Culture Change Conference – Cat Harrison’s speech: “Opportunities in Crisis”

Culture Change Conference – Cat Harrison’s speech: “Opportunities in Crisis”
Date: 04/02/11
Author: Clare Cooper

Hi. Hi there.

Sorry I hope you don’t mind if I just take this in a second. It’s not everyday you stand in the National Theatre speaking to you alongside… well… them.

A friend of mine, he said to me, he said to me “don’t worry about the audience, don’t worry about the audience, just say what it is you have to say” Just say what it is I have to say

Ok I am not Ben Okri.* Sorry about that.

In fact I doubt hardly any of you will have heard of my name before Fiona mentioned it.

My name is Cat Harrison. Some of you my have heard of the artist collective I co-founded 2 years ago: non zero one. But I guess most of you will know of the organisation I work for as a Trainee Producer and Advisor: the brilliant Artsadmin.

I am for all intents and purposes a member of the new breed of arts “slashies”. I am an artist/ producer.

And I am emerging.

It’s a brilliant word that isn’t it? Emerging. Its everywhere at the moment – it’s a bit of a buzzword. Emerging. Not emerged or submerged or established. No, I’m on the move: processing, progressing, digressing and exploring. It’s a good place to be. In fact, it terms of crisis, apparently “emerging” means that I’m in a brilliant position. Us emergents, we’re better equipped for coping well – typically we’re very adaptable, we have less responsibilities and are less constrained by the rigidities of time, space and money.

In CS Holling’s 4 Phases of Crisis we’re currently at the end of the third, the Release Phase – reminds me of that visceral image that sinks in everytime I hear the words “economy in freefall”. To quote Lemn Sissay “I jumped off the bungee bridge and I hadn’t measured the rope”. But we will know soon. We will know who has safely bounced, who has skimmed the ground, and who will need to be scraped off it. Whatever happens, we will all need to change. That’s why we then enter Holling’s 4th phase of Crisis, the Reorganisation Phase, what Andrew Taylor refers to as the exploration phase.

Exploration right? It’s tailor made to us emerging arts professionals! We’re built for a crisis. I mean the other argument of course is that emerging arts professionals, well that we don’t really know we’re in a crisis. Not that we don’t watch TV, read newspapers or follow Ed Vaizey speeches on twitter (because we’ve all been doing that right) but that this is normality. We won’t notice the hard times of the recession because it will be what we enter into, we’ll have no easier times to compare it to.

You know it, we’re emerging, we’re optimistic, we’ll share resources, we’ll find our way. Let me tell you now that young people and emerging arts professionals, we will not and cannot pick up the pieces of this recession. I urge you, not to drop everything to put us first, but not to dismiss us and leave us out in the cold. I mean, whose crisis is this anyway? Already unemployment rates of the under 25s have reached its highest ever, with one in 10 signing up to JSA. We are reportedly the first generation to be more likely to earn less than our parents, the generation of which a third of men and a fifth of women will still live with our parents between 20 and 34 years old.

Graduates who currently enter your organizations, enter with an average of £23,000 worth of student debt. In the next 5 years students with the proposed tuition fee increase, graduates are likely to enter your organizations with an average of £42,000 worth of debt. I graduated in 2009, and with both my tuition fees and maintenance loan subsidised by grants, I still have well over £20,000 worth of debt that accumulates interest every year despite working for a charity, despite earning less than £15,000 a year.

In less than 3 months my Traineeship at Artsadmin will end and I will join the thousands of young people looking for a job. For all the impressive Guardian statistics, this recession is much closer to home. I am a typical young person caught in the recession and I suspect many of you will know many more colleagues and family members in similar positions too.

I mean I very nearly contemplated wearing a sandwich board with my CV written on it, had it not have clashed with my ridiculous pink tights. It’s not that I expect you to offer senior positions to emerging artists if you’re looking for someone much more experienced, but if you do have an opening for an initiative or a scheme or a job that could be suitable for emerging arts professionals then please do go for it. I promise you it will be worth it – because we are the keenest, the most committed troopers: we will work hard for your money. Please note the clue in that sentence: “owe work for your money”.

This is a reciprocal relationship.

Despite common myth, young and emerging arts professionals cannot run on nothing. The more you can give, the more they can give in return. And I don’t mean to say that we have to get paid, because it isn’t just about money although that is a big part of it. I personally think that internships and apprenticeships can be of incredible value for both employer and employee – though I should mention groups like Carrot Workers are starting campaigns against any sort of unpaid work. I myself did a part-time 4 month unpaid internship with Artsadmin during my second year at university. You can probably guess that I’m a little bit biased as I got a job out of it (and my boss is in the audience), but that internship played a huge role in my life of introducing me to what it’s like to be part of an arts organization, what it is that I could do for a living and what kind of amazing unthinkable arts jobs are out there (I mean who knew you could become an Artists’ Advisor?!) Now that I’ve been working as Trainee that support has increased tenfold – not just because of the stability of payment, but because I have a set amount of training that I have to work towards, areas that I know I need more work on and areas that I feel confident I can manage.

And, talking to other artists and arts professionals, it is that confidence, that acceptance that is priceless to emerging arts professionals, especially emerging artists that might not be following the norm.

The £500 non zero one was granted from the Farnham Maltings No Strings Attached scheme gave us enough money to pay for some of our travel and buy some equipment for a piece we worked on for 7 months. But on top of that amount (which was crucial for us to work as a company with the 6 of us spread across 4 different Arts Council regions) there was that support that Farnham Maltings had invested in us, that our work was worth something. That £500 led us to perform our debut piece at Southwark Playhouse for a few lunchtimes, where a Barbican producer took part in it and commissioned us for 3 weeks as part of their Spring Bite 10 programme. Following the Barbican we performed at Forest Fringe, have become associate artists at the Basement, have our next piece being developed at the NT Studio, a piece that has already been programmed for this year’s Latitude festival. I don’t mean to brag but… that’s not bad for a £500 start-up fee is it?

To put it another way… well to have my name put forward as a potential emerging arts professional, to be given the chance to speak in front of you, alongside them… well in many ways that’s so much more valuable to me than a starting salary of £20,000.

So please, invest in the emerging. In whatever ways you can, whether that be time, space, money, expertise and remember that it is always reciprocal: we are valuable and we can help your organisation – because we’re the best people for coping in a crisis. We’re naturally adaptive and open to change. I mean such changes have already begun to emerge. I mentioned about the being part of the new breeds of arts slashies before – the artist/ producer/ programmer/ director/ education officer – well you get the picture. It seems that leaving higher education with thousands of pounds worth of debt has made its mark.

We may be artists, but we are fully aware that we are businesses also. When you live in a world where success is measured by wealth, where education is apparently measured by wealth, even art is measured by its worth of wealth, well it seems you get a little more pragmatic, you get a little more self-controlled.

From the Andy Fields to the Bryony Kimmings to the Robert Pacittis – all 3 manage being arts programmers and directors, whilst upholding their own artistic practice. All six members of non zero one work part or full-time in the arts as Trainee Producers, Production Assistants, PA’s, Administrators and Education Officers for incredible organisations including Blast Theory, Hide & Seek, The Bush Theatre, Salisbury Playhouse, the RSC and Frantic Assembly. We are incredibly lucky to be working with such fantastic companies – and from my experience such work feeds directly into our artistic practice as much as our artistic practice feeds into our work.

Again, the whole process is completely reciprocal. One funding application here, one meeting with a promoter there. It’s all relative. What will be interesting to see is how organizations such as yours will react to what is currently a relatively individual evolution. For example, issues such as time can cause real problems. How can I continue to work in an office 8 hours a day if I have to run a show everyday for 3 weeks? The answer of course at the moment is through determination, a bit of negotiation and a fair bit of luck, but what are the possibilities of formalized sabbatical periods or unpaid artistic leave?

Will the support that currently exists for slashies remain or will it return to those that can give full, undivided attention to that one particular organization?

I suppose only time will tell.

What I have to say is just: let us give change a chance.

We are all in this together.

We will all be facing the reorganization phase, a certain amount of exploration.

I was told “the crisis is not an affliction on the system, the crisis is the system” and I for one believe that the arts sector should lead the way in showing no adversity to change. We are the arts movement – so let’s keep it moving.

The fact remains that we are all emerging. Not emerged or submerged or established. Not anymore. We are on the move – processing, progressing, digressing and exploring. And I for one am excited to see how that turns out

*NB Ben Okri was originally invited to take this slot which Cat kindly filled at very short notice.


Culture Change Conference – videos now live! Date: 17/03/11

Videos from our Culture Change conference in January are now live, including the popular session with Cat Harrison above. To see the full video set visit the dedicated page here.

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Realising the potential of non-grant financing: Announcing the Arts Ventures Fund

Realising the potential of non-grant financing: Announcing the Arts Ventures Fund
Date: 21/02/12
Author: Clare Cooper

MMM Associate Margaret Bolton explains the ambitions and plans of the Arts Ventures Fund.
Over the past few years MMM has been examining the potential of non grant financing in the form for example of loans and quasi equity (or revenue sharing arrangements) to support arts and cultural organisations and to enable them to become more financially resilient. To some extent arts and cultural organisations have always accessed non grant financing: ‘friends and family’ loans; angel investors taking a stake in the success of particular productions; mortgages or secured loans for property purchase or refurbishment; artists sacrificing part of their fees in return for a profit share. However, we were interested in how the debate and action to promote social investment in the broader charitable and social enterprise sector might be harnessed to support new funds and promote new ways of thinking about how arts and cultural organisations might best be financed and more generally, better supported in the future.

A large part of our agenda has been to try to ensure that the organisations we are concerned about have access to the capital they need. Our experience is that small and medium sized arts and cultural organisations tend to be both under capitalised and over extended or in other words they are trying to achieve too much with too little resource and they lack access to the funds to change their situation. They tend to lack reserves (in large part because of the difficulty of making surpluses). They therefore often do not have the small amounts of investment needed to enable them to generate more revenue from existing activities or develop new income generating products or services.

There are specialist providers of investment to charities and other socially motivated organisations including Triodos, Charity Bank and Venturesome. However, our assessment of the market is that the sorts of financing that arts and cultural organisations most need ie high risk capital to develop new ventures and underwriting (money allocated and called down if needed) to underpin cashflow are in relatively short supply – at least relative to the potential demand!

Our view then is that new funds dedicated to arts and cultural organisations are required – although not a new financing organisation as the expertise of the existing social investment specialists should be utilised. Our contention has always been that in order not to cannibalise existing funding we need to develop new fund raising mechanisms and platforms. This is why MMM is so pleased to be part of the group developing the Arts Ventures Fund. The group aims to put together a portfolio of arts and cultural organisations and to work with wealth managers to secure investment pledges from high net worths. We have been aware for some time that wealth managers were being asked by their high net worth clients to construct portfolios which include investments which offer ‘blended returns’ ie returns that are social and/or cultural as well as financial. The proposed new fund will potentially enable many small and medium sized arts and cultural organisation to access investment from this new source.
If you are interested in being part of the Arts Ventures Fund portfolio please complete the on-line questionnaire posted by Arts Professional which will be published on 23rd February. For further information about the initiative please see the 23rd February issue of Arts Professional and watch this space – we intend to post regular updates on the MMM blog.

The Arts Ventures Fund Group is being led by Tim Joss (Rayne Foundation) and comprises, Geoff Burnand (Investing for Good), Jim Beirne (Live Theatre), Graham Henderson (Poet in the City), Graham Hitchen (Independent Consultant) and Margaret Bolton (MMM Associate and Independent Consultant). The Group thanks Liz Hill of Arts Professional for all her help and support.


Ceding The Future


 Clare Cooper


After 10 years, MMM is closing down in its current form.

As many of you know our last cycle of work, which completed last autumn, encompassed two programmes re.volution and re.think.

re.volution was a peer learning network designed to help renew mission, reconfigure business model and revise approach to money and re.think, a platform designed to activate and support all those working with art and culture to make the world more liveable. Both had huge vision and ambition behind them, some of which was realised and some not.

Both required significant levels of resource to deliver and scale and whilst re.volution started off well with design, development and launch financing from Arts Council England (ACE) and Creative Scotland, the level of scale up originally envisaged in England, which was key to the network’s longer term sustainability, was in the end not possible as ACE chose to invest its Developing Resilient Leadership funding elsewhere. Creative Scotland supported the programme throughout its initial three-year start up phase and Arts Council Wales supported a launch in Wales in the third year. We thank them both hugely for their belief in what we were trying to do and for sticking with us.

re.volution sought to give tangible, visible form to Dave Weinberger’s insights about smart networks:

“As knowledge becomes networked, the smartest person in the room isn’t the person standing at the front lecturing us, and isn’t the collective wisdom of those in the room. The smartest person in the room is the room itself: the network that joins the people and ideas in the room, and connects to those outside of it. Our task is to learn how to build smart rooms — that is, how to build networks that make us smarter.”

We learned a lot about managing and resourcing such a network throughout those three years, what works and what doesn’t work, and saw first hand how, when peers do regularly come together to share their learning, new energies are unleashed and communities of practice do form!

What Margaret Wheatley says: “We humans learn best when in relationship with others who share a common practice. We self-organize as communities with those who have skills and knowledge that are important to us”, is absolutely true and I for one would now never want to work any differently!

Any of you reading this who want to start up a peer learning network or who are struggling to maintain one – we’d be happy to share what we learned – just get in touch.

re.think got going without any financial support at all – just the passion and commitment of a whole bunch of MMM-ers, most especially Shelagh Wright and Catherine Bunting. We wanted to create a platform which could encourage recognition of arts and culture as an abundant resource with a vital role in helping us address the global challenges we face, able to galvanise action and effective change in values, mindsets and policies and demonstrate how art and culture’s expressive energy can be harnessed to help us make that leap to a more livable world. Whilst the British Council in France spiritedly supported our early plans to develop an international cultural innovators studio, their own level of internal churn meant that we never moved beyond our very successful prototype. Other attempts to get re.think projects off the ground stumbled in the face of the harsh reality of the post gfc fundraising environment and the difficulty that many public and private funders had in understanding and/or publicly buying in to what we were trying to do. Recognition of the global challenges we face has increased so much in the three and a half years since we launched re.think that I know other projects will find it easier to raise money for this kind of work now.

Looking back on both those programmes, despite the difficulties we encountered, and on all the whole body of work that MMM produced over the last 10 years always floods me with feelings of gratefulness. Most especially for all the amazing people that participated in the network and made so many things happen.

For Roanne Dods who co-founded the whole enterprise with me and helped shape the work for so long.

For all those who served as Directors in addition to Roanne, Tony Butler, Rohan Gunatillake, David Hall and Shelagh Wright.

For the extra-ordinarily diverse individual and collective intelligence that all the Associates contributed to the network:  Nadine Andrews, Morag Arnot, Margaret Bolton, David Carrington, Hilary Carty, Maurice Davies, Vanessa Kredler, Mark Robinson, Hannah Rudman and Holly Tebbutt.

For the thinkers and doers who wrote all our provocations and reports: Claire Antrobus, Hasan Bakhshi, Margaret Bolton, Radhika Desai, Graham Devlin Teo Greenstreet, Alan Freeman, Graham Hitchen, Hilary Jennings, Tim Joss, John Knell, Graham Leicester, Joe Ludlow, Francois Materasso, Lucy Neal, Sara Robinson, and Adrian Ellis who wrote our very first provocation, from which we drew our name.

For all those who contributed to our conferences, events and talks over the years whose names are too numerous to mention but who you can all still view in the blog sections of the re.volution and re.think websites and the events section on the main MMM landing page.

Whilst many of those listed above often, and sometimes repeatedly, contributed their work without being paid I am equally grateful for all the public and private funders who financed the programme over the decade and allowed us to pay some people some of the time!

Amazingly, we raised around £2.5 million for the work that we did and this came from:

Accenture, Arts Council England, the British Council, Creative Scotland, The Clore Leadership Programme, the Cultural Leadership Programme, Deustche Bank, the Esmee Fairbairn Foundation, The Foyle Foundation, Governance Hub, The Paul Hamyln Foundation, HM Treasury, Jerwood Foundation, Jerwood Charitable Foundation, The Northern Rock Foundation, The Rayne Foundation, the Scottish Arts Council and the Welsh Arts Council.

We also enjoyed important, long term in kind relationships with Arts Professional and Bates Wells & Braithwaite to whom we are also deeply grateful.

And our office space was kindly hosted first of all by the Jerwood Foundation, then by the Paul Hamlyn Foundation and finally by the Institute of Cultural and Creative Entrepreneurship (ICCE) at Goldsmiths, University of London. Huge thanks to all of them too.

My final thanks goes to all those thousands of people working with arts and culture in the UK and elsewhere who energised and motivated us by engaging with our work – coming to our events, participating in our workshops, joining our network, offering us feedback, good and bad, giving us advice and constantly influencing us with their reality of the front line.

We’ve had an amazing run, and now it’s time for new voices to lead our conversations about Mission, Model and Money.

The current MMM website will be archived over the coming months with the best of what we have done continuing to be available.

Anyone who wants to stay in touch who doesn’t already have my (Clare Cooper) contact details can reach me via


Not Rocket Science (2010)

Written by Hasan Bakhshi, Radhika Desai and Alan Freeman

Outlining their radical new roadmap for cultural R&D, the authors’ proposals challenge two entrenched prejudices, which block arts and cultural organisations from playing their full role in society and economy. First, arts and culture are largely excluded from R&D by definitions based on its Science and Technology (S&T) origins. Second, the arts and cultural sector relies on a conception of creativity that mystifies too much of its work, preventing it from accessing valuable public resources.

Not confined to novel products or processes, arts and cultural innovation will yield altogether new ways in which arts and culture are embedded in the knowledge society and economy. So, for example, experimental development will trial new ways of engaging audiences, or explore new forms of collaboration between producers, and between them and consumers, through digital technologies. It will investigate how arts and cultural organisations can re-imagine their relationship with private sector businesses, social enterprise and public service delivery. In short, arts and cultural R&D will expand the sources of cultural, commercial and public value.


Our ethos

Our ethos
Art and culture are one of the most participative, dynamic and social forms of human behaviour.
With their capacity to trigger reflection, generate empathy, create dialogue and foster new understanding they can offer a powerful and democratic way of expressing, sharing and shaping values. By helping to create an environment, and state of mind, directly conducive to the creation and development of new ideas, they challenge the status quo and provide spaces where anything is possible. They can help us build new capabilities and understand how to imagine a different way of being. They can enable us to design useful and meaningful things and are increasingly the basis of livelihoods and enterprises that are motivated by much more than profit.

MMM’s belief was that harnessing arts and culture’s expressive energy and growing the cultural and creative vitality of our communities were key to addressing the big, serious and growing problems of unsustainable economic growth, resource scarcity and climate change. Their community of practice shared a passion for realising art and culture’s role in helping to find new economic and social paradigms that recognise the limits of our finite planet and enable all life to flourish. Building the resilience of creative practitioners and arts and cultural organisations was, in their view, essential in achieveing that goal and it lay at the heart of MMM’s work.

Highly collaborative and open in our approach they believed that peer to peer support and mutual problem solving is key to addressing common challenges and building resilience.

Independent and sector led, MMM was a creative adhocracy. This means that we thrive by being fluid, flexible and adaptive.

Legally constituted as a company limited by guarantee without share capital, their organising systems were designed to be dynamic and organic in order to maintain maximum creativity and inventiveness.

They worked in cycles, drawing together people, ideas and money from a wide network of sources.



re.think was a global network designed to activate and support everyone working with art and culture to make the world more liveable

To make the leap to a liveable world, we need to find ways of activating and strengthening the kinds of values that will help us create more sustainable ways of living. The re.think programme and the resources on this website have been designed to show how engaging with art and culture can help us do this.

You can find examples of what people are already doing in the seed bank, relevant research and ideas in the policy pool, projects and people you can collaborate with in our Community of Practice and provocations and insights in our blog.

re.think’s vision is for a more liveable world.
Our mission is to host a global platform designed to activate and support everyone working with arts and culture to make the world more liveable.

This work has already been supported by the British Council, Council of Europe, Creative Scotland and the Cultural Leadership Programme

re.think is a global platform designed to activate and support everyone working with art and culture to make the world more liveable.
More and more people are coming to the realisation that there is something very wrong. We are coming up against the limits of our planet’s capacity to support us and are living beyond our means.

Yet, despite growing awareness that our planet has finely balanced and interdependent ecosystems and limited natural resources, we continue to selfishly squander them. As a result, key assets that we depend on are getting scarcer and our climate is changing. Our current model of economic growth, which has encouraged our over consumption is broken. Our wellbeing is declining and inequality is rising, fuelling conflict, mass migration, poverty and many other social problems.

Things have to change and we need to act fast if we are to find new economic and social paradigms that recognise the limits of our finite planet and enable all life to flourish. We need to begin by transforming the values of our society and economy within a generation. We need to find more ways to understand each other, disrupt vested interests and imagine and create more sustainable ways of living.

Mission Models Money’s belief is that art and culture are integral to this process of evolutionary change.

Art and culture are one of the most participative, dynamic and social forms of human behaviour. Their capacity to trigger reflection, generate empathy, create dialogue and foster new understanding means that they can offer a powerful and democratic way of expressing, sharing and shaping values. By helping to create an environment, and state of mind, directly conducive to the creation and development of new ideas, they challenge the status quo and provide spaces where anything is possible. They can help us build new capabilities and understand how to imagine a different way of being. They can enable us to design useful and meaningful things and are increasingly the basis of livelihoods and enterprises that are motivated by much more than profit.

re.think aims to show how art and culture’s expressive energy can be harnessed to help us make the leap to a livable world and offers a global platform for everyone who shares this goal. re.think will encourage recognition of arts and culture as an abundant resource with a vital role in helping us address the global challenges we face, able to galvanise action and effective change in values, mindsets and policies .

In order to achieve this we will bring together artists, designers, producers, curators, entrepreneurs, economists, academics, environmentalists, psychologists, scientists, technologists, activists, community organizers and campaigners to share practice, exchange ideas and start new projects together

Together we will explore, connect, disrupt and invent. We will find out what it is about the particularity of arts and culture that can help us rethink our future, discovering what works and why. We will help the people who still make the big decisions to make better decisions by understanding the integral and interconnecting role of art and culture in the great transition that lies ahead. We will mobilize our collective learning throughout our community of practice in order to stimulate the systemic change we need. We will join up our hope and optimism to that of others in the effort to push humanity on to its next stage of development so that we can make the leap to a livable world.


WWF (2008) ‘Living Planet Report’
Rees M. 2003 ‘Our Final Century’
Lovelock J. 2009 ‘The Vanishing Face of Gaia’
Gilding P. 2011 ‘The Great Disruption’
MEA 2005
IPCC 2007
Stiglitz J. 2009 ‘Freefall’
Wilkinson R. and Pickett K. 2009, ‘The Spirit Level’
for more of an explanation of the importance of values in responding to the challenges we face
Rifkin J. 2009, ‘The Empathetic Civilisation’

To make the leap to a liveable world, we need to find means of activating and strengthening values that will help speed up the systemic innovation we need.  The important values to prioritise are intrinsic or self-transcending – values that are associated with concern for bigger-than-self problems and with the behaviours needed to help address these problems. They include:

  • empathy towards those who are facing the effects of humanitarian and environmental crises,
  • concern for future generations and
  • recognition that human prosperity resides in relationships – both with one another and with the natural world.

re.think’s view is that these values and behaviours can be best nurtured through three concepts – ways of thinking which we believe will be core to our success in creating a liveable world:

  • Wellbeing: a fulfilling and happy life for individuals and communities
  • Democracy: capacity of groups of people to take shared decisions about their future – at work, at home and in other places of everyday life.
  • Sustainable Livelihoods: a means of living where the capabilities, assets (including both material and social resources) and activities required are sustainable

The re.think programme is organised around these three themes.



About mmm

Mission Models Money (MMM) was an initiative that ran from 2004 until 2014. A network of thinkers and doers from the UK and elsewhere, its goal was to transform the way people working with arts and culture used their resources to create great experiences which had deep public value.

Publications, blogs and videos generated over the 10 years it operated are available through this portal.

re.think formed part of MMM’s last programme cycle. A global platform designed to activate and support all those working with art and culture to make the world more liveable, it ran from 2011 – 2014

re.source holds the complete MMM archive together with a range of tools and approaches curated especially for re.volution and materials created for re.think

re.volution formed part of MMM’s last programme cycle. A peer learning network designed to help renew mission, reconfigure business model and revise approach to money, it ran from 2011 – 2014.


4 Things to Look For When Hiring Cheap Furniture Movers


Are you looking for some affordable furniture movers Auckland? If you are, this article will give you some good information about the different types of movers that can make your life easier. Read on to learn more about what you should expect from a company that you hire.

When it comes to moving, people tend to move with different things in mind. Some are looking for the best prices, while others want to save space. There are other considerations, as well, and it’s important to think carefully about how you will move your items. In order to make the whole process as smooth as possible, you need to find the right movers Auckland that can meet all your needs.

First and foremost, make sure that the company you’re hiring is certified by the NZIF (NZ Moving Accreditation Foundation). This means that they have passed the highest standards for moving services and have been verified by their board of directors.

Check the company out thoroughly. You may want to do a background check on the company to see if there are any complaints. Look for references from former or current customers who had good experiences with the company. Look at the company website and see if they have all the necessary information about their moving services. Don’t forget to look online, too, because there are many good moving companies that give free quotes and other services on their websites.

Now that you have found the best company, it’s time to talk about what to expect when you use them for your moving and cheap furniture. Here are some things you should look for in your new company:

Experienced – If you are going to be using them for moving and cheap furniture, you need to be assured that you are in good hands. If you know any company that has used a certain service before, you can ask them to show you their work. You can also check the credentials of the company through NZIF. You may be surprised at what you find out.

Dependable – A good moving company will know how to move your items in a safe manner, so that your expensive and fragile items do not get damaged. You will also need to check that the company uses a moving truck that will not cause damage to the environment if they’re transporting a lot of furniture. to an unfamiliar area. The company should also have a good reputation, so you can count on them to deliver what you have in a timely and professional way. Be wary of anyone who seems less than trustworthy.

Easy to do business with – If you have a lot of stuff, it might take a while to pack and load it into a truck for a moving. It’s important that you find a company that can get the job done quickly and easily. A company that handles this type of job will also be able to tell you what type of equipment they need to help get your furniture into the truck. Also, if you want to find someone who is willing to move your entire lot at once, you may want to check out their movers Auckland history to see if they are certified and licensed to handle this type of job.

High level of customer service – The company should be able to answer all of your questions, and be available if you need them. They should also be friendly and should always be willing to explain things to you in a clear and simple manner. The company should never hesitate to let you know if something is wrong, even if it seems unnecessary.

Will help you when you need it – One way to check to make sure that a company is reliable and can really handle your moving needs is to ask them if they have been in business for quite some time. You can also check the Better Business Bureau or NZIF for any complaints against the company you are considering using.

Good service – If you are working with a good moving company, you won’t have to worry about them taking too long to get your items to their destination, or having to call them for help whenever you need them. If they’re not experienced enough to move your items, you may have to spend a lot of time in the moving truck, which could potentially be very dangerous for you. If your moving company has only a few years of experience, it is more likely they won’t be able to move your heavy furniture, and that you’ll have to pay more for their services.


How Many Men Love Sex Toys?


Without a doubt, most of them are designed to be sadistic sexual substitutes for sadistic and violent men. These portrayals are often part of an emerging dim view of this historically limited arena of male sex products.

The sadomasochistic or S&M-inspired sex toys have been used for thousands of years in China, India, Africa, and in the Middle East. The “toy” was not always used as a source of erotic pleasure. They were also used as a method of discipline and punishment.

Today’s male sex toys are not intended to make a man sexually aroused but rather to stimulate his senses and bring about a heightened state of sexual sensation. Many people are unaware that the use of sex toys is not a uniquely American phenomenon. While the history of the American toy industry is as intertwined with S&M as it is with any other popular pastime, there is no denying that the “toy” has become increasingly common as time has passed. It seems as though the more “adult” the consumer is, the more likely they are to prefer a product that stimulates their bodies instead of making them orgasm.

If you think that sex toys are just for men looking to please their partners, then you are not entirely wrong. However, there are numerous women and men who prefer the “girly” variety, and even some children who like the “pink” version.

Men and women enjoy sex toys just as much, but there are differences between the two genders. For one thing, men have a natural tendency towards arousal and release. Women on the other hand can get very turned on at the drop of a hat if presented with a good reason. So the answer is, sex toys are for men and women who are turned on by reasons other than physical pleasure.

Sexual pleasure is not the only reason why people choose male sex toys over female ones. For some, a more intense sexual experience is more pleasurable and exciting. Some would say that they are able to reach a more pleasurable climax if they are given multiple stimulation options. A male version may give the same level of pleasure that a woman might have during intercourse but is much more intense due to the size and variety of the objects being used.

Male sex toys can also give a man a sense of independence and control over his sexual experience and help him avoid embarrassment while he is having sex. There is nothing better than having an uninhibited, and self-reliant sex life.

In addition, unlike the traditional toys that are made for men, some of these devices can be worn for extended periods. These days, some can be worn while watching television or listening to music, so that the wearer can keep the activity going. In this way, the man will be able to keep his mind occupied and not be disturbed by what is going on around him while he is having sex. Of course, all sex toys come with the risk of getting damaged or even breaking, so be sure to use caution when using them.

There are a number of companies that produce and sell good male sex toys for men, but make sure that you take a look at the quality of the product first before you buy one. You should also do your research on how well it works. Be sure that the product offers something that your partner will both be satisfied with. And lastly, don’t forget to check whether you can afford to buy a product online, as this will save you time and money in shipping costs.

With all this said, you will probably be more than ready to find the right male sex toys for you and your partner. In fact, you may find that you end up with two or more! to please yourself!

Although most men’s toys are made with a larger than average penis, most products are suitable for both men and women. These include the penis extenders, which are designed to stretch the penis longer, or give the wearer the appearance of a larger penis. Or you could opt for penis implants, which are designed to make a penis appear larger and give the wearer more erection power, and the ability to last longer in bed.

There are also some penis enlargement patches available, and these are often made for men and women who would like to increase their size and girth as well. It’s important to keep in mind that the size of the penis is not the only factor that determines how long you can have sex. You also need to consider the length and girth of your partner, as well as the other factors such as her size and skill levels when it comes to oral sex, so you can both have a pleasurable and satisfying experience. There are plenty of different male sex toys to choose from, and it’s definitely worth a try!