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  Episode Transcript SUMMARY KEYWORDS facilitators, facilitation, people, work, netherlands, conference, organized, chapter, facilitate, book, session, iaf, network, years, dutch, problem, situation, meeting, certification, assumptions   H.J Hello and welcome to facilitation stories, the community podcast brought to you by the England and Wales chapter of the International Association of Facilitators, also known as IAF. I'm Helene Jewell.   N.W And I'm Nikki Wilson.   H.J And this episode is one of our quarterly chapter chats, where we talk to people leading other chapters in the IAF global community. We ask them about how they see the status of facilitation where they are, and the history, priorities, current projects and aspirations for their chapter. Today, we will be talking to Jan Lelie, facilitator and founder of IAF Netherlands.    N.W So welcome Jan. So to start off with, could you tell us a little more about yourself and the work that you do Jan?   J.L Yes, of course. Well, I facilitate, and I said, I've always facilitated. I worked for six weeks as a consultant in 1984 and then decided that it was not for me, and that any situation requires all the participants to be in the same room, in the same place, and if you're not part of the solution, you're part of the problem. And find out actually what the problem is about. So I studied physics, experimental physics, and there I learned that the definition of the problem is part of the problem. So in most of the situations, people have a, how shall I say, the rudimentary idea of their problem, and then they start to implement a solution. And when the solution doesn't work, the solution actually becomes a problem. So you're asked to get a solution implemented which is not the solution to a problem, so it will never work. And I started out in IT, information technology and communications, and there, often IT is not a problem, it's a solution that doesn't work.   H.J  And so you have been part of the IAF for nearly 30 years, I think. How have you seen the practice of facilitation and the role of facilitators change in that time?    J.L Well, first of all, I think that everybody facilitates. It's like everybody communicates. So facilitation, in my experience, is about making connections. It's how you connect with people, how your relationship works, and from there, and everybody connects with each other, only like with communication, nobody has been trained into effective communication and in effective facilitation. So most people work from an expert position, like a consultant or a trainer or even a moderator, and facilitation, in my opinion, is a different paradigm, a different way of dealing with relationships, and the only way to progress is to to learn from each other in working as a facilitator and facilitating. So that was one of the reasons I went to an IAF conference in London in the end of the 1990s which was organized by the IAF, and because we had a computerized brainstorming solution, we wanted to show and also I already had organized a group of what we call moderators, a network of moderators. And then I learned that what I was doing was called facilitation.    H.J It's interesting. I think a lot of people have said that, that they, they didn't necessarily call it facilitation, or call themselves facilitators. They sort of discovered by accident that there was a name for it.    J.L I studied biophysics, and I used to call it catalysation. And the catalysation is what most of all biological systems rely on, catalysation. And catalysation, strangely enough, means breaking the connection. So facilitation means making, to make. And Li is a very ancient word which we can recognize in the word line. And line of Li is connection. So catalysation is breaking the connection. And in my way of facilitation, I'm always being aware of how to end the relationship, how to stop the relationship. I always facilitate with the end in mind, and that's what the catalyst does. The catalyst takes one molecule and another molecule, and tries to connect them, and then steps out of it and unchanged.    N.W And how learned over that time, and if you, if you kind of recognize that that original conference, that what you were doing was, was facilitation, what kind of other things have you picked up through being engaged with other facilitators over that time?   J.L What I do is practice makes perfect. So you have to practice what you preach. When I go to an IAF conference, I will do a workshop of myself and I also work with other facilitators to see and to learn from each other. Nowadays, at the conference we took about a quarter of an hour after a session, during IAF conference, to reflect on the session itself. What went well? What did you do? What can you do differently? And I think that is basically how I work. So it's still, I'm still doing training and courses, and then also what we learn together. I always say I cannot teach you anything. I can only facilitate your learning. And that's how I approach facilitation. Also, I try to be a facilitator's facilitator. This might sound strange, but I will say the universe is my teacher. So the universe is very kind, and they offer you lessons. And the problem is that you, as I said, you cannot see the lesson until it appears, and then it's always in the resistance. So when you feel resistance against something, it's probably something you need to learn. And that is also what makes facilitation for most people very, I shall say, difficult or awkward, is that you have to deal with the resistance of a group or the situation, and let it be, not try to solve anything, but just like to see how it works out. If you see what I mean. Like I said, the universe doesn't have an agenda. So sometimes the lesson comes too early. Then you learn something, and you think, okay, thank you. And then sometimes the lesson comes too late. So then after two or three years, you realize, okay, this session, I happen to speak to a colleague facilitator yesterday, and she has problem in managing her team. And she said, it's difficult. And then I asked, What kind of difficulty? Is it difficulty? And then we remember suddenly a session we did, like 4, 5 years ago, what was a very simple technique by a Korean facilitator who I've invited of making bracelets of your, of what you find difficulty, and then put them on your arms and on your legs, or wherever you feel the difficulties, and then sit with them for some times, and then have a conversation with others who are also sitting with their difficulties and dealing with that. And that's where I work. You know, you get this, this method or this tool, and then you think, okay, just the opportunity will arise.    N.W Oh, excellent. I love that idea of sort of collecting things that you might use in the future, but not necessarily knowing where they will, where the need for them will emerge. I think that's probably something that a lot of us do, but not always consciously. So that, I love that example. It's great.   H.J I just want to think a bit or ask a bit more about that, the whole sort of community element, I suppose. And thinking about IAF and the IAF Netherlands and ask a little bit more about that. So you're current and past chair of IAF Netherlands, but prior to that, you were IAF Benelux. Can you tell us a little bit about how the chapter was established?    J.L Yes, in the, well in 1990s I met John and Maureen Jenkins. And Maureen had been, or was, was becoming Chair of IAF world, and they happened to work in the Netherlands, and they organized a conference in Amersfoort here in the Netherlands, and I joined the conference together with some colleagues. And during the conference, we decided that we should have a Dutch network of facilitators, and we started to create a foundation called IAF Benelux. And it was in a time when IAF didn't have any chapters, it was just IAF world, and you became part of what, in my opinion, was an American organization, and then we, well, we founded this, this, this network, and we organized events. I think the most important thing is what we did is local events,and a yearly conference and also I went to the to European conferences. But the main thing for most Dutch people is they like to work in Dutch. And that is the other thing we organized from the IAF Benelux, we wanted to have a certification process, and at that time, it was only in English, but as that's been established by Dutchman, and there were some Dutch speaking assessors. We use the English process to have people certified in in Dutch and here in the Netherlands, we were the first organization which offered certification in their mother tongue.   H.J Um, and that's for the Certified Professional facilitator accreditation   J.L Yes, and I think we had about 100 or so certified facilitators here in the Netherlands at some time, because we did it together with the yearly conference, we had a certification event, and also we had separate certification event. At a certain time I think we had two every year. And beside that, we organized events, like I said, I like to meet other facilitators and to work together and to explore our way of working. And John and Maureen at that time, were very, as I said, supportive of the, of it. I think Maureen is one of the best facilitators in the world. He's one of a kind. So, and that's what worked for a couple of years, six or seven, eight years. And then IAF organized itself into chapter structures, and we had to become an association. So we, we terminated the foundation and became IAF Netherlands and for again, about, I think, 7,8,9 years. But the problem I always said with associations is that you have all these things about membership, and I think that association is not the best fit for a network of facilitators, because it creates expectations about what IAF does. So people usually ask me, okay, what is IAF going to do for me? And I said, Well, nothing. I'm not your mother. You have to facilitate yourself. We're here to facilitate you. But people kind of expect us to do things for them, and I was resisted that so, but I must say, I'm an exception. So most of my fellow board members, they were very kind, and they organized things, and they made memberships at everything. And I'm not that good in organizing things, you know.   H.J I guess that's true of lots of people, though, isn't it? So some people are natural organizers, and some people just want to go and do whatever the facilitation or the, you know, take part in things. And sounds like a, it's a good job that you have that mix in the chapter.    J.L Yeah, and I also said I'm the worst chair in the world, you know, because I facilitate, I don't share anything. So, but in the end, because the problem with a board is, in my opinion, that you shouldn't have people in the board for eternity. So we made the decision that you could only be two times three years in the board, and then you have to leave the board. So gradually the board of the IAF changed, and then many of the board members became frustrated, because when you organize a conference, not many people show up. I think that is only natural with facilitation, because it's the diversity of facilitators is too wide to have a common ground. That may sound strange, but in my opinion, we don't have a common ground. We don't have anything in common except that we call ourselves facilitators, and that is not enough to have a professional association. I personally always say a facilitation is not a profession, it's a calling.   N.W And so I mean, I suppose, bearing that in mind, despite some of the challenges of finding some common ground, you have hosted 12 conferences, I think, over the past sort of 30 years, while you've been involved. So what have been some of the topics or themes that the conferences have been about and that you've brought together people around?   J.L Well, usually, I collect a small group of people, and we have a conversation about, or a facilitated meeting about what, what could be the theme of the conference. So we did a conference of, do, do the nothing, or in, in the Dao, it's called the way Wu wei. So it's, it's like do nothing, and it's very difficult for facilitators not to intervene, but sometimes it's very important not to intervene, so be there and be aware of what happens, and notice that you should let things go as they were, and only wait until you are invited to intervene. So we did a conference about that. We did a conference of sedators carries on. So I think it's in England it's a set of movies, carry on movies.   N.W Yeah, quite a different facilitation, I think in my memory, but yes.   J.L No, but it's also what we do. You know, you just carry on.   N.W yeah, too true.   J.L and also like things that like, Oh, what do you do when you don't know what to do? This is also an interesting theme. And we also did a thing on facilitating with the brain in mind. So at that time, about 10, 15 years ago, a brain facilitation was coming up. So I just invited facili, we just invited facilitators to have a meeting together, so and bring the knowledge or the experience together. And then we also did something about like serious facilitation, which is also very funny, facilitation, seriously.   H.J It sounds like there's definitely a bit of a theme just listening to you talk around facilitators needing to sort of step back a bit and not get too stuck in. And I do recognize that that kind of feeling, that sometimes you feel as a facilitator, that you need to do something.    J.L The other issue with facilitation is that you always have to work from a perspective and a meet up perspective. You have to be aware of your awareness. So you have to be aware of the metaphor which is being used. So people talk in metaphors, but you have to take the metaphor literally and not figuratively, and that is, and that is very hard to do, to see yourself in a situation and be aware of your situation and at the same time, how should I say, control your behavior or or inhibit that's also a thing which is important, that you are inhibited. In my opinion, I will say that your timing is more important than your method. So we are also always focused on to methods and techniques which are important. You know, you I know about every method and technique in the world, but at the same time, the timing is more important so you can use the wrong method and still have the right timing and get the results. Where, if you have a good methods, but your timing is wrong, then it won't work. And then people start to think, Okay, I should know this method better, but now it's not in the method its in your timing. And in my interventions, I always try ,and then when we do is also about when we're training, to be late in your intervention, a bit laid back so you can see your intervention coming, at least I can do it, and then I say, Okay, let's wait for some time and see if I'm right. You have to be aware of your assumptions. Yeah, that's it. And that's also in physics, you know, that's what I'm mean, to be, to be aware of your assumptions about what is needed and first test your assumptions before you act on it. That's, I think, how you should define your meta perspective. So whatever happens in a group, you make an assumption, okay, I think they are stuck. And then you say, okay, What sign do I have that they are stuck? Okay, well, they're quarreling, yeah, but quarreling doesn't mean they are stuck. It can also be very constructive. You know, one of the times as an example, I was a co facilitator with a facilitator, and people only in a group were disagreeing with each other, and they asked me, What should we do? I said, Well, just let the disagreement continue. Disagreement is good, and only when you're called in to, to facilitate, then you come as a facilitator. And and this is very hard to do, because you want to keep, to care for the group. Do you want to people to be constructive and to have people sometimes they have to disagree with each other. And only when you're asked to intervene, you intervene.    N.W Yes, I think there's something really interesting there about, as you said, the timing, and kind of maybe leaving it a little bit longer than you'd be tempted to, just because sometimes then something more emerges that you might not have assumed would happen. And, yeah, really interesting.    H.J Okay, thinking of time and moving on, just so we make use of the time we have. I just, I wanted to ask a little bit about the book that you co wrote, co authored. And this was, I think, one of the initiatives of your chapter, the IAF Netherlands chapter, and it was called diverging conversations through facilitation. And I think it's got 24 different case studies from different facilitators. And I just really wanted to find out a little bit more about that.   J.L It was actually a suggestion of one of our facilitators that we should have a kind of year book. So every year a book about facilitation. And so I invited a group of facilitators to brainstorm about it, and I asked them to bring one of their favorite books, one book that inspired them. And then everybody introduces themselves using their book they brought. And then we looked at the qualities of the book, and then we make a list of the qualities about the book on facilitation, and then it was, they came off. So okay, we should have concrete cases about what you do as a facilitator, where you make the difference. It should have a strict format of four pages with two pictures, but not use the actual pictures, which make them into a line drawing, because you can read line drawings easier than pictures. And also they don't age. So pictures age, and then it should have a, shall I say, the preface, and a reflection on the on the book, and, and then we made this the chapters like, Okay, what did the client say? What was your situation? what was the core question?  What did you do as a facilitator? And then away, actually, where did you make the difference as a facilitator? And then what was your result? And then a reflection on your session. And then we edited all the and then we asked people first of time in the Netherlands, we did the thing in the Netherlands, first called the book, was ‘Facilitation Made Easy'. And we just invited people who came to the conference or in our networks to submit cases and asked their clients if they were okay with that their case was used. And also we checked the actual cases, and then we edited them for for, how should I say it, that they all look the same. And also, when you ask a facilitator what they do, you get a long story about the I did this and this and then I did, but that was not interesting. We wanted to know, where did you make the difference? What was the turning point, or the the Blue Note way, what was, what was, what you did, the counterpoint in your session? And then we sent them back to them, and what do you think about it? And then when they agreed, we put them in the book. And then, and it was very clever. I think we made, we decided to print like 2000 copies, but you could have your own cover sheet. So you could buy 50 or 100 with your own organization on the front and on the back, with and, and these were the sponsors of the book. So they paid, actually, they paid the fixed cost for making a book, publishing the book, even before we had to sell it, because they have already and they got a very low price for the 50 or 100. So our company might at work, ordered 100 and there were several other organizations, most of them organization for facilitators who bought 50 or 100 copies in the pre-sales. And I had my book published by Helling here in the Netherlands about facilitation, which is actually a meta praxis. And then it was in the Netherlands it was a huge success, and I introduced it at an IAF Europe conference. And then we decided to create the international version, and we translated the 12 international cases from the Netherlands, because a lot of us work in other countries and than in the Netherlands, and we invited facilitators from England, from Germany, from Japan, from North Africa, to add their cases. And we use the same format, and we added a glossary of terms, because then suddenly you notice that when we use the same word, we are saying different things. And we published that book, and our basic idea at that time was to make it one yearly or two yearly event and use the cases from the IAF award, let's say, as a format. We proposed it to the board, but we never heard anything about our proposal, again. One of the other things a facilitator could only buy two copies. So you bought one for yourself, and want to give away.   H.J Nice. I think I have a copy actually. So yeah.   N.W And from all of those different global case studies, are there any sort of key themes or lessons that came out of those, or any particular case studies that stood out for you?    J.L Yes, several. I think the case from Maureen Jenkins is very interesting because he worked with a congregation of nuns in Roman and international organization, which is actually very huge, but they have to change their way of working, and since it is very natural. And also, I like the case by Marlin Moran from Sweden, because in that case it is actually, it's a very short case, which actually, which is very often the case in many problem situations that people have different, how should I said, meanings of the same word. So in this case, it's about teamwork, but and the teamwork didn't work because they, the CEO, didn't think they were a team. They were working as a team, and it just happened that they had different definitions of the way of teamwork, some thinks, okay, it's a month or the weekly meeting. And also now we should pull together as a team we should share those. And Marlin noticed that and then made that as an intervention. And so this is also the cases that you start out with a certain assumption about what is the case, and then suddenly notice that there's a completely different problem or situation which is not being discussed and which should be on the forefront of the meeting. And I think this is one of the red threads, the one of ,what they have in common, that you are able to change your assumptions on what is happening while in the meeting. So of course, it's very difficult because you have prepared your script and or if you have your agenda and you want to stick to the agenda, but actually your own, I will say, you only got your agenda to know where you differ from your agenda. Plans are nothing. Planning is everything. So you've got a plan. I'm very, almost very well prepared for my sessions, but most of the times, in the first quarter an hour or first half an hour, the plan goes out of the window.   H.J I really like that plan. Plans are nothing. Planning is everything. I think I might, I might take that as a quote.   J.L  yeah, and you have to be able to replan your session during session, and that is why you have to. So only when you are well prepared you can improvise, because that gives you the certainty that you have thought this and and the ability to let go of your preparation when the need arises, when the situation asks you to. By the way, I learned it from a very good facilitator. She once came to my training. You did the brown    N.W and so thinking about, obviously, you've talked about the book and the conferences. What other ways do you sort of bring people together in IAF Netherlands? what other kinds of activities have you run? Or do you currently run?   J.L Well, strangely enough,we had to dissolve the association, so we are now kind of a kind of open network, which I run through meetup, and I only organize one meeting a year, and still the meetup starts to grow and grow and grow. So we go from 300 or under 300 to over 500 now. And I sometimes ask people, okay, what you want me to organize, to facilitate, and then I get no response. So I don't know, you know, let's see. I'm hoping to do something in September about facilitation.    H.J And do you have any particular you know, What do you think will happen in the future? So at the moment, it sounds like it's sort of loosely organized network of meetups. Or, as you say, you know, you put one meetup on a year. What are you hoping for the future?    J.L Well, what I've seen, what this happened, has happened in the Netherlands, is that there are several networks now, or facilitators, most of them are organized in a company and around a certain method or a certain tool, like Open space or Agile or Facilitation Academy. And in most of those, future center. And in most of those networks, people participate, who used to be in the IAF network. And I sometimes talk to them and say, why don't you come to the IAF meetings? And then say, well, we don't need an international association. So they are like local organizations for local meetings. And I think it's that's I think I see myself, like as a catalyst. And also in the IAF Meetup group, most of the participants are non Dutch speakers, but they work with consultancy agency or, yeah, or they are self employed in networks as a trainer or a consultant. They don't call themselves facilitators, and I expect that after some time, we will start doing more meetings or sessions on facilitation. But then, you know, this is just my way of organizing. So I don't organize much. I like just things. Things happen all by themselves. They don't need me to to happen and only when you when I'm asked to do something, I do something, that may seem strange, but I think that most of, actually all change processes happen by themselves through everything, even before open space, I thought everything that happens is the only thing that can happen and the people who come are always the right people. You know, I did sessions at an international IAF conference, and only one person showed up at my workshop. And, okay, let's have a one person workshop. And she's still very fond of it. Since I met her again, she's from Turkey. She still remembers that workshop that sometimes you know you your workshops are crowded to 40, 50 people. Okay, your framing creates your situation. So when you frame yourself as an association, you've got Association problems, and I can say blindly, which they are. You have to tend to take care of your members. The members expect you. You have to have a board, and your board will indefinitely expand. You have a certification events, and the certification will also proliferate. You get like a master certificate and a beginner certificate, I already predicted that this is a normal way of working. And as I said, facilitation is not a normal way of working. We are exceptional people ,work in an exceptional situation.    N.W Okay, well, I mean, I think there's a really lovely sort of emergent theme, kind of running through the conversation today, which I think it's more about, as you, you said earlier on, about the kind of ,the universe, I think, and how that shifts, and maybe that's how the future of the chapter might emerge and sort of respond. So I think we've had a really great conversation today, Jan thank you so much for your time. If listeners are in the Netherlands, where should they look? You mentioned the meetup, where can they find out more?    J.L Yeah, the IAF Netherlands meet up.    N.W Okay, so is there a website they need to look for?    J.L It's a Facilitator Meetup Netherlands facilitated by IAF Netherlands it's called.   N.W Okay   J.L  And there are now 5579 members.    N.W Brilliant. And what about if people would like to get in touch with you directly. Where's the best place to find you?    J.L Well, you can use it through the facilitator meetup by IAF Netherlands, or send me an email. IAF-netherlands@kpnmail.nl   N.W Great. Thank you so much.    H.J Thank you so much. Jan, it's been really interesting talking to you, and I'd love to chat more, but for today's podcast, thank you very much.    J.L Thank you. Thank you for inviting me, lovely to talk with you.  

In this episode Nikki talks to Suzannah Lansdell about Public Dialogue.  Suzannah is a  freelance facilitator who also advises organisations on how to do public and stakeholder dialogue, particularly in the science and technology sector for Sciencewise.   They talk about Public Dialogue as a process bringing together members of the public with specialists and policy makers to discuss complex and controversial topics and gather public insights on the issues without necessarily coming to firm recommendations; “this is this is not a Focus Group. It's not kind of top of mind views. It's digging behind that”  How members of the public are engaged to take part; The role of a facilitator in Public Dialogue and how it's different from other types of facilitation; Some recent topics for Public Dialogue including Embryo Research, Future Flight and the role of Data; The experience of participants and how this differs from other consultative processes;  “one of the key things about Public Dialogue as you give people the time to kind of wrestle around the issue and think more deeply.”  How information is shared with participants, including striking a balance on the level of detail and the importance of including a diverse range of specialist perspectives; Evaluation in Public Dialogue and the focus on monitoring longer term impacts from the process; Suzannah's hopes and expectations for the future of Public Dialogue, becoming more embedded in policy making and democratic processes. A full transcript is below. Links Today's guest: Suzannah Lansdell on LinkedIn: linkedin.com/in/suzannah-lansdell-ab23a78 Today's subject  Sciencewise: https://sciencewise.org.uk/  Involve Resources: https://involve.org.uk/resources/knowledge-base/resources  Involve Methods: https://involve.org.uk/resources/methods   To find out more about Facilitation Stories and the IAF and the England and Wales Chapter:  Facilitation Stories website: https://facilitationstories.libsyn.com/  And to email us: podcast@iaf-englandwales.org  IAF England and Wales: https://www.iaf-world.org/site/chapters/england-wales   The Facilitation Stories Team:  Helene Jewell: https://www.linkedin.com/in/helenejewell/  Nikki Wilson:  https://www.linkedin.com/in/nicolawilson2/    Transcript N.W Hello, and welcome to Facilitation Stories brought to you by the England and Wales chapter of the International Association of Facilitators, also known as IAF. My name is Nikki Wilson (NW) and today I'm going to be talking to Suzannah Lansdell (SL) about public dialogue. So welcome, Suzannah.    S.L Thanks, Nikki, lovely to be here.    N.W Okay, so to start off with, could you tell us a little bit more about you and what you do.   S.L So I'm a freelance facilitator, I've been doing that for about 15 years or so. I started, and so how I got into it just as a bit of context, as it sort of helps a bit with the public dialogue is, I started working for an environment charity back in the 90s. And I was doing a lot of work then with businesses, convincing them that there were commercial implications around environment sustainability issues. But one part of that the charity had was also about consensus building, about how do you get different organisations to approach environment sustainability issues, that at that time in the 90s, were very kind of adversarial in a more kind of consensus based approach. And absolutely core to that was facilitation, as a way to, to break through that more adversarial approach. So then I started working a lot on that and I kind of cut my teeth on some of the big issues of the day, things like nuclear waste, oil disposal, oil infrastructure disposal, biotechnology. So some really kind of big issues where people were on opposing sides and a facilitative approach helped people to kind of have more constructive conversations and find a way through. So that's kind of where I cut my teeth. And then moving on, what I'm much more doing now is that I advise and I support organisations on how they do public and stakeholder dialogue, and particularly around public dialogue work for an organisation called Science wise, that looks at public dialogue around science and technology. But I also do some kind of keeping my oar in on the practice in terms of facilitating citizens assemblies, and other kind of processes involved with the public. And then a little spattering of training in facilitation and a little bit of kind of charity away days, but most of my work at the moment is around the kind of public dialogue in science and technology.   N.W Okay, great. And that was a very neat segue into today's topic, which is about public dialogue. So for listeners that aren't familiar with this term, what do we mean by public dialogue?   S.L I suppose in its simplest terms, it's a process where you've got members of the public coming together with specialists and policymakers and other stakeholders to deliberate and have conversations about usually kind of complex or controversial topics. And they do that over several hours, so this is not a focus group, it's not kind of Top of Mind views. It's digging behind that. So you give people a lot of time to think about the issues and to have conversations with those specialists, but also fellow participants. So probably people are maybe deliberating over 10 hours or a couple of weekends. It can be online, it can be face to face, it can be a bit of a mix of both. The key purpose is to get those insights from the public to feed into kind of a decision whether that be a policy or whether that be a strategy. And some people might have heard of the term of mini Publics, so it sort of fits within that frame of mini Publics. And we could talk a bit more about who's the public in this. The key difference that I see with public dialogue is that unlike, for example, citizens  juries or citizens assemblies, we don't usually ask people to come up with or vote on recommendations or come up with specific recommendations. It's much more that they're kind of invited to explore that issue and then there are insights that come from that, but it's not taking it to that kind of final this is what this group of people think and vote on.   N.W And so who would normally be the sort of Commissioner of the public dialogue who would bring those groups together?    S.L It would be a decision maker. So it'd be somebody that has some traction over that issue. It might be that they own the policy or that they own the strategy the public dialogue is feeding into. So that could be a government department, it could be a Research Council, it could be a regulator. So usually at that sort of level.   N.W And you touched on this a moment ago, but mini publics as it were, who normally would get involved in these, and how would they get involved?   S.L Yeah, so I think what's really important to know with public dialogue, or indeed any of those mini publics is that these are not public participants that choose to sign up, because they've seen it in their local paper or something, they are kind of randomly recruited to take part in this process. So what you're trying to do is to get a reflective group of the population to be part of these processes, and they're paid to attend. So you're getting over that slight bias that you might have, if you have a local meeting, for example, where just those people with the time and the inclination, and already with an interest in the topic turn up. So you're recruiting them kind of randomly, and that might be that they are approached on the street and it might be that they are approached through some kind of invitation. So usually, for example, on citizens assemblies, they're approached through a sortition approach, which is, you randomly receive an invitation through the post. Most public dialogues, it's recruited sort of on the street. And then you're looking for a kind of demographic, as I say, that kind of reflects the population, whether that be gender, whether that be where people are from, it might be things like whether the urban and rural split, it might be to do with the age profile, so that you've sort of got a little mini public in the room that you're having that conversation within.   N.W Have you got any examples of recent topics that you've seen covered in a public dialogue, just to bring that to life, I suppose.   S.L Well certainly. So the science wise work that I work on, it's, I mean, as you might expect, it's kind of around science and tech innovation, sorts of topics. So some of the recent ones have been things like embryo research, and where that goes in the future. Future flight technologies. So there's a whole new area of kind of innovation around future flight and what does the public think about where that might go? BioMed adaptation has been another one. Lots around kind of data, what do people think about data that is held on them or data that might be used? Where are the boundaries around that? And through things like genome editing in farmed animals, so a real range across that sort of science and tech space.    N.W So obviously, we've talked about the commissioners and the public involved in this, but this is facilitation stories. So what would you say the role of facilitators is in a public dialogue? And how, in your experience, is that different from other types of facilitation?   S.L So I suppose, obviously, there's the core basics of facilitation, that are the same, but I suppose, for me, the real the things that really stands out are that, absolutely, as with lots of other facilitation, your view on a topic has to really stand down you can't be seen to influence the process in one way or another. And when some of those topics they're very kind of emotive. Another thing is that because you've got a group of the public there, so I suppose those two things, you're likely to be part of a bigger team. So the number of participants involved in a public dialogue might be, it might be 30, but it may well be closer to sort of 100. So there's a team of facilitators, you've got a group on your table, say if you're just a table facilitator of seven or eight participants, and they're public participants who, it's not like if you were, say, working in with an organisation where you might have a bit of insight as to who's going to pop up on your table, you might have people there who are really not confident in speaking or, or who might have literacy challenges, or who might have English as a second language. So you've got to sort of adapt to that group of participants that you have, and work with them to build their confidence to express their views about the sorts of issues that are under consideration. And then I think this notion that you're part of a team of facilitators, you're all doing the sort of similar process on separate tables, and that is part of a bigger jigsaw piece. So you sort of got to manage how your group is responding to those questions and that plan that you've got, and knowing that you need to kind of get to an output for that specific section, because it fits together into the whole jigsaw piece of the whole process. So I think that that's an interesting dynamic. It's not like you're there and you're kind of controlling the whole space. Of course, I'm talking there about a table facilitator and then there's the kind of facilitator who's kind of orchestrating the whole piece as well. I mean it's fascinating working with the public, that's the bit that I just find so interesting is giving people the opportunity to have their voice heard in these issues and people love it. But as a facilitator kind of getting to the point where people are comfortable to do that is interesting.    N.W Yeah, I mean, I haven't mentioned as we've been talking, but I have facilitated in these environments. And I think one of the things that I always find so fascinating is that you can have a whole load of different groups essentially following the same framework and process and they will come out with completely different things, or they will respond to the materials in completely different ways. And you've got such a close comparison, because they're all in the room together with half an hour, or whatever it is, and I just find that fascinating, or I've done some where I've done the same process two nights in a row with different groups. And literally, it's nothing to do with how I facilitated it because I was the same person. But yeah, so interesting to see how different groups respond to the material.   S.L And sorry, I was just going to say. And also giving people the opportunity, because of course, you've got a mini public there. They, the participants themselves are meeting people that are from all sorts of different walks of life, and seeing how they reflect also on other people's contribution and how that adjusts their views. And again, that, for me, is one of the key things about public dialogue, as you give people the time to kind of wrestle around the issue and think more deeply.   N.W Yeah, absolutely. And again, I mean, we've touched on this a little bit, but obviously, this can often be about quite complex subject matter, you've given some examples at the beginning, and the participants will have varying degrees of prior knowledge. So obviously, giving them some information is one of the key things in this, what have you seen works particularly well, in how you present that information to people and perhaps not so well?    S.L So yeah, absolutely, you kind of have to give people enough information that they can deliberate on it, but not so much and that for me is the real critical point is that it's boiling it down into what is the appropriate level of detail, participants don't need to have a PhD in the topic. And they very quickly, participants really quickly kind of get to grips with what the topic is. So for me, the really crucial things is that you have to have specialists from a diversity of perspectives. So that participants can kind of reach into the corners of the issues and what the different kind of takes are on that. And I know most of the time it is done through some form of kind of presentation. But it's really important to pick your specialists well, that they can talk in an accessible way or brief them well to do that, and make sure that you know what it is that they're saying, that you get to look at their slides beforehand and make sure that it is accessible. It's not kind of reams and reams of really detailed stuff. But other ways in which the worst sorts of information imparting are where you have a really long, dense presentation. So that's designed out. You tend to give it in small bite sized, probably no more than 10 minute type of talks, you layer up the sort of information that you're giving to people so that they've got these sort of bite sized chunks, and they're hearing from different perspectives. But as well as hearing from different perspectives, you sometimes in public dialogues, you can also interview people before the dialogue and put that into provocation, kind of cards or animations or sort of pictorial scenarios so that people can access the information in different sorts of ways. What's really crucial is that they hear from different perspectives, they get a chance to sort of question and interrogate that, and it's not in a kind of overly complex way. So that's the real skill of who's designing the whole process, is making sure that we're hearing the right sort of information enough for participants to get to grips with it, but not so much that they're just listening to reams and reams of presentations, because that's not the point. The point is not to kind of come out with an educated public. The point is, is that we want to hear what participants kind of deliberations and insights on having known enough about the topic.   N.W yeah, and I suppose almost that instinctive reaction or whatever it is that they have picked out from a presentation that's most important for them is a valuable insight in the first place is that, actually what is it that they're taking away from all of the information they've been given?    S.L Yep. What's really nice is if you have the opportunity and the processes, which because they're run over a number of sessions you can often do this, is to ask participants also what might be missing or what they might have to revisit. And, again, if you've got a specialist sort of in the room, whether that's a virtual or real room, using them as a kind of resource to be able to pull on as well is really important.   N.W Yeah, I think that we perhaps haven't made that clear that quite often those experts will give a presentation but then they are still available to chip in, to answer questions, to clarify bits. So that's really interesting, too. Yeah. And again, so while it's not unique to public dialogue, I think something that a lot of the processes involve is a really kind of structured evaluation. So could you tell us a little bit more about that? And how it sort of fits in the overall process?   S.L Yeah, yeah and certainly for science wise public dialogue. So just actually, to really quickly scale back. So science wise supports government departments, research councils to do public dialogue and kind of mentor supports those organisations, but also provides some co-funding. So there's always an independent evaluation that sits alongside that public dialogue. And that both I think, quite uniquely, for this evaluation, it sits at the beginning, and it can give sort of formative input throughout the process as it's being designed. But also it produces a kind of summative evaluation at the end. So what is it that participants have felt? What is it that specialists have felt? So gathering all of that data like you might do, usually in a kind of evaluation. So it's more than just observing the sessions, doing a participant survey and reporting on that. And the other thing that I think is kind of really important is, again, certainly for science wise dialogues is that there's a sort of interim report when the dialogue report comes out. But then we go back or the evaluator goes back six months later, and says, right, what was the impact of this public dialogue? And that, to me, is really, really crucial so that you know where has it influenced? You said at the beginning, that this was going to be something that inputted into this policy, or that inputted into this strategy. Six months on what has happened? Have those impacts happened? Have other things happened that have been as a result of that public dialogue process?    N.W And I suppose with that in mind, have you got any examples of where you've seen really specific big changes that have come out of those that you can sort of share? So obviously, a lot of them are still in progress.   S.L Yeah, sure. Well, I suppose the one that quite often is, is quoted and this is going back a little way. I mean if you look at the science wise website, there's always the evaluation reports are up there as well. And they, certainly the more recent ones, kind of capture those impacts. So it might be that it's led to a whole raft of new social science research. But one of the ones particularly that's quoted is around something called mitochondrial transfer, and this was quite a controversial area of research. A public dialogue was held which helped inform. Then the recommendations of what was the human fertilisation embryology authority, the HFEA , who regulates all of that, and that then fed into changing the law on what was allowed in terms of this mitochondrial transfer. Whilst they would have done other stakeholder work, they would have listened to what experts thought about this, actually hearing about what the public thought, whether this was the right way to go, what were the sorts of limits? What were the red lines? What sort of conditions should be in place? Formed a really kind of core plank of then what that recommendation and ultimately, the kind of law change signifies. So it can have some big impacts and what I see a lot with public dialogue, and we'll kind of think about this into the future is, lots of government agencies, or any key decision making authority is really familiar with thinking about how they involve their kind of traditional stakeholders. But thinking about how they really hear from what the public thinks is a more tricky area for them to grapple with. So public dialogue provides one route in which they can really understand, what do the public think about this having had a bit more time to think about it. What drives their concerns or their hopes or their aspirations around this particular topic? And that, for me, is always the missing pieces, like, how are we hearing the public voice in this new development? Because it's not a given that that will always happen.    N.W And so, I suppose building on that then, are there particular trends or developments that you're seeing happening currently or on the horizon for public dialogue? Where do you think it could go?   S.L So I mean, I hope, and I think that there will be a move towards this. Rather than this being something that is a sort of almost optional add on, or specifically for some topics that are quite high profile, or kind of think that they might be controversial, but actually, it becomes a much more embedded part of both policy and strategy. So that rather than ‘Oh, crikey, we need to think about doing a public dialogue', but it's something that's just automatically built into the policy strategy development process for those topics. So it's not saying that it should be used in every circumstance, but that it's much more kind of part of the normal suite of tools that policy makers will be thinking about, that there's that check. Oh, hang on a minute, how are we thinking about public voice? Do we need to do a public dialogue? Do we need to do some other kinds of, you know , how are we going to get that public insight into the development of our policies? Doing public dialogue is about making better decisions by getting public insight into that process. I think the other thing that I would just say is that I think increasingly, whilst the approach is about making better decisions, better policies, I think it will become more clearly linked with sort of a democratic process that ultimately, certainly, if we're talking about science and tech, whether we're talking about climate change with, for example, citizens assemblies, on climate change,that these are things that are affecting people, participant people day to day. If there's a new science or tech development, it's helping us and a lot of that research is funded by the public. So where's the sort of right, almost for the public to have a more considered, say, in the development of those areas?   N.W And I think what you say there is interesting as well, because obviously a lot of this is technical information. But in the main, there are ways that people find it does relate to their day to day life in some way. And I think that's another quite important tool potentially, is making it feel like something that people have a grounding in their daily life,even if they don't know all of the technical details, isn't it? So they can deliberate with their own perspective on that?.   S.L Absolutely, I mean, those examples I gave before, they're about the food that we eat, or about the impact of climate on our infrastructure. They're about what we think is right, or how far science should go. If we're looking at AI, or we're looking at these exciting, but also fast developments that are happening in science and tech, there has to be, and this is why I talk about quite often with the people thinking about commissioning, it's got to align with social values. If it's really out of step with that, I think we saw that a lot with GM in the early 2000s, then people start getting really concerned about it. So what's right? What's wrong? Or how should it go? Where are the sorts of red lines? What are the sorts of conditions under which this technology should develop? could develop? shouldn't develop? Understanding that for a policymaker, or for strategies is kind of gold dust really.   N.W Excellent, well, I mean, it's all so fascinating, we could probably talk all day about it, but    S.L Just scratched the surface .   N.W Exactly. And with that in mind, if listeners want to find out more about public dialogue, what would you say the best places to look?   S.L So I would say there's two. Obviously, I've talked quite a lot about science wise, and sciencewise.org.uk is the website,there's a lot there about public dialogue, but also lots of reports from previous public dialogues. And then the other place that I always kind of point people towards is the involve website. So if you just Google involve, and particularly, I think it's involve.org.uk .Particularly their methods and Resource Bank section. So the methods obviously covers lots of methods, but their resource section there is super useful and that will also touch on things which we haven't delved into as much here, sort of citizens assemblies, citizens juries and other sorts of, kind of public participation processes.   N.W Right. And we can put those links in the show notes as well. And, and if listeners would like to find out more specifically about your work or get in touch with you, what would you suggest?   S.L Look me up on LinkedIn as a start. Okay, that's probably the easiest, easiest place really.   N.W Well, we'll put that in the show notes too. So thank you so much, Suzannah, for your time and your contribution today. It's been really interesting to chat to you.    S.L Thank you, Nikki.    N.W Thank you again. Have a lovely day. Bye.   Outro   So listeners, we've reached the end of another episode of facilitation stories, the community podcast, IAF England and Wales.   If you'd like to find out more about the IAF and how to get involved all of the links on our website, facilitationstories.com.  And to make sure you never miss an episode, why not subscribe to the show on whatever podcast app you use?    We're always on the lookout for new episode ideas. So is there a fabulous facilitator you think we should talk to or something interesting emerging in the world of facilitation you think listeners need to hear about send us an email at podcast@IAF-EnglandWales.org   We hope you'll join us again soon for more Facilitation Stories. Until then, thank you for listening  

You're listening to the Love Tidbits Podcast, where you'll discover a small, tasty, delightful, bite-sided tidbit of love - I'm your host, LeAnn Austin  Hey y'all, welcome to Love Tidbits, episode #44: Put Yourself in Their Shoes with Trish Meek  I love observing and connecting with other humans, especially noting how they fill and implement love into their lives. We have the amazing Trish sharing some beautiful love insights with us today. Alright Trish, briefly introduce yourself.  T: Well, my name is Trish Meek. I live in Georgia. I've also lived in South Dakota and Colorado.  I'm in my mid fifties.  I enjoy going to church and I love doing things for people, and I like to bake when I can. L: I love it, and I've been the recipient and seeing Trish doing lots of things for people, and I love that about her. Trish is filled with love, so thank you. Alright, so I'm going to ask you three questions. The first one is, how do you incorporate love into your business and/or your life?  T: Well, the questions that you gave me ahead of time so I could think about my answers, I found very difficult and thought provoking, and I really had to think about my answers because I really don't think about what I do, I just kind of do what I do. So my answer is, I try to put myself in other people's shoes. That way it helps me understand them better and so I can relate and connect with them on their level if I can.  And in return, it also helps me become a better person because I can only go by what I have experienced in my life. And there's so many other experiences out there that I haven't had the chance to experience, good or bad. And I think by trying to put their shoes on, you can find more compassion, more patience and empathy. So I think for me, that is really important. And honestly, that's something, wow, I forgot about that. A very long time ago I was having a conversation with the Lord and I had asked to try to help me with that actually.  I'd forgotten about that, but it has served me well. So that's my answer.  L: That's so beautiful. So served you well in trying to put yourself in other people's shoes.  T: Yeah, so it's been able, because whether you're homeless or famous, you know, we're all the same. You know, we're all the same people. And you know, I've never been famous and I thank God I haven't been homeless, but I could have the same conversations and get to know the beauty in their heart. And so, yeah, it has served me quite well, as in being able to relate with my fellow man. L: That's so beautiful, Trish, thank you. Alright, the second question, what is something you love about you and why?   T: This was the hardest one.  I finally learned how to truly forgive people who have hurt me, especially for painful things.  Because especially when it's like friends or family, you know, that you love and trust and put them on a pedestal.  Even though they're human, you know, you kind of forget that when you do that, just because you know, we do that with people you know, unintentionally. And when they disappoint you or hurt you, your feelings really get hurt because you don't realize, it's like, how could you do that to me? cuz I wouldn't do that to you. But because we're human. And it took me many years to totally learn how to forgive cuz you can forgive, but you're always harboring something. But once you can achieve that, your heart is, transformed for a better word. It's like you no longer have that pain or that irritation when you see that person. Or if it was something that they did that you see someone else do, it doesn't bring up those anger issues or that hurt issue that you might have. But there's a trick to that I found out that recently happened to me, cuz you get tested on that,   and for example, somebody hurt me again, same person, and I know it wasn't intentionally, but it was just like, okay, can I forgive them right away? You know, it's like, are all those feelings from the past, from another incident? Is that going to take and start on fire again? Thank God it didn't. You know, I'm very grateful for that. But, I found out that can be a multi-level learning lesson.  L: Absolutely. And what a superpower to be able to forgive others.  T: It is, but I meant it took me, probably a couple decades to learn how to really fully forgive, where you can truly love that person for the person that they are, and not remember the pain that they caused you, which can take a long time.   L: And was there some, like you said, some little trick or something that's helped you do that?  T: No, just not wanting to have that in my life because, when you thought of that person, you always had that, for lack of a better way, an irritation. And, I'm one of those people that my heart and my mind have to be in the same place, otherwise I'm not okay. And so I didn't like not having that, my heart and my mind not being at the same place with that, so it was something I had to work on with that particular person.  L: So it's more like being in alignment with yourself, and really the forgiving others is helping you.  T: Yeah. It totally helps you, because that person may or may not know they hurt you. And it did help me because then I'm at peace now. I'm at peace with that person and that's what I want because, you know, I love this person. It's just, you know, it's sometimes it's very hard to love someone when you're angry or hurt. And it's not a place I like to be.  L: Ah, that's beautiful. What an amazing superpower, Trish. That's great. Alright, so before I ask you the last question, anything else you'd like to share?   T: Just always try to love people. You know, I, some people are hard to love, but you know, I think if you take time to see where they're coming from, or look through their glasses, or their pain or hurt, I think it can help you love that person more. L: Yeah, and you've had some pretty tough experiences in your life and I think that's amazing how you still, you still choose love.  T: Yeah, because for me, that's the only way to be.  I mean, when I love someone, I love with my whole heart, you know, and how do you half love somebody? I mean, I don't understand that, you know, cuz isn't that, that's just not right. So it's either all or nothing when it comes to love for me, and it should be love for everyone, all the time.   L: You're all in on loving. Oh that's beautiful.  Alright, so what is your favorite quote about love?  T: Well, I found this in Guidepost. I used to get Guidepost, let's see, I told you I was in my mid fifties, so probably my late twenties, early thirties, I was reading Guidepost and I found this quote from Norman Vincent, and I'm probably trashing his last name, Peale. I don't know how to say the right name, so I'll spell it, p e a l e. I don't know how you say his last name.  Perfect.  Sorry Norman.  But I have made this my mission statement, pretty much since the day I read it, because it pretty much is who I want to be, and I try to strive on this at a daily basis in one small way or another, or bake.  But the quote is, "to be successful is to be helpful, caring, and constructive.  To make everything and everyone you touch a little bit better. The best thing you have to give is yourself."    L: Hmmm, something to think about y'all. Thank you Trish, for sharing. You're welcome. Thank you. Your tidbits of love. So beautiful. Thank you.  Have a good one y'all, and here's to love. If you would like to become an expert at Loving Yourself, check out my Lovin Me Program at leannaustin.com.

Stephen, Jacob, and Brandon talk about the latest games they've been playing and a little review of the news. Topics include: Grounded, Farming Simulator, Snowrunner, Tunic, Super Mario Bros. movie trailer, Overwatch 2, and... a Steve intervention!?

We draaiden weer heel veel leuke muziek: UUR 1 TRACK 1   Alicia Bridges       I Love The Nightlife        1979     3:06   fo  TRACK 2 Artful Dodger ft. Cr Re-rewind                   2000     4:00   fo  TRACK 3 SoulNight Tip:   Benny Sings ft. Emil Miracle                     2021     3:43   fo  TRACK 4 Janet Jackson        Nasty                       1986     3:45   ss  TRACK 5 Arrested Development Mr. Wendal                  1992     4:08   fo  TRACK 6 Staple Singers       I'll Take You There         1972     3:14   fo TRACK 7 Daft Punk ft. Pharre Get Lucky                   2013     4:07   fo  TRACK 8 PLATEN VAN PA Barbara Lyn  - You're Gonna Need Me  TRACK 9 Next                 Too Close                   1997     4:05      TRACK 10 Jackson Sisters      I Believe In Miracles       1976     2:50   fo TRACK 11 Isley Brothers ft Snoop dogg Friends & Family TRACK 12 B. B. & Q. Band      On The Beat                 1982     3:47   ss  TRACK 12 Otis Redding - Respect UUR 2 TRACK 1  Terence Trent D'Arby Dance Little Sister         1987     3:54   fo   TRACK 2 Usher & Lil' Jon & L Yeah                        2004     4:09   ss  TRACK 3 Bobby Caldwell       Open Your Eyes              1980     3:44       TRACK 4 Soul Night tip: Rose Spearman        After The Summer Falls (Nig 2021     3:12     TRACK 5 Young Disciples      Apparently Nothin'          1991     4:01   ss TRACK 6 Nu Shooz             I Can't Wait                1986     3:37   ss  TRACK 7 Blu Cantrell         Hit 'em Up Style (oops)     2001     4:15 TRACK 8  SOULCHAIN  Rebel MC- Street Tuff TRACK 9 Smokey Robinson & Th Going To A Go-Go            1965     2:45   fo  TRACK 10 Prince               Welcome 2 America           2021     5:23   ss  TRACK 11 Blue Boy             Remember Me                 1997     3:49   fo TRACK 12 Marlena Shaw California Soul UUR 3 TRACK 1   O'Jays               Love Train                  1973     2:57   fo  TRACK 2 80’s SLOW JAM Whitney Houston      You Give Good Love          1985     4:34  TRACK 3 SoulNight Tip:     Full Crate ft. Gangs Rollercoaster               2021     3:12 TRACK 4 Ben L'Oncle Soul     Seven Nation Army           2010     2:56   ss TRACK 5 It Feels Good - Tony! Toni! Tone!      TRACK 6  Tom Misch - Disco Yes TRACK 7  Cornelius Brothers - Too Late To Turn Back Now TRACK 8 Sade - Smooth Operator TRACK 9 Frank Sinatra - Fly me To The moon TRACK 10  Salt N Pepa - Let’s Talk Aobut Sex TRACK 11Marvin Gaye - Got To Give It Up TRACK 12 Bobby Womack - Across 110th street GLIJER VAN DE WEEK Keshaw     - In The Kitchen 

We draaiden weer heel veel leuke muziek: UUR 1 TRACK 1   Alicia Bridges       I Love The Nightlife        1979     3:06   fo  TRACK 2 Artful Dodger ft. Cr Re-rewind                   2000     4:00   fo  TRACK 3 SoulNight Tip:   Benny Sings ft. Emil Miracle                     2021     3:43   fo  TRACK 4 Janet Jackson        Nasty                       1986     3:45   ss  TRACK 5 Arrested Development Mr. Wendal                  1992     4:08   fo  TRACK 6 Staple Singers       I'll Take You There         1972     3:14   fo TRACK 7 Daft Punk ft. Pharre Get Lucky                   2013     4:07   fo  TRACK 8 PLATEN VAN PA Barbara Lyn  - You're Gonna Need Me  TRACK 9 Next                 Too Close                   1997     4:05      TRACK 10 Jackson Sisters      I Believe In Miracles       1976     2:50   fo TRACK 11 Isley Brothers ft Snoop dogg Friends & Family TRACK 12 B. B. & Q. Band      On The Beat                 1982     3:47   ss  TRACK 12 Otis Redding - Respect UUR 2 TRACK 1  Terence Trent D'Arby Dance Little Sister         1987     3:54   fo   TRACK 2 Usher & Lil' Jon & L Yeah                        2004     4:09   ss  TRACK 3 Bobby Caldwell       Open Your Eyes              1980     3:44       TRACK 4 Soul Night tip: Rose Spearman        After The Summer Falls (Nig 2021     3:12     TRACK 5 Young Disciples      Apparently Nothin'          1991     4:01   ss TRACK 6 Nu Shooz             I Can't Wait                1986     3:37   ss  TRACK 7 Blu Cantrell         Hit 'em Up Style (oops)     2001     4:15 TRACK 8  SOULCHAIN  Rebel MC- Street Tuff TRACK 9 Smokey Robinson & Th Going To A Go-Go            1965     2:45   fo  TRACK 10 Prince               Welcome 2 America           2021     5:23   ss  TRACK 11 Blue Boy             Remember Me                 1997     3:49   fo TRACK 12 Marlena Shaw California Soul UUR 3 TRACK 1   O'Jays               Love Train                  1973     2:57   fo  TRACK 2 80’s SLOW JAM Whitney Houston      You Give Good Love          1985     4:34  TRACK 3 SoulNight Tip:     Full Crate ft. Gangs Rollercoaster               2021     3:12 TRACK 4 Ben L'Oncle Soul     Seven Nation Army           2010     2:56   ss TRACK 5 It Feels Good - Tony! Toni! Tone!      TRACK 6  Tom Misch - Disco Yes TRACK 7  Cornelius Brothers - Too Late To Turn Back Now TRACK 8 Sade - Smooth Operator TRACK 9 Frank Sinatra - Fly me To The moon TRACK 10  Salt N Pepa - Let’s Talk Aobut Sex TRACK 11Marvin Gaye - Got To Give It Up TRACK 12 Bobby Womack - Across 110th street GLIJER VAN DE WEEK Keshaw     - In The Kitchen 

Heute ist der erste Tag nach dem 3. Quartal 2020 und damit ist …. vierteljährlicher Gewinnausschüttungstag! Feiere mit uns deine erste oder eine weitere Gewinnausschüttung. Wir laden dich ein auf einen HappyDance und geben dir auch ein paar Impulse, wie du deine Gewinnausschüttung für dich persönlich verwenden kannst. Das einzig Wichtige: dein Belohnungszentrum darf so richtig strahlend leuchten. E-Mail: hoererpost@deingesundesunternehmen.de Instagram: https://www.instagram.com/deingesundesunternehmen/ Facebook: https://www.facebook.com/deingesundesunternehmen Webseite: www.deingesundesunternehmen.de Webseite Susanne Just: www.susannejust.de Webseite Bärbel Metzger: www.metzger-stb.de Hier direkt beim Verlag dein Buchexemplar "Profit First" bestellen: https://kurzelinks.de/m7qd (Partnerlink)

Hi everyone, and thank you for tuning in to another episode of the We Make Books Podcast - A podcast about writing, publishing, and everything in between! We are SO excited about this week's episode!  We were luck enough to sit down with the incredible LD Lewis of FIYAH Literary Magazine - a quarterly speculative fiction magazine that features stories by and about the Black people of the African Diaspora.  L is, to say the least, a simply astounding and amazingly talented person who sat down with us to discuss the ins and outs of cover art, design, and direction for a magazine.  To call something like this challenging is an understatement; unlike a novel, a magazine cover has to appeal to the reader while somehow representing the multiple stories and author featured for that issue.  L gave us a look into her process and took the time to explain what she is looking for in a cover artist and how she strives to find the best work to represent what FIYAH is publishing.  FIYAH's covers are commissioned rather than licensed so each one is directed by L and completed by a different artist.  L even had some advice and suggestions for any aspiring artists out there, so be sure to listen to the end! You can, (and should!) check out L online and follow her on the socials: https://ldlewiswrites.com/ Twitter: @Ellethevillain And be sure to check out FIYAH Magazine! https://www.fiyahlitmag.com/   And while we touch on the first annual FIYAHCON (happening this October!), the team has since announced The IGNYTE Awards and are asking for donations to help support the event and the trophies, so toss them some cash to lift underrepresented voices! We Make Books is hosted by Rekka Jay and Kaelyn Considine; Rekka is a published author and Kaelyn is an editor and together they are going to take you through what goes into getting a book out of your head, on to paper, in to the hands of a publisher, and finally on to book store shelves. We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, concerns, and the your favorite cover that FIYAH has released so far! We hope you enjoy We Make Books! Twitter: @WMBCast  |  @KindofKaelyn  |  @BittyBittyZap Instagram: @WMBCast  Patreon.com/WMBCast     Episode 41: These Covers Are On Fire!! Magazine Cover Art Direction with LD Lewis of FIYAH Literary Magaine!   [0:00]   K: Hi everyone! Welcome back to another episode of We Make Books, a show about writing, publishing, and everything in between. I’m Kaelyn Considine, I am the acquisitions editor for Parvus Press.   R: And I’m Rekka, I write science fiction and fantasy as R.J. Theodore.   K: And we had such a great time recording this episode. This was a real treat for us. We got to sit down with L. D. Lewis, who, I guess we can’t even call her, specifically, the art director of FIYAH Magazine because it is just one of many hats that she wears.   R: And she was part of the foundation of the magazine as well, so we can’t really just call her the art director.    K: But for this episode, we got to sit down and talk with L about art direction for FIYAH Magazine  and for magazines and publications in general, which is one of the many things that she handles at FIYAH.   R: Yes, yes. So Kaelyn had proposed that we do an Artwork August and I made her promise that we weren’t going to do nine episodes in August.   K: It wasn’t going to be a repeat of Submissions September.   R: And if there’s one thing I know, it’s that FIYAH Magazine covers are just…   K: Beautiful!   R: Jaw-droppers.   K: Absolutely beautiful.   R: Every time. I love them. So, to talk to the person responsible for these—and I did expect that she was going to say that some of them are just licensed pieces of art that, you know, they pick ‘em out and license them because, knowing that it’s a staff of volunteers, I wasn’t sure if the budget was there for commissioning artwork, but no! As you’ll hear, L commissions every piece that goes on a cover of FIYAH Magazine, which is excellent. But let me, I want to introduce FIYAH in general before we get into the episode.   So, if you are not familiar, the title, fiyah, is a colloquialism for fire and it’s an homage to the creators of the Black speculative fiction magazine, FIRE, devoted to younger Negro artists, which was issued in 1926.   K: That’s right, people, that long ago. Almost a hundred years.   R: Oh, god! I wanted to say I feel old, but I wasn’t alive back then. So I don’t have to feel that old. But that one was started by Zora Neale Hurston, Langston Hughes, and others. So, that history is there and it’s imbued into FIYAH Magazine. So what happened to bring FIYAH about was that in July of 2016, Fireside Fiction issued a hashtag, #BlackSpecFic. Out of 2,039 stories published in 2015, the report found that only 38 were written by Black authors. 38 out of 2,039. And more than half of all speculative fiction publications did not publish a single original story by a Black author over the span of the previous year.   So P. Djèlí Clark had already pitched the idea for a spec fic version of Fire Magazine and, in response to this report, Troy L. Wiggins, L. D. Lewis, and Justina Ireland, among others, got FIYAH up and running, basically, in response to this. This can’t stand—and it absolutely can’t.    “[FIYAH Magazine] seeks out Black excellence among stories of Black space captains, Black wizards, and Black gods. It is an exploration of what it means to be Black and extraordinary in new, exciting, and refreshing ways and it arrived right on time because the future of genre is now.” That last bit, of course, I’m quoting from their website on their About page.   This is an incredibly worthwhile magazine for everyone, and it should be supported by everyone in the genre and readers of science fiction, because too long now we’ve been reading science fiction by the same group of people, with the same demographic, who have dominated the genre.   Fireside kind of kicked it off with that report, and FIYAH has carried the torch, literally. So they are doing very well, as we talk with L. I don’t think we accented enough that they now have been nominated for awards and such because of the work that they’re doing. And we are very, very happy for them and want to support them.   K: Yeah, the first publication of FIYAH was 2017. They have grown massively in, really, I guess at this point less than three years, coming up on three years.   R: Yeah, it’s just about, actually as this comes out it will probably be really close to the anniversary.   K: Yeah, and to go from not existing to nominated for Hugos within that span of time is—   R: It’s just amazing.   K: —phenomenal and I think really speaks to the quality of work that is being curated by magazines like FIYAH.   R: And not just that, but the professionalism of the covers, as we get into with L in this episode.   K: Absolutely, yeah.   R: A long route to introduce them and to come back to the covers, but we wanted to give them the props for what they’re doing and support them and we suggest you go support them. It’s fiyahlitmag.com and, of course, that will be in the show notes.   K: So, anyway, we had a fantastic time talking with L. If you’re interested at all in cover art or cover design, or maybe you’re an artist, yourself, and thinking of sticking your toe into that pool, L’s got some really great suggestions. Some words of caution and advice, even.   R: If you’re thinking of putting together an anthology, there’s a lot of experience here that you can definitely use.   K: Absolutely. So take a listen, we’ll see you on the other side of the music.   [intro music plays]   K: Giant insects everywhere. She’s sending me pictures of stuff that she’s finding hanging out on her kitchen counter. [laughs]   L: Yeah, that’s accurate. I didn’t know you could have a pill bug infestation, but they’re somewhere under the concrete slab and they keep getting into the house and I don’t understand it.   R: And it’s not Animal Crossing where you can just catch them and sell them.   L: It’s not, no! A couple of times I’m like, “ew, spider! I’m going to catch you! Wait, no. What?”   R: Yep, I do that with dragonflies every day.   L: That’s what this game has done to me. But, no, no you have to die. This is the real world, you shouldn’t be here.   R: There’s no chameleon that will adore you forever.   K: Okay, so I don’t play Animal Crossing, but I still am playing Pokemon GO, so you know I understand the seeing something and just being like, “Ah, yes! For my—oh, wait no. Nevermind.”   R: So today we are sitting here with the lovely L. D. Lewis, who is a friend of mine and a fantastic author and also the art director of FIYAH literary magazine. L, I don’t wanna step on your toes. I wanna let you introduce yourself. So, why don’t you go into your introduction, as much as you wanna say about your own author career, because we also talk about writing on this podcast. And tell us a little bit about FIYAH magazine, too.   L: Okay, well, I am all of those things you just said. I am an art director for FIYAH literary magazine, we are Hugo nominated and I can’t wait to lose that award tonight.   [R makes a frowning noise]   L: We [laughs], we’ve been around since about 2016 which means that cover-wise we are on our… I wanna say sixteenth issue, coming out in October.    K: Okay.   L: Apart from that, I am an author, primarily of fantasy or science fantasy, some kind of merger.   R: That’s a mood.   L: I don’t know what I am.    R: Same!   L: I write the stuff. I write the stuff, I send it to people. I have them tell me what it is.   R: Exactly!   K, laughing: “Listen, here’s how we’re gonna market this!” “Oh, cool, that’s what that is. Awesome. Thank you for letting me know.”   L: Exactly. That’s my life. I sold a reprint recently, to Lightspeed, for a story, my short story “Moses” that appeared in Anathema: Spec From the Margins, I believe, April of last year. I didn’t know what genre that was when I wrote it.   K, laughing: I love it.   L: Much less that it would end up anywhere other than Anathema, so that’s kinda cool. mY writer career is kind of taking a back seat to all of my random mini-careers that popped up during the pandemic. So now I’m directing a convention, FIYAH Con. That’s going great. I’m also a researcher on the LeVar Burton Reads podcast. And I’m sticking my nose in a couple other editorial places as well, so.   K: So, a wearer of many hats.   L: Yes, and headphones.   [R laughs]   K, laughing: And headphones, yes! So do you wanna tell us a little bit about FIYAH magazine and your role there?   L: FIYAH, as I said, started in 2016. Our first publication year was 2017. We’ve won a World Fantasy Award. We’ve been nominated for two Hugos, I wanna say. And we’ve had some of our poetry features get Rhysling Awards. Our cover artist for our first year, Geneva Benton, now Geneva… Bowers… she got married. Yay.   K: Yay.   L: She won a Hugo for Best Fan Artist and she did all four of our first year’s covers. After her, we actually did one artist per issue. She just did all four for the first year because we were like, “We don’t know how this is gonna go, or if anybody’s gonna pay any attention to us. So we’ll just stick with the one artist, not make it too complicated.” And that actually went super well.   We will be a professional paying market as of, actually, our upcoming, our October issue. We’ll be able to pay SIFL qualifying rates.    K: Congratulations, that’s very exciting.   L: Yeah! We used to do our subscriber drive in October, but kind of State of the World things popped up and people kind of threw money at us, so.   [10:30]   R: I think you got boosted with a couple of people with a few extra followers and suddenly your subscribers were doubling, was it?   L: Yeah, we have over 1600 subscribers now.    K: That’s fantastic.   L: I think we were somewhere around the mid-300s pretty much since inception.    K: That’s great!   L: So now we’re pro-qualifying and we’ve got a convention for some reason.   R: And I will mention, for anyone who somehow hasn’t heard of FIYAH magazine, it’s comprised entirely of Black speculative fiction.    L: Yes. And by Black, we mean Black anywhere in the world. It’s African Diaspora but we are based in the States and so we publish writers who live in Africa or in Europe somewhere, or if you are an Afro-appended person you can be published. And we also—all of our cover artists are also Black.   K: Awesome.   R: Which is excellent. And so if you’re out there thinking, “How do I find more Black writers?”    L: This is…   R: L and her team are putting them together right in front of your face. Go subscribe! They’re also, I have to say, and this is why you’re here today, the covers are just so luscious and so amazing. I just want to wallpaper the house in them. The colors…   L, laughing: Luscious? That’s—   R: They are, though. They’re so—    L: No, that’s exactly the right—it’s definitely [laughs]   K: Um, yeah. They’re gorgeous, amazing covers. So, let’s jump right into that. How do you find these? How do you pick things like this? Is it the most fun in the world or is it maddening because you can only pick one per issue?   L: It’s maddening because we haven’t been able to pay artists as much as I would like to pay them.   K: Okay, all right.   L: So that’s probably my only issue. I find them primarily via social media. Like, every time there’s a Drawing While Black hashtag or something, that pretty much sucks up the rest of my day because I’m kind of trawling to see who I might wanna tag and solicit for artwork. Right now we actually have a submission window for our portfolios, over on the website fiyahlitmag.com/submissions. That’ll be going through August 20th. But I do pick some people from the slush. Olivia Stephens, I believe I got her from the slush. Wait—do art directors have slushes or am I just calling submissions piles that by default now?   K: I think you have… portfolio—what’s the correct term here? Portfolio slush piles? If you have a slush pile of portfolios, what do you call it?   R: As a graphic designer, I have never heard that my portfolio will go into a slush pile. So I think just, um, portfolios? I don’t…   K: Portfolio collection, yeah.   R: Submissions works. I don’t know.   L: Okay, yeah. So the submissions, yes, when they come in I look at those and we, in our first year, I believe our first two years, each one of our issues was themed. And so I kind of would base people’s art styles on how well they fit the specific theme. So it’s not like I would just pick four artists and randomly distribute assignments. It would just be, your style is best suited to something dealing with animals, in the case of Dominique Ramsay. So you’re going to do this animal or this nature-themed cover. Stuff like that.   K: I imagine you get a lot of portfolios sent to you. I can tell you, just at Parvus Press we get a lot of unsolicited emails for, “Hey! I’m trying to—I either do or am trying to get into cover design. Here’s my portfolio if you want to take a look!” And the way we handle that is: if it’s something where I’m like, “Maybe in the future we’ll have some interest or use for this,” we just flag it. Do you—are there certain things you’re looking for in a portfolio?    Do you solicit artists directly or do you tend to collect what’s out there and see what fits? Or is it a combination of both?   L: It’s a bit of a combination. When I do my social media searches for things, it’s things that just kind of fall into my lap, so to speak. But in some cases I will get a direct submission, in the case of our open calls. Which we don’t do often. It really just depends on whether or not I have, in my head, filled out who’s going to be doing covers for the following year. It’s just… it’s a hybrid method. I do get unsolicited things. When I do, they just get deleted unread. Like, I’m very much—if I spend hours cobbling together these submission guidelines or I’ve set up this form for you to use for submissions—   K, approvingly: Absolutely! Yep.   L: You have to use it! Because I’m not going to go out of my way to, you know—This is not gonna be a situation where you’re going to be like that diamond in the rough. Like, “Oh, well I didn’t follow the submission guidelines and still loved it anyway!” I don’t care. [laughs]   K: No, listen—   L: Yeah, I will delete.   K: I’m an acquisitions editor. I have the same issues. If we’re not open for submissions, don’t send me things. And if we are open for submissions, you need to submit through that portal. It’s one of those, you’re not more special than all of these other people.   L: Exactly.   K: But, along those lines, you’re dealing with a very interesting scenario, as opposed to doing art design and direction for a novel because you’re doing magazines. These come out frequently. They have multiple contributors, multiple pieces in each issue, and you probably have to get the art for this well before you know what’s actually going to be in the issue.   L: I do so many other things for the magazine that I kind of knock out my art director duties as quickly as I can, so I can focus on those things. So, I do the actual issue composition; the formatting of all the digital issues; and getting everything going in terms of the newsletter; and updating shot pages on the website; and all these other things. So this is pretty much done, pending my availability. So, in August or early September I’ll make story selections. In August, the team also decides on the next year’s themes or whether or not we’re going to have any.    K: Okay.   L: Next year we’re doing— Or, in 2021 rather, we’re doing two themed issues and two unthemed issues. So, now that I know what to expect in terms of the themed issues, I then go into the people that I’ve bookmarked in the back-channel and see who would be a good fit for those two. And then, for the unthemed issues, it’s really just, in terms of the direction I give them is based off of themes that I have in my head, essentially.   K, laughs: Okay.    [R laughs]   K: No, that’s great.   L: It’s things that wouldn’t fit if the stories in an unthemed issue are varied, the cover art is yet another story being told. Just in a different medium. So, it doesn’t have to fit, necessarily, in terms of the prose and the poetry, in order to be its own self-contained story. So when we have artists do those things, we then interview them—and we post those when we do cover drops—on their process and what story it is they’re trying to tell with their illustration. And it’s usually very interesting and it’s good to see that after artists end up on our covers, they end up getting agents. They end up getting other assignments—more ~prestigious~ than ours, probably—but I’m always a very happy art director mom when that happens.   K: That’s fantastic. So, along those lines, I’m gonna ask two questions here that maybe kind of overlap. One is, you’ve mentioned artists that you’ve bookmarked, so to speak, that you have in mind for certain themes, or artists that you just wanna use for non-themed issues: what makes you bookmark someone? And then, the second question is: how much variety do you try to get across your issue covers? Do you ever come up against, “Ugh, I really like these two artists, but I’ve gotta space them out because their styles are a little similar,” do you make a deliberate attempt to have a lot of variety between issues and the covers? Or whatever you come across that you like and think works, that’s what you’re going with?   R: Also, within sixteen issues, you have maybe developed a house style of some sort, that you could use as a guide.   [19:58] L: Yeah, I love particularly Black artists’ use of color. There’s, I want zero negative space where possible. Artists have to have an understanding of composition. I don’t want someone to have these grand images and then constantly have a lot of little details in the lower third of the cover, because that’s where we have our logo and the table of contents, things like that. So it’s… it’s not—let me think. I don’t think that we’ve ever had anyone’s styles who were too similar. I don’t try and compare them to each other. Moreso, the styles that are popular in other medias.    So if it’s clear from your portfolio that you’ve gotten an entirely anime style, it’s probably not going to work with us. Or if your style is modelled extensively after Steven Universe, that’s probably not going to be a great use, either. I think in the beginning, after Geneva, it was definitely—because we had four covers of that person’s style. At that point, it become, “Okay, well let’s make sure that whoever we get for this year, their work doesn’t piggyback too much on that.” Because we don’t want to get pigeonholed as having just this one type of art style. The sort of whimsical, femme vibe that she does. But I think, to that extent, we’ve diversified pretty well.    I think, probably, our most interesting cover, in terms of a departure from like a simple, character-based illustration was probably Sophia Zarders’. It would be Issue #12—Yeah, that’s her. It’s different, definitely.    K: You know, you had specifically mentioned things like, maybe, somebody whose art style is modeled maybe primarily off of Steven Universe or anime. That’s not gonna be a good fit for you. Do you have levels of technique that you’re looking for when choosing artists to work with? Or is it just you rule out by style?         L: Definitely, I think some level of technique has something to do with it. There needs to be an understanding of composition, something coherent about color theory. It has to be something that’s not drawn on lined paper in someone’s notebook somewhere. It really, there has to be some sort of refinement to it that differentiates it from a sketch.   K: I guess, yeah, refinement is the word I was looking for there, yeah.   L: Yeah, it’s—the bulk of what I receive is sort of on that sketch level, but I’m all about it because, I mean, shoot your shot wherever.   K: Mhm.   L: But in terms of actually making the cover, some level of—I have to get the sense that you take this craft of illustration, of drawing, whatever, I have to get the sense from it that you’ve taken it seriously enough to put some study into it. Rather than just practice.   K: Gotcha.   L: I don’t think there’s anything that automatically becomes a disqualifier, in terms of when I’m looking for those things. But, yeah, I just have to be able to tell you put some effort into it.   K: I’m assuming: have a portfolio, have spent a lot of time and work on this already, and not just like, “I did this one drawing, here you go.”    L: Yeah. There’s—I yell at people a lot about their websites.   [R smirks]   K, laughing: Ohoho! I understand why you and Rekka are friends now.   [all laugh]   L: I design them, first and foremost. And I’ve done that since forever, since like high school. We had a whole mentorship thing, that’s where I had to learn it. So when I can’t access your body of work or your contact information, the only things that you have sent me are pictures you’ve taken out of your doodle book, it’s—   K, amused: Do you really get that?   L: It’s gonna make me not wanna work with you.   K, laughing: Is that a thing that actually happens?   L: Oh, gosh…   [K laughs]   L, laughing: Yeah. And there’s definitely another conversation to be had about that. But it’s just, it’s kind of—there’s an expectation of, particularly, intra-community, that you’re automatically going to support someone because of shared racial or ethnic experiences. And so some people use that as a way to determine, “Okay, well I can just send any old thing and because they’re pro-Black and I am Black, that’s the marriage. That’s how this is gonna happen.” That’s not how this is gonna happen.    [K laughs]   L: So, I do send—when I send rejections, I try not to disparage anyone. I definitely want to continue to be encouraging and I wanna encourage the artists’ growth and if you come back and submit to me next year, I’d love to see, at least, that you’re still at it and still working on improving. But I think that we have reached a point where we can reasonably expect a certain amount of professionalism and refinement in the work. And I think you can really tell who actually has subscribed or read or knows anything about what we do, by what they send us.   K: Yeah.   L: So I can tell when you’re just an artist trying to make money, versus someone who wants to be part of FIYAH as an entity.    K: Yeah, and somebody who has a love and appreciation for the genre—   L: Exactly.   K: —I think, is very important in, especially something like—it sounds strange calling a magazine cover that’s gonna include multiple contributing authors and, probably some additional artists in there, as well, a very personal thing, but it is a very personal thing. I would imagine, especially on your end. You have a gargantuan responsibility of choosing a piece of artwork to not represent just one author being showcased in there, there’s multiple. And you’ve gotta find something that’s gonna serve everyone that’s being represented in that particular issue. So that’s something that I couldn’t do. [laughs]   When I work on a novel, I flag parts of the book where I’m like, “This is a good scene that could serve as a great cover. This is, you know, here are some thematic elements that we can really emphasize in that,” and even that can be very overwhelming when it’s just one story that you’re trying to build a good picture representation of. Obviously, it’s a little bit different per magazine, what you’re putting on the cover, what you’re trying to show, but it’s still incredibly difficult, I would imagine.   R: And you don’t just have to represent the stories, but since FIYAH is the name on the cover,  you’re also representing FIYAH magazine at the same time and that does seem like a lot to try and balance in your mind as you go through it.   Well, at the same time, pictures are really cool-looking so sometimes you can just go, “Oh that’s a cool picture. That inspires me to want something like this.”   [L and K laugh]   R: In a person’s portfolio.   K: Yeah, and so then that’s what I was gonna ask is how do you find that balance between like, “Wow I really like this artist and I think they’re doing cool things,” and then because you’re commissioning these, so you’re giving them direction, you’re having to tell them, “I’m looking for something like this.” You know, we talked about this a little bit at the beginning of the episode, but to the listener, just to be clear, L is finding artists and then getting them to create something new for the issue of the magazine. That’s what it means—just for clarity’s sake—that’s what it means when we say that she’s commissioning these covers.   So it’s not finding a picture and going, “That’s great, I’m gonna license it and then we’re gonna put it on the cover of that issue.” You’re having to give them direction. So, do you have an approach to that? Do you let them give you ideas, or do you go to them with the ideas? Or a combination of the two?   L: I usually go to them with the ideas. I think, probably, the most successful example would be our Issue #3 cover, the Sundown Towns issues, which has been, in terms of prints and things, it’s been wildly, by far our bestseller. It’s the cover where there’s a girl and she’s got these mirrored shades on and in the mirrored shades there’s just a horizon of things she’s going to have to beat down with this bat with the nails in it that’s like strung from her back.   R: I do love that cover.   K: I’ll just—sorry to interrupt real quick. All of the previous covers are on FIYAH’s website. So if you’re listening to this going, “Oh, that sounds really cool!” You can go see them on there.   L: Exactly.   R: Yep. And buy the back-issues.   K: Yes.   L: Buy everything! I mean, there’s a shop with merch in it and the covers there are actually prints.   R: So I could wallpaper my house if it weren’t stone.   L: Yeah, you can check ‘em all out, support ‘em there. And actually purchases of prints, be they framed or not, a portion of those sales actually do go back to the artist.   R: Excellent.   L: So we’re not just pocketing all of that. For the issue #3 cover, the theme was Sundown Towns and so I wanted to, I actually think I directed that one fairly closely. I generally try to say, “Okay, so here’s what I’m thinking,” even if it’s not a themed issue. “Here’s what I’m thinking thematically for the cover, open to your interpretation on that.” With issue #3, I was a bit more hands on and I was like, “Okay, so I want to get this impression. It’s a sundown situation, I want this character, we’ll do a torso proportion, and I want to be able to see something on this horizon at sundown that’s going to—I want danger, I want menace, but I want this character to be marginally unbothered by it.” And you can see that with the toothpick basically lolling in her mouth. Like, she’s ready.   K: She straight does not give a fuck.    L: Yeah, and so however it is I worded that, Geneva just took it and did this miraculous thing and I was like, “This is amazing! I’m an amazing art director!”   [all laugh]    L: So I think that was the one I was probably the most hands-on with and I think was realized in a really cool way. I had direction in a lot of subsequent covers, but particularly where there’s a theme, I’m like, “Here’s our theme, I’m thinking… this or this or this or this, also open to your interpretation, so if you have any pictures or whatever just let me know, we can hash it out.” It ends up working pretty well most of the time. I think the Chains issue—I selected Sophia because in her portfolio there was a lot of political work. A lot of protest type designs as well. So I definitely wanted to get her take on the Chains issue. And that came out amazingly.   And there is—I don’t think there intended there to be a political message there, but if there was she did a great job illustrating it.   R: You mentioned when it goes really, really well it seems to just—they’re reading your mind, an image you didn’t even know was there, and then it’s just fantastic. So, when you have to get a little bit more in up to your wrists on the art direction and send them back, maybe, for additional rounds of thumbnails or something. Has that happened, and how do you manage not just the product that you’re going to get at the end, but the communication and happiness of both parties?   L: So when I start the commissions, it’s a pretty wide window for them to get the work done. And then I’ll check in periodically, or they’ll send me progress updates, asking about colors or composition or, usually, to get an idea of how it’s going to be set up on the cover with the title and everything, just to make sure that there’s nothing going to be lost in the details that’ll only be available on the larger prints. Because we don’t put the table of contents or anything on those.   K: Gotcha.   L: But yeah, we check in periodically. By periodically, it could be a month, it could be two months. If I’m commissioning you August 202 and you’re doing the October 2021 issue. I mean, I commission everybody at the same time.    K: Okay.   L: Once I have you finalized, just let me know when you want to get to work and I’ll send your deposit, is how that works. So, over the course of time, if I’ve needed to send anything back—I think it’s happened maybe one or two times. There was an issue with—Oh, yeah, well Sophia. She was our first cover to incorporate a border, and so later on when I ended up remastering the issues—’cause that did happen. Because I can’t just leave stuff alone—we ended up resizing it and so the proportions for that couldn’t be altered without losing the border, so we had some issues there. A little bit that kinda needed to be addressed. But that was mostly on my end, not really her fault.   Couple of times there were some color issues that got sent back. And it’s really just a matter of, “You’ve sent me this thumbnail, you’ve asked for feedback, here’s the feedback.” There’s nothing that really needs to be, you know, nothing for anyone to get emotional about. So there haven’t been any catastrophes, thus far. Mostly any drops in communication that have ended up in a cover perhaps being rushed, you can’t tell which cover it was, so it worked out.   K: Excellent.   L: But, yeah. It’s all pretty straightforward.   R: That’s very good.   K: Well, I’m jealous because it’s not always straightforward with the people I’ve worked with and dealt with. You know, it’s very hard to take an image out of your head, or a sentiment you’re trying to communicate, like this intangible idea, and say, “Now put it on a piece of paper for me.”   L: I think that’s where my work as a writer actually helps because I do that myself. Like there’s an image in my head and I have to put it into words, so I think if I wasn’t able to do it in the beginning, becoming an art director has kind of helped me do the reverse. I have an image in my head that I have to put into words enough for you to replicate the image in my head.   K: Along those lines, do you have any hard requirements that, when you’re working with an artist and you’re commissioning work from them, you—It doesn’t need to be a specific thing, but your art must display: this. I imagine use of color is very important. Art-related things. But do you have any requirements of things that you want to appear in all of your covers, be they themes or specific elements?   L: It’s largely, here’s what I’m thinking in my head, open to your interpretation on it. I think that any requirements, subconscious or otherwise, that I have factor into the selection process, but once they’ve been selected it’s at that point I’m like, “Okay, well because I picked you, because I trust you to have some type of vision for this that you’ll be able to execute.”   K: Okay.   L: There was a situation where I had to sidestep someone’s submission because the issue was me. I was not confident enough in my communication abilities to get what I had in my head out of them.   K: Okay.   L: So to speak. So it, sometimes a rejection is not your work isn’t good enough, we can’t use you right now. It’s that I’m not sure how to get the best work out of you, and that’s on me.   K: I assume you have multiple conversations with the artists before commissioning them, before giving them a deposit. Do you kind of talk to them about, “Hey, I’m looking for this specific thing,” or do you start by just talking to get a feel for them and see if they’re somebody that you want to work with?   L: The process is different in solicits and submissions. So, in terms of submissions, I ask for a bio and that kind of acts as your cover letter. If you’re rude—   [R laughs knowingly]   L: —when I ask you for your cover letter, I’m not gonna work with you. If you send in a portfolio which includes demands and details about how you will not accept direction or direction will be an additional fee, then I’m not going to work with you.   K: Oh my goodness! That happens??   L: Really, in the submission process, that’s my first glimpse into your personality. So I don’t have to give you the 12th degree later on when actually trying to get work from you. I’m looking at all of your submission materials. If you’ve got a great portfolio, but a shit attitude—I don’t know if I can cuss here, sorry—   R: Yes, absolutely. Have at it.   L: We’re not going to work together and good luck having anyone else work with you because I’m so reasonable.    K: I always say, you know, in acquisitions, and I’ve said this multiple times on this podcast, your first part of the “interviews” portion of the submissions process is: can you follow the submissions guideline?   L: Exactly. If you can’t follow instructions, if you’ve got a chip on your shoulder, attitude problem, it’s not gonna work. I’m sorry.   K: It is something that consistently amazes me, the attitude problems I come across. Where it’s like, “Don’t you understand this is a relationship? I’m hiring you to work with me. Why, all you’re showing me is why I shouldn’t.”   L: Exactly. So, I get that being a creative is a work of ego. In any medium, it’s a work of ego. So you’re going to be protective of your work and you’re going to be confident if it’s something you intend to sell. You cannot be a dick. It’s a universal rule, and one that people don’t seem to follow.   K: I will even take that a step farther and say that I understand the protectiveness of your work and your time. I understand wanting to make sure you’re not gonna get jerked around, but there’s ways to do that and be polite, if not at least professional.   L: Exactly.   K: I will take professional, even. [laughs] I can work with that. Okay, so that’s actually a good segue into one of the last questions I had here. Dos and Don’ts. Maybe any advice you have for people who are interested in trying to get into design and cover art and, you know, things you like, things you don’t like?   L: UPDATE. YOUR. FREAKING. WEBSITE.   [all laugh]   L: And by update—   K: I think that’s gonna be the title of this episode. We’re just gonna get Rekka a framed picture that says that, yeah.   L, speaking plainly: By update, I mean… to have portfolio samples of your most recent work because it should be your most improved, your most developed work! Available and easily accessible on your website. Social media. Stick it in your bio. If you don’t have a website, which is fine, some people don’t. Our submission form allows you to alternatively just submit work samples, if you don’t have a website I can get to. Fine.   When you’re sending your work samples, make sure that the work samples are a good fit for the gig you are applying for. If I say we are a speculative fiction magazine, do you know what speculative fiction is? If you don’t, look it up. I’ll give you a hint: it’s on our website. The same website you’re using to view our submission guidelines. Which you should also be reading thoroughly. And implementing in your submission.   And I say this. In the slowest, clearest way I know how. Because for some reason, when I get off this recording, I’m going to go into my inbox and there’s going to be some someone who has sent me… something they drew on their desk in high school and think it’s going to be cool to submit to the magazine. It’s not. It’s a photo of your dog. It’s a gorgeous rendering. In Sharpie…   [R and K giggle]   L:  It’s not a good fit for a magazine.     K, laughing: Oh my God, my heart is singing right now! This is… I have not given exactly that talk, but you could paraphrase large chunks of it.   R: The volume of salt in the talk is about equal.   L: Yes, I’m very—I don’t know how much clearer I can be. When people are discussing speculative fiction, know that it’s sci-fi, fantasy, horror, assorted subgenres. And if you’re applying to be on a cover of a publication of speculative fiction, make sure that you know that. And that the works that you submit reflect that you know the venue you’re… proposing to, essentially.    K, contrarily: Maybe that dog was a magical dog.   L: But it wasn’t because it was just furry. It was just a dog. That’s it. If he was in a mech suit, there you go. Speculative fiction all the way. Give me the dog in the mech, it’s fine.   K: With a good cybernetic eyepatch.   L: Yes! Yup.    K: Maybe like some satellites coming out of his ears. Something.   L: Does he have wings? Give me dogs with mech suits and wings. It’s fine. I can work with that! I cannot work with… the photorealistic rendition of your grandmother. It’s not going to work for a speculative fiction magazine. So [clears throat] apart from that, really, it’s more than just a scattershot of finding places that will give you money to produce artwork.   It’s—you have to have an actual interest in the venue because for three to four months at a time, you are going to be the face of it. As the, you know, as the cover artist that’s going to be the cover. The first cover people see when they approach us on social media or on our website or anything. You are the newest thing, you should want to know what it is that you’re representing.   K: That’s another good question. I mean, you guys have a really, I don’t think it’s going too far to say, important mission statement. You have something that is really representative and significant, still, in the community. If you have an artist come to you and they just do not have a clue about, you know, any of this. The realm you’re working in and trying to promote, is that a dealbreaker for you, or…?   L: Yes.   K: Okay.   L: Absolutely. Yeah. I am a wearer of many hats. I am a busy person. I don’t have time to entertain or educate people on information that’s readily available if they would have elected to actually educate themselves. I am very friendly in customer service emails. I am not friendly in emails that show you did not read the required material.   R: Mhm.   K, laughing: Good!   L: You know, mostly when I send rejections, it’s: Thank you so much for submitting! Here’s where—Like, I’m gonna keep you in the catalogue, I encourage you to keep writing to us, submit to us next year. Whatever. For rejections to people who clearly had no idea what they were sending me, it’s like: okay, this submission failed to meet the guidelines. Here’s where. Thanks. And that’s that.   R: Yeah.   L: I try to—I think our submission guidelines have been tweaked multiple times a year since inception because we keep trying to catch those people who are, willfully, just ignoring things. And I’ve come to realize that there’s no way to do that. People are just gonna do what they do.   K: Yes, it’s true. Yeah.   R: It’s a shame that you create these guidelines as a filter to keep these people out, but it’s still so manual. You still have to say you have to abide by them, and then I have to review it and I have to go, “Oh, come on. Really.”      L: Right!   K: Well, I mean, you also have people that just look at it and go, “Meh, I’m good enough. They won’t care.”   L: Yeah, and I promise you, you’re not.    [47:58]      [all laugh]   L, not sorry: I’m sorry.   K: Trust me, I run up against the same thing where it’s like, I have actually gotten unsolicited manuscripts sent to me that I’m kinda like, “Oh, this is… I’m not doing backflips over it, but this isn’t bad. I could certainly be interested in this, but we don’t accept unsolicited manuscripts. Sorry.”   L: Yeah, and I don’t even get that far. You send me unsolicited stuff and I’m just… okay, cool. Delete. And that’s that. Noooo you don’t get a response email because you don’t follow directions, so.   K: Yeah, I’m guilty of sometimes opening those things out of curiosity. I’m very—   [L giggles]   K: Well, especially because—granted, I’m dealing with novels, so a lot of times people just copy and paste their query letter into the email—Yeah, I know. Sometimes I can’t help but catch a few words where I’m sort of like, “Alright, I gotta open this and see, is this actually interesting or is this a dumpster fire on a train wreck?” And, I’ll give you a guess which one it frequently is.   L: Yeah. It’s never—It would be different if the people who sent in unsolicited works were qualified. But it’s always the ones who need further development, who also can’t seem to follow instructions. So I wonder if there’s a correlation.   K: I’m gonna go ahead and guess yes, but…   L: Yeah.   [all laugh]   K: But, yeah, okay. So I would imagine, especially just in the part of speculative fiction that you’re working in and what you’re trying to promote and make more common, more accessible to everyone. Having some, if not involvement knowledge of, at least some awareness of the existence of this. Yeah, that’s incredibly important. And I would imagine it would be very difficult to work with somebody who didn’t, at that point.   L: Yeah. We’re—FIYAH is very much mission-based. And so we’re not going to work with anybody, if it’s a writer, if it’s a sponsor, if it’s a poet, if it’s an artist, we’re not gonna work with anyone who doesn’t serve that mission—    K: Yeah.   L: —in the best possible way. So if it’s, you know, I like to see that representing us well is a priority for you when you submit work to us. So if that’s not the case, then you can find some other magazine to be on the cover of.   R: Yeah, that’s great.   K: Absolutely. So, that’s all the questions I had. Rekka, anything?   R: UM. I have the technical questions, but we did go a little long on the first half, so I’m not gonna take up too much of L’s time because, as she mentioned, she’s wearing many hats. It’s already a busy day and it’s supposed to be a Friday, but we don’t know what those mean anymore. But—   K: But the Hugos are tonight, so at least we have that to know what calendar day it is, if not day of the week.   L: I actually still don’t know what calendar day it is because it’s in New Zealand time and…   K: Oh god, you’re right!   R: Yeah, and you can’t miss the ceremony, that’s for sure.   L: I probably can.   K: Wha—?   L: I think we know who’s gonna win. I think we do. I’m not gonna say any names, but I’m pretty sure.   R: Well, I know who I voted for at the top of my ballot, so. I’m still crossing my fingers for you guys. But, my technical questions. Just a couple quick ones. So, you are commissioning covers for what is, primarily, so far, digital only.   L: Correct.   R: So that lets you do a couple of neat things, but I wonder, does FIYAH have any tickle in the back of their mind, collectively, about doing print issues or anthology Year’s Best Of kind of things in the future? And what does that mean for you, your planning?   L: So, we have—Our initial thought, I think, after Year 2, was to put together an omnibus of the years’ issues and sell those as kind of a box set, if you will. Didn’t pan out. I think there was a contract snafu where we had to like stop that. And then starting in Year 3, we added the clause to the contract that would allow us to get anthology rights and things. We would love—I would, personally, love to do a print issue. Like, annual print things. But I’d want to add more stuff to it. Which probably isn’t a great use of the editorial team’s time. So we’ve kind of stuck a pin in that.   It’s also super expensive and we just got all of this money. And so our priority is to make sure that we’re paying our contributors well. So if we can keep that up and then, maybe some money coming in from the convention can go towards, you know, funding print aspirations. That would be nice, too. But we hope to get there one day. I don’t know what it would change, apart from the timeline. In terms of when we request work, how long we give people to create it, when it’s due on a print schedule and stuff.   I did editorial work for Fireside Fiction and, so, Pablo’s been really great in like a mentorship capacity, in terms of learning the ropes of print stuff.   K: And that’s Pablo Defendini?   L: Yes. So, I’ve just made sure that I’ve absorbed whatever I could from my experience over there, in hope of taking it over to FIYAH and see what we can do with that. I’m hoping to have something commemorative printed by this con next year.   K: Okay.   L: That’s kind of in a super nebulous space right now, along with everything else in the world. So, that’s it. So, if things in the world happen, maybe this will happen.   R: Yeah.   L: We will, hopefully, be able to pull that off. But I think we’re looking at it as kind of a one-off thing, sort of experimental, to see if it’s going to be a sustainable model going forward. It would be cool if someone were to reach out—someone from a publishing house would reach out and want to back yearly anthologies. I think we’d be super into that. But we just don’t have the money for it right now.   R: Yeah.    K: Anthologies are very expensive. They’re worth it, but they are very expensive and they are multiple times more time-consuming than a single book.   L: Yeah.   K: It’s um. As Rekka mentioned, we did ITGO, the science fiction political anthology, If This Goes On. It was fun, but it was… I… it took a couple years off my life, to be sure.   [all laugh]   L: That’s my understanding.   K: Yeah.   L: I have the technical skills, I’ve been working with the Adobe suite of products for… wow, I’m old. Far too long. So, you know, when we’re ready for print. I’m ready, but we just gotta get there funding-wise.   R: The saturation of color in your covers, I was worried if you ever did a print issue that you were going to lose some of it going to the CMYK, but that’s a me-thing. That’s not even.   L: I mean, that’s probably something to consider. But, I mean, that’s probably something we’d work through with the printer. Everything that gets turned in to us, I think the only traditional media—Odera is doing the Joy issue and that one’s being painted—   K: Oh! Okay.   L: So, I mean, we’d have some media considerations to work through. But I think a lot of that would depend on what the capabilities were of our printer and we’d figure it out. I always figure it out. We’ll figure it out.   R: Oh! And another thing I forgot to mention was that because you’re a digital magazine, you got to put that one cover on your website, and I noticed it was animated.   L: Yeeeeeah. B)   R: So that is extra fun.   L: Yeah, I wanna do another animated—I wanna do at least one animated. I mean, those are more expensive, obviously, because it’s an additional skill set, but yeah. I wanna do more of those. I figure we’re a digital venue, so we can have some fun with it. Same thing with virtual conventions. You can do some different fun things with it—   K: Yeah, absolutely.   L: —just because it’s digital. It doesn’t have to be something that’s on a lower tier than a physical book or a physical event.   R: So we’re referring to Issue #13 which, if you view at their website, you see a great illustration to begin with, then you get a pause and then a nice little message that just warms the heart.   L, giggling: And other things!   R: Yeah. Did you work with the artist directly on the animation, was that part of the commissioned artist, or did you then take it to somebody who animated it after? Or did you do it yourself?   L: No, that was part of the deal with the artist. Steffi has an amazing portfolio and so I went through it and there were animation samples in there and I was like, “Ohh! Ooh! Let’s do that!”   [all laugh]   L: So I went back and I was like, “Heyyyy! So I wanna bring you on board. I wanna have you do this cover. It’s unthemed, but we’re thinking about adding some animated components to it. How much would you charge for that?” And that’s pretty much how that happened.   That was really fun, and I wanna do another one. I’m hoping to find some more animation in portfolios in the Ye Olde Art slush.   R: So if you are an artist listening to this episode, you’ve just been giving a leg-up in terms of what L wants to see.   K: Uh-huh, some inside info there.   L: Yeah, I wanna do at least one animated cover. It doesn’t have to be one of the themed ones. But I wanna kind of do at least one of those a year.   K: So, L, along those lines, just to wrap up here. You currently,  by the time this episode comes out, you’ll be open for submission for nine days more? It’s coming out August 11th and you’re open till the 20th you said, correct?   L: Correct, yes.   K: And where can people find you guys to submit?    L: Fiyahlitmag.com—F-I-Y-A-H-l-i-t-m-a-g dot com. There is a submissions link on the homepage. You can go to fiyahlitmag.com/submissions and find all the additional information there. It does involve an AirTable form. So if you are unable to access it for accessibility reasons, you can just shoot me an email at art@fiyahlitmag.com and I will send you an alternative means of submission.   K: And we’ll link that link in the show notes and if you haven’t already come away with this notion—well, that’s probably a different issue, you haven’t been paying attention—Please read the submissions guidelines!    [all laugh]   L: Please! Because I will totally subtweet you if you don’t. Like… come on.   K: It’s just gonna be… you’re just gonna get a link to this episode of the podcast. And just…   L: Yeah. In fact, that’s what I do. If you send me work without reading the submission guidelines, I am going to send you an email that’s just the submission guidelines link. That’s it.   R: That’s more than you deserve.   L: Yeah. And it’s passive-aggressive, but it makes me feel good. So that’s what we’re doing.   K: Gotta get those wins where you can take them. Well, L, thanks so much, really, for taking the time to talk to us on such a busy and important day for you. We really, really appreciate it. IS there anything you’d like to leave us with before we sign off here? R: Or where can people find you, et cetera.   L: My website, ldlewiswrites.com has all of my published works thus far. There may or may not be a novel included in it at some point. Who knows? I have a story coming out in the Glitter and Ashes anthology coming out whenever that comes out. I’m sure you guys can help find that.   R: I think it’s September, at this point, was Dave’s last estimate.   L: Okay. Well that’s cool. That’ll be the only thing I have coming out this year ‘cause… I have started too many non-writing things and I have to cut that out. FIYAH Con is theconvention.fiyahlitmag.com. That event is online and taking place October 17th and 18th. It’s gonna be super fun. I’m very excited about some things we have coming up to announce in the next couple of weeks. And it is a virtual convention centering Black and Indigenous people of color and their contributions to speculative fiction, so.   K: Great! Very cool.   L: People are like, “Oh! FIYAH’s all Black people, but what about… why is it everybody else in the convention?” Because I said so. So there.   [K laughs]   L: Black Lives Matter. Give the land back. And that’s it from me.   R: Thank you so much for joining us! And I’m so glad that I know you because I love these covers and, like, that was my first thought when Kaelyn said she wanted to do book covers as a topic for August. I was like, “I KNOW the book covers! That I wanna talk about!” So I’m so glad you were available and thank you so much for your time and keep going awesome work because you are doing excellent, excellent awesome work.   L: Well, thank you so much for having me. I look forward to seeing you both on the internet somewhere.   R: Same.   K: Thanks very much L, take care.   L: Thanks! Bye.   [outro music plays]   R: Hey, friends. I hope you enjoyed this episode and interview today with L. D. Lewis and usually this is the part where I’d say hit us up on Patreon.com/wmbcast. Wait, I just did it. Well, you know what I mean.   Normally, I would say that. And that’s great. You can do all that if you want, but I’d really like if you, today, would go and get a subscription for a year or more to fiyahlitmag.com. The content is excellent, the people who put it together are excellent, and it’s one thing to say that everyone’s welcome at the table of SFF, but it’s another thing to actually support the people who need their voices lifted. So, please, go support fiyahlitmag.com, the link is in the show notes. And, you know, read some stories by some marginalized people. Specifically, in this case, Black writers. And check out these fantastic covers by Black artists. And, you know, really appreciate what FIYAH is doing in a time when so few are. So, again, thank you for listening today and go check out fiyahlitmag.com and support this fantastic magazine and keep it going in the future.   Alright and we’ll talk to you in two weeks. Take care, everyone.        

Can I carry this bag on?/Can I take this on board? /Can I hand-carry this? 我可以带这个登机吗？Ground staff: Yes, that would be fine. 可以，没问题。/ No. You need to check it in. 不行，你必须托运。carry-on 随身行李on board 登机check （在机场指托运）托运+in, 酒店指寄存行李对话：L: How many bags would you like to check in? 你有几个包包要托运呢？D: Um, I've got one bag, but can I carry this on board? 我有一个包包，但是我可以带这个登机吗？L: Yeah, that would be fine! 可以，没问题！

节目名称：Music Bang Bang 节目主题：英雄联盟节目监制：朱子业编辑：朱子业，李嘉怡播音：朱子业，李嘉怡制作：朱子业整合上传：陈子扬审核:侯泓锾开头曲 Legends Never Die.欢迎来到英雄联盟，敌军还有三十秒到达战场J：Hello everybody, welcome back to our channel. This is music bang bang from VOE foreign languages radio station. Long time no see. Or should I say, long time no hear. I'm your old friend Jotta.L: Hey this is Lacy.J: So as you know, I'm late to catch on hot events.L: Yeah. That means 后知后觉。J: Do you know the voiceover at the beginning of our programme?L: That's from League of Legends英雄联盟. And the song we play right now is called Legends Never Die.插曲1 Legends Never Die.L: It's the theme song of the League of Legends 2017 World Championship.J: Seems like you made an adequate preparation for today's programme.L: Of course! Except the songs, I consult some information about IG.J: I believe although many people post like, IG is awesome, they even do not know the member of that team.L: Ig's full name is Invictus Gaming. Invictus 的意思是不可战胜的，这个词来源于阿根廷，这个战队的名字也预示着创始人王思聪对这个战队的美好展望了！It's one of the mumber of LPL alliance.J: LPL, League of Legends Pro League, 意思是英雄联盟职业联赛。插曲 2 Welcome to Planet Urf.PART 2： L: By the way, Jotta, do you know IG's mumbers and their duties?J: Yeah! Now please let me introduce them. 他们队就是“莽，就完事了”。The Shy is a very skilled top. Ning is a jungle. Rookie is a very careful mid, it can called APC as well. APC, ability power carry, 也就是技能输出核心。Now you know APC, can you infer the meaning of ADC? L: I know it, ADC, attack damage carry. 也就是下路，或者射手的意思, and Jackeylove is a very awesome ADC, and very handsome.J: You are right.有了ADC不可缺少的是辅助，那么你知道辅助用英语怎么说吗？L: Emmm... I guess it is called SUP, support, right? And I know IG's support is Baolan.J: Aha. We introduced too much about IG, It's time to go back to Legends! The song we played right now is called Welcome to Planet Urf. 是无限火力的新主题曲。L: Urf? What's that means?J: 这是一个被lol删除的英雄，叫海牛阿福，英文就是Urf。L: Oh, I see. I feel so excited when I listened to that song, I even want to begin to play that game now! 插曲3 RiseJ: Aha, why not? Lacy, have you ever heared about RNG? That team is also outstanding, but this time they took the opponent lightly causing them lost this game.L: Nodesty helps one to make progress while conceit makes one lag behind.谦虚使人进步，骄傲使人退步。J: You are right! As League of Legends is a very popular game. There are a varity of songs about it.L: This song is called Rise.L: I know there are many characters in League of Legends.J: Yep. The first I would talk about is The Unforgiven Yasuo.疾风剑豪亚索。L: Why?插曲 4 RiseJ: Because in the face of all people's misunderstanding, he will do whatever it takes to clear his charges, let justice to regain his glory. L: 但我看过网上写关于亚索是....什么自闭来着？J: 多行不e必自闭（音同：多行不义必自毙）L: So what's the relationship between e and autism？J: E is a keyboard shortcut of his skill. That skill's cooldown is very short, about 0.1-0.5 seconds. 他的e技能是向前突进，而且技能冷却时间很短，所以秀不秀就看这个技能用的怎么样啦。L: Oh, that sounds attracting me so much！J: The next character is one of my love. Her name is Sona. 琴瑟仙女娑娜。Look at this picture, don't you think she is as pretty as a fairy？L: Yeah. And she has a nice figure.【只有你能听到我的话，召唤师，今天我们演奏哪首曲子？】J: Let's enjoy POP/STARS from K/DA.L: K/DA是由游戏中人物阿卡丽、伊芙琳、阿狸和卡莎组成的虚拟女团。J: So after hearing today's programme, do you know some of League of Legends？L: Anyhow I learned so much about that.结束语 J: OK guys, time flies. See you next time.L: 欢迎大家订阅我们的荔枝FM22808, VOE等着你的加入。 J&L: Bye! 结束曲 POP/STARS

节目组: Music Bang Bang 音乐大爆炸 节目名称:特辑开头曲 无心J：Hello everybody, welcome back to our channel. This is music bang bang from VOE foreign languages radio station. I'm Jotta.L: And I'm your old friend Liz. Oh, Jotta, this time I wanna make something new.J: Tell me about it.L: We broadcast English songs for a long time, so how about make a special edition this time？J: Great idea！L: Do you have recommended songs？J: Of course. The song we played right now is called 无心（心做し）. That&`&s a Japanese song. This time I want to broadcast a cover version and that&`&s covered by 双笙. 垫乐：无心插曲1 无心 L: The music sounds very familiar to me.J: This song has been popular recent days.L: The music sounds very familiar to me.J: This song has been popular recent days. 垫乐：无心插曲 2 爱的就是你 L: What&`&s the next song？J: A Chinese song！A very sweet one.L: Let&`&s enjoy it.插曲3 爱的就是你L: Now can you tell the name of it？J: I&`&m a little bit bashful. In English is... you are my love.L: Give me your phone and I will say it for you. OK...This song is called 爱的就是你. No wonder you are bashful.J: I know you&`&ve got a song for us.L: Yeah. You got me~Recently，I think ,maybe I fell in love with someone.J: Oh,really? Who's that guy?L: His name is 欧瑞soulcore,and he is from mukdenbro ,the Chinese name is奉天组. He is a rapper.J: It's amazing,why you love him so much?L: Cause his rap is deeply touching . And he is so nice. I've been his show at a live house in shenyang this term. When he said hi to me,I felt so happy. Maybe,I'm a little bit crazy about him.J: So you'll bring us a song from him right?L: Yeah~ It's called Sophie . 插曲 4 Sophie L: 对了，你有没有看明日之子第二季啊，你知道谁是最终的大魔王吗？J: I haven't seen it yet.L: Alright,a boy called 蔡维泽 won the first prize.He has a band called fool and idiot.J: Sounds interesting.L: Yeah,and the name of his song is interesting too. It's called 5:10am. 插曲5 5：10 am 结束语 L: So that&`&s all for today&`&s program.See you next time ~ 结束曲 5：10am节目监制：朱子业编辑：窦雪菲 周宇琦播音：窦雪菲 周宇琦制作：朱子业整合上传：侯泓锾审核：侯泓锾

节目组: Music Bang Bang 音乐大爆炸 节目名称:female rapper、开头曲 The Next Episode instrumentalJ:Hey bro.Welcome back to our channel.I'm Jotta.L:Yo.Whassup man?我是厉害的狗子 AKA Liz.J:This is music bangbang from VOE foreign languages radio station.Hey, Liz.Have you heard a song called Bodak Yellow whose rapper is Cardi B.L: Yep.I admire her courage and personality charm.J:Hey, Cardi B is coming...are you ready? 插曲1 Bodak yellow J:Liz.The first time I listened to this song,it makes me think of another female rapper.L:根据嗓音和写词手法的话，我猜，你想说的是Nicki Minaj吧？J:Yes.I have heard almost every song of hers.L:So you are a big fans.J:You got me.L:What's the name of this song?J:Chun-li. 插曲 2 Chun-li J:Wow,actually,I wanna have a try.L:Okay~ just listen！The song called U.N.I.T.Y.And the rapper is Queen Latifah.J:I think,the beats of this one is kind of chill.L:Yes,and I like its construction.The hook is comfortable yet powerful.J:I have to say the punchline is also very powerful.L:Yes.And her storytelling is so cool. 插曲3 U.n.i.t.y J:咱今天说这么多说唱歌曲，让我想到之前的中国有嘻哈了。一开始里面说的好多词我都不懂什么意思呢。L:You mean "punchline" "flow" or something?J:Yeah.How about introducing some jargon about rap music?Jargon 就是行话，专业术语的意思。L:Great!"Punchline"在有道里我查到的意思是：结尾警语；妙语如珠，在rap里指歌词中押韵完美、节奏等很有感觉的部分，放在古诗里就是那种人人皆知流传千古的名句。J:"flow"呢，包括语速，节奏，押韵，停顿，音调等，比较全面。You can understand as one's style.L:再来呢就是"hook"。J:这不就是钩子么？L:Yeah.As the literal translation of it ."hook"是指副歌，它通常是是一首歌最抓人的部分，很容易跟唱。J:诶我听吴亦凡经常说"verse".这是什么意思?L:是段落的意思。Generally Speaking ,Verse include 8 to 16 Bars.Some verse and hook make up a whole song.J:What about "bar"?You just mentioned that.L:You can translate as 小节.If there is a break then it's a bar. 插曲 4 Beg for it L:Now that we mentioned many female rappers.Jotta,你还知道哪个女说唱歌手吗？J:Do you know Iggy?L:Emm...I haven't heard this name.J:It's Iggy Azalea.You may listened Problem and Fancy.All above are her songs.L:Sorry I didn't notice her.But these songs are acoustic enjoyment.J:Now let's enjoy Beg for it.L:Time flies,that's all for today's program.See you next time ~ 结束曲 Beg for it节目监制：朱子业编辑：窦雪菲 周宇琦播音：窦雪菲 周宇琦制作：朱子业整合上传：侯泓锾

I'd love to sit down and catch up. 我想要坐下来好好叙叙旧 D: Fancy meeting you here. What brings you to this part of town? 见到你真是惊喜。你怎么回来这附近？L: Yeah, it's been a while since I last saw you. I'm here to pick up some groceries. 是啊，好久不见了。我来这里买点杂货。D: Do you want to grab something to eat together? I'd love to sit down and catch up. 你想一起吃点东西吗？我想坐下来好好叙叙旧。L: I'd love to but I'm meeting a friend for dinner later. Maybe next time? Here's my number! Call me? 我很想但是我待会儿要和朋友见面。下次吧？这是我的号码？打给我吧？D: I certainly will. 我一定会。网友提问，为什么我听了很多英语，和外国人交流还是很不流畅呢？最新的节目更新请搜寻订阅“学英语环游世界”专辑，或Fly with Lily系列专辑，喜欢就订阅分享，还有一个五星的评价，会让我继续努力！FB/IG/Line@：flywithlilyWebsite: flywithlily.com公众微信：iflyclub、englishfit

节目组: Music Bang Bang 音乐大爆炸 节目名称:female rapperThe Next Episode instrumentalJ:Hey bro.Welcome back to our channel.I'm Jotta.L:Yo.Whassup man?我是厉害的狗子 AKA Liz.J:This is music bangbang from VOE foreign languages radio station.Hey, Liz.Have you heard a song called Bodak Yellow whose rapper is Cardi B.L: Yep.I admire her courage and personality charm.J:Hey, Cardi B is coming...are you ready?插曲1 Bodak yellow J:Liz.The first time I listened to this song,it makes me think of another female rapper.L:根据嗓音和写词手法的话，我猜，你想说的是Nicki Minaj吧？J:Yes.I have heard almost every song of hers.L:So you are a big fans.J:You got me.L:What's the name of this song?J:Chun-li.插曲 2 Chun-liL:Wow.Their music is so fashionable.But ,do you know the classical rap？It is different from them.J:Wow,actually,I wanna have a try.L:Okay~ just listen！The song called U.N.I.T.Y.And the rapper is Queen Latifah.J:I think,the beats of this one is kind of chill.L:Yes,and I like its construction.The hook is comfortable yet powerful.J:I have to say the punchline is also very powerful.L:Yes.And her storytelling is so cool.插曲3 U.n.i.t.yJ:咱今天说这么多说唱歌曲，让我想到之前的中国有嘻哈了。一开始里面说的好多词我都不懂什么意思呢。L:You mean "punchline" "flow" or something?J:Yeah.How about introducing some jargon about rap music?Jargon 就是行话，专业术语的意思。L:Great!"Punchline"在有道里我查到的意思是：结尾警语；妙语如珠，在rap里指歌词中押韵完美、节奏等很有感觉的部分，放在古诗里就是那种人人皆知流传千古的名句。J:"flow"呢，包括语速，节奏，押韵，停顿，音调等，比较全面。You can understand as one's style.L:再来呢就是"hook"。J:这不就是钩子么？L:Yeah.As the literal translation of it ."hook"是指副歌，它通常是是一首歌最抓人的部分，很容易跟唱。J:诶我听吴亦凡经常说"verse".这是什么意思?L:是段落的意思。Generally Speaking ,Verse include 8 to 16 Bars.Some verse and hook make up a whole song.J:What about "bar"?You just mentioned that.L:You can translate as 小节.If there is a break then it's a bar.插曲 4 Beg for itL:Now that we mentioned many female rappers.Jotta,你还知道哪个女说唱歌手吗？J:Do you know Iggy?L:Emm...I haven't heard this name.J:It's Iggy Azalea.You may listened Problem and Fancy.All above are her songs.L:Sorry I didn't notice her.But these songs are acoustic enjoyment.J:Now let's enjoy Beg for it.L:Time flies,that's all for today's program.See you next time ~ 节目监制：韩平治编辑：朱子业&马懿慈播音：朱子业 &马懿慈制作：朱子业

节目组: Music Bang Bang 音乐大爆炸 节目名称:The Bgm of Ads开头曲 GoldL:Hello,everybody.Welcome to Music Bang Bang from VOE foreign languages radio station.I'm Liz. J:Hi,my lovely audience.This is Jotta.Hey,Liz.Lately I found some songs are pleasant to hear.L:I'm listening. 插曲1 Gold L:Is that the song called Gold？J:Have you listened this song before?L:I have watched an advertisement of iwatch.This is the background music of it.J:Wow.I didn't know that at all!L:This song is so interesting,Justin Bieber has taken a video about himself and sent it to his INS.The BGM was this song too.And he is really cute.J:Okay.Ok. You really know him. 一看你就是他的真爱粉啊！L:Yes, when I was in primary school,I began to pay attention to him.At that time,I was so young.L:Oh,here's a song that I have heard at that period.Let me recommend to you . 插曲 2 我在那一角落患过伤风 J:Oh,I know this song.It's the BGM of 步步高 mobile phone's advertisement.But,does it have a name?L:Of course.It's called 我在那一角落患过伤风.And the singer is 冯曦妤.She keeps a low profile,working behind the scenes and singing carefully.J:Her voice is clear and melodious.It makes me feel comfortable.And I remember that 宋慧乔 featured this advertisement.It was a good match.L:Yes,so,this advertisement impressed people a lot.By the way,she got married with 宋仲基 lately.She's still beautiful. 插曲3 Free loopJ:既然提起了因为广告而火的歌，那就不得不说一下free loop了。L:I think I haven't heard it.J:Actually,I had same feeling when my friend played this song to me.L:诶，这么一听，感觉是福特汽车的广告曲。J:You're right! 插曲 4 Dream It Possible J:Now,we will introduce today's last song.这是华为与好莱坞共同打造的国际版海外推广短片的背景音乐。It's called Dream It Possible.J:Liz,Do you have seen this short film? L:Yeah.It tells a girl called Anna,she has a dream of piano.Anna fought for it for 15 years,and finally,she became one of the best pianist who could show at The Gold Hall of Vienna.J:I was deeply touched by this video and I think this song is awesome!L: 是的，你什么时候见过一首企业的宣传曲可以上热歌榜？华为做到了!J:不单单是因为这首歌承载了无数追梦人的执着与信念，更代表了华为成为民族的顶梁柱而带给我们的感动与自豪。中华有为,华人可为!J:OK.It's time to see goodbye again.J:欢迎大家订阅我们的微信公众号时代之声radio，网易云音乐music bang bang电台以及荔枝fm，更多精彩内容等着你的发现。See you! 结束曲 Dream It Possible节目监制：韩平治编辑：朱子业 马懿慈播音：朱子业 马懿慈制作：朱子业

节目名称：Screen Age 荧屏时代节目主题：Say something about LOVEL: Hello, my dear audience. Welcome back to the Screen Age.This is Lynn.B: Hi, everyone,this is Shinskie. Hey, Lynn, the Double 11 justpassed. I think plenty of people went on massive Internetshopping sprees. Did you chop off your hands, Lynn?L: Well, I bought some books, milk, snacks, lipsticks and...B: Wait, wait, wait, I remember that you just bought a lipsticklast week.L: Yeah, but, haven't you heard that boys can't understand thepersistent of the lipsticks to a girl? It just like when having a artclass in the childhood. Other kids had 32 or 48 color watercolorpens, but what you had was only a 2B pencil. Nothing can beworse than this.B: OK. Don't forget that the Double 11 is a day to celebrate thesingle one ordinary. What about introducing some love stories?L: Em, single and poverty clams me down. Seeing anaffectional film maybe a good choice. Let's do it.B: How about the Double Eleven? As a single dog, how areyou feeling when you walk on the road.I: Life is already hard, so please don't expose the truth. I justwant to change a topic. I have just seen a classic love movierecently.B: Wow, which one?I: Sliver Linings Playbook, directed by David O. Russellandthe film is staring by Jennifer Lawrence andRobert De Niro,and attracted a lot of fans when it was on show.B: What is the film mainly about?I: Well, it is adapted from a novel and the name is also comesfrom the main character's mantra Every Cloud Has A SliverLining. The film tellsa story of two people who have brokenup and rebuilt their lives.B: Which point you considered is the most attractive point.I: Em, when I watched the film, what left me the most waswhen life gives you a powerful blow, bark out what the fuckthen go on fighting like a soldier. And I think the love view inthis movie is the most authentic portrayal of love. “You are justanother one and I was just like you. Even though you were awisdom and my wife betrayed me, it doesn't matter! I am stilllove you”.B: It is amazing! This contrasts sharply with the Chineseattitude toward love.I: Yeah! This is admirable. I think the true love is “let her goand see if she would be return”.B: I just want to talk another style of love, Yes or no, it is aThailand's classical lesbian film in 2011, the film mainly focuson the two heroines who are from resistance to close, finallybreaking through the description of the secular and falling inlove with each other.S: Yeah, Kim and Pie are roommates, but at the beginning, littlemisunderstanding let them get in terrible relationship. In orderto getting along with Pie, Kim changes her bad habitsgradually. No matter how Pie annoyed, Kim always be verygentle to Pie.B: I envy that! And I also want to have such a roommate!But what you can do is just think about it.S: Okay, let's go ahead and see what will Pie does with Kim.Pie also moved by Kim's blandness and begins to open herheart to Kim.B: But it was often worse than wish. When things were goingon the road, the story began to go somewhere disappointing.S: Pie and Kim's admirers try to undermine their relationship.Fortunately with the help of the cafe's hostess, these two littlegirls are reconciled and be together happily.D: After talking about some lesbian film, let's talk about somegay film,"Maurice" is a gay romance film directed by JamesIvory. Two male English school chums found themselvesfalling in love at Cambridge. To regain his place in society,Clive gaveup his forbidden love--Maurice and married. Whilestaying with Clive and his shallow wife, Anne, Maurice finallydiscovered romance in the arms of Alec, the gamekeeper. L: What a beautiful sad love story! Maurice and Clive had aplatonic affair, but the fearful Clive subjugated his sexualityand married. After weathering this rejection, Maurice stayedtrue to his identity, and eventually was rewarded.D: Maurice's and Alec's main strain isn't sex but class.Forthright Alex was from the rural lower class, Maurice was astockbroker. They must met furtively -- in hotel rooms or the boathouse of Clive's country home. The potential for true loveseems limited. But Maurice, at least, was liberated.L:The subject is repressed homosexuality in pre-World War IEngland -- as adapted from E.M. Forster's autobiographicalnovel "Maurice." By showing nonphysical love betweenMaurice and Clive, the film prepares us for Maurice's laterphysical relationship with under-gamekeeper Alec. By the timeit happens, we are relieved for Maurice. The relatively mildsexual scenes seem inevitable and natural. Riching inatmosphere, its leisurely pace dwells on repressed passions inEdwardian society.SE: It's colder than before. Need you get warmth?L: Of course. The weather makes me a little cold. I require onenecessarily.SE: Recently, I have seen a movie which tells about the truthessence of love with ten stories made up. Every of them canmake people feel the temperature of happiness. With the Britishhumor it has, people can't help laughing. I think it's difficult forother ensemble film to be more successful and have no sense ofviolation.Maybe it's suitable for you to let your heart feelwarm.L: Woo, it heard great. Is it the famous film "Love Actually"?My roommate recommended it for me several days ago. Sheconsidered the world as a place filled with true love. Thefamous dialogue is "If you look for it, I've got a sneaky feeling,you'll find that love actually is all around." SE: You're right. The film indicates us to find the love aroundourselves. It's so warm-hearted.L: Sure.If having spare time, would you like to accompanywith me to see it again?SE: OK.D: Today I' ll bring you a warm story, which can comfort yourbroken hearts.垫乐：B: Wow, I'm looking forward to the story.D: There is a loyal dog named Hachikō, and no one knewwhere he came. One day, he was happen to be picked byDr.Parker. Later, their story began...Hachikō seemed to rely onParker, and Parker loved him very much. Such emotionsbetween Hachikō and Parker touched Kate, Parker's wife. B: Day by day, Hachikō grew up, every day he saw Parker offand waited Parker go home. Suddenly, one day, when Parkerwent to work. Hachikō behaved upset and strange. Hachikōstarted to play with the ball that he never played. Thisphenomenon pleased Parker very much.D: However, Parker died suddenly on that day. Parker'sfamilies buried him saddly and Parker's wife moved away. B: Then how about Hachikō ?D: The poor Hachikō still believed that his owner will comeback someday, so he waited for Parker every day on time tillthe end of his life.B: Wow, how loyal Hachikō is ! I am moved by Hachikō.D: So does anyone who has seen the film. B: That' s so moving! I think this film will warm us at coldwinter nights. And all of us should make sense of thearguements the story told.D: Yeah, you' re right. L: How time flies. That's all for today's programme. Hope youlike it.B: Well, don't forget to consume reasonably. I hope you canbrought to your senses when you see an affectional film.L: 最后，感谢制作张雨航。Bye!B: See you~节目监制：赛碧乐编辑：毕鑫屹 邹佳琳播音： 邹佳琳(L) 毕鑫屹(B) 孟萌萌（C）孙晨棣（D）张桐珲（S）王雪莹（SH）姜晓璐(I)制作：张宇航

节目名称：Screen Age 荧屏时代节目主题：David Fincher& David LynchL: Hey Guys! It's time for the Screen Age. I'm your old friend, Lynn!B: Well, Lynn. Why are you so exited today.L: Because the film Murder on the Orient Express is going to be on the Chinese mainland. You know, I'm a stan of thriller. I've been waiting for it since the last year.B: Take it easy. I think that you would be interested in the director, David Fincher. He is the master of thriller. It's just your cup of tea.L: Yeah, I know him. Some of his films are really classical. However, I mistake him with another famous director, David Lynch sometimes.B: They are similar in some way indeed. And today, Let's just introduce David Fincher and David Lynch to our audiences.L: That's cool!L: David Fincher was born in Colorado Denver of America, whereas, he grew up in California. When he was 18, he worked for Korty--a film company. Later, he changed his job several times. Till three other directors built up Propaganda with him in 1987, he turned his way to directing films.C: Oh, I get a little about what you said. Before his company had been built up, he has directed many advertisement with lots of famous brands: Coca Cola, Pepsi, Levis, Chanel and so on. And he also has cooperated with numerous well known singers, including Sting, Michael Jackson.L: Yeah, you&`&re right. And on no account can we overlook his biggest character as a director, do you know that?C: The biggest character? I think it is his unique directing style. Because what he really think most is the realism of human nature and society. Right?L: You are right. Due to this point, his films are always popular, I suppose.C:That's it.L: Now, let&`&s learn about his films in detail.B: Fincher&`&s work, except "Alien 3", more familiar is "Seven Crimes" in 1996 (also known as "FireWire Chase Order") and "Fight Club" in 1999. In "Se7en", David Fincher shows the talent of a black thriller and cooperates with photographer, to create a detective films that are fascinating in both image and plot. The seven great Sins of the Old Testament: gluttony, lust, laziness, pride, greed, anger, jealousy ... S: Of course, chaos and darkness are the keynote of the film. The director said he deliberately emphasized the boldness of the uncoordinated. New York is filled with moisture, graffiti, and dark corners, and becomes the best place to interpret psychopathic murders. B: The plot is more difficult to get rid of the old mechanism, is still a fresh-blooded new detective cooperate with a old, stable, experienced police. Combat difficult criminals. But the layout of the story and the handling of the conflict are pretty good. It is a good-looking and style detective film.S: However, more exciting is the next work "Fight Club". This is a description of the people who divide the mind, the evil leader of a group of people, to fight each other as the emotional catharsis of the film, not only shows the modern people face the oppression of life, but also revealed that the brutal nature of the confusion will be confused, step by step to the destruction of the hidden worries, for the nature of modern society has a very good warning role.I: Only the subject is very innovative and interesting, and the director of imagination and the wild is also quite aware of convergence, so that the film in the logic and knowledge of experience can be resonance, the view of chilling. However, the director still does not forget the power of rational and love redemption, the drama and The Strange Woman&`&s love, faint become the later male lead reason awakening motivation, it is the most important meaning for the film.B: Like the Seven sins, the Fight Club has been criticized for its violence by some cheap critics. But it is in some ways a serious discussion of the difference between meaningful violence and senseless violence, making these attacks a slap in the face.I: The film&`&s Mirror is smooth and fast, the plot is strong and powerful, a runaway atmosphere full of splitting, tightly clasped the hearts of the viewer. In addition to the "Guess Train", "Tai Pin code", for the lens language application is very good work. "Fight Club" more than the connotation of "seven crimes", the form of use and depth beyond the general Hollywood film.L: It could be said that if David Fincher is a genius, David Lynch could be a lunatic. As a famous American director, who is addicted to the coffee, he made his own brand of coffee. He is the representative figure of the American non-mainstream film industry contemporary. Although he is in the Hollywood, he develops a school of his own. His film is famous for the gorgeous, gloomy and strange style with his black humor.SH: He grew up in the bottom of the society in Philadelphia. He lived in the dark side of citizens&`& life. The violent and corrupt he met has made a great influence on him. Although he is getting on for seventy years old, he has been devoting himself to reappear the nightmare in people's pallium. L: He is so remarkable that he reveals the trauma which we do not want to face with his imagination. I am just a ordinary person like anyone else, he said, our greatest fear is from the death. It's the source of the fear itself.SH: In the 1977, Lynch inspired his Philadelphia life, created the 5-year-old horror film "Rubber Head". In this film, he showed his fear and anxiety to the dark side of society from a father&`&s point of view and surrealism.D: Thanks to the famous producer Ben Barennoz's efforts to finally be released, and a shot of popularity, has been widely affirmed in the commentary field, he pushed on the surreal film production at the forefront.SH: The success of "Rubber Head" attracted attention of the famous director Mel Brooks. In 1980, he invited Lynch to direct the drama "Elephant Man", the first mainstream film of Lynch&`&s creation. Tells the story of a distorted head-shaped "Elephant Man" John Merrick in British society in the 19th century. D: In 1984, Lynch directed the action sci-fi "Dune" for Dino De Laurentis, adapted from Frank Herbert's "Dune" series of science fiction. At the pinnacle of his career, Lynch gave up the big screen film, and in 1990 he launched a music video "Heartbreak Dream" with longtime partner-composer Angelo-Dalmonti. In the same year, he filmed his most successful ABC TV series "Twin Peaks".L: Later, Lynch launched his 5th film, "My Heart Is Wild," and the next few years, he disappeared from people&`&s view. In addition to a 1994-year photo album, there are five of years, people can not hear any news about him. He changed his familiar bizarre themes, directing the road Plot "The Straight Story". More than one person commented: "David Lynch is back." L: That's all for today's program. Hope you enjoy it. I think I won't confuse them anymore.B: Have a nice evening. 最后感谢制作张宇航。 See you next Friday.L：See you～节目监制：赛碧乐编辑：毕鑫屹 邹佳琳播音：邹佳琳 毕鑫屹 孟萌萌 孙晨棣 张桐珲 王雪莹 姜晓璐制作：张宇航

节目组: Music Bang Bang 音乐大爆炸 节目名称: 翻唱成英文的外文歌开头曲 DespacitoA:Hello,my lovely audience. This is Music Bang Bang from VOE foreign languages radio. I'm you old friend Armstrong温彦博！Well, today, two new partners have came to our group .Now, let's get to know them.J:Hello everybody,I'm Jotta.Someone may call me "zhou ta".A:Never mind.J:Ha.I forgive you for your ignorance.A:So what kind of music do you like？I think you like hip-hop.Because you dressed like a hip-hop girl.J:Yes...but,actually,I have wide interests.A:Ok.The next one.L:Hi, I'm Liz懿慈 and my major is international economic and trade.I'm a little nervous now, because It's my first time to be here. Anyway,I'll give it my best shot.A: Don't be nervous Liz,just take it easy. And welcome you guys to music bang bang ！相信在接下来的一年里在新鲜血液的加入下Music Bang Bang会给大家带来更好的节目！那么废话少说，一起来听歌吧！插曲1 Despacito英文版 A:Liz,you must have heard this song.L:Yeah,it's despacito by Luis Fonsi, Daddy Yankee and Justin Bieber!The Spanish song must be the hottest single this year.A:I love this song so much.Every time I hear this song,I just wanna move my body and dance with the rythm.But when I want to sing with music, all I can do is humming and repeating the single word depacito.L:Aha.Actually,There's an English part in Bieber's remix version. 也正是Justin Bieber的加入，让这首西语歌红遍全球，稳坐各大排行榜冠军宝座。A: Liz, do you know what the lyrics talk about?L:I don't understand Spanish, but I have heard a cover version which sings all by English.A:Honestly,I prefer the original one,the Spanish lyrics with the melody bring me an exotic atmosphere.And it's a little weird when it sings in English. 插曲 2 If U韩文版/if u & faded 1.05-1.26/英文版if u 1.43-3.15 J:Despacito都听过几百遍了，赶紧换首歌。我来放一首。A:Hey,zhou ta, ah , hey Jotta.Did you forget this is a English programme?Please find some English songs,ok？J:Ah ha,guess what,I actually have a English version.A:Play it！A:Don't fool me around.I've heard this song called《faded》.J:She just used the lyrics from it.If you want a pure English version...emm..maybe I have one.a:Hope so.J:Yes,this one.I remember that the first time I heard it was in an application named echo.The singer of this song is ...emm...should I call her Seventeen？Her name is十七.She likes G-Dragon very much so she wrote this English version to show her love.J:Alright.Let's listen the powerful part. 插曲3 李白（英文版）L :Wow,There's no doubt that Shi Qi is so ingenious.And her voice sounds beautiful.J:Definitely!Her version is extremely pleasent to hear.Oh,by the way,I also have some songs whose original version is Chinese and cover version is English.L:I'm listening.L:Oh I see.Don't tell me that the first one is Li Bai.J:There you go!This one is Li Bai.which was written by Li Ronghao.And he became hot after this song.L:The guy kissed her girlfriend at his vocal concert in Taiwan.And all the fans were screaming at that moment.J:I reckon the new version by Chen huan kept Lee's unruly style.And she also has her own point. She used the tequila ,whisky,and vodka to instead of several bowls of beer.Haha,maybe she has a really good sense of humor. 插曲 4 Emily L: It's interesting.I got it. The song covered Dongxiaojie which written by Song Dongye.He's my favorite balladeer.I love Anheqiao very much.When the prelude was sounded,I had my heart a little bit broken.J:What do you think of this English version?By the way,It's written by Alan who is a little mysterious.Because there was much lively debate about where he come from depends on his accent.L:Eh...This one is so warm that I can feel his deep warm love to Emily. It's suitable to listen in cold weather like these days, isn't it? Personally, Song's version is a little sad. J:You are right. I can pretty much understand what you are talking about. A:When a song was covered by another language, it always gave us a big surprise.Time flies.That's all for today's program,see you next time!J:欢迎大家订阅我们的微信公众号时代之声radio，网易云音乐music bang bang电台以及荔枝fm，更多精彩内容等着你的发现，voe等着你的加入。感谢制作李金声。See you! 结束曲 Emily

节目组：The Screen Age 荧屏时代 节目名称：Scent of a woman开头曲 Por Una Cabeza-Thomas Newman B: Hello, my dear audience, Welcome back to the Screen Age. This is BobBee.L: Hey, friend. I'm Lynn. Well, BobBee, I saw a classical American movie last night. It's so excellent that I stayed up for watching it at midnight. And now, I'm keen to recommend it for you strongly!B: That's great! What's its name?L: It's Scent of a Woman.B: Oh, I've seen it. It's well worth watching it indeed. When the theme song Por una Cabeza sounded, my hot blood is boiling.L: Yeah, the pet phrase “Hooah” of Colonel is also charming.B: It'’s so interesting. Let's talk about it today.L: Great! 插曲1 Por Una Cabeza-Thomas Newman F: Young student Charlie has inadvertently witnessed the process of several students preparing to tease principal, the principal asked him to tell the mastermind of mischief, otherwise he will be punished. Charlie came to the veteran's home to do part-time job. Lieutenant Colonel was the head of President Linden Baines Johnson, who had experienced war and many setbacks, but was blinded in an accident. B: Blind makes Frank Colonel got a very sensitive auditory and smell sense, and even can identify its height, hair color and even the color of the eye by smelt other women's perfume. In fact, this is derived from his deep understanding of life and sentiment.F: He did nothing at home all day, lost his courage and confidence in life. He is ready to exhaust the last energy to enjoy a wonderful life. He traveled with Charlie, eating nice food, driving fast Ferrari, jumping tango with nice girl, live luxury hotel, and then want to end his own life.B: Charlie tried to stop the school's suicidal behavior, since the initiation of their feelings as father and son. So that Frank also recovered the courage and strength to live. The film finally Frank in the school Lecture Hall passionate speech, saved Charlie's future, satirical school hypocrisy. The two guys were reborn in each other. 插曲 2 Main Title-Thomas Newman L: One of the leader actor in this film is Al Pacino. In 1969, he first appeared in the film screen. Because of the perfect performance in the film The Panic in Needle Park, he was selected to be the leader actor of the film The Godfather. And it was such a great success. After four consecutive years, he won the Oscar for best actor or best supporting actor nomination. In 1993, he won the 65th Oscar Award for Best Actor Award and the 50th Golden Globe Award for Best Actor with the film Scent of a Woman.M:The other leader actor in this film is Chris O'Donnell. He played McDonald's fast food television advertising in his high school era. He is famous for the role of Robin in the film The Batman. Before playing Robin, he played a lot of roles in famous films, such as "Scent of a Woman", in this film he won the Golden Globe nomination. His brave and strong performance was showed in the film The Three Musketeers completely.L: In addition, the leader actress is Gabrielle Anwar. She tangoed with the best actor Al Pacino in this film. It is only a glimpse, but impressive. Her star road has widened since then. And she has gained high exposure among the new generation of actress. She is so charming in many films like The Three Musketeer. 插曲3 Main Title-Thomas Newman M: Movies often have lines that become part of our culture. The line from this one is hoo-ha! I don't know why for sure Pacino says that. He does though and it's great. Whenever I ask anyone about this movie, those who have seen it 99% of the time answer with a hearty hoo-ha!F: As for the performances: Pacino, I dare say, gave his best performance ever. It was also the riskiest. We're not supposed to like him, but we do. We can tell he doesn't think that Charlie is a moron. We can tell that he likes him in fact as a son. It strikes us as sad though. We can sense that this man has always been lonely. But then he lost his sight because of his mere stupidity and fondness for booze. He became even more lonely and sarcastic. Mean in fact, but funny.M: This movie once again proves that Pacino is one of the greatest actors of our time and that we all should be very glad he choose to portray Colonel Frank Slade in 'Scent of a woman', no one else could have done it. The story of 'Scent of a woman' stands and falls with Pacino's acting and the bringing alive of his character. It's touching and makes you smile and leaves you behind with the feeling that you've just have had the pleasure of meeting Colonel Frank Slade, a crazy but interesting man.B: I first saw this movie when I was staying with my grandma at her cabin. I was blown away. The story is great, the acting is perfect, and you can't help but get attached to the characters. The relationship, trust, and love that develops as the story unfolds is nearly unparalleled in modern cinema. One of Pacino's BEST performances. Not like some of his other roles. Chris O'Donnel actually puts in probably his best performance of his career. 插曲 4 Fleurs De Rocaille-Thomas Newman B: This is all of our program today, hope you like it.L: Don't forget to see the film Scent of a Woman!B: How time flies! The end of this period is coming. Never fail an exam.L: It's time to say goodbye. 最后感谢制作张安康。See you next time!B: Bye~ 结束曲 Fleurs De Rocaille-Thomas Newman 节目监制：刘逸超编辑：邹佳琳 毕鑫屹播音：赛碧乐(F) 杨旸(M) 邹佳琳(L) 毕鑫屹(B)制作：张安康

Click here to subscribe to transcripts and save 50%   Would you say you are an "edgy" person? What does "edge" mean? How can the term be used in different contexts in English? Today we will answers these questions and we'll start with a question from a listener: Hi Lindsay and Michelle, First of all, thank you for your hard working that you offer to help people with their English. I really appreciate your hard work. Today I have a question on how to use the word 'edge'? I hear Native say it all the time in their daily conversations and each time I hear it means differently. Do you think its meaning change depending on the situation? Or it just has one meaning? Could you please provide examples on how to use? Thanks again for your awesome job!! Sincerely, Lydia S.     Make sure you understand every word you hear on All Ears English. Bring your English to the advanced level with new vocabulary and natural expressions. Get the transcripts from today’s episode. Learn to speak naturally with the American accent. Click here to subscribe and save 50%   There are many ways to use the word "edge." Great question. There are so many idioms so today we are going to focus on just a few.   Idioms with "edge":   Edge: “the line where an object or area begins or ends “- merriam webster   For example: “Be careful, your coffee is on the edge of the table. I don’t want it to fall off!”   To have an edge over someone: to have some advantage over another person L: Do you think I’ll get the job? M: You’re the most qualified! You should! L: Yeah, but I think my competition has an edge over me because her dad works for the company.   Edgy: This can be used to describe someone who is a little bit different You might also say: “Rough around the edges” M: That guy was a little too edgy for me. I like someone who is a little more clean cut. L: I know he’s a little bit rough around the edges, but his heart is in the right place.   To be on edge: to be nervous M: Can I ask you a question? L: Umm...yeah ummm M: Woah, why are you so on edge? L: Sorry, I have a deadline tomorrow so I’m kind of freaking out!   What ties these uses of "edge" together? They are all about being a little bit different whether it's physically or personality wise. What do you think??   Takeaway for today: Listen to native speakers. How do they use this?   What questions do you have from today? Let us know in the comments below.

The next interview is with artist Lavana Lemley! She easily had one of the most peculiar, beautiful, and eye-catching pieces at the expo (pictured above)! Instead of attempting to livestream this year's , decided to hit up a few tables and bother people for interviews! Pay close attention, kids. He's really terrible at this, but had some great interviews! Listen to the audio above and read the transcript lovingly produced by ! Remington: I'm here at the Classic Plastic's Toy and Comics Expo and right now I am with Lavana Lemley. And Lavana is an artist in the area, and she has a very interesting piece here. Why don't you tell our listeners a little bit about this piece? Lavana Lemley: Well the one beside is us a six-foot sphinx. It is based off of antelope, and tree roots, and just a twisted creature (laugh). R: It's very eye-catching and your placement of it here on the floor is perfect to catch people's eye. So how long did it take you to make this particular sphinx? L: This one took about two to three weeks. There's a lot of dry time with it, so it always extends like how long it takes to make it. And it's made in multiple pieces. R: Gotcha, so I can see a little bit of the different pieces put together here. You also have fleece blankets and prints as well. I heard you tell somebody earlier that all of your fleece blankets and things like that are machine washable? L: Yeah they're machine washable, microwave safe, dishwasher safe. Um, the mugs anyway...don't put the blankets in the dishwasher, but (laugh) yeah they're all really durable. I get them printed and I design them. R: So how long does it take – I see a lot of sphinxes. A lot of nature-oriented things. What do you enjoy about painting all of those nature forms? L: I just think nature itself is really weird. It can be really dark and really beautiful at the same time, so it's really easy to get inspiration from it. on Aug 4, 2015 at 2:50pm PDT R: Do you have any film or other artists that inspire your particular…style, yeah (both laugh). L: Um sure! I love Guillermo Del Toro's work – Pan's Labyrinth is one of my favorites. And of course I like Tim Burton and stuff like that. People who make dark, interesting creatures but they're not always actually dark on the inside? They're...I don't know. (laugh) Unusual? R: Right I gotcha. Well thank you very much! If there is anybody who would like to see your art – because there have been pictures up here at the con on their Facebook and things like that – But if they would want to get a hold of you or see your art in some way, where can they go? L: Let's see...I have a permanent display at the Riverside Artist's Gallery in Marietta, it's the one that's by Tampico's and Pizza Place. And then I also have stuff on display, usually, at the Vienna Public Library. And then I usually will do random shows and stuff at the Parkersburg Art Center. R: Do you have a website or a Facebook page or anything where people can order stuff? Anything of that nature? Or do you just usually sell merchandise at shows? L: I do just sell merchandise at shows, but people could contact me through my email on my website. It's . And then I have the Facebook page, it's “” as well as an Instagram which is just “”. R: Alright, well thank you Lavana! I appreciate you taking the time to do my first interview! L: Yay! (both laugh)

节目组: Music Bang Bang 音乐大爆炸 节目名称: The Maroon 5 you haven't known开头曲 Harder To BreatheC:Hello everyone,I'm Ciel!Welcome to Music Bang Bang! A:Hey,my dear audience, I'm Armstrong.L:Hello,I'm your old friend Lampson.B:Hi,I'm Burgess!C:How's the world around you,Armstrong?A:I have been listening to songs by American pop-rock band Maroon 5 all the week,and I think I have fallen in love with them.How do you think about them, Lampson?L:Personally,their songs tend to be very guitar-heavy.It often accompanied by piano or synthesizer. Burgess,What is it with you?B:In my opinion,the theme in most of their songs is love, which the frequently lost love.And the is my cup of tea!C:Sorry to butt in.But it's totally cheesy!Everyone in the world have listened to ,,and so on.A:Oh,I get it.So,how about share some different styles of songs by Maroon 5 to our dear audience?L:You are right!So,let's enjoy the music and acquaint ourselves with the Maroon 5 you haven't known. 插曲：Sunday Morning C:The first song we want to share with you is .It was released in 2004 as the fourth single from their debut studio album,. After released,it became a huge international success,and topped the album charts in many countries.A:The lyrics are inspired by Levine's relationship with his ex-girlfriend, Jane. Just like Levine notes, "I wrote a song about her and played it in the store where she worked. It was an awful song. But she found out about this relatively psychotic boy. She was my muse for years. . . . And then it kind of faded away.L:Yeah,I think it is the classic Maroon 5 song,which is minor, and it has some funk, Nile Rodgers-style guitar and the lyrics are probably about getting your heart broken.B:Yeah,Minor, funk and heartbreak -- that is the Maroon 5 formula.And what catches my eyes is the moving story behind the music.I can't wait to listen to it,let's enjoy it! 插曲：Won't Go Home With You B:The second song is

【特别感谢热心听友 畅畅(张梦珂)kara 帮忙听写本篇文稿】HY: During working hours, you are checking your Wechat updates, suddenly, you realize your boss is giving outHongBaos or red envelopes on Wechat, should you grab it or not? If you do, you are busted!What’s going on here, guys?Michael: Well, ok, so it’s probably important to put into some sort of context, so if you not familiar with the Wechat messaging app,there is a featureon therecalled lucky money which allows you to send a certain usually quiet small amount of money anonymously otherwise to certain groups people or to anybody you like in youraddressbook and what one particular boss decided he would do just to check if everyone was observing the no cellphone policy that he’dinitiated, he decided to send one of these red envelopes, I think the amount of each one contains was less than 20yuan sort about 3 dollars it’s nothing at all really.HY: So greedy you!Michael: Well well, the point is that when you’re opening the envelope, I don’t think you can see how much is actually in it until you open it, so it could be, you know,HY:It adds to the thrill!Michael: Exactly, it could be a fairly substantialamount of money, and so he thought he would send red envelope to all of his employees to see, you know, who would open it and who would therefore obviously be deemed to have been using their cellphone during work hours and therefore be violating company policy. So the first three employees who opens their Hongbao, he actually fined them 500yuan, so it certainly wasn’t worth the 20yuan that was in the envelope in the first place.LY: Well, my viewpoint is quiet simple, what the boss had done is just disgusting.HY: Strong language!LY: This is not the first time this boss gave red envelope out in the Wechat group, but originally, he used to do this during work break or after work and to some extent, you know, this is customer experience or behavior this boss has alreadynurturedthe habit of grabbing the red envelope and all of sudden, you send out these red envelope people has natural instinct to grab instantly right? And also, how can he categorize people into different groups just for the three top performers of grabbing the envelope they are fined for 500kuai, but what about the remaining people, they also , you know ,grab the red envelope during the work time and you didn’t give them a penalty and this is just unfair .HY: Haha, it’s unfair.LY: It’s reasonable.HY: Ok,all right,well , yeah. I guess the boss is basically setting up a trap (L: Yeah,it’s a trap) and see who falls into itand asking money of his employees for this reason. This is a cheapskate, I think.Michael: I think it’s devious and entrapment and also I think it is also quite creative. I mean, it is important to consider here. Ok , he implemented this no cellphone rule, and we are talking about a petrol company here so there is obviously there is alegitimately safety aspect to not using your phone when you around , you know,petrol and flammable substance.HY: Because an explosion might happen because they are looking at theirWechat.LY: I don’t buy this excuse, because they are not standing on an oil tanks or pipes of petrol chemicals, they are sitting in their office with their pc in front of them.Michael: Well, regardless of this, he’s obviously implemented this no cellphone rule andI dare say if other employees got wind of this particular punishment then I dare say a lot of people would think twice about using their cellphone in the work time in the future, so I think there are some merits to it.HY: You think some merits to it and whileLuoyu call that boss disgusting, so no no for Luoyu.And guys,do you think checking your Wechat account and ,you know, social media updates, has that really become one of the major distractions that significantly impedes people’s productivity these days?Michael: I would say yes,It has, actually.HY: It’s really that bad?Michael: I would say so. I mean, in the UK where I’m from, you see a lot of companies implementing no social media rules in their work contacts, some things like them, in fact, some companies block out them entirely so they block out all these social networks like facebook, twitter, you simply just can’t accessthem from your work computer, so yeah, it’s become a big thing in the last few years. Personally, I think as long as you using it sort of sparingly or using it during your lunch break, it’s really does not do any harm, but I can see why employers might be in attempt to ,you know, to trying to root that sort of thing out.LY: Well, if you tend to use mobile’s app too often, it’s a major source of distraction and you couldn’t concentrate very well on your work. However, the reality here in china Is that, you know, Wechat is just prevalent and sometimes,it’s quiet convenient to establish a Wechat group where you can discuss and communicate with your co-workers.HY: Yeah, and you guys seem to say that it’s a pretty good idea to use it at work at least for the group chat, at least the whole team, In theory, everybody will get the same message. But however, as aforceduser of group Wechat as I usually stay in my cave but in this situation, because I work here and I am ordered to get out of the cave and get into that group, and I don’t find it all that useful and especially when you’recommunicating slightly more complicated ideas.Let’s say when we are trying toinitiate new ideas for a new project and it is a mess on that group’s chat log. And I don’t find that useful at all. Nobody really communicates their idea thoroughly and there are just too many of people leavingthis and thatmessages and it becomes confusing and who has the time to check all of those things.Michael: I do find it very annoying when my colleagues write in Chinese and I can’t understand it.I will say that.HY: Maybe some people are doing that on purpose~

L: Good evening, my dear audience. Welcome to The World Says. I'm Lynn.C: Hello everyone. I'm Carol.L: Today our topic is “ Makes me think.”C: Today, Lynn will share some little stories we select from the net, which makes you think. Just like the idiom 见微知著 in Chinese.L: Is it suitable for 见微知著 used in this way?C: Er… Whatever. Go on your fist story.L: OK. Today, my 8-year-old son hugged me and said,” You are the best mom in the whole entire world!” I smiled and sarcastically replied,” How do you know that? You haven't met every mom in the whole entire world.” My son squeezed me tighter and said,” Yes, I have.” You are my world.”C: So, what do you think?L: Everyone in that age thinks his or her mommy is the greatest person in the world. It isn't wired.C: But I wouldn't say to my mom like that. In another way, I couldn't say those words. L: Yeah, I was a naughty girl who could just shout to my mom,” Mom, I want that!”C: I think hug is my extremely way to explain my love.L: You see the boy in the story. This is the gap between he and us.C: Lynn, I decided. I will have a boy. And he will say every sweet word to his mom.L: Carol, you can't decide it. Come to the real world and listen to my next story. L: Today, I sat down with my tow daughters, ages 4 and 6, to explain to them that we have to move out of our 4 bedroom house and into a 2 bedroom apartment for awhile until I can find another job that pays well. My daughters looked at each other for a moment and then my youngest daughter turned to me and asked,” Are we all moving into the apartment together?” “Yes,” I replied. “Oh, so no big deal then,” she said.It's a little bit long. Can you translate it to our audience, Carol?C: No problem. 今天我坐下和4岁和6岁的两个女儿解释我们为啥要从一个4间房的大屋搬到只有2间房的小公寓，我们要一直住到我找到一份薪水不错的好工作为止。两个女儿对视了一会儿小女儿转过来问我：“我们是一起搬么？”我说是的，“喔，只要我们一起住就行了，那没啥”，她回答道。L: You see. Your girls can also be sweety.C: Don't you think that foreign children's EQ are below ours?L: It's none of the nationality's business, OK? It decides by the education of their parents! Is that what you really think after listening to the story?C: Definitely not. Come back to the story itself, the kids want the family, the parents want the big house. The things in kids' mind always are so easy. It's the point that adults forget. You know, they care the substance more.L: Yeah, but what does the kids care are the thing lost gradually. C: 我们的节目什么时候变的那么深沉？L: 我们一向标榜有文化有深度你忘了吗？C: The third story!L: Today, my dad turned 91. He barely has enough strength to speak. But every time my mom (she's 84) walks into the room to check on him, he says, “Hello beautiful.”C: 今天我爸就91岁了，他现在几乎连说话的力气都没有，但是每次我妈（84岁）进房看他的时候，他都会说：“你好啊美人儿。“L: Wow. C: I love this story. 这是在用生命演绎浪漫.L: Seems like, you are looking forward to a romantic love story, aren't you?C: Yes. Who ever not? The writer's dad used his only energy to flirt with his wife. It's enough. L: When you turned 91, I will say to you,” Hello beautiful” every day. Do you want that?C: Lynn, go on your story.L: Today is the 14th day in a row that my nursing home patient's grandson has come to visit her. Two weeks ago I told him that the only time I see his grandmother smile all week is when he visits her on Sunday mornings.C: 我们疗养院有个老人的孙子现在每天都来看望她，今天已经是第14天了。2周前我告诉她孙子，每周我唯一看到他奶奶面露微笑的时候就是每周日早上他来看望她的时候。L: It's a big problem nowadays.C: What is the problem?L: Leaving the olds home alone.C: It's also a contradictory. The young have the work to do. How could they have spare time to take care of the olds?L: The things are very easy, Carol. You shouldn't go their home to clean up or water the flower. You just give the olds a call. They will be happy like children when they heard your voice and your care.C: It's no matter what you have done for them. 只要你有心去关心老人。L: That's I really want to say.

H：Hello,everyone, welcome to what does the world say from VOE learning English, and here with me is Lily. Hi, lilyL:Hey, Hellen, are you on a diet these days?H:On a diet, why do you say that, don't forget I'm living to eat.L:But you do look thinner than last week.H:Never mind, I'm taking a part time job these days and on a busy schedule, really tired to death everyday.L:You lack of money at the beginning of a month?H:Well, it's a long story. You know that I went to Tianjin to spend my holiday, the Labor day, and there was something wrong with our tickets, worse more, it's out of date when we found the silly truth.L:I see, it means you bought a useless blank paper with much money once it out of date. Then how did you deal with it?H:We had to book the available tickets immediately, not too bad, we got it.L:There a silver lining that on a situation where it's even difficult to book it two month ahead of time while you got it only several hours before.H:Yeah, but we had to suffer from exhaustion and waited for the train until 3:00 a.m. It's a torment, can you understand we didn't dare to sleep with our baggage and money.L:Exactly I really feel for you in all these troubles.H:But that's not the end, you know disasters pile up on one another, after we reach in Shenyang station, I found my money lost.Maybe it was taken out when I was taking my phone out of my pocket. Grief without tears.L:I'm sorry to hear that, poor kids.H:Yeah, thanks to the coins I put in my purse before leaving, we could buy ice-cream console ourselves in that tough time.L:Live to eat! Didn't you tell this to your parents for some help? Don't make yourself a poor dog.H:I think I need to pay for my mistake this time. A fall into the pit, a gain in your wit. The money was used to pay for this prized lesson, which can always remind of this silly experience.L:Em……As for your special situation, I have a fast track which can bring you money quickly. Just need some little skill.Do you want to know.　H:Of course, come on.L:It's easy to a degree that you just need to work out a problem to get the treasure while there was nobody able to do it so far.H:Can you go straight and stop playing me along?　L:Follow you, isn't it? Do you have the encourage to work out?H:Absolutely, those who didn't work it out are not as clever as I am. Also, they are not as poor as I am.L:Okay, later I will read a poem for you, the poem consist of nine clues all you need. You can make a huge fortune overnight as long as you have the intelligence to break the code in the poem.Okay, I'll begin and our listener can listen to it and have a try, too.H:It seems that the huge fortune are waving at me, I can see their smile.L:Don't be silly. I'll begin.As i have gone alone in there,and with my treasures bold, I can keep my secret where, and hint of riches new and old.Begin it where warm waters halt, and take it in the canyon down, Not far, but too far to walk. Put in below the home of Brown. From there its no place for the meek, the end is ever drawing nigh; There' ll be no paddle up your creek, just take the chest and go in peace.So why is it that I must go and leave my trove for all to seek? The answers I already know, I've done it tired and now I'm weak.So hear me all and listen good, your effort will be worth the cold, If you are brave and in the wood. I give you title to the gold.H:So long a poem, how can I remember it? I was totally mystified.L:I will consider to tell you a second time after our program if you bribe me.H:Do you know anything about the author? Maybe I can know something from the author himself, such as his experience, his intention.L:The author and owner of this huge fortune is a 84 millionaire named Forrest Feam, who is a Vietnam vets before. And a mischance happened to him in 1988, he was eventually diagnosed as suffering from terminal cancer.H:But why didn't he devote to the charity instead of give them out by this way.L:Who knows, maybe its because of his special experience make him distinctive thoughts.H:So where he put them, I mean his fortune, surely I should have a probable direction.L:Rocky Mountains. Five years ago, Two million was buried there.consist of 200 ducats, hundreds of bullion, gemstone, jade even antiques.H:Sounds attractive! I have to bribe you later.L:Yeah,but do you really think you are able to reach it? During these years, thousands of people tried it without anyone succeeded. Also, though many e-mail sent to ask him about the clue, he kept his mouth shut.H:Maybe I'm the one, haha , maybe.L:Alright, maybe. He said it might be found tomorrow or never, It can't be predict who would be the lucky dog, the final winner. Oh, he published a new clue recently.H:What's that?L:The fortune concerns nothing with the building, so don't dig in the buildings.H:Okay, that's our today's program, I want to know the poem.L:Alright, thank you for listeningH:Bye

学英语环游世界，加微信“贵旅特”（guilvte) 更多惊喜！Can I carry this bag on?/Can I take this on board? /Can I hand-carry this? 我可以带这个登机吗？Ground staff: Yes, that would be fine. 可以，没问题。/ No. You need to check it in. 不行，你必须托运。carry-on 随身行李on board 登机check （在机场指托运）托运+in, 酒店指寄存行李对话：L: How many bags would you like to check in? 你有几个包包要托运呢？D: Um, I've got one bag, but can I carry this on board? 我有一个包包，但是我可以带这个登机吗？L: Yeah, that would be fine! 可以，没问题！

V: hello, dear audience, welcome to our school talk show, I'm Value.W: Hello, everyone, I'm your old friend Leonor 。V: Hi Leo, what kind of TV shows do you like to watch? L: I really love situation comedy. 也就是情景喜剧。Do you?V: Oh yeah, me too. And it's great that there are so many shows now to choose from!L: 哈哈，I know! There are so many TV programs that I can't keep them straight!V: That's right. Leo, you know what my favorite show is? It's RM.L: RM? What's that?V: Ok, Let me explain. RM stands for Running Man. It's a reality show from South Korea. Did you ever hear about it？ L: Oh, yeah, 因为中国《奔跑吧兄弟》节目的上映，我了解了一点Running Man. V: Well, you know, Leo. Running Man is very successful. It has been on 5 seasons, and has made more than 230 episodes. L：Wow, Value, you remember that so clearly! I really don't know it has been on 5 seasons, more than 230 episodes?! It's that popular.V: 是啊, 而且我几乎每集都看过，并且一直在追。L: Why do you like this program so much? Do you have any special reasons?V: yeah, It brings us so much fun. The 7 hostsPlay many games in the show. All of them will try their best to win. And during those games, they maybe betray each other and cheat the enemies. That plot entertains us a lot.L: Sounds interesting! So, what kind of games will they play there? V: 比如有一期，他们要玩这样一个游戏，两人一组，一个人坐在飞椅上，另一个人和对方猜拳，如果输了的话，飞椅上的人就会被“嘭”的一声扔进水里，每当这时候，RM成员们就会搞怪的唱到“干爽啊，干爽，今天要干爽的回家。”L: wow, How funny they are! V：You bet! I really like watching reality TV. 你刚才说喜欢看情景喜剧，我看过《六人行》，那算吗？L: I used to watch Friends religiously! I cried when it went off the air in 2004.V: Oh yeah.L: Friends was a really popular sitcom. They are fashionable for a time.V: But wasn't it pretty unrealistic? None of the characters worked very often, but they had a huge apartment in New York city. L: Who cares? Sitcom追求的是搞笑、好玩儿，谁会在乎情节的真实性啊！ V: Okay, Why did you like Friends so much? Did you think it was really funny?L: Yeah, it was really funny, but it also had a great storyline. All the different episodes were part of the same plot.V: That's true. I also thought that the dialogue was really good too. 每集的内容相互联系，使整个节目有一个完整的故事埂概。L: Oh yeah, the dialogue was great. I thought everything the characters said to one another was really funny.V: The other thing that made Friends so good was the cast. All the actors were perfect for their characters.L: 是啊，我也觉得演员阵容选得很好。The actor who played Ross did a great job. He was hilarious!V: Really? I didn't think he was the funniest. My favorite character was Joey.L：Joey was pretty good, but not as funny as Ross. And the relationship between Ross and Rachel was really romantic too.V： It was kind of romantic, but it got old. 因为这些情节老演老演，就变得没劲了。L: What about you, Value? Do you like sitcoms?V: Not anymore. Ever since the series finale of Friends, I haven't found any other sitcoms that I really like.L：是吗？那你现在都看什么电视节目啊？Do you only focus on your running man? V: Of course not. Lately, I've gotten really into more serious shows, like crime dramas.L: So, you like crime dramas, huh? Why are you so into them?V: I really want to become a lawyer one day,所以看一些这样的节目，我可以从中学到关于司法系统的一些知识。L: Oh come on.... That show is so boring. Each show has the same plot. The police arrest someone for a crime, and then he goes to trial.V: No way! It's totally interesting the way it shows how the American justice system works. If it were so boring, why would there be so many spinoffs?L: Well that's one thing we can agree on. There are definitely a lot of cookie-cutter spinoffs.就是千篇一律的东西。 Well what are some of the other crime dramas you like?V: Do you know the show Crime Scene Investigation? We usually call it CSI. It's about a team of police investigators solving crimes in Las Vegas.L: Sure, I've heard of CSI. What other shows do you like?V: 还有好多犯罪类型的电视剧啊。还有CSI New York 和 CSI Miami.L: value ... can't you see that those are all the same show! They just happen in different cities!V: No way! They're all totally different. And besides, they all get really good ratings and rave reviews.L: You know, all this talk reminds me that CSI Miami is coming on pretty soon. Do you mind if I cut our date short so I can get to dorm to watch it?Jane: ha-ha, okay. Well I hope you enjoy it.V: OK，that's all for today's show, see you next time.L: bye bye~

school talk show 2014.11.5 C: Hello my audience, welcome to the school talk show. I'm Carol, and here is my new partner Lynn. L: Good evening everyone. I'm Lynn. C: You know Lynn, it's really a fresh felling to cooperate with you. L: Relax. I am looking forward to see the privity we will make. C: Well, I do find a common on something. L: What? C: You see the two telephones on the table have the same color and size! L: OK, Carol. 我不否认我们用同一款iphone是我们通向默契的第一步.But do you know how many people use the same telephone as we do? C: Although I can't count the number of people accurately. I know the great influence that Apple make. Apple has topped a global ranking of the world's 50 most innovative companies for 9 consecutive years, Business Insider reported. L: 连续九年夺冠？！ C: Yeah. 美国波士顿顾问集团访问了全球1500名年营收逾1亿美元大企业的创新技术主管，评比他们心目中的优良企业，得出该排名. L: How about the other companies? C: The list is led by technology groups, with Google, Samsung, Microsoft and IBM in spots 2 to 5, respectively. They are followed by Amazon, Tesla Motors, Toyota, Facebook and Sony in positions 6 to 10.值得一提的, the Chinese phone maker Xiaomi makes it all the way to 35th. Frankly, many students use Xiaomi in our scool. L: Yeah, though Samsung and Apple dominate the smartphone business globally, the technology superpowers are being squeezed in China by aggressive local manufacturers. Statistics show that over 100m smartphones were sold in the 2nd quarter in China, accounting for over 1/3 of global sales and making China the world's largest market. C: 所以中国手机真的要挺进世界了嘛！？ L: Maybe. Now Chinese firms are increasingly eyeing lucrative foreign markets. C: Xiaomi's top-notch performance and low price 的确能赢得年轻人的青睐。 L: As for students, the low price is the most attractive point. You know thereis a popular Chinese Internet term that means underprivileged losers ,who call themselves 屌丝. C: Yep. L: Xiaomi 等一系列的国产手机的问世简直是他们的福音。 C: 说起这个，recently a report of the life of the underprivileged losers was announced. L: My god , '屌丝'生存报告都出炉了 C: According to a new report, the average monthly wage of a diao is RMB2917.7. The report on the life of diaosi, the first of its kind in China, was published by Peking University's Center for Market and Media Studies Wednesday. The paper also reports that 21.7% of diaosi work overtime, daily. L: Stop, I just wanna cry. C: Come on. You see, 72.3% of diaosi feel they are living an unhappy life, and 37.8% believe they suffer from psychological problems and haven't received proper counseling. L: How do they get rid of the pressure? C: Most of them turn to sleeping, talking about their troubles, and drinking to relieve stress. L: In my mind, drinking is always the way to solve the question of love. C: Well. As for 屌丝, Love is their another big trouble. L: Don't worry about. If I can't find my charming, I would give myself a solo wedding. C: Seriously? L: Of course. Kyoto-based company Cerca Travel has set up a "Solo Wedding" for women unwilling to get married, foreign media reported.Women can have the full wedding day experience without actually having to get hitched. C: 单身婚礼, sounds embarrassing. L: It can't be! 据悉，该服务提供2天的体验，顾客在酒店过夜，由专业人士为她们挑选婚纱，设计花束、发型和妆容以及拍婚纱照. Each of these services is handled by a professional as if it were a real wedding ceremony. C: I don't think you could have the day when you wear the wedding clothes alone. And you could never be one of the underprivileged losers L: You do? C: After all , you are the one who use Iphone! ————分割线———— L: This is all for today's show. C: Thank you for listening. L&C: Bye~

关注我的公众微信账号：贵旅特（guilvte) I'd love to sit down and catch up. 我想要坐下来好好叙叙旧D: Fancy meeting you here. What brings you to this part of town? 见到你真是惊喜。你怎么回来这附近？L: Yeah, it's been a while since I last saw you. I'm here to pick up some groceries. 是啊，好久不见了。我来这里买点杂货。D: Do you want to grab something to eat together? I'd love to sit down and catch up. 你想一起吃点东西吗？我想坐下来好好叙叙旧。L: I'd love to but I'm meeting a friend for dinner later. Maybe next time? Here's my number! Call me? 我很想但是我待会儿要和朋友见面。下次吧？这是我的号码？打给我吧？D: I certainly will. 我一定会。 网友提问，为什么我听了很多英语，和外国人交流还是很不流畅呢？