Podcasts about Shropshire

The Government is carrying out a farming profitability review in England, to inform policy. There's been a call for evidence and practical solutions. We ask the National Farmers' Union what could be done to help.Out in the sunshine at the Great Yorkshire Show - pig showing and curly fleeced Wensleydale sheep.A new strategy for tackling rural crime across Wales will offer greater protection for people and wildlife in the countryside, according to the Welsh government. Priority areas include tackling damage to ancient monuments, or heritage crime, and attacks on livestock, with new awareness courses for animal owners.Chronic bee paralysis has been in bee populations for thousands of years, but cases are rising in the UK and it's estimated up to 2% are affected. The disease is not notifiable so doesn't have to be reported, and bees can have the virus and not show symptoms. We speak to Professor Giles Budge who's working on the disease at Newcastle University.The Environment Agency is increasing the number of inspections on farms to tackle pollution and poor practice. We join an inspector making a return visit to a farm in Shropshire.All week we're taking a deep dive into the UK's shellfish industry. Almost 90% of the mussels produced in Scotland are grown in Shetland. We visit a farm which produces 1000 tonnes a year on long ropes dotted on 24 sites around the islands. We also visit Oban where scientists are working on a trial to selectively breed our native oysters to make them more resilient to climate change and pollution. Presenter = Caz Graham Producer = Rebecca Rooney

Welcome to episode 14 of The National Counties Cricket Show, brought to you by the team behind the Premier League Cricket Show and bringing you the ultimate destination for dynamic discussions, exclusive guests, and unmatched insights from around the peak of the non-professional cricket pyramid across the 20 x National Counties, formerly Minor Counties, and their burgeoning representative side the Challengers! In this episode we preview the NCCA 50 Over Trophy Final with Matt Burton of Dorset ahead of the match against Shropshire at Chester Boughton Hall and discuss how the season has gone so far and his thoughts looking ahead to the final. Thanks for listening and if you enjoy the show, why not show us some love and leave us a 5-star review on your favourite podcast platform as it helps other potential listeners to find us when they are searching for cricketing podcasts. And don't forget to follow us on X, formerly known as Twitter, and Instagram on both to join the conversation, share your thoughts, and connect with us & fellow premier league cricket fans. Twitter: @TPLCricketClub Instagram:@TPLCricketClub Website: premierleaguecricket.co.uk Email: ⁠⁠⁠⁠⁠⁠⁠⁠TPLCricketShow@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: @NCCA_UK Instagram: @NCCA.UK Website: nationalcountiesca.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 23rd July 2025. The winner will be contacted via Bluesky. Show references:  Sam Mullins, Trustee at SS Great Britainhttps://www.linkedin.com/in/sammullins/https://www.ssgreatbritain.org/ Transcriptions:  Paul Marden: What an amazing day out here. Welcome to Skip the Queue. The podcast for people working in and working with visitor attractions, I'm your host, Paul Marden, and today you join me for the last episode of the season here in a very sunny and very pleasant Bristol Dockyard. I'm here to visit the SS Great Britain and one of their trustees, Sam Mullins, who until recently, was the CEO of London Transport Museum. And I'm going to be talking to Sam about life after running a big, family friendly Museum in the centre of London, and what comes next, and I'm promising you it's not pipes and the slippers for Sam, he's been very busy with the SSGreat Britain and with other projects that we'll talk a little more about. But for now, I'm going to enjoy poodling across the harbour on boat number five awaiting arrival over at the SS Great Britain. Paul Marden: Is there much to catch in the water here?Sam Mullins: According to some research, there's about 36 different species of fish. They catch a lot of cream. They catch Roach, bullet, bass car. Big carpet there, maybe, yeah, huge carpet there. And then your European great eel is here as well, right? Yeah, massive things by the size of your leg, big heads. It's amazing. It goes to show how receipt your life is. The quality of the water is a lot better now. Paul Marden: Oh yeah, yeah, it's better than it used to be years ago. Thank you very much. All right. Cheers. Have a good day. See you later on. So without further ado, let's head inside. So where should we head? Too fast. Sam Mullins: So we start with the stern of the ship, which is the kind of classic entrance view, you know. Yeah, coming up, I do. I love the shape of this ship as you as you'll see.Paul Marden: So lovely being able to come across the water on the boat and then have this as you're welcome. It's quite a.Sam Mullins: It's a great spot. Isn't it?Paul Marden: Really impactful, isn't it? Sam Mullins:  Because the amazing thing is that it's going this way, is actually in the dry dock, which was built to build it. Paul Marden: That's amazing. Sam Mullins: So it came home. It was clearly meant to be, you know,Paul Marden:  Quite the circular story.Sam Mullins:  Yeah, yeah. Thank you. Paul Marden:  Thank you. Wow. Look at that view.Sam Mullins: So that's your classic view.Paul Marden:  So she's in a dry dock, but there's a little bit of water in there, just to give us an idea of what's going on. Sam Mullins: Well, what's actually going on in here is, preserving the world's first iron ship. So it became clear, after he'd come back from the Falklands, 1970 came back to Bristol, it became clear that the material of the ship was rusting away. And if something wasn't done, there'd be nothing left, nothing left to show. So the innovative solution is based on a little bit of science if you can reduce the relative humidity of the air around the cast iron hull of the ship to around about 20% relative humidity, corrosion stops. Rusting stops. It's in a dry dock. You glaze over the dock at kind of water line, which, as you just noticed, it gives it a really nice setting. It looks like it's floating, yeah, it also it means that you can then control the air underneath. You dry it out, you dehumidify it. Big plant that dries out the air. You keep it at 20% and you keep the ship intact. Paul Marden: It's interesting, isn't it, because you go to Mary Rose, and you go into the ship Hall, and you've got this hermetically sealed environment that you can maintain all of these beautiful Tudor wooden pieces we're outside on a baking hot day. You don't have the benefit of a hermetically sealed building, do you to keep this? Sam Mullins: I guess the outside of the ship is kind of sealed by the paint. That stops the air getting to the bit to the bare metal. We can go down into the trigger, down whilst rise up.Paul Marden:  We're wondering. Sam, yeah, why don't you introduce yourself, tell listeners a little bit about your background. How have we ended up having this conversation today.Sam Mullins: I'm Sam Mullins. I'm a historian. I decided early on that I wanted to be a historian that worked in museums and had an opportunity to kind of share my fascination with the past with museum visitors. So I worked in much Wenlock in Shropshire. I worked created a new museum in market Harbour, a community museum in Leicestershire. I was director of museums in St Albans, based on, you know, great Roman Museum at Verulamium, okay. And ended up at London Transport Museum in the 90s, and was directed there for a long time.Paul Marden: Indeed, indeed. Oh, we are inside now and heading underground.Sam Mullins: And you can hear the thrumming in the background. Is the dehumidification going on. Wow. So we're descending into thevery dry dock.Paul Marden: So we're now under water level. Yes, and the view of the ceiling with the glass roof, which above looked like a lovely little pond, it's just beautiful, isn't it?Sam Mullins: Yes, good. It sets it off both in both directions, really nicely.Paul Marden: So you've transitioned now, you've moved on from the Transport Museum. And I thought that today's episode, we could focus a little bit on what is, what's life like when you've moved on from being the director of a big, famous, influential, family friendly Museum. What comes next? Is it pipe and slippers, or are there lots of things to do? And I think it's the latter, isn't it? Sam Mullins: Yes. Well, you know, I think people retire either, you know, do nothing and play golf, or they build, you know, an interesting portfolio. I wanted to build, you know, something a bit more interesting. And, you know, Paul, there's that kind of strange feeling when you get to retire. And I was retiring from full time executive work, you kind of feel at that point that you've just cracked the job. And at that point, you know, someone gives you, you know, gives you a card and says, "Thank you very much, you've done a lovely job." Kind of, "Off you go." So having the opportunity to deploy some of that long term experience of running a successful Museum in Covent Garden for other organisations was part of that process of transition. I've been writing a book about which I'm sure we'll talk as well that's been kind of full on this year, but I was a trustee here for a number of years before I retired. I think it's really good career development for people to serve on a board to see what it's like, you know, the other side of the board. Paul Marden: I think we'll come back to that in a minute and talk a little bit about how the sausage is made. Yeah, we have to do some icebreaker questions, because I probably get you already. You're ready to start talking, but I'm gonna, I'm just gonna loosen you up a little bit, a couple of easy ones. You're sat in front of the telly, comedy or drama?Sam Mullins: It depends. Probably.Paul Marden: It's not a valid answer. Sam Mullins: Probably, probably drama.Paul Marden: Okay, if you need to talk to somebody, is it a phone call or is it a text message that you'll send?Sam Mullins:  Face to face? Okay, much better. Okay, always better. Paul Marden: Well done. You didn't accept the premise of the question there, did you? Lastly, if you're going to enter a room, would you prefer to have a personal theme tune played every time you enter the room. Or would you like a personal mascot to arrive fully suited behind you in every location you go to?Sam Mullins: I don't know what the second one means, so I go for the first one.Paul Marden: You've not seen a football mascot on watching American football or baseball?Sam Mullins: No, I try and avoid that. I like real sport. I like watching cricket. Paul Marden: They don't do that in cricket. So we are at the business end of the hull of the ship, aren't we? We're next to the propeller. Sam Mullins: We're sitting under the stern. We can still see that lovely, gilded Stern, saying, Great Britain, Bristol, and the windows and the coat of arms across the stern of the ship. Now this, of course, was the biggest ship in the world when built. So not only was it the first, first iron ship of any scale, but it was also third bigger than anything in the Royal Navy at the time. Paul Marden: They talked about that, when we were on the warrior aim the other day, that it was Brunel that was leading the way on what the pinnacle of engineering was like. It was not the Royal Navy who was convinced that it was sail that needed to lead. Sam Mullins: Yeah, Brunel had seen a much smaller, propeller driven vessel tried out, which was being toured around the country. And so they were midway through kind of design of this, when they decided it wasn't going to be a paddle steamer, which its predecessor, the world's first ocean liner, the Great Western. A was a paddle steamer that took you to New York. He decided that, and he announced to the board that he was going to make a ship that was driven by a propeller, which was the first, and this is, this is actually a replica of his patent propeller design. Paul Marden: So, this propeller was, is not the original to the show, okay?Sam Mullins: Later in its career, it had the engines taken out, and it was just a sailing ship. It had a long and interesting career. And for the time it was going to New York and back, and the time it was going to Australia and back, carrying migrants. It was a hybrid, usually. So you use the sails when it was favourable when it wasn't much wind or the wind was against. You use the use the engines. Use the steam engine.Paul Marden: Coming back into fashion again now, isn't it? Sam Mullins: Yeah, hybrid, yeah.Paul Marden: I can see holes in the hull. Was this evident when it was still in the Falklands?Sam Mullins: Yeah, it came to notice in the 60s that, you know, this world's first it was beached at Sparrow Cove in the Falkland Islands. It had lost its use as a wool warehouse, which is which it had been for 30 or 40 years. And a number of maritime historians, you and call it. It was the kind of key one realised that this, you know, extraordinary, important piece of maritime heritage would maybe not last too many war winters at Sparrow cope had a big crack down one side of the hull. It would have probably broken in half, and that would have made any kind of conservation restoration pretty well impossible as it was. It was a pretty amazing trick to put it onto a to put a barge underneath, to raise it up out of the water, and to tow it into Montevideo and then across the Atlantic, you know, 7000 miles, or whatever it is, to Avon mouth. So it's a kind of heroic story from the kind of heroic age of industrial and maritime heritage, actually.Paul Marden: It resonates for me in terms of the Mary Rose in that you've got a small group of very committed people that are looking to rescue this really valuable asset. And they find it and, you know, catch it just in time. Sam Mullins: Absolutely. That was one of the kind of eye openers for me at Mary rose last week, was just to look at the kind of sheer difficulty of doing conventional archaeology underwater for years and years. You know, is it 50,000 dives were made? Some immense number. And similarly, here, you know, lots of people kind of simply forget it, you know, it's never gonna, but a few, stuck to it, you know, formed a group, fund, raised. This is an era, of course, you know, before lottery and all that jazz. When you had to, you had to fundraise from the public to do this, and they managed to raise the money to bring it home, which, of course, is only step one. You then got to conserve this enormous lump of metal so it comes home to the dry dock in which it had been built, and that has a sort of fantastic symmetry, you know about it, which I just love. You know, the dock happened to be vacant, you know, in 1970 when the ship was taken off the pontoon at Avon mouth, just down the river and was towed up the curving Avon river to this dock. It came beneath the Clifton Suspension Bridge, which, of course, was Brunel design, but it was never built in his time. So these amazing pictures of this Hulk, in effect,  coming up the river, towed by tugs and brought into the dock here with 1000s of people you know, surrounding cheering on the sidelines, and a bit like Mary Rose in a big coverage on the BBC.Paul Marden: This is the thing. So I have a very vivid memory of the Mary Rose being lifted, and that yellow of the scaffolding is just permanently etched in my brain about sitting on the carpet in primary school when the TV was rolled out, and it was the only TV in the whole of school that, to me is it's modern history happening. I'm a Somerset boy. I've been coming to Bristol all my life. I wasn't alive when Great Britain came back here. So to me, this feels like ancient history. It's always been in Bristol, because I have no memory of it returning home. It was always just a fixture. So when we were talking the other day and you mentioned it was brought back in the 70s, didn't realise that. Didn't realise that at all. Should we move on? Because I am listening. Gently in the warmth.Sam Mullins: Let's move around this side of the as you can see, the dry dock is not entirely dry, no, but nearly.Paul Marden: So, you're trustee here at SS Great Britain. What does that mean? What do you do?Sam Mullins: Well, the board, Board of Trustees is responsible for the governance of the charity. We employ the executives, the paid team here. We work with them to develop the kind of strategy, financial plan, to deliver that strategy, and we kind of hold them as executives to account, to deliver on that.Paul Marden: It's been a period of change for you, hasn't it? Just recently, you've got a new CEO coming to the first anniversary, or just past his first anniversary. It's been in place a little while.Sam Mullins: So in the last two years, we've had a, we've recruited a new chairman, new chief executive, pretty much a whole new leadership team.One more starting next month, right? Actually, we're in July this month, so, yeah, it's been, you know, organisations are like that. They can be very, you know, static for some time, and then suddenly a kind of big turnover. And people, you know, people move.Paul Marden: So we're walking through what is a curved part of the dry dock now. So this is becoming interesting underfoot, isn't it?Sam Mullins: This is built in 1839 by the Great Western Steamship Company to build a sister ship to the Great Western which was their first vessel built for the Atlantic run to New York. As it happens, they were going to build a similar size vessel, but Brunel had other ideas, always pushing the edges one way or another as an engineer.Paul Marden: The keel is wood. Is it all wood? Or is this some sort of?Sam Mullins: No, this is just like, it's sort of sacrificial.So that you know when, if it does run up against ground or whatever, you don't actually damage the iron keel.Paul Marden: Right. Okay, so there's lots happening for the museum and the trust. You've just had a big injection of cash, haven't you, to do some interesting things. So there was a press release a couple of weeks ago, about a million pound of investment. Did you go and find that down the back of the sofa? How do you generate that kind of investment in the charity?Sam Mullins: Unusually, I think that trust that's put the bulk of that money and came came to us. I think they were looking to do something to mark their kind of, I think to mark their wind up. And so that was quite fortuitous, because, as you know at the moment, you know, fundraising is is difficult. It's tough. Paul Marden: That's the understatement of the year, isn't it?Sam Mullins: And with a new team here and the New World post COVID, less, less visitors, income harder to gain from. Pretty well, you know, all sources, it's important to keep the site kind of fresh and interesting. You know, the ship has been here since 1970 it's become, it's part of Bristol. Wherever you go in Bristol, Brunel is, you know, kind of the brand, and yet many Bristolians think they've seen all this, and don't need, you know, don't need to come back again. So keeping the site fresh, keeping the ideas moving on, are really important. So we've got the dockyard museum just on the top there, and that's the object for fundraising at the moment, and that will open in July next year as an account of the building of the ship and its importance. Paul Marden: Indeed, that's interesting. Related to that, we know that trusts, trusts and grants income really tough to get. Everybody's fighting for a diminishing pot income from Ace or from government sources is also tough to find. At the moment, we're living off of budgets that haven't changed for 10 years, if we're lucky. Yeah, for many people, finding a commercial route is the answer for their museum. And that was something that you did quite successfully, wasn't it, at the Transport Museum was to bring commercial ideas without sacrificing the integrity of the museum. Yeah. How do you do that?Sam Mullins: Well, the business of being an independent Museum, I mean, LTM is a to all sets of purposes, an independent Museum. Yes, 81% of its funding itself is self generated. Paul Marden: Is it really? Yeah, yeah. I know. I would have thought the grant that you would get from London Transport might have been bigger than that.  Sam Mullins: The grant used to be much bigger proportion, but it's got smaller and smaller. That's quite deliberate. Are, you know, the more you can stand on your own two feet, the more you can actually decide which direction you're going to take those feet in. Yeah. So there's this whole raft of museums, which, you know, across the UK, which are independently governed, who get all but nothing from central government. They might do a lottery grant. Yes, once in a while, they might get some NPO funding from Ace, but it's a tiny part, you know, of the whole. And this ship, SS Great Britain is a classic, you know, example of that. So what do you do in those circumstances? You look at your assets and you you try and monetise them. That's what we did at London Transport Museum. So the museum moved to Covent Garden in 1980 because it was a far sighted move. Michael Robbins, who was on the board at the time, recognised that they should take the museum from Scion Park, which is right on the west edge, into town where people were going to be, rather than trying to drag people out to the edge of London. So we've got that fantastic location, in effect, a high street shop. So retail works really well, you know, at Covent Garden.Paul Marden: Yeah, I know. I'm a sucker for a bit of moquette design.Sam Mullins: We all love it, which is just great. So the museum developed, you know, a lot of expertise in creating products and merchandising it. We've looked at the relationship with Transport for London, and we monetised that by looking at TFL supply chain and encouraging that supply chain to support the museum. So it is possible to get the TFL commissioner to stand up at a corporate members evening and say, you know, you all do terribly well out of our contract, we'd like you to support the museum as well, please. So the corporate membership scheme at Transport Museum is bigger than any other UK museum by value, really, 60, 65 members,. So that was, you know, that that was important, another way of looking at your assets, you know, what you've got. Sometimes you're talking about monetising relationships. Sometimes it's about, you know, stuff, assets, yeah. And then in we began to run a bit short of money in the kind of middle of the teens, and we did an experimental opening of the Aldwych disused tube station on the strand, and we're amazed at the demand for tickets.Paul Marden: Really, it was that much of a surprise for you. And we all can talk. Sam Mullins: We had been doing, we've been doing some guided tours there in a sort of, slightly in a one off kind of way, for some time. And we started to kind of think, well, look, maybe should we carry on it? Paul Marden: You've got the audience that's interested.Sam Mullins: And we've got the access through TFL which, you know, took a lot of work to to convince them we weren't going to, you know, take loads of people underground and lose them or that they jump out, you know, on the Piccadilly line in the middle of the service, or something. So hidden London is the kind of another really nice way where the museum's looked at its kind of assets and it's monetised. And I don't know what this I don't know what this year is, but I think there are now tours run at 10 different sites at different times. It's worth about half a million clear to them to the museum.Paul Marden: It's amazing, and they're such brilliant events. So they've now opened up for younger kids to go. So I took my daughter and one of her friends, and they were a little bit scared when the lights got turned off at one point, but we had a whale of a time going and learning about the history of the tube, the history of the tube during the war. It was such an interesting, accessible way to get to get them interested in stuff. It was brilliant.Sam Mullins: No, it's a great programme, and it was doing well before COVID, we went into lockdown, and within three weeks, Chris Nix and the team had started to do kind of zoom virtual tours. We all are stuck at home looking at our screens and those hidden London hangouts the audience kind of gradually built yesterday TV followed with secrets of London Underground, which did four series of. Hidden London book has sold 25,000 copies in hardback, another one to come out next year, maybe.Paul Marden: And all of this is in service of the museum. So it's almost as if you're opening the museum up to the whole of London, aren't you, and making all of that space you're you. Museum where you can do things.Sam Mullins: Yeah. And, of course, the great thing about hidden London programme is it's a bit like a theatre production. We would get access to a particular site for a month or six weeks. You'd sell the tickets, you know, like mad for that venue. And then the run came to an end, and you have to, you know, the caravan moves on, and we go to, you know, go to go to a different stations. So in a sense, often it's quite hard to get people to go to an attraction unless they've got visitors staying or whatever. But actually, if there's a time limit, you just kind of have to do it, you know.Paul Marden: Yeah, absolutely. Everybody loves a little bit of scarcity, don't they? Sam Mullins: Should we go up on the deck? Paul Marden: That sounds like fun to me.Sam Mullins: Work our way through.Paul Marden: So Hidden London was one of the angles in order to make the museum more commercially sound. What are you taking from your time at LTM and bringing to the party here at the SS Great Britain?Sam Mullins: Well, asking similar, you know, range of questions really, about what assets do we have? Which of those are, can be, can be monetised in support of the charity? Got here, Paul, so we're, we've got the same mix as lots of middle sized museums here. There's a it's a shop, paid admission, hospitality events in the evening, cafe. You know that mix, what museums then need to do is kind of go, you know, go beyond that, really, and look at their estate or their intellectual property, or the kind of experiences they can offer, and work out whether some of that is monetisable.Paul Marden: Right? And you mentioned before that Brunel is kind of, he's the mascot of Bristol. Almost, everything in Bristol focuses on Brunel. Is there an opportunity for you to collaborate with other Brunel themed sites, the bridge or?Sam Mullins: Yeah. Well, I think probably the opportunity is to collaborate with other Bristol attractions. Because Bristol needs to. Bristol's having a hard time since COVID numbers here are nowhere near what they were pre COVID So, and I think it's the same in the city, across the city. So Andrew chief executive, is talking to other people in the city about how we can share programs, share marketing, that kind of approach.Paul Marden: Making the docks a destination, you know, you've got We the Curious. Where I was this morning, having coffee with a friend and having a mooch around. Yeah, talking about science and technology, there must be things that you can cross over. This was this war. This feels like history, but it wasn't when it was built, was it? It was absolutely the cutting edge of science and technology.Sam Mullins: Absolutely, and well, almost beyond, you know, he was Brunel was pushing, pushing what could be done. It is the biggest ship. And it's hard to think of it now, because, you know, you and I can walk from one end to the other in no time. But it was the biggest ship in the world by, you know, some way, when it was launched in 1845 so this was a bit like the Great Western Railway. It was cutting edge, cutting edge at the time, as we were talking about below. It had a propeller, radical stuff. It's got the bell, too,Paul Marden: When we were on, was it Warrior that we were on last week at the AIM conference for the first. And warrior had a propeller, but it was capable of being lifted, because the Admiralty wasn't convinced that this new fangled propeller nonsense, and they thought sail was going to lead. Sam Mullins: Yeah. Well, this ship had, you could lift a you could lift a propeller, because otherwise the propeller is a drag in the water if it's not turning over. So in its earlier configurations, it was a, it was that sort of a hybrid, where you could lift the propeller out the way, right, set full sail.Paul Marden:  Right, and, yeah, it's just, it's very pleasant out here today, isn't it? Lovely breeze compared to what it's been like the last few days. Sam Mullins: Deck has just been replaced over the winter. Paul Marden:  Oh, has it really. So say, have you got the original underneathSam Mullins: The original was little long, long gone. So what we have replaced was the deck that was put on in the in the 70s when the ship came back.Paul Marden: Right? You were talking earlier on about the cafe being one of the assets. You've done quite a lot of work recently, haven't you with the team at Elior to refurbish the cafe? What's the plan around that?Sam Mullins: Yeah, we're doing a big reinvestment. You always need to keep the offer fresh anyway, but it was time to reinvest. So the idea is to use that fantastic space on the edge of the dock. It's not very far down to where the floating harbour is really well populated with kind of restaurants and bars and an offer, we're just that 200 meters further along the dock. So perhaps to create an offer here that draws people up here, whether they visit the ship, you know, or not. So it's money, it's monetising your assets. So one of the great assets is this fabulous location on the on the dockside. So with early or we're reinvesting in the restaurant, it's going to go in the auto into after some trial openings and things, Paul, you know, it's going to have an evening offer as well as a daytime offer. And then it's been designed so the lights can go down in the evening. It becomes, you know, an evening place, rather than the museum's all day cafe, yes, and the offer, and obviously in the evenings would similarly change. And I think our ambition is that you should, you should choose this as the place to go out in the evening. Really, it's a great spot. It's a lovely, warm evening. We're going to walk along the dockside. I've booked a table and in the boardwalk, which is what we're calling it. And as you pay the bill, you notice that actually, this is associated with Asus, Great Britain. So, you know, the profit from tonight goes to help the charity, rather than it's the museum cafe. So that's the,Paul Marden: That's the pitch.Sam Mullins: That's the pitch in which we're working with our catering partners, Eli, or to deliver.Paul Marden: Andrew, your CEO and Claire from Eli, or have both kindly said that I can come back in a couple of months time and have a conversation about the restaurant. And I think it would be rude to turn them down, wouldn't it?Sam Mullins: I think you should test the menu really fully.Paul Marden: I will do my best. It's a tough job that I have. Sam Mullins: Somebody has to do this work. Paul Marden: I know, talking of tough jobs, the other thing that I saw when I was looking at the website earlier on was a press release talking about six o'clock gin as being a a partnership that you're investigating, because every museum needs its own tipple, doesn't it?Sam Mullins: Absolutely And what, you know, I think it's, I think what people want when they go to an attraction is they, they also want something of the offer to be locally sourced, completely, six o'clock gym, you know, Bristol, Bristol beers. You can't always do it, but I think, I think it's where you've got the opportunity. And Bristol's a bit of a foodie centre. There's quite a lot going on here in that respect. So, yes, of course, the museum ought to be ought to be doing that too.Paul Marden: I was very kindly invited to Big Pit over in the Welsh Valleys about 8 or 12 weeks ago for the launch, relaunch of their gift shop offering. And absolutely, at the core of what they were trying to do was because it's run by Museums Wales, they found that all of their gift shops were just a bland average of what you could get at any of the museums. None of them spoke of the individual place. So if you went to big pit, the gift shop looked the same as if you were in the centre of Cardiff, whereas now when you go you see things that are naturally of Big Pit and the surrounding areas. And I think that's so important to create a gift shop which has things that is affordable to everybody, but at the same time authentic and genuinely interesting.Sam Mullins: Yeah, I'm sure that's right. And you know I'm saying for you is for me, when I when I go somewhere, you want to come away with something, don't you? Yes, you know, you're a National Trust member and you haven't had to pay anything to get in. But you think I should be supporting the cause, you know, I want to go into that shop and then I want to, I want to buy some of the plants for my garden I just seen, you know, on the estate outside. Or I want to come away with a six o'clock gin or, you know, whatever it might be, there's and I think, I think you're more likely to buy if it's something that you know has engaged you, it's part of that story that's engaged you, right, while you're here. That's why everyone buys a guidebook and reads it afterwards.Paul Marden: Yeah, it's a reminder, isn't it, the enjoyable time that you've had? Yeah, I'm enjoying myself up on the top deck. Sam Mullins:  But should we go downstairs? The bow is a great view. Oh, let's do that. I think we might. Let's just work our way down through.Paul Marden: Take a sniff. Could you travel with these smelly passengers? Oh, no, I don't think I want to smell what it's like to be a cow on board shit. Sam Mullins: Fresh milk. Just mind yourself on these companion, ways are very steep now. This is probably where I get completely lost.Paul Marden: You know what we need? We need a very good volunteer. Don't we tell a volunteer story? COVID in the kitchen. Wow. Sam Mullins: The Gabby.Paul Marden: Generous use of scent. Sam Mullins: Yeah, food laid out pretty much based on what we know was consumed on the ship. One of the great things about the ship is people kept diaries. A lot of people kept diaries, and many have survived, right? You know exactly what it was like to be in first class or in steerage down the back.Paul Marden: And so what was the ship used for? Sam Mullins: Well, it was used, it was going to be an ocean liner right from here to New York, and it was more like the Concord of its day. It was essentially first class and second class. And then it has a founders on a bay in Northern Ireland. It's rescued, fitted out again, and then the opportunity comes take people to Australia. The Gold Rush in the 1850s. Migration to Australia becomes the big kind of business opportunity for the ships. Ships new owners. So there's more people on board that used to it applies to and fro to Australia a number of times 30 odd, 40 times. And it takes, takes passengers. It takes goods. It does bring back, brings back gold from because people were there for the gold rush. They were bringing their earnings, you know, back with them. It also brings mail, and, you know, other. Kind of car goes wool was a big cargo from. Paul Marden: Say, people down and assets back up again.Sam Mullins: People both directions. Paul Marden: Okay, yeah. How long was it taking?Sam Mullins: Well, a good trip. I think it did it in 50 odd days. Bit slower was 60 odd. And the food was like this. So it was steerage. It was probably a bit more basic. Paul Marden: Yeah, yes, I can imagine. Sam Mullins: I think we might. Here's the engines. Let's do the engines well.Paul Marden: Yes. So now we're in the engine room and, oh, it's daylight lit, actually. So you're not down in the darkest of depths, but the propeller shaft and all of the mechanism is it runs full length, full height of the ship.Sam Mullins: Yeah, it runs off from here, back to the propeller that we're looking at. Okay, down there a guy's stoking the boilers, putting coal into into the boilers, 24 hour seven, when the engines are running. Paul Marden: Yes, that's going to be a tough job, isn't it? Yeah, coal is stored in particular locations. Because that was something I learned from warrior, was the importance of making sure that you had the coal taken in the correct places, so that you didn't unbalance the ship. I mean,Sam Mullins: You right. I mean loading the ship generally had to be done really carefully so, you know, sort of balanced out and so forth. Coal is tends to be pretty low down for yes, for obvious reasons.Paul Marden: So let's talk a little bit about being a trustee. We're both trustees of charities. I was talking to somebody last week who been in the sector for a number of years, mid career, interested in becoming a trustee as a career development opportunity. What's the point of being a trustee? What's the point of the trustees to the CEO, and what's the benefit to the trustees themselves? Sam Mullins: Well, let's do that in order for someone in the mid part of their career, presumably looking to assume some kind of leadership role. At some point they're going to be dealing with a board, aren't they? Yes, they might even be doing, you know, occasional reporting to a board at that at their current role, but they certainly will be if they want to be chief executive. So getting some experience on the other side of the table to feel what it's like to be a trustee dealing with chief executive. I think he's immensely useful. I always recommended it to to my gang at the Transport Museum, and they've all been on boards of one sort or another as part of their career development.Sam Mullins: For the chief executive. What's the benefit? Well, the board, I mean, very directly, hold the chief executive to account. Yes, are you doing what we asked you to do? But also the wise chief executive recruits a board that's going to be helpful in some way or another. It's not just there to catch them out. Yeah, it's it's there to bring their experience from business, from IT, from marketing, from other museums into the business of running the place. So here we've got a range of Trustees. We've been we've recruited five or six in the last couple of years qquite deliberately to we know that a diverse board is a good board, and that's diverse in the sense not just a background, but of education, retired, still, still at work, young, old, male, female, you know, you name in.Paul Marden: In all of the directionsSam Mullins:  Yeah. So a diverse board makes better decisions than one that just does group think all the time. It's, you know, it's a truism, isn't it? I think we all kind of, we all understand and understand that now and then, for the trustee, you know, for me, I particularly last couple of years, when the organization has been through huge changes, it's been really interesting to deploy my prior experience, particularly in governance, because governance is what it all comes down to in an organisation. You do learn over the course of your career to deploy that on behalf, you know, this is a great organisation, the story of Brunel and the ship and and, you know, his influence on the railways. And I travel down on the Great Western railways, yeah, the influence of Brunel is, you know, is enormous. It's a fantastic story. It's inspiring. So who wouldn't want to join? You know what in 2005 was the Museum of the year? Yes, I think we'll just go back there where we came. Otherwise, I never found my way.Paul Marden: Back through the kitchen. Sam Mullins: Back through the kitchen. It looks like stew is on the menu tonight. You've seen me at the mobile the rat.Paul Marden: And also the cat up on the shelf. He's not paying a lot of attention to the ratSam Mullins: Back on deck. Paul Marden: Wonderful. Yeah. So the other great endeavor that you've embarked on is writing, writing a book. Tell us a little bit about the book.Sam Mullins: Yeah, I've written a history of transport in London and its influence on London since 2000 since the mayoralty, elected mayoralty was, was started, you know, I was very lucky when I was running the museum where I had kind of one foot in TfL and one foot out. I knew lots of people. I was there for a long time, yes, so it was, it was easy to interview about 70 of them.Paul Marden: Right? I guess you've built trust levels, haven't you? Yeah, I don't mean that you don't look like a journalist walking in from the outside with an ax to grind. Sam Mullins: And I'm not going to kind of screw them to the Evening Standard, you know, tomorrow. So it's a book based on interviews, oral reminiscences. It's very much their story. So it's big chunks of their accounts of, you know, the big events in London. So what was it like to be in the network control room on the seventh of July, 2005 when the bombs went off? What was it like to be looking out for congestion charge the day it started? Yep. What was it like to kind of manage the Olympics?Paul Marden: You know? So you're mentioning these things. And so I was 10 years at British Airways. I was an IT project manager, but as well, I was a member of the emergency planning team. Yeah. So I got involved in the response to September the 11th. I got involved in some of the engagement around seven, seven, there's seminal moments, and I can, I can vividly remember myself being there at that time. But similarly, I can remember being there when we won the Olympics, and we were all sat in the staff canteen waiting to hear whether we'd won the Olympics, and the roar that erupted. There's so many of those things that have happened in the last 25 years where, you know, you've got, it's recent history, but it's real interesting events that have occurred that you can tell stories of.Sam Mullins: Yeah. So what I wanted to get in the book was a kind of sense of what it was like to be, really at the heart of those, those stories. And there are, you know, there are, there are people in TfL who made those big things happen? Yes, it's not a big, clumsy bureaucracy. It's a place where really innovative leadership was being exercised all the way through that 25 years. Yes, so it runs up to COVID, and what was it like when COVID struck? So the book's called Every Journey Matters, and it comes out in November.Paul Marden: Amazing, amazing. So we have, we've left the insides of the ship, and we are now under, what's this part of the ship? Sam Mullins: We're under the bow. There we go, and a bow spread that gets above our heads. So again, you've got this great, hulking, cast iron, black hull, beautifully shaped at the bow. Look the way it kind of tapers in and it tapers in and out.Paul Marden: It's a very three dimensional, isn't it? The curve is, is in every direction. Sam Mullins: Yeah,it's a great, great shape. So it's my sort of, I think it's my favourite spot. I like coming to look at this, because this is the kind of, this is the business, yeah, of the ship.Paul Marden: What have we got running along the front here? These these images in in gold.Sam Mullins: This is a figurehead with Victoria's Coat of Arms only sua Kim Ali points on top with it, with a lion and a unicorn.Paul Marden: It's a really, it's not a view that many people would have ever seen, but it is such an impressive view here looking up, yeah, very, very cool. And to stand here on the on the edge of the dry dock. Sam Mullins: Dry Docks in to our right, and the floating harbor is out to our left. Yeah.Paul Marden: And much going on on that it's busy today, isn't it? Sam Mullins: Yeah, it's good. Paul Marden: So we've done full loop, haven't we? I mean, it has been a whistle stop tour that you've taken me on, but I've loved every moment of this. We always ask our guests a difficult question. Well, for some it's a difficult question, a book recommendation, which, as we agreed over lunch, cannot be your own book. I don't think, I think it's a little unfair Sam Mullins: Or anything I've ever written before.Paul Marden: Yes, slightly self serving, but yeah.Sam Mullins: It would be, wouldn't it look the first thing that comes to mind is, I've actually been reading my way through Mick Herron's Slow Horses series, okay, which I'm a big fan of detective fiction. I love Ian Rankin's Rebus. Okay, I read through Rebus endlessly when I want something just to escape into the sloughhouse series Slow Horses is really good, and the books all have a sort of similar kind of momentum to them. Something weird happens in the first few chapters, which seems very inconsequential and. Suddenly it turns into this kind of roller coaster. Will they? Won't they? You know, ending, which is just great. So I recommend Mick Herron's series. That's that's been the best, not best, fiction I've read in a long time.Paul Marden: You know, I think there's something, there's something nice, something comforting, about reading a series of books where the way the book is structured is very similar. You can, you can sit down and you know what's going to happen, but, but there's something interesting, and it's, it's easy. Sam Mullins: It's like putting on a pair of old slippers. Oh, I'm comfortable with this. Just lead me along. You know, that's what, that's what I want. I enjoy that immensely.Paul Marden: And should we be? Should we be inviting our listeners to the first book in the series, or do they need to start once, once he's got his, got his, found his way? Sam Mullins: Well, some people would have seen the television adaptation already. Well, that will have spoilt the book for them. Gary Oldman is Jackson lamb, who's the lead character, okay, but if you haven't, or you just like a damn good read, then you start with the first one, which I think is called Sloughhouse. They're all self contained, but you can work your way through them. Paul Marden: Well, that sounds very good. So listeners, if you'd like a copy of Sam's book, not Sam's book, Sam's book recommendation, then head over to Bluesky and repost the show notice and say, I want a copy of Sam's book, and the first one of you lovely listeners that does that will get a copy sent to you by Wenalyn. Sam This has been delightful. I hope listeners have enjoyed this as much as I have. This is our first time having a @skipthequeue in real life, where we wandered around the attraction itself and hopefully narrated our way bringing this amazing attraction to life. I've really enjoyed it. I can now say that as a West Country lad, I have actually been to the SS Great Britain. Last thing to say for visitor, for listeners, we are currently midway through the Rubber Cheese Annual Survey of visitor attraction websites. Paul Marden: If you look after an attraction website and you'd like to share some information about what you do, we are gathering all of that data together to produce a report that helps people to understand what good looks like for an attraction website. This is our fourth year. Listeners that are interested, head over to RubberCheese.com/survey, and you can find out a little bit more about the survey and some of the some of the findings from the past and what we're looking for for this year. Sam, thank you so very much.Sam Mullins: Enjoyed it too. It's always good to rabbit on about what you do every day of the week, and being here and part of this really great organisation is huge privilege.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm. The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

Professor Lucy Easthope is an adviser on disaster recovery and planning. She's an expert in planning for and reacting to major incidents: natural disaster, terrorist attacks, pandemics and fires, and is the visiting Professor of Mass Fatalities and Pandemics at the University of Bath.Born in Merseyside in 1978, Lucy cites the impact of watching the Hillsborough football disaster on TV as a child as one of the driving reasons of her decision to pursue a career in disaster management. Her work has involved working in mortuaries, attending fatal accidents and training teams to react to emergencies. Alongside her career, Lucy has written two books about emergency planning and disaster recovery. Lucy lives in Shropshire with her husband and two children.DISC ONE: Lose Yourself - Eminem DISC TWO: Lord of all hopefulness, Lord of all joy. Performed by Matthew Steynor (organ) and The Choir of Queens' College Cambridge, conducted by James Weeks DISC THREE: Overture And A Prisoner Of The Crusades (From Chains To Freedom) Composed by Michael Kamen and performed by Greater Los Angeles Orchestra, conducted by Patti Fidelibus DISC FOUR: Tender - Blur DISC FIVE: Trustfall - Pink DISC SIX: Fast Car - Tracy Chapman DISC SEVEN: Something's Missing - Come From Away Company DISC EIGHT: Thunderstruck - AC/DC BOOK CHOICE: The Diddakoi by Rumer Godden LUXURY ITEM: A solar-powered torch CASTAWAY'S FAVOURITE: Tender - Blur Presenter Lauren Laverne Producer Sarah Taylor

Hold onto your tent poles and tassels, Mr and Mrs N are taking YOU the listener on a  wild adventure to the Camp Vegas Swingers event near Shropshire, England, and let's just say, what happens in Vegas definitely made its way to the UK! Get ready for a hilariously naughty deep dive into the debauchery, delightful discoveries, and daring delights they encountered. This episode is packed with tales from a very liberated crowd – expect candid confessions and more than a few blush-inducing moments from our naughty guests. Plus, don't miss our exclusive, behind-the-scenes chat with the legendary Fred & Wilma from Liberated Voice Events. They'll spill the tea (and maybe a little something stronger) on what it takes to orchestrate such an unforgettable, no-holds-barred bash. From vanilla curious to full-blown vixen, this is one episode that promises to be unzippingly good! Tune in and join the naughty podcasters at Camp Vegas! THIS PODCAST IS STRICTLY FOR ADULTS ONLY! You can visit Mr and Mrs N's brand new website V2V.UK It includes details of all their upcoming live events and their online store. Learn how you can meet the naughty couple! You can contact Mr and Mrs N in the following ways :- Fab Swingers :- naughtycp1 Email :- naughtycp1@yahoo.com Twitter/X :- @naughtycoup1e Mr and Mrs N's book "Vanilla To Vixen - My Journey from a Vanilla Life to becoming a Hot Wife" is available now from Amazon.com and Amazon.co.uk. Click on the following link. https://amzn.eu/d/2jKocJO Join Mr and Mrs N's Discord Chat Server :- This is a safe and discreet place where you can chat to fellow liberated members involved in the swinging lifestyle also known as the naughty hobby.  Please read and respect our chat server rules before joining our Discord Chat Server. This service is completely free, there are many rooms to enjoy with fellow members of the swinging community. You MUST BE OVER 24 YEARS OLD TO JOIN THIS DISCORD SERVER. Our Discord server is for social swingers chat. It is exclusively for people involved in the swinging lifestyle. it is not a "pick up" or dating site. You must NOT private message other members without asking their permission in the general chat room. All rooms within V2V Discord are moderated. The following link is an invite into the Vanilla To Vixen Discord Chat Server. Join our discord chat by visiting V2V.UK  

Welcome to We Are Beer People - a podcast all about the many different people who help us enjoy beer.After a little hiatus from me (Rob) and the podcast, we're back up and running - this time perhaps with episodes coming at a bit of a slower, more manageable pace, but I'm really excited to share this episode which has been a long time in the making. This time we head up to Ironbridge in Shropshire to meet a ceramicist, Lucy Young, who has is making waves (clay waves?) with brewery and beer group beer tankard collaborations. There's a huge amount of skill and finesse that goes into creating a tankard that's right for the brand, that drinks well and makes you want to take another sip.In this episode we talk about how Lucy got into ceramics, the big jump from teaching, the different steps involved and setting up collaborations with different breweries across the country. Follow Lucy: Website: https://www.lucyyoungceramics.co.uk/Instagram: @lucyyoungceramicsFollow us to stay updated: Website: www.wearebeerpeople.co.ukSocial media: @wearebeerpeople on InstagramGet in touch on email: wearebeerpeoplepod@gmail.comIntro/outro music: That One Time by Midnight Daydream Hosted on Acast. See acast.com/privacy for more information.

Summoned by a young woman, Falk returns to a mysterious estate in Shropshire that simultaneously exists in Parabellum Heights. Will Falk foil the royal kidnapping plot? How does the outcome of this adventure hinge on the undergarments of rodents? Listen to find out!On Her Majesty's Secret Scamper, episode 133 of This Gun in My Hand, was governed by Rob Northrup. This episode and all others are available on Youtube with automatically-generated closed captions of dialog. Visit http://ThisGuninMyHand.blogspot.com for credits, show notes, archives, and to buy my books, such as Sisyphus, Eat Your Heart Out, available in paperback and ebook from Amazon. What do I dip in the water to propel a longship? This Gun in My Hand!Show Notes:1. Melinda challenged me: “The ultimate would be [an episode about] Hamster Panties brought to you by Gorgeous Ladies of Wrestling.”2. Yes, Penelope is named after the character from the animated series Hamtaro, released in the US in 2002. 3. Why does “Card Sense” Jimmy Barnes sound like a bad Ronald Coleman impression in episode 95, but like a bad Christopher Connelly impression in this episode? Because just like that other action hero known for his skill with cards, the character is sometimes British and other times American.https://www.youtube.com/watch?v=eQJOAiukFkI4. Falk's earlier dalliance at Vulverwood Hall and the first appearance of Miss Carlotta Shaywood were in episode 108, “Zildjian's Away to Shropshire.” If you can't get enough hamster adventures, listen to episode 78, “Speed Detective.” Or “The Hamster Caper of Curtis Cleever,” a 1979 episode of Sears Radio Theater narrated by Cicely Tyson.https://archive.org/download/sears-radio-theatre_202008/790628%20104%20The%20Hamster%20Caper%20of%20Curtis%20Cleever.mp3According to Wikipedia, the anthology series had a different theme for each night of the week, and a different host. Tyson hosted “Love and Hate Nights” on Thursdays.https://en.wikipedia.org/wiki/Sears_Radio_Theater5. Shropshire borders Wales so I spent an extra few minutes finding bird call ambience recorded in Wales for the bit while they're in Shropshire, and North Devon bird calls for the bit talking about Hemsford pansies. Credits:The opening music clip was from The Sun Sets at Dawn (1950), and the closing music was from Killer Bait (1949), both films in the public domain. Most of the music and sound effects used in the episode are modified or incomplete versions of the originals.Sound Effect Title: R23-42-Rowing or Rapids.wav by craigsmith License: Public Domainhttps://freesound.org/s/480844/ Sound Effect Title: (Simulated) Underwater boat oar sounds by jay_mar License: Public Domainhttps://freesound.org/s/561314/ Sound Effect Title: CRWDBatl_Crowd Grunting, Exerting, Metered, Rowing_ShaneVincent_GSC24_BIN-AmbeoVR.wav by ShangusBurger License: Public Domainhttps://freesound.org/s/763939/ Sound Effect Title: R27-37-Metal Clanks and Hits.wav by craigsmithLicense: Public Domainhttps://freesound.org/s/486295/ Sound Effect Title: R29-39-Chinese Screams in Battle.wav by craigsmithLicense: Public Domainhttps://freesound.org/s/479582/Sound Effect Title: R28-51-1940s Hollywood Japanese Soldiers Scream.wav by craigsmith License: Public Domainhttps://freesound.org/s/482804/ Sound Effect Title: R28-44-Women Screaming and Rapid Talking.wav by craigsmithLicense: Public Domainhttps://freesound.org/people/craigsmith/sounds/479894/Sound Effect Title: Car_motor_Sound.m4a License: Public Domainhttps://freesound.org/people/Blizzard123/sounds/504633/#Sound Effect Title: Squeaky Car Door by colturesLicense: Public Domainhttps://freesound.org/s/262325/ Sound Effect Title: Screeching Tyres by iainmccurdyLicense: Creative Commons Attribution 4.0https://freesound.org/s/650934/ Sound Effect Title: Margam Park Bird Song (processed) by g.strange42License: Creative Commons Attribution 4.0https://freesound.org/s/684191/ Song Title: Wassail Song, aka Here We Come A-wassailingPerformed by the chorus of U.S. Army Band "Pershing's Own", led by Colonel Thomas Rotondi, Jr. (Leader & Commander) and CSM Debra L. McGarity (Command Sergeant Major) c. 2010.License: Public Domainhttps://commons.wikimedia.org/wiki/File:U.S._Army_Band_-_Here_We_Come_A-wassailing.oggSound Effect Title: North Devon Birds - Summer 2015 by nluxLicense: Creative Commons Attribution 4.0https://freesound.org/s/625889/ Sound Effect Title: Footsteps on gravel by Joozz License: Creative Commons Attribution 4.0https://freesound.org/people/Joozz/sounds/531952/Sound Effect Title: Gun Fire by GoodSoundForYouLicense: Creative Commons Attribution 3.0http://soundbible.com/1998-Gun-Fire.htmlThe image accompanying this episode uses modified details from Pep Comics (Number 66 , March 1948, pencils and inks by Bill Woggon), and Marmaduke Mouse (Number 11, Winter 1948, artist unknown), both comics in the public domain. You can view full issues of both at digitalcomicmuseum.com. Image Alt text: Comic book line drawing of a brunette female paper doll wearing a black and yellow striped bikini top and some kind of matching wrap around her waist. Around the edges are costumes that can be used on the paper doll including cowgirl, majorette, Arabian dancing girl, blue dress and harlequin outfit. Also the main paper doll has the face of a cartoon mouse.

It's Newcastle vs Shropshire, when Michael and Mandy take on the quiz!

Oak trees have a very particular sound this time of year. It's to do with the leaves. Their texture, shape and contours. How they catch and filter the breeze. On a warm spring day, like this one the Lento box captured last month in rural Shropshire, you can hear the softness of the moving air sonified by banks of oak leaves. The scene around the microphone box, tied to the trunk of a relatively young oak tree, is endlessly rural. Ahead, over a bank thick with tangled shrubs, a wide field, vibrant green, is dotted with sheep and lambs. Song birds sing out from around the small nature reserve. A place called Poles Coppice. A point on the landscape with many neatly hidden well occupied perches. Birds are like nothing else. Their songs illuminate dusky shadows between the trees. And carry far. Over fields, bathed in late afternoon sun. And sheep, dutifully grazing   * Poles Coppice nature reserve is quite remote and has a lovely sound-feel, thanks to its resident birds and oak trees. the country road that can sometimes be heard mid-left of scene (far distant) leads to a small town called Minsterley. When that day last month we set out to capture the spring sound of Shropshire we auditioned various locations before eventually stumbling upon this particularly peaceful little place. Thank you to the guardians of Poles Coppice who created this nature reserve. We are so glad to be able to share its natural sound. 

Send us a textI had such an enjoyable morning, chatting to Clare about how The Oteley Estate balances history and innovation on the edge of Ellesmere, Shropshire.Those saddleback pigs and piglets snuffling round the ancient walls in the sunshine were a joyful welcome as I arrived! (You will be hearing all about them).An estate, run by the same family for over 500 years, has quite a story to tell and Clare, rightly feels that people are 'hungry' for the story behind the brand. With Clarkson's Farm highlighting all the difficulties facing farming, people are beginning to learn what it takes to produce quality food. The Oteley team are making a brilliant job of showing you just what you are getting for your money.Please follow our Facebook / Instagram pages @fromthehorsebox and we would love to hear any feedback on the text message system on each episode.What question would you have liked to ask?

Send us a textAfter winning a contest to be a Radio DJ on BRMB back in 1993, Toni McDonald has gone onto achieve a career in radio across the Midlands and the South of England in both presentation and production - working for stations including Southern FM, Heart 107, Severn Sound and BBC Local Radio.In this weeks edition, Toni sits down with Luke to share stories from her three decade journey in the radio world, from getting work at BRMB, to working in research for both Capital and Chrysilis, presenting shows on Southern and and Severn Sound and how she went from Broadcast Assistant to presenting shows across the BBC in Staffordshire, Shropshire and Hereford and Worcester.Big Thanks to Toni and Aircheck Downloads for the use of content.

Experiencing the spatial sense of emptiness, in a natural place, when there's nobody about, endlessly fascinates us. We built a high resolution immersive sound capture device to study it. We find natural places to leave it out recording alone, to capture quiet scenes in sound. Of time passing. We are all intrinsically hyper-attentive to the possible presence of people within our surroundings. Any movement that might signal another person in the vicinity, fundamentally changes our thoughts. It deflects our mind's eye from fully connecting with the place. This is why we always set out to record in largely uninhabited locations that are good sources of naturally occurring sound. Before Lento came about, the question of whether or not a falling tree makes a sound when there's no one around to hear it, proved puzzlingly difficult to argue in classroom discussions. If only we could send back in time this sound-scene of Shelve Wood in Shropshire, that we recorded last month. Yes, remote listening is a thing. Be there and yet not be there to hear the trees. Slow banks of shifting air, brushing softly, panoramically, through the firs. And every drop of rain, that finds its way down, between the branches, to land on the soft dry carpet of the forest floor. Shelve Wood has an acoustic that conveys space. A vast space. It is a space that, especially at night, murmerates with deep, velvety echoes. Hushes. Thousands of conifers and spruce, moving together, in natural sympathy with the wind. * This section of time is from a 12-hour overnight recording we made last month in beautiful Shropshire. The fir tree that held the Lento box was impressively tall, and peaceful. 

In this episode of the podcast, Sasha talks about the ‘Down' breeds: the Southdown, the Suffolk, the Dorset Down, the Hampshire, the Oxford and the Shropshire. Mentioned in this episode: In Sheep's Clothing: A Handspinner's Guide to Wool by Nola Fournier The Spinner's Book of Fleece by Beth Smith Breed School  You can find the script for this episode HERE. You can comment on and discuss this episode here in The Flock, Sheepspot's free online community for inquisitive spinners. Here's the link to the Podcast search page and playlists.  Since these episodes are encores, you may occasionally hear Sasha mention links that are no longer available.  

Miskatonic Playhouse presents our International Women's Day 2025 production of A Midsummer Night's Darkness, by Jane RoutleyThe recipe:Take a doughty group of suffragettes travelling through rural Shropshire in a caravan. Add two beginner sorcerers in search of arcane power. Stir in a vengeful poacher.Bake it all together on a warm midsummer evening for a night of terror.--------- Keeper of Arcane Lore: Heather ValyGirlLord 'Binky' Montague-Philips: Lynne HardyLady Montague-Philips: RinaPoly Wentworth: LydiaDr. Sylvia Brown: YetiSound and Video Editing: The Tall HalflingMusic and sound by Syrinscape (http://syrinscape.com)---------https://www.drivethrurpg.com/en/product/464588?affiliate_id=3500905---------Find us at www.MiskatonicPlayhouse.comSupport us at ko-fi.com/MiskatonicPlayhouse

In this week's Podcast: I'm back after my visit to the Harper Adams University in Shropshire for the annual British Beekeepers Association, Spring Convention, and what a great time it was. Details of my trip coming up and also, some thoughts about the development of our colonies right now. Hi, I'm Stewart Spinks, welcome to Episode 342 of my podcast, Beekeeping Short and Sweet.Contact Me at The Norfolk Honey CompanyBritish Beekeepers AssociationNorthumberland HoneyTrap-X Hornet TrapThorne BeehivesOz armour Bee SuitsModern BeekeepingNational Bee UnitSimon The BeekeeperHive Five Multi Guard EntrancesJoin Our Beekeeping Community in the following ways:Early Release & Additional Video and Podcast Content - Access HereStewart's Beekeeping Basics Facebook Private Group - Click HereTwitter - @NorfolkHoneyCo - Check Out Our FeedInstagram - @norfolkhoneyco - View Our Great PhotographsSign Up for my email updates by visiting my website hereSupport the show

At ninety years old, Mary Lewis was a recent widow who had lived a very good life. She had worked hard and played a major role in her community through the church, and was a very popular person in her part of Shropshire. So just why would someone attack and murder Mary in such a brutal way in her own home?Writing Credit: Chris WoodYou can buy Chris's second book, 'Death in the Theatre' here: https://www.amazon.com/Death-Theatre-Chris-Wood/dp/1399009117Support me at Patreon:https://www.patreon.com/UKTrueCrimeWatch my YouTube Channelhttps://www.youtube.com/@Adam-uktruecrime Hosted on Acast. See acast.com/privacy for more information.

In this episode of In the Key of Q, Dan Hall speaks with Ben McGarvey, who performs as Minute Taker. Ben's music is characterized by a signature blend of retro synth-pop, haunting piano melodies, and emotionally charged lyrics that explore the depth of human experience.Episode SummaryBen opens up about the origins of his stage name "Minute Taker" – a reference to his former day job that created an ironic contrast with his artistic identity. He describes it as "simultaneously mundane and otherworldly," reflecting the dual nature of his creative life.The conversation traverses Ben's musical evolution from a teenager in the 90s who was drawn to 80s synth music to his current work creating atmospheric, emotionally resonant songs. Ben reflects on how living in rural Shropshire as a young gay man shaped his relationship with music as a form of escape and self-expression.Throughout the episode, Ben courageously discusses his experiences with depression and how this has informed the melancholic quality of his music. Rather than viewing this melancholia as something negative, he explores how it can be "so beautiful" and serves as a connective tissue between artist and listener.Key Moments02:59 - Ben discusses his musical influences growing up, including Kate Bush, Pet Shop Boys, Tori Amos, and PJ Harvey07:47 - Reflections on growing up as a gay child in rural Britain during the Section 28 era09:35 - Ben shares his early songwriting experiences and how music became a form of escape16:46 - Discussion about representation and the importance of addressing songs explicitly to men22:46 - Ben speaks candidly about his experiences with depression and how it manifests24:44 - The evolution of Ben's work into audiovisual projects, including his concept album exploring gay men's lives throughout history28:32 - Details about his upcoming album "The Oblivion," inspired by Blade Runner and 80s sounds34:20 - Information about Ben's subscription service for fans to access exclusive musicGuest BioBen McGarvey is a Manchester-based musician who performs under the name Minute Taker. His work blends retro synth sounds with piano and emotional lyrics to create atmospheric, often melancholic music. Beyond traditional albums, Ben has expanded into audiovisual projects that explore LGBTQ+ experiences throughout history. His most recent album "Wolf Hours" included an accompanying visual narrative, and he's currently finishing his new album "The Oblivion."Gateway TrackBen recommends "Lead You Home," the opening track from his album "Wolf Hours," as the perfect introduction to his music. The song encapsulates his recent musical direction with its melancholic, synthy, and atmospheric qualities while remaining catchy. The accompanying music video alternates between scenes set in the 1980s and 1918, telling the story of two World War I soldiers.Gateway TrackMinute Taker website.In the Key of Q celebrates queer musicians and their stories. Find us on Twitter, Instagram, or email us at intheKeyofQ@gmail.com.Theme music by Paul Leonidou at Unstoppable Monsters.

The English textile artist Alison Holt uses her imagination to capture landscapes and nature and then weave them into colorful canvases that are often taken for paintings. Alison says: 'Each piece is a combination of silk painting and freehand machine stitching. The painting creates depth, perspective and richness to the work and combines effectively with stitch to give detail and texture.' Her work can be found in private collections around the world and in galleries from London to Sydney.  Alison was born in Oswestry, Shropshire in 1956, the youngest of two girls, to Cyril and Brenda Holt who were garage proprietors. Her father died of a brain tumor when she was just 13 and her mother was left to raise her daughters. Her parents always supported her artistic interests and by the time Alison graduated from Oswestry Girls High School she had only one ambition which was to get into art college. From Shrewsbury Art School she was accepted into the prestigious Goldsmith College in London from where she graduated with a BA Hons in Fine Art Textiles, specializing in  Embroidery. By now her talent had already been recognized and she was immediately offered an exhibition and given commissions. She returned to Shropshire and began what was to become a parallel vocation in teaching at Wexham Art College. Alison married in 1993 and worked part time in her studio while raising her two boys Tom and Jonathan. For 40 years now Alison has built her business as a textile artist, which includes writing books about her practice and teaching courses at her home studio throughout the year. Alison lives in Oswestry with her husband John Moses and their dog Bobby. Alison's links:https://www.alisonholt.co.uk/https://www.instagram.com/alisonlholt/ Some of Alison's favorite female artists.Melissa Scott Miller - Artist - painterJan Beaney - Textile ArtistChiharu Shiota - Installation Artist  Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

The English textile artist Alison Holt uses her imagination to capture landscapes and nature and then weave them into colorful canvases that are often taken for paintings. Alison says: 'Each piece is a combination of silk painting and freehand machine stitching. The painting creates depth, perspective and richness to the work and combines effectively with stitch to give detail and texture.' Her work can be found in private collections around the world and in galleries from London to Sydney.  Alison was born in Oswestry, Shropshire in 1956, the youngest of two girls, to Cyril and Brenda Holt who were garage proprietors. Her father died of a brain tumor when she was just 13 and her mother was left to raise her daughters. Her parents always supported her artistic interests and by the time Alison graduated from Oswestry Girls High School she had only one ambition which was to get into art college. From Shrewsbury Art School she was accepted into the prestigious Goldsmith College in London from where she graduated with a BA Hons in Fine Art Textiles, specializing in  Embroidery. By now her talent had already been recognized and she was immediately offered an exhibition and given commissions. She returned to Shropshire and began what was to become a parallel vocation in teaching at Wexham Art College. Alison married in 1993 and worked part time in her studio while raising her two boys Tom and Jonathan. For 40 years now Alison has built her business as a textile artist, which includes writing books about her practice and teaching courses at her home studio throughout the year. Alison lives in Oswestry with her husband John Moses and their dog Bobby. Alison's links: https://www.alisonholt.co.uk/ https://www.instagram.com/alisonlholt/ Some of Alison's favorite female artists:Melissa Scott Miller - Artist - painterJan Beaney - Textile ArtistChiharu Shiota - Installation Artist   Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Welcome back to Monday Mailtime! Producer Dom is here to dive into your supernatural encounters and this weekCharlotte tells us about her experience at Faversham Abbey & Charlie explains what he experienced in Ludlow, Shropshire.Get in touch on our WhatsApp, that's 07599927537.---A Create Podcast Become a member at https://plus.acast.com/s/paranormal-activity-with-yvette-fielding. Hosted on Acast. See acast.com/privacy for more information.

They shot 5,000 rabbits in one day in Shropshire and 7,000 in one day at Blenheim Palace in Oxfordshire. The rabbit has had a relatively short but dramatic history in the UK, from Roman food source through population explosions, and becoming one of the most prized quarry species of the great Victorian shots. Shooting writer Simon Reinhold tells the animal's story to Charlie Jacoby at the Carter Jonas Game Fair Theatre 2024. For more from Simon, visit SimonReinhold.co.uk For more ways to listen to this, go to FieldsportsChannel.tv/fieldsportschannelpodcast110

Join my membership for exclusive content: https://www.youtube.com/channel/UC1yEY95beOqcUz5TUqxqVgQ/join

It's only us...Elena in Shropshire and AJ in Norfolk plucked up the courage to play.

On this episode of the Time Team podcast; landscape archaeologist Stewart Ainsworth takes Martyn Williams to Bodbury Ring in Shropshire where he's made an astonishing new discovery which could completely change the way we think about the Iron Age site. Dr Helen Geake's delving deeper into witchcraft as she investigates curious witch bottles with Nigel Jeffries from Museum of London Archaeology and Dani Wootton is back with the latest Time Team news. All that plus answers to the questions you've been asking on Patreon. To put your own question to Helen or get loads more from Time Team, visit patreon.com/timeteamofficial and join our community.

This conversation explores the importance of simplicity and authenticity in spiritual practice, emphasizing the value of honoring diverse paths while staying true to one's own. It touches on balancing technology with awareness, fostering meaningful dialogue across traditions, and speaking truth with love. The discussion highlights how creativity can deepen spiritual growth and the role of discernment in navigating new ideas and societal pressures.---Les Anand Roberts was born in Shropshire, England, in May 1953 into a working-class family. After dropping out of high school at 16, he spent two years working in manual labor before returning to education at 18. He eventually qualified as a Company Secretary and worked in various accounting roles, though a career breakdown in the early 1980s led to significant life changes. He later moved to Gibraltar, where he worked for Ernst & Young and other companies while navigating a challenging second marriage. Les's life took a transformative turn when he discovered the Integral Yoga Centre in Gibraltar and became deeply involved in the spiritual teachings offered there, particularly the "Science of the Mind."In 2002, Les became self-employed as a business and compliance consultant and founded the charity AKIN (Association for Kids In Need), which helped children in six countries. His charity work extended to founding Childline Gibraltar and contributing to several other local causes. He also served as chairman of The Association of Trust & Company Managers and contributed to Gibraltar's finance sector. In 2009, Les moved to southern Spain, and in 2019, he semi-retired, continuing to work in compliance while collaborating with his partner, Nalanie Harilela Chellaram, to organize spiritual workshops. Outside of work, Les enjoys photography, videography, writing, music, and painting. He has four children and four grandchildren.Follow Les on Instagram: https://www.instagram.com/les.anand_creations/ Hosted on Acast. See acast.com/privacy for more information.

This week's podcast is presented by Jacqueline and Theo. We hear from:Julia in Shropshire, who is very annoyed with HelenClaire from Clapham who is needs a break from Bridge farm Glyn, thinking about bells and smellsWitherspoon, who thinks Helen should break the fourth wallAnd finally Vicky who delighted in Kirsty being cross with TomWe also have emails from Alice, Chris in Indiana and Andrea in beautiful Brittany.Plus: we have the Week in Ambridge from Suey, a roundup of the Dumteedum Facebook group from Jacquiline in Christchurch, and the Tweets of the Week from Michelle.Please call into the show using this link:www.speakpipe.com/dumteedum Or send us a voicenote via WhatsApp on: +44 7770 764896 (7770 764896 if in the UK) – Open the WhatsApp app, key in the number and click on the microphone icon.Or email us at dumteedum@mail.comHow to leave a review on Apple podcasts: https://support.apple.com/en-gb/guide/podcasts/pod5facd9d70/mac*****The new Patreon feed for Dumteedum is at www.patreon.com/DumteedumPodcast and the subscription rate is £5.00 per calendar month plus VAT. And don't forget to cancel your existing Patreon subscription if you have one, as we will continue to put the podcast out on that feed through February to give Patreons time to transfer over.*****Also Sprach Zarathustra licenceCreative Commons ► Attribution 3.0 Unported ► CC BY 3.0https://creativecommons.org/licenses/..."You are free to use, remix, transform, and build upon the materialfor any purpose, even commercially. You must give appropriate credit."Conducted byPhilip Milman ► https://pmmusic.pro/Funded ByLudwig ► / ludwigahgren Schlatt ► / jschlattlive COMPOSED BY / @officialphilman Hosted on Acast. See acast.com/privacy for more information.

It's a tense one when Carl in Shropshire and Neil in Wiltshire take on the mighty quiz!

Time for some radio gold...or silver? Christina Trevanion is an internationally-recognised jewellery expert whose work as an auctioneer has led her to a sparkling role presenting TV antiques shows like Antiques Road Trip, Bargain Hunt and Flog It. After studying Fine Art at University, Christina worked at Christies in London before setting up her own auction house in her home county of Shropshire. So, let's see what musical treasures she can offer us in today's Inheritance Tracks...

Join me for a fascinating episode with Amy Boucher, writer and folklorist specialising in Shropshire's rich folklore, ghostlore, and history. Amy explores the interplay between folklore, the paranormal, and historical memory, shedding light on how stories shape our understanding of the past. In this episode, we delve into devil narratives, uncovering their significance in Shropshire's eerie landscapes and myths. How do these tales preserve heritage? And what do they reveal about shifting beliefs? Tune in for a captivating discussion on history, hauntings, and folklore's enduring power.My Special Guest Is Amy Boucher Amy Boucher is a writer and folklorist who focuses on her native Shropshire. Her emphasis is primarily on the interplay between Folklore, history and the paranormal, as well as perceptions of the past through the lens of folk beliefs. She is a passionate advocate of Shropshire's folklore, ghostlore and local history, and the role these play in preserving memory and heritage.  In this episode, you will be able to: 1. Explore devil narratives in Shropshire, their meaning, and their role in storytelling, belief, and folklore.If you value this podcast and want to enjoy more episodes please come and find us on⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Haunted_History_Chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠to ⁠support the podcast, gain a wealth of additional exclusive podcasts, writing and other content.Links to all Haunted History Chronicles Social Media Pages, Published Materials and more:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/hauntedhistorychronicles?fbclid=IwAR15rJF2m9nJ0HTXm27HZ3QQ2Llz46E0UpdWv-zePVn9Oj9Q8rdYaZsR74I⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠NEW Podcast Shop:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.teepublic.com/user/haunted-history-chronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Me A Coffee⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/hauntedhistorychronicles⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Guest Links⁠ ⁠⁠⁠⁠⁠⁠Website:⁠⁠⁠ ⁠https://nearlyknowledgeablehistory.blogspot.com/⁠ Podcast Link:⁠⁠ ⁠⁠https://www.buzzsprout.com/411730/episodes/12499890-the-best-of-men-an-audio-drama-part-one⁠ Twitter:⁠ ⁠⁠https://twitter.com/g0blinegg⁠ 

This week's podcast is presented by Jacqueline and Stephen. We hear from:· Tracy from California, calling very early in the week, to tell us she told us so;· Love Jazzer's Singing, who needs to talk about Natasha;· Anna, discussing her AI-created image of Natasha;· Leigh, from Cookham, who is both having fun and seeing red ;· Katherine who is also slightly infuriated;· Julia from Shropshire, who loves how awful Natasha is;· Julia again, with some thoughts about financial details;· Witherspoon, who finds life imitating art;· Glyn, with some historic insights about Pat and Tony· Globetrotting Richard, working out the finances of the tea room· Emma from Northern Poland, who tells us how house-buying works there· and finally, Jen from Brooklyn, who feels she has a sewage flood of her own to deal with. We also have emails from Natan in Portland, a first-time emailer-innerer, and from Chris in Indiana.Plus: we have the Week in Ambridge from Suey, a roundup of the Dumteedum Facebook group from Jacquieline, and the Tweets of the Week from Theo.Please call into the show using this link:www.speakpipe.com/dumteedum Or send us a voicenote via WhatsApp on: +44 7810 012 881 (07810012 881 if in the UK) – Open the WhatsApp app, key in the number and click on the microphone icon.Or email us at dumteedum@mail.comHow to leave a review on Apple podcasts: https://support.apple.com/en-gb/guide/podcasts/pod5facd9d70/mac*****The new Patreon feed for Dumteedum is at www.patreon.com/DumteedumPodcast and the subscription rate is £5.00 per calendar month plus VAT. And don't forget to cancel your existing Patreon subscription if you have one, as we will continue to put the podcast out on that feed through February to give Patreons time to transfer over.*****Also Sprach Zarathustra licenceCreative Commons ► Attribution 3.0 Unported ► CC BY 3.0https://creativecommons.org/licenses/..."You are free to use, remix, transform, and build upon the materialfor any purpose, even commercially. You must give appropriate credit."Conducted byPhilip Milman ► https://pmmusic.pro/Funded ByLudwig ► / ludwigahgren Schlatt ► / jschlattlive COMPOSED BY / @officialphilman Hosted on Acast. See acast.com/privacy for more information.

This week's podcast is presented by Jacqueline and Stephen. We hear from:· Julia in Shropshire, who really enjoyed the previous week on The Archers; this week less so;· Kirk from Somerset, who wanted to clear up some misconceptions about sewage;· Katherine, who won't be buying any more cheese from Bridge Farm;· Grellan in London, who thinks that this week's gritty realism really shows up panto week, and not in a good way;· Julia again, unhappy with, among other things, the way Jolene is treating Fallon;· Richard, who has enjoyed meeting the monster that is Lawrence;· Glyn who has thoughts on the hydrodynamics of Ambridge;· And finally Witherspoon, with a few words about his favourite character;We also have a couple of emails, from Chris in Indiana, and Lilian.Plus: we have the Week in Ambridge from Suey, a roundup of the Dumteedum Facebook group from a mystery voice, and the Tweets of the Week from Theo.Please call into the show using this link:www.speakpipe.com/dumteedum Or send us a voicenote via WhatsApp on: +44 7810 012 881 (07810012 881 if in the UK) – Open the WhatsApp app, key in the number and click on the microphone icon.Or email us at dumteedum@mail.comHow to leave a review on Apple podcasts: https://support.apple.com/en-gb/guide/podcasts/pod5facd9d70/mac*****The new Patreon feed for Dumteedum is at www.patreon.com/DumteedumPodcast and the subscription rate is £5.00 per calendar month plus VAT. And don't forget to cancel your existing Patreon subscription if you have one, as we will continue to put the podcast out on that feed through February to give Patreons time to transfer over.*****Also Sprach Zarathustra licenceCreative Commons ► Attribution 3.0 Unported ► CC BY 3.0https://creativecommons.org/licenses/..."You are free to use, remix, transform, and build upon the materialfor any purpose, even commercially. You must give appropriate credit."Conducted byPhilip Milman ► https://pmmusic.pro/Funded ByLudwig ► / ludwigahgren Schlatt ► / jschlattlive COMPOSED BY / @officialphilman Hosted on Acast. See acast.com/privacy for more information.

Clare meets a group of passionate walkers responsible for the redesign and relaunch of the Shropshire Way long distance footpath. Back in 2016 they got together, in collaboration with the local Council, to reroute it and improve the waymarking. And now they have a 200 mile footpath in a figure of eight, centred on Shrewsbury. For Ramblings they met Clare at the Benthall Hall National Trust carpark and set off on a 5.5 mile linear route crossing the world famous Iron Bridge, onto Loamhole Dingle, Braggers Hill and Little Wenlock. Leading the way were Amanda Hartley-Newton and Audrey Menhinick (who with her late Ramblers colleague, set up the Shropshire Way Association). They, along with a handful of fellow volunteers, tell Clare what a satisfying – if challenging – project this has been.OS MAP: OS Explorer 242 Telford, Ironbridge and the Wrekin Grid Ref: SJ 657 024 https://shropshireway.org.uk/Presenter: Clare Balding Producer: Karen Gregor