyone with kids. Oh, the retired couples mentioned that and then that's really useful for them.Bala McAlinn: We like scripts. We don't like anybody ever appearing to be delivering a script because that is the worst type, well, wouldn't say the worst side, it's an awful type of visitor experience.Bala McAlinn: And we've all experienced where you talk to someone and you know they're just saying something that they've been told to say and they've said it a thousand times today.Bala McAlinn: I use the analogy often of a good actor and a bad actor. We've all seen both probably. And the bad actor often appears to be not proficient at their work because they're not in the moment.Bala McAlinn: They're not connected to it because they're thinking about the words they're saying next or thinking about the action in the performance that's about to happen.Bala McAlinn: So suddenly the tone of voice goes a little monotone. Their eyes may come up because I'm not actually thinking about these words, I'm thinking that I need to go open that door because there's another character and you see them come out.Bala McAlinn: Whereas the actor who is the good actor can be delivering Shakespeare, 500 year old words that have been said millions of times, but we've hopefully all seen Shakespeare where it genuinely appears like these words have been said for the first time.Bala McAlinn: And it's emotive and beautiful and powerful and we know they're not, but because the actor's living and breathing that character, they're fully in the moment.Bala McAlinn: Whereas we want that in a visitor attraction. There will be a most likely route to commerciality, whether it's an exhibition ticket, a membership sale, a visitor donation, and then that will change for different audience groups.Bala McAlinn: But okay, you see the family, most likely benefits that appeal to them. You see the overseas visitor, most likely script that appeals to them.Bala McAlinn: So we want the team to know those, have learnt them. We don't want to turn a team into robots saying things but we want them to be at that point of good practice, where they're live in the moment, interacting, having fun.Bala McAlinn: But then there's the moment and suddenly they say something scripted. Like, "You must come to the Botanic Gardens in the fall. It's my favourite time of year. And with the membership, you can come back then too."Bala McAlinn: So it's just suddenly like a scripted line. It doesn't seem like it's scripted, but actually they've said it a lot. But because they've said it so many times and they've seen the benefit.Bala McAlinn: That oh yeah, mention autumn or mention snowfall at Christmas, say something emotive that you use storytelling to put the person you're selling to in the story, "You must come back in February, it's orchid season and you can walk through the glass houses and see these flowers in bloom."Bala McAlinn: And suddenly that person, because you've said, "You must come back," and you're using descriptive language, sees themselves walking through orchids in February and suddenly their propensity to buy a membership goes up because it's not February and they want to come back and they can take the price of their ticket off.Bala McAlinn: To absolutely improvise every single time for the visitor in front of you is a difficult task. Orchids, that's probably going to work at Kew Gardens because it's a growth thing.Bala McAlinn: Jousting, that's going to work at Historic Environment Scotland. It was jousting weekend last weekend. So we've been telling people about that. That was at Linlithgow Castle.Bala McAlinn: But we're telling people about it at Stirling Castle and Edinburgh Castle because they're there, buy the membership, you can go see the jousting. "Imagine being there and seeing..."Bala McAlinn: Suddenly you put someone in a store and then they get their propensity to buy whatever the product is.Kelly Molson: Oh you are good, you're good. I want to go jousting. I want to walk through the orchids. I want to be there in fall. That's the story, isn't it? That's the power of the story.Bala McAlinn: Excellent.Kelly Molson: All right. We're coming to the end of the podcast. I always ask our guests to recommend a book that they love to our listeners. It might be something professional, it might be something personal. What have you got for us today?Bala McAlinn: Cool. Okay. I've got a couple with an admission as well, which is a sad, sad truth about myself, I used to be an avid reader and used to read lots of books.Bala McAlinn: And I started my business 10 years ago and had two more children during that time as well. And for the past eight years or so I've become somebody who starts books and then never finishes them.Bala McAlinn: And George, one of the key guys I work with, George Mclean, always says, "If you talk about tiredness, it becomes a competition." "Oh, I'm really tired to that." "Oh yeah, I'm really tired." "Oh yeah, my kid woke me up at five." "Yeah, my kid was up at 2:00 AM."Bala McAlinn: And it's just this and the more you talk about tiredness, the more tired you become. But the reality is running a business, having kids, I've been exhausted for the last decade.Bala McAlinn: Try and read a book and just fall asleep. However, I do occasionally manage one. So there was a great book I read recently and actually did manage to finish called Get in Trouble by Kelly Link.Bala McAlinn: They're short stories. Maybe they're novelettes, their length, they're 100 page stories as opposed to full novels and in a exciting, surreal sci-fi type environment, which I very much enjoyed.Bala McAlinn: And I've bought a new book this week, which I haven't read, so it could be awful.Kelly Molson: It could be good. Who knows?Bala McAlinn: Hopefully. And it's more connected to visitor attraction industry. So there's a guy called Nick Gray who had a company called Museum Hack.Bala McAlinn: I met him at a conference, the Blooloop conference, in Liverpool a number of years ago. Great guy. Museum Hack was awesome. So it still exists, but he sold it.Bala McAlinn: So Museum Hack is an awesome company who does, primarily in America, tours and museums, but focusing on sex, death, value. So focusing on the idea everybody really wants to know how much that's worth.Bala McAlinn: And then things like people only have an attention span of a certain amount of time. And a lot of people I'd imagine will hate the sound of this, but it ticks boxes for me and they get rave reviews.Bala McAlinn: So they'll be delivering the tour in The Met or wherever and then after half an hour, they'll stop and all do a little bit of yoga because it then reconnects you and your attention span can come back.Bala McAlinn: And they are these super fun companies-Kelly Molson: I love that.Bala McAlinn: Great guy. Really interesting. And yes, so I met him there. We linked, I don't really know, but we linked on LinkedIn an occasionally like each other's post and things like that. He's just released a book called The 2-Hour Cocktail Party, which has just come out.Kelly Molson: Ah, I saw this. I saw this. I didn't know it was him. This looks great.Bala McAlinn: So I haven't read it, but I do know quite a lot about it because he's been talking about this for several years and so he hosts cocktail parties.Bala McAlinn: So he was in New York for a long time. He's now been moving around. I think he lives in Austin now. But yeah, so he used cocktail parties as ways to meet people.Bala McAlinn: And sometimes for business purposes, but also just to make new mates in a new town or a city. And so it's a easy to follow manual of how to produce a simple, effective cocktail party.Kelly Molson: Oh, wow.Bala McAlinn: Simple, lovely idea. So I bought it this week, but I'm looking forward to reading at least the first few chapters before then I fall asleep and it gets put-Kelly Molson: All right, well look listeners. As ever, you can win these books. So if you go over to our Twitter account and you retweet this episode announcement with the words, "I want Bala's book," you could be in with a chance winning that.Kelly Molson: I am going to buy this book and then what we can do is have a competition about who's read the least of it because they're the tiredest.Bala McAlinn: And then we can have a cocktail party, which is much more fun.Kelly Molson: In real life, without any technology.Bala McAlinn: Exactly.Kelly Molson: And that's perfect. Thank you so much for coming on the podcast today, Bala. It's been lovely to talk to you. Thank you for all of the tips that you've shared.Kelly Molson: We will put all of Bala's contact details in the show note. So if you need some sales training or if you need some help with your visitor experience, you'll know exactly where to go. Thanks for joining us.Bala McAlinn: Thanks a lot. Take care.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.

Taymoor Atighetchi is the Founder and CEO of British e-commerce stationary brand, Papier. The story of Taymoor's rise in business is fascinating. He started out by selling antiques on Portobello Market before going on to co-found the now very popular news youth site, The Tab. Upon graduating Taymoor secured a role at Bain & Company as a consultant. It was there where Taymoor spotted the opportunity to disrupt the retail space by providing an online offering to what was once a very bricks and mortar dependent sector. In the seven years since its launch Papier has raised over $65 million. The company now employs over 100 people and has plans for further expansion into America.In this, the penultimate episode of Season 3, Hector and James sit down with Taymoor to better understand his entrepreneurial journey, the motivations behind launching Papier and the practicalities of making the business work. During the episode the trio also delve into the company's experience of fundraising, its approach to culture and its future plans. Make sure to like and subscribe to the Riding Unicorns podcast to never miss an episode. Also don't forget to give Riding Unicorns a follow on Twitter and LinkedIn to keep on top of the latest developments.

Hazel takes you on a tour of the Portobello Market on the 5th March 2022.  We meet Gino Jabbo to talk about honey. We also speak with Amaury Auvray and Piroska Édes from Planet A about their new kickstarter. Then we tried some Tigerola and learned about tiger nuts. We spoke with Graham Kitchener who has been organising the market with PEDAL since it began, then we stopped off to try some delicious handmade chocolate. As if that wasn't enough we have recorded a limerick by Jim Hurford. Proceeds from his book go to the Trussell Trust.  What a busy episode. www.pedal-porty.org.uk/food/portobello-market/www.facebook.com/portymarket"a tree is an acre of flowers in the air when it blossoms" Gina Jabbar@SimplyHoneyCowww.planet-a-craft.comwww.kickstarter.com/projects/planet-a/bobopwww.tigerolaroar.com @tigerolaroar #tigerolaroarwww.facebook.com/Tigerolaroarwww.cocoamania.co.uk

Hugh Grant, de man die de VHS banden van de romantische komedies van de jaren '90 tot diep in de 00's (wellicht wel tot nu?) als warme broodjes over de toonbank van de videotheek liet vliegen. Als hij eens geweten had, toen in 1999, wat zijn gefilmde wandeling over de Portobello Market in Notting Hill voor de gelijknamige film voor gevolgen zou hebben. Is hij het gezicht en dus ook de oorzaak voor de gentrificatie van Ladbroke Grove en Portobello? Tijdens deze detour gebruiken we film om te illustreren wat een veelkoppig monster het fenomeen gentrificatie is. Want wat is gentrificatie en waar komt het vandaan? Welke films waren een aanleiding voor gentrificatie? En waarom graven de nieuwe West Side Story en In the Heights het gentrificatie gat alleen maar dieper terwijl ze het onderwerp kritisch proberen te agenderen? Een aflevering vol onbedoeld gezang, vele film quotes en toch ook wel echt veel architectonische snijvlakken. Aan het einde bieden we zelfs de oplossing oplossing tegen gentrificatie als gevolg van film! Een must luister dus! Shownotes Wikipedia - gentrificatie - https://nl.wikipedia.org/wiki/Gentrificatie MyLonden.news - Notting Hill 20 years on - https://www.mylondon.news/news/west-london-news/notting-hill-20-years-how-16548993 The New York Times over Washington Heights - https://www.nytimes.com/2021/06/30/realestate/washington-heights-last-bastion-of-affordability-manhattan.html Domus over de nieuwe West Side Story - https://www.domusweb.it/en/art/2021/12/10/the-new-west-side-story-is-a-film-about-the-dark-side-of-gentrification.html West Side Story en Lincoln Center - https://www.thrillist.com/entertainment/nation/west-side-story-lincoln-center-the-films-historical-references MVRDV in New York - https://radio181nyc.com/

Dads on a Map meets Hidden Gems in this monster Supershow episode! Featuring a roundtable QA, a Hidden Gems style review of DoaM cult favorite Portobello Market, and a game show segment - Podcast Clash - hosted by Dylan St Clair. Enjoy the show! (2:06) Introductions (9:43) Roundtable QA (60:00) Portobello Market Review (108:39) Final Thoughts (117:00) Podcast Clash with Dylan! (155:46) Farewells & Goodbyes http://www.dadsonamap.com Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter and Instagram - @dadsonamap BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

Join Sanchez, James, and many special guests as we recap our recent online board game weekend: DoaMcoN 3. Plays of John Company 2E, Tichu, Bridges of Shangri-La, and so much more. Enjoy the show! (0:00) DoaMCoN 3 Intro (4:45) John Company 2E (16:15) Worst Tichu Ever (29:32) DoaMcoN Aftermath (29:48) Technical Issues (33:27) Portobello Market (34:59) Haggis (39:12) Bridges of Shangri-La and DoaM Flea Market (47:37) Texas & Pacific, West Riding Revisted (51:35) 18Rhineland (54:04) Modern Art, Medici, Tigris & Euphrates Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter and Instagram - @dadsonamap BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

On Episode 41, James & Sanchez hold a funeral for the Mid-Weight Euro, and discuss their tastes and desires now that it's out of their lives. Recent plays of Tichu, Portobello Market, Crokinole, and Telestrations are featured. Enjoy the show! (0:00) Intro (5:47) Tichu (19:53) Telestrations (24:02) Crokinole & Push It (29:15) Portobello Market (32:52) Dinogenics (36:38) Samarkand (40:37) Death of the Mid-Weight Euro Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter and Instagram - @dadsonamap BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

James, Joe, Zach, and Sanchez go deep in the dumps with our conversation about yellow/brown strategy and tactics in 18xx. Enjoy the opening auction of Bill Dixon’s 1992 game 1870: Railroading across the trans Mississippi since 1870.  More train game discussion on Dual Gauge, Han Heidema’s West Riding Revisited and Dutch InterCity, and of course 1830! JCL’s blog post on the difference between full and incremental capitalisation systems: https://kanga.nu/~claw/blog/posts/2017/04/18/meteing-capital/ 03:09 - Listener Feedback 05:15 – Opening Auction 1870 26:15 - Dual Gauge 30:50 – West Riding Revisited 36:10 – Portobello Market 37:00 – 1830 38:42 – Yellow Orange Brown tactics 42:07 – What game works with Yellow Brown Strategy 49:00 - How and Why? 55:25 – Managing your Portfolio 59:05 – Can you defend against it? 60:00 – When not to Yellow 71:00 – Closing Comments   Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter - @dadsonamap Instagram - @choo_choo_crew_podcast BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

In this episode, Lucy Aylen shares all there is to know about her journey as an entrepreneur and her love for clothes and fashion. She talks about bringing her fashion label store, popular in the UK and a proud partner of the podcast, Never Fully Dressed to life and catapulting it to success despite hitting some turfs. She banks on being 100% with her customers and organizing and balancing her energy between being a mompreneur having 3 kids under 4 and running a thriving business, Catch her episode, out now!Lucy Aylen has built womenswear label Never Fully Dressed from a one-woman band to a  thriving online business that is it todayComing from market trading parents from the East End it was natural for Lucy to start  sewing and customising a small amount of samples to sell at Portobello and Spitalfield  markets.Five years later Never Fully Dressed’s first store was open in Buckhurst Hill, Essex with  online business growing rapidly.

This week we speak with Hayley Menzies, who takes us through the wonderful journey of her eponymous brand. Hayley Menzies' fashion training began in the London College of Fashion where she studied design and styling. Her career took a meandering route through London’s wild rave scene to running a nightlife business, via yoga training in Thailand. It was in these years as a rock n’ rolling stone that Hayley’s unique aesthetic took shape.In 2011, Hayley Menzies set up a stall in Portobello Market and from there the brand has grown from strength to strength. Just launched with Brown Thomas this season, the brand specializes in creating knitwear and lasting treasures made for life’s maximalist souls.  

Leona Baker is a business mentor and coach in the creative industries, Leona is also the founder of Indie Roller. Indie roller is a huge subscription hub for creatives who to be honest are the tightest gang I’ve known since high school days. Leona encourages entrepreneurs to play by their own rules to create the life they truly want. Leona has been a real hustler through the 90’s cutting her teeth in the magazine world in London as a stylist then she spent years on her hugely popular jewellery and vintage stall in Portobello Market (these were the days when it wasn’t even called ‘vintage’ – more just ‘cool as’ in London) Leona then created the hugely successful subscription box Lucky dip club, which looked like the dream business, she hired staff and saw large Revenue, only to find that it made Leona feel like a massive fraud. Yep that pesky imposter syndrome you hear many of us have gone through and sabotaged. This is when Leona dived deep into mindset work with both a therapist and a coach. Listen in to this hugely inspiring conversation. Leonia takeaways - 1.If you’re curious in nature follow allow that fun side to you and trust yourself and follow that feeling. 2. Were you told to calm down or quietened down 3.Always try to laugh at yourself, it makes the tough days lighter 4.Press pause and share your wins each week 5.Let go of shiny perfection if it’s not you, it’s not serving you or helping others 6.However we emerge from this time, things will have shifted for the better 7.Humans are resourceful 8.What change are you seeking for your business right now? Try to clarify that. 9.Share your knowledge, there’s room for everyone 10.Simplify - So you can deliver the quality of work you want 11.You don’t have to say something 7 times in your business before people remember you did it, it’s more like 70 times in this noisy arena, keep saying it louder and louder for the people at the back. That email you spent all day writing, may not have even been opened! 12.I say this most weeks because it’s true and its why we all keep telling you; Your business is 95% mentality. You have to sort out your mindset and you will see your business fly You can find Leona at Indie roller.com And on Instagram Indie_roller Next chance to join the hub is 25th February for 48 hours so put a reminder on your phone!  

James and Sanchez discuss the "classic" games of our youth, including Monopoly, and if they've aged like a fine wine or a stale Crystal Pepsi from ebay. We also talk plays of Commands & Colors, Carolus Magnus, and Portobello Market, and Sanchez gets back in the 18xx ring. Enjoy the show! (5:01) Commands & Colors: Ancients (10:25) 1830 (15:35) Feast for Odin: Norwegians (21:34) 1870 (25:10) Portobello Market (30:30) 1882 (39:45) The Vote (41:38) Carolus Magnus (44:26) Samurai (49:59) Main Topic: Hasbro Hasbeens (50:43) Monopoly: Bad Rap? (59:55) Old school lightning round (86:05) Farewell Support the Show - Patreon: http://www.patreon.com/dadsonamap Twitter and Instagram - @dadsonamap BGG Guild - http://tiny.cc/DoaMGuild Merch Store - https://teespring.com/stores/dads-on-a-map Contact us at dadsonamap@gmail.com

Is it really possible to carve a new genre within a sector dominated by huge brands? Well, Taymoor Atighetchi proves it is. Coming from a long line of antique dealers, Taymoor shares his story, from a teenager selling his wares at Portobello Market to building a digital business that would redefine the stationary sector. Successfully blending the worlds of art and technology, Papier’s luxury personalised stationery connects with every important milestone of a customer's life. From discussing Taymoor’s vision and his view on creative partnerships to how he has disrupted an industry, Taymoor share’s insightful lessons as he navigates his own journey as he continues to grow Papier. Conversations of Inspiration is brought to you with support from NatWest: visit natwestbusinesshub.com/hollytucker for information, tips and insights to help business owners meet their goals. Follow Holly on Instagram: https://www.instagram.com/hollytucker/?hl= (https://www.instagram.com/hollytucker/?hl=en) en

The latest episode of the podcast which asks: a party held by the Osmonds, or a party held by the Rollers?The LONGEST EVER EPISODE OF CHART MUSIC finds your host and his chums still on lockdown but DILL DANDING, Pop-Crazed Youngsters, which gives us the opportunity to pick out an episode from the Dark Ages of the mid-Seventies and properly wang on about it. The Saxons are at their flappiest, the collars are condor, Tony Blackburn has been uncrated and set free, and all is as well with the world as it could be in 1975. If you ignore the fact that three of the acts involved would go on to kill later this year.Musicwise, it’s the usual Seventies lucky bag, tainted with the musk of deceit and treachery: Kenny sport the kind of trousers Our Simon saw Rick Witter trying on at Portobello Market. There are obligatory appearances by Cliff and Lulu. Wigan’s Ovation have a massive wazz on the burning torch of Northern Soul. Guys ‘N’ Dolls do a biscuit advert, and Mike Reid makes a Northern boy cry, which is Bad Skit.But there’s also Britfunk in the form of the Average White Band and, er, The Goodies, Pans People having a proper flounce to Barry White, and a Whatnautless Moments – whipped on by the Top Of The Pops Orchestra – seize the opportunity to tell us how much they like girls. And the Bay City Rollers rip down the goalposts of the #1 spot, while the Osmonds forlornly look out of their window wondering while no-one has showed up to their do.David Stubbs and Taylor Parkes – the Humphries of Pop journalism – join Al Needham and dip their elongated critical straws deep into the milk bottle of 1975, pausing to veer off on such tangents as the glory of radiograms, what it would be like to get caned and watch porn with Tony Blackburn, our magazine plans which never came to fruition, a lament for Timbo, the importance of nipples and a big argument over a Kung Fu vest and pants set. Swearing? Loads of it.Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki See acast.com/privacy for privacy and opt-out information.

The latest episode of the podcast which asks: a party held by the Osmonds, or a party held by the Rollers?The LONGEST EVER EPISODE OF CHART MUSIC finds your host and his chums still on lockdown but DILL DANDING, Pop-Crazed Youngsters, which gives us the opportunity to pick out an episode from the Dark Ages of the mid-Seventies and properly wang on about it. The Saxons are at their flappiest, the collars are condor, Tony Blackburn has been uncrated and set free, and all is as well with the world as it could be in 1975. If you ignore the fact that three of the acts involved would go on to kill later this year.Musicwise, it’s the usual Seventies lucky bag, tainted with the musk of deceit and treachery: Kenny sport the kind of trousers Our Simon saw Rick Witter trying on at Portobello Market. There are obligatory appearances by Cliff and Lulu. Wigan’s Ovation have a massive wazz on the burning torch of Northern Soul. Guys ‘N’ Dolls do a biscuit advert, and Mike Reid makes a Northern boy cry, which is Bad Skit.But there’s also Britfunk in the form of the Average White Band and, er, The Goodies, Pans People having a proper flounce to Barry White, and a Whatnautless Moments – whipped on by the Top Of The Pops Orchestra – seize the opportunity to tell us how much they like girls. And the Bay City Rollers rip down the goalposts of the #1 spot, while the Osmonds forlornly look out of their window wondering while no-one has showed up to their do.David Stubbs and Taylor Parkes – the Humphries of Pop journalism – join Al Needham and dip their elongated critical straws deep into the milk bottle of 1975, pausing to veer off on such tangents as the glory of radiograms, what it would be like to get caned and watch porn with Tony Blackburn, our magazine plans which never came to fruition, a lament for Timbo, the importance of nipples and a big argument over a Kung Fu vest and pants set. Swearing? Loads of it.Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki See acast.com/privacy for privacy and opt-out information.

The latest episode of the podcast which asks: a party held by the Osmonds, or a party held by the Rollers?The LONGEST EVER EPISODE OF CHART MUSIC finds your host and his chums still on lockdown but DILL DANDING, Pop-Crazed Youngsters, which gives us the opportunity to pick out an episode from the Dark Ages of the mid-Seventies and properly wang on about it. The Saxons are at their flappiest, the collars are condor, Tony Blackburn has been uncrated and set free, and all is as well with the world as it could be in 1975. If you ignore the fact that three of the acts involved would go on to kill later this year.Musicwise, it’s the usual Seventies lucky bag, tainted with the musk of deceit and treachery: Kenny sport the kind of trousers Our Simon saw Rick Witter trying on at Portobello Market. There are obligatory appearances by Cliff and Lulu. Wigan’s Ovation have a massive wazz on the burning torch of Northern Soul. Guys ‘N’ Dolls do a biscuit advert, and Mike Reid makes a Northern boy cry, which is Bad Skit.But there’s also Britfunk in the form of the Average White Band and, er, The Goodies, Pans People having a proper flounce to Barry White, and a Whatnautless Moments – whipped on by the Top Of The Pops Orchestra – seize the opportunity to tell us how much they like girls. And the Bay City Rollers rip down the goalposts of the #1 spot, while the Osmonds forlornly look out of their window wondering while no-one has showed up to their do.David Stubbs and Taylor Parkes – the Humphries of Pop journalism – join Al Needham and dip their elongated critical straws deep into the milk bottle of 1975, pausing to veer off on such tangents as the glory of radiograms, what it would be like to get caned and watch porn with Tony Blackburn, our magazine plans which never came to fruition, a lament for Timbo, the importance of nipples and a big argument over a Kung Fu vest and pants set. Swearing? Loads of it.Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki See acast.com/privacy for privacy and opt-out information.

The latest episode of the podcast which asks: a party held by the Osmonds, or a party held by the Rollers?The LONGEST EVER EPISODE OF CHART MUSIC finds your host and his chums still on lockdown but DILL DANDING, Pop-Crazed Youngsters, which gives us the opportunity to pick out an episode from the Dark Ages of the mid-Seventies and properly wang on about it. The Saxons are at their flappiest, the collars are condor, Tony Blackburn has been uncrated and set free, and all is as well with the world as it could be in 1975. If you ignore the fact that three of the acts involved would go on to kill later this year.Musicwise, it’s the usual Seventies lucky bag, tainted with the musk of deceit and treachery: Kenny sport the kind of trousers Our Simon saw Rick Witter trying on at Portobello Market. There are obligatory appearances by Cliff and Lulu. Wigan’s Ovation have a massive wazz on the burning torch of Northern Soul. Guys ‘N’ Dolls do a biscuit advert, and Mike Reid makes a Northern boy cry, which is Bad Skit.But there’s also Britfunk in the form of the Average White Band and, er, The Goodies, Pans People having a proper flounce to Barry White, and a Whatnautless Moments – whipped on by the Top Of The Pops Orchestra – seize the opportunity to tell us how much they like girls. And the Bay City Rollers rip down the goalposts of the #1 spot, while the Osmonds forlornly look out of their window wondering while no-one has showed up to their do.David Stubbs and Taylor Parkes – the Humphries of Pop journalism – join Al Needham and dip their elongated critical straws deep into the milk bottle of 1975, pausing to veer off on such tangents as the glory of radiograms, what it would be like to get caned and watch porn with Tony Blackburn, our magazine plans which never came to fruition, a lament for Timbo, the importance of nipples and a big argument over a Kung Fu vest and pants set. Swearing? Loads of it.Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki See acast.com/privacy for privacy and opt-out information.

The latest episode of the podcast which asks: a party held by the Osmonds, or a party held by the Rollers?The LONGEST EVER EPISODE OF CHART MUSIC finds your host and his chums still on lockdown but DILL DANDING, Pop-Crazed Youngsters, which gives us the opportunity to pick out an episode from the Dark Ages of the mid-Seventies and properly wang on about it. The Saxons are at their flappiest, the collars are condor, Tony Blackburn has been uncrated and set free, and all is as well with the world as it could be in 1975. If you ignore the fact that three of the acts involved would go on to kill later this year.Musicwise, it’s the usual Seventies lucky bag, tainted with the musk of deceit and treachery: Kenny sport the kind of trousers Our Simon saw Rick Witter trying on at Portobello Market. There are obligatory appearances by Cliff and Lulu. Wigan’s Ovation have a massive wazz on the burning torch of Northern Soul. Guys ‘N’ Dolls do a biscuit advert, and Mike Reid makes a Northern boy cry, which is Bad Skit.But there’s also Britfunk in the form of the Average White Band and, er, The Goodies, Pans People having a proper flounce to Barry White, and a Whatnautless Moments – whipped on by the Top Of The Pops Orchestra – seize the opportunity to tell us how much they like girls. And the Bay City Rollers rip down the goalposts of the #1 spot, while the Osmonds forlornly look out of their window wondering while no-one has showed up to their do.David Stubbs and Taylor Parkes – the Humphries of Pop journalism – join Al Needham and dip their elongated critical straws deep into the milk bottle of 1975, pausing to veer off on such tangents as the glory of radiograms, what it would be like to get caned and watch porn with Tony Blackburn, our magazine plans which never came to fruition, a lament for Timbo, the importance of nipples and a big argument over a Kung Fu vest and pants set. Swearing? Loads of it.Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki See acast.com/privacy for privacy and opt-out information.

“We’re just a podcast, standing in front of an audience, asking them to listen”.Did Will and Anna live happily ever after? Are they still spending their Sundays in the garden listening to Ronan Keating? Is Spike still in the spare room? Did Hugh Grant spend another entire year walking Portobello Market?Welcome back to West London as Al, Joe, John and Host Curry create Notting Hill 2.Notting Hill (1999, Universal Pictures, Polygram Filmed Entertainment, Working Title Films)Duncan Kenworthy, Producer.Tim Bevan, Richard Curtis, Eric Fellner, Executive Producers.Roger Michel, Director. See acast.com/privacy for privacy and opt-out information.

"he exited a shop with three pairs of women's red knickers that he hadn't paid for"

Oliver Spencer the brand is the vision of Oliver Spencer the man. Self-taught tailor and shopkeeper, his eye is the starting point of everything they do. Frustrated by the limitations of art school and impatient to strike out alone, Oliver abandoned studenthood in favour of a stall at Portobello Market. Working that market stall ingrained his enduring love of garment and cloth — shop and shopkeeping. Having spent the previous decade creating and expanding formalwear brand Favourbrook, he wanted to create something new: a range of clothing with all the quality and craft of premium tailoring, but with a relaxed modern style. The philosophy? Quality needn't mean formality; casual needn't mean careless.That philosophy found plenty of adherents, and from a single shop on London's Lambs Conduit Street, Oliver Spencer has gone on to open several more shops, and an international online business — as well as being stocked in many of the world's leading department stores, from Harvey Nichols to Liberty of London to Mr Porter. Alongside his distinctive design style, he is uncompromising in the standards he sets for production and provenance. That means the company seeks out the finest fabrics and yarns from artisan British and Italian mills, making every garment in only the best European factories and workshops. In this episode of the MenswearStyle Podcast we speak to Menswear Designer Oliver Spencer whilst he is working from home in self-isolation on the Isle of Wight. Our host Peter Brooker asks him about his background and how he first came to start his eponymous menswear brand. Championing British cloth such as linen from Northern Ireland, Oliver discusses the best places to manufacture men's garments, with a focus of reducing overall footprint. They also discuss the current climate of operating during the Coronavirus pandemic and the struggle that shop owners are currently facing. As a bonus, we're then joined by the head of sustainability, Bleue Wickham-Burnham, who educates us about sustainability and what Oliver Spencer is doing to become a more sustainable menswear brand.Whilst we have your attention, be sure to sign up to our daily MenswearStyle newsletter here. We promise to only send you the good stuff.

The very first Indie Roller podcast episode dives into a 3 part introduction series spotlighting the host and founder - ME - Leona Thrift-ola. I share my early years starting at Portobello Market in 2003 and why the Indie Biz life spoke to me. 

This week we're traveling to the UK, and our guest is Hayley Menzies, a London-based Womenswear designer whose latest collection of powerful, eccentric knit and silk prints for Summer 2019 can be found at Harrods, Liberty's and an array of cool concept stores and e-comm shops. A few years earlier, Hayley's company was facing bankruptcy, and after sitting with her CFO, she pleaded for the chance to design just one more collection, to see if she could turn things around… and boy, did she. Her latest collection has been seen on celebs around the world, picked up by leading retailers and she's now expanding her Notting Hill showroom and team to meet the needs of her rapidly growing business.Hayley studied fashion design and styling at The London College of Fashion, moved on to spend time modelling and later, became an events planner working with prestigious clients including British royalty, Van Cleef and Arpels, The Royal Opera House and The Financial Times. Hayley eventually set up her own fashion label in 2010, after having discovered a scarf in Bangkok that she imported and sold on a stall in London's Portobello Market.

Anyone who’s been to the monthly market in Brighton Park will have seen the stall run by the Greengrocer Project. Yes, they have fruit and veg to sell – but their main reason for being there is to keep up the profile for their longer-term ambition – to set up a shop. Their model is across on the other side of town, in Bruntsfield. It’s a community greengrocer called ‘Dig In’ which is now running successfully, although it took some time to become established. By a curious turn of fate, Karen Mackay, owner of ‘Cahoots’ on Porty High Street, had been involved in the development of that and wondered if a similar project could work here. She felt there was a need after both ‘Banana Republic’ and ‘Earthy’ closed in quick succession. The idea for a Portobello Community Greengrocer caught on – but it’s not progressed as fast as many had hoped. David Calder spoke to its spokesman Charlie Cavaye about the project and its objectives.http://portobellocg.org.uk/

Everything I think you should save on and the few things you should splurge on when visiting London. See why I say to skip... the London Eye, Hyde Park and Portobello Market and go for cheaper & better alternatives! Join in my Travel Group here: bit.ly/travelfriendsgroup Follow me on IG: Instagram.com/travelwithbez

This episode features fashion designer Amanda Thompson. One of the most fascinating things about Amanda, to me, is that her creative journey actually began as a professional ballet dancer. She was a dancer in Michael Clarke’s company, during which time Amanda danced in a Vivienne Westwood show and was photographed by Nick Knight many times, notably once for the front cover of ID magazine. Through her life as a dancer she became enthralled by the medium of film which then led to her training as professional actress during which time she worked with creatives such as David Bailey, Ian Drury and Billy Connolly. Amanda describes this phase of her life as “feast or famine”, with financial struggles at the fore, something she is extremely frank about. And it was at this time Amanda found her calling, which is how she describes fashion design. She was compelled to design and make her own clothes having spent years craving couture she simply couldn’t afford. Self taught, Amanda is a massive proponent of slow fashion and strongly feels clothes should be things that are cherished rather than discarded. She runs her business from her relatively new shop in Westbourne Park, behind Portobello Market in west London. So, we met up in the summer at a lovely bar called Negozia Classica in Notting Hill where we had a couple glasses of delicious Italian wine and chatted about Amanda’s journey to date, what inspires her and her new AW collection. Here’s our conversation…

John McCarthy and Suzy Klein meet veteran photographer Don McCullin to talk about wars zones, life in Somerset and how being born and raised in Finsbury Park shaped his life. John Wildey is a seventy seven year old grandfather who took over the controls to land a plane when the pilot took ill. Felicity Warner is a soul midwife who helps people have a peaceful death. There are tales of homelessness from the streets of London, Claudia Winkleman shares her Inheritance Tracks and we hear how the helmet belonging to a young soldier killed in Vietnam ended up for sale in Portobello Market. We take a trip on a train run by children in Budapest and find out if the Quiff, the hairstyle so beloved of the Teddy Boys is about to make a comeback.Produced by Maire Devine.

Besprechung von Portobello Market im Spiele-Podcast