Podcasts about Portobello Road

In this episode of What The Luxe, host Anant Sharma sits down with Oliver Spencer, founder of the eponymous menswear label and formalwear brand Favourbrook, to explore a career built on patience, craft and a quiet resistance to fashion's obsession with scale. From selling hand-painted waistcoats off a wheelbarrow on Portobello Road to building two enduring British brands, Oliver shares why he never followed the traditional Savile Row path — and why he continues to make a significant proportion of his collections in England, even when the economics point elsewhere Together, they discuss: • Why true luxury is rarity, craft and design — not availability • The difference between fashion, styling and genuine garment design • What the industry gets wrong about growth, scale and "success" • Why small is becoming beautiful again in business and culture • The role of shopkeeping, community and the High Street in modern luxury • How Oliver's latest venture, Secret Trips, connects clothing, travel and a more considered way of living A thoughtful, unfiltered conversation about slowing down in a world that moves too fast — and building brands with integrity, longevity and soul.

Emmy-winning actor and the star of film ‘RELAY' Riz Ahmed joins the show. Over an Indian breakfast of chicken keema, Riz reflects on the daunting preparation for ‘Sound of Metal,' what American sign language taught him about expression, and why he couldn't pass up his new thriller ‘RELAY.' We also get into his Oscar-winning short film ‘The Long Goodbye,' his advocacy for Muslim inclusion in Hollywood, and how his fractured relationship with Great Britain shows up in his music. This episode was recorded at Dishoom on Portobello Road in Notting Hill, London. Want next week's episode now? Subscribe to Dinner's on Me PLUS. As a subscriber, not only do you get access to new episodes one week early, but you'll also be able to listen completely ad-free! Just click “Try Free” at the top of the Dinner's on Me show page on Apple Podcasts to start your free trial today. A Sony Music Entertainment & A Kid Named Beckett production. Get 15% off your Saily plan with the code ⁠⁠⁠⁠⁠dinnersonme⁠⁠⁠⁠⁠. Just download the Saily app or head to ⁠⁠⁠⁠⁠https://saily.com/dinnersonme⁠⁠⁠⁠⁠. Stay connected — and don't miss your dinner reservation. Stay connected — and don't miss your dinner reservation. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jake's one of the OG's of the UK bar scene, first making waves by winning multiple cocktail and bartending contests (including one where he won a £10, 000 diamond) when based out of his native Leeds, working in Leeds' top bars and then opening one of his own, then moving to London and opening beloved industry hangout The Portobello Star bar, co-founding the Alternative Bar Awards in the Star, and then upgrading both the Star and its in-house gin still to much larger premises, the Ginstitute, where the brand he co-founded Portobello Road Gin, is produced. Jake's a hilarious man, concealing a deep knowledge of spirits and mixology behind an affable, self-deprecating Northern exterior.The Star, after a period of non-existence, is now back and thriving, as is Portobello Road Gin, and Jake is, God help us, an elder statesman of the UK bar world. Jake was in New Orleans at the same time as me, so we pre-gamed Tales of the Cocktail by meeting up for a martini and some beers,  and we shot the shit for an epic three hours one afternoon, enjoy!Jake on IG: https://www.instagram.com/jakefburger/The Portobello Star on IG: https://www.instagram.com/portobello_star/Portobello Road Distillery: https://www.instagram.com/spiritofportobelloroad/?hl=en Get in touch with Duff!Podcast business enquiries: consulting@liquidsolutions.org (PR friends: we're only interested in having your client on if they can talk for a couple of hours about OTHER things than their prepared speaking points or their new thing, whatever that is, for a few hours. They need to be able to hang. Oh, plus we don't edit, and we won't supply prepared or sample questions, or listener or “reach” stats, either.) Retain Philip's consulting firm, Liquid Solutions, specialised in on-trade engagement & education, liquor brand creation and repositioning: philip@liquidsolutions.orgPhilip on Instagram: https://www.instagram.com/philipsduff/ Philip on Facebook: Philip Duff Philip on X/Twitter: Philip Duff (@philipduff) / Twitter Philip on LinkedIn: linkedin.com Old Duff Genever on Instagram: Old Duff Genever (@oldduffgenever) • Instagram photos and videos Old Duff Genever on Facebook: facebook.com Old Duff Genever on X/Twitter: ...

Sometimes, the best conversations happen when there's no agenda. This is one of those moments. With London as the backdrop — its history, energy, and unpredictable charm — Sean and I sat on the grass in Hyde Park and hit record. No script, no plan. Just two friends talking about music, memories, meditation, and why we still believe in experiencing things without a phone between us and reality.From yoga poses on park benches to tales of Clapton at Royal Albert Hall and an upcoming Oasis reunion in Cardiff (yes, really), this is a meandering mix of thoughts and stories — like walking down Portobello Road not knowing what you'll find. We touch on the lost art of being present, why live music changes everything, and how the UK's cultural influence shaped our creative paths.Sure, we dip into punk, rock, film, and a few philosophical musings about why Florence isn't featured more in books and movies — but it's all under one theme: reconnecting with the world around us. It's a conversation that could only happen in a place like London — rich with culture, memories, and endless possibility.If you're tired of content that's too polished, too planned, or too promotional… this episode is a breath of fresh (sometimes damp) British air.⸻Hashtags:#storytelling, #london, #musiclovers, #meditation, #unscripted, #podcastlife, #travelstories, #creativelife, #liveinthemoment, #punkrockNew episodes drop when they drop. Expect the unexpected.Hosts links:

În episodul 342 al podcastului „Un român în Londra” am vorbit despre invazia turiștilor pe Portobello Road în Notting Hill.   Show notes: manuelcheta.com

This week's On the Scent podcast is a sensory feast spanning art, astrophysics, architecture, cults, rituals and embracing your darker side (while finding the light).Suzy was staggered by @marcantoinebarrois Aldebaran - a tuberose like no other that's wild, greenly sap-laden and coconutty cool, currently featured in an extraordinary art installation at Milan Design Week (on until 13th April, tickets here: Mission ALDEBARANeventbrite.frIt's particularly mercurial: on Suzy it's ultra green, then cold, metallic and silvery, creamy and addictive; on @blublazerguy it was coconutty, while on @morebrandscents the intriguing paprika pepperiness really came through, so you need to try it on your own skin!Meanwhile, Nicola's been delighted about @debenhams upping their fragrance game with niche and heritage brands, including @bastilleparfums Un Deux Trous Soleil (childhood-evoking via sunshine and play dough!), @houbigant_parfum Quelque Fleur (vintage bouquet), and @molinardparfums Molinard de Molinard (70s chic).@memo.paris takes us on two fragrant journeys: Portobello Road with its myrtle, rose and rain accord that Suzy's been editing on her skin, and Ithaque - an escape to the mythical Greek island with cedar, bergamot and blackcurrant.Another tuberose that captured Suzy's heart is @manosgerakinis Wild Tuberose - green yet buttery, slightly salty and totally addictive with bergamot, jasmine and woods.Nicola's fallen for @narcisorodriguezofficial For Her Intense with its vetiver/amber trail, juicy peach and white florals, while we were both surprised by @zadigetvoltaire ZADIG's billowing orange blossom, toasty sesame, fiery ginger and sandalwood.Suzy's also raving about @thomasdemonaco collection at @lessenteurs, featuring Sol Salgado (sun-kissed skin with salt and linden), Fuego Futuro (a shamanic journey of smoke and incense), and Raw Gold (desire with davana, suede and vanilla).Finally, both Suzy and Nicola chose @ateliernoite Flowers of Evil Candle with its mysterious datura flower, orange blossom and powdery orris - perfect for after sunset indulgence...

In this episode of Danny Hurst´s Unusual Histories Podcast, he is joined by musician, singer, comedian and podcaster Earl Okin, who has lived in Portobello Road since 1952. He has worked with musicians as diverse as Paul McCartney, Fairport Convention and Van Morrison, regularly headlined on the comedy circuit and celebrates 60 years in showbiz. From Earl´s first-hand account you will gain a great insight into how the area around Portobello Road has evolved. He speaks about the Jewish, West Indian and Muslim communities as well as the Fascists, the slum landlord Rachman and a local serial killer. He also shares his memories of the 1st TV´s, trams, early cinema and dozens of stories about some of the world´s biggest music and comedy stars including Billy Connolly and Rik Mayall. If you can´t get enough of these podcasts, head to https://www.patreon.com/DannyHurst to access my exclusive, member-only, fun-filled and fact-packed history-related videos. KEY TAKEAWAYS Portobello Road used to be a very poor area. When Trinidadians moved in, the British fascists targeted the area to try to drive them out. In such a racially and culturally mixed area you soon learn that people rarely fit the stereotypes and labels assigned to them. Originally a full orchestra accompanied silent film showings. An audience of 12- to 92-year-olds all laugh at Earl´s shows. His comedy crosses the generation gap. Alternative comedy has its roots in folk clubs. BEST MOMENTS “I discovered from his behaviour that his surname is actually Cockney rhyming slang.” “By the time I was 8 I was an atheist.” “The funny thing is that there were less channels, but somehow more choice.” “He then changed his name to Elton John, so he's sort of got my career.” “Mine have got English words, so I call it Bossa Britannica.” “I certainly never do drugs, apart from just standing in Portobello Road and breathing in occasionally.” “I quit my job, and on Friday, I was on the tour (Wings).” EPISODE RESOURCES https://www.earlokin.net Yellow Petals - https://www.youtube.com/watch?v=7aDJug04Cd0 https://folklondon.co.uk Driving out the Fascists from Portobello Road - https://libcom.org/article/beating-back-mosley-notting-hill-1958-baker-baron Rillington Place Murders - https://en.wikipedia.org/wiki/John_Christie_(serial_killer) Café Continental - https://en.wikipedia.org/wiki/Caf%C3%A9_Continental HOST BIO Historian, performer, and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is the most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst https://www.linkedin.com/in/danny-hurst-19574720

Today we're joined by Seb Vince, the owner and genius chef behind the most sought after Pizza brand in the country 'Breadstall' to celebrate his incredible career thats taken him from the advertising boardroom to selling cut price ciabattas on Portobello Road to eventually creating the best pizzas in the UK. We discuss everything from; how he came up with his award winning dough, the magic of the pizza industry, angry customers, stoner delivery drivers, his huge move opening up in Soho, the secrets to his success, getting banned from Rosa's, the best city in the world for a foodie weekend, his thoughts on his competitors, how he learnt his trade selling bread on market stools with his dad, why he gave up selling coffee and pastries for Pizzas, what he hates about the industry, his favourite restaurants to eat out in and much much more..... --------------- Download The Appetite app now and track your fav spots or places that you're dying to check out and book them easily all through the app - download it now. https://shorturl.at/yFXyK

In this episode of his Unusual Histories Podcast, Danny Hurst changes things up a bit by talking to experts and residents of London. This time he speaks to Cathi Haragaden, a global citizen, holistic health and well-being consultant, director of Healthy Spaces Limited and Feng Shui consultant. Today, she and Danny discuss the role history, architecture, Feng Shui principles, evolving population demographics have on an area. They do this using Notting Hill, Portobello Road and Thamesmead, where Cathi has lived, as examples. If you can´t get enough of these podcasts, head to https://www.patreon.com/DannyHurst to access my exclusive, member-only, fun-filled and fact-packed history-related videos. KEY TAKEAWAYS · Notting Hill has always been home to an eclectic mix of people from different classes and countries. · Even before the Roger Miller film made the area famous, it had a unique vibe. · Despite the prevalence of racism in the UK, at certain stages, the community spirit of Notting Hill has remained strong and giving. · Thamesmead was built on an old chemical works, and a lot of its residents looked ill. · The stark concrete buildings of Thamesmead significantly impacted how the place felt, which in turn influenced the people who lived there. · For thousands of years Feng Shui has been used in architecture as a way to channel energy to one place in a city. Examples can be found throughout the world. · The space we live in is to some extent a reflection of who we are. But it also influences who we become, so making changes to your home´s look and layout will have a significant impact on you. BEST MOMENTS “The energy of the cultural difference basically allowed the Portobello Road and beyond it to have a different energetic match.” “I've lived all over the world, and one of the best places I've lived was Notting Hill.” “I could see there were good intentions there to cater for overspill from London ... but it was made with concrete.” (Thamesmead) EPISODE RESOURCES Feng Shui Mastery Show - https://podcasts.apple.com/us/podcast/feng-shui-mastery-show-with-cathi-hargaden/id858155885 https://www.fengshuimasteryshow.com https://www.linkedin.com/in/cathi-hargaden-064ba7151 Wall Street - https://www.imdb.com/title/tt0094291 Film – Notting Hill - https://www.imdb.com/title/tt0125439/ HOST BIO Historian, performer and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is the most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst https://www.linkedin.com/in/danny-hurst-19574720

In this episode, we explore the rich world of vintage fashion with Mikey Caunter, the founder of Peekaboo and the Peekaboo Marketplace. Mikey takes us on a journey through his early days at Portobello Road, selling vintage long before sustainability became a mainstream movement, and shares how his love for vintage evolved into a thriving business and a platform for slow fashion advocacy.With decades of experience in the vintage scene, including milestones like selling vintage in Topshop and opening a store on Carnaby Street, Mikey offers a unique perspective on the growing intersection of vintage and sustainability. We delve into how consumer interest in vintage has shifted, its role in responsible fashion, and the importance of supporting small, independent brands in the sustainable fashion space.Mikey also discusses the challenges and opportunities brought by the pandemic, which led to the creation of Peekaboo Marketplace—a curated platform championing slow fashion and connecting consumers with ethical brands. From his methods of engaging conscious consumers to his vision for the future of vintage in the sustainability movement, Mikey's insights highlight why vintage is a timeless and vital part of sustainable fashion.Join us to discover why vintage isn't just a nostalgic choice but a crucial step toward a more sustainable fashion future.Learn more about Peekabook Marketplace at https://peekaboomarketplace.com/We'll be bringing more conversations from the world of sustainable fashion regularly, so remember to follow and invite your friends for a listen. Connect with me on LinkedIn linkedin.com/in/sebastianvolneyFollow us on Instagram www.instagram.com/jaymesbyrontalentFollow us for jobs and news in sustainable fashion at https://www.linkedin.com/company/jaymesbyrontalent/

Hello Wonderful Readers,I felt a lot of resistance writing this piece. I'm very tired right now. Most of you reading this are not in high school, and any of my younger cousins or friends who might be are probably just scrolling on TikTok. You can see how my inner critic is already working against me! That's why it's important to me to challenge myself. I'm determined to write and publish this piece for you anyway.I'm stealing the idea of this list from Austin Kleon, who stole it from Debbie Millman. I listened to his story about it on Millman's podcast this week. Here, I've cobbled together the first six things I wish I had known when I was graduating from high school. That year was 2013, and a lot has changed since then. Instagram existed at the time, but it wasn't widely used. This was years before TikTok, when the first major sex scandal about Jimmy Savile came out, and Oscar Pistorius, the South African sprinter, had just murdered his girlfriend, Reeva Steenkamp.I was finishing up my A-Levels at my incredibly fancy and academically rigorous “secondary school,” Westminster School in London. I had gotten rejected from all the top universities I applied to and was on my way to taking a gap year. I had no idea what I was doing with my life (spoiler, I still have no idea what I am doing now). So, without further ado, this is what I wish I had known at that time.1. The mean girls don't matter in this cruel world

Welcome to another episode of Fratello On Air. This week, we take a listener suggestion and discuss how we research watches before buying. We've hit upon this before, but it's a constantly evolving topic that deserves an update. For our beloved listeners, the watch content begins after 19 minutes.If you're a watch collector and enjoy vintage, landing a great specimen often requires research. In this episode, we mention some of our most common tactics. Some of these processes are tried and true while others are more recent. They're all helpful, though, and can lead to a rewarding result. The lack of doing one's homework, however, can be disastrous.HandgelenkskontrolleWe open our episode on watch research with a recap of Balazs' experience at a recent UEFA European Championship match in Stuttgart. It was a fantastic time without any travel troubles! Mike mentions a recent disappointing trip to the famed Portobello Road in London where the watches were abysmal. For the Handgelenkskontrolle, Mike is wearing a new arrival. It's a '60s 14ct gold Movado Museum watch with a manual winding movement that needs a service. This leads to a discussion about the designer of the watch, Nathan George Horwitt. Balazs is still (rightfully!) in love with his new Rolex Submariner 5513.Research before buyingOne of our faithful listeners, Adam, sent us a note and asked if we could discuss how we research a watch before deciding to buy. In particular, he mentioned defunct brands. The topic is a wide one, but we mentioned several of our go-to tips including:Using a site such as Google Images to compare different examples of the same watchFollowing the links found on Google Images to see if old forums or sales ads add new informationForumsSocial media including Instagram to find similar models and authorities on given brands who can helpIt is even more difficult to research defunct brands or watches from the '30s or '40s. We discuss our techniques for sorting the good from the bad.Thanks again for listening and we hope you enjoyed the show. Feel free to send additional ideas for show topics and we will add them to the queue!

In conversation with Kimberly and Charlotte of Lovers Lane Vintage. When I first went to this store I had to know who was behind it because it is the most memorable collection of vintage pieces I have ever encountered! Episode 37 on the story behind Lovers Lane, it's Portobello Road location, mowing the lawn in Galliano, ignoring trends, favourite designers, the current state of fashion, the ultimate auction find and so much more

Join Angela Maria Hart, Elle Hartford, and The Cozy Mystery Book Club for their discussion of Cloche and Dagger (Hat Shop Mystery 1) by Jenn McKinlay. 

Dillie Keane is one-third of iconic Cabaret trio Fascinating Aida. She is presently in Australia for the Adelaide Cabaret Festival, where alongside her partners in song, Liza Pulman and Adèle Anderson, Fascinating Aida will present a 40th anniversary show. Since their first performance together in 1983, the trio have racked-up millions of internet followers, performed in the world's most prestigious venues and have been showered with awards and plaudits galore. Proving they're still in their glorious prime, these mistresses of their craft ring in this four-decade milestone with their trademark diamond-sharp satire, lyrical wit and belligerent sass.  The bare bones of Dillie's life are these. Born Portsmouth 1952. Father a GP. Three much older, very nice siblings who have done nothing but grace the name of Keane and distinguish themselves in every way. Family despaired of Dillie ever conforming.  Educated at Portsmouth High School (very happy) and then at successive Convents of the Sacred Heart (first Hove, where she was miserable but learned remedial curtseying and sang all the time, then Woldingham where she was utterly and completely miserable and still sang all the time). “She'll come to no good, that girl!” opined one of the nuns as her parents took her away after she was expelled.  Safely at university, she drank and shagged and partied like a girl released from a convent and became a leading light of the drama society and ended her first year being elected Miss Elegance, hahaha! After three years of this divinely crazed existence, her mortal frame nearly gave out. A spell in hospital exposed her complete unfitness for the life of a musicologist. As her parents took her away – she was too ill to take her Part 2 and couldn't face doing 5 years of a 4 year degree – her Professor suggested that a career in Stage Management might suit.  Finally, she took control of her life. A spell as secretary to the Deputy MD of a leading advertising firm in London gave her financial independence, and she secretly auditioned for LAMDA. The day she got her acceptance letter was the best day of her life. Having flunked out of university, her parents were reluctant to fork out for 3 more years of further education, so she wrote to anyone she could think of who might help. Eventually, the fabled Jim Slater of Slater Walker stepped in with a scholarship and paid her tuition fees. Her defeated parents agreed to give her £100 per term towards living costs, and she was able to accept her place on the course.  Those three years were a thrilling ride. LAMDA was everything she hoped for and more, though trying to keep body and soul together was wonderfully crazy. She had a stall in the Portobello Road every Saturday, where she and a friend sold handmade shopping bags, aprons and second-hand clothes they'd collected from friends and strangers. She temped in the evenings and throughout the holidays, became an artist's model, did bar work, biked everywhere in London and hitched everywhere else. She also played piano in various hotels, nightclubs and restaurants, and looking back she thinks she must have cut an odd figure with her homemade clothes and Cole Porter songs. Two summer months in Sweden playing piano in a Stockholm nightclub hardened her for the life to come.  Acting jobs followed. Then the songs started popping out. And with the acting jobs, new friends who also sang and were willing to sing her songs. And with all that came the gigs and the birth of Fascinating Aïda.  The Adelaide Festival Centre presents FASCINATING AÏDA - THE 40th ANNIVERSARY SHOW! Dunstan Playhouse, Adelaide Festival Centre, Friday June 7th, Saturday June 8th and Sunday June 9th. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Oonagh and Jenny, known as the Marshmallowists, are the pioneering duo behind the UK's first gourmet marshmallow brand. With a background in chocolatier training in Paris, Oona started selling her handmade confections on Portobello Road, only to find her marshmallows becoming an instant hit. Jenny joined her sister six months into the business to take on roles that complement Oonagh's prowess in the kitchen. Together, they've built a company that not only crafts innovative marshmallow flavors but also collaborates with prestigious brands, stockists, and even ventured into creating tea cakes that are now their best-selling product.Episode Summary:In this episode, we're treated to a delectable discussion with Oonagh and Jenny, the sisters behind the gourmet marshmallow revolution in the UK. Known as the Marshmallowists, their story is one of daring ventures, innovative confectionery, and a testament to the sweet taste of success. From their early days on Portobello Road to their groundbreaking approach to marshmallow-making, Oonagh and Jenny share their journey of building a distinctive brand that has captivated palates across Britain.As we delve into the world of gourmet confections with Oonagh and Jenny, they share insights into the intricate process of marshmallow creation, the challenges of operating in the food industry, and the thrill of evolving their brand with unique flavors and collaborations. Their passion for quality ingredients and their commitment to maintaining a hands-on approach to production are palpable throughout the conversation. New and established entrepreneurs alike will find inspiration in the sisters' tenacity and creativity as they discuss the highs and lows of running a business fueled by innovation and a touch of sugar.Key Takeaways:Oonagh and Jenny created the first gourmet marshmallow brand in the UK, crafting a new market for their unique product.The business success is attributed to a combination of luck, hard work, and the ability to navigate the volatile food industry effectively.They emphasize the importance of maintaining a balance between celebrating achievements and managing the challenges of their growing business.Operating on a four-day workweek, the sisters value a work-life balance, especially as they navigate entrepreneurship and motherhood.Despite offers to mass produce elsewhere, the Marshmallowists remain dedicated to handcrafting their confections in-house to maintain the high quality and distinctiveness of their products.Notable Quotes:"Every day, basically, running this company is a gamble." – Oonagh"We were the first ever gourmet marshmallow producer in the UK. So we had to build that market for ourselves, really." – Jenny"The stakes get higher the longer you're invested in running your own business." – Jenny"I moved to Paris when I was 18 to 20 trainers of chocolatier petit, and I just fell madly in love with fresh confectionery." – Oonagh"It's very labor-intensive... No other company in the UK seems to make these [marshmallows]." – OonaghResources:The Marshmallowists' website: https://www.themarshmallowist.comInstagram @marshmellowistPlease support the show at www.patreon.com/shewhodareswins Listen to all our 5- 10 minute exclusive bonus episodes Shop merch www.shewhodareswins.com Pod10 for 10% off Hosted on Acast. See acast.com/privacy for more information.

Charlie and Lucy Barker (The Other Side Of Mrs Wood) discuss Victorian mediums both factual and fictionalised - their work, the spiritualism that led to their popularity, the social circles, the rivalry, the rumours of fraud, and the women's roles as early grief counselors. We also talk about the early days of the Suffrage movement and various aspects of the book's ending. Please note there is a very mild swear word in this episode. The Courtauld's exhibition of Georgiana Houghton's spirit paintings A preview of Tracy Ann Oberman's audio version of The Other Side Of Mrs Wood Lucy's blog post on the postal service in Victorian times One Night At McCool's Lucy's blog post on using Notting Hill Where to find Lucy online Blog || Twitter || Instagram Where to find Charlie online Website || Twitter || Instagram Discussions 01:50 The real mediums who inspired the book: Agnes Guppy and Florence Cook 05:17 Lucy talks about how mediums in general were able to escape accusations of falsehood despite many being outed as frauds 08:53 The fickleness and loyalty of medium patrons 10:35 Why the Victorians were in to Spiritualism 14:00 The importance of the references to America throughout the book - America's own spiritualism 15:27 Mrs Wood, Miss Newman, and Miss Finch 19:07 The very early days of the women's suffrage movement 22:30 About Mrs Wood's circle of people 26:35 How Mrs Wood seeing herself as providing a service for grieving people, and the role of mediums in early grief counseling 29:34 The comedy in the book, and Lucy speaks briefly about her next book in the context of humour 30:58 Lucy's use of letters in the book, and Mr Clore's columns 33:23 The ending: why Lucy chose the ending she did for Mrs Wood and Mr Larson 35:32 Charlie thought it was going to be revealed that Miss Finch could really talk to spirits - Lucy discusses this point. Listen in! 37:24 The ending: Mrs Wood and Miss Finch and their terms 39:20 Lucy tells us about the locations in the book: Victorian-era Notting Hill, Portobello Road, Ladbroke Grove 42:32 Lucy gives us more information about her next book

In this weeks Talking Travel, Jess discusses the best places of movie scenes to visit in the UK. 

Seguimos embarcados en repasar la filmografía de Richard Curtis, y tras el anterior programa dedicado a Una cuestión de tiempo hoy traemos un clásico moderno como es Notting Hill. Además celebramos su 25 aniversario y por ello volvemos a Portobello Road para visitar la librería de William, pegar en su casa de puerta azul y recordar como fue el comienzo de su relación con Anna Scott. Pepe Soto y Guille acompañan a Salva Vargas por las calles de Notting Hill. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Xama, Javier Ramírez, David, Rebe Sánchez, Ibai Martínez, La Casa del Acantilado, Shinyoru, José Percius, Diana y Francisco Javier Chacón. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. Por supuesto estando suscrito para no perderte ninguno de los próximos episodios, y ya para rematar la faena, compartiendo el podcast con tus amigos en redes sociales y hablando a todo el que te cruce en la calle de nosotros…. Y todo esto encima, GRATIS!!! Y si ya nos quieres mucho, mucho, mucho y te sobra la pasta…. Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://go.ivoox.com/sq/1355645?utm_source=embed_support_new&utm_medium=support&utm_campaign=new_embeds Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://www.ivoox.vip/premium?affiliate-code=df7fcdce0de3ec559a4ec6985a364001 Premium Mensual: https://www.ivoox.vip/premium?affiliate-code=7b9e4ad7e2279c217770d022dba91599 iVoox Plus Mensual: https://www.ivoox.vip/plus?affiliate-code=758a7520886be57f1f8feb11510a2124 Con cada rupia que nos llegue sufragamos los costes del programa al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . Las recompensas por apoyarnos se explican en nuestro blog: https://criterioceropodcast.blogspot.com/2023/08/quieres-ayudar-criterio-cero-mejorar.html Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET, La Casa del Acantilado, Kiosko Chispas

Hair stylist Charlotte Mensah joins Andi and Miquita for Fried Chicken, Pickled Okra, Green Coleslaw and Plantain Waffles. She is the founder and creative director of Hair Lounge, back in Andi and Miquita's old 'manor' of Portobello Road, and the first black woman to be inducted into the British Hairdressing Hall of Fame. Over a late lunch she talks about the shock of moving from Ghana to London as a child, doing Erykah Badu's hair, and her charity L.O.V.E (Ladies of Visionary Empowerment). And if you're wondering what Andi might do with her own hairstyle next, listen in for a scoop...An Offscript Production, and Yaya Production. Produced by Tayo Popoola. Hosted on Acast. See acast.com/privacy for more information.

Join the Summoning Boys this week as they head down Portobello Road, get children to take their medicine in potentially unlawful ways and take mind trip in a painting. As they ask the important question of, how would you Mary Poppins? Join The Summoning Boys : On our website - www.HowNotToSummon.com On our Facebook page- www.facebook.com/HowNotToSummon On Discord - www.discord.gg/ct4q4gDn On Twitter- www.twitter.com/HowNotToSummon

Do you know the similarities between a Naval team and a successful tech team? According to this week's guest, it's having a “no bullshit” working culture. Gareth is joined by Dominic von Trotha Taylor, ex-CEO at PayPoint turned Chairman and CEO iov42 as they explore his journey from submarines to tech leadership, the impact of blockchain, the danger of AI and ChatGPT - the “Rubbish in, Rubbish out” conundrum.Dominic's success is testament to the power of diverse experiences. Growing up in West London, he was exposed to the world of commerce through his parents' antique dealing business in Portobello Road. Later, he ventured into the Navy, serving on submarines during the tense Cold War era, which instilled in him a no-nonsense leadership style with a direct purpose.Dominic recounts his early career struggles and his fortuitous call back from Vodafone, where he played a crucial role in setting up the German branch, at a time when Vodafone was pioneering telephony and SMS messaging.His subsequent journey as the former CEO of PayPoint revealed Dominic's innate ability to lead through the turbulent ever-changing landscape of the early Noughties, making PayPoint a trailblazer in the fintech space.What does good leadership mean to Dominic (02:15)Dominic's tech voyage (04:35)Life and leadership on board a Royal Navy submarine (06:00)The fintech evolution (15:00)The dotcom boom and experiencing the Y2K issue (20:30)Why do people sell their businesses? (24:11)The benefits of working in a start-up company (28:30)What work is being done at iov42? (32:30)What is blockchain? (35:00)AI dangers of rubbish in, rubbish out (40:50)How to be more productive (44:00)Dominic's advice to his 21-year-old-self (46:30)

The celebrated menswear designer joins BoF's Imran Amed to discuss the evolution of his career in fashion from selling secondhand clothes to building his own brands.Background: At first glance, Oliver Spencer's story might seem like a fashion fairytale. In just a matter of a few years, he went from selling secondhand garments in a stall on London's Portobello Road to seeing actors wearing his bespoke waistcoats in the 1994 film “Four Weddings and a Funeral,” putting his formalwear label Favourbrook into the spotlight. But in the subsequent years, Spencer faced the challenges that come with running an independent fashion brand: from debt to self-doubt while aiming to reach profitability milestones. “Small is beautiful. You have to have a certain amount of business turnover to get to these levels, but you don't need hundreds of millions [of dollars] to run a profitable brand,” says Spencer.Key Insights:The British designer's formalwear background — which includes creating looks for highbrow events like the Royal Ascot — informed his approach to menswear, even given today's inclinations for toned-down dressing. “Just because you're wearing casual, doesn't mean you're not dressing right,” says Spencer. Even as consumer preferences change, however, Spencer believes it's just as critical to maintain clear sight of the brand's original vision as it is to evolve it. “I will have one foot stuck in the past and the rest of my body walking into the future,” he said. As a small brand, storytelling and working with the right wholesale partners go hand in hand. “The wrong wholesale partner can send the wrong message,” said Spencer. Spencer has ADHD and dyslexia, which he says creates both challenges and opportunities. “You understand how to deal with problems and you understand how to work out a problem in a different way… You can see things in a problem that other people can't see.”Additional Resources:To watch “Four Weddings and a Funeral” click here.Explainer — Why the Menswear Market Is on Fire: From the rise of work from home to the decline of streetwear, BoF unpacks what's driving the “unprecedented” boom in the men's market.Where Does the Suit Fit into the Modern Wardrobe? The fate of the traditional suit was already in question long before the pandemic. Where does the market go from here?To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Wake up shabby heads! To mark the return of flowering blooms and the internet's reckoning with Magnolia Pearl, we're drawing back the aged lace curtains on your mom's favorite aesthetic: shabby chic! We investigate shabby chic's Old World origins, its popularization by Portobello Road elite Rachel Ashwell, and its various contemporary forms — from TJ Maxx faux-distressed decor to New Orleans crust-twees. Plus, we reflect on Galliano's homeless-inspired collection, stealth wealth and recessioncore, and Grimes sailing down the Mississippi in a DIY houseboat. Wishing you all a shabby chic summer!Pinterest boardMagnolia Pearl Official WebsiteMagnolia Pearl Mom TikTokRachel Ashwell's Shabby Chic (1996)Rachel Ashwell's Shabby Chic TV episode on Roses (2000)Liberties; Haute Homeless via The New York TimesSubscribe to our Patreon

The Doug Show presents episode 2 of 'The Festival at the End of the World', taking us back to where it all began. From our protagonist's humble beginnings on the Isle of Man, to his first spiritual awakenings at Stonehenge Free Festival, from whence he returned only to be thrown in jail. We'll hear about his daring escape to the seedy underbelly of the London squat scene on the Portobello Road and find ourselves teetering on the brink of revolution at Castlemorten, the largest free party gathering in UK history. The Doug Show is brought to you by storyteller Doug Francisco from the Invisible Circus - http://dougfrancisco.com. Production and editing by Ollie Francis - https://www.olliefrancis.com. Sound design by mr.Mulch of Audio Support/Micro-Rave - https://micro-rave.org. Audio credits to: DJ Crystl (Futurizm Sample Pack) https://djcrystl.bandcamp.com/album/futurizm-sample-pack Senor B https://www.youtube.com/watch?v=0oUTuG_j2bk Mike Holland https://www.youtube.com/watch?v=lj2bT14g0Gc Zen Man (Melodic Techno) https://pixabay.com/users/zen_man Evgeny Bardyuzha (Entropy and Lost Expedition) https://pixabay.com/users/evgeny_bardyuzha OYStudio (Awaken/Caribbean Dream) https://pixabay.com/users/oystudio Juan Sanchez (Touch and Sound) https://pixabay.com/users/juan_sanchez The Mountain (Piano Documentary Ambient) https://pixabay.com/users/the_mountain Ashot-Danielyan-Composer (Tension + Agressive Trailer) https://pixabay.com/users/ashot-danielyan-composer Lexin Music (Inspiring Landscape) https://pixabay.com/users/lexin_music Ahmadmusic (historia de un amor) https://pixabay.com/users/ahmadmusic JuliusH (Waves and Tears) https://pixabay.com/users/juliush Miyagisama (Hibiscus Bloom) https://pixabay.com/users/miyagisama SergeQuadrado (Life of a Wandering Wizard) https://pixabay.com/users/sergequadrado CosyVibes (Sentimental) https://pixabay.com/users/cozyvibes Nesrality (Trygve Larsen -Sleaze Puppy -Ballroom Music) https://pixabay.com/users/nesrality REDproductions (Fight Rhythmic Hybrid Drumming Stomp Drum Music) https://pixabay.com/users/redproductions 86349 (Freccero) https://pixabay.com/users/86349 23117649 (Jungle People) https://pixabay.com/users/23117649 Freesound users for FX (as per Mulch's downloads) https://freesound.org/people/mulch/downloaded_sounds/

Get those marmalade sandwiches ready because we're going to be talking about Paddington Bear and the legacy he's still creating. Paddington's Twitter account Paddington's websiteNotting Hill and Portobello Rd episodeFor links, images, references and more, don't forget to check out the Destination: History website. Music: Tegan Finlay*Not AI generated. All content is original.*

Lucinda and Alina visit London's Portobello Road to peruse the rails and speak to the managers of some of the capital's boutique charity shops about their views on the rising popularity of thrift shopping.The Charity Retail Association has reported a 10 per cent year-on-year increase in charity shop sales, bucking the wider trend of declining high street retail. The studio discussion features the CRA's chief executive, Robin Osterley, and Libby Gordon, chief executive of Fara UK, to discuss how charities can take advantage of this growing consumer appetite.Robin outlines the four different categories of charity shopper, including an expanding group of consumers prioritising sustainability, and suggests ways in which charities can increase their appeal to the respective types.Libby describes the creative ways in which Fara, which supports children and young people in Romania, has used its shops to increase its visibility and grow communities, including through interactions with social media influencers. She also discusses some of the changes Fara is making in response to rising overhead costs, such as reviewing the shops' open door policy.In the Good News Bulletin, Lucinda conducts a mini review of the range of 2023 charity calendars, with a tribute to the roundabouts of Nuneaton among the usual trend of nudes.Tell us what you think of the Third Sector podcast! Please take five minutes to let us know how we can bring you the most relevant, useful content. To fill in the survey, click here. Hosted on Acast. See acast.com/privacy for more information.

Diane and Sean discuss arguably the best rom-com of all time, Notting Hill. Episode music is, "She" by Charles Aznavour and Herbert Kretzmer, performed by Elvis Costello, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd-  Twitter: @whydoweownthis1-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show

We sing many old songs, travel down Portobello Road, and discuss the old school Disney film “Bedknobs & Broomsticks”. Send us emails thepostermenpodcast@gmail.comFacebook- The Poster Men PodcastYoutube - The Poster Men PodcastLetterbox - thepostermenpodTwitter - @thepostermenpodInstagram - thepostermenpodcastWebsite - thepostermenpodcast.com

This week we cover our first Disney film with 1971's Bedknobs and Broomsticks. The late Angela Lansbury stars in this fantasy-war film set in the August of 1940. Three cockney evacuees are transported into a world of magic by Egalentine Price, an apprentice witch who wants to use her magic to aid the war effort. This film has possibly the best depiction of the make up of the British and Commonwealth military during the war in the Portobello Road sequence and its representation of the Home Guard isn't bad either! Join the boys as they revisit this childhood classic. Follow us on Twitter @FightingOnFilm and on Facebook. For more check out our website www.fightingonfilm.com Thanks for listening!  

What you'll learn in this episode: How Kirsten's international upbringing influenced her taste in jewelry Why relationships are at the heart of Kirsten's business How Portobello Road has changed over the years, and why there's a dearth of good jewelry in the UK right now Why buying well is the key to selling well as a dealer Why the best business strategy is to sell jewelry you love About Kirsten Everts Kirsten Everts is a jewelry dealer and the founder of FRAM, a jewelry business specializing in buying, selling, and valuing 20th century jewels. Kirsten founded FRAM in early 2018 after completing the Graduate Gemology course at GIA and a further 20 years acquiring experience in fields varying from auction (Christie's, London and Bonhams, Paris) to retail (de GRISOGONO, Geneva) and art advisory (Gurr Johns, London). Kirsten holds a permanent stand on Portobello Road in London, and she participates annually at international jewelry trade fairs in Miami and Las Vegas.  Photos available on TheJewelryJourney.com Additional Resources: Instagram Website Transcript: It's not easy to get a stand on London's Portobello Road, but with tenacity and some luck with timing, jewelry dealer Kirsten Everts scored a permanent spot to sell her unusual 20th century jewels. Since then, Kirsten has found a group of loyal clients who love “weird” jewelry as much as she does. She joined the Jewelry Journey Podcast to talk about why Portobello Road is changing; her strategies for choosing the best vintage jewelry; and why she will never sell another style of jewelry, even if it means making less money. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please go to TheJewelryJourney.com. Today, my guest is Kirsten Everts. Kirsten is a jewelry dealer in West London on Portobello Road. Welcome back.    Was it difficult? It sounds like it was difficult. You had to knock on a lot of doors to get into Portobello.   Kirsten: Yes, the two years before Covid, it was a very vibrant, highly sought-after, extremely busy Saturday morning market. Nobody wanted to cede their showcase to anyone new, but I kept asking. Then, what I was given at the time was a stand when someone was ill. I didn't know until Wednesday or Thursday of the week whether I was able to go. That left me two days to get my act together, and it was quite a challenge. Slowly it became a more general thing. I got my own stand in a different gallery, but I wanted to be in the one next door because that one had a better vibe, so I had to ask for that.    These were very different times. This was when you could hardly even push your way through, there were so many people. That was 2018. I suspect in the 70s and 80s it would have been even more so. I'm quite sad I didn't see it then because it must have been something to be there. Portobello, sadly, is changing a lot. I'm quite sad to think that what's probably going to happen is we'll have more costume jewelry dealers who are going to take up more space than the actual antique and vintage dealers using real materials, real diamonds, real gemstones. I don't know how long this is going to last.   Sharon: I think being crowded is all relative. I haven't been there for a long time, but you still had to push past a lot of people. It was nice to see. It was more than pleasantly crowded. I would have loved to have had the place to myself to take my time, but it wasn't crowded the way I think of something being so crowded you can't move. What is it that you like about dealing and buying and selling jewelry?   Kristen: That's a good question. As a relative newcomer, I think it's the fact that you can buy something with your very own money. Buying is easy; buying well is less easy. But to buy something with your own money that you have to stand behind is another thing. For me, selling is a small victory each time not only financially—because sometimes it's not really a financial victory—but it's an affirmation of what you do, your style and your taste.    For me, it's always about the relationships more than anything else, which might be the wrong way of business, but I don't feel that. Now, because I'm a little more established, I enjoy the fact that people come to me and say, “Oh, I think I've got something for you.” There's nothing better. They might slightly put you in a box because you do midcentury jewelry. Maybe they think you do only that, which is untrue, but I think it's a huge compliment when people pull you over and say, “You must have a look at this,” or “Have you seen this at auction? It's got your name written all over.” I think that's a compliment. It shows that you've been around for a while, even though it's only been five years. I like that side of the business.    I also like going into partnerships with people who have an equal eye for something more unique, as my jewelry can be, and who are willing to share knowledge or curiosity. I think that's what keeps it going, and the fact that you never really know what you're going to see on any day at any given time. I see jewelry all day long, whether it's on a screen when you're going through auctions, or when somebody calls you up and says, “Hey, my grandmother's just given me something. Can you help me?” More often than not, it's lower value or not that interesting, but it's still good to stay in touch with those prices and that kind of jewelry.    Every now and then, you hit something and think, “My gosh, this is fantastic. I need to take it away and think about it because I can't give you a price now.” Everyone's very happy; they just want an honest result. If that means you need to go home and do some research, most people are more than happy to do that, but I say that from my level. If we're dealing in hundreds of thousands of pounds, maybe people are expecting more. But for what I do, it's a very friendly give and take, and I enjoy that freedom. I can be exactly who I am. I have no employees, and I can be myself. I think that's really important.   Sharon: Do you find it hard to let go of certain pieces if you really like them?   Kristen: I have absolutely not a single inch of hoarding in me. If I like a piece—and I do like a lot of my own pieces—I will wear it for a week or so. After a week, something will change in me and I say, “I'm ready to sell you now.” I've sold one or two things I know I will never again see in my life. I have always said to them, “If you no longer want this, I am happy to buy it back, because I will never see this again.” So, maybe some of these pieces will come back. With regard to jewelry, I have no collector mind at all. I prefer to collect ceramics, or I prefer to collect memories sailing or going to the opera with friends. With jewelry, I'm very matter of fact.    Sharon: It probably works better for you if you're not so tied to it. I think I'd have a hard time, and I hear dealers who say they have a hard time letting pieces go. Do people come to you and say, “I want a particular piece of jewelry; I'm looking for an engagement ring” or something like that?   Kristen: Yes, with regard to engagement rings, which is really not my thing because an engagement ring is a very emotional thing, and you're making something for someone who is so emotionally involved with someone else. I don't usually know these clients. They are referred to me. It can get quite emotional. I'm happy to do that; it's not what I enjoy most, but I'm lucky enough to be the exclusive, go-to person in this country for a professional sports bond, which means that the manager of this sports team, in this case golf, sends all these young athletes or professional golfers to me to do their engagement rings. That came out of the blue. It came through a contact of mine based in Europe who didn't want to do it. It's turned out to be a really good relationship, especially with the manager. These are all young kids. I've been there myself with an engagement ring. I know what it's like. And because they were referrals, a referral will come to you if the experience has been good. They always come to me having heard a great story from another golfer or friend, and it's actually an easy, pleasant job.    I enjoy sourcing stones, in this case diamonds. I try and steer them towards what I prefer, which are old cuts, old European and mine cuts, rather than the brand-new stone that's fresh off the wheel. I much prefer those, but I do it gently because, of course, I cannot impose my taste. Funny enough, if I compare the two and show them both, they will go with the old cut, which makes it more pleasant for me because I prefer these diamonds.    Before I would do all the jewelry making for them with my jeweler, but I realized that was very time-consuming and I didn't actually enjoy it. So, I sell them the diamond, everyone's happy, and then I send them to my jeweler and he does everything with them directly. First of all, it means they save a little money because they're not paying me a service charge, but they actually get to design it with the jeweler rather than me being in the middle with thousands of WhatsApps going between two entities. It works really well. They're happy, and they know they're saving money. So, I do enjoy engagement rings.    Sharon: When you went first to Portobello, you said you hadn't known about it when somebody sent you there. What were your thoughts about it?   Kristen: It's extremely daunting. I remember coming there for the first time and seeing a very long street on a downhill slope. For me, I was still young to this country. I had lived here 20 years before, but I was very European. Hearing these wonderful London accents, people shouting at each other, setting up their stands, it was almost like My Fair Lady. I had no idea, but I loved it because you can feel that energy there. All the silver dealers were outside at the time—I don't know whether it's still like that—with plates and door knobs and all sorts of things, and you understand that behind the scenes, big things are happening for a lot of them. The knives and forks and the little Victorian brooches you see displayed are not what's keeping them going. I found fascinating. It was daunting, because you had to insert yourself with these people who run the place, who, by the way, are wonderful. Try and get an appointment with them.    They were never where they said they were going to be. I didn't know which numbers belonged to which buildings in Portobello. It was challenging, but I understood it had to happen this way. This was going to be the part of my education I had never actually had. It's fine to sit in a nice, big chair behind a big, beautiful wooden desk at Christie's and have people check what you're doing, but the actual responsibility was not there. If I made a mistake, I wasn't going to be fired. I wasn't going to lose money. They weren't going to cut my salary. When I joined Portobello five years ago, I think I was a bit of a late bloomer, but at 45, I was actually ready to tackle that on my own and to make friends and see how these things worked. It wasn't easy. It was daunting. It really was, but they were encouraging. It was great fun, most of all.   What happened, and what still happens, is that you can lock up your stand, go for a little walk, and come across something where somebody doesn't know what they have, but you do. Then, all of a sudden, your output is better. You're there to see, but you're also buying. That also makes money. It really isn't just selling. When I'm at Portobello, I set up and actually go for a very long walk and see what everyone has. I ask them, “What's in your safe? Have you got something more than what you're showing?” I spend a lot of time trying to find something that will make me money. Then I'll go back when I know my clients come around, because my clients are mostly private clients. They'll come in from about 8:30-9:00, so I've got a good hour-and-a-half to do this for myself, and it works. So, I like doing both, and Portobello is extraordinary. I really hope it doesn't succumb to a lower level of jewelry or antiques.   Sharon: Do you see that happening now?   Kristen: Yes, sadly I do. I really do. It's not anyone's fault. It's just that at the moment in this country, I think there is a bit of a lack of jewelry. This comes through Brexit, mainly, through the climate post-Covid, through people packing up. I do see a slight decline at Portobello in the quality of goods since the last five years. Yesterday, a client called me up and said, “I've got about 40 pieces of jewelry to sell. Can you take them to Portobello?” That's rare, but I do have 40 pieces of jewelry to take tomorrow. There used to be a lot more with a lot more dealers. I don't see that anymore. I think everyone is a little bit in the same basket, where it's a bit more difficult to find jewelry. We've become, sadly, such an island now with Brexit. A lot of people are concentrating only in the U.K., and there sometimes seems to not be enough jewelry to go around.   Sharon: So, you don't think it's worldwide or Europe-wide?   Kristen: It could be. We see each other every Saturday in and Saturday out. When I go to Paris or the mainland, I get excited because I'm seeing jewelry I haven't seen. Likewise for American visitors or dealers; they're feeling a different vibe and seeing other jewelry dealers. When we went to the Miami and Las Vegas shows this year because we exhibit there—and when I say we, it's me and another dealer, and sometimes even three of us. There was a very different energy in America. I almost felt there was more money to spend there, or there was a greater need or thirst for antique jewelry. I do midcentury, so I have fewer clients coming from there, but they're very excited to see you in the flesh and to see something in the flesh, because otherwise it's on Instagram or in a photograph. I don't actually know about other countries, but I hear it because I speak to my colleagues and friends in Europe, and they are saying the same.   Sharon: What did you do during Covid? Did you shut down, or did you go online?   Kristen: I did shut down. I spoke with a friend of mine who does something to the likes of website analysis about what can be done for e-commerce and what can't, and I think his conclusion was, “I think your jewelry is so different that you can't actually sell this online.” Selling online means—I will use a very blunt example, but let's say you have an enamel pansy brooch. If you're into jewelry collecting or if you're a dealer, you know approximately what it should feel like, what it should weigh, whether the enamel is damaged or not, is the pin on the back correct, has anything been altered. You know more or less what it should cost.    But I have mobile bangles by people nobody's ever heard of. I know them because they're artists from Denmark or Sweden from the post-war era made in gold, which is superbly rare for Scandinavians, dated and signed from 1963. I can't sell that online. You can't do it. When that friend said, “I don't think you are a candidate for online selling,” I thought, “O.K., well, then I'll do something else. I'll just build a website,” which I had never gotten around to. So, that was interesting. That was a fun experience, to do a website on your own. That led to inquiries. It's not up to date now, but it should be and it will be.    What I did do is I much more developed my Instagram. I spent a lot of time trying to make it look homogenous, trying to find the words that will get you the right customers. I had never really spent any time on Instagram. So, I did that, and that's turned out to be quite good. Even though my account is still quite small—I haven't got thousands and thousands of followers—the ones that follow me are good, kind and supportive.   Sharon: I would imagine, based on what you're describing, that it wouldn't be a real young customer because I think you would have to have some maturity to appreciate what you're looking at.   Kristen: Yes, exactly. That's why I love having these—we can call them mature—40-plusers because they concur with you. They say, “Yes, this is a very wacky mobile bracelet and I love it. I probably can't wear it much, but it is a work of art. I want this.” That's wonderful.   Sharon: Do you think because you grew up in the Netherlands and around the world, you have more appreciation for these as art pieces?   Kristen: That's funny. I was thinking about that question even though you hadn't said it. I was questioning myself earlier today. I think there's something in me I can't quite explain which attracts me to, like I mentioned earlier, the industrial and the groundbreaking, a group of people who—we call it jewelry, but actually I think they were calling it wearable art. The Dutch in particular in the 60s were hugely sponsored by the government to get the country going again after the post-war period. There were some very nutty creations that came out of that, but there were some very important, groundbreaking forms and materials that were being used. That really resonates with me. I don't want to call myself modern, but I think I am. My flat is extremely modern. I don't like anything fussy. I think it's the Scandinavian things. I like practicality, but it's got to be adorning. I forgotten your question, but I'm hoping this is—   Sharon: I was asking if your appreciation for pieces of jewelry as art pieces is because of your background.   Kristen: Yes, wearable art jewelry, I need that. For me to have a fizzy moment, I need it to be very unique and groundbreaking and daring. I think that's great fun. For me, that's special. I'd much rather have something by a wacky Danish mobile maker who made for children in the 60s and 70s and make a bracelet for his wife, of which there's only one and that was never done again. It's different. The Calder jewelry, which I probably can never afford, or the Art Smith of America, I love all that. They were real artists. That makes me take much more interest than a love bangle or a Victorian enamel pansy brooch.   Sharon: Do you wear some of the unique pieces yourself, or do you just collect them?   Kristen: No, I wear them. I found a system where when I wear my own jewelry, I can quite easily sell it off my body, so to speak. Time and time again it happens: I wear something for myself and I'll cross someone in the street, not a random customer, but somebody who I know, and they will say, “My gosh, I would like to buy that.” Sometimes when I'm tired of a piece and it needs to sell, I wear it and it will sell. So yes, I wear them. I've yet to find a piece that I fall completely in love with and am incapable of selling. I think I don't have that bug.    Sharon: I suppose it's good for somebody in your business. We talked about this, but you said you made some notes about the questions I had asked. I want to know if I've covered everything or if there's more you wanted to add.   Kristen: I must have a look. As a jewelry journey, I think it was important for me to mention the university. I was lucky enough to go university, and for that university degree of applied arts, I was taught a section, a module, that I wasn't expecting at all to be taught. The module was maybe six months long. Sometime in that module, it spiked an interest in me for jewelry I never thought I would like. It's so inherently who I am that I almost had to make peace with falling in love with a type of jewelry that is from a really small section in the history of jewelry.    I thought, “Can I survive loving this?” I think I go through ups and downs thinking, “No, I must start buying Victorian enameled pansy brooches because that will be my bread and butter.” But when I do, it betrays who I am. So, I sell less, but I'm selling what I love. I thought that was important to put across because I struggle sometimes. I struggle sometimes when I'm not making as much money as I'd like. When there's a period of stagnation, I think, “My gosh, I really need to do something else now,” but I can't sell my soul. I'm the worst jewelry dealer in the world because I actually care about what I sell, and I cannot diversify too much into other areas because I don't stand behind it. I'm shooting myself in the foot, but I think if you stick to it long enough, maybe something good will happen.   Sharon: I'm sure that's why people are attracted to what you have. If I wanted a pansy brooch, there must be a dozen places you can get one. If I saw one in your case, I would say, “What are you carrying that for?”    Kristen: Exactly. There was one interesting question you had, which was whether the purchases made through my business were impulse purchases. My reply to that is yes. There always are impulse purchases because we fall in love. However, I think an impulse purchase can be something you love, but it can also be bought out of a panic because you need something to sell.    Over the years, I've learned very much to slow down and take a breath and look at it again a bit better, maybe from below or beside. There are one or two dealers, who are much better dealers than I am, who come into my head. I can hear their voices saying, “Have you thought of this? Have you thought of that?” I think that only comes with the experience of spending your own money and sometimes not spending it very wisely. That can't be taught. You need to make a mistake, maybe even several, and you need to be happy with those mistakes.    I have been on the verge of throwing jewelry away because I think I have made such a big mistake, but of course you can't because it's metal or gold, and it would be atrocious to throw a pair of earrings away just because you made a mistake. There will be someone for that pair of earrings. Just remember the mistake you've made. So, your question about impulse buying was an interesting one, especially if you're a dealer like me who likes to keep a tight style.   Sharon: That's very interesting. That's a lot to think about. I was talking to a good friend of mine, a jewelry buddy, about impulse purchasing. Not to resell, but in terms of buying. I probably don't analyze things as much as somebody else might because I like it. Don't tell me; I don't want to hear it. Kirsten, thank you so much for being with us today. It's great to have you.   Kristen: It was a great pleasure.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.        

What you'll learn in this episode: How Kirsten's international upbringing influenced her taste in jewelry Why relationships are at the heart of Kirsten's business How Portobello Road has changed over the years, and why there's a dearth of good jewelry in the UK right now Why buying well is the key to selling well as a dealer Why the best business strategy is to sell jewelry you love About Kirsten Everts Kirsten Everts is a jewelry dealer and the founder of FRAM, a jewelry business specializing in buying, selling, and valuing 20th century jewels. Kirsten founded FRAM in early 2018 after completing the Graduate Gemology course at GIA and a further 20 years acquiring experience in fields varying from auction (Christie's, London and Bonhams, Paris) to retail (de GRISOGONO, Geneva) and art advisory (Gurr Johns, London). Kirsten holds a permanent stand on Portobello Road in London, and she participates annually at international jewelry trade fairs in Miami and Las Vegas.  Photos available on TheJewelryJourney.com Additional Resources: Instagram Website Transcript: It's not easy to get a stand on London's Portobello Road, but with tenacity and some luck with timing, jewelry dealer Kirsten Everts scored a permanent spot to sell her unusual 20th century jewels. Since then, Kirsten has found a group of loyal clients who love “weird” jewelry as much as she does. She joined the Jewelry Journey Podcast to talk about why Portobello Road is changing; her strategies for choosing the best vintage jewelry; and why she will never sell another style of jewelry, even if it means making less money. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Kirsten Everts. Kirsten is a jewelry dealer in West London on Portobello Road. If you've been to Portobello Road, you know it's where you can find probably more antiques and vintage finds than anywhere on the planet. Kirsten is originally from Sweden and has lived in several places around the world. We'll hear all about Portobello Road and her jewelry journey that brought her there today. Kirsten, welcome to the program.   Kirsten: Thank you. I'm very pleased to be here.   Sharon: Tell us about your jewelry journey.   Kirsten: It started quite late in life, probably around when I was 13 or 14 years old, when I started accompanying my parents to viewings at Christie's and Sotheby's. I was maybe aping their style a bit. They were more interested in Russian silver and Fabergé and gold boxes. That was the way it was then, but it did pique my interest for small, historical, beautiful objects. Of course, it didn't hurt that they shone brightly, as they were adorned by gems and diamonds.    At the time, I was young and easily enamored by things that shone, and there was these big estimates and results attached to them. I think at the time, the girls my age who were my friends were receiving fairly important gifts in the form of a Cartier love bangle or maybe a Chopin ring. It may have bothered other people to not get them, but it certainly never bothered me because I started to develop a fairly individual and non-branded taste at the time, even though this was a bit later.    Because, as you mentioned, I've grown up in all these countries, some of which are not possible to visit safely today, I saw a lot of ethnic jewelry. It would be brass or copper and silver and feathers and wood. My mother never really wore important jewelry, but she looked absolutely tremendous in this ethnic jewelry. That marked me because not only was she beautiful wearing it, but I understood that these pieces meant a lot more to the tribes they were coming from than a love bangle that has been produced over and over.    So, that's a little bit about how it started. It evolved later with studies in art history and applied arts. I was studying in Holland, and the applied arts and jewelry were being taught in certain modules. That really piqued my interest because post-war Dutch jewelry history has a lot to do with industrial forms and shapes and materials, and they were so out there. I realized I was actually very attracted to big, whacky and unique one-off pieces. So, it grew from there.   Sharon: This sounds like Swedish. You were born in Sweden—   Kirsten: Actually—I'm sorry to interrupt you—I was born in Holland. My mother's Norwegian, so that's a common mistake. Because they were diplomats, we traveled to these countries. I was happier looking at semiprecious stones, agates and wooden, beautifully handmade silver torques than more traditional jewelry, I suppose.   Sharon: You were close to ethnic jewelry. Were you in Iran?    Kirsten: Yes. I was between all sorts of countries, but when I was 13, 14, we were living in Pakistan and India. There were trips to Afghanistan, but there was a lot of discovery of the country itself. My parents made sure we didn't escape at Christmas to the Maldives. We were there to understand the country, so our trips were very much in the country. As a result, we came across some wonderful things that are now no longer there, sadly. But it was always a lovely thing to come across these tribes and maybe buy a silver torque or a big pair of earrings that they wear so well. Of course, now in hindsight, with a little bit of knowledge, I can only imagine that Alexander Calder would have been influenced by the shapes and forms I saw then. It's just beautiful, big, bold things that really meant something to them.   Sharon: You say you came to it late, but it's something that started early for you in terms of—   Kirsten: Maybe I shouldn't consider it late. I think early teens is quite late. Some people say they were inspired by their mother's jewelry collection when they were five. I had none of that. It came and grew slowly and much more in my 20s, when it was presented by a professor and there was an actual module concentrating on these things. I didn't ever study the history of jewelry. That comes in free time when I feel like reading about something. Possibly like most of us, I'm quite self-taught when it comes to proper history. But yeah, maybe you're right; maybe it wasn't that late.   Sharon: Yes, people do start with it sometimes with their mother's jewelry box. My mom didn't have a jewelry box. Did you go into art history because it was the closest thing to jewelry or just because you love art history?   Kirsten: It's more embarrassing than that, really. I went into art history because at the time, it was an easy thing to study. I didn't know what I wanted to study, and it was an easy choice. My parents are artistic. We traveled a lot. There was a lot of culture growing up. It seemed to make sense to put these paintings and sculptures into a historical context. It was a wonderful study to do. If I look back now, I should have done it now rather than then, because it's such a wonderful thing to study at a later age when we have more maturity. So, it was more a default because I wasn't going to be a doctor or an engineer, and this seemed to be wonderful. It piqued a great interest in all sorts of things. Being able to put a painting or a bronze into a certain time lapse is quite a nice thing.   Sharon: As part of this, did you ever make jewelry? Were you a bench jeweler or a maker?   Kirsten: No. I did a course a couple of years ago in London because I found it important to understand how difficult it was. I thought that might let me understand the value of the piece or the workmanship behind it. I was thinking you need to get your hands dirty to understand it more. I did this ring course. It was a one-day thing. I'm so happy I did it, but it takes so much patience and a certain amount of creativity and ability to actually work certain metals. That was enough for me. I was never going to be a bench worker, but I'm really glad I tried. It took a day to make a ring, and I appreciate handmade jewelry a lot more because of it, because I had to spend this day at the bench.   Sharon: It does take a lot of patience, yes. I'm impressed you made the ring in just one day, because a lot of times it can take three days. The name of your jewelry company is FRAM. What does that stand for?   Kirsten: FRAM means forward or go forth in Norwegian. I thought that was appropriate for a young business that I was starting on my own. It felt like a positive note to it, but the true origin came from the fact that I have a passion for sailing. There's a ship called the Fram, which is in Norway in the Fram Museum. It's a ship that went to the Arctic and the Antarctic in the late 19th century and came back successfully, which can't be said for all expeditions at the time. I thought, “I love boats, especially wooden boats, but I can't put a boat on my business card; no one will understand why I'm doing jewelry. But I can call the business FRAM.” It's easily remembered; it's easily spelled. Actually, as a result, I get called Fram a lot because people don't know my first name. I'm actually quite thrilled by that. It has nothing to do with jewelry; it's just a word that sounds nice.   Sharon: It's memorable. It's easy to remember, but it is like, “Why?” or “What's the connection here?”   Kirsten: Exactly. Well, there's none.    Sharon: Tell us about your business. You're a dealer.   Kirsten: Yes.   Sharon: Tell us about your business, who buys it, how you sell and that sort of thing.    Kirsten: Yes, with pleasure. The business is a small business; it's just me. I started it from scratch after I decided that the company I used to work for and I had nothing left in common. I felt a bit restricted there, and I needed to get this creativity out. It was a little bit haphazard that I left. It was a bit quick. It was a little bit unplanned. I'm very happy being a small business. I would love some feedback from friends, from a colleague at some point, but we're small. Our clients have grown slowly throughout the two years of the pandemic, of course, but we've grown steadily. It's very organic.    They have turned out to be mostly women. I would like to put an age bracket on it, but I can't because it varies from 30 to about mid-70s. They're all very strong, independent women, and they have their own taste. They know exactly what they like, what they can and cannot wear. Some are able to spend more than others. That makes absolutely no difference to me. I like the relationship. I've noticed that the customers I've developed have become friends, almost. We talk about other things. We go to the opera together. We're invited over for dinner. They share stories about their lives. For me, it's a whole package deal. I'm so happy when they have a great piece of jewelry that I believe in, but I also really want to understand them. I don't know if that's possible with all jewelry. Maybe other people have that as well, but I have a feeling I have that quite strongly. Maybe that's because I'm not too expensive, or maybe that's because I meet a lot of them at Portobello with a very friendly dialogue. I don't know, but it seems to be that.   Sharon: Do you have people who buy from you and come back to you?   Kirsten: Yes, I have a lot of return clients who, when they can, will say, “I'd like to buy something unique. Have you got anything at the moment?” I will be very honest with them if I haven't. I can say, “No, but maybe I can find something for you.” That doesn't seem to bother them. If I have a little search in the market, if I can find something unique, that doesn't put anyone off. They are absolutely repeat clients. They don't have to come back every month, but I have noticed that some of them were there in the beginning and are coming back now, and it's four or five years later. They remember you, and I think it's because we have this wonderful, honest and open relationship. I am exactly who I am, and I will not pretend to be anything else. I think that might come across. I'm not pushy or menacing, so they come back.   Sharon: You were in a different business, in the corporate world. Had you been thinking about starting a jewelry dealership or whatever you want to call it?   Kirsten: No. I've always been interested in jewelry. I started in 1998 at Christie's in the jewelry department, and it developed from one jewelry world to the next. It went from valuing pieces as a junior employee at Christie's. Then I moved to Switzerland and I became the stone buyer for a company that did all this black diamond jewelry before black diamonds became what they are now. I bought their stones, so there was a wholesale aspect to that. Afterwards I went back to auction houses and ended up in a company in England doing valuation. It's always been jewelry-based, but I think what happened is in 2018, I thought I had done everything from wholesale to auction to retail. I thought the only thing I could do where I could be free—which is very important to me, to have that freedom—is to start a business, but it had never crossed my mind because it's a scary thing.   Sharon: It's interesting that you did have such a foundation. It is a very scary thing to go out on your own. Was there a catalyst? Was it just like, “It's time”?   Kirsten: I think it was time. I could feel that the company I was with was concentrating much more on paintings and sculptures. I was promised jewelry. It wasn't quite working, and I thought, “I can't go on like this. I'm going to waste my life away.” I was probably in my mid-40s, and I thought it was time to grab life and to do something for myself and to take that responsibility. I thought, “I've had so much experience”—about 20 years up until then—”I'm sure I can make this work. If I don't make it work, then we'll see, but I think it's now the time to go.”    I have to add that when these crossroads or these junctions happen in your life, and it's a big step to take into a deep void—I had very little money in the bank, and I certainly had no clients that were going to come with me. Situations like that sometimes show you that there are one or two people who show up in your life who believe in you or have been in the same position earlier and want to help you. Of course, by helping me, they help themselves, so it's very equal. I think, as it turned out, one client did say, “I've got this jewelry. Can you help me?” And a dealer friend of mine was very kind to help me with Portobello. That was what allowed me to gain some confidence and finances to slowly, slowly make my own way, so to speak, without too much financial damage.   Sharon: Did you target Portobello? Did you say, “That's where I want to be”? Did you sell elsewhere?   Kirsten: No. I didn't know about Portobello because my education in jewelry was more or less abroad. I knew of it. I hadn't ever made the effort to go down there, but I was advised to do it. At the time, Portobello was a lot busier than it is now, especially since Covid. You might remember it much busier. I think I had to go every week for about year to say, “Can I have a stand?” In the end, I got one at the back of the gallery. I think as a newcomer, you're almost seen as fresh meat. I think they didn't really know what I was doing. It was a fairly nerve-wracking experience, especially at 5:30 in the morning, but it turned out well.    It was only recently that I've understood the importance of Portobello. My career was a little bit backwards. I started at a wonderful auction house at Christie's, very protected, and slid down this pole and ended up doing Portobello, which is essentially an antique street market. Of course, I should have done it the other way around, but it so happened this is now, and I enjoy it very much. It's a very steep learning curve to see a piece of jewelry that you have to make an instant decision on because somebody else might buy it if you turn your back. I think there's a great education in—I don't want to say judging—I can't remember the word now, but seeing a person and understanding, “Are they a safe person to deal with? Are they here to steal something? Are they going to actually take this seriously? Where are they from?” I think people knowledge is very important.    What's been wonderful with Portobello is the camaraderie with the other dealers. Something that doesn't make sense in someone else's showcase makes enormous sense in mine, and I understood that you don't always need to buy something. They're happy to lend it to you. It's a very friendly, I'll-scratch-your-back-and-you-scratch-mine situation. Everyone wants to make money at the end, and you do end up working fairly quickly with the people you have a connection with. It's extraordinary. I advise anyone starting or even not starting to do it occasionally. It's just once a month, and I think it keeps it real.   Sharon: That's a good way to say it. It's very hands-on. These are the people buying and selling, whether it's a Christie's or a Portobello.   Kirsten: Yes.   Sharon: Right now you're toward the front of the gallery.    Kirsten: I think I got lucky because during Covid we lost—not literally, but a lot of elderly dealers decided to pack up the business at that moment, especially once it was going on for so long. They chose to go stay in the countryside and open a little shop there or trade from home through e-commerce. Portobello emptied out quite quickly as a result of that, but when we were able to start trading again after four months of severe lockdown, there was a certain amount of us that stayed loyal to Portobello. One, because we had to work, two, because we wanted to, but we were there when we were out of lockdown. It was still very much a scare. As a result of that, I got a very nice stand, I like to think. I don't know why I'm towards the entrance. It's a great location. I think people moved around. There may have been issues with some people getting government funding, others not. I don't know. Maybe different people have different deals with the people who run Portobello, but either way, I ended up in a very nice spot. It's very cold in the winter, but it's lovely in the summer. 

Welcome to Plus or Bust - A Disney Podcast, where each week we discuss a different, random film from Disney's streaming video service, Disney+, and decide whether or not we would recommend it or not by giving a Plus or a Bust. We also discuss various Disney news and other Disney related topics so each week is something different.On this episode we talk about the latest Disney news including the first trailers for Strange World and the Pinocchio live action remake.  We also take on the semi-final brackets of our BEST PIXAR MOVIE bracket.  All that and more plus our featured film discussion on Bedknobs and Broomsticks. Is this Disney classic worth believing in? Or is better left on the streets of Portobello Road?Find out on this episode of Plus or Bust!00:00:39 - Introductions00:01:45 - Disneyland halts sales of all annual passes00:05:23 - Gripe Corner - Influencer nonsense, Disney dress code, Six Flags and Tron tangents00:26:29 - Strange World trailer discussion00:30:37 - Pinocchio trailer discussion00:35:16 - I Am Groot gets a release date00:40:28 - Minnie Vans return to Walt Disney World end of June00:41:39 - Ms. Marvel, Boba Fett and Fennec Shand meet and greets come to Disneyland00:47:57 - BEST PIXAR MOVIE BRACKET semi-finals00:56:22 - Bedknobs and Broomsticks discussion01:22:23 - Final Thoughts + Verdicts01:23:01 - The random film pick for next week is...01:25:04 - Outro + Social LinksFollow us on Twitter! @PlusOrBustFollow us on Instagram! @PlusOrBustJoin our Facebook Group! https://www.facebook.com/groups/disneyplusorbustSend us an email at disneyplusorbust@gmail.comAny popping, clicking, echoing or vibrations you hear in the audio are not intentional and we're working to get it fixed for later episodes. We apologize for an inconsistent quality.Recorded 06/08/2022

Aún bajo el influjo de la visita de Germán Salto, Iñigo Bregel y Pablo Solo de la semana pasada, en ésta nos sumergimos en Islas de Robinson un poco más en exquisito territorio pop de cantautor a comienzos de los primeros 70. Suenan: DUNCAN BROWNE - "RESURRECTION JOE" (SINGLE, 1970) / JOHN KONGOS - "SEAT BY THE WINDOW" ("CONFUSIONS ABOUT A GOLDFISH", 1969) / BILL FAY - "MAUDY LA LUNE" ("FROM THE BOTTOM OF AN OLD GRANDFATHER CLOCK", 1970) / PETE DELLO AND FRIENDS - "TAKING THE HEART OUT OF LOVE" ("INTO YOUR EARS", 1971) / CLIFFORD T. WARD - "A DREAM" ("SINGER SONGWRITER", 1972) / ALUN DAVIES - "PORTOBELLO ROAD" ("DAYDO", 1972) / ALZO - "LOOKING FOR YOU" ("LOOKING FOR YOU", 1971) / PAUL WILLIAMS - "TIME" ("SOMEDAY MAN", 1970) / ANDY PRATT - "LOW TIDE ISLAND" ("RECORDS ARE LIKE LIFE", 1970) / RICHARD TWICE - "IF I KNEW YOU WERE THE ONE" ("RICHARD TWICE", 1970) / THE MOON - "COME OUT TONIGHT" ("THE MOON", 1970) / BARRY RYAN - "SUNDAY THEME" ("BARRY RYAN", 1969) / CHRYSALIS - "CYNTHIA GEROME" ("DEFINITION", 1968) / WIL MALONE - "TALE TO TELL" ("WIL MALONE", 1970). Escuchar audio

Aromatherapist Michelle Roques-O'Neil has been working with oils, aromas and fragrance for over 40 years. With her own company Therapie, Michelle has introduced and transformed lives through the physical and mental benefits of aromatherapy and relaxation techniques. Not only is she an aromatherapy legend, she possesses a wealth of expertise in everything from re-patterning to reflexology and reiki. Consumers say Therapie products have helped with everything from anxiety to stress. Clients say a one-on-one session at Michelle's Portobello Road clinic is like going on a retreat. With an immediately calming presence, it's not hard to see why Michelle has become the go-to aromatherapist for thousands of Londoners. In this episode of the In Conversation podcast, Michelle speaks to Tom Shearsmith, News Editor and Senior Writer, about her extensive career, the moment in her life that inspired her to try aromatherapy, the Therapie brand, why local production is essential to her work, her upcoming skincare line and what 2022 has in store for the brand.Get breaking news as it happens and be the first to know when our podcasts go live by following:  INSTAGRAM

“I didn't think of it like that..I just did it!”Sometimes the reason something hasn't been done before, is because you weren't involved? Or is it just actually just a bad idea?It can be easy to question why someone hasn't done something before, but there's so much more opportunity and excitement when you see it as how can I be the first one to do it. Sometimes - most of the time - it's just about doing it!In this week's episode, I'm joined by Akua Gyamfi as we jump feet first into the foundation of The British Blacklist. Akua shares the realities of creating and building something for the Black British community to not only see themselves but celebrate the diversity when it comes to Black Art.If it ain't there, sometimes “you've just got to do it yourself”About Akua GyamfiAkua Gyamfi has over 20 years of experience in the entertainment industry, with a career spanning fashion, film, television, theatre, print and online media.Starting out behind the scenes, Akua carved out a reputable career as a hairstylist on London's Portobello Road, her hairdressing reputation lead to her first foray into the entertainment world. In 2012, Akua launched multi-award winning platform The British Blacklist, a media outlet for BAME entertainment professionals.  The British Blacklist is a media brand respected throughout the industry for its dedication to news of British black professionals in screen, stage, sound, and literature and its database documenting and championing their achievements in a way that hasn't been done before.Some topics discussedLean in on what you're good atTaking up space as black creativesJust doing it without any reservationsRecognising the cause as part of the healingDoing something for the UK black communityLearning from history to create powerNot being a leader, but a driverConnect with Akua GyamfiLinkedinTwitterInstagramThe British Blacklist WebsiteConnect with SopeWebsiteInstagram LinkedIn Twitter Email: hello@mindsetshift.co.ukI am always keen to hear your thoughts and connect with the community of listeners. If you have any comments, feedback or thoughts, please drop me a voice message: https://mindsetshift.co.uk/#ask-me-anything

“I didn't think of it like that..I just did it!” Sometimes the reason something hasn't been done before, is because you weren't involved? Or is it just actually just a bad idea? It can be easy to question why someone hasn't done something before, but there's so much more opportunity and excitement when you see it as how can I be the first one to do it. Sometimes - most of the time - it's just about doing it! In this week's episode, I'm joined by Akua Gyamfi as we jump feet first into the foundation of The British Blacklist. Akua shares the realities of creating and building something for the Black British community to not only see themselves but celebrate the diversity when it comes to Black Art. If it ain't there, sometimes “you've just got to do it yourself” About Akua Gyamfi Akua Gyamfi has over 20 years of experience in the entertainment industry, with a career spanning fashion, film, television, theatre, print and online media. Starting out behind the scenes, Akua carved out a reputable career as a hairstylist on London's Portobello Road, her hairdressing reputation lead to her first foray into the entertainment world. In 2012, Akua launched multi-award winning platform The British Blacklist, a media outlet for BAME entertainment professionals.  The British Blacklist is a media brand respected throughout the industry for its dedication to news of British black professionals in screen, stage, sound, and literature and its database documenting and championing their achievements in a way that hasn't been done before. Some topics discussed Lean in on what you're good at Taking up space as black creatives Just doing it without any reservations Recognising the cause as part of the healing Doing something for the UK black community Learning from history to create power Not being a leader, but a driver Connect with Akua Gyamfi Linkedin Twitter Instagram The British Blacklist Website Connect with Sope Website Instagram  LinkedIn  Twitter  Email: hello@mindsetshift.co.uk I am always keen to hear your thoughts and connect with the community of listeners. If you have any comments, feedback or thoughts, please drop me a voice message: https://mindsetshift.co.uk/#ask-me-anything

This episode deals with a crime committed against a child. Please exercise self-care when choosing to listen.There was nothing that Vera Page loved more in the world than swimming at the Lancaster Road Baths, in  Notting Hill, West London.  The 10 year old was proud of her achievements in the pool, especially of the two certificates she had just been awarded. On Monday the 14th of December 1931,  Vera got home from school and headed two minutes down the road to her  Aunt Minnie's house to collect the certificates which she had left with her the previous day.  She was excited to show them to other members of her family.  Vera told her Mum she wouldn't be long.  She arrived at her Aunt's at 4.40pm and chatted briefly before leaving for home.  For whatever reason, Vera did not return straight home and instead walked past her house and continued to Portobello Road, a popular shopping area. She was spotted several times over the next couple of hours, but Vera never returned home.  Follow Persons Unknown:  Instagram and FacebookBackground music: New direction Music from Uppbeat (free for Creators!): https://uppbeat.io/t/kevin-macleod/new-directionLicense code: B10HVVZOHW0DTJ6O SourcesWebsiteshttps://truecrimeengland.wordpress.com/2020/10/31/the-murder-of-vera-page/amp/https://www.truecrimelibrary.com/crimearticle/vera-page/http://www.unsolved-murders.co.uk/murder-content.php?key=1348&termRef=Vera%20Isobel%20Minnie%20Pagehttps://en-academic.com/dic.nsf/enwiki/487292https://mysteriousuniverse.org/2020/03/the-mysterious-disappearance-and-death-of-vera-page/https://truecrimediva.com/vera-page/British Newspaper ArchiveDundee Evening Telegraph16/12/3110/02/3211/02/32Dundee Courier11/02/32Daily News (London)17/12/3117/12/3124/12/3106/01/3207/01/3211/01/3225/01/3212/02/32Daily Mirror 19/12/3121/12/3122/12/3123/12/31Sunday Mirror20/12/3124/01/32Daily Herald06/01/3208/02/3212/03/32West London Observer25/12/3107/01/32Leicester Evening Mail22/12/31Ballymena Weekly Telegraph 26/12/31Reynolds Newspaer27/12/31Western Daily Press01/01/32Sunday Sun (Newcastle)03/01/32Belfast Telegraph 04/01/3205/01/3212/02/32Weekly Dispatch 23/01/3228/02/3214/02/32Northampton Mercury 29/01/32The People17/01/3231/01/32Nottingham Evening Post18/02/32Graphic20/02/32Aberdeen Press and Journal08/02/3215/02/32Sheffield Independent 25/01/32Derby Daily Telegraph 15/01/32Western Mail18/01/32Still Talking BlackA show about bringing awareness and perspectives to issues Black people face every day.Listen on: Apple Podcasts Spotify

In episode #25 we discuss the making of Caetano Veloso's album "Transa" released in January 1972. This is his second album recorded in London, while in exile following his prison by the military regime in Brazil. However, unlike the obvious sadness of Caetano's self-title LP of 1971 (Brazuca Sounds #17), Transa is the culmination of all his new influences living abroad. The reggae on Portobello Road, "waking up and singing an old, old Beatles song", or a tagline of a famous soap commercial. Caetano Veloso was ready to heal his wounds, and also ready to make his way back to Bahia, and he decided to leave behind what might be considered his album masterpiece. If you like the show, you may want to follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".--- Send in a voice message: https://podcasters.spotify.com/pod/show/brazucasounds/message Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

你吃過正宗的義式冰淇淋(gelato)嗎? 它的口感不同於一般的冰淇淋。本集邀請到可能是倫敦最道地的義式冰淇淋店家Gelateria 3BIS London，位在市中心景點的分店：Borough Market跟Portobello Road：始於1987年義大利的Rimini，在倫敦品嚐義大利味道無時差！他們用工藝製作義式冰淇淋，提供豐富的口感層次與引進源自世界各地的新鮮食材，更對於美觀有極高的要求，除了義式冰淇淋，還有更多其他甜點。收聽本集，請準備用耳朵吃義式冰淇淋，該店代表Gianmarco Benedetti的介紹讓我訪談時唾腺發達，一度不能自己；請備好筆與紙，記下他推薦必點的招牌，冬天吃義式冰淇淋，不亦樂乎！ ❤️嚐gelato享8折!

My guest this week is Akua Gyamfi who has over 20 years of experience in the entertainment industry, with a career spanning fashion, film, television, theatre, print and online media. Starting out behind the scenes, Akua carved out a reputable career as a hair stylist on London's Portobello Road. Her hairdressing reputation lead to her first foray into the entertainment world with a hair CV which includes work for magazines Vogue, Disorder, BOLZ, and i-D. Since 2010 she has been a part of the Paul Hanlon hair team during both London and Paris fashion weeks for Matthew Williamson, Topshop Unique, Jonathan Saunders, Giles and more. She also worked on set for various music videos and British gangster film Rollin' With the Nines. After leaving a full-time career in hairstyling, Akua studied journalism at London College of Communications (formerly London College of Printing) and her career as a freelance journalist took off. Akua worked at renowned underground music digital TV station Channel AKA (formerly known as Channel U). Then moved to the BBC where she worked at their Performing Arts Fund, BBC Writersroom and then BBC R&D. In 2010 Akua worked with director Mark 1 to co-write, and produce anti-knife and gun crime short film, After Effects. During this time, Gyamfi gained valuable insight into the machinations of script writing and turned those skills into becoming a script consultant for new screenwriters & playwrights. In 2012, Akua launched multi-award winning platform The British Blacklist, a media outlet for BAME entertainment professionals.  The British Blacklist is a media brand respected throughout the industry for its dedication to news of British black professionals in screen, stage, sound, and literature and its database documenting and championing their achievements in a way that hasn't been done before. Akua is also a sought-after commentator regularly speaking on news outlets. She is on the board of The New Black Film Collective and is a regular collaborator with We Are Parable. Akua is also a regular chair for screenings and panel discussions hosted by BAFTA and the BFI. So there was a lot to talk about! We also cover what success means to Akua, if there's anything she would do differently, what it actually means to be a founder and what keeps her creatively energised. I really appreciated Akua's transparency and straight-forwardness, and I think there are definitely some wisdoms to be gleaned. So here is that interview…

I remember being in London in the summer of 2001…I made my usual pilgrimage up to the original Rough Trade records store on Talbot Street, off Portobello Road in Notting Hill… I was a little bummed out with music at the time, so I was hoping for some inspiration…the mainstream was awash in pop music…spice girls, backstreet boys, Britney Spears… And alt-rock had kinda lost its way after grunge burned out…the big acts were searching for direction…there were far too many one-hit wonders…and nu-metal, the biggest thing at the time, was very, very polarizing…you either were really into it or you hated it… It also seemed that this new genre dubbed “electronica” was siphoning off a lot of rock fans…music made the old-school way with guitars, bass, drums, and vocals seemed old-fashioned, out of date, and played out… But that couldn't be true, could it?...in the past, every time rock was declared dead, someone or something came along and breathed new life into everything… I told this story to Nigel, the guy at the desk of the tiny shop… “Give me something that is exciting, new, and fresh,” I said… “Give me hope”… Nigel reached under the counter and pulled out a cd single… “Here, mate,” he said, “This should cure all your ills”…it was a song from The Strokes. Turns out he was right…The Strokes were one of the very, very first new bands behind the indie-rock revival that began at the tail end of the 90s and blew up over the next couple of years…nice one, Nigel… But why The Strokes?...where did they come from?...and why was this guy in London telling me about a band from New York?...this requires some explanation… See omnystudio.com/listener for privacy information.

Book Vs. Movie: Bedknobs and Broomsticks The Marty Norton Novels During WW2 Vs the 1971 Groovy Disney Film The Margos are closing out our “Month of Disney” with the 50th Anniversary of Bedknobs and Broomsticks a partly animated film that is based on the wonderful stories by Mary Norton. An English writer of children's books and was best known for the SciFi-Fantasy collection The Borrowers in the 1950s. For this story, she uses some supernatural elements to tell the tale of a trio of British kids during WW2 who are hiding out in the English countryside. They meet a local villager, Miss Price, who turns out to be an apprentice witch.  The stories appeared as The Magic Bed Knob; or How to Become a Witch in Ten Easy Lessons and Bonfires and Broomsticks which in 1957 became Bedknobs and Broomsticks. The property was sold to Disney and was developed for years in the wake of the Mary Poppins success of the early 1960s.  The movie takes place in 1940 where three kids (Carrie, Charlie, and Paul) are evacuated from London to live in Pepperidge Eye near the Dorset Coast at the start of the War. The Nazis are a big menace and Miss Price is studying witchcraft in order to fight them. With her magic spell, she creates a bed knob that can travel through space and time. In the movie, she is played by Angela Lansbury (a Book Vs Movie favorite!) and along with David Tomlinson (who has a tragic personal story!) they go on a weird and wonderful adventure that includes playing soccer with talking animals and invisible soldiers coming to their rescue to fight off the Germans.  This production was one of the last for the Sherman Brothers for Disney and features some of their classic catchy music and a dance sequence that is a progressive step forward (for 1971 Disney!)   So, between the original story and the animated movie--which did we prefer?  In this ep the Margos discuss: The backdrop of WW2 London and how it changed art created at that time How Fascism is explained in this story The main differences between the children's novels & film.  Starring: Angela Lansbury (Miss Price,) David Tomlinson (Mr. Browne,) Ian Weighill (Charlie Rawlins,) Cindy O'Callaghan (Carrie Rawlins,) Roy Snart (Paul Rawlins,) Roddy McDowell (Mr. Rowan Jelk,) Sam Jaffe (Bookman,) and Tessie O'Shea as Jessie Hobday.  Clips used: “The Beautiful Briny” Bedknobs and Broomsticks  trailer “Eglantine”  “Portobello Road”  “Substitutiary Locomotion” “A Step in the Right Direction”  Music by Richard M. Sherman and Robert B. Sherman Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

En este nuevo podcast les hablo sobre lo bien que lo pasé ayer sábado en Londres en compañía de Carlos y Ana, dos canarios residentes en la capital de U.K. Además de un paseo por Portobello Road, fuimos a cenar a Convent Garden y descubrí el genial restaurante de carne, Flat Iron.

Join Matty as they take a journey to London's famed Portobello Road with guest Jarrod Yuskauskas to find the secret to Substitutionary Locomotion in the 70's Disney classic, Bedknobs and Broomsticks staring the enchanting Angela Lansbury.

Between 1976-82, Joly MacFie printed some 40,000,000 badges (pins, in the USA) related to music culture. Along the way his company Better Badges grew from one-man garage operation to a sizeable small business that also printed and distributed dozens of fanzines. That connection started in spring of 1979 when Tony Fletcher stopped hoping for an ad for the 7th issue of Jamming. Joly, having just acquired a brand new table-top litho machine, offered to print Jamming at cost as 'guinea pig'. Joly and Tony's relationship flourished almost all the way to when Better Badges imploded, due to the usual cash flow problems brought on by a rapidly expanding business. Since the late 1980s, Joly and Tony have both lived in New York State, and in September 2021, they reconnected in the Catskill mountains. Tony brought Joly a copy of The Best of Jamming! book and the two sat down to relive the story of Better Badges. The edited conversation includes:the role of hippies like Joly in the punk movementthe free festival scene and influence of the Pink Faeries and HawkwindJoly's conversion to punk alongside Joe Strummerthe appeal of the button badge and Joly's slogan: Image as VirusWhy 2-Tone pushed Better Badges towards fanzinesHow Joly Division manager Rob Gretton convinced Better Badges to not pay royaltiesthe six issues of Jamming printed at BB's Portobello Road headquartersthe end of Jamming! and the demise of Better BadgesJoly's exploits in the States as concert promoter with Golden Voice, TV producer with Snub TV, PunkCast video documentarian, and, again, pin printer.Joly MacFie can be found on Facebook at https://www.facebook.com/joly.macfieHis work can be found at http://punkcast.com/The Old Punk Rock Badges Fanatics Facebook group is https://www.facebook.com/groups/37808373885An article by Joly MacFie about Better Badges is at https://journal.transformativeworks.org/index.php/twc/article/view/521/429 The Best of Jamming!: Selections and Stories from the Fanzine That Grew Up 1977-86 is published by Omnibus Press and available from all good book shops in the UK/EU; Dec 2 in the rest of the world.More info and online purchasing options at:TonyFletcher.netOmnibusPress.com 'The Jamming! Fanzine Podcast Theme' is by Noel Fletcher. Copyright reserved.Editing assistance and logo by Greg Morton.The Jamming! Fanzine Podcast website can be found athttps://shows.acast.com/the-jamming-fanzine-podcastSocial media atInstagram.com/LeagleAlientwitter.com/TonyFletcher Hosted on Acast. See acast.com/privacy for more information.

For episode 60 of the Time 4A Pint Podcast, I got together with Portobello Road based watch dealer, and fellow fan of odd horology, Josh Rogers. We talked about how the trade has changed in the last 10 years, the weird and wonderful things that wander in off the Portobello Road, keyboard warriors and Omega cross hairs, impulse purchases in French Flea markets, buying a new stainless steel Rolex at retail, and our shared fondness for quirky and often unloved timepieces. Watches featured in this episode: Chopard L.U.C Regluator Quattro 18K White Gold ref. 171910-1001 Seiko Sportura Kinetic SNL015 7L22 OAd0 Omega Deville Saint Honoré ref. BC751.8358E / 551.8358 / 142.8358 IWC Portugieser Annual Calendar ref. IW503502 Omega Seamaster Automatic 165.002 Omega Seamaster Automatic Day Date calibre 1020 ref. 166.0216 Bulova Accutron “Sputnik” calibre 218.1 2020 Rolex Oyster Perpetual Datejust 41mm “Wimbledon” ref. 126334 Jaeger-LeCoultre Reverso Grande Date ref. 240.8.15   You can find pictures and reference numbers of all the watches that we talked about, along with lots of helpful show notes on the Time 4A Pint website. Want to support the show? Buy me a virtual pint for just £1 at https://ko-fi.com/time4apint

为你读英语美文 · 第418期主播：罗斌Of course, I've seen her films and always thought she was, well, fabulous -- but, you know, a million million miles from the world I live in. which is here -- Notting Hill-- my favourite bit of London.我当然看过她的电影，一直认为她很出色，但是离我非常遥远。我住在这里，诺丁山，伦敦我最喜爱的地方There's the market on weekdays selling every fruit and vegetable known to man...这里平日有集市，贩卖各种为人熟知的蔬果The tattoo parlour -- with a guy outside who got drunk and now can't remember why he chose 'I Love Ken'...醉醺醺的家伙从刺青店走出来，记不清为什么刺了“我爱肯”The radical hair-dressers where everyone comes out looking like the Cookie Monster, whether they want to or not...前卫的发型师让每个从店里出来的人看上去都像甜饼怪，不管他们喜不喜欢Then suddenly it's the weekend, and from break of day, hundreds of stalls appear out of nowhere, filling Portobello Road right up to Notting Hill Gate.然后突然周末来临，从清晨开始，就不知道从哪里涌出无数摊位，挤满了波特贝罗路，一直到诺丁山的大门And wherever you look thousands of people are buying millions of antiques, some genuine... and some not quite so genuine.放眼望去都是买古董的人，有些是真品，有些不是。And what's great is that lots of friends have ended up in this part of London -- that's Tony, for example, architect turned chef, who recently invested all the money he ever earned in a new restaurant...最棒的是有许多朋友都聚集在伦敦的这一区，比如说托尼，由建筑师转行成为厨师，最近用所有积蓄开了一家新餐厅。And so, this is where I spend my days and years -- in this small village in the middle of a city -- in a house with a blue door that my wife and I bought together... before she left me for a man who looked exactly like Harrison Ford, and where I lead a strange half-life with a lodger called -- Spike!这就是我日复一日生活的地方，这个城市里的小地方，住在我的妻子和我一起买的一间蓝色门面的房子，之后她成为了一个长得像哈里森福特的男人离开了我，我的生活也变得不同寻常，和我的房客一起，他叫斯派克。And so it was just another hopeless Wednesday, as I walked the thousand yards through the market to work, never suspecting that this was the day that was gonna change my life forever.所以这是另一个毫无希望的周三，我穿过集市走了几百米去上班，没有想到这一天会改变我的生活This is work, by the way, my little travel bookshop, which, um, well , sells travel books, and to be frank with you, doesn't always sell many of those.这是我的工作地点，我的小旅游书店，这里专卖旅游书刊，坦白说，销路不怎么好。为你读英语美文的听众朋友们，我是罗斌，好久没有跟大家问好了，我刚刚为你读的段落是电影《诺丁山》开头的独白。《诺丁山》讲述了一个爱情故事，女影星Anna在演绎事业如日中天的时候，在伦敦诺丁山的书店邂逅了书店老板Willam，最终他们两个跨越了地域和阶级，走到了最后。浪漫，幽默，感人，乌托邦是我对这个电影的印象。从学生时代开始，我就一直喜欢有圆满结局的电影，《诺丁山》正是如此。而越长大越发现，其实现实中的大多数故事都是留有缺憾的，电影结局固然完美，但是影片开头描述的平凡的生活场景，可能才是大多数人生活的主旋律。罗曼罗兰说，世界上只有一种真正的英雄主义，那就是在认清生活的本质之后依然热爱生活，今天我把这段独白分享给你，希望我们可以继续相信那些不期而遇的美好，总会在下一路转角遇见，继续相信在平淡无奇里，依然会有熠熠生辉的时刻出现，也在这个现实的世界里，慢慢开始构建一个只属于自己的乌托邦。听众朋友们，今天的节目就到这里，我是罗斌，我们下期再会。▎主播介绍罗斌：毕业于广东海洋大学，现在在深圳工作制作：罗斌，编辑：永清▎节目首发，背景音乐，图文资料，更多推送敬请关注微信公众号：为你读英语美文，ID：readenglishforyou

Having survived the civil war in Afghanistan, Waheed Arian arrived alone in the UK aged 15. He went on to study medicine at Trinity Hall, Cambridge. Today he's using smartphones and volunteer specialists to provide life-saving medical advice to doctors working in areas of conflict.https://gate.sc/?url=https%3A%2F%2Fwww.cam.ac.uk%2Fthiscambridgelife%2Fwaheedarian&token=be4f66-1-1573485071751 (www.cam.ac.uk/thiscambridgelife/waheedarian) My father knew we had only minutes before the bombs reached us. He grabbed me and ran to a nearby village. There he found a house and inside a bread oven in which he hid me. I remember the billowing dust, coming from every direction. I was five years old and we were escaping the conflict in Afghanistan. The Khyber Pass and Torkham border were closed and so we were taking the Tari Mangal route to Pakistan. We travelled in a caravan of 20 to 25 families, the donkeys and horses tied together, carrying the women and children. We had some oiled bread and a little sugar to eat throughout the whole journey. For safety we travelled at night, with only the moonlight to see by. As the sun rose, we would find places to hide until we could continue our journey. It took us seven days to reach the refugee camp. Over the course of that week we were attacked three times by air and tanks. We felt safe at the refugee camp in Peshawar Pakistan, but the conditions were very poor. Our family of ten lived in one room. We had a few cushions and a fan – but still the temperature reached highs of 45 degrees. Within a few days of arriving we contracted malaria and three months later I caught tuberculosis (TB). I decided I wanted to become a doctor when I was recovering from TB. The doctor who was treating me was always smiling despite the conditions of the camp. I didn't have any toys so he gave me an old stethoscope to play with. He also gave me a well-thumbed medical text book which I treasured. We stayed at the camp for three years before returning to Kabul, my home town. The Soviet troops had left but the civil war continued. Each day we hid in the cellars as the rockets, shells and bombs fell. War became normal. Waheed as a child. Credit: Andrew Price/ View Finder Pictures I learnt English by tuning into the BBC World Service, after my father had finished listening to the radio, hoping for some good news. The schools were closed so I taught myself using books brought off the street from people trying to make a little extra money to pay for food. My parents, neither of whom had been to school, knew there was no future for me in Afghanistan, so at 15 years old they sent me to the UK. I arrived in London, alone, with $100 in my pocket. I felt daunted but also happy and excited. For the first time in my life I was safe, and ahead of me lay so many opportunities. For the first week I stayed with a family friend on Portobello Road; I then moved into a flat with other refugees. I was told I should stick to labour work – perhaps working in a chicken shop or becoming a taxi driver. These are hardworking jobs, and I admire people doing them, but my dream was to become a doctor. So I took a job on Edgware Road as a salesman, found some GCSE books and studied every spare moment. I even hid my books under the counter so I could read them when the shop was quiet. I persuaded a local college to allow me to take an assessment to see if I could study for A levels. I passed - just. I wanted to prove a point so I took five AS levels. I completed all five AS subjects achieving A grades. In my second year, I completed three A levels achieving A grades. I needed to continue working while I was studying so I had to enrol at three different colleges, taking classes during the day as well as in the evenings. I met someone who had just graduated from Cambridge and he suggested I should apply too. I was not convinced, but agreed to visit the city. When I saw...

Lee Harris was born in Johannesburg, 1936. A writer, performer a legend of activism and a bastion of kindness and compassion In 1972 he opened the first ever headshop in England on Portobello Road in London called Alchemy. In the 1970s he published Brainstorm Comix and Home Grown - Europe's first ever cannabis magazine. In 2016 Lee ran for London Mayor representing the Cannabis is Safer than Alcohol party and gaining 10s of thousands of votes. This list goes on - Lee is rich in stories, adventures and wisdom. The following is just a snippet from Lee's abundance of adventures.