Effective Communication in the Music Room (Part 1) | 112

Welcome to today’s podcast! We’re thrilled to have Carol Fox with us—a dynamic leader and expert in elite sport performance, emergency services, and confident communication for leaders. With over three decades of experience, Carol has been a driving force behind transformative change for countless organizations and individuals.

As the co-author of Confident Communication for Leaders and the creator of the groundbreaking program inspired by the book, Carol’s work empowers leaders to banish self-doubt, build unshakable confidence, and achieve successful outcomes.

Join us as we dive into this episode with Carol!

Biography:
Carol is an accomplished leader and expert in the fields of elite sport performance, emergency services, and confident communication for leaders. With over thirty years of experience, Carol has worked with numerous organisations and individuals, guiding and inspiring them into effective, powerful, community-shaping action.

Carol is the co-author of the book Confident Communication for Leaders and the creator and founder of the program inspired by the book. Through her work, she helps leaders eliminate self-doubt and build more confidence, leading to positive interactions at work and successful outcomes.

Stay in touch with Carol:
FB
Instagram
Website
Links Mentioned in this Episode:
📕 Confident Communication for Leaders 

Where to find me: 

Crescendo Community Facebook Group: https://www.facebook.com/groups/crescendocommunity
Official Crescendo Page: https://www.facebook.com/CrescendoMusicEd/
YouTube: https://www.youtube.com/user/CrescendoMusicEd
Twitter: https://twitter.com/crescendomusic
LinkedIn: https://www.linkedin.com/in/debbie-o-shea-62a3741b/
Instagram: https://www.instagram.com/CrescendoDeb

Introduction

Here is the Crescendo Music Education Podcast – Episode 112.

This podcast is being recorded on the lands of the Turrbal people. I acknowledge them as the traditional owners of the land and pay my respects to elder’s past, present and emerging. They were the first music makers on this land.

If you’d prefer to listen to this episode, click here!

About ‘Read the Episode’: Sometimes, we would rather skim visually than listen to a podcast! That’s a great way to learn too!
The transcript of episode 112 of The Crescendo Music Education Podcast is below.

---

Debbie O’Shea 

I would like to welcome to the Crescendo Music Education Podcast Carol Fox. Hello Carol.

Carol Fox 

Hi Debbie, and thank you so much for having me. It’s just a pleasure to be here.

Debbie O’Shea 

Oh, a delight to have you. I first saw you at the HALT Summit, so that’s the HAT and Lead Teacher Summit and it was in Sydney this year and you were the big presenter and you just spoke so well. I learnt so much from you and I thought, No, my audience needs to hear from you.

Carol Fox 

Oh, that’s beautiful. Thank you for saying. I do remember meeting you and some of your other people who were there, we had a bit of fun afterwards, didn’t we?

About Carol Fox

Debbie O’Shea 

Yes, it was fabulous. So I’m not sure if many of my music educator listeners know much about you, so I’m going to do this little bio, just a summary of your bio actually, to give people a flavour of where you’re coming from. Then we’ll talk about communication, a few little tips and tricks to help us be better communicators. So here’s a little brief bio. Carol Fox is a confident communication expert, executive coach and principal trainer with over 30 years of experience in elite sport performance and emergency services. She co authored Confident Communication for Leaders. There’s the book. Is it also an audio book?

Carol Fox 

No, because I haven’t found someone who’s got a lovely voice like all of your music teachers would have, but I have got it in ebook version. But yeah, it does need to be an audio book. Good question.

Debbie O’Shea 

I do like audio books, however, probably worth getting a hard copy too, so I will do that after this. Oh, okay, we’re back to the book, Confident Communication for Leaders and founded a corresponding program helping leaders eliminate self doubt and achieve successful outcomes. Oh, boy, we could do with that, couldn’t we? Anyway, recognised as an Australian Financial Review 100 Women of Influence Carol has guided prominent organisations including Australia Post, AFL clubs and McDonald’s Australia. So you’ve worked with those people, goodness. As a former athlete and experienced board member Carol combines her expertise in business and sport leadership to empower effective community shaping action. And I know that’s all focused around sport, but so many of those things resonated with me as a music educator. I think we’ve got a lot in common.

Carol Fox 

We have. Go, I can’t wait for your question.

Debbie O’Shea 

Well, just before we move on from your bio, because I had to cut lots of things out.

Carol Fox 

I’m so sorry. I meant to send you a small version and I couldn’t find it, and I said, You know what, Debbie have the whole lot, you poor thing, so you had to work through that. But I did mention everyone, look, I do have a sports background, but because of my background in sport, the people that it attracts in community sport, which I’m sure some of your members are in, means that we’re very community minded. So it’s meant that I’ve been able to work in government agencies where people do it, we’re not always doing it for the money. We’re doing it to help the community.

And then I did have a laugh when I was sending it to you to say, you would think that my two children would be very athletic and they’ve grown up around athletes, but no, both are very musically minded, so I didn’t know what to do with that and still don’t sometimes. So it’s been interesting for me to have music in my family when my husband and I are very sports orientated. But then, of course, we found out grandfathers and everything else were all very musical. So it’s always been a really interesting area for me to think about.

Debbie O’Shea 

And it’s important that kids have that music, even if they don’t end up doing something with it in their career. It’s just good, that cognitive development and it’s the same with sport. I mean it really should not be music against sport. I’ve found myself in many schools where they’re almost like enemies. We can’t make a big thing of the music without denigrating sport or vice versa. And really they should both exist.

Carol Fox 

I think sometimes, and I was a school teacher for a short while and so many of my friends are still teaching and love it, but I know what I know now. We’re very different people too. Music people are very, and I’m generalising everyone, of course, and you know my communication styles, but gentle, beautifully spoken words really matter. Whereas we’ll have our sports, our phys ed teachers, we’re all out there and we’re in it. Again, I know I’m generalising everyone, but we’ll be louder and so sometimes there’s judgment that sits in there too. And then, yes, we are pitted against each other, because depending on where we’re based and the cultures in our schools, some cultures value music very highly, and sport couldn’t care less.

And then there’s other times it gets switched around. So I think that sometimes we’re the poor cousins of all the other subjects and we’re not taken seriously.

Debbie O’Shea 

Yes, I think so. The fact that we’re not reading and writing and arithmetic. The three R’s reading, writing, arithmetic and what we offer is just as important to child development.

Carol Fox 

Oh, I mean, how many times have we heard that music is great for our mind for mathematics? How often have we heard that when we have a child who’s active and physical, that it frees up their mind for even more learning? So, we’re talking to the converted here. But I do understand the unique position that we are put in as music teachers and sports teachers in a school where sometimes we’re not taken seriously. Yeah, it’s not always. It’s not a good situation when that happens.

Debbie O’Shea 

But I think it makes it even more important that we need to be able to communicate to others the importance of what we do, which is the sort of bent I would like to take with you for this podcast, is how we can do that. But before we get on to that, I like to ask all my guests about gratitude. So for what are you most grateful? I just think it’s a good practice.

Carol’s Gratitude

Carol Fox 

Oh, it’s a beautiful practice and one that I do every day, I have to say. I’m going to be naughty and have two. So I’m very grateful that I live, work, play and swim. I’m an ocean swimmer on the traditional lands of the Yugambeh language people here on the Gold Coast and just really acknowledge and appreciate the richness of where I live. And then my other gratitude is that I get to do what I love every single day, so I have beautiful clients and just really get to help people be kind to themselves and others.

Debbie O’Shea 

Wow, that’s fabulous. Is most of your time spent working with individual clients? Or when I say individual clients, even if a company, so is that how you spend most of your day, working with clients?

Carol Fox 

Yeah, it’s very different, you know? So I do one on one coaching and that varies. Sometimes it’s me helping sports coaches or a CEO, or I’ve actually got some people in education I work with, and that’s just one on one. It’s all about getting people out of their own way, so to be the best they can be and to enjoy their life. But I think all of you will understand this, my bliss. What makes my heart sing is to stand in front of a group where we’re learning about each other and acceptance and understanding and kindness. So that’s probably where I spend a lot of my time, teaching my concepts out of my book.

And then  I also get opportunities to talk to a room full of people, like at our conference, where there’s hundreds of people there and that’s just sharing some little snippets with people that, hopefully they take something away and can use. But my heart sings when I’ve got a group of people I can really talk to and connect with and as they understand what I’m talking about, for them to look around and go, you know, I could probably have a more open mind.

Debbie O’Shea 

Yes and you could see that happening actually in the group in Sydney, in the summit. It is great to present to a large group, but then to get those feelings that they’re with you and they’re understanding and you can see on the spot, almost that growth before your eyes. It’s really exciting, isn’t it?

Carol Fox 

And teachers, it lights us up. I mean, it lights me up. And, and I’m sure many, many teachers, we do it for those moments where we look around the room and go, Oh, thank you.

Debbie O’Shea 

Yeah and you’ve got to do it for those moments because you don’t do it for anything else. No, I shouldn’t say that.

Carol Fox 

You’ve got a hard gig and that’s why at the conference I made the point of starting off my keynote sharing what’s happening on a worldwide basis. And here you were, frontline workers, never acknowledged, so police and nurses and doctors, everyone else was acknowledged, but our teachers, who not only were there frontline, but some of you also had your own family members sitting there with their schooling and it was a lot of hard work for people and for many teachers to have to teach at a blank screen where there was no feedback. It doesn’t worry some people, but a lot of us it did. So I think part of that conference and part of what I talk about now is just acknowledging that we went through a really tough time.

Let’s validate that people are turning up differently. You will have all noticed, if you remember Debbie, I shared the metaphor of the traffic light, where we used to go from green to amber to red. Now it’s like amber’s disappeared and people are now going from green to red. Now, as teachers, you work not only with your colleagues and your students, but you also work with parents.

In sport I tend to spend a lot of my time in community, grassroots level, talking about how to manage our very passionate parents and the one thing we’ve noticed is that they’ve got more passionate and it means that we’re not just managing ourselves post pandemic, our colleagues and our students, but we’re also getting people, even outside of school, that their emotions are much closer to the surface, and we need to find a space where we can support them, but also not take it on too.

Debbie O’Shea 

Yes, yes, one of the ways I think of it is that ladder of inference and they are just straight up to the top, not all of course, I don’t mean that. I do find more and more and all of the people that I work with, is that parents can be more difficult to work with because it’s just straight away, like you said, I like that, no amber light. It’s just straight from all is good to Oh my goodness, why are you doing this to my child? Oh, hold on. And there seems to be no filter anymore between the keyboard and what arrives in your inbox. People, put it in your drafts for a little while and have a look at it the next day.

Words Matter!

Carol Fox 

A bit of email etiquette won’t go astray. And again, words matter, so I’m going to make an assumption that if you’re a music teacher and many of your listeners are, that you will all have what we call an auditory preference. It has to otherwise you’ll be tone deaf like me.

Debbie O’Shea 

Yes, at least partly auditory preference.

Carol Fox 

You would have to, to be able to teach, because me teaching music, it’s not going to happen. So what that means is that words really matter. I know words matter to everyone, but particularly to an auditory communicator. So when someone says something, you hear tone that other people don’t hear. Words matter.

So if you get a nasty email, those words can cut in a nasty way. When we look at communication preferences, only 20% of the population have auditory as a first preference. And if you think about that, then at school and your music and you do have that as your preference, maybe english literature teachers might have it as well, because words really matter. The other communication styles are walking around not aware of the impact that their words can have on you. Now you’ll know if you’re auditory because you correct people, or you’ve learnt not to correct them.

Debbie O’Shea 

You’ve learned to hold your tongue when you want to correct them.

Carol Fox 

Yes and the reason is, so I’m what we call a high visual. So for me, I’m just totally focused on the outcome. Debbie, if you’re there and I’m walking past your office and I’m on my way somewhere, and I go, Debbie, I hope you had a great day, and you’re like, Whoa, what just happened there? So if you look around, it’s one of the reasons I love working in schools is because I can often spot, oh yeah, that’s a phys ed staff and that’s a music staff and there’s our english staff and there’s a physics department, the mathematics. Now again, I know I’m generalising and I never generalise, to box people in, just more to have a smile on my face and go, Wow, we are all so different. And then they say, go play nicely together in the sandbox everyone.

Debbie O’Shea 

Yes, and consider everyone’s individual differences at the same time.

Carol Fox 

Yeah. And as teachers, you know this all of you, because it’s why you use PowerPoints and whiteboards and everything else, because we know that in a classroom approximately 40% of them are visual learners, meaning they have to see what you’re talking about. So in music, that’s really interesting for me, because it might be- I would need to see the notes, but it would nearly be, if you’re going to get me to listen to a piece of music, if you had colour therapy that matched it, you’d really engage me.

Your kinesthetics really need to feel the music. So they’ll get emotional when you play this beautiful piece of music or they’ll shut down, depending on you know what it does. Of course your auditory communicators, when they learn music, they learn it by hearing, they remember all the words to a song. They and often their friends will go, how do you know all those words?

I don’t know, I just remember it. Data digital are the other communication style and they’re about 10% of the population. So they’ll often get picked on at school because they’re different to everyone else and that’s because they love details and data. So them we’ll find anywhere where they’re into statistics and mathematics. And again I don’t know enough about music, but there’s definitely an aspect to music that is very logical, depending on what it is. So you would probably find some of those students and they’re the ones that often get called the geeks and the nerds.

The Super Nerds

Debbie O’Shea 

I’m thinking, I’ve got a specific little group in mind that I taught recently and they actually label, it’s alright because I’m not using names here. They actually call themselves the super nerds and they just fit your description exactly and they’re very musical in a very specific, very precise way. That was interesting listening to your talk about the communication styles and I hadn’t thought about data digital as the style. I mean most of us have, of course, auditory and visual and kinesthetic. And I think that certainly it’s an aspect of the way that I teach and the way that I develop things in my classroom and in my professional learning for other teachers, is I think it’s important that we use a whole lot of different approaches.

I use a lot of manipulatives and make sure that you do cover the different learning styles, because everybody is different and even if they have a real preference for one style or one or two, you don’t know how they’re operating on that day, in that context, with that material. So I figure you cover all your bases and you practice your known repertoire in a whole lot of different ways and then everyone will have their pennies drop at different times. So that was very awkwardly described, but I think you know what I mean.

Carol Fox 

No, it was perfect. And the thing about our kinesthetic learners, right? They’re our feelers, so they’ll be the ones. So again, I’m assuming I’ve never taught music, but they’ll be the ones that if you’re showing them an instrument, they have to touch it.

Debbie O’Shea 

They’ve got to touch it.

Carol Fox 

And you’re going get your hands off it. Not yet. They won’t learn until they actually do. Often kinesthetic learners, because some of you probably have to take other subjects as well. They will often tell me they’re slow learners. And my answer to that is that they actually process at a much deeper level. So when they’re sitting there and they are taking everything in and checking in how they feel, you might have other communication styles answering your questions.

Kinesthetics will be very quiet but two days later, that is embodied. They have learnt that lesson very, very deeply and that’s why I always love reframing, particularly in adult learning. When someone says I’m a slow learner I go, What if you’re actually just learning at a deeper level?

And again for a lot of you teaching music, not only is it possible that you will attract your auditory communicators but you’ll also attract our feelers as well. Have you noticed you’re probably attracting some very sensitive souls to your classrooms, the ones that do the extracurricular work. So they’re very, very sensitive. If they’ve got that combination, not only are they really sensitive to what they’re hearing and words, words hurt, but they also feel everything as well. So it’s a very sensitive combination of communication styles to have, and that’s when they can get bullied pretty easily, because as a feeler they can go into their emotions really quickly as well. So sometimes the music room or the band, or all of the different extracurricular activities you’re forming for these people it actually gives them a really safe place to be.

Debbie O’Shea 

Yes. I agree and I think the music classroom of course, home base and I call it the beating heart of the school. But I think that’s where we have to be very good at our job, if we’re playing a little responding piece, a listening piece, before we do the game and I do about seven or eight different activities in a half hour lesson.

But if it’s a listening thing, there are some children that will just literally start to cry. And you go, what’s wrong? That reminds me of my grandma, and it’s so great that they feel safe enough to feel, you’ve got to handle those things all the time. I sometimes feel like we’re magicians or jugglers, as you get these 25 to 30 kids at a time, 30 minutes at a time, with everything that comes with those individuals. Whereas a classroom teacher, you have that same set of kids basically, in a primary school and you can get to know them. It’s very difficult for us to have to help each child feel heard and seen and hopefully help them learn all in this short period of time.

Carol Fox 

I agree and that’s where just having that awareness that today, what am I going to show them? How do I want them to feel? What will they hear? Have I got some information that I do need to give the ones that need a bit more info, because it’s gotta make sense and if you can cater for that. But I think most importantly Debbie, I was a lecturer at uni. Once I finished I did secondary school as a teacher but I’ve used music the whole time. And so when people walk into a workshop, I’ve got music playing and it’s chosen specifically, and it’s not classical music everyone, because we all know classical music’s very good.

The cadence helps the brains. It’s just boppy music when I want them to be boppy. If I give them an exercise to do and it’s a sad exercise, that sadder music comes on and gets people a bit emotional. Then we come out of that and do a daggy dance to some silly music.

I remember when I was a university lecturer using music, all the other lecturers were looking at me going, What are you doing in your room? And I said I’m setting the scene, when they walk through that door they know they’re up for an adventure, because I would have fun music and they’d all be going, yeah, yeah, and they’d be ready to learn. So I think when we’re running music classes, how exciting for you that you get to decide, Hey, what are we looking at today and what music’s going to bring them in? And what a beautiful way, also, how important, now more than ever, being present. We talk about meditation and breathing.

You know what a respite music can be for people when they get in there and you say Here’s this nice music, take your breath. Let’s get grounded. And then they might get a little bit emotional, because at lunchtime, someone pulled their hair or called them a name and then that’s the moment with that beautiful music. Take a breath everyone. Lower your gaze. You are safe. Like that’s the power of your room when they come to see you, whereas interesting back in the day when I was a phys ed teacher I was like, Right everyone, let’s go.

Debbie O’Shea 

Once around the oval.

Carol Fox 

Oh, particularly young boys in springtime, yes, round the oval, a couple of times.

Debbie O’Shea 

It’s a good reminder for us you saying that because we do, okay sweeping generalisation again, on my part this time. There’s so much that we want to do, so much we want to get through, so much we want to teach. We know there’s a public holiday next week, so we won’t see the Grade Fives next week. So I’ve got to do this, and I’ve got to and we tend to go, go, go, instead of going. Hold on. What is important here? Let’s just take a moment and we have that power of music in the palm of our hand.

So why not just slow down a bit, take stock and think about what’s best for those little people, which could be today just about belonging and being part of this group. They might not care that they can’t hear four even sounds on a beat, which will be a tika tika, like they might not care about that, they might just need to feel valued. So I think we can’t forget that that’s within our scope as well.

Carol Fox 

In your power. How beautiful that is, yes I know you have, and they’re not called KPIs, but yes you’ll have certain things that you must get through on your curriculum. But think about this. We as facilitators really, we need to read the room. And there’s just going to be days when they come in and there’s been something awful has happened, or it’s windy. We all know what they’re like on a windy day. Windy day, give up everyone. Just get them to sit there and take some deep breaths, or run around the oval, or whatever else while they’re, I don’t know, playing something, but read the room.

You’ll have days when you’ll be able to get stuck into it and there’s other days where hands go up in the air and you go, You know what? Everyone close your eyes or lower your gaze and I hope it’s okay but we’re just going to do some deep breathing and listen to some nice music. As I said, I really feel like it’s a bit of a respite for people.

Debbie O’Shea 

Yes and especially in our data driven society, to have that nice little bit, that little special time in the music room. It’s really important.

Carol Fox 

Well, for some of them, it’s the only time really they’re listening to music that’s nurturing. And because some of the times if they’re online, they’re hearing some pretty awful stuff.

Everyone is Different!

Debbie O’Shea 

It is really absolutely vital and I think that what we do in the music classroom, and I’m talking the primary music classroom especially, but of course it does go for secondary music. And I’ve talked a lot in the past even about things like using their names, we’ll play a name game and everyone has their name said or sung in a beautiful way and we’ve made eye contact and they feel special. And it could be the only time that day that their name has been used in a kind way.

I know we’re all teaching in different contexts, I’m very privileged to be in a fairly lovely school with fairly good context. But I’ve also had to earn the feel of that music room as well. But kids are coming with all sorts of backgrounds and maybe having their hands held in a circle during a game, or doing a hand clapping game is the only positive touch they will have.

Carol Fox 

Absolutely.

Debbie O’Shea 

All of those things are so special in our music room.

Carol Fox 

You cover them in your music room. So not only do you see someone,  because visuals love to perform. So they might not sound too good if they’re like me and tone deaf, but they do like to be seen and perform. So you get to see them. You definitely hear because this is where, this is where your auditory communicators shine. Your kinesthetics are touching musical instruments and your data digital communicators, you know the little nerds? What are they called? Super nerds?

They’re sitting there going Oh, I wonder why the music looks like that this time?. Or no you got the cadence wrong, or whatever else it is. It validates their experience of the world, too. So I think it’s a really special place, and that understanding, but also understanding why some people, they won’t like being in the music room, because it’s not what they’re good at. They much prefer to be learning something else, because music can come across as a little bit difficult, sometimes, particularly relying on hearing.

Debbie O’Shea 

Yes and catering for those kids too. Because sometimes there’s that little person that you know when we’re about to do something a little bit noisy and you can go and say, we’re about to do this. Would you like to just go outside while we do that and then come back in? Yes, please.

Carol Fox 

That’s beautiful.

Debbie O’Shea 

Getting to know those individuals. It just takes a while, though.

Carol Fox 

That’s our neurodiversity, we weren’t talking about neurodiversity seriously, we’d roll our eyes, I don’t know what you were like, but you’d roll your eyes and go Oh ADHD, which of course was all the boys. They forgot to diagnose all the girls because they didn’t have that hyperactivity. So now in your classroom, as many of you know, a parent comes up and says My child’s special, they’ve got ADHD or ADD, and it’s all the whole spectrum that we’re now also dealing with as teachers.

And again, this is why what you’ve just said there Debbie is so precious. To know that there’s a child there who doesn’t like noise and noise really unsettles them. To be able to say, Hey, here’s some headphones or can you go and pop out and go see that teacher for me and send a message, or whatever it is, just shows how respectful you are of them. And that’s where you would have noticed with the communication styles when I was teaching them, you could actually see variations of some of our neurodiversity and how it works in there too.

Debbie O’Shea 

Yes, yes, when you look at the different styles, it’s almost, I don’t know if this is the correct way to look at it, but I could almost see them in my head, on the continuum and on some of those right at an extreme of one of those styles is probably got a label.

Carol Fox 

Absolutely, yep, you are spot on. I work with Sport Inclusion Australia, where I work with athletes with mental impairment and it’s very interesting all the different styles. And when I teach communication styles, it actually normalises them, because they sit there and go Are there other people like me? But they’re not autistic, or they’re not high functioning autism or ADHD. And I go, Yeah, like me. If I’m under stress, this is how I’ll come across.

And then one of the young ones recently went, Oh, that’s me. I went, yeah. So I know I spoke at a teacher’s conference last week and a lot of them were starting to go Oh, how do we remember all this? And how do we know? And I’m like, you already know, just create a space where I don’t have to know what your preference is. But I do need to know that you are all turning up differently and sometimes you need to ask too. So I actually went to a private school called Mac.Robertson Girls Secondary, it’s down in Victoria. Back in the day it was very much a musical school.

So me, being an athlete, I was very much a fish out of water. And I just wish at one point someone had said to me, What do you need to be engaged in this classroom? Because I couldn’t hear, it’s not what I was trained in. So I couldn’t hear anything. I couldn’t hear the difference. And we did have a Russian music teacher. She was very, very strict. And all I remember is we had the choir. And you gotta remember we were a beautiful, like this was a school of excellence in music and we had this choir. And I always remember she said, All right girls, we’re going to practice, get started.

And she stopped the whole class and she said what is that terrible noise? Carol, no more you just stop. No more singing, no more sound. It’s hilarious. Now, I was rebellious then so I didn’t mind that I got told not to sing. And I think what you’re talking about before about our purpose, right? Yeah. I mean, yes the purpose was to produce a choir that was representative of our school and a school of excellence, but maybe there was a purpose to make everyone feel included too. But this is a long time ago everyone, I think some of us can remember our school days, and yeah, they probably weren’t as inclusive as they are now.

Debbie O’Shea 

But I would say, I mean, obviously different horses for different courses, but to me, the feeling of belonging and inclusion is much more important than having the best choir in the world. And we have gorgeous choirs at our school, but they’re inclusive, because that’s more important, but different horses for different courses, as I said, so we won’t cast any nasturtiums on anyone.

Sign-Off

Thank you for joining me for this podcast. Don’t forget, you’ll find the show notes and transcript and all sorts of information on crescendo.com.au. If you’ve enjoyed the podcast or found it valuable, you might like to rate it on your podcast player and leave a review. I’d really appreciate it if you did. All I can be as the best version of me. All you can do is be the best you. Until next time, bye.

Just for Laughs

As we know, laughter relieves stress, don’t lose sight of the funny side of life.
Okay, what starts with a t, ends with a t and has t in it? Well, of course, it’s a teapot.
Oh, that’s a cute one.