15 Rules The Royal Staff Has To Follow –  Hw

the royal palaces are basically mini towns with a community of staff keeping things in order but working for the royals comes with jobs most nine-to-fives wouldn’t require you to do so if you’ve ever thought of being part of the royal staff here are the rules you’ll have to live by to stay employed and you can’t look down to read the speech you have to take the speech up number one confidentiality agreements working for the royal family means you get up close and personal with everything that happens in the palace

and in the family of course the monarchy doesn’t want anyone working for them to go off and spill the beans on their inner workings of the palace or share the family secrets without pre-approval we already know how private the firm likes to keep things so in 2004 the palace created a new agreement that all staff were required to sign stressing the importance of confidentiality under this agreement any employee found in breach of the agreement is required to donate any money they earned for sharing secrets to charity

number two no vacuuming in the morning not everyone in the palace are early risers some like to sleep in so one major rule for royal staff especially on the housekeeping team is no vacuuming in the morning or at least not before 10 am you won’t hear the loud sounds of vacuums echoing through the grand hallways around the palace instead cleaners are supposed to sweep the floors and no it’s not all hardwood floors a lot of them are fully carpeted so every morning the carpets are swept clean and the sounds of vacuums do not

wake any sleeping royals number three tupperware is for cereal you may think the queen eats all her meals off the finest china and silverware but she’s a little more down to earth for breakfast the queen loves her special case cereal in the morning and it has to be served from the same tupperware yep even the queen uses tupperware to store her food she has her staff keeper cereal in a yellow container as she believes it keeps the cereal fresh but she’s still the queen so there’s a little ceremony in how she is served her tupperware breakfast every

morning her cereal is delivered on a tray and she pours a cereal into her bowl to eat number four nannies go to school becoming a nanny for the royal family is a little more rigorous than taking a weekend first aid and cpr certification course like most nannies the royal nannies are trained at a special institute called norland college where they spend three years learning how to care for royal children after three years they graduate with a bachelor’s degree in early years development and training in those three years they learn

everything from defensive training to cyber security you may be wondering why a nanny would need to learn any of that well they aren’t ordinary nannies they will be in charge of the care of future heirs to the throne so they need to be well versed in all areas that concern the safety and development of the future monarchs number five don’t be seen or heard some may think that working with the royals is an opportunity to get in with the royal crowd but that couldn’t be further from the truth royal staff are supposed to remain behind the scenes not

seen or hurt like an invisible force keeping the place running royal staff are not supposed to disturb royals when they are at work or while entertaining and are expected to fade in the background unless it is absolutely necessary when they do come out of the shadows they have to keep things very formal when interacting with the queen like saying your majesty dinner is served instead of dinner’s ready it’s the little things that count for the queen number six the corey menu the queen’s corgis and dorgies a dash on

corgi mix are basically an extension of the monarch the pets are treated like royalty too in fact it’s well known that the beloved dogs have free reign to roam the palace and often wander into the kitchen maybe in hopes of getting first dibs on what’s on the menu but the royal corgis also have their own special menu that is specially curated every month and prepared by the palace chefs every day you know these are no ordinary dogs so their diet is the same no kibble or canned food on the menu these dogs dine

on beef chicken rabbit and lamb every day number seven no pets at work with how free the corgis are in the palace and the fact that staff also live in the grounds you’d think it’d be a pet-friendly environment but it’s the opposite staff aren’t allowed to bring their pets to work at least not since 2018.

it used to be allowed to bring your pets to work since the royal family are avid pet lovers but the head of the queen’s household lord chamberlain decided it was too much of a hygiene and safety concern for staff to bring their pets to work so if you plan on applying for a live-in position you’ll have to kiss your pets goodbye for the time being number eight corgi butler the queen can’t take her beloved dogs everywhere so someone has to take care of them while she’s off on her royal duties in order for all their needs to be met the queen has a butler

specifically for her dogs daily walks feeding and whatever love and affection the queen usually gives them is the responsibility of the caretaker or butler these chef made meals are served to the corgis and dorgies in their individual porcelain bowls when it comes to discipline though that’s all left to the queen it’s a rule that the royal staff aren’t allowed to reprimand the queen’s dogs even if they’re being naughty they are the royal pets so whatever they say or do goes number nine peeled carrots only much like her dogs the queen also loves

her horses and has a team taking care of her steeds at the balmoral castle part of the care is what they’re fed and you already know the queen is very specific with that the palace chefs are required to peel all carrots for the royal horses because these horses aren’t too fond of carrot peels to ensure the queen doesn’t get bitten when she feeds the horses each carrot is to be cut in uniform finger length sizes and place in a paper bag if the carrots are cut the wrong length and results in injury it’s the chef’s fault that’s a lot of pressure

for a chef in charge of cutting and peeling carrots number 10 prince charles doesn’t lift a finger prince charles is the heir to the throne so he gets extra special treatment and doesn’t have to do a thing for himself in the morning his clothes are laid out for him down to his socks in the order of how he will be putting them on so he never has to figure out his outfits in the morning even his towel is laid out in a special way for him to just sit and wrap himself and when it comes to brushing his teeth he never has to

squeeze the tube one of the jobs his staff has is to squeeze an inch of toothpaste on his toothbrush for him number eleven follow the tea tree maps everything has its place when you’re serving a royal down to where you place the teacups and sweet treats for tea time to make things easier for the kitchen and serving staff they have a detailed map with instructions on how each royal family member likes their tea and milk placed and which cake and biscuits to add to the tray like prince philip who liked his oat cakes placed

next to the honey on his tray the royals are creatures of habit so these tea tree maps stay the same for decades so it leaves little room for error especially for new hires in training plus you wouldn’t want to be on the queen’s bad side for placing her teacup in the wrong spot number 12 living at the palace some staff are required to live on the palace grounds to provide their exceptional service around the clock in buckingham palace there are 118 staff bedrooms which were usually completely filled with palestine now of course it

wasn’t always all work and no play staff used to have access to a private bar on the palace grounds to let off some steam on their off days but things got a little too unprofessional in the mornings and the bar was shut down since most staff move into the palace to stay for good buckingham also has its own post office pool movie theater and doctor’s office so all the staff needs are met and they won’t ever have to leave the grounds at least as long as they’re employed number 13.

the queen hates garlic her majesty is very particular about how she likes her food and makes it very clear to her kitchen staff when she doesn’t want to try a dish again she has a notepad for the chefs with a list of things she liked or didn’t like from her meal one thing that is always on the list is garlic her majesty is the not a fan of strong smell or taste of the aromatic ingredient and has prohibited palace chefs from including it in any meals whether for private or state dinners even though prince philip loved

garlic and his food it was the queen’s way or nothing number 14. save the leftovers you’d think based on their privilege and the fact that they were once the richest monarchy in the world the royal family wouldn’t mind their leftovers being thrown out but it’s quite the opposite everything that was left over from one meal the pile of chefs would find ways to reuse in another meal in fact royal chef darren mcgrady told hello the queen didn’t like wasting food so much she once sent her half squeezed lemon wedge

back to the kitchen to be used for something else she truly is a zero waste queen number fifteen coffee in a silver jug the queen may like her cereal and tupperware but she prefers her coffee to be served in the silver jug and with that comes a set of rules to follow it’s one person’s job to pour the freshly made coffee from the coffee pot into a silver jar the jar is then handed off to a staff member who walks it down to another staff member who then takes the jug to serve the queen seems like a lot just to serve the queen her cup of joe

but that’s how her majesty likes it so that’s how it’s done would you be okay doing some of these jobs if it meant living at the palace let us know in the comments below and don’t forget to like share and subscribe to the thing celebrity for more on your favorite royals

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.