Podcasts about Victorian

Tonight we have a sasquatch who terrorizes a family, Victorian ghosts, messages from the beyond and much more. Keep it spooky and enjoy! Season 19 Episode 14 of Monsters Among Us Podcast, true paranormal stories of ghosts, cryptids, UFOs and more, told by the witnesses themselves. SHOW NOTES:  Support the show! Get ad-free, extended & bonus episodes (and more) on Patreon - https://www.patreon.com/monstersamonguspodcast Support Our Sponsors - https://www.monstersamonguspodcast.com/sponsors Every Town Podcast (Hauntings Episode) - https://podcasts.apple.com/us/podcast/are-ghosts-real-the-truth-about-hauntings/id1524730356?i=1000682540004 Every Town Podcast (Cropsey Episode) - https://podcasts.apple.com/us/podcast/staten-islands-nightmare-the-urban-legend-that-turned/id1524730356?i=1000643941906 MAU Merch Shop - https://www.monstersamonguspodcast.com/shop Watch FREE - Shadows in the Desert: High Strangeness in the Borrego Triangle  - https://www.borregotriangle.com/ Monsters Among Us Junior on Apple Podcasts  - https://podcasts.apple.com/us/podcast/monsters-among-us-junior/id1764989478 Monsters Among Us Junior on Spotify - https://open.spotify.com/show/1bh5mWa4lDSqeMMX1mYxDZ?si=9ec6f4f74d61498b Peduncular hallucinosis -  https://en.wikipedia.org/wiki/Peduncular_hallucinosis Peduncular Hallucinosis -  https://eyewiki.org/Peduncular_Hallucinosis  “Peduncular Hallucinosis: A Case Report" - https://pmc.ncbi.nlm.nih.gov/articles/PMC4171807/   Locust Swarm - https://www.youtube.com/watch?v=uOuLW9SMTOc Tatiana Sphere UFO Photo 1 - https://bit.ly/4julocz Tatiana Sphere UFO Photo 2 - https://bit.ly/4dGstFB Tatiana Sphere UFO Video - https://youtube.com/shorts/xCWhkGLlEuY?feature=share Arkansas Blue Sphere Report - https://www.ufoindex.com/report?report=1972 Siege at Honobia - https://www.youtube.com/watch?v=URGG5tYALGM More from Honobia - https://www.youtube.com/watch?v=AhGxP-b_AtI Sasquatch: The Apes Among Us - https://www.ebay.com/p/1079375 Music from tonight's episode: Music by Iron Cthulhu Apocalypse - https://www.youtube.com/c/IronCthulhuApocalypse CO.AG Music - https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvA Music by White Bat Audio - https://www.youtube.com/@WhiteBatAudio White Bat Audio Songs: Iridium Ghost of the Abyss Abandoned Ship Cryptid Black Cream

Elizabeth Barrett (1806-1861) was one of the most prolific and accomplished poets of the Victorian age, an inspiration to Emily Dickinson, Oscar Wilde, Edgar Allan Poe, and countless others. And yet, her life was full of cloistered misery, as her father insisted that she should never marry. And then, the clouds lifted, and a letter arrived. It was from the poet Robert Browning (1812-1889), admiring her from afar, declaring his love. How did these two poets find each other? What kind of life did they share afterwards? And what dark secrets had led to her father's restrictions…and how might that have affected his daughter's poetry? Host Jacke Wilson takes a look at the story of the Brownings. This episode originally ran as episode 95 on May 29, 2017. It is presented here without commercial interruption. Additional listening: 415 "Goblin Market" by Christina Rossetti 130 The Poet and the Painter - The Great Love Affair of Anna Akhmatova and Amedeo Modigliani 138 Why Poetry? (with Matthew Zapruder) Music Credits: “Handel – Entrance to the Queen of Sheba” by Advent Chamber Orchestra (From the Free Music Archive / CC by SA). “Monkeys Spinning Monkeys” and “Piano Between” by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0. Learn more about your ad choices. Visit megaphone.fm/adchoices

From a desperate existence in a Victorian freak show to his days as the toast of London high society, the life of John Merrick, the Elephant Man, has fascinated the world for well over a century. Though his disfigurement brought notoriety, it was his unblemished inner humanity that most astonished everyone he knew. Berkshire Theatre Group presents Bernard Pomerance's Tony Award-winning drama, “The Elephant Man,” May 28 - June 15 at the Unicorn Theatre in Stockbridge, MA.

Send us a textStep back in time to the American frontier where five extraordinary women defied expectations and carved their names into history. The vast expanses of the American West weren't just shaped by cowboys and outlaws – they were transformed by women of remarkable courage, talent, and determination. Our journey begins with Annie Oakley, whose unparalleled sharpshooting skills captivated audiences worldwide while she maintained a carefully crafted feminine image that made her revolutionary talents acceptable to Victorian sensibilities. We contrast her approach with Calamity Jane, who boldly rejected feminine norms, embracing masculine attire and behavior to create opportunities in a world that offered women few paths to independence.The notorious Belle Starr emerges as the compelling "Bandit Queen" whose practical buckskins, boots, and armed presence challenged conventional womanhood and captured public imagination through sensationalized stories that both celebrated and simplified her complex reality. We then explore Sacajawea's crucial but undercompensated contributions to westward expansion – her indigenous knowledge of plants, languages, and diplomacy proved essential to the Lewis and Clark expedition's survival, revealing how Native expertise enabled American colonization. Finally, Sarah Winnemucca's powerful advocacy illuminates indigenous resistance through her groundbreaking public speaking career and autobiography that challenged harmful stereotypes while navigating the precarious position of cultural mediator.These women weren't merely passive witnesses to history – they were active architects of the American West, challenging our understanding of frontier life through their exceptional skills, defiance of restrictive norms, and tireless advocacy. Their stories reveal how media and mythology both elevated and constrained them, creating legends that sometimes overshadowed the complex realities of their lives. By examining these five remarkable women beyond the archetypes that often define them, we gain profound insights into female agency, resilience, and the multifaceted nature of fame in a transformative era. Don't miss our special announcement about the upcoming 65th annual Dodge City Days festival celebrating "Women of the West" – subscribe now to hear about exciting events leading up to this unforgettable celebration of Western heritage!Support the showIf you'd like to buy one or more of our fully illustrated dime novel publications, you can click the link I've included. "Edward Masterson and the Texas Cowboys," penned by Michael King, takes readers on an exhilarating ride through the American West, focusing on the lively and gritty cattle town of Dodge City, Kansas. This thrilling dime novel plunges into the action-packed year of Ed Masterson's life as a lawman, set against the backdrop of the chaotic cattle trade, filled with fierce conflicts, shifting loyalties, and rampant lawlessness. You can order the book on Amazon.

When 19-year-old Alice Mitchell jumped from a carriage and slit the throat of 17-year-old Freda Ward one fateful day in 1892, a rampant fascination over the drama soon followed. Alice loved Freda and killed her accordingly –to the crazed confusion of nearly everyone in Memphis, Tennessee and beyond. In the first half of our pride series, we'll go over the story of their sapphic relationship, how it functioned in the American South during the Victorian era and how it unraveled to the point of tragedy. "Strange and Unexplained" is a podcast from Grab Bag Collab & Three Goose Entertainment and is a journey into the uncomfortable and the unknowable that will leave you both laughing and sleeping with the lights on. You can get early and ad-free episodes on the Grab Bag Patreon page. Follow us on Instagram

Step into the shadows of Lilian Place, the oldest—and most haunted—house in Daytona Beach. Built in 1884, this Victorian landmark is more than just a museum—it's a dwelling for the dead. Behind its creaking doors and flickering lights are whispers of tragedy, mystery, and spirits that refuse to move on. Locals speak of Lucy, a woman in white who drifts silently through the halls. Children's laughter echoes when no children are present. Doors open on their own. Lights turn on without reason. And in one bedroom, visitors have reported seeing a man resembling writer Stephen Crane, who once recovered there after a near-fatal shipwreck—perhaps he left more behind than just a story. Is Lilian Place a historic treasure, or a gathering place for the dead? Join us as we uncover the eerie past—and restless present—of Daytona's most infamous haunted home. Today on the Grave Talks, The Ghosts of Lilian Place, a conversation with John Dillard, president of the Heritage Preservation Trust. This is Part Two of our conversation. For more information, search Lilian Place on Facebook or go to lilianplacehc.org. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

Discover all of the podcasts in our network, search for specific episodes, get the Optimal Living Daily workbook, and learn more at: OLDPodcast.com. Episode 3611: Kerry Ogden invites us to reconsider our relationship with space, stuff, and self-worth by sharing her personal journey from minimalist living to a sprawling Victorian home - and back again. With insights on gratitude, simplicity, and intentionality, she reminds us that true fulfillment often comes from owning less and experiencing more. Read along with the original article(s) here: https://kerryogden.com/2016/08/decluttering/ Quotes to ponder: "Detaching from stuff requires psychological fortitude. It takes courage to trust that you have enough, that you are enough." "Minimalism is a mindset. It's about living intentionally." "The real joys in life come from collecting experiences,  not things." Episode references: Love's Executioner by Irvin D. Yalom: https://www.amazon.com/Loves-Executioner-Other-Tales-Psychotherapy/dp/0060958340 The Life-Changing Magic of Tidying Up: https://www.amazon.com/Life-Changing-Magic-Tidying-Decluttering-Organizing/dp/1607747308 Learn more about your ad choices. Visit megaphone.fm/adchoices

In tonight's episode, the Night Owl team returns to Freddo ATX — a cozy café and bar tucked inside a stunning Victorian home at the corner of South Congress and Oltorf in Austin, Texas. In their previous visit, they gathered stories from the owners, staff, and a local ghost tour group that routinely stops at the property. The reports were unsettling: a heavy, foreboding presence on the first floor, strange thuds and disembodied voices, whispered names, phantom footsteps, and sightings of a woman — and even children — in the upstairs windows. The sightings were so frequent, someone once threatened to call CPS. Still, with Freddo only occupying the house since 2021, the staff aren't quite sure what — or who — might be haunting the place. Some point, half-jokingly, to the home's most famous former resident: Walter Tips — a rags-to-riches entrepreneur who rose to become one of Austin's most successful merchants and eventually a Texas state senator. He lived — and died — in this home. But could he still be here? And if so, could there be others trying to make themselves known?Tonight, the team returns to Freddo, joined by not one, not two, but three psychic mediums — all with no prior knowledge of this location and blind to the address until arrival. Their goal: to validate the claims shared in Part I, and perhaps, uncover something entirely new. Photo by Meg BlohmEPISODE SPONSORS:SHADY RAYSThanks, Shady Rays. Get 35% off polarized glasses at shadyrays.com - code NIGHTOWLAG1New subscribers, go to drinkAG1.com/nightowl to get a FREE bottle of AG D3K2, an AG1 Welcome Kit, AND 5 of the upgraded AG1 travel packs with your first order.BETTERHELPThe Night Owl is sponsored by BetterHelp. Get 10% off your first month at betterhelp.com/nightowl

Step into the shadows of Lilian Place, the oldest—and most haunted—house in Daytona Beach. Built in 1884, this Victorian landmark is more than just a museum—it's a dwelling for the dead. Behind its creaking doors and flickering lights are whispers of tragedy, mystery, and spirits that refuse to move on. Locals speak of Lucy, a woman in white who drifts silently through the halls. Children's laughter echoes when no children are present. Doors open on their own. Lights turn on without reason. And in one bedroom, visitors have reported seeing a man resembling writer Stephen Crane, who once recovered there after a near-fatal shipwreck—perhaps he left more behind than just a story. Is Lilian Place a historic treasure, or a gathering place for the dead? Join us as we uncover the eerie past—and restless present—of Daytona's most infamous haunted home. Today on the Grave Talks, The Ghosts of Lilian Place, a conversation with John Dillard, president of the Heritage Preservation Trust. For more information, search Lilian Place on Facebook or go to lilianplacehc.org. If you enjoy our interviews and conversations about "The Dead," why not listen ad-free? Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

A quest for identity meets the shadows of societal perception. As Rosina struggles to be seen, will she reclaim her voice or remain lost in the darkness? The Invisible Girl by Mary Shelley. That's next on The Lost Sci-Fi Podcast.You may be wondering why this episode of The Lost Sci-Fi Podcast took longer to appear than a ghost at a séance. At the end of The Shunned House by H.P. Lovecraft, we promised you this story. And you probably thought, “Hey, Mary Shelley—the woman who gave us Frankenstein and The Mortal Immortal—must've written another bone-chilling, brain-bending slice of early sci-fi, right?”Then you saw the title: The Invisible Girl. Sounds science fiction-y, doesn't it? Invisibility! Mystery! Possibly lasers!Yeah… about that.Halfway through recording, we realized The Invisible Girl is, well… not quite science fiction. It's more “Victorian drama with a faint whiff of mystery” than “steampunk invisibility ray.” So we had a choice: 1. Stop, confess our literary oopsie, and give you something more sci-fi. 2. Finish the story, release it anyway, and throw ourselves at your mercy.We chose Option 2. Because, frankly, we've gotten good at begging. Would you please rate our podcast wherever you can? Five stars if you think we deserve it. See what I mean!So please forgive us—and enjoy The Invisible Girl by Mary Shelley…Next on The Lost Sci-Fi Podcast, and we promise this one is science fiction! Before David's startled gaze the newcomer placed his right hand to his left shoulder and removed the left arm. He then proceeded to dismember himself until only a torso, head and one arm remained. The Artificial Man by Clare Winger Harris.☕ Buy Me a Coffee https://www.buymeacoffee.com/scottsV===========================

I'm joined by author Sarah Bilston to explore the strange allure of orchids and the daring—and often destructive—pursuits of the plant hunters who sought them. We delve into the economic and ecological entanglements of botany, the lasting impacts of orchid mania on countries like Brazil, and what we risk losing when we oversimplify the tangled roots of horticultural history. Links The Lost Orchid: A Story of Victorian Plunder and Obsession by Sarah Bilston Other episodes if you liked this one:

This week on Michigan Hidden History, we tour Coldwater's Wing House Museum—a home built for love, sold out of spite, and inherited by a Civil War hero turned cigar mogul. It's a story full of failed romance, steam-powered explosions, and bold real estate moves. Come for the Victorian architecture, stay for the marital drama and historical pettiness.

Ghosts and Things: The Material Culture of Nineteenth-Century Spiritualism (Cornell University Press, 2025) by Dr. Aviva Briefel argues that Victorians turned to the dead to understand the material culture of their present. With the rise of spiritualism in Britain in the early 1850s, séances invited participants to contact ghosts using material things, from ordinary household furniture to specialized technologies invented to register the presence of spirits. In its supernatural object lessons, Victorian spiritualism was not just a mystical movement centered on the dead but also a practical resource for learning how to negotiate the uncanniness of life under capitalism. Dr. Briefel explores how spiritualism compelled séance participants to speculate on the manufacture of spectral clothing; ponder the hidden histories and energies of parlor furniture; confront the humiliations of consumerism as summoned spirits pelted them with exotic fruits; and comprehend modes of mechanical reproduction, like photography and electrotyping, that had the power to shape identities. Dr. Briefel argues that spiritualist practices and the objects they employed offered both believers and skeptics unexpected frameworks for grappling with the often-invisible forces of labor, consumption, exploitation, and exchange that haunted their everyday lives. Ghosts and Things reveals how spiritualism's explorations of the borderland between life and death, matter and spirit, produced a strange and seductive combination of wonder and discomfort that allowed participants to experience the possibilities and precarities of industrial modernity in novel ways. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this episode, Tony Brueski digs into the eerie elegance of San Francisco's Queen Anne Hotel—an opulent Victorian mansion that once housed a prestigious girls' finishing school. But beneath its carved woodwork and floral wallpaper lies a ghost story unlike any other. For over a century, rumors have swirled about the benevolent spirit of Miss Mary Lake, the school's former headmistress, said to still roam the halls, especially Room 410.  Guests report waking up to find themselves tucked in, their luggage neatly unpacked, or the sensation of a maternal presence gently hovering in the room.  Is this the work of an intelligent spirit, or just the imagination primed by antique charm and creaky floorboards? Tony separates fact from fiction, interviews believers and skeptics, and takes listeners on a suspenseful journey through one of California's most enduring hauntings.

In this triple-feature episode of Horror Hill, acclaimed author Jesse Pullins invites you to take the scenic route through a landscape where reality frays at the edges, and something ancient waits just beyond the next bend. Whether it's a lonely drive through the dark woods, a nostalgic joyride that veers into nightmare, or a house visit that turns out to be anything but routine, each tale leads further from the familiar—and closer to something terrifying. So buckle up, keep your eyes on the road, and whatever you do... don't stop. "Watch for Deer" by Jesse Pullins – Fresh off his first shift at a new job, a young man makes the long drive home through a remote wooded backroad. But when a sudden encounter on the dark highway leaves him shaken, he begins to suspect that not everything in the forest is as it seems. With the night growing colder and stranger by the minute, he'll have to confront something far older—and more deliberate—than any wild animal. A haunting meditation on guilt, nature, and unseen forces, this story will change the way you see the roadside forever. "Neon Nightmare" by Jesse Pullins – Warren and his friend Rodger are riding high—literally—as they cruise the desert in an '85 Corvette, amped on designer drugs and 1980s nostalgia. But their euphoric road trip begins to fracture when something starts following them: a shadow that speaks in whispers and leaves black stains in its wake. What begins as a psychedelic joyride soon becomes a violent sprint through a dreamscape where nothing is what it seems. Equal parts surreal and savage, this is a high-octane tale of escape, addiction, and the horrors that hitch a ride in our minds. "My Last House Blessing" by Jesse Pullins – Father Cain has made a living pretending to cleanse haunted homes—his robes, rosary, and “holy water” all just part of the act. But when he takes a new gig in a remote Victorian house, he finds himself facing more than just creaky floors and nervous homeowners. What was supposed to be a simple grift turns into a descent into something primal, ritualistic, and deeply wrong. A layered tale of deception and consequence, this story peels back the curtain on the horrors that can't be faked. To watch the podcast on YouTube: ⁠⁠⁠⁠http://bit.ly/ChillingEntertainmentYT⁠⁠⁠⁠ Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: ⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast⁠⁠⁠⁠ If you like the show, telling a friend about it would be amazing! You can text, email, Tweet, or send this link to a friend: ⁠⁠⁠⁠https://bit.ly/HorrorHillPodcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Time Machine, by H. G. Wells chapter 2, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: The following week, the Narrator returns to the Time Traveller's home for dinner. The guests include a couple of guests form the previous week, and some new men. They have been told to start dinner without their host. When the host eventually arrives, he is incredibly dusty and dishevelled. He drinks some champagne, and then goes to wash himself, insisting that no one asks him any questions until he is ready. The Narrator suggests that the man has been time traveling, and the other guests make some jests and sarcastic remarks in reply. When the time Traveller returns, he asks the men to follow him into the lounge where he starts to tell his story… SEO Stuff that I don't want to do lol...One of the most influential pieces of fiction of all time, The Time Machine by H. G. Wells, sees a Victorian scientist send himself forward to the year 802,701 AD. He is delighted to find that suffering has been replaces by beauty and happiness, and a "new man", the Eloi, has descended from man.

Morse code transcription: vvv vvv Chagos Islands deal paused by last minute legal action Ramaphosa keeps cool during Trumps choreographed onslaught Violent criminals could be let out early for good behaviour under new proposals Dartmoor wild camping about responsibility not just rights Nike to raise prices as firms face tariffs uncertainty South Africans divided on Cyril Ramaphosas mauling by Donald Trump DC shooting What we know about Israeli embassy staff attack The Victorian scam artist who tried to dupe the islanders of Skye Government borrowing higher than expected in April Call for NHS to give women with dense breasts extra cancer scans

In this episode, Tony Brueski digs into the eerie elegance of San Francisco's Queen Anne Hotel—an opulent Victorian mansion that once housed a prestigious girls' finishing school. But beneath its carved woodwork and floral wallpaper lies a ghost story unlike any other. For over a century, rumors have swirled about the benevolent spirit of Miss Mary Lake, the school's former headmistress, said to still roam the halls, especially Room 410.  Guests report waking up to find themselves tucked in, their luggage neatly unpacked, or the sensation of a maternal presence gently hovering in the room.  Is this the work of an intelligent spirit, or just the imagination primed by antique charm and creaky floorboards? Tony separates fact from fiction, interviews believers and skeptics, and takes listeners on a suspenseful journey through one of California's most enduring hauntings.

In which the popularity of "mourning bequeathments" and the death of the Prince Consort lead to an explosion of morbid family handicrafts, and John gives away the same piano twice. Certificate #50902.

The McCune Mansion sits perched atop a hill on Main Street in Salt Lake City, Utah. This splendid Victorian is unique both outside and inside. The interior features exotic materials from around the world. The home has not only been privately owned, but served as a dance studio, art gallery, office space and now wedding venue. And what would a Victorian mansion be without some ghosts stories? Join us as we share the history and hauntings of the McCune Mansion. The Moment in Oddity features the discovery of the Endurance and This Month in History the first Kentucky Derby. Our location was suggested by Derrick Hughes.  Check out the website: http://historygoesbump.com Show notes can be found here:    Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Outro Music: Happy Fun Punk by Muse Music with Groove Studios Other music used in this episode: Title: "First Day of Fairy School" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1

Yesterday, the self-styled San Francisco “progressive” Joan Williams was on the show arguing that Democrats need to relearn the language of the American working class. But, as some of you have noted, Williams seems oblivious to the fact that politics is about more than simply aping other people's language. What you say matters, and the language of American working class, like all industrial working classes, is rooted in a critique of capitalism. She should probably read the New Yorker staff writer John Cassidy's excellent new book, Capitalism and its Critics, which traces capitalism's evolution and criticism from the East India Company through modern times. He defines capitalism as production for profit by privately-owned companies in markets, encompassing various forms from Chinese state capitalism to hyper-globalization. The book examines capitalism's most articulate critics including the Luddites, Marx, Engels, Thomas Carlisle, Adam Smith, Rosa Luxemburg, Keynes & Hayek, and contemporary figures like Sylvia Federici and Thomas Piketty. Cassidy explores how major economists were often critics of their era's dominant capitalist model, and untangles capitalism's complicated relationship with colonialism, slavery and AI which he regards as a potentially unprecedented economic disruption. This should be essential listening for all Democrats seeking to reinvent a post Biden-Harris party and message. 5 key takeaways* Capitalism has many forms - From Chinese state capitalism to Keynesian managed capitalism to hyper-globalization, all fitting the basic definition of production for profit by privately-owned companies in markets.* Great economists are typically critics - Smith criticized mercantile capitalism, Keynes critiqued laissez-faire capitalism, and Hayek/Friedman opposed managed capitalism. Each generation's leading economists challenge their era's dominant model.* Modern corporate structure has deep roots - The East India Company was essentially a modern multinational corporation with headquarters, board of directors, stockholders, and even a private army - showing capitalism's organizational continuity across centuries.* Capitalism is intertwined with colonialism and slavery - Industrial capitalism was built on pre-existing colonial and slave systems, particularly through the cotton industry and plantation economies.* AI represents a potentially unprecedented disruption - Unlike previous technological waves, AI may substitute rather than complement human labor on a massive scale, potentially creating political backlash exceeding even the "China shock" that contributed to Trump's rise.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Full TranscriptAndrew Keen: Hello, everybody. A couple of days ago, we did a show with Joan Williams. She has a new book out, "Outclassed: How the Left Lost the Working Class and How to Win Them Back." A book about language, about how to talk to the American working class. She also had a piece in Jacobin Magazine, an anti-capitalist magazine, about how the left needs to speak to what she calls average American values. We talked, of course, about Bernie Sanders and AOC and their language of fighting oligarchy, and the New York Times followed that up with "The Enduring Power of Anti-Capitalism in American Politics."But of course, that brings the question: what exactly is capitalism? I did a little bit of research. We can find definitions of capitalism from AI, from Wikipedia, even from online dictionaries, but I thought we might do a little better than relying on Wikipedia and come to a man who's given capitalism and its critics a great deal of thought. John Cassidy is well known as a staff writer at The New Yorker. He's the author of a wonderful book, the best book, actually, on the dot-com insanity. And his new book, "Capitalism and its Critics," is out this week. John, congratulations on the book.So I've got to be a bit of a schoolmaster with you, John, and get some definitions first. What exactly is capitalism before we get to criticism of it?John Cassidy: Yeah, I mean, it's a very good question, Andrew. Obviously, through the decades, even the centuries, there have been many different definitions of the term capitalism and there are different types of capitalism. To not be sort of too ideological about it, the working definition I use is basically production for profit—that could be production of goods or mostly in the new and, you know, in today's economy, production of services—for profit by companies which are privately owned in markets. That's a very sort of all-encompassing definition.Within that, you can have all sorts of different types of capitalism. You can have Chinese state capitalism, you can have the old mercantilism, which industrial capitalism came after, which Trump seems to be trying to resurrect. You can have Keynesian managed capitalism that we had for 30 or 40 years after the Second World War, which I grew up in in the UK. Or you can have sort of hyper-globalization, hyper-capitalism that we've tried for the last 30 years. There are all those different varieties of capitalism consistent with a basic definition, I think.Andrew Keen: That keeps you busy, John. I know you started this project, which is a big book and it's a wonderful book. I read it. I don't always read all the books I have on the show, but I read from cover to cover full of remarkable stories of the critics of capitalism. You note in the beginning that you began this in 2016 with the beginnings of Trump. What was it about the 2016 election that triggered a book about capitalism and its critics?John Cassidy: Well, I was reporting on it at the time for The New Yorker and it struck me—I covered, I basically covered the economy in various forms for various publications since the late 80s, early 90s. In fact, one of my first big stories was the stock market crash of '87. So yes, I am that old. But it seemed to me in 2016 when you had Bernie Sanders running from the left and Trump running from the right, but both in some way offering very sort of similar critiques of capitalism. People forget that Trump in 2016 actually was running from the left of the Republican Party. He was attacking big business. He was attacking Wall Street. He doesn't do that these days very much, but at the time he was very much posing as the sort of outsider here to protect the interests of the average working man.And it seemed to me that when you had this sort of pincer movement against the then ruling model, this wasn't just a one-off. It seemed to me it was a sort of an emerging crisis of legitimacy for the system. And I thought there could be a good book written about how we got to here. And originally I thought it would be a relatively short book just based on the last sort of 20 or 30 years since the collapse of the Cold War and the sort of triumphalism of the early 90s.But as I got into it more and more, I realized that so many of the issues which had been raised, things like globalization, rising inequality, monopoly power, exploitation, even pollution and climate change, these issues go back to the very start of the capitalist system or the industrial capitalist system back in sort of late 18th century, early 19th century Britain. So I thought, in the end, I thought, you know what, let's just do the whole thing soup to nuts through the eyes of the critics.There have obviously been many, many histories of capitalism written. I thought that an original way to do it, or hopefully original, would be to do a sort of a narrative through the lives and the critiques of the critics of various stages. So that's, I hope, what sets it apart from other books on the subject, and also provides a sort of narrative frame because, you know, I am a New Yorker writer, I realize if you want people to read things, you've got to make it readable. Easiest way to make things readable is to center them around people. People love reading about other people. So that's sort of the narrative frame. I start off with a whistleblower from the East India Company back in the—Andrew Keen: Yeah, I want to come to that. But before, John, my sense is that to simplify what you're saying, this is a labor of love. You're originally from Leeds, the heart of Yorkshire, the center of the very industrial revolution, the first industrial revolution where, in your historical analysis, capitalism was born. Is it a labor of love? What's your family relationship with capitalism? How long was the family in Leeds?John Cassidy: Right, I mean that's a very good question. It is a labor of love in a way, but it's not—our family doesn't go—I'm from an Irish family, family of Irish immigrants who moved to England in the 1940s and 1950s. So my father actually did start working in a big mill, the Kirkstall Forge in Leeds, which is a big steel mill, and he left after seeing one of his co-workers have his arms chopped off in one of the machinery, so he decided it wasn't for him and he spent his life working in the construction industry, which was dominated by immigrants as it is here now.So I don't have a—it's not like I go back to sort of the start of the industrial revolution, but I did grow up in the middle of Leeds, very working class, very industrial neighborhood. And what a sort of irony is, I'll point out, I used to, when I was a kid, I used to play golf on a municipal golf course called Gotts Park in Leeds, which—you know, most golf courses in America are sort of in the affluent suburbs, country clubs. This was right in the middle of Armley in Leeds, which is where the Victorian jail is and a very rough neighborhood. There's a small bit of land which they built a golf course on. It turns out it was named after one of the very first industrialists, Benjamin Gott, who was a wool and textile industrialist, and who played a part in the Luddite movement, which I mention.So it turns out, I was there when I was 11 or 12, just learning how to play golf on this scrappy golf course. And here I am, 50 years later, writing about Benjamin Gott at the start of the Industrial Revolution. So yeah, no, sure. I think it speaks to me in a way that perhaps it wouldn't to somebody else from a different background.Andrew Keen: We did a show with William Dalrymple, actually, a couple of years ago. He's been on actually since, the Anglo or Scottish Indian historian. His book on the East India Company, "The Anarchy," is a classic. You begin in some ways your history of capitalism with the East India Company. What was it about the East India Company, John, that makes it different from other for-profit organizations in economic, Western economic history?John Cassidy: I mean, I read that. It's a great book, by the way. That was actually quoted in my chapter on these. Yeah, I remember. I mean, the reason I focused on it was for two reasons. Number one, I was looking for a start, a narrative start to the book. And it seemed to me, you know, the obvious place to start is with the start of the industrial revolution. If you look at economics history textbooks, that's where they always start with Arkwright and all the inventors, you know, who were the sort of techno-entrepreneurs of their time, the sort of British Silicon Valley, if you could think of it as, in Lancashire and Derbyshire in the late 18th century.So I knew I had to sort of start there in some way, but I thought that's a bit pat. Is there another way into it? And it turns out that in 1772 in England, there was a huge bailout of the East India Company, very much like the sort of 2008, 2009 bailout of Wall Street. The company got into trouble. So I thought, you know, maybe there's something there. And I eventually found this guy, William Bolts, who worked for the East India Company, turned into a whistleblower after he was fired for finagling in India like lots of the people who worked for the company did.So that gave me two things. Number one, it gave me—you know, I'm a writer, so it gave me something to focus on a narrative. His personal history is very interesting. But number two, it gave me a sort of foundation because industrial capitalism didn't come from nowhere. You know, it was built on top of a pre-existing form of capitalism, which we now call mercantile capitalism, which was very protectionist, which speaks to us now. But also it had these big monopolistic multinational companies.The East India Company, in some ways, was a very modern corporation. It had a headquarters in Leadenhall Street in the city of London. It had a board of directors, it had stockholders, the company sent out very detailed instructions to the people in the field in India and Indonesia and Malaysia who were traders who bought things from the locals there, brought them back to England on their company ships. They had a company army even to enforce—to protect their operations there. It was an incredible multinational corporation.So that was also, I think, fascinating because it showed that even in the pre-existing system, you know, big corporations existed, there were monopolies, they had royal monopolies given—first the East India Company got one from Queen Elizabeth. But in some ways, they were very similar to modern monopolistic corporations. And they had some of the problems we've seen with modern monopolistic corporations, the way they acted. And Bolts was the sort of first corporate whistleblower, I thought. Yeah, that was a way of sort of getting into the story, I think. Hopefully, you know, it's just a good read, I think.William Bolts's story because he was—he came from nowhere, he was Dutch, he wasn't even English and he joined the company as a sort of impoverished young man, went to India like a lot of English minor aristocrats did to sort of make your fortune. The way the company worked, you had to sort of work on company time and make as much money as you could for the company, but then in your spare time you're allowed to trade for yourself. So a lot of the—without getting into too much detail, but you know, English aristocracy was based on—you know, the eldest child inherits everything, so if you were the younger brother of the Duke of Norfolk, you actually didn't inherit anything. So all of these minor aristocrats, so major aristocrats, but who weren't first born, joined the East India Company, went out to India and made a fortune, and then came back and built huge houses. Lots of the great manor houses in southern England were built by people from the East India Company and they were known as Nabobs, which is an Indian term. So they were the sort of, you know, billionaires of their time, and it was based on—as I say, it wasn't based on industrial capitalism, it was based on mercantile capitalism.Andrew Keen: Yeah, the beginning of the book, which focuses on Bolts and the East India Company, brings to mind for me two things. Firstly, the intimacy of modern capitalism, modern industrial capitalism with colonialism and of course slavery—lots of books have been written on that. Touch on this and also the relationship between the birth of capitalism and the birth of liberalism or democracy. John Stuart Mill, of course, the father in many ways of Western democracy. His day job, ironically enough, or perhaps not ironically, was at the East India Company. So how do those two things connect, or is it just coincidental?John Cassidy: Well, I don't think it is entirely coincidental, I mean, J.S. Mill—his father, James Mill, was also a well-known philosopher in the sort of, obviously, in the earlier generation, earlier than him. And he actually wrote the official history of the East India Company. And I think they gave his son, the sort of brilliant protégé, J.S. Mill, a job as largely as a sort of sinecure, I think. But he did go in and work there in the offices three or four days a week.But I think it does show how sort of integral—the sort of—as you say, the inheritor and the servant in Britain, particularly, of colonial capitalism was. So the East India Company was, you know, it was in decline by that stage in the middle of the 19th century, but it didn't actually give up its monopoly. It wasn't forced to give up its monopoly on the Indian trade until 1857, after, you know, some notorious massacres and there was a sort of public outcry.So yeah, no, that's—it's very interesting that the British—it's sort of unique to Britain in a way, but it's interesting that industrial capitalism arose alongside this pre-existing capitalist structure and somebody like Mill is a sort of paradoxical figure because actually he was quite critical of aspects of industrial capitalism and supported sort of taxes on the rich, even though he's known as the great, you know, one of the great apostles of the free market and free market liberalism. And his day job, as you say, he was working for the East India Company.Andrew Keen: What about the relationship between the birth of industrial capitalism, colonialism and slavery? Those are big questions and I know you deal with them in some—John Cassidy: I think you can't just write an economic history of capitalism now just starting with the cotton industry and say, you know, it was all about—it was all about just technical progress and gadgets, etc. It was built on a sort of pre-existing system which was colonial and, you know, the slave trade was a central element of that. Now, as you say, there have been lots and lots of books written about it, the whole 1619 project got an incredible amount of attention a few years ago. So I didn't really want to rehash all that, but I did want to acknowledge the sort of role of slavery, especially in the rise of the cotton industry because of course, a lot of the raw cotton was grown in the plantations in the American South.So the way I actually ended up doing that was by writing a chapter about Eric Williams, a Trinidadian writer who ended up as the Prime Minister of Trinidad when it became independent in the 1960s. But when he was younger, he wrote a book which is now regarded as a classic. He went to Oxford to do a PhD, won a scholarship. He was very smart. I won a sort of Oxford scholarship myself but 50 years before that, he came across the Atlantic and did an undergraduate degree in history and then did a PhD there and his PhD thesis was on slavery and capitalism.And at the time, in the 1930s, the link really wasn't acknowledged. You could read any sort of standard economic history written by British historians, and they completely ignored that. He made the argument that, you know, slavery was integral to the rise of capitalism and he basically started an argument which has been raging ever since the 1930s and, you know, if you want to study economic history now you have to sort of—you know, have to have to address that. And the way I thought, even though the—it's called the Williams thesis is very famous. I don't think many people knew much about where it came from. So I thought I'd do a chapter on—Andrew Keen: Yeah, that chapter is excellent. You mentioned earlier the Luddites, you're from Yorkshire where Luddism in some ways was born. One of the early chapters is on the Luddites. We did a show with Brian Merchant, his book, "Blood in the Machine," has done very well, I'm sure you're familiar with it. I always understood the Luddites as being against industrialization, against the machine, as opposed to being against capitalism. But did those two things get muddled together in the history of the Luddites?John Cassidy: I think they did. I mean, you know, Luddites, when we grew up, I mean you're English too, you know to be called a Luddite was a term of abuse, right? You know, you were sort of antediluvian, anti-technology, you're stupid. It was only, I think, with the sort of computer revolution, the tech revolution of the last 30, 40 years and the sort of disruptions it's caused, that people have started to look back at the Luddites and say, perhaps they had a point.For them, they were basically pre-industrial capitalism artisans. They worked for profit-making concerns, small workshops. Some of them worked for themselves, so they were sort of sole proprietor capitalists. Or they worked in small venues, but the rise of industrial capitalism, factory capitalism or whatever, basically took away their livelihoods progressively. So they associated capitalism with new technology. In their minds it was the same. But their argument wasn't really a technological one or even an economic one, it was more a moral one. They basically made the moral argument that capitalists shouldn't have the right to just take away their livelihoods with no sort of recompense for them.At the time they didn't have any parliamentary representation. You know, they weren't revolutionaries. The first thing they did was create petitions to try and get parliament to step in, sort of introduce some regulation here. They got turned down repeatedly by the sort of—even though it was a very aristocratic parliament, places like Manchester and Leeds didn't have any representation at all. So it was only after that that they sort of turned violent and started, you know, smashing machines and machines, I think, were sort of symbols of the system, which they saw as morally unjust.And I think that's sort of what—obviously, there's, you know, a lot of technological disruption now, so we can, especially as it starts to come for the educated cognitive class, we can sort of sympathize with them more. But I think the sort of moral critique that there's this, you know, underneath the sort of great creativity and economic growth that capitalism produces, there is also a lot of destruction and a lot of victims. And I think that message, you know, is becoming a lot more—that's why I think why they've been rediscovered in the last five or ten years and I'm one of the people I guess contributing to that rediscovery.Andrew Keen: There's obviously many critiques of capitalism politically. I want to come to Marx in a second, but your chapter, I thought, on Thomas Carlyle and this nostalgic conservatism was very important and there are other conservatives as well. John, do you think that—and you mentioned Trump earlier, who is essentially a nostalgist for a—I don't know, some sort of bizarre pre-capitalist age in America. Is there something particularly powerful about the anti-capitalism of romantics like Carlyle, 19th century Englishman, there were many others of course.John Cassidy: Well, I think so. I mean, I think what is—conservatism, when we were young anyway, was associated with Thatcherism and Reaganism, which, you know, lionized the free market and free market capitalism and was a reaction against the pre-existing form of capitalism, Keynesian capitalism of the sort of 40s to the 80s. But I think what got lost in that era was the fact that there have always been—you've got Hayek up there, obviously—Andrew Keen: And then Keynes and Hayek, the two—John Cassidy: Right, it goes to the end of that. They had a great debate in the 1930s about these issues. But Hayek really wasn't a conservative person, and neither was Milton Friedman. They were sort of free market revolutionaries, really, that you'd let the market rip and it does good things. And I think that that sort of a view, you know, it just became very powerful. But we sort of lost sight of the fact that there was also a much older tradition of sort of suspicion of radical changes of any type. And that was what conservatism was about to some extent. If you think about Baldwin in Britain, for example.And there was a sort of—during the Industrial Revolution, some of the strongest supporters of factory acts to reduce hours and hourly wages for women and kids were actually conservatives, Tories, as they were called at the time, like Ashley. That tradition, Carlyle was a sort of extreme representative of that. I mean, Carlyle was a sort of proto-fascist, let's not romanticize him, he lionized strongmen, Frederick the Great, and he didn't really believe in democracy. But he also had—he was appalled by the sort of, you know, the—like, what's the phrase I'm looking for? The sort of destructive aspects of industrial capitalism, both on the workers, you know, he said it was a dehumanizing system, sounded like Marx in some ways. That it dehumanized the workers, but also it destroyed the environment.He was an early environmentalist. He venerated the environment, was actually very strongly linked to the transcendentalists in America, people like Thoreau, who went to visit him when he visited Britain and he saw the sort of destructive impact that capitalism was having locally in places like Manchester, which were filthy with filthy rivers, etc. So he just saw the whole system as sort of morally bankrupt and he was a great writer, Carlyle, whatever you think of him. Great user of language, so he has these great ringing phrases like, you know, the cash nexus or calling it the Gospel of Mammonism, the shabbiest gospel ever preached under the sun was industrial capitalism.So, again, you know, that's a sort of paradoxical thing, because I think for so long conservatism was associated with, you know, with support for the free market and still is in most of the Republican Party, but then along comes Trump and sort of conquers the party with a, you know, more skeptical, as you say, romantic, not really based on any reality, but a sort of romantic view that America can stand by itself in the world. I mean, I see Trump actually as a sort of an effort to sort of throw back to mercantile capitalism in a way. You know, which was not just pre-industrial, but was also pre-democracy, run by monarchs, which I'm sure appeals to him, and it was based on, you know, large—there were large tariffs. You couldn't import things in the UK. If you want to import anything to the UK, you have to send it on a British ship because of the navigation laws. It was a very protectionist system and it's actually, you know, as I said, had a lot of parallels with what Trump's trying to do or tries to do until he backs off.Andrew Keen: You cheat a little bit in the book in the sense that you—everyone has their own chapter. We'll talk a little bit about Hayek and Smith and Lenin and Friedman. You do have one chapter on Marx, but you also have a chapter on Engels. So you kind of cheat. You combine the two. Is it possible, though, to do—and you've just written this book, so you know this as well as anyone. How do you write a book about capitalism and its critics and only really give one chapter to Marx, who is so dominant? I mean, you've got lots of Marxists in the book, including Lenin and Luxemburg. How fundamental is Marx to a criticism of capitalism? Is most criticism, especially from the left, from progressives, is it really just all a footnote to Marx?John Cassidy: I wouldn't go that far, but I think obviously on the left he is the central figure. But there's an element of sort of trying to rebuild Engels a bit in this. I mean, I think of Engels and Marx—I mean obviously Marx wrote the great classic "Capital," etc. But in the 1840s, when they both started writing about capitalism, Engels was sort of ahead of Marx in some ways. I mean, the sort of materialist concept, the idea that economics rules everything, Engels actually was the first one to come up with that in an essay in the 1840s which Marx then published in one of his—in the German newspaper he worked for at the time, radical newspaper, and he acknowledged openly that that was really what got him thinking seriously about economics, and even in the late—in 20, 25 years later when he wrote "Capital," all three volumes of it and the Grundrisse, just these enormous outpourings of analysis on capitalism.He acknowledged Engels's role in that and obviously Engels wrote the first draft of the Communist Manifesto in 1848 too, which Marx then topped and tailed and—he was a better writer obviously, Marx, and he gave it the dramatic language that we all know it for. So I think Engels and Marx together obviously are the central sort of figures in the sort of left-wing critique. But they didn't start out like that. I mean, they were very obscure, you've got to remember.You know, they were—when they were writing, Marx was writing "Capital" in London, it never even got published in English for another 20 years. It was just published in German. He was basically an expat. He had been thrown out of Germany, he had been thrown out of France, so England was last resort and the British didn't consider him a threat so they were happy to let him and the rest of the German sort of left in there. I think it became—it became the sort of epochal figure after his death really, I think, when he was picked up by the left-wing parties, which are especially the SPD in Germany, which was the first sort of socialist mass party and was officially Marxist until the First World War and there were great internal debates.And then of course, because Lenin and the Russians came out of that tradition too, Marxism then became the official doctrine of the Soviet Union when they adopted a version of it. And again there were massive internal arguments about what Marx really meant, and in fact, you know, one interpretation of the last 150 years of left-wing sort of intellectual development is as a sort of argument about what did Marx really mean and what are the important bits of it, what are the less essential bits of it. It's a bit like the "what did Keynes really mean" that you get in liberal circles.So yeah, Marx, obviously, this is basically an intellectual history of critiques of capitalism. In that frame, he is absolutely a central figure. Why didn't I give him more space than a chapter and a chapter and a half with Engels? There have been a million books written about Marx. I mean, it's not that—it's not that he's an unknown figure. You know, there's a best-selling book written in Britain about 20 years ago about him and then I was quoting, in my biographical research, I relied on some more recent, more scholarly biographies. So he's an endlessly fascinating figure but I didn't want him to dominate the book so I gave him basically the same space as everybody else.Andrew Keen: You've got, as I said, you've got a chapter on Adam Smith who's often considered the father of economics. You've got a chapter on Keynes. You've got a chapter on Friedman. And you've got a chapter on Hayek, all the great modern economists. Is it possible, John, to be a distinguished economist one way or the other and not be a critic of capitalism?John Cassidy: Well, I don't—I mean, I think history would suggest that the greatest economists have been critics of capitalism in their own time. People would say to me, what the hell have you got Milton Friedman and Friedrich Hayek in a book about critics of capitalism? They were great exponents, defenders of capitalism. They loved the system. That is perfectly true. But in the 1930s, 40s, 50s, 60s, and 70s, middle of the 20th century, they were actually arch-critics of the ruling form of capitalism at the time, which was what I call managed capitalism. What some people call Keynesianism, what other people call European social democracy, whatever you call it, it was a model of a mixed economy in which the government played a large role both in propping up demand and in providing an extensive social safety net in the UK and providing public healthcare and public education. It was a sort of hybrid model.Most of the economy in terms of the businesses remained in private hands. So most production was capitalistic. It was a capitalist system. They didn't go to the Soviet model of nationalizing everything and Britain did nationalize some businesses, but most places didn't. The US of course didn't but it was a form of managed capitalism. And Hayek and Friedman were both great critics of that and wanted to sort of move back to 19th century laissez-faire model.Keynes was a—was actually a great, I view him anyway, as really a sort of late Victorian liberal and was trying to protect as much of the sort of J.S. Mill view of the world as he could, but he thought capitalism had one fatal flaw: that it tended to fall into recessions and then they can snowball and the whole system can collapse which is what had basically happened in the early 1930s until Keynesian policies were adopted. Keynes sort of differed from a lot of his followers—I have a chapter on Joan Robinson in there, who were pretty left-wing and wanted to sort of use Keynesianism as a way to shift the economy quite far to the left. Keynes didn't really believe in that. He has a famous quote that, you know, once you get to full employment, you can then rely on the free market to sort of take care of things. He was still a liberal at heart.Going back to Adam Smith, why is he in a book on criticism of capitalism? And again, it goes back to what I said at the beginning. He actually wrote "The Wealth of Nations"—he explains in the introduction—as a critique of mercantile capitalism. His argument was that he was a pro-free trader, pro-small business, free enterprise. His argument was if you get the government out of the way, we don't need these government-sponsored monopolies like the East India Company. If you just rely on the market, the sort of market forces and competition will produce a good outcome. So then he was seen as a great—you know, he is then seen as the apostle of free market capitalism. I mean when I started as a young reporter, when I used to report in Washington, all the conservatives used to wear Adam Smith badges. You don't see Donald Trump wearing an Adam Smith badge, but that was the case.He was also—the other aspect of Smith, which I highlight, which is not often remarked on—he's also a critic of big business. He has a famous section where he discusses the sort of tendency of any group of more than three businessmen when they get together to try and raise prices and conspire against consumers. And he was very suspicious of, as I say, large companies, monopolies. I think if Adam Smith existed today, I mean, I think he would be a big supporter of Lina Khan and the sort of antitrust movement, he would say capitalism is great as long as you have competition, but if you don't have competition it becomes, you know, exploitative.Andrew Keen: Yeah, if Smith came back to live today, you have a chapter on Thomas Piketty, maybe he may not be French, but he may be taking that position about how the rich benefit from the structure of investment. Piketty's core—I've never had Piketty on the show, but I've had some of his followers like Emmanuel Saez from Berkeley. Yeah. How powerful is Piketty's critique of capitalism within the context of the classical economic analysis from Hayek and Friedman? Yeah, it's a very good question.John Cassidy: It's a very good question. I mean, he's a very paradoxical figure, Piketty, in that he obviously shot to world fame and stardom with his book on capital in the 21st century, which in some ways he obviously used the capital as a way of linking himself to Marx, even though he said he never read Marx. But he was basically making the same argument that if you leave capitalism unrestrained and don't do anything about monopolies etc. or wealth, you're going to get massive inequality and he—I think his great contribution, Piketty and the school of people, one of them you mentioned, around him was we sort of had a vague idea that inequality was going up and that, you know, wages were stagnating, etc.What he and his colleagues did is they produced these sort of scientific empirical studies showing in very simple to understand terms how the sort of share of income and wealth of the top 10 percent, the top 5 percent, the top 1 percent and the top 0.1 percent basically skyrocketed from the 1970s to about 2010. And it was, you know, he was an MIT PhD. Saez, who you mentioned, is a Berkeley professor. They were schooled in neoclassical economics at Harvard and MIT and places like that. So the right couldn't dismiss them as sort of, you know, lefties or Trots or whatever who're just sort of making this stuff up. They had to acknowledge that this was actually an empirical reality.I think it did change the whole basis of the debate and it was sort of part of this reaction against capitalism in the 2010s. You know it was obviously linked to the sort of Sanders and the Occupy Wall Street movement at the time. It came out of the—you know, the financial crisis as well when Wall Street disgraced itself. I mean, I wrote a previous book on all that, but people have sort of, I think, forgotten the great reaction against that a decade ago, which I think even Trump sort of exploited, as I say, by using anti-banker rhetoric at the time.So, Piketty was a great figure, I think, from, you know, I was thinking, who are the most influential critics of capitalism in the 21st century? And I think you'd have to put him up there on the list. I'm not saying he's the only one or the most eminent one. But I think he is a central figure. Now, of course, you'd think, well, this is a really powerful critic of capitalism, and nobody's going to pick up, and Bernie's going to take off and everything. But here we are a decade later now. It seems to be what the backlash has produced is a swing to the right, not a swing to the left. So that's, again, a sort of paradox.Andrew Keen: One person I didn't expect to come up in the book, John, and I was fascinated with this chapter, is Silvia Federici. I've tried to get her on the show. We've had some books about her writing and her kind of—I don't know, you treat her critique as a feminist one. The role of women. Why did you choose to write a chapter about Federici and that feminist critique of capitalism?John Cassidy: Right, right. Well, I don't think it was just feminist. I'll explain what I think it was. Two reasons. Number one, I wanted to get more women into the book. I mean, it's in some sense, it is a history of economics and economic critiques. And they are overwhelmingly written by men and women were sort of written out of the narrative of capitalism for a very long time. So I tried to include as many sort of women as actual thinkers as I could and I have a couple of early socialist feminist thinkers, Anna Wheeler and Flora Tristan and then I cover some of the—I cover Rosa Luxemburg as the great sort of tribune of the left revolutionary socialist, communist whatever you want to call it. Anti-capitalist I think is probably also important to note about. Yeah, and then I also have Joan Robinson, but I wanted somebody to do something in the modern era, and I thought Federici, in the world of the Wages for Housework movement, is very interesting from two perspectives.Number one, Federici herself is a Marxist, and I think she probably would still consider herself a revolutionary. She's based in New York, as you know now. She lived in New York for 50 years, but she came from—she's originally Italian and came out of the Italian left in the 1960s, which was very radical. Do you know her? Did you talk to her? I didn't talk to her on this. No, she—I basically relied on, there has been a lot of, as you say, there's been a lot of stuff written about her over the years. She's written, you know, she's given various long interviews and she's written a book herself, a version, a history of housework, so I figured it was all there and it was just a matter of pulling it together.But I think the critique, why the critique is interesting, most of the book is a sort of critique of how capitalism works, you know, in the production or you know, in factories or in offices or you know, wherever capitalist operations are working, but her critique is sort of domestic reproduction, as she calls it, the role of unpaid labor in supporting capitalism. I mean it goes back a long way actually. There was this moment, I sort of trace it back to the 1940s and 1950s when there were feminists in America who were demonstrating outside factories and making the point that you know, the factory workers and the operations of the factory, it couldn't—there's one of the famous sort of tire factory in California demonstrations where the women made the argument, look this factory can't continue to operate unless we feed and clothe the workers and provide the next generation of workers. You know, that's domestic reproduction. So their argument was that housework should be paid and Federici took that idea and a couple of her colleagues, she founded the—it's a global movement, but she founded the most famous branch in New York City in the 1970s. In Park Slope near where I live actually.And they were—you call it feminists, they were feminists in a way, but they were rejected by the sort of mainstream feminist movement, the sort of Gloria Steinems of the world, who Federici was very critical of because she said they ignored, they really just wanted to get women ahead in the sort of capitalist economy and they ignored the sort of underlying from her perspective, the underlying sort of illegitimacy and exploitation of that system. So they were never accepted as part of the feminist movement. They're to the left of the Feminist Movement.Andrew Keen: You mentioned Keynes, of course, so central in all this, particularly his analysis of the role of automation in capitalism. We did a show recently with Robert Skidelsky and I'm sure you're familiar—John Cassidy: Yeah, yeah, great, great biography of Keynes.Andrew Keen: Yeah, the great biographer of Keynes, whose latest book is "Mindless: The Human Condition in the Age of AI." You yourself wrote a brilliant book on the last tech mania and dot-com capitalism. I used it in a lot of my writing and books. What's your analysis of AI in this latest mania and the role generally of manias in the history of capitalism and indeed in critiquing capitalism? Is AI just the next chapter of the dot-com boom?John Cassidy: I think it's a very deep question. I think I'd give two answers to it. In one sense it is just the latest mania the way—I mean, the way capitalism works is we have these, I go back to Kondratiev, one of my Russian economists who ended up being killed by Stalin. He was the sort of inventor of the long wave theory of capitalism. We have these short waves where you have sort of booms and busts driven by finance and debt etc. But we also have long waves driven by technology.And obviously, in the last 40, 50 years, the two big ones are the original deployment of the internet and microchip technology in the sort of 80s and 90s culminating in the dot-com boom of the late 90s, which as you say, I wrote about. Thanks very much for your kind comments on the book. If you just sort of compare it from a financial basis I think they are very similar just in terms of the sort of role of hype from Wall Street in hyping up these companies. The sort of FOMO aspect of it among investors that they you know, you can't miss out. So just buy the companies blindly. And the sort of lionization in the press and the media of, you know, of AI as the sort of great wave of the future.So if you take a sort of skeptical market based approach, I would say, yeah, this is just another sort of another mania which will eventually burst and it looked like it had burst for a few weeks when Trump put the tariffs up, now the market seemed to be recovering. But I think there is, there may be something new about it. I am not, I don't pretend to be a technical expert. I try to rely on the evidence of or the testimony of people who know the systems well and also economists who have studied it. It seems to me the closer you get to it the more alarming it is in terms of the potential shock value that there is there.I mean Trump and the sort of reaction to a larger extent can be traced back to the China shock where we had this global shock to American manufacturing and sort of hollowed out a lot of the industrial areas much of it, like industrial Britain was hollowed out in the 80s. If you, you know, even people like Altman and Elon Musk, they seem to think that this is going to be on a much larger scale than that and will basically, you know, get rid of the professions as they exist. Which would be a huge, huge shock. And I think a lot of the economists who studied this, who four or five years ago were relatively optimistic, people like Daron Acemoglu, David Autor—Andrew Keen: Simon Johnson, of course, who just won the Nobel Prize, and he's from England.John Cassidy: Simon, I did an event with Simon earlier this week. You know they've studied this a lot more closely than I have but I do interview them and I think five, six years ago they were sort of optimistic that you know this could just be a new steam engine or could be a microchip which would lead to sort of a lot more growth, rising productivity, rising productivity is usually associated with rising wages so sure there'd be short-term costs but ultimately it would be a good thing. Now, I think if you speak to them, they see since the, you know, obviously, the OpenAI—the original launch and now there's just this huge arms race with no government involvement at all I think they're coming to the conclusion that rather than being developed to sort of complement human labor, all these systems are just being rushed out to substitute for human labor. And it's just going, if current trends persist, it's going to be a China shock on an even bigger scale.You know what is going to, if that, if they're right, that is going to produce some huge political backlash at some point, that's inevitable. So I know—the thing when the dot-com bubble burst, it didn't really have that much long-term impact on the economy. People lost the sort of fake money they thought they'd made. And then the companies, obviously some of the companies like Amazon and you know Google were real genuine profit-making companies and if you bought them early you made a fortune. But AI does seem a sort of bigger, scarier phenomenon to me. I don't know. I mean, you're close to it. What do you think?Andrew Keen: Well, I'm waiting for a book, John, from you. I think you can combine dot-com and capitalism and its critics. We need you probably to cover it—you know more about it than me. Final question, I mean, it's a wonderful book and we haven't even scratched the surface everyone needs to get it. I enjoyed the chapter, for example, on Karl Polanyi and so much more. I mean, it's a big book. But my final question, John, is do you have any regrets about anyone you left out? The one person I would have liked to have been included was Rawls because of his sort of treatment of capitalism and luck as a kind of casino. I'm not sure whether you gave any thought to Rawls, but is there someone in retrospect you should have had a chapter on that you left out?John Cassidy: There are lots of people I left out. I mean, that's the problem. I mean there have been hundreds and hundreds of critics of capitalism. Rawls, of course, incredibly influential and his idea of the sort of, you know, the veil of ignorance that you should judge things not knowing where you are in the income distribution and then—Andrew Keen: And it's luck. I mean the idea of some people get lucky and some people don't.John Cassidy: It is the luck of the draw, obviously, what card you pull. I think that is a very powerful critique, but I just—because I am more of an expert on economics, I tended to leave out philosophers and sociologists. I mean, you know, you could say, where's Max Weber? Where are the anarchists? You know, where's Emma Goldman? Where's John Kenneth Galbraith, the sort of great mid-century critic of American industrial capitalism? There's so many people that you could include. I mean, I could have written 10 volumes. In fact, I refer in the book to, you know, there's always been a problem. G.D.H. Cole, a famous English historian, wrote a history of socialism back in the 1960s and 70s. You know, just getting to 1850 took him six volumes. So, you've got to pick and choose, and I don't claim this is the history of capitalism and its critics. That would be a ridiculous claim to make. I just claim it's a history written by me, and hopefully the people are interested in it, and they're sufficiently diverse that you can address all the big questions.Andrew Keen: Well it's certainly incredibly timely. Capitalism and its critics—more and more of them. Sometimes they don't even describe themselves as critics of capitalism when they're talking about oligarchs or billionaires, they're really criticizing capitalism. A must read from one of America's leading journalists. And would you call yourself a critic of capitalism, John?John Cassidy: Yeah, I guess I am, to some extent, sure. I mean, I'm not a—you know, I'm not on the far left, but I'd say I'm a center-left critic of capitalism. Yes, definitely, that would be fair.Andrew Keen: And does the left need to learn? Does everyone on the left need to read the book and learn the language of anti-capitalism in a more coherent and honest way?John Cassidy: I hope so. I mean, obviously, I'd be talking my own book there, as they say, but I hope that people on the left, but not just people on the left. I really did try to sort of be fair to the sort of right-wing critiques as well. I included the Carlyle chapter particularly, obviously, but in the later chapters, I also sort of refer to this emerging critique on the right, the sort of economic nationalist critique. So hopefully, I think people on the right could read it to understand the critiques from the left, and people on the left could read it to understand some of the critiques on the right as well.Andrew Keen: Well, it's a lovely book. It's enormously erudite and simultaneously readable. Anyone who likes John Cassidy's work from The New Yorker will love it. Congratulations, John, on the new book, and I'd love to get you back on the show as anti-capitalism in America picks up steam and perhaps manifests itself in the 2028 election. Thank you so much.John Cassidy: Thanks very much for inviting me on, it was fun.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

The Ancient Oriental Order of Ishmael surfaced in 1872, the transcription of Victorian-era Mason and esotericist Ken MacKenzie (the transcriber/author of the z-ciphers used in founding the Golden Dawn). Prominent Masons and esotericists of the era, including the likes of Robert Wentworth Little and William Wynn Westcott were members. Support the showwww.rockymountainmason.comwww.esotericmason.comSupport the show: https://patreon.com/rockymountainmason?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link

In Episode 31 of Undercurrents of Romance, Tracey Devlyn sits down with USA Today bestselling author Mimi Matthews to discuss her new Victorian historical romance, RULES FOR RUIN. She's trained to topple the patriarchy. He's poised to protect his criminal empire. In RULES FOR RUIN, Mimi Matthews delivers a razor-sharp Victorian romance packed with enemies-to-lovers tension, underworld intrigue, and a slow-burn attraction that could unravel everything—especially their hearts. Love this episode? Rate it ⭐️ Thumbs Up

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 hosts are Paul Marden and Andy Povey.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. Show references:  Anna Preedy, Director M+H Showhttps://show.museumsandheritage.com/https://www.linkedin.com/in/annapreedy/Jon Horsfield, CRO at Centegra, a Cinchio Solutions Partnerhttps://cinchio.com/uk/https://www.linkedin.com/in/jon-horsfield-957b3a4/Dom Jones, CEO, Mary Rose Trust https://maryrose.org/https://www.linkedin.com/in/dominicejones/https://www.skipthequeue.fm/episodes/dominic-jonesPaul Woolf, Trustee at Mary Rose Trusthttps://maryrose.org/https://www.linkedin.com/in/paul-woolf/Stephen Spencer, Ambience Director, Stephen Spencer + Associateshttps://www.stephenspencerassociates.com/https://www.linkedin.com/in/customerexperiencespecialist/https://www.skipthequeue.fm/episodes/stephen-spencerSarah Bagg, Founder, ReWork Consultinghttps://reworkconsulting.co.uk/https://www.linkedin.com/in/sarahbagg/https://www.skipthequeue.fm/episodes/sarah-baggJeremy Mitchell, Chair of Petersfield Museum and Art Galleryhttps://www.petersfieldmuseum.co.uk/https://www.linkedin.com/in/jeremy-mitchell-frsa-4529b95/Rachel Kuhn, Associate Director, BOP Consultinghttps://www.bop.co.uk/https://www.linkedin.com/in/kuhnrachel/  Transcriptions:Paul Marden: Welcome to Skip the Queue, the podcast for people working in and working with visitor attractions. You join me today, out and about yet again. This time I am in London at Olympia for the Museums and Heritage Show. Hotly anticipated event in everybody's diary. We all look forward to it. Two days of talks and exhibitions and workshops. Just a whole lot of networking and fun. And of course, we've got the M and H awards as well. So in this episode, I am going to be joined by a number of different people from across the sector, museum and cultural institution professionals, we've got some consultants, we've got some suppliers to the industry, all pretty much giving us their take on what they've seen, what they're doing and what their thoughts are for the year ahead. So, without further ado, let's meet our first guest. Andy Povey: Hi, Anna. Welcome to Skip the Queue. Thank you for giving us some of your time on what must be a massively busy day for you. I wonder if you could just tell the audience who you are, what you do, a little bit about what museums and heritage is, because not everyone listening to the podcast comes from the museum sector. Anna Preedy: Andy, thanks. This is a great opportunity and always really lovely to see your happy smiley face at the Museums and Heritage Show. So M and H, as we're often referred to as, stands for Museums and Heritage and we're a small business that organises the principal trade exhibition for the Museums and Heritage sector that could be broadened, I suppose, into the cultural sector. We also have the awards ceremony for the sector and an online magazine. So we are Museums and Heritage, but we're often referred to as M and H and we've been around for a very long time, 30 plus years. Andy Povey: Oh, my word. Anna Preedy: I know. Andy Povey: And what's your role within the organisation? Your badge says Event Director today. That's one of many hats. Anna Preedy: I'm sure it is one of many hats because we're a very small team. So I own and manage the events, if you like. M and H is my baby. I've been doing it for a very long time. I feel like I'm truly immersed in the world of museums and heritage and would like to think that as a result of that, I kind of understand and appreciate some of the issues and then bring everyone together to actually get in the same room and to talk them through at the show. So, yeah, that's what we're about, really. Andy Povey: In a shorthand and obviously the show. We're in the middle of West London. It's a beautifully sunny day here at Olympia. The show is the culmination, I suppose of 12 months of work. So what actually goes in? What does a normal day look like for you on any month other than May? Anna Preedy: Yeah, it was funny actually. Sometimes people, I think, well, what do you do for the rest of the year? You just turn up to London for a couple of days, just turn up delivering an event like this. And also our award scheme is literally three, six, five days of the year job. So the moment we leave Olympia in London, we're already planning the next event. So it really is all encompassing. So I get involved in a lot. As I say, we're a small team, so I'm the person that tends to do most of the programming for the show. So we have 70 free talks. Everything at the show is free to attend, is free to visit. So we have an extensive programme of talks. We have about 170 exhibitors. Anna Preedy: So I'm, although I have a sales team for that, I'm managing them and looking after that and working with some of those exhibitors and then I'm very much involved in our awards. So the Museums and Heritage Awards look to celebrate and reward the very best in our sector and shine the spotlight on that not just in the UK but around the world. So we have a judging panel and I coordinate that. So pretty much every decision, I mean you look at the colour of the carpet, that which incidentally is bright pink, you look at the colour of the carpet here, who made the decision what colour it would be in the aisles this year it was me. So I, you know, I do get heavily involved in all the nitty gritty as well as the biggest strategic decisions. Andy Povey: Fantastic. Here on the show floor today it is really busy, there are an awful lot of people there. So this is all testament to everything that you've done to make this the success that it is. I'm sure that every exhibitor is going to walk away with maybe not a full order book, but definitely a fistful of business cards. Anna Preedy: I think that's it, what we really want. And we sort of build this event as the big catch up and we do that for a reason. And that is really to kind of give two days of the year people put those in their diary. It's a space where people can come together. So you know, there'll be people here standing on stands who obviously and understandably want to promote their product or service and are looking to generate new business. And then our visitors are looking for those services and enjoying the talks and everyone comes together and it's an opportunity to learn and network and connect and to do business in the broadest possible sense. Really. Andy Povey: No, I think that the line, the big catch up really sums the show up for me. I've been. I think I worked out on the way in this morning. It's the 15th time I've been to the show. It's one of my favourite in the year because it is a fantastic mix of the curatorial, the commercial, everything that goes into running a successful museum or heritage venue. Anna Preedy: I mean, it's funny when people ask me to summarise. I mean, for a start, it's quite difficult. You know, really, it should be museums, galleries, heritage, visitor, attractions, culture. You know, it is a very diverse sector and if you think about everything that goes into making a museum or a gallery or a historic house function, operate, engage, it's as diverse as the organisational types are themselves and we try and bring all of that together. So, you know, whether you are the person that's responsible for generating income in your organisation, and perhaps that might be retail or it might be catering, it could be any. Any stream of income generation, there's going to be content for you here just as much as there's going to be content for you here. Anna Preedy: If you are head of exhibitions or if you are perhaps wearing the marketing hat and actually your job is, you know, communications or audience development, we try and represent the sector in its broadest scope. So there is something for everyone, quite. Andy Povey: Literally, and that's apparent just from looking on the show floor. So with all of your experience in the museum sector, and I suppose you get to see. See quite an awful lot of new stuff, new products. So what are you anticipating happening in the next sort of 6 to 12 months in our sector? Anna Preedy: I mean, that's a big question because, you know, going back to what were just saying, and the kind of different verticals, if you like, that sit within the sector, but I think the obvious one probably has to be AI, and the influence of that. I'm not saying that's going to change everything overnight. It won't, but it's. You can see the ripples already and you can see that reflected out here on the exhibition floor with exhibitors, and you can also see it in our programme. So this sort of AI is only, you know, one aspect of, you know, the bigger, wider digital story. But I just think it's probably more about the sector evolving than it is about, you know, grand sweeping changes in any one direction. Anna Preedy: But the other thing to say, of course, is that as funding gets more the sort of the economic landscape, you know, is tough. Undeniably so. So generating revenue and finding new ways to do that and prioritising it within your organisation, but not at the expense of everything else that's done. And it should never be at the expense of everything else that's done. And it's perfectly possible to do both. Nobody's suggesting that it's easy, nothing's easy but, you know, it's possible. Anna Preedy: And I think the show here, and also what we do online in terms of, you know, news and features, all of that, and what other organisations are doing in this sector, of course, and the partners we work with, but I think just helping kind of bridge that gap really, and to provide solutions and to provide inspiration and actually, you know, there's no need to reinvent the wheel constantly. Actually, I think it was somebody that worked in the sector. I'm reluctant to names, but there was somebody I remember once saying, well, know, stealing with glee is kind of, you know, and I think actually, you know, if you see somebody else is doing something great and actually we see that in our wards, you know, that's the whole point. Let's shine a spotlight on good work. Well, that might inspire someone else. Anna Preedy: It's not about ripping something off and it's not absolute replication. But actually, you know, scalable changes in your organisation that may have been inspired by somebody else's is only a good thing as well. Andy Povey: It's all that evolutionary process, isn't it? So, great experience. Thank you on behalf of everybody that's come to the show today. Anna Preedy: Well, thank you very much. I love doing it, I really genuinely do and there is nothing like the buzz of a busy event. Jon Horsfield: Yeah, My name is Jon Horsfield, I'm the Chief Revenue Officer of Cincio Solutions. Andy Povey: And what does Cincio do? Jon Horsfield: We provide F and B technology, so kiosks, point of sale payments, kitchen systems, inventory, self checkout to the museums, heritage zoos, aquariums and hospitality industries. Andy Povey: Oh, fantastic. So I understand this is your first time here at the Museums and Heritage Show. Jon Horsfield: It is our first time. It's been an interesting learning curve. Andy Povey: Tell me more. Jon Horsfield: Well, our background is very much within the hospitality. We've been operating for about 20 to 23 years within the sort of high street hospitality side of things. Some of our London based listeners may have heard of Leon Restaurants or Coco Di Mama, we've been working with them for over 20 years. But we're looking at ways of bringing that high street technology into other industries and other Verticals and the museums and heritage is a vertical that we've identified as somewhere that could probably do with coming into the 21st century with some of the technology solutions available. Andy Povey: I hear what you're saying. So what do you think of the show? What are your first impressions? Give me your top three tips. Learning points. Jon Horsfield: Firstly, this industry takes a long time to get to know people. It seems to be long lead times. That's the first learning that we've had. Our traditional industry in hospitality, people will buy in this industry. It's going to take some time and we're happy about that. We understand that. So for us, this is about learning about know about how the industry works. Everybody's really friendly. Andy Povey: We try. Yeah. Jon Horsfield: That's one of the first things that we found out with this. This industry is everybody is really friendly and that's quite nice. Even some of our competitors, we're having nice conversations with people. Everybody is really lovely. The third point is the fact that I didn't know that there were so many niche markets and I found out where my mother buys her scarves and Christmas presents from. So it's been really interesting seeing the different types of things that people are looking for. We've sort of noticed that it's really about preservation. That's one of the main areas. There's a lot of things about preservation. Another one is about the display, how things are being displayed, and lots of innovative ways of doing that. But also the bit that we're really interested in is the commercialization. Jon Horsfield: There's a real push within the industry to start to commercialise things and bring in more revenue from the same people. Andy Povey: Yeah, yeah. I mean, that's all about securing the destiny so that you're not reliant on funding from external parties or government and you taking that control. So what do you do at Centrio that helps? Jon Horsfield: Well, first of all. First of all, I would say the efficiencies that we can bring with back office systems integrations. We're very well aware of what we do, we're also aware of what we don't do. So, for example, we're not a ticketing provider, we're a specialist retail and F and B supplier. So it's about building those relationships and actually integrating. We've got a lot of integrations available and we're very open to that. So that's the first thing. But one of the key things that we're trying to bring to this industry is the way that you can use technology to increase revenue. So the kiosks that we've got here, it's proven that you'll get a minimum average transaction value increase of 10 to 15%. Andy Povey: And what do you put that down to? Jon Horsfield: The ability to upsell. Okay, with kiosks, as long as, if you put, for example, with a burger, if you just have a nice little button, say would you like the bacon fries with that? It's an extra few pounds. Well, actually if you've got an extra few pounds on every single transaction, that makes an incredible difference to the bottom line. From the same number of customers. Some of our clients over in the USA have seen an ATV increase above to 60% with the use of kiosks. Andy Povey: And that's just through selling additional fries. Jon Horsfield: Exactly. People will. I went to a talk many years ago when people started to adopt kiosks and the traditional thing is the fact that people will order two Big Macs and a fries to a kiosk, but when you go face to face, they will not order two Big Macs and a fries. Andy Povey: So you're saying I'm a shy fatty who's basically. Jon Horsfield: Absolutely not. Absolutely not, Andy. Absolutely not. So that's really what it's about. It's about using the sort of the high street technology and applying that to a different industry and trying to bring everybody along with us. Dominic Jones: And you need to listen to the Skip the Queue. It's the best podcast series ever. It'll give you this industry. Paul Marden: Perfect. That was a lovely little sound bite. Dom, welcome. Dominic Jones: It's the truth. It's the truth. I love Skip the Queue. Paul Marden: Welcome back to Skip the Queue. Paul, welcome. For your first time, let's just start with a quick introduction. Dom, tell everybody about yourself. Dominic Jones: So I'm Dominic Jones, I'm the chief executive of the Mary Rose Trust and I'm probably one of Skip the Queue's biggest fans. Paul Marden: I love it. And biggest stars. Dominic Jones: Well, I don't know. At one point I was number one. Paul Marden: And Paul, what about yourself? What's your world? Paul Woolf: Well, I'm Paul Woolf, I've just joined the Mary Rose as a trustee. Dom's been kind of hunting me down politely for a little bit of time. When he found out that I left the King's Theatre, he was very kind and said, right, you know, now you've got time on your hands, you know, would you come over and help? So yeah, so my role is to support Dom and to just help zhuzh things up a bit, which is kind of what I do and just bring some new insights into the business and to develop It a bit. And look at the brand, which is where my skills. Dominic Jones: Paul is underselling himself. He is incredible. And the Mary Rose Trust is amazing. You haven't visited. You should visit. We're in Portsmouth Historic Dock blog. But what's great about it is it's about attracting great people. I'm a trustee, so I'm a trustee for good whites. I'm a trustee for pomp in the community. I know you're a trustee for kids in museums. I love your posts and the fact that you come visit us, but it's about getting the right team and the right people and Paul has single handedly made such a difference to performance art in the country, but also in Portsmouth and before that had a massive career in the entertainment. So we're getting a talent. It's like getting a Premiership player. And we got Paul Woolf so I am delighted. Dominic Jones: And we brought him here to the Museum Heritage show to say this is our industry because we want him to get sucked into it because he is going to be incredible. You honestly, you'll have a whole episode on him one day. Paul Marden: And this is the place to come, isn't it? Such a buzz about the place. Paul Woolf: I've gone red. I've gone red. Embarrassed. Paul Marden: So have you seen some talks already? What's been impressive for you so far, Paul? Paul Woolf: Well, we did actually with the first talk we were listening to was all about touring and reducing your environmental impact on touring, which is quite interesting. And what I said there was that, you know, as time gone by and we had this a little bit at theatre actually. But if you want to go for grant funding today, the first question on the grant funding form, almost the first question after the company name and how much money you want is environmental impact. Paul Marden: Yeah, yeah. Paul Woolf: And so if you're going tour and we're looking now, you know, one of the things that Dom and I have been talking about is, you know, Mary Rose is brilliant. It's fantastic. You know, it's great. It's in the dockyard in Portsmouth and you know, so. And, and the Andes, New York, you know, everywhere. Dominic Jones: Take her on tour. Paul Woolf: Why isn't it on tour? Yeah. Now I know there are issues around on tour. You know, we've got the collections team going. Yeah, don't touch. But nonetheless it was interesting listening to that because obviously you've got to. Now you can't do that. You can't just put in a lorry, send it off and. And so I thought that was quite interesting. Dominic Jones: Two, it's all the industry coming together. It's not about status. You can come here as a student or as a CEO and you're all welcome. In fact, I introduced Kelly from Rubber Cheese, your company, into Andy Povey and now you guys have a business together. And I introduced them here in this spot outside the men's toilets at Museum and Heritage. Paul Woolf: Which is where we're standing, by the way. Everybody, we're outside the toilet. Dominic Jones: It's the networking, it's the talks. And we're about to see Bernard from ALVA in a minute, who'll be brilliant. Paul Marden: Yes. Dominic Jones: But all of these talks inspire you and then the conversations and just seeing you Andy today, I'm so delighted. And Skip the Queue. He's going from strength to strength. I love the new format. I love how you're taking it on tour. You need to bring it to the May Rose next. Right. Paul Marden: I think we might be coming sometimes soon for a conference near you. Dominic Jones: What? The Association of Independent Museums? Paul Marden: You might be doing an AIM conference with you. Dominic Jones: Excellent. Paul Marden: Look, guys, it's been lovely to talk to you. Enjoy the rest of your day here at M and H. Paul Marden: Stephen, welcome back to Skip the Queue. Stephen Spencer: Thank you very much. Paul Marden: For listeners, remind them what you do. Stephen Spencer: So I'm Stephen Spencer. My company, Stephen Spencer Associates, we call ourselves the Ambience Architects because we try to help every organisation gain deeper insight into the visitor experience as it's actually experienced by the visitor. I know it sounds a crazy idea, really, to achieve better impact and engagement from visitors and then ultimately better sustainability in all senses for the organisation. Paul Marden: For listeners, the Ambience Lounge here at M and H is absolutely rammed at the moment. Stephen Spencer: I'm trying to get in myself. Paul Marden: I know, it's amazing. So what are you hoping for this networking lounge? Stephen Spencer: Well, what we're aiming to do is create a space for quality conversations, for people to meet friends and contacts old and new, to discover new technologies, new ideas or just really to come and have a sounding board. So we're offering free one to one advice clinic. Paul Marden: Oh, really? Stephen Spencer: Across a whole range of aspects of the visitor journey, from core mission to revenue generation and storytelling. Because I think, you know, one of the things we see most powerfully being exploited by the successful organisations is that kind of narrative thread that runs through the whole thing. What am I about? Why is that important? Why should you support me? How do I deliver that and more of it in every interaction? Paul Marden: So you're Having those sorts of conversations here with people on a one to one basis. Stephen Spencer: Then we also are hosting the structured networking event. So all of the sector support organisations that are here, they have scheduled networking events when really people can just come and meet their peers and swap experiences and again find new people to lean on and be part of an enriched network. Paul Marden: Absolutely. So we are only half a day in, not even quite half a day into a two day programme. So it's very early to say, but exciting conversations, things are going in the direction that you hoped for. Stephen Spencer: Yes, I think, I mean, we know that the sector is really challenged at the moment, really, the fact that we're in now such a crazy world of total constant disruption and uncertainty. But equally we offer something that is reassuring, that is enriching, it's life enhancing. We just need to find better ways to, to do that and reach audiences and reach new audiences and just keep them coming back. And the conversations that I've heard so far have been very much around that. So it's very exciting. Paul Marden: Excellent. One of themes of this episode that we'll be talking to lots of people about is a little bit of crystal ball gazing. You're right, the world is a hugely, massively disrupted place at the moment. But what do you see the next six or 12 months looking like and then what does it look like for the sector in maybe a five year time horizon? Stephen Spencer: Okay, well, you don't ask easy questions. So I think there will be a bit of a kind of shaking down in what we understand to be the right uses of digital technology, AI. I think we see all the mistakes that were made with social media and what it's literally done to the world. And whilst there are always examples of, let's say, museums using social media very cleverly and intelligently, we know that's against the backdrop of a lot of negativity and harm. So why would we want to repeat that, for example, with generative AI? Paul Marden: Indeed. Stephen Spencer: So I heard a talk about two years ago at the VAT conference about using AI to help the visitor to do the stuff that is difficult for them to do. In other words, to help them build an itinerary that is right for them. And I think until everyone is doing that, then they should be very wary of stepping off the carpet to try and do other things with it. Meanwhile, whilst it's an immersive experience, it is not just sitting in, you know, with all respect to those that do this, A, you know, surround sound visual box, it is actually what it's always been, which is meeting real people in authentic spaces and places, you know, using all the senses to tell stories. So I think we will need to see. Stephen Spencer: I've just been given a great coffee because that's the other thing we're offering in the coffee. It's good coffee. Not saying you can't get anywhere else in the show, just saying it's good here. Yeah. I think just some realism and common sense creeping into what we really should be using these technologies for and not leaving our visitors behind. I mean, for example, you know, a huge amount of the natural audience for the cultural sector. You know, people might not want to hear it, but we all know it's true. It's older people. And they aren't necessarily wanting to have to become digital natives to consume culture. So we shouldn't just say, you know, basically, unless you'll download our app, unless you'll do everything online, you're just going to be left behind. That's crazy. It doesn't make good business sense and it's not right. Stephen Spencer: So I just think some common sense and some. Maybe some regulation that will happen around uses of AI that might help and also, you know, around digital harms and just getting back to some basics. I was talking to a very old colleague earlier today who had just come back from a family holiday to Disney World, and he said, you know, you can't beat it, you cannot beat it. For that is immersive. Paul Marden: Yeah, absolutely. But it's not sealed in a box. Stephen Spencer: No, no. And it really. It's a bit like Selfridges. I always took out. My favourite store is Selfridges. It still does what Harry Gordon Selfridge set out to do. He said, "Excite the mind and the hand will reach for the pocket." I always say. He didn't say excite the eye, he said, excite the mind. Paul Marden: Yeah. Stephen Spencer: The way you do that is through all the senses. Paul Marden: Amazing. Stephen Spencer: And so, you know, digital. I'm sure he'd be embracing that. He would be saying, what about the rest of it? Paul Marden: How do you add the human touch to that? Yeah. I was at Big Pit last week. Stephen Spencer: As they reopened, to see this. Yeah. Paul Marden: And it was such an amazing experience walking through that gift shop. They have so subtly brought the museum into the gift shop and blended the two really well. Stephen Spencer: Yes. And I think that raises the bar. And again, if you want to make more money as a museum, you need to be embracing that kind of approach, because if you just carry on doing what you've always done, your revenue will go down. Paul Marden: Yes. Stephen Spencer: And we all know your revenue needs to go up because other. Other sources of income will be going down. Paul Marden: Sarah, welcome back to Skip the Queue last time you were here, there was a much better looking presenter than, you were in the Kelly era. Sarah Bagg: Yes, we were. Paul Marden: It's almost as if there was a demarcation line before Kelly and after Kelly. Why don't you just introduce yourself for me? Tell the listeners what it is that you do. Sarah Bagg: So I'm Sarah Bagg. I'm the founder of Rework Consulting. The last time I spoke, it wasn't that long after our launch. I think like two and a half years ago. We've just had our third birthday. Paul Marden: Wow. Sarah Bagg: Which is completely incredible. When we first launched rework, were specifically for the visitor attractions industry and focused on ticketing. Paul Marden: Yep. Sarah Bagg: So obviously we are a tech ticketing consultancy business. In the last three and a half years we've grown and now have five verticals. So attractions are one of them. Paul Marden: And who else do you work with then? Sarah Bagg: So the art, the leisure industry. So whether it be activity centres, cinemas, bowling centres and then live entertainment. So it could be anything from sports, festivals etc and the arts, like theatres or. Paul Marden: So closely aligned to your attractions. Then things that people go and do but different kinds of things loosely. Sarah Bagg: Say they're like live entertainment. Paul Marden: I like that. That's a nice description. So this must be Mecca for you to have all of these people brought together telling amazing stories. Sarah Bagg: I think how I would sum up museum and heritage today is that I think we're kind of going through a period of like being transformed, almost like back. People are reconstructing, connecting with real experiences and with people. Paul Marden: Yeah. Sarah Bagg: And I would like to think that tech is invisible and they're just to support the experience. I think there's a lot of things that are going on at the moment around, you know, bit nostalgia and people dragging themselves back to the 90s. And there's a lot of conversations about people and customer service and experience. And although technology plays a huge part in that, I would still like to think that people come first and foremost, always slightly weird from a technology consultant. Paul Marden: Well, nobody goes to a visitor attraction to be there on their own and interact with technology. That's not the point of being there. Yeah. Interesting talks that you've been today. Sarah Bagg: I think one of my favourite was actually one of the first of the day, which was about. Of how do you enhance the visitor experience through either like music and your emotions and really tapping into how you feel through, like all your different senses. Which was one of Stephen's talks which I really enjoyed. Paul Marden: That's really interesting. Sarah Bagg: I think if people like look at the visitor industry and across the board, that's why I'm so keen to stay, like across four different sectors, we can learn so much pulling ideas from like hospitality and restaurants and bars.Paul Marden: Completely. Sarah Bagg: Even if you think about like your best, there's a new bar there, so you can not very far from my home in Brighton and the service is an amazing. And the design of the space really caters for whether you're in there with 10 people or whether you're sat at the bar on your own. It doesn't exclude people, depending on what age you are or why you gone into the bar. And I think we can learn a lot in the visitor attractions industry because there's been a lot of talk about families today. I don't have children and I think that there, you need. Sarah Bagg: We need to think more about actually that lots of other people go to visitor attractions Paul Marden: Completely. Sarah Bagg: And they don't necessarily take children and they might want to go on their own. Yes, but what are we doing to cater for all of those people? There's nothing. Paul Marden: How do you make them feel welcome? How do you make them feel like they're a first class guest? The same as everybody else. Yeah. So where do you see the sector going over the next few years based on what you've seen today? Sarah Bagg: I think there'll be a lot more diversification between sectors. There's definitely a trend where people have got their assets. You know, like if you're looking at things like safari parks and zoos, places that have already got accommodation, but maybe like stately houses where there used to be workers that were living in those cottages or whatever, that they're sweating their assets. I think it would be interesting to see where tech takes us with that because there has been a tradition in the past that if you've got like, if your number one priority to sell is being like your hotel, then you would have like a PMS solution. But if it's the other way around, your number one priority is the attraction or the venue and you happen to have some accommodation, then how is that connecting to your online journey? Sarah Bagg: Because the last thing you want is like somebody having to do two separate transactions. Paul Marden: Oh, completely drives me crazy. Sarah Bagg: One thing I would also love to see is attractions thinking beyond their 10 till 6 opening hours completely. Because some days, like restaurants, I've seen it, you know, maybe they now close on Mondays and Tuesdays so they can give their staff a day off and they have different opening hours. Why are attractions still fixated in like keeping these standard opening hours? Because actually you might attract a completely different audience. There used to be a bit of a trend for like doing museum late. So I was speaking to a museum not very long ago about, you know, do they do like morning tours, like behind the scenes, kind of before it even opens. And I think the museum particularly said to me, like, "Oh, we're fine as we are.". Paul Marden: I've never met a museum that feels fine where it is at the moment. Sarah Bagg: But I guess the one thing I would love to see if I could sprinkle my fairy dus. Paul Marden: Come the revolution and you're in charge. Sarah Bagg: And it's not like, it's not even like rocket science, it's more investment into training and staff because the people that work in our industry are like the gold, you know, it's not tech, it's not pretty set works, it's not like fancy display cases. Yes, the artefacts and stuff are amazing. Paul Marden: But the stories, the people stuff. Yeah. Sarah Bagg: Give them empowerment and training and make the customer feel special. Paul Marden: Yes. Sarah Bagg: When you leave, like you've had that experience, you're only ever going to get that from through the people that you interact with completely. Paul Marden: Jeremy, hello. Welcome to Skip the Queue. We are, we are being slightly distracted by a dinosaur walking behind us. Such is life at M and H show. Jeremy Mitchell: Yeah. Paul Marden: So. Jeremy Mitchell: Well, anything to do with museums and dinosaurs, always great crowd pleasers. Paul Marden: Exactly, exactly. So is this your first time at M and H or have you been before? Jeremy Mitchell: Been before, but probably not for 10 years or more. It was, yes. I remember last time I came the theatres were enclosed so they were partitioned all the way around. Paul Marden: Right. Jeremy Mitchell: But because it's so popular now that would not just not would not work. It's a long time ago. It shows how long I've been volunteering. Paul Marden: In museums, doesn't it? So for our listeners, Jeremy, just introduce yourself and tell everyone about the role that you've got at the Petersfield Museum. Jeremy Mitchell: Okay, so I'm Jeremy Mitchell. I'm a trustee at Petersfield Museum now Petersfield Museum and Art Gallery. I'm actually now chair of trustees. Paul Marden: Paint a little picture for us of Petersfield Museum then. What could someone expect if they came to you? Apart from, as I understand, a very good cup of coffee. Jeremy Mitchell: A very good cup of coffee. Best in Petersfield. And that's not bad when there are 32 competitors. You'll get a little bit of everything you'll get a bit of. You'll get the story of Petersfield, but you'll get so much more. We've got collections of costume going back to the mid 18th century. We've got work of a local artist, Flora Torte, one of those forgotten female artists from between the wars. She's a story that we will be exploring. We've got, in partnership with the Edward Thomas Fellowship, a big archive of books and other artefacts by and about Edward Thomas, who was a poet, writer, literary critic. He's one of the poets killed in the First World War. But he's not well known as a war poet because he was writing about the impact of war on life at home. Jeremy Mitchell: So he's now more well known as a nature poet. Paul Marden: So you're telling the story not just of the place, you're telling the story of the people that have produced great art or had an impact on Petersfield. Jeremy Mitchell: Yes. And their networks and how they might relate to Petersfield in turn. And we've got the costume collection I mentioned going back to the mid 18th century, which came from Bedale School. They've all got stories to them. Paul Marden: Interesting. Jeremy Mitchell: This came from Bedale School, which is a private school on the edge of Petersfield. It was actually collected by their drama teacher between the 1950s and the 1970s. Paul Marden: Wow. Jeremy Mitchell: Because she believed in authenticity. So if she was putting on a 19th century production, she would want genuine 19th century clothes. Paul Marden: Let me tell you, my drama productions in a 1980s comprehensive did not include authentic 19th century costumes. Jeremy Mitchell: If were doing something like that at school, their parents would have been, all right, go down to the jumble sale, buy some material, make something that looks something like it. Paul Marden: Yeah. Jeremy Mitchell: But no, she was, well, if you haven't got anything in your attic that's suitable, please send me some money because there's a sale at Sotheby's in three months. Time off costume from the period. Paul Marden: Excellent. Jeremy Mitchell: And we've got some lovely pieces in there. When we put on the Peggy Guggenheim exhibition, which is what were talking about earlier today here, were able to bring in costume from the 1930s, Chanel dress, other high quality, not. Not necessarily worn by Peggy Guggenheim, but her. Paul Marden: Authentic of the period. Jeremy Mitchell: Authentic of the period. But her son was at Bedale, so she could have been asked to donate. Paul Marden: So. Okay. Jeremy Mitchell: Highly unlikely, but it was similar to items that she had been photographed in or would have been. Would have been wearing. Paul Marden: So tell me about the. The presentation. How was that? Jeremy Mitchell: It went so quickly. Paul Marden: Oh, yes. You get in the zone don't you? Jeremy Mitchell: You get in the zone. But it flowed and Louise was great. Louise had done the bulk of the. The work. She prepared the presentation that visually told the story of the exhibition and its outcomes and impacts. And I filled in the boring book, I call it the BBC, the boring but crucial. How we funded it, how we organised the project, management around it, the planning and getting buy in from the rest of the trustees at the beginning, because it was potentially a big financial commitment if we hadn't been able to fund it. Paul Marden: Isn't it interesting? So coming to an event like this is always. There's always so much to learn, it's always an enriching experience to come. But it's a great opportunity, isn't it, for a small museum and art gallery such as Petersfield? It feels a little bit like you're punching above your weight, doesn't it, to be invited onto this stage to talk about it. But really you're telling this amazing story and it's of interest to everybody that's here. Jeremy Mitchell: We want to share it. If we've been able to do it, then why can't they? Why can't you? Why can't we all do it? And yes, you need the story, but if you dig deep enough, those stories are there. Paul Marden: Absolutely, Absolutely. One of the things that is a real common conversation here, M and H, is looking forward, crystal ball gazing, talking. There's challenges in the sector, isn't there? There's lots of challenges around funding and I guess as a small museum, you must feel those choppy waters quite acutely. Jeremy Mitchell: Definitely. I mean, we're an independent museum, so we're not affected by spending cuts because we don't get any funding from that area. But the biggest challenge is from the funding perspective. Yes, we have a big income gap every year that we need to bridge. And now that so much more of the sector is losing what was its original core funding, they're all fishing in the same pond as us and they've got. Invariably they've got a fundraising team probably bigger than our entire museum team, let alone the volunteer fundraiser that we've got. So, yes, it is a challenge and you are having to run faster just to stand still. The ability to put on an exhibition like Peggy Guggenheim shows that we are worth it. Paul Marden: Yes, absolutely. Jeremy Mitchell: And the Guggenheim was funded by Art Fund Western loan programme and an Arts Council project grant. And it was a large Arts Council project grant. Paul Marden: So although everyone's fishing in the same pond as you're managing to yeah. To stretch my analogy just a little bit too far, you are managing to. To get some grant funding and. Jeremy Mitchell: Yes. Paul Marden: And lift some tiddlers out the pond. Jeremy Mitchell: Yes. But it was quite clear that with Peggy it was a story that had to be told. Paul Marden: So we talked a little bit about challenging times. But one of the big opportunities at M and H is to be inspired to think about where the opportunities are going forwards. You've had a day here today. What are you thinking as inspiration as next big things for Petersfield Museum. Jeremy Mitchell: I'm finding that really difficult because we're small, we're a small site, Arkansas, I think has got to be a way forward. I miss the talk. But they're all being recorded. Paul Marden: Yes. Jeremy Mitchell: So I shall be picking that one up with interest. But AR is something. We've got police cells. Well, we've got a police cell. Paul Marden: Okay. Jeremy Mitchell: Now, wouldn't it be great to tell an augmented reality story of Victorian justice to kids? Paul Marden: Yes. Jeremy Mitchell: While they're sat in a victory in a Victorian police cell on a hard wooden bench. That is the original bench that this prisoners would have slept on. Paul Marden: I've done enough school visits to know there's enough kids that I could put in a jail just to keep them happy or to at least keep them quiet whilst the rest of us enjoy our visit. Yes. I feel like I need to come to Petersfield and talk more about Peggy because I think there might be an entire episode of Skip the Queue to talk just about putting on a big exhibition like that. Jeremy Mitchell: Yeah, no, definitely. If you drop me an email you can skip the queue and I'll take you around. Paul Marden: Oh lovely, Rachel, welcome to Skip the Queue. You join me here at M and H show. And we've taken over someone's stand, haven't we? I know, it feels a bit weird, doesn't it? Rachel Kuhn: I feel like we're squatting but I. Paul Marden: Feel a little bit like the Two Ronnies, cuz we're sat behind the desk. It's very strange. Which one are you? Anyway, just for listeners. Introduce yourself for me. Tell listeners what it is that you do at BOP Consulting. Rachel Kuhn: Yeah, so I'm Rachel Kuhn, I'm an associate director at BOP and we specialise in culture and the creative economy and kind of working across everything that is to do with culture and creative economy globally. But I lead most of our strategy and planning projects, particularly in the UK and Ireland, generally working with arts, heritage, cultural organisations, from the very earliest big picture strategy through to real nitty gritty sort of operational plans and outside of bop. I'm a trustee for Kids in Museums, where we love to hang, and also a new trustee with the Postal Museum. Paul Marden: Given what you do at bop, this must be like the highlight of the year for you to just soak up what everybody is doing. Rachel Kuhn: I love it. I mean, it's so lovely just going around, chatting to everybody, listening in on the talks and I think that spirit of generosity, you know, like, it just comes across, doesn't it? And it just reminds me why I love this sector, why I'm here. You know, everyone wants to, you know, contribute and it's that whole sort of spirit of what do they say? We know when the tide rises, so do all the boats or all the ships. And I feel like that's the spirit here and it's lovely. Paul Marden: It is such a happy place and it's such a busy, vibrant space, isn't it? What have been the standout things for you that you've seen today? Rachel Kuhn: I think probably on that spirit of generosity. Rosie Baker at the founding museum talking about the incredible work they've done with their events, hires, programmes. Obviously got to give a shout out to the Association of Cultural Enterprise. I've been doing a lot of hanging out there at their stage day. So Gurdon gave us the rundown of the benchmarking this morning. Some really good takeaways from that and Rachel Mackay, I mean, like, obviously. Paul Marden: Want to go into. Rachel Kuhn: You always want to see her. Really good fun, but lovely to hear. She's talking about her strategy, the Visitor Experience strategy. And you know what, I spend so much time going into places looking at these sub strategies, like visual experience strategies that just haven't been written in alignment with the overall strategy. So it's lovely to see that linking through, you know, and obviously I'm from a Visitor Experience background, so hugely passionate about the way that Visitor Experience teams can make visitors feel the organization's values. And that alignment was really impressive. So, yeah, really lovely and loads of great takeaways from all those talks. Paul Marden: I will just say for listeners, all of these talks have been recorded, so everyone's going to be able to download the materials. It take a couple of weeks before they were actually published. But one of the questions that I've asked everybody in these vox pops has been, let's do some crystal ball gazing. It's. It stinks at the moment, doesn't it? The, the, the economy is fluctuating, there is so much going on. What do you see 6 to 12 month view look like? And then let's really push the boat out. Can we crystal ball gaze maybe in five years? Rachel Kuhn: Yeah.  I mean, look, I think the whole problem at the moment and what's causing that sort of nervousness is there's just a complete lack of surety about loads of things. You know, in some ways, you know, many organisations have welcomed the extension for the MPO round, the current round, but for many, you know, that's just pushed back the opportunity to get in on that round that little bit further away. It's caused that sort of nervousness with organisations are having to ride on with the same funding that they asked for some years ago that just doesn't, you know, match, you know, and it's actually a real time cut for them. Paul Marden: Absolutely. Rachel Kuhn: So I think, very hard to say, I don't know that there's much I can say. I feel like as at sea as everyone else, I think about what the landscape looks like in the next six months, but I think that never has there been, you know, a better time than something like this like the M and H show. You know, this is about coming together and being generous and sharing that information and I think reaching out to each other and making sure that we're sort of cross pollinating there. There's so much good stuff going on and we've always been really good at that and I think sometimes when we're feeling a bit down, it feels like, oh, I just don't want to go to something like this and meet others and, you know, get into a bit of a misery cycle. Rachel Kuhn: But actually it's so uplifting to be at something like this. And I think, you know, what we've seen here is at the show today, I think, is organisations being really generous with their experience and their expertise. Suppliers and consultants and supporters of the sector being really generous with their time and their expertise and actually just shows just spending a bit of time with each other, asking things of each other. We've just got loads of stuff to share and we're all really up for it. And I think that generosity is so critical and I mean, obviously I'm going to plug, I've got to plug it. Rachel Kuhn: So, you know, if you are a supplier, if you are a commercial business working in this sector, it might be tough times for you, but it's certainly nowhere near as hard as it is for the arts and cultural heritage organisations in the sector. You know, reach out to them and see how you can support them and help them. I mean, you and I have both been on a bit of a drive recently to try and drum up some sponsorship and corporate support for kids in museums who, you know, an Arts council MPO who we're incredible, incredibly proud to represent and, you know, do reach out to us. If you've been thinking, oh, I just want to sponsor something and I'd love to sponsor us. Paul Marden: Exactly. I mean, there's loads of opportunities when you take kids in museums as an example, loads of opportunities for. And this is what Arts Council wants us to do. They want us to be more independent, to generate more of our own funding and we've got a great brand, we do some amazing work and there's lots of opportunities for those commercial organisations who align with our values to help to support us. Rachel Kuhn: So I think you asked me there about what's in the next year. So next year, six months, I don't know is the answer. I think it's just a difficult time. So my advice is simply get out there, connect, learn from each other, energise each other, bring each other up. Let's not get into that sort of doom cycle. That's very easy next five years. You know what, I've had some really interesting meetings and conversations over the last. Well, one particularly interesting one today, some other ones about some funds that might be opening up, which I think is really exciting. You know, we've seen this really big challenge with funding, you know, slowing funding going in much larger amounts to a smaller number of large organisations and that causes real problems. But I think there might be a small turnaround on that. Rachel Kuhn: I'm not crumbs in the earth. I think it's still tough times. But that was really exciting to hear about. I'm also seeing here at the show today. I've been speaking to a lot of suppliers whose their models seem to be shifting a lot. So a lot more opportunities here where it requires no investment from the attraction and a lot more sort of interesting and different types of profit share models, which I think is really interesting. So I think the other thing I'd say is if you're an attraction, don't discount partnering some of these organisations because actually, you know, go and talk to them. Rachel Kuhn: Don't just, don't just count them out because you think you haven't got anything to invest because many of them are visiting new models and the couple that I've spoken to who aren't, learn from your competitors and start doing some different models. And I think that's been really interesting to hear some very different models here for some of the products, which is really exciting. Paul Marden: It is really hard sitting on the other side of the fence, as a supplier, we need cash flow as well. We've got to pay bills and all of those sorts of things. But you're right, there are interesting ways in which we all want to have a conversation. As you say, don't sit back afraid to engage in the conversation because you've got nothing to invest, you've got an important brand, you've got an audience. Those are valuable assets that a supplier like us would want to partner with you to help you to bring a project to life. And that might be on a rev share model, it might be on a service model. There's lots of different ways you can slice it and dice it. Rachel Kuhn: And going back, on a closing note, I suppose, going back to that generosity thing, don't think because you haven't got any money to commission, you know, a supplier to the sector or a commercial company, that you can't reach out to them. Like, you know, we are in this because we really want to support these organisations. This is our passion. You know, many of us are from the sector. You know, I will always connect somebody or introduce somebody or find a way to get a little bit of pro bono happening, or, you know, many of my colleagues are on advisory committees, we're board members. And I think that's the same for so many of the companies that are, like, working with the sector. You know, reach out and ask for freebie, you know, don't ask, don't get. Paul Marden: Yeah, exactly. Rachel, it is delightful to talk to you as always. Thank you for joining us on Skip the Queue and I am sure, I'm sure we'll make this into a full episode one day soon. I do say that to everybody. Rachel Kuhn: Thanks so much. Lovely to speak to you. Paul Marden: Andy. Andy Povey: Paul.Paul Marden: We've just walked out of the M and H show for another year. What are your thoughts? Andy Povey: First, I'm exhausted, absolutely exhausted. I'm not sure that I can talk anymore because I've spent 48 hours having some of the most interesting conversations I've had all year. Paul Marden: No offence, Tonkin. Andy Povey: You were part of some of those conversations, obviously, Paul. Paul Marden: I was bowled over again by just the sheer number of people that were there and all those lovely conversations and everybody was just buzzing for the whole two days. Andy Povey: The energy was phenomenal. I worked out that something like the 15th show, M & H show that I've been to, and I don't know whether it's just recency because it's sitting in the far front of my mind at the moment, but it seems like this was the busiest one there's ever been. Paul Marden: Yeah, I can believe it. The one thing that didn't change, they're still working on Olympia. Andy Povey: I think that just goes on forever. It's like the fourth Bridge. Paul Marden: Talks that stood out to you. Andy Povey: I really enjoyed interpretation One led by the guy from the sign language education company whose name I can't remember right now. Paul Marden: Yeah, Nate. That was an amazing talk, listeners. We will be getting him on for a full interview. I'm going to solve the problem of how do I make a inherently audio podcast into something that's accessible for deaf people? By translating the podcast medium into some sort of BSL approach. So that was the conversation that we had yesterday after the talk. Andy Povey: I know. I really look forward to that. Then, of course, there was the George and Elise from Complete Works. Paul Marden: I know. They were amazing, weren't they? You couldn't tell at all that they were actors. Do you know, it was really strange when George. So there was a point in that talk that George gave where we all had a collective breathing exercise and it was just. It was. It was so brilliantly done and were all just captivated. There must have been. I rechon there was 100 people at theatre at that point. Absolutely. Because it was standing room only at the back. And were all just captivated by George. Just doing his click. Very, very clever. Andy Povey: But massively useful. I've seen the same thing from George before and I still use it to this day before going on to make a presentation myself. Paul Marden: Yeah, yeah. Andy Povey: Just grounding yourself, centering yourself. Well, it's fantastic. Paul Marden: Yeah. But the whole thing that they were talking about of how do we create opportunities to have meaningful conversations with guests when they arrive or throughout their entire experience at an attraction so that we don't just talk about the weather like we're typical English people. Andy Povey: That's great, isn't it? Go and tell a Brit not to talk. Talk about the weather. Paul Marden: But training your staff makes absolute sense. Training your staff to have the skills and the confidence to not talk about the weather. I thought that was really interesting. Andy Povey: It's an eye opener, isn't it? Something really simple, but could be groundbreaking. Paul Marden: Yeah. Andy Povey: Then what was your view on all of the exhibitors? What did you take away from all the stands and everybody? Paul Marden: Well, I loved having my conversation yesterday with Alan Turing. There was an AI model of Alan Turing that you could interact with and ask questions. And it was really interesting. There was a slight latency, so it didn't feel quite yet like a natural conversation because I would say something. And then there was a pause as Alan was thinking about it. But the things that he answered were absolutely spot on, the questions that I asked. So I thought that was quite interesting. Other exhibitors. Oh, there was a lovely point yesterday where I was admiring, there was a stand doing custom designed socks and I was admiring a design of a Jane Austen sock and there was just somebody stood next to me and I just said, "Oh, Jane Austen socks." Paul Marden: Very on Trend for the 250th anniversary of Jane Austen, that all of the museums in Hampshire will be buying those up. And should funnily you should say that I'm the chief executive of Chawton Park House, which is one of the museums in the last place that Jane Austen lived. So very interesting, very small world moment at that point. Andy Povey: I do, it's almost an oxymoron to talk about Jane Austen socks. I don't imagine her having worn anything with nylon or Lycra in it. Paul Marden: Very true. I hadn't tweaked that. Andy Povey: There was a lot of AI there wasn't there AI this, AI that. Paul Marden: And there were some really good examples of where that is being used in real life. Yeah, yeah. So there were some examples where there's AI being used to help with visitor counts around your attraction, to help you to optimise where you need to put people. I thought that Neil at Symantec just talking about what he called answer engine optimisation. That was interesting. There were some brilliant questions. There was one question from an audience member asking, are there any tools available for you to figure out whether how well your organisation is doing at being the source of truth for AI tools? Andy Povey: Yeah, yeah. So almost like your Google search engine ranking. Paul Marden: But exactly for ChatGPT. Andy Povey: And have you found one yet? Paul Marden: No, not yet. There's also quite a lot of people talking about ideas that have yet to find a home. Andy Povey: Yes. What a very beautiful way of putting it. Paul Marden: The people that have. That are presenting a topic that has yet to get a real life case study associated with it. So the rubber hasn't yet hit the road. I don't think on that. Andy Povey: No. I think that's true for an awful lot of AI, isn't it? Not just in our sector. Paul Marden: No. Andy Povey: It's very interesting to see where that's all going to go. And what are we going to think when we look back on this in two or three years time? Was it just another chocolate teapot or a problem looking for a solution? Or was it the revolution that we all anticipate. Paul Marden: And I think it will make fundamentals change. I think it's changing rapidly. But we need more real case studies of how you can do something interesting that is beyond just using ChatGPT to write your marketing copy for you. Andy Povey: Yeah, I mean it's all about putting the guest at the front of it, isn't it? Let's not obsess about the technology, let's look at what the technology is going to enable us to do. And back to the first part of this conversation, looking at accessibility, then are there tools within AI that are going to help with that? Paul Marden: Yeah, absolutely. So there was definitely. There was an interesting talk by Vox. The people that provide, they provide all of the radio boxes for everybody to wear at M and H that provides you with the voiceover of all of the speakers. But they use this technology across all manner of different attractions and they were talking about using AI to do real time translation of tours. So you could. Andy Povey: Very interesting. Paul Marden: Yeah. So you could have an English speaker wandering around doing your tour and it could real time translate up to. I think it was up to four languages. Andy Povey: BSL not being one of those languages. Paul Marden: Well, no, they were talking about real time in app being able to see subtitles. Now, I don't know whether they went on to say you could do BSL. And we know from the other presentation that not everybody that is deaf is able to read subtitles as fast as they can consume sign language. So it's important to have BSL. But there were some parts of that Vox product that did it address deaf people. It wasn't just multilingual content. Andy Povey: So AI people, if you're listening, you can take the idea of translating into BSL in real time and call it your own. Paul Marden: Yeah, we very much enjoyed hosting our theatre, didn't we? That was a lot. And Anna, if you are listening, and I hope you are, because lots of people have said very nice things in this episode about M and H. Andy and I would love to come back next year. Andy Povey: Absolutely. Paul Marden: And host a theatre for you. Any other thoughts? Andy Povey: Just really looking forward to the rest of the week off. Yeah, it's a sign of a good show when you walk away with all that positive feeling and that positive exhaustion and you probably need a week to reflect on all of the conversations that we've had. Paul Marden: Yeah, absolutely. Next up we is AIM Conference at Mary Rose in June. I can't wait very much. Looking forward to that. Thank you ever so much for listening. We will join you again in a few weeks. See you soon. Bye Bye. Andy Povey: Draw.Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

On today's episode of The Literary Life podcast, Angelina and Thomas continue their series on Flannery O'Connor with a discussion of her short story “A Good Man is Hard to Find.” After sharing their commonplace quotes, Angelina explains why she chose this particular story to go over on the podcast. She and Thomas then go over the characters in the family and the dynamics at play. Some of the ideas they talk about in this story are the appearance of respectability, the sentimental view of the “Old South,” the medieval and Sophoclean elements in the story, superficial Christianity versus nihilism, and so much more. They wrap up this episode with more thoughts on O'Connor's use of violence as a means of grace and how her stories can open people's eyes to their own depravity. If you are interested in learning more about Flannery O'Connor, you can purchase Angelina's previously recorded class, The Redemptive Vision of Flannery O'Connor. Now is the time to sign up for the upcoming summer classes and webinars at The House of Humane Letters. Some of the classes highlighted in this episode are Angelina's next installment in her series of classes on Harry Potter and Thomas' class on five famous figures of the Victorian era. To view the full show notes for this episode, including book links, quotes and this week's poem, please visit https://theliterary.life/277.

There's an area southeast of Lake Merritt that's lined with abandoned buildings, boarded up storefronts, vacant lots, and decrepit warehouses. The neighborhoods here, Clinton and San Antonio, are some of Oakland's oldest. Although there are also beautiful Victorian houses, long-established churches, and several thriving immigrant communities, including a stretch of Vietnamese establishments known as Little Saigon, this area has suffered from disinvestment and high crime rates for decades – why? Answering that question requires a trip through more than a century of Oakland history – from the Gold Rush up through the Urban Renewal era and beyond. Exploring this story illuminates not only the problems of these neighborhoods, but helps explain the rise and fall of entire cities. “The leading edge of development follows the wealthiest residents,” according to Mitchell Schwarzer, the author of “Hella Town: Oakland's History of Development and Disruption.” In this episode, Schwarzer unpacks that diagnosis, and what it means for older neighborhoods left to crumble as investors chase new frontiers. This conversation was inspired by Schwarzer's work with the San Antonio Station Alliance, a campaign advocating for the construction of a BART station and transit village. For photos and links related to this episode, visit: https://eastbayyesterday.com/episodes/not-on-the-wealth-corridor/ Don't forget to follow the East Bay Yesterday Substack for updates on events, boat tours, exhibits, and other local history news: eastbayyesterday.substack.com/ Donate to keep this show alive: www.patreon.com/eastbayyesterday

The Parliament of Victoria has launched an Inquiry into the recruitment methods and impacts of cults and organised fringe groups, which is open for submissions until 31 July 2025. If you or anyone you know has been involved with a cult that has a presence in Victoria, Australia, you're highly encouraged to make a submission. There's also an anonymous questionnaire option available for those who might not wish to make a full submission.Ryan and Catherine Carey are two former members of the Geelong Revival Centre who – along with a working group of other cult survivors – have been at the forefront in instigating this inquiry. They secured the support of Victoria's Labor State Member for Geelong and Parliamentary Secretary for First Peoples Christine Couzens, and Victorian Attorney-General Sonya Kilkenny, who launched the Inquiry in April 2025. It's due to deliver its findings in September 2026.Links:Inquiry into the recruitment methods and impacts of cults and organised fringe groups — Parliament of Victoria, open for submissions until 31 July 2025 and due to deliver findings in September 2026Secrets We Keep: Pray Harder podcastStop Religious Coercion Australia — websitem Facebook group, TikTok and InstagramVictorian Cult Survivors Network — Facebook groupYou can support us on Patreon. Sarah Steel's book Do As I Say is available on audiobook.If you have been personally affected by involvement in a cult, or would like to support those who have been, you can find support with or donate to Cult Information and Family Support if you're in Australia (via www.cifs.org.au), and you can find resources outside of Australia with the International Cultic Studies Association (via www.icsahome.com). Hosted on Acast. See acast.com/privacy for more information.

Benjamin Luxon, the esteemed Cornish baritone who died at the age of 87 last July, had one of the most wide-ranging repertoires of any singer of the past century, from the classical repertoire (including opera, oratorio, art song over the course of at least four centuries and in a host of languages, including work written expressly for him) through Victorian parlor song, to traditional folk. Additionally, in the early 1980s he recorded a trilogy of crossover albums for British RCA, all three of which are sampled on this episode. The first, Some Enchanted Evening, features show tunes; the second, As Time Goes By, a broad spectrum of movie-related songs; and the third, Something Else Again, highlights folk rock arrangements as well as original compositions by singer-songwriters of the period. In addition, I read from a particularly perceptive 2009 interview with Luxon in which he candidly discusses his hearing loss and how that impacted his singing career and his life as a performer. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Join us in jail, or is it gaol, as in the Crumlin Road Gaol, the last Victorian era prison relic in Northern Ireland, now being put to better use as the home of the Belfast Distillery Company, working to revive the classic old McConnell's Whisky brand and creating a major new hospitality and tourist attraction in the process.We stop for “just the one” in this all-too brief episode, where CEO John Kelly lays out the twin goals for the distillery: “Restore the legend of McConnell's Irish Whisky that was and will be again, and bring distilling back to Belfast.”The 22-year veteran of Guinness and Diageo knows the spirits industry…and the neighborhood, having gone to school just over the prison wall, back in the bad old days of the Crumlin Road Gaol.John shares insights on why Irish whiskey lost favor, how it is now roaring back, and the immersive experiences drawing visitors to this dramatic new distillery.And BTW—it isn't a typo—McConnel's spells it “whisky” without the “e”.Links:McConnell's WhiskyWebsiteInstagramFacebookTwitter (X)LinkedInYouTubeJohn KellyLinkedInEpisode Details: Season 7, Episode 18; Total Episode Count: 121

Unwind with Rainy Day in the Coziest Attic, a deep sleep story designed to ease anxiety, calm the mind, and guide you gently into relaxation, restorative sleep. Perfect for anyone seeking help with insomnia, stress relief, or a soothing bedtime routine, this immersive experience transports you to cozy attic on a rainy day.Imagine a quaint New England seaside village, where a grand Victorian home shelters you from the rain. In the attic, glowing with candlelight and filled with the scents of aged books and warm tea, you'll discover a sanctuary of nostalgia, comfort, and quiet reflection. Listen to the gentle rain sounds, soft narration, and rich ambient details that lull you into a deeply relaxed state. It's time to dream away.Original Script, Recording, Music, and Production by Michelle Hotaling, Dreamaway Visions LLC 2025 All Rights ReservedYOUTUBE: ⁠https://www.youtube.com/michellessanctuary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM: ⁠https://instagram.com/michellessanctuary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FACEBOOK:⁠https://www.facebook.com/michellessanctuary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TIKTOK: ⁠http://www.tiktok.com/@michellessanctuary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TWITTER: ⁠http://twitter.com/michsanctuary/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email Michelle: ⁠michellessanctuary@gmail.com⁠If you would like to support this channel:⁠https://www.buymeacoffee.com/michsanctuary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.me/michellessanctuary⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.venmo.com/michellehotaling⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out my new podcast, Meditation Tides, for guided meditations and let the tides of your breath bring the tranquility you deserve. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/meditationtides/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Michelle's Sanctuary is a place where you may enjoy high quality relaxing stories for sleep and guided sleep meditations completely FREE with a focus on mental vacations, sleep hypnosis, manifestations, and using your imagination to enjoy relaxing adventures before bedtime. Grown-ups deserve bedtime stories too!Having firsthand experience with anxiety, insomnia, and a strong desire to connect with my higher self and live my best life, I have tailored these recordings in ways that I have personally found helpful. This channel is not a replacement for consultations with a doctor or medical professional but can help you find more balance and a healing night's sleep. I always welcome comments, feedback & suggestions.

Ted O’Brien won’t say if he wants Treasury job as shadow cabinet talks stall, Allan government makes transport free for Victorian kids. Plus, Albanese invites Pope Leo to Australia and aims to strike EU trade deal.See omnystudio.com/listener for privacy information.

Back on the show for a second time is Dr. Jack Kruse, a neurosurgeon and health optimizer who takes a unique approach to wellness through what he calls "quantum biology." Dr. Kruse has dedicated his career to exploring the connection between light, electromagnetism, and human health. He's known for his controversial perspectives on how modern technology, artificial light, and high-latitude living negatively impact our cellular function and mitochondrial health.Watch our first podcast with Dr. Kruse here: https://youtu.be/luMHcGTAhA8Dr Kruse Links:https://x.com/DrJackKrusehttps://www.instagram.com/drjackkrusehttps://www.patreon.com/DrJackKrusehttps://jackkruse.comWelcome to take a deep breathFree Resources:

Ghosts and Things: The Material Culture of Nineteenth-Century Spiritualism (Cornell University Press, 2025) by Dr. Aviva Briefel argues that Victorians turned to the dead to understand the material culture of their present. With the rise of spiritualism in Britain in the early 1850s, séances invited participants to contact ghosts using material things, from ordinary household furniture to specialized technologies invented to register the presence of spirits. In its supernatural object lessons, Victorian spiritualism was not just a mystical movement centered on the dead but also a practical resource for learning how to negotiate the uncanniness of life under capitalism. Dr. Briefel explores how spiritualism compelled séance participants to speculate on the manufacture of spectral clothing; ponder the hidden histories and energies of parlor furniture; confront the humiliations of consumerism as summoned spirits pelted them with exotic fruits; and comprehend modes of mechanical reproduction, like photography and electrotyping, that had the power to shape identities. Dr. Briefel argues that spiritualist practices and the objects they employed offered both believers and skeptics unexpected frameworks for grappling with the often-invisible forces of labor, consumption, exploitation, and exchange that haunted their everyday lives. Ghosts and Things reveals how spiritualism's explorations of the borderland between life and death, matter and spirit, produced a strange and seductive combination of wonder and discomfort that allowed participants to experience the possibilities and precarities of industrial modernity in novel ways. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

During the Victorian era, a wave of self-proclaimed mediums used emerging technology, psychological tricks, and sleight of hand to convince grieving families they were speaking to the dead.Download the FREE WORD SEARCH and CROSSWORD For This Episode: https://weirddarkness.com/SeanceCharlatansJoin the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.DISCLAIMER: Ads heard during the podcast that are not in my voice are placed by third party agencies outside of my control and should not imply an endorsement by Weird Darkness or myself. *** Stories and content in Weird Darkness can be disturbing for some listeners and intended for mature audiences only. Parental discretion is strongly advised.IN THIS EPISODE: Victorian era séances – where mediums claimed to bridge the living and the dead with mysterious rituals and eerie phenomena. But they had some elaborate tricks and illusions up their sleeves, all with the intention of misleading millions with the promise of communicating beyond the grave – and lining their own pockets, of course. (Secrets of the Seance Charlatans) *** Underneath the Nevada desert a 13-year-old Marc Brooks was exploring – and encountered the unknown. A secret chamber, a mysterious artifact, and a chilling humanoid creature defies explanation. What lies underground in the desert? (Reptile Men And Underground Bases) *** From charitable beginnings to centuries of cruelty, Bedlam – England's first mental hospital – has a shocking history. It's dark past of inhumane treatments and public spectacles are such well-known atrocities that we've eventually come to use the word “bedlam” to describe uproar and confusion. We'll take a look at the chilling stories of the hospital that started it all. (Nightmare at Bedlam) *** The 1976 Chowchilla school bus kidnapping saw 26 California children abducted, buried alive, and held for ransom — then they miraculously escaped. (The Chowchilla Kidnapping) *** Spells, magic and curses have captivated the human imagination from the beginning of time. From ancient Egyptian tombs to modern-day superstitions, beliefs in the supernatural have shaped history, influenced cultures, and continue to fascinate us today. Why does magical misfortune still hold such an interest for us? (Magic, Curses and Supernatural Spells) *** A man almost crashed an entire country's economy by tricking a bank into printing real money for him? It was one of the most audacious schemes in financial history, flooding Portugal with millions in genuine but unauthorized banknotes. It was great while it lasted – but the crash was brutal! (The Man Who Almost Broke a Country) *** Urraca Mesa is a mysterious table mountain in New Mexico where compasses spin wildly, and ghostly blue lights dance in the night. It's full of stories of vanished ancient tribes and terrifying supernatural encounters with evil spirits. It's a hotspot for unexplained phenomena and those who seek it. We'll learn some of the eerie secrets of the Urraca Mesa. (The Urraca Mesa Portal) *** AND MORE!CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Title Story Preview00:03:21.893 = Show Open00:06:46.207 = Secrets of the Seance Charlatans00:17:18.410 = Nightmare At Bedlam00:25:50.879 = Reptile Men and Underground Bases00:33:32.917 = The Chowchilla Kidnapping00:37:32.781 = Magic, Curses and Supernatural Spells00:46:43.884 = The Man Who Almost Broke a Country's Economy00:53:51.342 = The Urraca Mesa Portal00:59:48.280 = Bizarre Name Changes01:07:24.331 = Show CloseSOURCES AND RESOURCES FROM THE EPISODE…“Reptile Men And Underground Bases” source: Marc Lowth at UFOInsight.com: https://weirddarkness.tiny.us/64vrrh66“The Chowchilla Kidnapping” source: Jessica O'Connor at AllThatsInteresting.com: https://weirddarkness.tiny.us/cxefxjks“The Man Who Almost Broke a Country's Economy” source: Kaushik Patowary at AmusingPlanet.com:https://weirddarkness.tiny.us/2p94ykzw“Magic, Curses and Supernatural Spells” source: Liz Leafloor at Ancient-Origins.com:https://weirddarkness.tiny.us/3yk42ksb“The Urraca Mesa Portal” source: Zoe Mitchell at Anomalien.com: https://weirddarkness.tiny.us/4x2t99mc“Secrets of the Seance Charlatans” source: Liv Pasquarelli at Ranker.com's Graveyard Shift:https://weirddarkness.tiny.us/2p9x54v9“Nightmare at Bedlam” source: Bipin Dimri at HistoricMysteries.com: https://weirddarkness.tiny.us/2p93tt8c“Bizarre Name Changes” source: Jeffrey Morris at ListVerse.com: https://weirddarkness.tiny.us/29xt7j5u=====(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.=====Originally aired: Jiune 25, 2024EPISODE PAGE at WeirdDarkness.com (includes list of sources): https://weirddarkness.com/SeanceCharlatans

"If you cast your mind back to some of those narratives with which you have afflicted a long-suffering public, you will recognize how often the grotesque has deepened into the criminal."From His Last Bow, "The Adventure of Wisteria Lodge" by Arthur Conan Doyle, narrated by Rebekah Love.Content warning: This story contains some Victorian-era racism, including some derogatory Victorian terms for non-white people.Find recommended reading, more stories, info about the show and more on our website:⁠⁠⁠⁠⁠⁠⁠⁠https://www.howeverimprobablepodcast.com/⁠⁠⁠⁠⁠⁠⁠⁠Send us mail! howeverimprobablepod@gmail.com

The Time Machine, by H. G. Wells chapter 1, narrated by Isaac BirchallSubscribe on YT or Join the Book Club on Patreon and support me as an independent creator :Dhttps://ko-fi.com/theessentialreadshttps://www.youtube.com/channel/UCfOFfvo05ElM96CmfsGsu3g/joinSUMMARY: The Time Traveler is in his home, speaking to a group of men, including the Narrator. He is giving a lecture on the fourth dimension. He tells them that a cube does not only exist in space, but also in time. He goes on further to claim that a man should not just be able to move about in space, the 3 other dimensions, but also in time. He notes that we are nonetheless moving forwards along the time dimension, so why not backwards. He produces a small version of a "Time Machine" and lays it on the table. He explains that one lever will send it forward, and the other backward in time. He asks one of the other guests to push the lever, and after doing so, the machine disappears, blowing out a candle with it. The guests ask why they cannot see it if it is moving into the future, and the Time Traveler explains that it is moving too quickly to be seen. The guests are blown away, and the Time Traveler takes them to his laboratory where they find a even bigger, machine. SEO Stuff that I don't want to do lol...One of the most influential pieces of fiction of all time, The Time Machine by H. G. Wells, sees a Victorian scientist send himself forward to the year 802,701 AD. He is delighted to find that suffering has been replaces by beauty and happiness, and a "new man", the Eloi, has descended from man. Science Fiction book, Sci-fi, Classic Literature

Tickets to our Live Shows Here! Get ready for a joyride into the bizarre! In this episode of The Box of Oddities, we swerve down an East Texas road haunted by the ghost of… a monkey? Yep. Legend has it, this eerie stretch of asphalt is home to phantom primates and unexplained screeches in the night. Then we unbutton the strange and surprisingly political history of pants—yes, pants. From ancient legwear scandals to Victorian trouser taboos, you'll never look at a waistband the same way again. Packed with ghost stories, roadside absurdity, and pants-related rebellion, this episode is your one-stop shop for the spooky and sartorially strange. Click play if you've ever feared a ghost monkey or questioned your slacks. ⁠Tickets to our Live Shows Here! Learn more about your ad choices. Visit megaphone.fm/adchoices

What led to the Second Opium War? Why wasn't China colonised by Europeans? When did China start referring to this period as the “century of humiliation” and how did this narrative shape nationalism in the 20th century? Anita and William are joined by Stephen R. Platt, author of Imperial Twilight, for the final instalment of this series in which they discuss the Second Opium War and how its legacy continues to shape geopolitics today. You can get started with a 3-month trial for only £5 at ⁠https://historytoday.com/empire⁠ ----------------- Empire Club: Become a member of the Empire Club to receive early access to miniseries, ad-free listening, early access to live show tickets, bonus episodes, book discounts, our exclusive newsletter, and access to our members' chatroom on Discord! Head to empirepoduk.com to sign up. For more Goalhanger Podcasts, head to www.goalhanger.com.  ----------------- Email: empire@goalhanger.com Instagram: @empirepoduk  Blue Sky: @empirepoduk  X: @empirepoduk Assistant Producer: Becki Hills Producer: Anouska Lewis Senior Producer: Callum Hill Learn more about your ad choices. Visit podcastchoices.com/adchoices

The interesting thing about the forty-first, forty-second, and forty-third chapters of Varney the Vampire is that they don't exist. Varney the Vampire is a genuine penny dreadful, read aloud one chapter per week just like the original Victorian working class audience would do for the authentic 1840s Chartist coffeehouse experience. To instantly unlock over a hundred more chapters (literally), check out our Patreon.

Waggles has arrived! Varney the Vampire is a genuine penny dreadful, read aloud one chapter per week just like the original Victorian working class audience would do for the authentic 1840s Chartist coffeehouse experience. To instantly unlock over a hundred more chapters (literally), check out our Patreon.

“You have done your best to get an innocent man hanged.” [NORW]    Capital punishment in the United Kingdom evolved over a period of time. From the mid-17th century through 1820, the Bloody Code tracked some 200 crimes punishable by death. In which Sherlock Holmes stories do we hear about capital punishment, and under England's laws of the late Victorian period, who would have been eligible for death by hanging? It's just a Trifle.    Don't forget to listen to "Trifling Trifles" — short-form content that doesn't warrant a full episode. This is a benefit exclusively for our paying subscribers. Check it out (Patreon | Substack).   Leave Trifles a five-star rating on Apple Podcasts and Spotify; listen to this episode here or wherever you get podcasts     Links Capital punishment in the United Kingdom (Wikipedia) 11 Ridiculous Crimes That Carried the Death Penalty Before Queen Victoria (Ranker) Other episodes mentioned: Episode 301 - Sherlock Holmes and Australians  All of our social links: https://linktr.ee/ihearofsherlock Email us at trifles @ ihearofsherlock.com    Music credits Performers: Uncredited violinist, US Marine Chamber Orchestra Publisher Info.: Washington, DC: United States Marine Band. Copyright: Creative Commons Attribution 3.0      

A discussion of the chapter "Barrels Out of Bond" from The Hobbit.  A look at how Tolkien's second chapter about elves goes in a more medieval direction than the Victorian elves of Chapter 3, and just exactly what the medieval conceptions of elves were.  A look at the theistic nature of the dwarves escape from the elven king, and a some theories on just who the elven king was and what Professor Tolkien may have been thinking of when he wrote the character.Support the show

This week on The Literary Life podcast, Angelina and Thomas bring us the first of a two-part series on the oft-requested, oft-misunderstood author, Flannery O'Connor. They begin by sharing their commonplace quotes for this week, which leads into the topic of O'Connor, the controversial mid-century southern American author. Angelina gives us a look at Flannery's early life and education, then her adult life and writing career. She also talks about southern culture and Christianity, as well as ways in which O'Connor's work is misunderstood by so many people. Thomas highlights the genre of Southern Gothic literature, and Angelina pushes back on that oversimplification of O'Connor, arguing that she is actually writing in the medieval tradition. Join us back here next week as we discuss O'Connor's short story, “A Good Man Is Hard to Find.” Now is the time to sign up for the upcoming summer classes and webinars at The House of Humane Letters. Some of the classes highlighted in this episode are Angelina's next installment in her series of classes on Harry Potter and Thomas' class on five famous figures of the Victorian era. To view the full show notes for this episode, including links to books mentioned, as well as commonplace quotes and this week's poem, please visit https://theliterary.life/276. 

What happens when a ghost story is more than just a tale to entertain by the fireside? Paranormal historian and TV expert Dr. Kate Cherrell joins Dave Schrader to explore the chilling connection between Victorian spiritualism and today's ghost-hunting craze. From haunted inheritances to the dangers of believing too deeply, Kate shares shocking encounters, behind-the-scenes insight from paranormal TV, and reveals the deeper message behind her new novel Begotten. History isn't dead. It's just waiting for you to rediscover it. Follow Kate Cherrell here: www.BurialsAndBeyond.com Spirits, Séances, and Secrets of the Supernatural – The Paranormal60 PLEASE SUPPORT THE ADVERTISERS THAT SUPPORT THIS SHOWZelmin's Minty Mouth - Get more info and 15% off at www.Zelmins.com/P60Factor Meals - Get 50% off your first order & Free Shipping at www.FactorMeals.com/p6050off & use code: P6050off at checkoutMint Mobile - To get your new wireless plan for just $15 bucks a month, and get the plan shipped to your door for FREE, go to www.MintMobile.com/P60Shadow Zine - https://shadowzine.com/Tarot Readings with Winnie Schrader - http://lovelotustarot.com/PLEASE RATE & REVIEW THE PARANORMAL 60 PODCAST WHEREVER YOU LISTEN!   #ParanormalPodcast #GhostHunting #VictorianGhosts#HauntedHistory #BegottenBook #ParanormalInvestigator #DarknessRadio#TheParanormal60 #ScaryStories #SupernaturalTalk #RealGhostEncounters#SpookySeason #GothicHorror #ArtBellLegacy #CoastToCoastAM #DevilsPerch#HauntedPlaces #GhostStoryPodcast #KateCherrell #DaveSchrader #DarknessDave Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode we spotlight the small but mighty and absolutely adorable Belgian Bearded d'Uccle bantam. In our main topic we discuss whether or not keeping chickens saves you money on eggs. We share our recipe for Scotch Woodcock, a Victorian era egg dish, and find some retail therapy with egg baskets.Grubbly Farms - click here for our affiliate link.https://www.anrdoezrs.net/click-100963304-15546963Pre and Probiotic and Vitamin and Electrolyte Powders!Bright and Early Coffee - use code CWTCL15 for 15% off of any bagged coffee. K Cups always ship free!https://brightandearlycoffee.com/Omlet Coops- Use Our Affiliate Link for 10% off!https://tidd.ly/3Uwt8BfChicken Luv Box -  use CWTCL50 for 50% off your first box of any multi-month subscription!https://www.chickenluv.com/Breed Spotlight is sponsored by Murray McMurray Hatcheryhttps://www.mcmurrayhatchery.com/Metzer Farms Waterfowlhttps://www.metzerfarms.com/Nestera UShttps://nestera.us/cwtclUse our affiliate link above for 5% off your purchase!Scotch Woodcock - https://coffeewiththechickenladies.com/farm-fresh-egg-recipes/scotch-woodcock/CWTCL Websitehttps://coffeewiththechickenladies.com/CWTCL Etsy Shophttps://www.etsy.com/shop/CoffeeWChickenLadiesAs Amazon Influencers, we may receive a small commission from the sale of some items at no additional cost to consumers.CWTCL Amazon Recommendationshttps://www.amazon.com/shop/coffeewiththechickenladiesSupport the show

Talking Scared goes live!   In April I was invited to chair a conversation between Michelle Paver and Ally Wilkes at the Oxford Literary Festival. I duly leapt on a train and bundled my way there – to ask the two survival horror queens about their stories of haunting and isolation in the coldest parts of the world.   We talk about handling the Victorian attitudes of exploration horror, the unique properties of fear in the vast open, and how their law careers led them to write such wild stories.   Also, we hear quite a lot of juicy info about their forthcoming jungle horror novels.   Thanks to the Oxford Literary Festival for the invitation.   Other books mentioned:   The Worst Journey in the World (1922), by Apsley Cherry-Garrard Female Husbands: A Trans History (2020), by Jen Manion  “The Man Whom The Trees Loved,” (1912), by Algernon Blackwood.   Support Talking Scared on Patreon   Check out the Talking Scared Merch line – at VoidMerch   Come talk books on Bluesky @talkscaredpod.bsky.social on Instagram/Threads, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

She doesn't knock. She bursts through the front door like she's been here a thousand times before—rushing upstairs, only to vanish halfway up. Six members of the same family witnessed her, but none could explain who she was or why she came. But this isn't a ghost in a Victorian gown—this spirit was in a t-shirt and high-waisted shorts, like she stepped out of the late '90s. This is a daily EXTRA from The Grave Talks. Grave Confessions is an extra daily dose of true paranormal ghost stories told by the people who survived them! If you have a Grave Confession, Call it in 24/7 at 1-888-GHOST-13 (1-888-446-7813) Subscribe to get all of our true ghost stories EVERY DAY! Visit http://www.thegravetalks.com Please support us on Patreon and get access to our AD-FREE ARCHIVE, ADVANCE EPISODES & MORE at http://www.patreon.com/thegravetalks

Who won the First Opium War? Why did British troops feel guilty about their role? What treaty led to Britain taking control of Hong Kong? Anita and William discuss the tragic imbalance of The First Opium War, and the traumatic ways in which Chinese citizens responded to the humiliation it entailed… Empire Club: Become a member of the Empire Club to receive early access to miniseries, ad-free listening, early access to live show tickets, bonus episodes, book discounts, our exclusive newsletter, and access to our members' chatroom on Discord! Head to empirepoduk.com to sign up. You can get started with a 3-month trial for only £5 at https://historytoday.com/empire For more Goalhanger Podcasts, head to www.goalhanger.com.  Email: empire@goalhanger.com Instagram: @empirepoduk  Blue Sky: @empirepoduk  X: @empirepoduk Assistant Producer: Becki Hills Producer: Anouska Lewis Senior Producer: Callum Hill Learn more about your ad choices. Visit podcastchoices.com/adchoices

Buying a house? Renting an apartment? Just existing in a space? Just know… the ghosts got there first. We're diving into listener stories that prove the housing market isn't just competitive... it's paranormally active.✨ Bone-chilling (and occasionally hilarious) stories include: A woman who buys a Victorian home from a witch, only to meet a mysterious sad spirit—and some very chatty orbs. A toddler who hangs out nightly with “my guys,” a group of old ghosts who casually explain autopsies and death like it's preschool curriculum. A crying nun apparition that appears to two young kids—20 years before the house's secret history is uncovered. A shadowy figure in a full suit appears during a sandstorm in Arizona—and may be tied to a deeply tragic history. In this episode, creepy closets, haunted hallways and ghostly visitors are more common than open floor plans.

One can't miss the S.K. Pierce Mansion in Gardner, Massachusetts. This magnificent mansion is a huge Victorian that takes up the whole corner of West Broadway and Union Street. The grand exterior makes it very inviting, but the ghost stories connected to this place might just make you think twice before entering. There are those that claim this home is the second most haunted house in Massachusetts. Some owners have been chased out by spirits. There could be more than a dozen spirits here and one of them may be the furniture magnate for whom the house was built and named: S.K. Pierce. Join us for the history and hauntings of the S.K. Pierce Mansion. The Moment in Oddity features the Bone Collector Caterpillar and This Month in History features Brahms born.  Check out the website: http://historygoesbump.com Show notes can be found here: https://historygoesbump.blogspot.com/2025/05/hgb-ep-585-sk-pierce-mansion.html   Become an Executive Producer: http://patreon.com/historygoesbump Music used in this episode:  Main Theme: Lurking in the Dark by Muse Music with Groove Studios (Moment in Oddity) "Vanishing" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ (This Month in History) "In Your Arms" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ Outro Music: Happy Fun Punk by Muse Music with Groove Studios Other music used in this episode: Title: "The End" and "Mortician's Hat Trick" Artist: Tim Kulig (timkulig.com) Licensed under Creative Commons By Attribution 4.0 http://creativecommons.org/licenses/by/4.0/ IMDB: https://www.imdb.com/name/nm0997280/?ref_=fn_al_nm_1