Podcasts about Lau

Cette semaine, Pierre-Édouard Deldique reçoit Aurélie Julia, la directrice de La Revue des Deux Mondes, qui dans son dernier numéro en date (mai-juin) nous propose une réflexion sur les « Mécaniques de la haine ». À l'heure où la violence verbale, les antagonismes identitaires, l'intolérance dominent les débats sur les réseaux dits sociaux notamment, la publication propose une exploration à la fois philosophique, politique, historique de la haine. Dans son éditorial, et au cours de ce numéro d'Idées, Aurélie Julia fait un diagnostic sans détour : la haine est partout, donnant ainsi raison à Pascal qui disait que « tous les hommes se haïssent naturellement l'un l'autre ». Dans un monde saturé d'incertitudes, la haine offre une identité, une posture, parfois même une appartenance. La directrice de la revue n'est pas du genre à baisser les bras mais elle est réaliste aussi : « il faut beaucoup de lucidité et de courage pour bannir, en son for intérieur, cette habitude délétère d'affirmer le soi par la haine » écrit-elle. Au fil des pages, les articles de ce numéro abordent la haine sous plusieurs aspects. Catherine Van Offelen analyse Internet comme une « fabrique de la haine connectée ». Selon elle, l'utopie initiale d'un espace d'émancipation a laissé place à un environnement où l'anonymat, l'immédiateté et le mimétisme favorisent la radicalisation des affects. Le numérique n'invente pas la haine : il la déchaîne, la rend virale, la désinhibe. Dans un article intitulé : « Une pulsion contemporaine ? » Astrid du Lau d'Allemans, psychanalyste, interroge la dimension anthropologique de la haine. Elle montre comment la peur, l'insécurité et l'humiliation nourrissent une pulsion ancienne. Jean‑Dominique Merchet décrit, lui, la manière dont les États mobilisent la haine pour souder les identités, désigner des ennemis et légitimer la violence. La haine devient un outil stratégique, un levier de mobilisation collective. Agrégée de le lettres, Delphine Jouenne montre comment la dégradation du langage — insultes, simplifications, slogans — prépare le terrain à la violence politique. Le langage n'est pas seulement un symptôme : il est un vecteur de haine. On ne peut que la remercier, Aurélie Julia nous offre un florilège de citations de la philosophe Hannah Arendt. Comme celle-ci : « C'est dans le vide de la pensée que s'inscrit le mal ». La haine prospère lorsque la pensée se retire. Jacques de Saint Victor analyse la manière dont les accusations de fascisme — parfois instrumentalisées — saturent le débat public. Dans un article troublant, Philippe Delaroche, quant à lui, rappelle que « le nazisme a été tendance », soulignant combien la fascination collective peut précéder la catastrophe. On lira également la contribution très actuelle, hélas, de David Reinharc, intitulée « La cible juive » consacrée à la résurgence de l'antisémitisme.   Programmation musicale :  Y'a d'la haine - Rita Mitsouko LangaJ RaLaviré - Jowee Omicil Direction Technopole - Baby Boom.

Cette semaine, Pierre-Édouard Deldique reçoit Aurélie Julia, la directrice de La Revue des Deux Mondes, qui dans son dernier numéro en date (mai-juin) nous propose une réflexion sur les « Mécaniques de la haine ». À l'heure où la violence verbale, les antagonismes identitaires, l'intolérance dominent les débats sur les réseaux dits sociaux notamment, la publication propose une exploration à la fois philosophique, politique, historique de la haine. Dans son éditorial, et au cours de ce numéro d'Idées, Aurélie Julia fait un diagnostic sans détour : la haine est partout, donnant ainsi raison à Pascal qui disait que « tous les hommes se haïssent naturellement l'un l'autre ». Dans un monde saturé d'incertitudes, la haine offre une identité, une posture, parfois même une appartenance. La directrice de la revue n'est pas du genre à baisser les bras mais elle est réaliste aussi : « il faut beaucoup de lucidité et de courage pour bannir, en son for intérieur, cette habitude délétère d'affirmer le soi par la haine » écrit-elle. Au fil des pages, les articles de ce numéro abordent la haine sous plusieurs aspects. Catherine Van Offelen analyse Internet comme une « fabrique de la haine connectée ». Selon elle, l'utopie initiale d'un espace d'émancipation a laissé place à un environnement où l'anonymat, l'immédiateté et le mimétisme favorisent la radicalisation des affects. Le numérique n'invente pas la haine : il la déchaîne, la rend virale, la désinhibe. Dans un article intitulé : « Une pulsion contemporaine ? » Astrid du Lau d'Allemans, psychanalyste, interroge la dimension anthropologique de la haine. Elle montre comment la peur, l'insécurité et l'humiliation nourrissent une pulsion ancienne. Jean‑Dominique Merchet décrit, lui, la manière dont les États mobilisent la haine pour souder les identités, désigner des ennemis et légitimer la violence. La haine devient un outil stratégique, un levier de mobilisation collective. Agrégée de le lettres, Delphine Jouenne montre comment la dégradation du langage — insultes, simplifications, slogans — prépare le terrain à la violence politique. Le langage n'est pas seulement un symptôme : il est un vecteur de haine. On ne peut que la remercier, Aurélie Julia nous offre un florilège de citations de la philosophe Hannah Arendt. Comme celle-ci : « C'est dans le vide de la pensée que s'inscrit le mal ». La haine prospère lorsque la pensée se retire. Jacques de Saint Victor analyse la manière dont les accusations de fascisme — parfois instrumentalisées — saturent le débat public. Dans un article troublant, Philippe Delaroche, quant à lui, rappelle que « le nazisme a été tendance », soulignant combien la fascination collective peut précéder la catastrophe. On lira également la contribution très actuelle, hélas, de David Reinharc, intitulée « La cible juive » consacrée à la résurgence de l'antisémitisme.   Programmation musicale :  Y'a d'la haine - Rita Mitsouko LangaJ RaLaviré - Jowee Omicil Direction Technopole - Baby Boom.

Germany is rearming as the Russian threat looms over Europe and much of the continent's security rests on its success. Backed by an emergency ‘Zeitenwende' fund and an ever-expanding defence budget, Germany is undertaking a profound military transformation with the aim of becoming Europe's strongest conventional army. What does this mean more broadly? And where do they need to focus? Jörg Lau, foreign policy correspondent at Die Zeit, joins Gavin Esler to discuss how the budget will be spent and the challenges facing Germany – from domestic politics to European unity and the uncertainty over relations with Trump's US administration. You can buy Jörg Lau's new book Der Westen Sind Jetzt Wir (in German) here. • Support us on Patreon to keep This Is Not A Drill producing thought-provoking podcasts like this. Written and presented by Gavin Esler. Produced by Robin Leeburn. Original theme music by Paul Hartnoll – https://www.orbitalofficial.com. Executive Producer Martin Bojtos. Managing Editor Jacob Jarvis. Group Editor Andrew Harrison. This Is Not A Drill is a Podmasters production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

There is nothing we love more than a good listener question episode. It is the absolute best way for my Business Superpowers co-host, Lau Lapides, and me to connect directly with you bosses and dig into what you are actually experiencing in your daily business. Recently, we combed through a handful of listener questions, and one from a listener named Ben immediately stopped us in our tracks: "What are voice actors wasting the most time on right now?" Oh boy. Get comfortable, because Lau and I did not hold back. From the black hole of digital over-exposure to the exact mechanics of a genuine read, we broke down what you need to stop doing—and what you need to start focusing on—to take your business to the next level. Episode Chapter Summaries Chapter 1: The Trap of Self-Sabotage and Analysis Paralysis (00:01 – 04:10) Anne kicks off the listener Q&A with Ben's question about where voice talent waste the most time. Lau immediately calls out the silent killer of VO careers: intentional or unintentional self-sabotage. She describes how talent waste massive amounts of mental energy second-guessing auditions, wondering why they didn't get a booking, and obsessing over whether a client "liked" them. Anne shares how surviving cancer completely transformed her perspective in the booth, freeing her from minor anxieties and giving her permission to just have fun, audition, forget it, and move on. Chapter 2: Fantasizing vs. Actively Doing the Hard Work (04:11 – 07:53) Anne and Lau shift the spotlight to a different kind of time-wasting: thinking about the work instead of actually doing the work. They discuss talent who get trapped "fantasizing" about the perfect gig or complaining that they "just need to market more" without sending a single email. Lau warns that a wild creative imagination is a gift for acting, but a massive liability when it comes to the logical, disciplined day-to-day realities of running a small business, tracking invoices, and practicing script homework. Chapter 3: Digital Exposure, Brain Overload, and the Power of the "Share" (07:54 – 13:42) Lau introduces the danger of digital over-exposure and "dopamine addiction" online. Anne admits to the ongoing battle of keeping too many browser tabs open (shoutout to all the fashion buffs out there!), and Lau explains how overdosing on digital stimuli—even high-intensity entertainment like horror movies or daytime dramas—can alter your brain waves and derail your focus. To combat isolation and comparisonitis, they recommend building a tight-knit inner circle of colleagues to break your mental bubbles and celebrate wins constructively. Chapter 4: The Myth of the "Easy" Read and the Olympian Metaphor (13:43 – 16:44) The hosts tackle the frustrating reality that both new talent and bad clients minimize the value of voice acting because "it looks easy." Anne uses a great metaphor involving the Southern California lottery for Olympic tickets: elite gymnasts and swimmers make their movements look completely effortless, yet no one assumes they can jump onto a balance beam and replicate it. Professional voice acting requires the exact same unseen, high-level athletic discipline. Chapter 5: Gravitas, Empathy, and Decoupling the "Low Voice" (16:45 – 19:14) Anne raises another major listener question: What does authenticity actually sound like, and how does it relate to the industry's current obsession with "authority"? Lau notes that breakdown specs are constantly demanding "gravitas" and "assertiveness," especially for women. However, they debunk the myth that gravitas requires an artificially low pitch. True authority comes from a deep frame of reference and understanding your target market's specific culture—whether you are a 48-year-old corporate narrator or an 8-year-old expert talking about Pokémon. Chapter 6: The "physicating" Framework and Keeping Auditions Raw (19:15 – End) Anne breaks down the exact training method she teaches in her precision narration classes: acting is never a primary action; it is always an empathetic reaction to a problem. She shares her famous "Jersey Girl" driving example to outline her step-by-step performance framework: Breathe, Focus, Physicalize (or "Physicate"), and Speak. Lau and Anne close the show by urging talent to stop editing out the raw, human elements of their commercial and animation auditions, opting for a bit of authentic grit over artificial perfection. Top 10 Boss Takeaways Ditch the audition autopsy: Wondering why you didn't book a gig is a form of procrastination. Fire off the audition, forget it completely, and redirect that energy into your next project. Analysis leads to paralysis: Second-guessing the client's internal thoughts stops your creative momentum. Give yourself permission to fail forward. Discipline your imagination: Your creative brain is a beautiful tool for script interpretation, but keep it out of your business operations. Run your invoices, tech updates, and marketing with cold, hard logic. Guard your digital environment: Overdosing on social media scrolling and endless digital tabs alters your focus. Protect your mental health by setting strict boundaries on your screen time. Break the isolation bubble: When you find yourself trapped in a negative mental rerun, pick up the phone or hop on a call with a trusted business peer who can ground you back in reality. Immunity over insecurity: Stop letting other people's online wins trigger your insecurities. Use your community's success stories as a roadmap to learn what is currently working in the marketplace. Effortless execution takes years: If your delivery sounds like "just reading," you are doing it right. Treat the illusion of simplicity as a professional compliment, but never let a client use it to devalue your rates. Gravitas isn't a vocal register: True authority and credibility have absolutely nothing to do with how low your voice can go. True gravitas is rooted in confidence, presence, and direct connection. Master the art of "Physicating": Before you speak a single word of a script, run through Anne's four pillars: Breathe naturally, Focus on the unwritten moment before, Physicalize the reaction with your body, and then Speak. Keep it a little dirty: Stop turning in overly polished, perfectly scrubbed, sterile audio files for commercial and animation auditions. Leave the natural breaths and human imperfections in the track—casting directors want a real human being, not an algorithm.

I første episode af Robuste Grise dykker Anders Nøhr Lau og Julie Lynegaard ned i det fundament, som al god svineproduktion bygger på: tarmen. Sammen med Torben Hinrichsen fra dsm-firmenich og dyrlæge Klaus Hedermann fra Porcus ser de nærmere på, hvordan tarmfunktion, immunforsvar og tilvækst hænger sammen – og hvorfor mange udfordringer i stalden starter længe før grisen bliver synligt syg. Der bliver talt fravænning, ensartede grise, forebyggelse frem for symptombehandling og konkrete værktøjer til at styrke grisens modstandsdygtighed. Kort sagt: Hvordan bygger man robuste grise med en stærk start? I Robuste Grise dykker vi ned i de faktorer, der er med til at skabe sunde, modstandsdygtige og produktive grise. Sammen med eksperter, dyrlæger og folk fra praksis ser vi nærmere på blandt andet tarmsundhed, immunforsvar, mykotoksiner og ernæring og undersøger, hvordan man kan styrke grisens robusthed gennem hele produktionen. Serien kombinerer faglig viden med erfaringer fra stalden og giver konkrete perspektiver på de udfordringer og muligheder, der møder moderne svineproducenter. Robuste Grise produceres af Landbrugspodcasten i samarbejde med dsm-firmenich Animal Nutrition & Health.

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VOV1 - Mùa mưa Tây Nguyên đã bắt đầu, để đẩy nhanh tiến độ xây trường trường nội trú liên cấp ở biên giới ở tỉnh Gia Lai, 500 cán bộ, chiến sĩ của các lực lượng vũ trang đã ra quân hỗ trợ các đơn vị thi công, tháo gỡ khó khăn, phấn đấu đưa công trình vào sử dụng trước khi năm học 2026-2027.Trên khuôn viên rộng 5 ha của dự án xây dựng Trường Phổ thông nội trú liên cấp Tiểu học và THCS Ia Púch, tỉnh Gia Lai, các chiến sĩ cùng đội ngũ kỹ sư, công nhân được chia thành nhiều tổ, nhóm, tỏa đi khắp công trường để hỗ trợ thi công các hạng mục như khối phòng học, thư viện, nhà đa năng, khu ký túc xá học sinh...Những đôi tay vốn quen với cầm súng tuần tra, bảo vệ chủ quyền biên giới, nay miệt mài vận chuyển gạch, trộn hồ, trát tường, tăng tốc thi công ngôi trường mới cho con em khu vực biên giới. Lau những giọt mồ hôi trên gương mặt sạm nắng, Trung úy Cao Kiến Giang, chiến sĩ Đồn Biên phòng Cửa khẩu Quốc tế Lệ Thanh chia sẻ:"Bắt tay vào việc, đôi lúc tôi còn bỡ ngỡ nhưng được sự chỉ dẫn của các cô các chú ở công trường, thì tôi đã khắc phục được khó khăn và hoàn thành tốt nhiệm vụ được giao. Hàng ngày đi làm về mệt mỏi, tôi cũng được sự quan tâm giúp đỡ của chỉ huy về chế độ ăn uống, nghỉ ngơi đảm bảo nên bản thân tôi và các đồng chí, đồng đội vẫn đảm bảo duy trì hàng ngày được”.Thời tiết ở biên giới Ia Puch hiện nay rất khắc nghiệt vì nắng nóng xen kẽ những trận mưa đầu mùa.

Cette semaine dans Swing on prend des nouvelles d'Alex Levy. Le quintuple vainqueur sur le Tour européen sort d'un nouveau top 20 en Autriche et aborde le reste de la saison avec le plein de confiance.Nous avons pu joindre Loïs Lau qui dispute cette semaine son premier US Open au Riviera Country Club, elle nous raconte sa préparation.Enfin, coup de projecteur sur le Arkea Montauban Ladies Open qui débute ce vendredi. Bruno Rebeuh, le promoteur du tournoi, est notre invité en marge du tournoi pour nous plonger au cœur de l'événement.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Lau nos trae el segundo episodio de la física gatuna. ¿Son los gatos sólidos, líquidos o gaseosos? Veamos qué tiene la reología para decir sobre esto

Episode Chapter Summaries   Chapter 1: The "Overacting" Trap (00:01 – 02:23)   The episode kicks off with a surprise coaching moment. Lau calls out Anne's high-energy podcast introduction for being too "schmaltzy" and performative. They dissect the difference between an overacted line and a grounded delivery, introducing the idea of "throwing the line away" to find the real truth in the copy.   Chapter 2: The Booth Barrier & Generational Gaps (02:24 – 06:31) Anne and Lau discuss how difficult it is to connect with a human being while staring at unmemorized words inside an isolated booth. They explore a fascinating generational shift: younger talent who are used to digital-first communication (texting, Snapchat) often struggle with the traditional advice to "just talk to someone." Lau shares an anecdote about her team resisting turning on cameras during Zoom meetings, highlighting a modern hesitation with being "fully present" visually.   Chapter 3: The Transparent Script & The "Inside Voice" (06:32 – 10:53) How do you visualize a listener? Anne suggests imagining that the script itself is completely transparent and that your listener is standing right behind it. Lau pitches a counter-intuitive technique: if you can't imagine talking to an outside party, don't. Instead, treat the script as an internal monologue—a voyeuristic, "indoor voice" diary entry where the audience simply overhears your private thoughts.   Chapter 4: The Narration Debate & Physicality (10:54 – 14:43)   Anne and Lau good-naturedly butt heads over long-format narration. While Anne insists that narration requires keeping the listener's needs in mind to shape the melody of the voice, Lau argues that true empathy allows the actor to experience the story's physiology internally. They find common ground in the concept of physicality, agreeing that natural, unforced body movements (like a head tilt or an eyebrow raise) naturally build authentic rhythm.   Chapter 5: Lowering the Stakes & The "Duologue" (14:44 – 21:16) The hosts challenge the classic acting note to "raise the stakes." Artificial high stakes often equal artificial stress. They suggest grounding your performance by lowering the stakes and speaking to the audience as intelligent adults. They also officially ban the word "monologue" in favor of "duologue"—a term that ensures your performance always encompasses another entity and never becomes self-centered.   Chapter 6: The Artemis Connection (21:17 – End) Anne notes that even when addressing a large boardroom or audience, you must always look at and speak to one person at a time to maintain empathy. They close the episode with a beautiful metaphor inspired by the Artemis space mission: even when the spacecraft lost radio communication behind the moon, it never lost connection to the mission. They remind talent to stay universally connected to the core truth of their copy.   Top 10 Boss Takeaways Throw it away: Audiences want to hear you thinking, not performing. Treat key words with a mental shrug rather than over-emphasizing them. Beware the booth barrier: Connection must start before you open your mouth. Assess the mood and the scene before reading. The script is transparent: If you struggle to visualize a listener, imagine looking directly through the words into the eyes of a real person. Embrace the "indoor voice": Many modern commercial scripts are voyeuristic. Let the audience sneak up on your thoughts rather than you shouting out to them. Shift from monologue to duologue: Never look at a script as a solo speech. It is always a dialogue with another entity, even if that entity is your own internal self. Empathy is everything: No matter your technique, you must deeply understand and feel the experience of the copy to prevent a robotic delivery. Let your body react naturally: Don't force artificial gestures, but stay loose enough to let your natural physicality dictate the rhythm and melody of your voice. Lower the stakes: Artificial high energy feels fake. Ground your enthusiasm to connect with your listener like an intelligent peer. Talk to one, not the air: When reading corporate or presentation copy, do not speak to a vague crowd. Compartmentalize the audience and speak directly to one person. Never drop the connection: Most talent only connect on the first two sentences before reverting to "reading mode." Maintain the relationship through the very last word.  

Heart disease is the leading cause of death in women, yet awareness is still surprisingly low. In this episode of The Positive Pause®, host Claire Gill sits down with two of NMF's Medical Advisory Committee (MAC) members, Dr. Emily Lau, a cardiologist specializing in women's cardiovascular health, and Michelle Routhenstein, a preventive cardiology dietitian, to unpack why midlife is a critical window for prevention and what women can do to take control of their heart health.They explore how menopause changes cardiovascular risk, why heart disease often goes unnoticed, and how small, sustainable lifestyle changes can have a major impact.Emily Lau, MD, MPH a women's cardiovascular health specialist and investigator at Mass General Brigham. Dr. Lau co-directs the Women's Heart Health Program. Dr. Lau's laboratory focuses on understanding how biologic sex differences and female-specific cardiovascular risk factors contribute to the pathogenesis of cardiovascular disease uniquely in women. Michelle Routhenstein, MS, RD, CDCES, CDN, is the owner and president of Entirely Nourished LLC, a specialized private practice in nutrition counseling and consulting focused on the prevention and management of heart disease. Employing a science-based, holistic approach, she is dedicated to enhancing women's heart health by addressing cardiometabolic risk factors and mitigating the likelihood of cardiovascular issues as individuals age.Key Concepts CoveredMidlife is a turning point for heart healthCardiovascular risk accelerates during and after menopause, making this stage of life a critical opportunity for prevention.Heart disease is often silent and under-recognizedMany women don't realize there's an issue because symptoms aren't obvious. At the same time, awareness has actually declined in recent years, which makes education even more important.Health goes beyond weight and appearanceYou can look healthy and still have underlying cardiovascular risk. That's why personalized testing and understanding your numbers matters.Sustainable habits matter more than extreme changesInstead of restrictive diets or drastic routines, small consistent improvements in nutrition, movement, sleep, and stress management lead to better long-term outcomes.Prevention is the real opportunityMidlife isn't just a time of change; it's a chance to take control. With the right approach, most cardiovascular risk factors can be improved or prevented.This conversation makes one thing clear: heart health isn't something women can afford to ignore, especially at midlife. The good news is that most risk factors are preventable and manageable with the right information and consistent action. By focusing on sustainable habits and understanding your personal risk, you can take control of your cardiovascular health and build a stronger future.Connect with Dr. Lau:Website: Mass General Brigham Women's Heart HealthLinkedIn: https://www.linkedin.com/in/emily-lau-11601152/ Instagram: https://www.instagram.com/‌massgeneral Connect with Michelle:Website: https://www.entirelynourished.comLinkedIn: https://linkedin.com/in/michellerouthenstein/Instagram: https://www.instagram.com/heart.Health.Nutritionist/

Kuo ypatingas Klaipėdos radiofonas, savo darbą pradėjęs 1936-aisiais?MO muziejuje atidaryta melanie bonajo instaliacija „Progresas / Regresas“ nagrinėja, kaip technologijų inovacijos veikia žmonių tarpusavio santykius ir visuomenės požiūrį į vyresnius žmones.Lietuvos audiosensorinė biblioteka kviečia susipažinti su Lietuvos didmiesčiuose pradėtais vystyti išskirtiniais kvartalais, kurių šerdimi buvo Lietuvos aklųjų draugijos gamybiniai-mokymo kombinatai.Kaip radijas tarpukariu ir Antrojo pasaulinio karo metais prisidėjo prie visuomeninės atminties palaikymo, pilietiškumo, patriotizmo ugdymo?LRT KLASIKA pristato Lietuvos kompozitorių sąjungos paskelbto Geriausių Lietuvos kompozitorių 2025 metų kūrinių penkioliktuką. Šiandien susipažįstame su Žibuoklės Martinaitytės kūriniu „Unda unda Inundare“ violončelei ir fortepijonui.Savaitgalį prasidėjo 62-asis „Poezijos pavasaris“. Šių metų festivalio laureate tapo poetė Giedrė Kazlauskaitė.Šį mėnesį sukanka 40 metų, kai buvo pristatytas grupės „Fojė“ kūrinys „Laužo šviesa“, o visuomenei šiandien Andrius Mamontovas pristato restauruotą dainą ir jos vaizdo klipą.Domanto Razausko muzikinės naujienos.Ved. Marius Eidukonis

Ngày 27-4: Thánh Lau-ren-xô Nguyễn Văn Hưởng, Linh mục (+1856), Tử đạo by TGP Hà Nội

OPEN HEAVENSMATALA LE LAGI MO LE ASO LUA 28 APERILA 2026(tusia e Pastor EA Adeboye) Manatu Autu: Pe a iai o Ia i le va'a 1 (When He is in the boat 1)Tauloto Tusi Paia: Esoto 33:15 “Ona tali atu lea o ia ‘iā te ia, “Pe ‘āfai tā te lē afio atu ma oe, ‘aua le ‘aveina a‘e i matou nai le mea nei.”Faitauga - Tusi Paia: Mareko 4:35-41I tausaga e tele ua mavae, na ou malaga i seisi itu o Nigeria e fai ai se matou polokalame faapitoa. I le taimi lea, e pau le auala e oo ai i lea nofoaga, o le sami. I ni nai aso ae lei faia la matou polokalame, na matou faalogo na goto ni vaa na o ai tagata ma e toatele na maimau ai o latou ola. Peitai, e ui i nei tala, ou te lei maluelue ai, auā na tumau la'u faaiuga e fai i le nofoaga lea la matou polokalame. Na ou taloina se fonotaga mo le aufaigaluega uma i la matou ofisa tutotonu ma saili po'o ai o le a matou malaga. E iai seisi o le aufaigaluega na sii lona lima ma fesili mai, ‘Lau susuga, faamolemole pe mafai ona ou alu i le vaa e te iai?' Ua ou fai iai ua lelei. Ona ia tali mai lea, ‘ua lelei tele lena tonu'. Na ou fesili iai pe aisea ua faia ai lana fesili lea, ae tali mai o soo se vaa ou te alu ai e lē goto. Sa matua iai lona faatuatua i se tagata ola e pei o a'u, aua o loo ia iloa, o loo iai le Atua ma a'u. I le faitauga mai le Tusi Paia o le asō, na malaga le au soo ma Iesu i le va'a. Ua mavae sina taimi ona oo mai le o se matagi malosi, ae na faateia i latou aua sa matua gase le moe a Iesu. Ona o le fefefe tele, na latou fafagu ia te ia, ona ia vavao lea o le matagi. Ina ua maea, ona taunuu lea o le malaga ma le saogalemu. O le tautinoga lenei o le tulaga moni, o se matua faamanuiaga le iai o Iesu i le va'a o lou ola. Le au pele e, afai o oe o se atalii poo se afafine o le Atua, o loo iai Iesu i le vaa o lou ola ao e malaga atu i le  vai o le olaga nei. Ou te iloa lelei, auā na fetalai Iesu i le Mataio 28:20, e faatasi o ia ma oe i taimi uma. O le mafuaaga lea i le ogatotonu o luitau o le olaga, e tatau ona e faatuatua i Lē o loo iai i le vaa o lou ola aua o loo ia te ia le mana e te manumalo ai. A iai le Atua i le vaa o lou ola, e leai se auupega e faasagatau ia te oe e manuia. A ē faataga o Ia i ou laasaga uma, e te malolo ma le mautinoa, o au taumafaiga uma e i'u i le manuia. Afai e te lei tuuina atu lou ola ia Keriso, lafoai ma le atoatoa ia te ia i le asō ma talia o ia e pule i lou olaga. A e faia, e le gata o le a ia taitai i ou ala uma ae o le a ia savali ma oe i ou laasaga uma, a'o faasolo le malaga o lou olaga. A iai Iesu i lou va'a, e te manumalo i so'o se matagi, i le suafa o Iesu, Amene.

Cette semaine, avec ma co-host invitée Lau to the Rey, on reçoit Rémi Desgagné. On parle du love bombing et de comment le reconnaître en dating. On aborde le manque de représentation dans les galas québécois. On se demande ce qui manque à Occupation Double pour devenir un meilleur show. On discute des gars qui n'atteignent pas le bare minimum. Lau confronte Jud sur ses haters tendencies, et Rémi partage son parcours de sobriété. Achetez le jeu 'Questions Bazar' dès maintenant: https://www.damouretdesexe.com/boutique/p/questions-bazar-le-jeu Rejoignez notre Patreon: https://www.patreon.com/damouretdesexe Vous avez des courriers du coeur, des commentaires et des suggestions? Envoyez nous un courriel au damouretdesexe.com Suivez nous sur Instagram: https://www.instagram.com/damouretdesexeSuivez nous sur Twitter: https://www.twitter.com/DAEDS_podcastSuivez nous sur Tik Tok: https://www.tiktok.com/@damouretdesexe

In diesem Gespräch analysieren wir die aktuellen globalen Herausforderungen und die deutsche Außenpolitik. Jörg Lau, ein erfahrener Auslandskorrespondent, teilt seine Einsichten zu den Beziehungen zu China, Russland, den USA und dem Nahen Osten sowie die Bedeutung von Werten und Flexibilität in der internationalen Politik. In diesem Gespräch analysieren Jörg Lau und Marco Herack die aktuellen geopolitischen Herausforderungen, die Bedeutung externer Schocks für politische Veränderungen und die Notwendigkeit proaktiver Strategien in einer unsicheren Welt. Sie diskutieren Deutschlands Rolle, europäische Bündnisse und die Bedeutung von Macht, Werten und Unabhängigkeit in der internationalen Politik. (Zusammenfassung von Riverside AI)

Chefs Lau and Jac Laudico showcased the excellence of Filipino gastronomy through their successful debut at the Melbourne Food and Wine Festival 2026. - Ibinahagi nina Chef Lau at Chef Jac Laudico ang galing ng kusinang Pinoy sa pamamagitan ng kanilang matagumpay na debut sa Melbourne Food and Wine Festival 2026.

Blanche, Acting Atty Gen. v. Lau | 04/22/26 | Docket #: 25-429 25-429 BLANCHE V. LAU DECISION BELOW: 130 F.4th 42 CERT. GRANTED 1/9/2026 QUESTION PRESENTED: Under 8 U.S.C. 1182(a), various categories of aliens, including those who have committed or been convicted of certain crimes, are "ineligible to be admitted to the United States" and subject to removal. 8 U.S.C. 1182(a)(2); see 8 U.S.C. 1229a. Under 8 U.S.C. 1101 (a)(13)(C), a lawful permanent resident (LPR) who is returning to the United States after a trip abroad is generally not "regarded as seeking an admission into the United States" and is therefore not typically subject to the inadmissibility grounds in Section 1182(a). But that general rule does not apply to an LPR who "has committed an offense identified in section 1182 (a)(2)"­ i.e ., an offense that would render him inadmissible. 8 U.S.C. 1101(a)(13)(C)(v). The question presented is: Whether, to remove an LPR who committed an offense listed in Section 1182(a)(2) and was subsequently paroled into the United States, the government must prove that it possessed clear and convincing evidence of the offense at the time of the LPR's last reentry into the United States. LOWER COURT CASE NUMBER: 21-6623

Bem-vindos à ponte de comando! A RadioFleet retoma suas transmissões explorando a imensidão da música sem fronteiras. Neste episódio, o guia Ceciliano Queiroz conduz você por uma viagem em três blocos:Distorção e Reflexo: O shoegaze da Loomer (RS) e a urgência urbana de Fernando Motta e eliminadorzinho (MG/SP).Misticismo e Identidade: A potência vocal de Mayara Pera (PE) e a conexão mística de Compositor Fantasma e Lau e Eu (SE).Luz e Equilíbrio: A densidade de Monica Casagrande (SP) e a serenidade final com Gabriel Acaju (ES).Sintonize na frequência da Starfleet Music e descubra os novos caminhos do rock independente brasileiro.Fiquem em órbita. Até a próxima parada!

Lau volvió con una columna sobre cómo funcionan los gatos cayendo. ¿Qué pasa si atamos un gato a una tostada con mermelada? La respuesta los asombrará.Aprovecho este espacio para que se convierta en una sección y hablar del Gato de Schroedinger y de si los gatos son sólidos, líquidos, plásticos de Bingham o qué.#Gatos #Fisica #FisicaCotidiana #CienciaDivertida #CuriosidadesCientificas #GatosSaltando #Gravedad #Movimiento #CienciaParaTodos #DivulgacionCientifica #GatosDeInternet #Mecánica #CentroDeMasa #Equilibrio #DatosLocos #AprenderJugando #CienciaViral #ExperimentosMentales #PorQuePasa #FisicaReal

Each month, a panel of constitutional experts convenes to discuss the Court’s upcoming docket sitting by sitting. The cases covered in this preview are listed below.Sripetch v. Securities and Exchange Commission, (April 20) - Corporations & Securities; Issue(s): Whether the SEC may seek equitable disgorgement under 15 U.S.C. 78u(d)(5) and (d)(7) without showing investors suffered pecuniary harm.T.M. v. University of Maryland Medical System Corp., (April 20) - Federalism & Separation of Powers, Standing; Issue(s): Whether the Rooker-Feldman doctrine, which prevents parties who lose in state courts from challenging injuries caused by state-court judgments, can be triggered by a state-court decision that remains subject to further review in state court.Federal Communications Commission v. AT&T, Inc.,(April 21) - Communications & Technology; Issue(s): Whether the Communications Act of 1934 provisions that govern the Federal Communications Commission’s assessment and enforcement of monetary forfeitures are consistent with the Seventh Amendment and Article III.Bondi v. Lau, (April 22) - Immigration Law; Issue(s): Whether, to remove a lawful permanent resident who committed an offense listed in Section 1182(a)(2) and was subsequently paroled into the United States, the government must prove that it possessed clear and convincing evidence of the offense at the time of the lawful permanent resident's last reentry into the United States.Chatrie v. United States, (April 27) - Criminal Law; Issue(s): Whether the execution of a geofence warrant violated the Fourth Amendment.Monsanto Company v. Durnell, (April 27) - Energy & Environmental Law; Issue(s): Whether the Federal Insecticide, Fungicide, and Rodenticide Act preempts a label-based failure-to-warn claim where EPA has not required the warning.Cisco Systems, Inc. v. Doe I, (April 28) - International Law & Human Rights; Issue(s): (1) Whether the Alien Tort Statute allows a judicially-implied private right of action for aiding and abetting; and (2) whether the Torture Victim Protection Act allows a judicially-implied private right of action for aiding and abetting.Hikma Pharmaceuticals USA Inc. v. Amarin Pharma, Inc., (April 29) - Patent Law / Intellectual Property Law; Issue(s): (1) Whether, when a generic drug label fully carves out a patented use, allegations that the generic drugmaker calls its product a “generic version” and cites public information about the branded drug (e.g., sales) are enough to plead induced infringement of the patented use; and (2) whether a complaint states a claim for induced infringement of a patented method if it does not allege any instruction or other statement by the defendant that encourages, or even mentions, the patented use.Mullin v. Doe and Trump v. Miot, (April 29) - Immigration Law; Issue(s): Whether the Trump administration can end the Temporary Protected Status program for Syrian and Haitian nationals.

Melissa, Kate, and Leah break down an absolute boatload of beefs: Trump vs. Pope Leo, Sonia Sotomayor vs. Coach Brett Kavanaugh, Clarence Thomas vs. progressives, and Ketanji Brown Jackson vs. the shadow docket, before covering some of the week's other legal news, including the Harvard Crimson's reporting on conservative judges' ideological litmus tests for clerkships. Then, they break down the Court's opinion in Chevron v. Plaquemines Parish, Louisiana, before previewing some upcoming oral arguments at One First Street, including the “crimmigration” case, Blanche v. Lau.Favorite things: Leah: RFK Jr. and the raccoon penis; Her talk with Steve Vladeck in DC on her upcoming paper, The Passive Vices, on Monday, April 20 at 12:45pm - RSVP here. Melissa: Lady Tremaine, Rachel Hochhauser; Lily Allen's West End Girl tour; Rumours, Fleetwood Mac  Kate: What I Want, MUNA; Playground, Richard Powers; Labor Dept. Investigates Texts Among Secretary's Family and Staff, Rebecca Davis O'Brien (NYT)  Get tickets for STRICT SCRUTINY LIVE – The Bad Decisions Tour 2026! 6/20/26 – New York City Learn more: http://crooked.com/eventsPreorder Melissa's book, The U.S. Constitution: A Comprehensive and Annotated Guide for the Modern ReaderPreorder a signed paperback of Leah's book, Lawless, here.Follow us on Instagram, Threads, and Bluesky

Freie Seewege sind für eine Handelsnation wie Deutschland von existenziellem Interesse. Hormus zeigt, wie verwundbar die vernetzte Weltwirtschaft ist und dass wir die Rückkehr der Geopolitik nicht länger verdrängen können. Ein Kommentar von Jörg Lau

Der Journalist Jörg Lau zeigt in seinem Buch "Der Westen sind jetzt wir", wie Deutschland sich außenpolitisch neu aufstellen muss, um bei den Krisen in der Weltpolitik zukünftig bestehen zu können. Mehr dazu in SR 3 "Aus dem Leben".

In this episode, Dan is joined by Dr. Brian Lau (MD) and Dr. Chris Antonelli (DPT) to dive into the surgical and rehab considerations of the BEAR Implant for ACL injuries.Guest bios:Chris Antonelli is a board-certified sports physical therapist (SCS) and certified athletic trainer with Duke Health, specializing in sports medicine and return-to-sport rehabilitation. He works extensively with ACL injuries, overhead athletes, and high-performance populations. A former collegiate baseball player at Purdue, Chris brings a unique blend of clinical expertise and athletic experience to his practice. He is actively involved in education, mentorship, and research, contributing to sports PT fellowships and working with athletes across all levels—from youth to elite. For more, be sure to check out https://www.dukehealth.org/find-doctors-physicians/chris-antonelli-dpt-pt-scs-lat-atcBrian Lau MD, MPH, is an orthopaedic sports medicine surgeon at Duke Health specializing in knee, shoulder, elbow, and foot/ankle injuries. He performs advanced procedures including ACL reconstruction and repair, cartilage restoration, and complex ligament surgery. Dr. Lau serves as a team physician for Duke Athletics and is actively involved in research focused on imaging, surgical outcomes, and joint preservation. Fellowship-trained in both sports medicine and foot/ankle surgery, he works with patients ranging from youth athletes to professionals. For more on Dr. Lau be sure to check out https://www.dukehealth.org/find-doctors-physicians/brian-c-lau-mdSeason 7 of the Braun Performance & Rehab Podcast is proudly supported by Pura Health, bringing ultrasound into every clinician's hands. Learn more at purahealth.net and @pura.health_ultrasound.Additional support provided by Firefly Recovery, the official recovery partner of Braun Performance & Rehab (recoveryfirefly.com), and Dr. Ray Gorman of Engage Movement. Learn how to grow your income beyond sessions—follow @raygormandpt on Instagram and DM “Dan” for a free breakdown of the blended practice model.Episode Affiliates: Airbands BFR (Coupon Code: DANIELBRAUN for 10% off), MoboBoard (BRAWNBODY10), AliRx (DBraunRx), MedBridge (BRAWN)If you enjoyed this episode, share it with someone who would benefit and leave a 5-star review.Explore more from Dan at linktr.ee/braun_pr.

In this episode of The Checkin, Dwyane Wade and Bob are joined by Dr. Clayton Lau, a urologic surgeon at City of Hope, for an honest conversation about men’s health and why avoiding the doctor can be dangerous. Dwyane opens up about being diagnosed with stage 1 kidney cancer, the fear that came with it, and how finding the right doctor changed everything. Dr. Lau walks through the successful surgery, explaining how robotic-assisted technology allowed for precision and a smooth recovery, even with added complexity during the procedure. Together, they talk about why men often delay care, the importance of routine screenings like colonoscopies and PSA tests, and why taking health seriously is not selfish but necessary to be present for family and life. The episode closes with a look at where medicine is headed and a reminder that we maintain our phones better than our bodies, and it may be time to change that. Music Credit: Khari Mateen. What We Discussed: 00:00 Introduction 02:47 Checkin With Dr Clayton Lau 04:36 The E-bike Story 04:54 Checkin With Dwyane 05:46 MBBS Specialty: Urology 08:37 Dr Clayton: Experience & Journey In Urology 10:31 Robotic Assistant Surgery 17:28 Types Of Cancers & Risks 20:50 In-N-Out Burgers 22:59 Advocating For Self Health 25:59 Does The Doctor See A Doc? 27:43 How To Get Proactive With Your Health 33:28 Unnecessary Questions Before Surgery 35:36 Dealing With The Fear Of Health Complications 38:03 Robots Vs Humans In Healthcare 41:43 Dwyane's CT Scan 48:30 Best Practices To Maintain A Healthy Body 50:00 Debunking Kidney Surgery Myths See omnystudio.com/listener for privacy information.

Laurens en Stefan gaan verder. En Thomas is the house! Stefan hees en Lau voldaan van een lange en mooie dag Nokere. Over Het Groote Niet Te Vermijden Duel. Want dat moet en zal het worden. En natuurlijk gaat het ook over NOKERE zelf over de koers en alles daaromheen. En hoe zat het ook alweer met de Nokere reisgids? Je hoort het allemaal, in weer een nieuwe aflevering van de Live Slow Ride Fast podcast.

Wir leben in einem Zeitalter der Unsicherheit. Außenpolitisch befindet sich Deutschland an einem Nullpunkt, sagt der Journalist Jörg Lau. Was bedeutet das für Deutschland, Europa – und insgesamt für den Westen? Von WDR 5.

In this episode of Diverse Voices Book Review contributor Kimberly Lau interviews Pulitzer Prize–winning journalist and novelist Mirta Ojito about her novel DEEPER THAN THE OCEAN.In the interview, Lau and Ojito discuss the book's dual narrative and its inspiration: the 1919 sinking of the Valbanera, a Spanish ship carrying hundreds of immigrants to the Americas that was lost at sea during a hurricane, with no survivors. The conversation explores how this tragedy help shape a story about migration, inherited trauma, memory, and family history.Mirta Ojito is a Cuban-born journalist, professor, and author. She is the recipient of both a Pulitzer Prize and an Emmy Award and has written two nonfiction books. Diverse Voices Book Review Social Media:Facebook - @diversevoicesbookreviewInstagram - @diverse_voices_book_reviewEmail: hbh@diversevoicesbookreview.com

你相信女性更擅长照顾地球吗？你认同知识生产、环境治理也是性别化的吗？你觉得应对气候变化、实现公正转型需要怎样的性别变革？本期节目，我们邀请到莫纳什大学可持续发展研究博士生、公众号“谁的好天气”联合创办者心忆，为我们系统梳理近五十年来，性别与环境交叉理论的发展脉络。我们也讨论了不同理论的启示与局限，以及超前的理论如何指导落地的实践。祝大家三八国际妇女节快乐，愿这些理论的种子，能在我们保护自然、应对气候变化的行动中生根发芽，让性别正义成为环境治理的底色。【本期剧透】 00:00 线下活动推荐：“琴声筑梦，薪火相传”——六位琴童慈善音乐会一场由孩子主导，为梦想奏响的爱心盛宴我们是如何走近性别与环境这一议题的？04:16 乐园：传统性别分工增加了农村女性空气污染的健康负担05:58 心忆：在做生物多样性保护的工作中，我意识到无法撇开人类社会谈自然保护08:56 何弦：突破传统叙事，《荒野机器人》如何理解自然系统、照护弱小生命性别与环境交叉理论的流变16:09 两条重要的脉络：性别研究与发展学17:44 1970年代：女性被结构性地压迫和“女性在发展中”（Women in Development）；生态女性主义萌芽19:36 1980年代：性别是社会互动的产物（Doing Gender)，从女性参与经济到“社会性别与发展”（Gender and Development）；生态女性主义强调女性与自然的联结23:07 生态女性主义（Ecofeminism）的批判和启发：强调女性作为自然资源的管理者，是否忽视了女性群体的多样性，加深了女性的无偿劳动负担？强调联结是一种策略，呼吁女性在自然保护中的发声、参与和决策35:10 1990年代：表演性和交叉性推动性别定义复杂化，“性别主流化”(Gender Mainstreaming）成为全球战略；女性主义政治生态学（Feminist Political Ecology）产生，将性别纳入知识和话语生产、资源管理、治理制度40:04 IPCC报告揭示知识生产中的性别偏差*44:20 2000年代：性别研究转向物质性，“性别变革理论”试图突破现有的社会规范和权力关系；女性主义政治生态学加入“后殖民”、“去殖民”的视角56:42 2010年代至今：可持续发展目标整合全球共识；性别与气候治理融合，正义成为关键议题59:02 为什么科学技术不一定是性别中性的？63:27 性别融入气候治理的现实困境：资源分配、理论与实践的距离理论学习的启发71:47心忆：将理论落于具体的在地的情景75:07 乐园&何弦：重新认识可持续发展目标的意义与“想象力”的力量*勘误：IPCC第七次评估报告（AR7）作者中，女性占比为46%，其中第二工作组（影响、适应和脆弱性）52%的作者为女性）。第六次评估报告中女性作者总体占比为33%。【延伸阅读】 公众号 谁的好天气 在这四个时刻，我看见环境与性别议题的交织公众号 UltraViolet紫外 《女性主义生态学》（上、中、下）Diana Ojeda, Padini Nirmal, Dianne Rocheleau, Jody Emel. 2022. Feminist Ecologies. Annual Review Environment and Resources. 47:149-171. Lau, J.D., Kleiber, D., Lawless, S. et al. Gender equality in climate policy and practice hindered by assumptions. Nat. Clim. Chang. 11, 186–192 (2021).Carbon Brief（Ayesha Tandon）：IPCC's special report on cities is its first with majority-women authorship team.UNFPA：Four takeaways from COP30: Advances for gender equality and healthUN Women：The Climate Change Gender Action Plan: What's at stake at COP30 Ting Wang: The Absence of Gendered Management of Climate Change in China Nature：Gender bias and representation in climate science and the IPCC 书籍：韦清琦、李家銮（2019）《生态女性主义》电影：《荒野机器人》、《哈姆奈特》、《奥兰多》、《永不妥协》【创作团队】 嘉宾：赵心忆策划：何弦、乐园主持：何弦、乐园 后期：乐园《不成气候No Such Climate》是一档广泛地关注气候变化、空气污染等大气科学议题与时事热点、社会生活的相交点的播客。【收听方式】 欢迎通过苹果播客、小宇宙、Spotify、Pocket Casts等泛用型播客客户端订阅我们的节目。我们也会在喜马拉雅、荔枝播客、QQ音乐、豆瓣等平台同步更新。【联系我们】 小红书@不成气候NoSuchClimate 微信公众号 不成气候No Such Climate nosuchclimate@gmail.com

Nach den Angriffen von USA und Israel auf Iran war Bundeskanzler Merz am Dienstag der erste internationale Gast im Oval Office. Dort bedankte sich Trump für Deutschlands bisherige Unterstützung und wetterte wenig später gegen Spanien, wo man ihm die Nutzung von Militärstützpunkten verwehrt hatte. Ursprünglich hatte Merz bei diesem Besuch in Washington über die Ukraine und die Zollpolitik sprechen wollen, diese Themen rückten nun zwangsläufig in den Hintergrund. Merz blieb zurückhaltend und kritisierte den völkerrechtswidrigen Angriff auf Iran nicht. Schon am vergangenen Sonntag hatte er gesagt, es sei “jetzt nicht der Moment, unsere Partner und Verbündete zu belehren”. Und: “Völkerrechtliche Einordnungen werden dabei relativ wenig bewirken.”  Ob Merz gerade einen ganz neuen Ton in der Außenpolitik anschlägt, das bespricht Anne Will in dieser Folge mit Mariam Lau. Lau ist Politikredakteurin bei der ZEIT und hat Merz' Reise nach Washington begleitet. Kurz nach ihrer Rückkehr ist sie bei Anne Will im Studio zu Gast und die beiden sprechen darüber, welches Ziel Merz in Washington eigentlich hatte? Und hat er es erreicht? Wie positioniert sich Deutschland jetzt im Irankrieg? Mariam Lau erzählt außerdem, wie es sich anfühlt, als Journalistin im Oval Office zu stehen. Und die in Teheran geborene Journalistin schildert ihre Perspektive auf den Krieg in Iran.  Redaktionsschluss für diese Folge war Mittwoch, der 04.03.2026 um 17:30 Uhr. WERBUNG UND RABATTE: https://linktr.ee/werbungannewill  Sie möchten Werbung in unserem Podcast schalten? Dann schreiben Sie eine Mail an: dirk@mitvergnuegen.com Politik mit Anne Will geht auf Live-Tour - jetzt Tickets sichern: https://tix.to/politik-mit-anne-will-podcast-live-2026 06.05.26 Stuttgart 17.06.26 München 06.10.26 Hannover 03.11.26 Berlin WICHTIGE QUELLEN:  Die Zeit: Trump feiert – und Merz? Von Mariam Lau, 03.03.2026 https://www.zeit.de/politik/ausland/2026-03/friedrich-merz-washington-donald-trump-iran/komplettansicht AP: Pressekonferenz von Donald Trump und Friedrich Merz im Weißen Haus, 03.03.2026 https://www.youtube.com/watch?v=WMSENfD8BXI&t=467s Die Zeit: Offener Brief zur Lage im Iran – "Wir appellieren an Sie, weiteren Massakern vorzubeugen", 25.02.2026 https://www.zeit.de/politik/deutschland/2026-02/iran-offener-brief-bundesregierung-naika-foroutan-navid-kermani-jasmin-tabatabai Pressestatement von Bundeskanzler Merz zum Iran-Krieg, 01.03.2026 https://www.bundesregierung.de/breg-de/aktuelles/kanzler-statement-naher-osten-2409172 Gemeinsame Erklärung der Staats- und Regierungschefs der E3, 28.02.2026 https://www.bundesregierung.de/breg-de/aktuelles/e3-joint-leaders-statement-on-iran-2409132 Rede von Bundeskanzler Merz bei der Münchner Sicherheitskonferenz, 13.02.2026 https://www.bundesregierung.de/breg-de/aktuelles/rede-kanzler-msc-2407218 Empfehlung: Gelingt Merz der Neustart in der Außenpolitik? Mit Daniel Brössler, 16.02.2026 https://open.spotify.com/episode/3vYPmoztIUAyt7oBZkr3um Impressum: Redaktion: Gina Enslin, Tobias Jaecker Executive Producerin: Marie Schiller Producer: Lukas Hambach, Patrick Zahn Sounddesign: Hannes Husten Wenn ihr Werbung schalten wollt, wendet euch gerne an die Mit Vergnügen GmbH Eine Produktion der Will Media GmbH Learn more about your ad choices. Visit megaphone.fm/adchoices

OPEN HEAVENSMATALA LE LAGI MO LE ASO SA 1 MATI 2026(tusia e Pastor EA Adeboye) Manatu Autu: Fa'asa'oloto Mai Fetu'u Tuufaasolo I Auga Tupulaga. (Deliverance From Generational Curses)Tauloto Tusi Paia: Efeso 1:3 “Ia fa‘afetaia le Atua, o le Tamā o lo tatou Ali‘i o Iesu Keriso, o lē ‘ua fa‘amanuia mai ‘iā i tatou i mea uma lava e manuia ai i la le Agaga, i mea o i le lagi, ‘ona o Keriso;”Faitauga - Tusi Paia: Ieremia 31:27-31Sa sau ia te a'u se tamaita'i e tolusefulu tolu (33) ona tausaga, ua fai lona aiga, mo se tatalo. O lona faafitauli, o loo fai pea ana feau vai (tulou) i le moega pe a moe i le po ma ua fa'amāasiasia ai lava ia. Sa ou fai i ai e lē o se faafitauli lea tulaga ma o le a avatu e le Atua ia te ia se totoga fou. Peita'i a'o lei faia le tatalo na fai mai le māfine, “Lau susuga e le na o a'u o loo mafatia i lea tulaga i lo'u aiga.” Na fa'aauau ona faamatala mai ia te a'u, e maua ai lona tinā, tinā o lona tinā, ma fafine uma o lona aiga i le fa'ama'i lea o le fa'asusū moega pe a momoe i le po (tulou). Na o'u iloa ai i le taimi lea o le faafitauli o le māfine e alu i auga tupulaga. I le suesuega atili o le mataupu na o'u iloa ai o le faafitauli na amata mai i se mea na tupu i le va o se isi tagata ma le tinā o lona tinā, ma folafola ai e lea tagata se fetu'u i luga o lona tinā matua e faapea, “e amata atu nei, o fafine uma o lou aiga o le a fa'asusũ moega (tulou), sa ou fai i le māfine, “tu'u lou ola iā Iesu Keriso ona e alu ese lea ma le toto o lou aiga fa'aletino ae avea oe ma tagata fou. Na talia e le tinā le faaolataga ma na fo'i mai i le aso no soso'o ai ma le olioli tele. O le taimi lea ua le sau na o ia, a ua omai ma isi fafine o lo latou aiga. Na faapea mai le māfine ia te a'u o le taimi muamua lea ua lelei ai sana moe i le po atoa ma ua le susū ai lona moega. O isi fafine na latou omai na ofo uma o latou ola ia Iesu ma na uma ai fo'i ma le fetu'u. Ou te avatu le talalelei mo oe, afai o aafia lou aiga i se fetu'u mo ni auga tupulaga, e faaumatia i le asō, i le suafa o Iesu. A omai tagata i totonu o le aiga o le Atua, na te fa'afouina mea uma lava i o latou olaga (2 Korinito 5:17), ma agava'a ai i latou i manuia tuufaasolo i auga tupulaga. Soosemea sa polokaina ma faalavelave i tagata ona e mafua mai o latou gafa ma tupuaga, o le taimi e avea ai Iesu Keriso ma o latou Fa'aola, e lē toe i ai se malosiaga o le fili ia i latou auā ua ulufale i latou i se aiga fou, aiga o le Atua. I lona aiga Paia, o i ai le ola, tamāoaiga, poto, fua tulu'i, olioli, filemu, ma mea lelei uma lava. O le soifua tului o se faamanuiaga mo i latou uma o i le aiga o le Atua, ma i vaega o le olaga na pagatia ai i latou ona o le agasala a o latou tuaā e tupuga mai ai, na folafola e le Atua o le a ia āsia i latou i lona alofa le mavae ma lona alofa mutimutivale (Esoto 20:6).I le aiga o le Atua, e lē toe sa'o ai le fa'aupuga faapea e ai e tamā le vine moto ae magiagia ai nifo o le fanau (Ieremia 31:28-30). E alu loa se uso ia Keriso, avea loa ia ma suli o le itū paia o le Atua ma avea ana faamanuiaga sautualasi ma vaega o lona olaga i aso ta'itasi, o measina ia a soose tagata faatuatua. Le au pele e, ua e auai i le aiga o le Atua? Ia faia sau faaiuga i le asō, I le suafa o Iesu, Amene.

¿Qué pasó con 'el pelón' y su esposa Lau en "Apostarías por mí"? Nuestro Raul Molinar nos cuenta todo, todo lo que pasó en el reality ¡y lo que se viene!  Mantente al día con los últimos de 'El Bueno, la Mala y el Feo'. ¡Suscríbete para no perderte ningún episodio!Ayúdanos a crecer dejándonos un review ¡Tu opinión es muy importante para nosotros!¿Conoces a alguien que amaría este episodio? ¡Compárteselo por WhatsApp, por texto, por Facebook, y ayúdanos a correr la voz!Escúchanos en Uforia App, Apple Podcasts, Spotify, y el canal de YouTube de Uforia Podcasts, o donde sea que escuchas tus podcasts.'El Bueno, la Mala y el Feo' es un podcast de Uforia Podcasts, la plataforma de audio de TelevisaUnivision.

Send a textAbout Jackson Lau, OD, FAAO, FSLSDr. Jackson Lau is the Senior Manager of Professional Relations at Euclid Vision Corporation. He obtained his Doctor of Optometry from the UC Berkeley School of Optometry. After completing a residency in Cornea and Contact Lenses at the Illinois College of Optometry, he joined a high-volume specialty contact lens and myopia management practice in Sunnyvale, CA. Dr. Lau has conducted research on dry eyes and scleral contact lenses and has lectured on topics of corneal disease, myopia management and specialty contact lenses. Since joining Euclid, Dr. Lau focuses on academic and professional relations. He continues to practice in the Silicon Valley and serves as an adjunct clinical faculty for the Illinois College of Optometry and New England College of Optometry.---Thanks to TEEM for their support of this episode. If you're considering or have ever considered getting a virtual team member for your practice check out hiredteem.com, mention The Myopia Podcast when signing up for a $250 dollar discount off of your first month's teem member.https://hireteem.com/myopia-podcast/

Europa droht eine “Abschreckungslücke” - zu diesem Schluss kommen Claudia Major und ihre Kolleginnen und Kollegen der European Nuclear Study Group. Zum einen werden die Zweifel an den USA  als verlässlicher Partner immer größer. Zum anderen droht Russlands Präsident Putin den Unterstützern der Ukraine unverhohlen mit Atomwaffen. Und ganz nebenbei rüstet China sein Nukleararsenal immer weiter auf. Welche Optionen haben Deutschland und Europa ohne den atomaren Schutzschirm der USA? “Braucht Deutschland die Bombe?” Eine Frage, die wie kaum eine andere Angstbesetzt ist, im Moment aber drängender kaum sein könnte. Anne Will diskutiert mit der Sicherheitsexpertin Claudia Major verschiedene Szenarien: eine eigene Atombombe für Deutschland, eine europäische Lösung oder doch irgendwie weiter mit den USA? WERBUNG UND RABATTE: https://linktr.ee/werbungannewill  Sie möchten Werbung in unserem Podcast schalten? Dann schreiben Sie eine Mail an: dirk@mitvergnuegen.com Politik mit Anne Will geht auf Live-Tour - jetzt Tickets sichern: https://tix.to/politik-mit-anne-will-podcast-live-2026 06.05.26 Stuttgart 17.06.26 München 06.10.26 Hannover 03.11.26 Berlin WICHTIGE QUELLEN:  Claudia Major et.al.: “Mind the Deterrence Gap: Assessing Europe's Nuclear Options”, 12.02.2026 https://securityconference.org/en/publications/special-editions/mind-the-deterrence-gap/ Die Zeit: “Braucht Deutschland die Atombombe, Claudia Major?, 30.10.2025 https://www.zeit.de/politik/2025-10/atomwaffen-atombombe-claudia-major-donald-trump-europa NY Times: “Newly Unbound, Trump Weighs More Nuclear Arms and Underground Tests”, 10.2.2026 https://www.nytimes.com/2026/02/09/us/politics/trump-nuclear-arms-underground-tests.html FAZ: “Brauchen wir die Bombe?”, 05.01.2026 https://www.faz.net/aktuell/politik/inland/warum-deutschland-ueber-eigene-atomwaffen-diskutiert-accg-110812729.html Ntv: “China will die USA atomar abschrecken”, 5.2.2026 https://www.n-tv.de/politik/New-Start-ist-am-Ende-Chinas-Atomwaffen-Arsenal-waechst-rasant-und-befeuert-noch-das-Wettruesten-id30329976.html SZ: “Braucht Deutschland die Bombe?”, 11.01.2026 https://www.sueddeutsche.de/politik/atombombe-usa-verteidigung-deutschland-bundeswehr-groenland-li.3365668 Institut für Demoskopie Allensbach: Sicherheitsreport 2026, 10.02.2026 https://www.sicherheitsreport.net/wp-content/uploads/Download_Praesentation_2026.pdf Empfehlung: Ist Deutschland schon im post-amerikanischen Zeitalter angekommen? Mit Jörg Lau, 05.02.2026 https://open.spotify.com/episode/45WHIrJ560cLW4qhKl4evY?si=4da0b28ba0364b47 Impressum: Redaktion: Sven Knobloch Executive Producerin: Marie Schiller Producer: Lukas Hambach, Patrick Zahn Sounddesign: Hannes Husten Wenn ihr Werbung schalten wollt, wendet euch gerne an die Mit Vergnügen GmbH Eine Produktion der Will Media GmbH Learn more about your ad choices. Visit megaphone.fm/adchoices

Glór is the venue for the upcoming Third Thursday's: Rising Stars Showcase Concert. The concert, which is due to take place on Thursday, 19th February, will celebrate Clare's young classical talent. For more on this, Alan Morrissey was joined in-studio by Cellist, Max McKenna, piano accompanist, Séamus Lau and Associate Curator & cellist Gráinne Ó hUiginn.

Das Jahr hat heftig begonnen: Die Grönlandkrise, Trumps Strafzolldrohungen gegen EU-Länder und die Erpressung der Nato-Verbündeten auf offener Bühne, während der Dauerbeschuss der Ukraine durch Russland eskaliert. Der alte Westen ist zerbrochen – und die deutsche Außenpolitik wirkt hilflos. Wie kann Deutschland aus der Schockstarre, aus Abhängigkeiten, alten Mustern und Fehleinschätzungen herausfinden? Wie kann Europa im post-amerikanischen Zeitalter seine Werte verteidigen und zu neuer Stärke finden? Darüber spricht Anne Will mit Jörg Lau, außenpolitischer Korrespondent der ZEIT. „Der Westen sind jetzt wir“, heißt sein neues Buch. Im Gespräch skizziert er, welche neue Haltung es gegenüber Mächten wie Russland, aber auch den USA braucht, ob neue Bündnisse den Westen wieder stark machen können, wirtschaftlich und militärisch – und warum die nordischen und baltischen Länder ein Vorbild für Deutschland sein können, wenn es seiner neuen Verantwortung gerecht werden will.  Redaktionsschluss für diese Folge war Dienstag, der 03.02.26 um 16:00 Uhr. WERBUNG UND RABATTE: https://linktr.ee/werbungannewill  Sie möchten Werbung in unserem Podcast schalten? Dann schreiben Sie eine Mail an: dirk@mitvergnuegen.com Politik mit Anne Will geht auf Live-Tour - jetzt Tickets sichern: https://tix.to/politik-mit-anne-will-podcast-live-2026 06.05.26 Stuttgart 17.06.26 München 06.10.26 Hannover 03.11.26 Berlin Jörg Lau und Anne Will live im Gespräch: „Der Westen sind jetzt wir" (Buchpremiere), Tipi am Kanzleramt in Berlin, 08.03.2026, Tickets: https://www.tipi-am-kanzleramt.de/de/programm/programmuebersicht/literatur-live-joerg-lau-anne-will.html WICHTIGE QUELLEN:  Jörg Lau: “Der Westen sind jetzt wir. Von unzuverlässigen Freunden und entschlossenen Gegnern: Deutschlands neue Verantwortung”, Droemer Verlag 2026:  https://www.droemer-knaur.de/buch/joerg-lau-der-westen-sind-jetzt-wir-9783426562444 ZEIT - “Die Erde wird neu vermessen”, 28.01.2026 https://www.zeit.de/2026/05/karl-schloegel-trump-groenland-usa-geschichte/komplettansicht Tagesschau - Worum es im “New START” - Vertrag geht, 21.02.2023https://www.tagesschau.de/ausland/europa/new-start-vertrag-101.html ZEIT - Atomwaffen: Braucht Europa die Bombe?, 02.03.2025https://www.zeit.de/politik/deutschland/2025-03/atomwaffen-eu-nato-verteidigung-usa/komplettansicht Bpb - Das EU-Mercosur-Abkommen, 28.01.2026https://www.bpb.de/kurz-knapp/hintergrund-aktuell/574931/das-eu-mercosur-abkommen/ Empfehlung: Riskiert Europa den Bruch mit Trump? Mit Melanie Amann, 22.01.2026 https://open.spotify.com/episode/0r1UpZWpZi126SWdZwME8f Impressum: Redaktion: Tobias Jaecker, Melisa Gürleyen Executive Producerin: Marie Schiller Producer: Lukas Hambach Sounddesign: Hannes Husten Wenn ihr Werbung schalten wollt, wendet euch gerne an die Mit Vergnügen GmbH Eine Produktion der Will Media GmbH Learn more about your ad choices. Visit megaphone.fm/adchoices

BOSSes host Anne Ganguzza is joined by co-host Lau Lapides and special guest Carol Alpert (voice actor and on-camera coach) to tackle the industry's most persistent headache: the inability of talent to follow instructions. Whether it's ignoring age ranges in casting specs, butchering file naming, or losing patience during a live session, failing to follow the "rules" of an audition is the fastest way to get your file tossed. The hosts stress that being a "trained actor" means being disciplined enough to read between the lines and respect the client's process. The Casting Filter: Why 70% Get Ditched (01:48) Lau Lapides reveals a shocking statistic: in a recent casting for 35–45 year olds, 70% of the auditions were from talent clearly outside that age range. Agents use specs to filter talent quickly; if you submit for a role you clearly don't fit, you are essentially asking to be ignored. Following the demographic specs is the first step in following directions in voiceover. The File Naming Pet Peeve (07:04) Proper file naming is not just a suggestion; it's a structural necessity. When an agent or casting assistant is processing hundreds of files, an incorrectly named file can disrupt their entire workflow. Lau notes that talent often doesn't see the "assembly line" of 10–40 people involved in a single gig; naming your file correctly shows you respect their time. "Early is On Time": The Reality of Deadlines (11:12) While some pay-to-play sites are instantaneous, agency turnarounds are often measured in hours. Lau asserts that the strongest auditions usually come in within the first few hours of a posting. Being "trained" means having the discipline to interpret, record, and execute an audition professionally and quickly without procrastinating. Cold Reading and Tracking Skills (13:05) A common reason talent fail to follow directions is a lack of ocular tracking skills. Many people listen to content rather than reading it, leading to a decline in the ability to scan a script and pick up nuances quickly. The hosts recommend cold-reading classes to ensure your eyes can track words and directions simultaneously. Live Direction: Active Listening and Communication (31:09) During a live directed session, following instructions becomes a matter of active listening. Lau recommends repeating directions back to the client to ensure clarity. She also warns that talent are often replaced not because of their voice, but because of a poor attitude or lack of patience when being redirected. The "Relationship" Slope: Business vs. Contract (41:23) While it's important to stick to contracts, the hosts discuss the value of being cooperative. Doing an extra tag or a small favor can "earn" you a client for the next ten years. It's about weighing small battles versus the long-term war of building a sustainable career through professional relationships.   Top 10 Takeaways for Voice Actors: Read the Specs Twice: Ensure you fit the age, gender, and ethnicity requirements before stepping into the booth. Master File Naming: Follow the naming convention provided exactly. It is the most common reason auditions are discarded without being heard. Early is Best: While you should never rush quality, aim to submit your audition as early as possible to capture the agent's attention. Practice Cold Reading: Maintain your ocular tracking skills by reading aloud for at least 15 minutes a day to stay sharp for quick turnarounds. Listen and Repeat: In directed sessions, repeat the client's instructions back to them to confirm you understand the requested adjustment. Silence Your Ego: If a client asks for 100 takes, provide them professionally. Frustration or an "attitude" is a faster way to get fired than a bad take. Check Your Tech: Before a live session, verify that SourceConnect and your DAW are updated and functioning. Technical failures are a failure to follow prep instructions. The Agent is the Middleman: Don't get annoyed if your agent doesn't have every answer; they copy and paste exactly what the client gives them. Interpret, Don't Just Comprehend: Moving beyond just "reading the words" to understanding the story is part of your professional instruction. Build the Relationship: Being cooperative and "easy to work with" is often more valuable to a client than being the most talented person in the room.  

Lau, Jörg www.deutschlandfunk.de, Kommentare und Themen der Woche

BOSSes, Anne Ganguzza and her superpower co-host, Lau Lapides, assert that subtext in voice acting is the single most important element for delivering a powerful, unique, and castable performance. The bosses challenge the common mistake of literal reading, offering practical strategies—from audience analysis to efficient marking—that elevate a performance from predictable to profound.     Chapter Summaries: Subtext Defines Uniqueness (01:00) Lau states that subtext—the underlying interpretation of a line—is what makes a talent unique. The hosts explain that relying solely on obvious language or descriptive adjectives leads to predictable, robot-like reads. The true power lies in making nuanced choices about what the words really mean to the listener. Audience and Empathy are Everything (02:44) Subtext is entirely dependent on who you are talking to. Anne uses the example of corporate narration: the subtext for an investor (focused on financial facts) is different from the subtext for a consumer (focused on customer service and product benefits). The acting choice must be rooted in empathy and understanding what the listener cares about. The Structural Journey of the Script (14:30) Every script has a structural journey: introduction, series of steps, and conclusion. The subtext should align with this journey. The hosts emphasize that if you are running out of breath , it is the dead giveaway that you did not prepare the story, as natural conversation doesn't require breath struggle. Techniques for Finding the Subtext (22:34) To efficiently analyze copy, the hosts recommend: Improv and Translate: Improvise the script in your own words to capture the genuine emotional wash and then plug the original words back in. Marking: Use clear broadcast-style marking to denote phrasing and intent, but also pay attention to the ellipses and punctuation for clues about the emotional context. Use AI as a Tool: Paste ambiguous scripts into an AI tool (like a chatbot) and ask, "What is the purpose of this script? Who cares about this information?" to provide a jumping-off point for human interpretation. Avoiding the Literal Trap (23:37) The hosts caution against taking common acting advice too literally. For example, constant smiling throughout a read, or persistent upspeak at the end of every sentence, sounds unnatural and is perceived as not genuine. Your performance must always reflect how you would behave and sound in a real-world conversation. The Brilliance of a Point of View (25:16) Subtext gives you a clear point of view. The hosts provide a simple example: saying "Are you wearing those pants?" can be interpreted in dramatically different ways (anger, excitement, disgust) depending on the subtext. This intentional interpretation is what makes your audition unique and elevates it above the predictable melody.     Top 10 Takeaways for Voice Actors: Subtext is Everything: The emotional core and underlying meaning of your script is what makes your performance unique and castable. Analyze Your Audience: Base your subtext on who the listener is (consumer, investor, business-to-business) and what they care about most. Translate into Your Own Words: Use the "improv and translate" technique to efficiently find the genuine emotional wash before recording. Embrace Emotional Ambiguity: Simple sentences can hold complex, contrasting subtext. That complexity is your unique acting choice. Use AI to Find Backstory: Use AI as an analysis tool to find information about the brand and the script's purpose, but always apply your human interpretation. Pacing is Preparation: If you struggle for breath, you have not prepared the story correctly. Good actors always know how to naturally navigate long sentences. Mark for Meaning: Pay close attention to punctuation and structure (ellipses, introductions, conclusions) as cues for shifts in subtext. Avoid the Literal Trap: Do not read adjectives literally (e.g., constant smiling). Your emotional choice must align with authenticity, not simple description. The Share is the Subtext: Your goal is to share the story with the listener, not talk at them or talk in your head. Point of View Stands Out: An audition with a clear, intentional point of view, even if surprising, will always get shortlisted over a generic, predictable read.  

Diverse Voices Book Review has produced a new three-episode podcast limited series, Ever Wonder...the Secret Lives of Fairy Tales.  The creator and host is Kimberly J. Lau, a Professor of Literature at the University of California, Santa Cruz, where she teaches courses on fairy tales, monster studies, popular culture, and twentieth- and twenty-first-century women's fiction, all within the context feminist theory, critical race studies, and gender and sexuality studies. She is the author of numerous books and articles on similar topics, including Specters of the Marvelous: Race and the Development of the European Fairy Tale (December 2024) and Erotic Infidelities: Love and Desire in Angela Carter's The Bloody Chamber (2015).  In this introduction to the series, Lau explains why she chose each of the fairy tale scholars featured in the series: Sara Hines, Ruth Bottigheimer, and Kay Turner. Click on Kimberly J. Lau to explore her web site.

Se acabó el cuento de “se aprueba en 2025”. La ley para regular los alquileres de temporada y por habitaciones se queda congelada porque Junts frena el avance y el horizonte real pasa a ser 2026 (si es que sale). En este directo te explico qué pretendían cambiar (LAU, contratos temporales, habitaciones, topes y efectos prácticos), quién gana y quién pierde con el bloqueo, y por qué esto genera más incertidumbre legal y decisiones a ciegas para propietarios, inquilinos e inversores. ✅¿Necesitas un PSI (Personal Shopper Inmobiliario) para acompañarte a invertir en bienes raíces en la Com.Madrid?: magnatesladrillo@gmail.com✅Si vas en serio «La Biblia del Magnate del Ladrillo» está AQUÍ✅

Happy holidays from the Lau sibs! This year Michelle couldn't join the Lau's for Thanksgiving so tune in as we talk about what we had for the grand feast, our holiday hot takes, ramping up for Christmas, and let us know, is Jason a certified white girl for liking the Starbucks PSL?If you like this episode and want more, subscribe, turn on your notifications, and give us a five star review! Leave us a comment on what you would like to hear from us. Follow us on twitter @laudpodcast to continue the conversation and please share with your friends. It's free and helps us out a lot!

In this deeply personal and inspiring episode, Dr. Nancy Chedid—surgeon, educator, writer, musician, and cultural bridge—shares the extraordinary journey that shaped her life across the United States and Lebanon. From training at Yale, Johns Hopkins, NYU, and Harvard to rebuilding a life in Beirut after loss, Dr. Chedid reflects on identity, purpose, and the power of weaving medicine with the humanities. She discusses her memoir Snow on the Barbecue, her transformative years at LAU, the creation of humanities-in-medicine programs, and the profound impact of mentorship and community. We explore themes of home, displacement, grief, belonging, and reinvention. This episode is a tribute to the resilience of the human spirit and to the many ways one can build a meaningful life across continents.  #LebanesePhysiciansPodcast #NancyChedid #HumanitiesInMedicine #MedicineAndHumanities #MedicalEducation #PhysicianStories #WomenInMedicine #LebaneseDiaspora #ArabAmericanVoices #Lebanon #Beirut #DiasporaStories #Memoir #LifeTransitions #Resilience #Healing #HomeAndBelonging #IdentityAndCulture #StorytellingInMedicine #MentorshipMatters #AcademicMedicine #ArtsInMedicine #CreativeWritingInMedicine #GlobalMedicine #CrossCulturalJourneys #Reinvention #GriefAndHealing #BeirutPortExplosion #SnowOnTheBarbecue #LebaneseWriters #ArabDiaspora Episode also on YouTube    

BOSSes, Anne Ganguzza and her superpower co-host, Lau Lapides, dive into the non-negotiable reality of voiceover demo production. The bosses address why many voice actors—especially those starting out—try to cut corners on their demos, despite the demo being the primary portfolio piece used to land agents and get work. This episode provides essential, current advice on what makes a demo effective, what red flags to avoid, and how to manage the realistic expectations of investing in a long-term voice acting career. 00:03 - Anne (Host) Hey guys, it's Anne Ganguzza here. Are you ready to find your life purpose and live a happier, more fulfilling life? My coaching services can help you discover your true passions and align them with your goals. Let's start that journey today. Visit anneganguzza.com for more information.  00:31 - Speaker 2 (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Anne Ganguzza.  00:45 - Anne (Host) Hey, hey, everyone, welcome to the VO Boss podcast and the Boss Superpower Series. I'm your host, Anne Ganguzza, and I'm here with the lovely Miss Lala Pita. Hey, we're back, and better than ever. Annie, I'm so glad to be back with you. We are back. Ah Lala, it's been a week, oh my gosh, it's been a week.  01:06 It's been kind of a crazy year so far, hasn't it? It has, I mean, it's just been a little chaotic. I've dealt with a lot of students recently who come to me that want coaching, but before they want to get coaching, they want me to listen to their demos, and so I'll have a quick listen. I mean, I do an actual, I have an actual like process where, if you want half an hour of my time, I'll actually evaluate your demo spot by spot and give you tips. And I like the fact that I offer it as a service because I don't want people to think I'm just here to sell them demos.  01:42 Yeah, of course, but I listen to a lot of demos that are self-produced and demos that have no production under them, and then demos that have a lot of production under them. And you know, I know it's a topic that you know we tend to talk about quite a bit, all about demos. But demos are just so darn important because it really is the product by which you get hired a lot of times. I mean, in addition to auditions, of course, you know, because the client always wants to hear you know your voice with their brand, but really to get your foot in the door. In a lot of places, that demo that showcases what your voice sounds like in the genre in which you want to work is so important. And it's interesting how many times I'll talk to a student who wants to kind of cut the corners on that and they don't have the money. And yet the demos that I'm hearing are not doing them any favors and not getting them any work. Right.  02:39 - Lau (Host) And there's so many tips you and I could like give about the do's and don'ts of demos, but I think it changed, like what's trending now and the faux pas that are happening are happening, that are a little bit newer these days and it's good to talk about and especially.  02:55 - Anne (Host) I like your angle from—I have my angle from the non-broadcast side and I want to hear your angle from the broadcast side. How much are demos being used to cast people? How much do the demos count when you're listening to that in comparison to the auditions? Talk to me about the casting process and how often are demos being used for that? That's a great question. That's a great question.  03:20 - Lau (Host) You know, the anecdote that I come up with is, or the analogy I come up with is, reminds me of college. College was always a necessity for people who are going into white collar careers. Ok, nowadays it's a little bit different.  03:36 - Anne (Host) Do you?  03:37 - Lau (Host) need a college degree to go into many careers. Maybe not, probably not, but when you earn a college degree, oftentimes it says to an employer that you've gone to the highest level of due diligence in your education and that, to me, oftentimes, is what demos represent. Sometimes you literally don't need demos, like literally, we won't be submitting your demo to a client On the most literal basis, I will not be sending your client 98% of the time to our clients, but it shows us that you are a working, professional, high-level industry talent. So there's a screening.  04:13 - Anne (Host) And that you take your career seriously. I think you take your investment seriously.  04:17 - Lau (Host) There's a screening to that it's a portfolio piece, sure. So I would say, yes, you do need it, but no, you do not need it for every single individual job that comes through, because they're going to be demo reads on the scripts.  04:30 - Anne (Host) Now I'm going to counter that, because you are speaking from the broadcast sense of the word. Typically, because you cast a lot for commercials and broadcast style jobs. For non-broadcast, which is a lot of the industry as well, demos can sit on your website and be available 24-7. When you don't have time to audition, and that is the biggest point that I'd like to make is that if you do not have an audition, they sit on your website as a portfolio, as a demonstration of what it is that your voice sounds like, and it can be a way to get your foot in the door.  05:04 If somebody hears that demo and then they're like, oh, I like that voice, and then maybe they want you to audition or it just it allows people to kind of sample the product, sample the product before they decide if they want to hire you, and I think that it's a very valuable piece to have on a website. So if you're a talent that's going to do not I mean I don't know any talent that just does broadcast I mean maybe some it's a very tiny few that just do broadcast, but that doesn't do non-broadcast as well. So I feel like that demo as a portfolio. I remember when you used to go on job interviews and you had to have things in your portfolio.  05:44 I mean, I did when I went on job interviews.  05:46 - Speaker 2 (Announcement) I had a portfolio. I did too, yes.  05:48 - Anne (Host) And this is really your portfolio and I think just like— Totally agree as anything right. Presentation is everything I'm all about. Presentation, yeah, Do you know what I mean? I do? Presentation in marketing, presentation in the way you dress, presentation where you present yourself to people. I think presentation for your product is important and that is your demo.  06:11 - Lau (Host) And thank you for qualifying that, because I was speaking from a commercial mindset and it is great to have it on your website. You really should have those on your website because you're going to get private clients, you're going to get audiobook clients, you're going to get all sorts of potential clients that need to hear samples of your work. In my world, every day I will ask for submissions, commercial demo submissions for the agency but how much we're actually using them in-house once we've accepted you into the agency?  06:43 - Anne (Host) is getting minimal. But you need one to get into the agency. Is that correct? For the most part, yeah, you do.  06:49 - Lau (Host) You do because otherwise we would just have you do random reads which we want to hear produced reads. So it makes sense to absolutely have that commercial demo. But be careful, like and we'll talk about that some of the tips about like what is in that that is working on your behalf and what is working against you.  07:08 - Anne (Host) Yeah, yeah.  07:09 Right, I mean, there, you know I'm going to say, first of all, anything that is not produced right. First of all, I mean we can talk the DIY. I mean the DIY is not typically produced because, again, you need, like, if you're going to put music under it, sound effects, you need a license for that to be, you know, to legally. You know, put something on your website and I feel like, if it's not produced, then it kind of tells people that you're just there in your home studio with a mic and you didn't want to put any sound effects or music under it, and so therefore, it's kind of like a half-finished product to me. Yes, and yes, it showcases your voice, but it also showcases that maybe you could be a hobbyist or that you are not making the investment to create a produced sample, which I think is important because, again, you know, it's everything. I mean the client needs to hear what your voice will sound like in a fully produced spot, I believe that I agree, and you know what I do.  08:06 - Lau (Host) When we're looking at bringing new talent, I typically make a habit of saying who produced your demo?  08:11 Now, a lot of agents won't ask that, but I do because I know the producers and I know who's who. So I'll ask them who produced your demo? That'll tell me one thing and then, well, they certainly have to send me a commercial demo. I find one of the biggest problems out there is they're sending me the wrong demo. They're sending me, say, you know, an animation demo, character demo, which I love because we're doing more animation jobs, but the bread and butter is still the commercial for most of us. And so you have to really target, like who are you sending your portfolio to and who are their clients, what kind of work do they represent? And send them the right demo, send them the most appropriate demo. Don't assume oh, I have four other demos, is that good enough?  08:52 - Anne (Host) Well, yeah, I mean like a corporate demo.  08:55 You're like you need a commercial demo first and foremost because that's where you as an agent make your money right In the broadcast, but non-broadcast but it's not to say that your agent won't hire you for a corporate job.  09:11 It's nice to have that corporate demo. I'm going to say that the rest of the demos outside of your commercial demo or anything that's broadcast like promo or animation, even to have those non-broadcast demos is also equally as important to have on your website and to also deliver to your agent as a secondary demo, because you know they want to see that you can be versatile and you're not just a one-trick pony, uh, sort of deal, and and those demos should be should be produced properly. Basically, I'll tell you, though produced properly just as important to have a produced, even though e-learning I have people that will say to me yeah, but e-learning, you don't typically have music under e-learning. I'm have people that will say to me yeah, but e-learning, you don't typically have music under e-learning. I'm like, look, it's not about that for your demo, it's about the presentation it's about. I would much rather hear your voice in an e-learning module with a little bit of music underneath it because it helps.  09:55 It's like putting lipstick on it's just saying right, it finishes it off, it creates a nice sound and there are a lot of e-learning believe it finishes it off, it creates a nice sound, and there are a lot of e-learning believe it or not modules that do have music under them, even though a lot of them won't.  10:10 - Lau (Host) But I'll tell you what blows me away.  10:11 - Anne (Host) Medical, the same thing. Medical is the same thing. I'll tell you what blows me away, though.  10:16 - Lau (Host) How many talent we have submit to the agency for acceptance that don't have commercial demos.  10:30 - Anne (Host) And.  10:30 - Lau (Host) I say you know, I appreciate you sending me other demos, but where's your commercial demo? And they say oh, I'm saving up for it and I'm planning it next year.  10:33 And I'm like, well, then come back to me then, yeah, yeah, because that's what I need to hear. That's how specific we get in terms of having you understand what a commercial delivery is. We need to know that you understand and that you're making the investment in it as well. I think that that's really, really important. You know, one of the big sort of mistakes that I've heard recently and we've been talking about this forever, but it's been a real problem recently I was involved with a corporate casting just the other day and within the agency now these are the talent that are accepted within the agency I'm getting demo after demo, commercial demo, because they were asking for commercial demos.  11:11 They weren't even asking for reads on the script yet and, as I remembered them, I had to listen to the first like 10 seconds of the demo. They were so hyped, pitchy, selly, like over the top, wild crazy. You know big car sales and I'm thinking to myself Most of the stuff we do is really not that. Yeah. Yeah, it's much more of an earthy delivery, much more of a real delivery, and a lot of them got ditched in terms of not being submitted, just because of that it amazes me that demo producers, I think that you know.  11:45 - Anne (Host) Then you're shopping around for a demo producer. I think your demo producer needs to be current and relevant. And so when you're shopping for a producer for your demo, that you listen to other demos that are produced by them and hopefully you've done your homework beforehand and listen, like if you're going to get a commercial demo, listen to what commercials are out there lately, and not, I mean, even on the radio, right where I think radio is a little bit more dynamic, a little more, you know, focused on the voice, because there's no media outside of music behind it. I feel like you can be a little bit more dynamic with your acting, but even then it's not so high-pitched. And yeah, the car ads, yes, some of them are.  12:28 - Lau (Host) And the sound effects. Like I don't know if talent realized. We don't want to hear tons of sound effects in your first read or two. You want to hear it. So one more thing, annie, I just want to mention. I forgot to mention it earlier. When they're submitting to the agency, if I like them or their demo, I'll say, hey, can you submit me a couple raw reads?  12:46 - Anne (Host) I want totally raw reads and typically they love that you can gauge their studio that way. Absolutely.  12:54 - Lau (Host) And their voice. Like is that their voice? Was anything overly processed or overly?  12:59 - Anne (Host) Yeah, I think that's so important because you don't want to have the demo and that's, I think, that probably a lot of agents, if they don't ask for that, they'll know in a matter of like a couple of auditions whether or not you have the acting chops to be able to back up what you had on your demo or what might've been directed right for you on the demo. And we've talked about that a lot of times, and Cliff Zellman is famous for saying a demo is a promise, a demo is a promise, and so when you submit, a demo to someone.  13:27 you want to make sure that you can back that up, that you can produce that same sort of delivery. Maybe not You're not an audio engineer and you probably don't have a bank of music and you don't have a bed of music or sound effects but you need to be able to put that delivery to the test. Someone just sent me one of my talents.  13:45 - Lau (Host) He's so great. He just sent me a monster demo in honor of Halloween and it was so great and I said his name is Michael.  13:52 I said Michael, I'm just curious how much of this is processed. He said Lau, none of it. This is my voice. I was so impressed by that. I mean, I was like so impressed because once in a while we'll have an animation that comes through Actually more and more so now than last year and they'll look for those kinds of characters, they'll look for those kinds of sound effects, they'll look for that stuff. And just knowing he can produce that without overly being produced in a studio, just his voice is just really incredible. So I would say, put your natural stuff up front for a commercial agency, like, go as natural and real and authentic as you can up front and then do your high-pitchy stuff later in the demo.  14:34 - Anne (Host) Well, do that in a character demo, or do that in an animation demo, or do that or put it towards the end. In a demo that yeah put it in a demo, like you just told. Now see, I don't want, I don't want the bosses to get confused because you just talked about a monster demo, so monster demo is going to be different than a commercial demo.  14:50 Right, I demo. Right, I mean you're talking about, like I mean, a commercial demo. You would want to hear what it sounds like with the music underneath it. However, I think you have to be careful that you don't have something that's way overproduced and there will be some demo producers that might do that and so I think that you have to really listen with a critical ear. If you're you know. If you're shopping around for a demo producer, what do they do? What have they done recently? And sometimes it's hard when you're first starting out in voiceover because you don't know what a good demo sounds like and hopefully you know. If you've done your research on the Internet, you've heard examples of good demos versus maybe not so good demos.  15:34 And I'm like just because a demo exists doesn't mean it's a good one.  15:37 - Lau (Host) No, of course not, and I'm glad you brought that up too, because I have been really annoyed by overproduced sound effects, like, sometimes I feel like the producers, the audio engineers, the demo producers are showing off. And why do I say that? Number one, I don't need to hear a sound effect in every moment, in between words or sentences. I don't want that at all. The other thing I don't want is oh, I almost lost my train of thought.  16:04 - Anne (Host) Don't detract from the voice with the production of it.  16:07 - Lau (Host) Oh, I know what, it is Too long. So the demo producers are either, as you said, they're archaic and they don't know what they're doing and they're from 1962, or they're showing off because it's 90 seconds, it's two minutes, it's 2.15. And I'm like I'm not listening to that.  16:25 - Speaker 2 (Announcement) Who's going?  16:25 - Anne (Host) to listen to that right, but the producers are showing off. That's too long for a commercial demo.  16:31 - Lau (Host) Absolutely Way too long, way too long.  16:33 - Anne (Host) So I'm thinking today Not too long for a non-broadcast narration, though, like a minute and a half to two minutes that's. That's normal, of course not.  16:39 - Lau (Host) No, of course not, and so I would say the one another thing I see is sounding like one long read, the whole thing lacking variety, lacking change Range, and that's to me in the coaching in the direction. It's like understanding. It just can't be about the sound effects. It has to be authentically about the voice actor being able to internally shift the mood and a variety of styles too.  17:05 - Anne (Host) I hear a lot of demos with a lot of like first person dialogues in them and to me that the first person dialogue to me is kind of a kind of a cheat, because if you're going to produce because if you're going to produce somebody before they're really ready, because not every commercial is a first-person dialogue.  17:23 It's not like hey, I just went to John Camp Ford and it's not all a dialogue. There's a lot of more third-person, second-person, and so if your demo is not demonstrating that and me as a casting person, I think you also love that A lot of times demo producers will throw those first person reads in there. Like the whole demo will be a first person read and I'm like, well, that's not really showcasing the entire range of acting that I would need for a national commercial, which is not all. You're not on camera actor there. Typically it's not always first person, it's like you're talking about a pharmaceutical in the third person. So how do you sound in that? So your demo has to have the styles that are out there now and not just one style and that one style right, that first person dialogue may show a lot of characters that you can do and it can show a range of emotion, but it doesn't show your acting in something that's not written in that style.  18:19 - Lau (Host) Good point, yeah, totally good point. And what about what's, as you're saying, what's trending out there now, like I'm really tired of hearing about, you know, maybelline, mascara or Lexus, if I hear another read with some of the same products over and over again or Dove chocolate it's kind of like guys.  18:38 I know that you didn't do those commercials because I recognize the script from the online library that a million people have. So, being very careful, you don't need to have a real job on your demo. You can have studio reads, that's fine, but it has to be updated, thought out in terms of what are the trends of today, like, maybe we don't eat as much chocolate, maybe we're having, you know, sugar-free chocolate, maybe it's, you know, I don't know whatever it is, but what is trending today and what makes you sound relevant to being a working talent today versus something from five or 10 or 15 years ago?  19:16 - Anne (Host) It's so interesting that you were talking about the L'Oreal makeup read, which is, it's always that one sound, that kind of, you know that sexy kind of L'Oreal Maybelline, and so what's interesting is how has that trend changed, right? Has it changed? Are there now more or maybe different brands that are out there that are not using that particular sound? I just because I know you referenced Dove chocolate and so I was just referencing the makeup commercials as well, right, which really took a long time for them to change, and now they're slowly changing Totally.  19:49 Now they're changing, so I don't need to hear that typical read of that promo-y sound. That's right, it's nice to hear something that's different, that is relevant for today, I mean, and you know how I know a change is occurring.  20:04 - Lau (Host) It's what we said in the last podcast that we just recorded. It's about reading your specs. So, for instance, we just got specs in for a corporate audition. For instance, we just got specs in for a corporate audition and in there, as we're reading it as the agents, it says no vocal fry, please. What does that tell me? They don't care about your voice. They could care less about you. It's about that delivery of like hi, I'm talking about finance. Now I'm on a vocal fry. I can't even do it, but I'm on a vocal fry. They don't want that anymore. They want more real people, and more real people do not speak on a vocal fry, yeah.  20:42 - Anne (Host) And more real people. Right, I will say. I will say, more real young people do talk a little bit with upspeak and so that is a trend that we got. I I've been. You know I'm traditionally against that, but again, I'm doing a lot of non-broadcast narration stuff and I feel like, if you can't use upspeak yet, because even even younger people, when I, when I've I've done a lot of research in the corporate world when they're speaking publicly about their product is there's not upspeak, they're more authoritative and that, yeah, it's very interesting because, you know, I'll let it happen once in a while in a script, because if the voice is young, it's a natural occurrence and a natural tendency. But if you're in your 50s and you do upspeak, I'm not, no, it's generational, it's generational.  21:29 We don't tend to do that and you might hang out and you might have kids, you might have kids, you might have kids. That's up speak. And then that kind of affected you. However, when you're delivering a commercial on I don't know, depends Up speak. It just doesn't belong there, it just doesn't. It just doesn't so, it doesn't belong with the demo. So, understand the styles and the trends, and that's something that anybody can do for free by simply watching commercials, by simply surfing the internet and looking at corporate you know, corporate videos and there's any genre looking at animation. I mean really just study and listen to what the voices are.  22:04 - Lau (Host) I got another tip. Yeah, I got another tip about that. Gone are the days where we used to have completely separate demos for English and then another language. Now you can certainly do that and that's great, but you don't have to. If you're making a commercial demo, I love a bilingual demo or a trilingual demo. So if you speak more than one language, I need to know what it is. If you do authentic accents, I need to know what it is.  22:25 - Anne (Host) I'll even put it on a corporate demo or a medical demo because I'll put and what I'll do is maybe I'll do a dialogue spot that has you'll be talking to the younger son in English, but then you'll turn to the father, who doesn't speak English and only speak Spanish, and then have the rest of the conversation in Spanish, and that spot alone showcases that this talent is bilingual and so that works. So not just for commercial but also for non-broadcast, absolutely.  22:53 - Lau (Host) Yeah, and we're in a global world, so I know you know that ad campaign. Thank you, captain Obvious. You know that was at Travelocity or something, kayak or something. I feel like it's this one. I talk to talent. It's like Not only put your best suit forward, and forward first, but do the things that you would be cast in Like. Don't do stretch pieces, don't do like if I'm 35, don't try to do a 70-year-old piece.  23:22 - Anne (Host) Don't do that. I'm saying if you're like in your 50s, don't do a millennial read on your commercial demo.  23:29 Because, first of all, it doesn't fit. I think we were talking about this on the last podcast. It's like I don't audition for 20-something voices, even though I have a younger voice, because it's not just about the voice and the sound of it, it's about the style and it's about the authenticity of it as well. Right, which is we understand why we want authentic voices. Right, it makes sense that your life experience dictates the style and the tone and the gravitas and the subtext and the acting that goes into delivering a message.  24:01 - Lau (Host) Save it for your character demo if it's appropriate, yeah, and your coach will help you to see. If it's appropriate, put it on your character demo, right, because we're back to having adults doing kids' voices. Now for character work we are. So you know you got to keep your finger on the trends, keep your finger on the pulse of what's happening in the industry and what's going on and reflect the work that you would actually do and be cast in.  24:25 - Anne (Host) Adults doing kids' work is. There's a lot of times that tends to make it easier with the legal aspects of things. Is that not correct? Yeah?  24:34 - Speaker 2 (Announcement) It does.  24:34 - Anne (Host) So, like an adult, can work longer, can work different hours, and that also translates to on-camera as well, right Lau? Yeah, though I'll tell you we don't have as many problems in the voiceover world because the jobs tend to be quicker.  24:46 - Lau (Host) Oh, yeah, unless they're running a recurring character. They tend to be quicker.  24:58 - Anne (Host) It's more the on-camera stuff. Yeah, right, that's much harder, so we'll do 18 to play 12 or 19 to play 14, because of all the laws involved with education. Well, that's the way it's been for such a long time, right, yeah, forever, forever and ever, yeah, forever. And on camera, absolutely.  25:05 - Lau (Host) But, as you said, like you do your due diligence, you do your homework. We have to do our homework too, all the time about our industry, what's cooking, what's happening, what are the jobs in the genre we want to be going out for, and that should be reflected on your demo, not the old read from you know, the old announcer read from 1991. Right and I'm getting.  25:30 - Anne (Host) Yeah, absolutely. I mean, in addition to all that right, what should be on the demo? I just have an increasing number of people who are like, well, I can't afford my demo but or I can't afford, well, I can't afford the training, but I want to get a demo so I can start working. So it's kind of like what came first, the chicken or the egg. It it's tough because you really need the training so that you can execute and deliver the spots on your demo. That will get you the work. And so if I'm a demo producer, that's just going to direct you into those reads. By the time you get into your own studio you're not going to be able to recreate them.  26:08 - Lau (Host) And we've covered this in numerous episodes of VO Boss in that like don't come in with desperation, don't come in with no capital, don't come in at a deficit. Come in where you've got a little bit of abundance and say I want to get the most effective portfolio product that represents me, because I know I'm going to get a return on this over time if it is industry standard and represents me well, if I DIY it, you get what you pay for.  26:35 - Anne (Host) Yeah, exactly, and you know, I do have a number of students as well who say that I'm saving up for a demo, but I want to start working and so I want to get an agent. And what most people don't understand this is slightly off topic but kind of in a parallel path Most people that come into this industry not understanding that an agent primarily deals in broadcast. So you can have an e-learning demo, but you're not going to get an agent with that. You need to have a commercial demo or whatever the agent specializes in for the most part, any type of broadcast. So you can't just you have to have a great demo, a great commercial demo, to land an agent, and then, once you have an agent, that's not going to be 100% of your work, or nor should it be 100% of your work.  27:18 And so most people are like well, I'm going to direct market and I'm like, do you know how hard it is to direct market? And I'm not saying that you should, because most people right now are saying nay to the pay to plays, right, because it's like, oh, I don't like this pay to play. I feel like they're taking my money, it's hard, I can't get a job, but also you need to, you need to present yourself with opportunities and so, yes, direct marketing is great, but that's also, that is also a path that doesn't happen overnight. Direct marketing. It is very much a timing issue with direct marketing and it's going to be.  27:48 It's a marathon, not a sprint, and that can make people kind of put off and you know they're going to be frustrated, they're not going to be able to get work right away, and that's, I think, that cycle that most new people coming into the industry they go through. They have that cycle where they can't afford, like they have that illusion in their head that it's just talking behind a mic and it doesn't require a lot of work and so therefore, they can create their own demo so they can save some money and then they can start getting work right away. And unfortunately, that's just not how typically the industry works.  28:24 - Lau (Host) No, it's not.  28:24 They're going to have to adjust and really manage those unrealistic expectations those unrealistic expectations, because I'm quite certain that many, many students around the world who are going into programs to be an accountant, a doctor, a lawyer, are not coming in with tremendous amounts of money, but they have to be resourceful to figure out how to get their education so that they can train and get an internship and work their way up. And it's the same with us. We're just on a tighter timeline. We don't need to go through four years of school or eight years of college necessarily, and that's a great point.  28:56 It's a great point Most people.  28:58 - Anne (Host) they think there's no time involved. So it's like that's right, but there is some time involved. I mean, there is some training involved. But yeah, I think what a great discussion Again. Yet another discussion on demos. What a great discussion again, yet another discussion on demos. But, guys, hopefully it's one that's current and relevant now for you, those of you out there that are really thinking about getting into this career just reiterating how important your demo is in order to help you to move forward and have a career and get work broadcast, non-broadcast, whatever genre.  29:30 - Lau (Host) Yes, yes.  29:32 - Anne (Host) Fantastic. Thank you, Lau, for having this lovely conversation. I loved it. I'm going to give a great big shout out to our sponsor, ipdtl. You too can network and be like bosses and boss superpowers like Lau and myself. Find out more at IPDTLcom. Guys, have an amazing week and we'll see you next week. Bye, see you next week.  29:54 - Speaker 2 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at VOBosscom and receive exclusive content, industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution, with permission. Coast-to-coast connectivity via IPD TL.   

El Gobierno acaba de apuntar al último rincón libre del mercado del alquiler: las habitaciones y los contratos de temporada. Bajo el eslogan de “acabar con el fraude”, PSOE, Sumar, ERC, Bildu y PNV han pactado una reforma estatal de la LAU para que el precio de las habitaciones quede limitado: la suma de lo que cobras por cuarto no podrá superar el tope del piso entero, los temporales de hasta 12 meses tendrán las mismas garantías y controles que un alquiler normal, y se prohíbe cargar al inquilino IBI, seguros de impago y otros gastos que muchos usaban para salvar la rentabilidad. Conclusión: el Estado cierra la puerta a alquilar por habitaciones y por temporadas a precio de mercado y da otro paso para convertir tu piso en una especie de “servicio público obligatorio” donde tú pones el capital… y ellos deciden las reglas.  ✅¿Necesitas un PSI (Personal Shopper Inmobiliario) para acompañarte a invertir en bienes raíces en la Com.Madrid?: magnatesladrillo@gmail.com ✅Si vas en serio «La Biblia del Magnate del Ladrillo» está AQUÍ ✅

想更系統地掌握AI嗎？歡迎通過以下鏈接報名Dr.Lau的課：https://jooyticket.com/automation-cl/付款時輸入我的專屬折扣碼「CHERYL」，還可享有RM200折扣！Support the show合作邀約 hello@cheryllee.myFollow YouTube: Cheryl Lee Xin YiFollow Instagram: Cheryl 李欣怡Follow Facebook: Cheryl Lee Xin YiOfficial website: cheryllee.my

In many East Asian cultures, childbirth marks not just a beginning, but a sacred period of recovery known as Zuò Yuè Zi, or “sitting the month.” Rooted in Traditional Chinese Medicine, this postnatal confinement practice emphasizes rest, warmth, and nourishment to restore balance and vitality after delivery, which is said to deplete the mother's qi, or vital life force. In the modern and busy world of working mothers with unpaid maternity leave, is it possible to incorporate facets of an ancient rejuvenating practice into the home?In this episode, we are joined by Dr. Kristal Lau, MBBS, MPH, BMedSc. Dr. Lau is a board-certified physician with over a decade of experience, the leading postpartum wellness consultant, author of 'Postpartum 30' (double winner at the NYC Big Book Award), and the founder of Bridges in Health and Mama's Wing Woman, a consulting company that creates wellness experiences for individuals and families and provides postpartum planning, coaching, and wellness programs to new parents and their families.Dr. Lau received her MBBS from the University of Queensland in Brisbane, MPH in Health Care Organization and Policy from the University of Alabama at Birmingham, and General Medicine residency in Australia. Dr. Lau has then become an expert in postpartum practice, having served as an Advisor and the Co-Chair of the Women's Health Lifestyle Medicine Initiative at European Lifestyle Medicine Organization, Postnatal Retreat Development Consultant at Sanu, Family Resiliency Expert at the United States Army, and Director of Education at the Military Birth Resource Network & Postpartum Coalition. Dr. Lau has been featured on Goop, Medium, CEO Weekly, KTLA, Exeleon Magazine, EIN Presswire, and ABNewswire.Follow Friends of Franz Podcast: Website, Instagram, FacebookFollow Christian Franz (Host): Instagram, YouTube

BOSSes, Anne Ganguzza is joined by her superpower co-host, Lau Lapides, to discuss a critical issue in the voiceover industry: brand alignment and navigating controversy. Sparked by the American Eagle/Sydney Sweeney campaign, the hosts explore how a voice actor's ethics and personal brand are intrinsically linked to the clients they represent. They emphasize that in the age of social media, protecting your digital reputation is non-negotiable for long-term career success. 00:00 - Anne (Host) Hey bosses, Anne Ganguzza, you know your journey in voiceover is not just about landing gigs. It's about growing both personally and professionally. At Anne Ganguzza Voice Productions, I focus on coaching and demo production that nurtures your voice and your confidence. Let's grow together. Visit anneganguzza.com to find out more.  00:25 - Speaker 2 (Announcement) It's time to take your business to the next level, the boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a boss a VO boss. Now let's welcome your host, Ganguzza.  00:47 - Anne (Host) Hey everyone, Welcome to the VO Boss podcast and the Boss Superpower Series. I'm your host, Anne Ganguzza, along with my awesome superpower co-host Lollapetas.  00:56 - Lau (Guest) Hello, Annie, it's so good to be back. I love being in this Zoom room with you. Or it's not Zoom, but it's Riverside, but I love being in this space room with you. Or it's not Zoom, but it's Riverside, but I love being in this space with you, I know I look forward to it.  01:10 - Anne (Host) We get to see each other and it's been so long it's fabulous when we get back together because we have so much to catch up on. I know, I know oh my gosh.  01:19 - Lau (Guest) By the way, I love your outfit today. You look great.  01:23 - Anne (Host) Why thank you my, my jean shirt or my denim shirt? No, what's really cool about this is this is kind of well, I should say it's it's. It's deceiving, maybe because it looks like it's denim but it's actually like French Terry, and so it's super, super comfortable. But you know, speaking of jeans, I was going to say what color are your jeans.  01:50 Well, you know, I have good jeans and advertising campaigns for our businesses. I mean gosh, it's all over the news. I mean the American Eagle campaign with Sydney Sweeney. I mean, you know, she's got good jeans, and so it's a really interesting debate. I think it's something that we could absolutely relate to our own voiceover businesses in terms of associating with now, first of all, like associating with a brand that may or may not be controversial or may or may not be on the side of you know where your feelings align. I think that would be a really, really interesting topic.  02:30 - Lau (Guest) Lau I love that topic because we hear that word floating in the industry now for quite a while branding. Branding is connected to marketing, is connected to selling right and how you represent yourself and who you're connected to. That helps you represent yourself as well. And making some of those concerted decisions on who you want to be attached to and connected to, that really help you design your ethos of your business.  02:58 - Anne (Host) Well, they can help you. They can help you be successful in the industry, or maybe not. They can help you be controversial in the industry, or maybe not. They can help you be controversial in the industry. It's such an interesting. Now you know one thing about that campaign for me, when I first saw it, I didn't think anything of it, because I am a woman of a certain age and I remember the Jean campaign with Brooke Shields and Calvin Klein, and I just remember it, with Brooke Shields and Calvin Klein, and I just remember it, you know. And so, as a girl in, I think it was in elementary or high school. I can't remember when that came out, but it was the 80s, right? All I know is that I wanted a pair of Calvin Klein jeans because I wanted to look like Brooke Shields. Now today, didn't we all did not we Right?  03:41 No, I thought nothing of it, right, I thought nothing really horrible of it. But then it did become controversial because obviously she was, you know, she was young when she did that ad and it was a little bit sexually, you know, promiscuous, some people would say. And so, you know, today that type of advertising wouldn't fly and I think people are comparing Sydney Sweeney with that, because of she's got good genes, you've got an attractive female and a pair of jeans, and you know, of course, american Eagle says you know, it was always all about the genes, it's not always not about the, not about the misconception that jeans J-E-A-N-S is similar to G-E-N-E-S, so there's a lot to unpack there.  04:25 I don't know how did you react to it when it first came out? What were your thoughts?  04:29 - Lau (Guest) Well, you know what's so funny about the Brooke Shields thing that you bring up? That's the first thing I thought of is that everyone who's outraged about it is not old enough to remember the Brooke Shields and that's what they were really copying. I think that was a copycat from 45 years ago Going back to the old let's sell.  04:45 Yeah, but if you remember, annie, it was there was another controversy hooked on to Brooke Shields at that time, based on that commercial, because that was right around the time that she had shot Blue Lagoon, blue Lagoon, yeah, and she was only like 11, 11 or 12.  05:05 - Anne (Host) I think it was 13.  05:05 - Lau (Guest) Well, by that time she was about 13. But she was still very young and the mother was managing her and so there was a huge blowup and controversy about this young girl doing these so-called sexually explicit commercials about my sexuality and my body, about my sexuality and my body. And I remember thinking, and when I saw it again I thought wow, how did she get those jeans on without showing us anything, right in front of us, Like I was amazed and, as a young girl, I yeah, it was a Cirque du Soleil act.  05:35 It was amazing. Yeah, you know, as a young girl, media is so influential right.  05:41 - Speaker 2 (Announcement) So, influential.  05:41 - Anne (Host) The thing is that, as voice actors, we really have a part in playing into the media, right, because our voices are representing brands, and for me at the time, I didn't consider anything wrong with it. All I know is that I wanted to look like Brooke Shields in those jeans and therefore I wanted the jeans. And I'll tell you what it was an expressly popular campaign that made Calvin Klein a ton of money, a ton of money.  06:09 - Lau (Guest) But if you look at it now as an adult and you listen from a voiceover perspective, her voice was very, very young very kidlike and very straightforward. She was trying to be, if anything, a little bit smart or intellectual versus overly sexy and centralized, but yet the perception, the visual right Was that was that.  06:34 - Anne (Host) That's exactly it. So there's a lot of, there's a lot of things there, and if you were the voice of a campaign that was controversial, right would. If it was something you believed in or didn't believe in, is that something that, as a voice actor, would you accept? And I think, or an actor, I mean any kind of role right? Do you accept those roles if they align with your belief system or your morals or your ethics or whatever that is, and how can it propel your business forward or not?  07:07 I mean, there's just so much that we have choices in, and as well as influence in, as voice actors, and we think sometimes we're hiding behind this microphone, but no, we're still a very intricate part of a media campaign. And so, really, as a voice actor, how do you decide? Really, is you know, oh, this could really propel my campaign if I decide that I want to align with this brand and be the voice of it, or sometimes it's not even about being the voice of it. It's maybe working with that brand in any capacity. You know, how is that going to affect your business? Because people have opinions, people always have opinions, and gosh aren't they all over the place.  07:56 - Lau (Guest) Now that social media is prevalent, they're the Wild West we like to call it right, Annie, it's the Wild West.  07:59 And I would say in my mind it's likened to all the people, not just women but men too. In my mind it's likened to all the people, not just women but men too, but certainly all the women, who have said for many years you know, I am interested in doing romance novels, exotica work, triple X, adult swim as a voiceover talent, but I'm concerned about how my business is going to be viewed. I'm going to use an AKA, an alter ego, another name, another business name, and so I think that voiceover talent have been making these decisions for a very, very long time. Even though we don't have the visuals for the voiceover talent, we may have the visual for the work and so for the work itself may give visuals and vocals that are not aligned with the talent's vision of their business, and sometimes you don't even know.  08:49 - Anne (Host) Sometimes you don't even know, right. I mean you can tell a lot by the context of the script sometimes, but sometimes you can. You don't know where that's going to end up. And again, now that makes me think of, like, you know deep fakes and AI and you don't know where your voice is going to be used. But if you are, you know, an active participant and you are aware, I think really the best thing you can do if these things are concerning to you, right, the more you know, the more you're educated, the better off you're going to be, because you can make those decisions to determine if you want to be aligned.  09:24 I mean there have been careers ruined by, you know, wrong brand alignment, and gosh knows with today's you know political climate. I mean it comes down to and you know what, laura, it comes down to if you think about it. We're in a business. We need to make money, right, and guess what? So are companies that are advertising, right. They're in the business to make money and so a lot of times our decisions are based on money. Yeah.  09:52 - Lau (Guest) Wake up, smell the coffee right, and it's like who is to judge what one person or one brand identity or one company should or shouldn't be doing. It's really in the eyes and ears of the audience. It's really the perception. So, as many people really disagree, fervently disagree and are angered and outraged by that particular American Eagle campaign, you have a mass swath of people who are buying everything.  10:24 - Anne (Host) That gene that she is, they can't keep. I'm just saying or buying everything that gene, that gene that they can't keep it on the proverbial shelf Exactly.  10:29 Right, Exactly so yeah, and it's interesting because I read a couple of. I read a couple of articles about it and they, of course, american Eagle says it's all about the genes. It's always been about the genes and in reality it kind of is like a return back to marketing. You know, marketing for the last few years has been very concerned with, of course, the shift, notice how the shift in cultural trends, right to making sure inclusivity, diversity, you know, every body type is shown and everybody is represented, which I thought was great. I mean I love that. But apparently, like, if you're in the business, I mean, did it sell? I thought it did.  11:09 Personally, I aligned with it better and I bought, I consumed, just like I did before. However, there is a a huge, there's a huge another aspect to this to unpack, about influencers, right, I mean, in reality, I mean she's a famous actress, right, and so just like Brooke Shields. So if she's going to wear these jeans and feel good in them and look good in them, then that's going to really entice other people to buy and you know, or not, right? And If they, I mean how many times? Lau and I I have very strong ideas about like companies and what they do with their money. So like if they're known to, you know, I don't know, do bad things. I will not support of things that companies do behind the scenes and therefore, when I do find out, I then have a choice, to make a decision whether I want to consume that, you know, buy that or not. And I think that, again, as a consumer and as a voice actor, the more educated we can be, the better decisions we can make to determine if we want to align with that.  12:21 - Lau (Guest) I would totally agree and I would say the irony to me about talking about influencers online is why are they called influencers? Yeah, yeah, they're called influences because they have powerful influence over mass swaths of people who want to look like them, sound like them, live like them, whatever. Of people who want to look like them, sound like them, live like them, whatever. So if we were to make a value judgment, we would have to make it evenly across the board between network television and social media and voiceover and radio and TV, that that is just a no-go, which, of course, no one's going to do. We're not going to do that because you know it's a free country and people are going to run their businesses how they run their businesses girls on Instagram to get that facelift or to get those eyebrows or to get those lash extensions, to feel good about who they are.  13:27 - Anne (Host) Well, oh no, okay, you bring up a really important point here, right To feel good about who you are. So what I do because you know I do a little bit of fashion influencing- I know you are an influencer, actually.  13:39 - Lau (Guest) My well, oh my goodness, put your influencer hat on.  13:42 - Anne (Host) So my influencer hat is and I've been, I've been multiple sizes, I've been big and I've been small, right, I mean, I don't know, I've never considered myself small, but that's a whole nother podcast. So, depending on the size right, I followed different influencers. I found and for the most part, if you think about it, when I was a little bit bigger, I had an influencer who I loved her because she was bigger and she was confident and she was beautiful. And I said, gosh, if I could just be confident. And you know, and as a matter of fact, people in my life I've known, I'm like gosh, she's bigger and she's confident. I wish I could be confident like that. I could be confident like that. And then when I, when I started to lose weight, then I it's funny because I switched, following the one influencer who her body type was a little bit bigger, to an influence it was a little bit more my, my body type size, or maybe even smaller, because it was then helpful, it was motivating for me, or inspiring to me.  14:36 And so, in reality and in every instance, right, the influencer made me feel better about myself. Right, I was either motivated or inspired. To well, people are going to say it might be healthy if you say, oh, I want to look like them. But in reality, when it came to my weight, my body size, it was more about becoming healthy. I needed to become healthy, right. And yeah, the clothes were pretty. I didn't have that option with these clothes at this particular size. So, yeah, there was something inspirational and motivational. And then there was the girl who I still follow. She's a bigger girl who is just beautiful at whatever size she's at, and it's really the message that she's saying. That's really the most important thing.  15:17 - Lau (Guest) But I have a question about that, annie, and I know we're getting a little farther away from the voiceover aspect, but from a performance and business aspect, voiceovers need to be thinking about all of this and how you represent your brand and how you think about what you do. Well, absolutely, my question is you have a lot of these people, including, like Lizzo, for instance she was the first one that came to my mind, yeah who made it very public that they lost a ton of weight and that they are very happy they did that and very happy that they're healthier and very happy at whatever they're at.  15:51 - Anne (Host) Yeah.  15:52 - Lau (Guest) So it makes you question well, wait a second, is this for branding sake, to have those brands out there because they know, like a big part of the population is, say, has a certain look or a certain size or a certain sound? Well, yeah, the biggest demographic, the biggest demographic, right? Yeah, versus the reality of the person actually feeling good in their life, I'm going to argue that they're performers and they're performing and that many of them don't feel good about some of the choices they've made in their life and therefore they go and change it. Or their company representatives say you need to change this brand because it is not resonating with the majority of our audiences and we will never know.  16:38 Never know how much influence comes from which direction. We will really not know, that right.  16:44 - Anne (Host) Absolutely. I mean and again this is I mean for bosses out there if you think we're going off topic, in reality we're not, because we're not talking about marketing and advertising, which directly affects us. I mean, that's where we I mean our voices are representing brands that have fluctuations in the way that they advertise and in the way that they market their products, and it's important for us to understand where it's headed, where the trends are and really what is it that matters. And then, what is it that matters to you as an actor, being a part of that campaign, resonating with a brand that may or may not be controversial? Right, Brands change.  17:26 - Lau (Guest) This is where you have to forgive yourself they shift and change trends over time, because that's the natural state of being a human being, is that you age, you change, trends change whatever. Another one that comes to my mind one of my favorite original rappers and then became actress was Queen Latifah. Yeah, yeah. Who I loved for so many reasons. Yeah she's awesome Right.  17:50 - Speaker 2 (Announcement) Rubenesque woman beautiful woman.  17:52 - Lau (Guest) Well, she went on a whole campaign I can't remember what it was, whether it was Jenny Craig or Nutrisystem or whatever it was, but she became the brand ambassador of them to lose weight and she had trouble doing it and she never reached the target weight. When she didn't, they dropped her. Yeah, yeah, okay. So my point is was that her and it made you feel like, it made me feel like you know, when you use Tide or use a laundry detergent and then, all of a sudden, you've been using it and it's been good for years, and then it's like no, all new developed. You think, what have I been using that whole time? It wasn't really good. That's how it made me feel.  18:31 - Anne (Host) Well influencing you know and marketing advertising, influencing in their way influencing right as opposed to, and I think that's why influencers became really popular, because it was real people, it wasn't companies. Well, it was the illusion of real people, right?  18:47 Well, they are real people Right right, oh look, I'm not being paid for this but a lot of times, influencers, they get a little bit of a cut. I mean I, you know, hey, I got a little bit of a cut. I'm encouraged to, you know, try this top or this, you know, this pants set or whatever, and then talk about it so that I can get a little bit of a break or a deal. But I creatively love to curate outfits and, to be quite honest, the amount of time I spend at this point because I don't do it full time the amount of time that I spend, you know, putting together videos and stuff, it takes a lot of time. That's my, that's like a, that's a day of my weekend in reality, and I don't make I don't make half as much money as I do when I'm doing voiceover. So for me that's just like a passion project.  19:31 But what is it that voice actors you know need to do? I mean, I think that you either don't realize that you are an intrinsic part of a brand that could or could not be, you know, I mean, you probably know if they're controversial. It's the same thing with political voiceover, Right, we talked about this like not so long ago. What's you know? Are you on a particular side of the fence? Are you? Is your voice, your voice being speaking things that align with your, what you believe in and your morals and your ethics? Or are you just voicing things to make money, because it happens to be something that pays the bills?  20:09 - Lau (Guest) Right and really paying attention to what your audience is identifying your value as. Like I can come in and say, well, I'm going to provide this, I'm going to do this, but I may not have the calling for that. I have to pay attention. Where is the calling of the audience?  20:27 And then go to the. If I want to go to the full extent of that brand, give them awareness of what it is, awareness of my, you know, professionalism, my ethos in it. Whatever that is, it's not always what I'm starting out to be is what it's going to be. I see that all the time like a mismatch of brand knowledge. Someone would say, well, I do this all the time, I play this all the time and I say, right, but what are you being hired for? What you're being hired for might be very different than what you do in your side life.  21:01 - Anne (Host) And if you think about it, like if you align yourself with a style of voiceover that is, you know, has a message, right, that may or it on levels with brands that I've been associated with, where, if you're not careful and you know I mean with the VO Boss podcast, right, if you're not careful people will associate you with those brands as well, and you know that can be detrimental to your career, to your livelihood, and that is something it's sometimes. It's not an easy decision. It's not an easy decision to make. It's not an easy decision.  21:42 - Lau (Guest) It's not an easy decision to make. It's not an easy decision. You have to realize you're performing a part. So whenever you are in that what I call the awareness zone that's like the industry awareness of who you are Like I feel like I play two parts. One is the real person in the larger world, who may or may not know me, and then the person, the mama, who knows me, who people know me in the larger world, who may or may not know me, and then the person, the mama, who knows me, who people know me in the industry. And when I play that role, I know I'm always to some degree on, you're always on and having that awareness that there is a performance value to what you do. How?  22:15 - Anne (Host) interesting because your brand, since I've known you, has evolved into Mama Lau, which you know what I mean. Because I want to say it's because I started calling you Mama Lau, because that's what I called my mother, and then it turned into Mama Lau, but now as Mama Lau, known as Mama Lau in the industry. Right, you now need to be considerate of. Okay, what does this brand speak about me? And if you were to do something, that would not be Mama Lau.  22:42 - Lau (Guest) Right, so I'm not going to go to Vegas and become a stripper anytime soon. Are you going to?  22:47 - Anne (Host) be an erotic. I mean, would you be an erotica audiobook narrator? I mean, well, maybe not under Mama Lau but, here, you are here you are with. Unless you're going to be a character voice, right, here you are, I know your voice. And unless you're going to be a character voice and I don't recognize that voice, right, our voices are recognizable.  23:07 I mean, some of us have immediately, like I know, this person's voice from you know long you know, far, far away, I can tell that voice and I have that with some of my students that have distinctly unique voices, right, I'm thinking they probably can't go into you know erotica character work if they don't want to know other people to know about it. Yes, you know, if you want other people to know about it, that's fine. But for you, under that brand, you have to. There's a responsibility to that brand, right?  23:34 - Lau (Guest) Yes, there is.  23:34 - Anne (Host) In what you do. It reminds me of. It reminds me of oh my gosh, who was it? Who was it? He was a comedian. He was fired in 2011 due to offensive tweets he made about the Japan earthquake and the tsunami. And it is, oh my gosh, gilbert Gottfried. There you go.  23:50 - Lau (Guest) Oh wow, how could we not?  23:52 - Anne (Host) remember that, yes. I know right Gilbert Gottfried.  23:55 - Lau (Guest) I didn't know that.  23:56 - Anne (Host) Yeah, oh yeah, and it was. It was. That was, I think, when it first, at least when I was in the industry, when it first became evident that social media and what you do outside of your job in voice acting, will have a direct effect, if it's offensive enough, right On your job. And you know, nowadays people have to be careful on social media what they're posting. And because companies can now go check out your social media, because companies can now go check out your social media, and so for you as a voice actor, again, it has to come to mind that if you are known, or if you are known in social media, now your actions, if people were to look you up on social media and find that you're associated with a brand or find that you are, you've done something that I don't know is not something that aligns with their ethics right, it can affect your business.  24:52 - Lau (Guest) So in a way, annie, it's kind of like we're blurring the lines of our real reality of living a life as a person, with our business and our performance career, that there is kind of that expectation that you sort of represent it all of your life, all of your life, and you're not going to go through anything. That's antithetical to that image that is being put out there, which I mean. For me it's easy because I'm kind of like, I'm a mama type anyway, but for the average person I think that would be hard, that would be a challenge.  25:27 Mama Lau as mama Lau would not go to a Coldplay concert and get yourself caught on the probably not. I'd be the person standing outside with food, waving my hand, going what did you do in there? What did you do?  25:37 - Anne (Host) And we should bring that up, because yet there's another like CEO of you know, of a company, and then the director of HR, the director of the people I forget what they call it now. I'm like director of HR, no people, ceo of people. Forgive me for not knowing what her title was. She was HR, wasn't she?  25:55 - Lau (Guest) The head of HR. Yes, Like top HR, you know? Executive.  26:00 - Anne (Host) I think PMO is a people. I forget what it is, but anyways, see it, you know. So, really, if you think about it, what did that do those actions do to the brand? Right To the brand. Yes, they say all all, what is it? All publicity is good publicity, but do you think that this was good publicity for the company?  26:24 - Lau (Guest) No, no, I don't either. I don't think there was any redeeming value to that and that felt to me it could have been happenstance, but it felt like a setup. It felt like someone tipped someone off to put them on the jumbotron.  26:37 - Anne (Host) Oh interesting, I didn't think that it didn't just feel random.  26:40 - Lau (Guest) There was like, like, how many people were there?  26:44 - Anne (Host) 50,000? I don't know. I think I, I didn't think it, I don't think they were set up, I mean, unless you have somebody in the company that's like. Well, I mean, first of all you have to, you have to know the person that's, you know, focusing on the Jumbotron and say, oh my God, wouldn't it be funny if you know I hate that guy or whatever? But think about it?  27:01 - Speaker 2 (Announcement) I don't know.  27:02 - Anne (Host) Your actions in life right can be directly affected these days because of social media, because of the now back in the day when I had to walk to school 10 miles up a hill in the snow. When there wasn't social media, it was a little easier to get away with, I would say, indiscretions like that.  27:24 - Lau (Guest) But now, maybe even now with being a voiceover talent. You've got that anonymity to some degree.  27:31 - Anne (Host) But not as much anymore. I'm saying not as much anymore, remember, because voice actors, we're all about social media, aren't we? Because, guess what we need to get work and what are we doing? We're trying to showcase're all about social media, aren't we? Because guess what we need to get work and what are we doing? We're trying to showcase our brand on social media, and when you do that, you really have to be prepared for repercussions. If you are going to voice a campaign, associate yourself with a brand that may be controversial, and you know something that is a concern for your business. That may not have been so much of a concern maybe 20, 30 years ago.  28:06 - Lau (Guest) It's true, because I think with probably the third generation now, or what would we say, maybe the second generation now, millennials and Gen Zers, who are digital natives, growing, up online on social media like their life online on social media like they didn't see the commercial.  28:23 Their life- is on social media. So their lines are very blurred, like I would say, arguably our generation x not as blurred like I know. When I was younger I used to think, oh, the Brady kids are really like that. Now I realize they're separate people, right, they're separate people than what they did in the sitcom. But nowadays it's like oh, everyone thinks that anything you do online is you, is really you, and so it puts a lot of pressure on those people to say okay, am I in alignment with the kind of brand that I want to have out there or not?  29:02 And a lot of people will say well, you know what do they say? All good, all press, bad press, negative press is still good, press, it's still good. I don't know about that. I don't know about that. I don't think that's true. Yeah, I don't think that's true.  29:15 - Anne (Host) I mean in a way. I mean in a way who said?  29:19 - Lau (Guest) that. Beyonce, who said that Someone big said that I don't even remember, but in a way, american Eagle is benefiting from the controversy.  29:27 - Anne (Host) However, there's really good arguments on either side of it. Again, they're promoting to a crowd you know who are their best sellers. Do you know what I mean? Because, as I and you also talked about in the beginning, we have a certain familiarness with advertising from 30 years ago, right 40 years ago, and so for us, maybe that ad was like oh okay, I didn't think anything of it, but then all of a sudden, because of the younger generation, right, who are like hey, what is this? Or you know, or why, especially with political things going on, what do you mean? Genes like G-E-N-E-S Is that? Then it became a political thing. So I think that we have to be really, really careful, as voice actors on social media, to make sure that we're aware, be aware, educate yourself and be aware of what your voice, what your presence, what your social presence means to your business.  30:33 - Lau (Guest) And I also would add on to that, annie, that we just had a discussion because my group was in New York showcasing of actors and I was really tough, talk about mama, tough. I was really tough and saying listen, I'm just going to tell you this right now If you don't go into your social media right now, before you audition for those agents, those casting directors, those producers, and clean it up and scrub your stuff, scrub it.  30:57 Get reputation defenders. Do whatever you need to do to scrub it. Keep your ideas and ideals separate, because you don't want to alienate people and their whole audience before you even meet them and audition for them, do you? I mean, do you to be a really good note to leave on Digital Digital?  31:25 - Anne (Host) We are digital. We are digital.  31:27 - Speaker 2 (Announcement) Your footprint's there.  31:28 - Anne (Host) Digital is traceable, just saying Digital is traceable, you are. Have you ever tried to? And again, we've never really covered this in depth, but if you think about it, if you ever tried to make a comment and then delete it and then it didn't really delete or did, how many people took a screenshot of that? Yeah, you know, before you deleted it.  31:48 So again, things are digital and things, and because we've gotten again on your phone, on your computer, just assume that people are tracing and I know, yes, you can get it's not right and I get that, but just assume and just you know, honestly, just be aware, be aware and protect your business, protect your voice, protect your business and protect your bossness. Guys, be a bossness.  32:16 - Lau (Guest) And I'll leave on this note in saying yes, and I'll piggyback by saying, even just for who you are as a person, be happy and content with the brand you're creating. Because, you're going to have to live with that for a long time. As long as you have your business, you'll have to live with it.  32:34 - Anne (Host) I have people.  32:35 - Lau (Guest) Annie when I go to a conference or something screaming across the room hey mama, how are you? If I didn't like that, I didn't want that, I'd have to change it. I'd have to really change it and make a concerted effort to do that so be happy with what you're selecting and what you're choosing and what your audience is giving to you and, if not, strategize elsewhere, redirect it.  32:59 - Anne (Host) Good stuff, good stuff, amazing Bosses. We would love to hear your thoughts honestly. So you know, write us at theboss, annaviobosscom. We'd love to hear from you right in our community Facebook page. We'd love to hear your thoughts on this. So, Lau, it's been amazing, amazing, as always. Big shout out to our sponsor, ipdtl. You too can connect and network like bosses. Find out more at IPDTLcom. Bosses have an amazing week and we'll see you next week.  33:30 - Speaker 2 (Announcement) Bye, see you next time. Join us next week for another edition of VO Boss with your host, anne Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content industry revolutionizing tips and strategies and new ways to rock your business like a boss. Redistribution with permission. Coast to coast connectivity via IPDTL.     

Welcome to the world of Hexagonia 01. [HEXAGON] EMSKI - Body On Mine02. KHAG3 - You Make Me Feel (Kenn Colt Edit)03. Babsy., Jeanne Taylor - Free My Mind04. J Wax - Do The Bang05. Heat Ledger - Make U Dance (Carlos Colleen Remix)06. Harm - Boyfriend07. Lau.ra - Champagne08. Gorgon City - Loveless (GENESI Remix)09. [THROWBACK TRACK] Don Diablo - Eyes Closed10. [FUTURE] FAZE X & IQoniK - The Flow11. [DEMODAY TRACK] Michael Leathers - In My Bag12. Bahler - Keep It Real13. Kasablanca - Audio Machina14. Volac - Wannabe Tujamo x Azooland x Tim Bell Guest Mix: 15. Tim Bell - ID16. Tujamo, Azooland, Tim Bell - Party After Party17. Tujamo, Djs From Mars, ALEX LNDN - Everyone Listens To Techno18. KDH, Wrex, Azooland - Hello19. Tim Bell - ID20. Tujamo, Dizzee Rascal - Fader21. Swedish House Mafia - Wait So Long (Azooland Remix) 22. [CHILL TIME] Michael Logozar - Everlight