August 22, 2022 • 12 mins
In this second instalment about editorial processes, Rosie Stewart and Kat Mitchell discuss their experiences of working with freelance editors and proofreaders, including the importance of maintaining open communication, and ways in which editing and proofreading have been affected by the development of digital publishing.
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Rosie Stewart (00:00):
Hi, and welcome to Westchester Words, UK I'm
Rosie Stewart, editorial andpre-press director at River
Editorial.
A division of Westchesterpublishing services UK.
I previously caught up with KatMitchell publishing services
manager at EMC design to discusshow the pre-reading process has
changed over the years, and tothink about how we can adapt and
(00:20):
grow with emerging technology.
You can find that earlierepisode on our podcast, page
Westchester words.
I am really pleased to bewelcoming KA again for a second
conversation.
Thank you Kat for joining usagain.
Kat Mitchell (00:34):
Hi Rosie.
Thanks for having me back.
Rosie Stewart (00:36):
So for this episode, I'd like to focus on
the pool of freelance editorsand proofreads that we work
with.
So frequently.
Over the years, we've built up afantastic network of freelancers
at river editorial andWestchester Education, and we
hugely value and appreciate thishardworking team that's often
hidden behind the scenes.
How do you build and maintainyour pool of freelancers at EMC?
Kat Mitchell (00:58):
Yeah, I mean, I think it's, it's honestly
amazing and, and wonderful howthe publishing industry can feel
so sort of small and tightkniton the one hand, but then how
wide and varied the pool offreelancers is on the other.
Um, given where we sort of sitin the industry with ELT and
education material, we're reallyquite fortunate to have lots of
(01:20):
experience with differentpublishers mm-hmm.
So we get to know variouseditors' quirks, and sort of
ways of working through theirmarkups.
You know, how we were talkingpreviously about the language of
markups, you get that real feelfor them mm-hmm and
then you kind of buildrelationships from there.
We do sort of maintain a pool offreelancers that we work with
(01:40):
most frequently.
Um, those that we, you know,have really good relationships
with, but on top of that, youknow, you probably go to the
same kind of places.
We love the fact that there'sthings like the C I E P um, the
EFA and even smaller, newerplaces like Book Machine, and
the ELT publishing professionalsgroup, as well as editorial
(02:03):
suppliers.
Like you guys
Rosie Stewart (02:05):
Yeah, you made loads of really great points in
there.
And we are in the same situationin that we work with lots of
different clients, which givesus the opportunity to work with
their networks as well and makenew connections.
Um, and what we do find is thatthe same names often pop up.
I don't know if you have thatexperience as well.
Yeah, definitely.
So thinking about those clients,those varied clients that we
work with as an author or apublisher, obviously you want to
(02:28):
know that your work is in thebest hands.
And we pride ourselves onmaintaining consistently high
standards across our services.
And we quality check all of ourfreelancers before we assign
them to a live project, as I'msure you do as well.
Mm-hmm from yourpoint of view, what did the most
important skills or qualitiesyou look for in a freelancer?
Kat Mitchell (02:44):
You know, it's funny you talk about the, before
you assign them to liveprojects, but I always find that
it's in those live projects thatyou really get to know them and,
and find out where you pick upon their best qualities.
Yeah.
And I think best qualities thatwe've sort of found have been
around three big key things.
First one, obviously being ableto understand and follow
(03:06):
briefing documents, um, that'sobviously incredibly vital.
Great decision making skills aswell.
And just generally being open toself-reflection.
We love working with people whoknow whether a brief has enough
information for them to completethe job, you know, to the
standard that both they and weare looking for.
(03:27):
Um, we love working with peoplewho ask the right kind of
questions at the beginning ofthe project and throughout
mm-hmm and, youknow, people who are willing to
hear feedback and take it on asthe project evolves, um, you
know, being able to sort of do asample or put something through
that says, you know, hi, this iswhat I think we need to do here.
(03:49):
Do you think this is right?
Or should we approach it adifferent way rather than kind
of taking it on their own skinand at the end of the mm-hmm
at the end of thestage going, oh wait, no, that's
not actually what we wanted.
Yeah.
So what we found is that fromthose kinds of qualities, you
end up with editors who love tolearn, love to get better at
what they do.
And they love to work withpeople in new and interesting
ways, um, particularly to helpmake things more efficient and
(04:13):
effective as well, ones who areready to kind of take on that
learning process.
And, you know, that, thatobviously goes both ways.
We try and be that with ourclients and our suppliers as
well.
Rosie Stewart (04:23):
Yeah.
Thank you so much for that.
I think that open communicationis really, really key isn't it?
And having communicationthroughout the project and not
just at the end.
Yeah.
Because I think sometimes wethink of feedback as something
that you do when you finish likean evaluation, but
actually having thoseconversations early on can make
things so much more efficient.
And as you say, maybe just amisunderstanding, was this what
(04:45):
you wanted?
Was it this or a suggestion forhow to do something better?
Kat Mitchell (04:50):
Yeah.
Or whether globals can work, youknow, do you really need
absolutely tp mark that all ofthe threes need to be a
different font each time?
Rosie Stewart (04:58):
That kinda thing.
Yes, absolutely.
And you mentioned samples aswell.
We use samples a lot, so, yeah.
Um, so sending a, a small orpartial project, maybe one
chapter or something like that,mm-hmm for the
freelancer to work on.
And then we both exchangefeedback and ideas before we
move on.
Is that the same sort of waythat you would use a sample?
Kat Mitchell (05:16):
Yeah, exactly.
Or even with a live projectwhere we're pretty sure we wanna
work with someone, but actuallywe'd like to make sure that they
know how we like to work or howthe client likes to see
something come back and we say,okay, can you get me this
chapter early?
And then we can go and make surethat that is what we're
expecting them to do.
And it covers all of the partsof
Rosie Stewart (05:35):
The brief.
Yeah, absolutely.
But I really would encouragefreelancers to request or
suggest samples themselves aswell, because I think it's an
opportunity for them todetermine is this project within
my scope, do I understand what'srequired?
Are there certain ways to work?
And so I would always be veryhappy if someone said, can I
send you the first chapter tocheck?
Yes.
For example, mm-hmmI would take that as a really
(05:56):
good sign.
So I would, would definitelyencourage that in any
freelancer, as long as there'stime, obviously.
Kat Mitchell (06:01):
Rosie Stewart (06:03):
Um, which I think we'll probably look at in a
minute so sometimes we dorequire specialist knowledge of
a particular subject, forexample, a foreign language or
science, maths, or even legalexpertise.
Is this something you've comeacross at EMC?
Kat Mitchell (06:18):
Yeah, absolutely.
And at times it feels like thepool of editors for some
subjects are getting smaller andsmaller, you know, like high
level STEM subjects often you'llhave people with great subject
specialist skills, you know,they know everything there is to
know about A level physics.
Um, but maybe they're editorialtechnique could use some
refining or they've just notbeen proofreaders for very long,
(06:40):
that kind of thing.
So sometimes what we find isthat we have to work with a
couple of people to kind of pullin both of those skillsets and
create sort of a team that canwork together to make sure that
both aspects of the project havebeen covered.
Mm-hmm and then,yeah, if it's a subject area,
we've not had a chance to workwith frequently or work with
external people yet, or onewhere we don't work on it very
(07:03):
often.
Um, we're never too proud tokind of chat with the clients
and see who they would suggestor use.
Rosie Stewart (07:08):
Yeah, absolutely.
It's those specialists subjects,isn't it, and I really love what
you said there about sometimesyou can find one person that can
do both and that is obviouslythe jackpot.
Um, but that may not be the caseand that may not be the only
option.
Yeah.
So thinking back to our previousdiscussion about the journey
from hard copy to electronicproof markup and the more recent
(07:29):
development of digital andplatform based publishing, what
impact do you think these areashave had on freelance editors
and proofreaders?
Kat Mitchell (07:36):
Yeah, I mean, as we talked about last time, you
can definitely tell that there'sbeen sort of a steep learning
curve during the move to PDFmarkups.
And given that there still isn'treally a recognized standard way
of doing this, you candefinitely see that it's having
an impact on the one thing.
The editors pride themselves,most accuracy and clarity, but a
(07:57):
couple of things that we'refinding in that sort of move
towards more digital workflowsand, and agile workflows is that
schedules are becoming a bitmore pressurized and, you know,
content is becoming a bit morebatched.
Um, and I think that's part ofthe whole process of getting to
that more agile way of working,but some people can, and some
people can't work that way.
(08:18):
You know, people that we trustand know are great editorial
minds, but they just find it alittle too difficult to work
with the platform or maybe thefeedback method, which is just
new and, and slightly different.
So I do think it's a steeplearning curve and with a lot of
high pressure demands in a lotof cases, and you're not able to
necessarily book your time andcapacity in the way that you
(08:39):
would want to.
Rosie Stewart (08:40):
Normally, that's a really good point, isn't it?
Because if you are working on,say a book, all in one go, you,
you block out however many weeksto work on that book.
Whereas this is a totallydifferent approach of having
batches and fast moving andmaybe a bit comes and then, then
there's a break and yeah.
And it's immediate, you'remaking changes maybe directly
into a platform.
(09:00):
Yeah, exactly.
And also the methods that you'reusing mm-hmm may
vary from project to project.
It's not that you're learningone new type of working it's you
need to be really agile evenmoment to moment.
So what would you say to someonein the light of what we've just
discussed, who is looking tostay up to date with their
editing or proofreading skills,or is just starting out in the
(09:20):
industry?
Kat Mitchell (09:21):
I think I'm probably starting to sound a bit
like a broken record, butparticularly for those just
starting out and, and really, Iguess, for anyone be open to
learning continually and thefact that, you know, you're
never gonna know humility andself-reflection are key.
So read up, read lots, and whenyou can afford it, buy those
copy editing books and takethose courses to make sure your
(09:43):
skills are top notch.
Um, set aside time in yourbudget and schedule, you know,
make that capacity for yourselffor personal and professional
development and focus onfiguring out what you don't
know, you know, ask for feedbackat every job.
And like we said before duringthe job, ask for feedback, talk
to publishers, talk to packagersabout what they're, you know,
(10:04):
what they need and what skillsthey need and what they think
you can do to help keep yourskills up, find networking
groups, forums for otherqualified professional people.
You know, if there's at leastthree or four Facebook groups
that I can think of, um, the C IE P community forums.
Um, and you know, especially nowthat we're back to seeing people
(10:24):
in the physical world, again, goto events, go and go and see
people.
It's not easy for everyone, butit does make a big difference in
the industry, being able to talkto people and, and see what
everyone's up to.
Rosie Stewart (10:35):
Absolutely.
And just to completely emphasizethat you and I met at a
publishing event
Kat Mitchell (10:40):
Exactly.
Rosie Stewart (10:41):
A few months ago, and all of these conversations
have come off the back of thatmeeting.
Absolutely, and I've certainlyhad so many kind of new ideas
and new insights from ourconversation.
And sometimes just talking tosomebody, you know, we didn't
plan that.
We didn't expect, we didn't meetup to have a conversation about
that, but so much has come fromit.
And that's just from a, you know, a casual interaction.
So really can't overstate howimportant these events are, if
(11:04):
you can make them.
Yeah.
So Kat I have one final questionfor you?
Hmm.
I would love to know what do youenjoy most about your work?
,
Kat Mitchell (11:11):
You know how to ask the really tough questions.
Rosie Stewart (11:14):
um,
Kat Mitchell (11:16):
Hmm.
I mean, I love everythingreally, but, and this is gonna
sound super nerdy, but I think Iprobably love the fact that I
get to see and be a part of justabout every stage of the
publishing process, sort of frommanuscript to press PDF.
Um, I find it super satisfyingto be able to see the finished
(11:37):
product and know just how muchhard work went into it.
Um, you must feel this way aswell, that, you know, the way
you're able to fully appreciateworks that are out there in the
world, just because youunderstand the decisions that
were likely made along the wayand the work that has been
involved in creating it.
Rosie Stewart (11:54):
Absolutely.
Yeah.
It gives you such anappreciation for every book,
every journal, every magazinethat you see out there,
understanding how much has goneinto it.
So yeah, there is a huge senseof fulfillment in completing and
contributing to these projects.
Well, thank you so much forjoining me for this second
installment, Kat.
I've really enjoyed catching upwith you again, you
Kat Mitchell (12:13):
As well.
It's been really fun.
Thanks so much for having me on.
Rosie Stewart (12:16):
For more podcasts from Westchester publishing
services, UK, just searchWestchester words on Spotify,
apple or Google podcast willfind us on our website.
Hi, and welcome to Westchester Words, UK I'm
Rosie Stewart, editorial andpre-press director at River
Editorial.
A division of Westchesterpublishing services UK.
I previously caught up with KatMitchell publishing services
manager at EMC design to discusshow the pre-reading process has
changed over the years, and tothink about how we can adapt and
(00:20):
grow with emerging technology.
You can find that earlierepisode on our podcast, page
Westchester words.
I am really pleased to bewelcoming KA again for a second
conversation.
Thank you Kat for joining usagain.
Kat Mitchell (00:34):
Hi Rosie.
Thanks for having me back.
Rosie Stewart (00:36):
So for this episode, I'd like to focus on
the pool of freelance editorsand proofreads that we work
with.
So frequently.
Over the years, we've built up afantastic network of freelancers
at river editorial andWestchester Education, and we
hugely value and appreciate thishardworking team that's often
hidden behind the scenes.
How do you build and maintainyour pool of freelancers at EMC?
Kat Mitchell (00:58):
Yeah, I mean, I think it's, it's honestly
amazing and, and wonderful howthe publishing industry can feel
so sort of small and tightkniton the one hand, but then how
wide and varied the pool offreelancers is on the other.
Um, given where we sort of sitin the industry with ELT and
education material, we're reallyquite fortunate to have lots of
(01:20):
experience with differentpublishers mm-hmm
So we get to know variouseditors' quirks, and sort of
ways of working through theirmarkups.
You know, how we were talkingpreviously about the language of
markups, you get that real feelfor them mm-hmm
then you kind of buildrelationships from there.
We do sort of maintain a pool offreelancers that we work with
(01:40):
most frequently.
Um, those that we, you know,have really good relationships
with, but on top of that, youknow, you probably go to the
same kind of places.
We love the fact that there'sthings like the C I E P um, the
EFA and even smaller, newerplaces like Book Machine, and
the ELT publishing professionalsgroup, as well as editorial
(02:03):
suppliers.
Like you guys
Rosie Stewart (02:05):
Yeah, you made loads of really great points in
there.
And we are in the same situationin that we work with lots of
different clients, which givesus the opportunity to work with
their networks as well and makenew connections.
Um, and what we do find is thatthe same names often pop up.
I don't know if you have thatexperience as well.
Yeah, definitely.
So thinking about those clients,those varied clients that we
work with as an author or apublisher, obviously you want to
(02:28):
know that your work is in thebest hands.
And we pride ourselves onmaintaining consistently high
standards across our services.
And we quality check all of ourfreelancers before we assign
them to a live project, as I'msure you do as well.
Mm-hmm
important skills or qualitiesyou look for in a freelancer?
Kat Mitchell (02:44):
You know, it's funny you talk about the, before
you assign them to liveprojects, but I always find that
it's in those live projects thatyou really get to know them and,
and find out where you pick upon their best qualities.
Yeah.
And I think best qualities thatwe've sort of found have been
around three big key things.
First one, obviously being ableto understand and follow
(03:06):
briefing documents, um, that'sobviously incredibly vital.
Great decision making skills aswell.
And just generally being open toself-reflection.
We love working with people whoknow whether a brief has enough
information for them to completethe job, you know, to the
standard that both they and weare looking for.
(03:27):
Um, we love working with peoplewho ask the right kind of
questions at the beginning ofthe project and throughout
mm-hmm
hear feedback and take it on asthe project evolves, um, you
know, being able to sort of do asample or put something through
that says, you know, hi, this iswhat I think we need to do here.
(03:49):
Do you think this is right?
Or should we approach it adifferent way rather than kind
of taking it on their own skinand at the end of the mm-hmm
not actually what we wanted.
Yeah.
So what we found is that fromthose kinds of qualities, you
end up with editors who love tolearn, love to get better at
what they do.
And they love to work withpeople in new and interesting
ways, um, particularly to helpmake things more efficient and
(04:13):
effective as well, ones who areready to kind of take on that
learning process.
And, you know, that, thatobviously goes both ways.
We try and be that with ourclients and our suppliers as
well.
Rosie Stewart (04:23):
Yeah.
Thank you so much for that.
I think that open communicationis really, really key isn't it?
And having communicationthroughout the project and not
just at the end.
Yeah.
Because I think sometimes wethink of feedback as something
that you do when you finish likean evaluation
actually having thoseconversations early on can make
things so much more efficient.
And as you say, maybe just amisunderstanding, was this what
(04:45):
you wanted?
Was it this or a suggestion forhow to do something better?
Kat Mitchell (04:50):
Yeah.
Or whether globals can work, youknow, do you really need
absolutely tp mark that all ofthe threes need to be a
different font each time?
Rosie Stewart (04:58):
That kinda thing.
Yes, absolutely.
And you mentioned samples aswell.
We use samples a lot, so, yeah.
Um, so sending a, a small orpartial project, maybe one
chapter or something like that,mm-hmm
freelancer to work on.
And then we both exchangefeedback and ideas before we
move on.
Is that the same sort of waythat you would use a sample?
Kat Mitchell (05:16):
Yeah, exactly.
Or even with a live projectwhere we're pretty sure we wanna
work with someone, but actuallywe'd like to make sure that they
know how we like to work or howthe client likes to see
something come back and we say,okay, can you get me this
chapter early?
And then we can go and make surethat that is what we're
expecting them to do.
And it covers all of the partsof
Rosie Stewart (05:35):
The brief.
Yeah, absolutely.
But I really would encouragefreelancers to request or
suggest samples themselves aswell, because I think it's an
opportunity for them todetermine is this project within
my scope, do I understand what'srequired?
Are there certain ways to work?
And so I would always be veryhappy if someone said, can I
send you the first chapter tocheck?
Yes.
For example, mm-hmm
(05:56):
good sign.
So I would, would definitelyencourage that in any
freelancer, as long as there'stime, obviously.
Kat Mitchell (06:01):
Rosie Stewart (06:03):
Um, which I think we'll probably look at in a
minute
a particular subject, forexample, a foreign language or
science, maths, or even legalexpertise.
Is this something you've comeacross at EMC?
Kat Mitchell (06:18):
Yeah, absolutely.
And at times it feels like thepool of editors for some
subjects are getting smaller andsmaller, you know, like high
level STEM subjects often you'llhave people with great subject
specialist skills, you know,they know everything there is to
know about A level physics.
Um, but maybe they're editorialtechnique could use some
refining or they've just notbeen proofreaders for very long,
(06:40):
that kind of thing.
So sometimes what we find isthat we have to work with a
couple of people to kind of pullin both of those skillsets and
create sort of a team that canwork together to make sure that
both aspects of the project havebeen covered.
Mm-hmm
we've not had a chance to workwith frequently or work with
external people yet, or onewhere we don't work on it very
(07:03):
often.
Um, we're never too proud tokind of chat with the clients
and see who they would suggestor use.
Rosie Stewart (07:08):
Yeah, absolutely.
It's those specialists subjects,isn't it, and I really love what
you said there about sometimesyou can find one person that can
do both and that is obviouslythe jackpot
Um, but that may not be the caseand that may not be the only
option.
Yeah.
So thinking back to our previousdiscussion about the journey
from hard copy to electronicproof markup and the more recent
(07:29):
development of digital andplatform based publishing, what
impact do you think these areashave had on freelance editors
and proofreaders?
Kat Mitchell (07:36):
Yeah, I mean, as we talked about last time, you
can definitely tell that there'sbeen sort of a steep learning
curve during the move to PDFmarkups.
And given that there still isn'treally a recognized standard way
of doing this, you candefinitely see that it's having
an impact on the one thing.
The editors pride themselves,most accuracy and clarity, but a
(07:57):
couple of things that we'refinding in that sort of move
towards more digital workflowsand, and agile workflows is that
schedules are becoming a bitmore pressurized and, you know,
content is becoming a bit morebatched.
Um, and I think that's part ofthe whole process of getting to
that more agile way of working,but some people can, and some
people can't work that way.
(08:18):
You know, people that we trustand know are great editorial
minds, but they just find it alittle too difficult to work
with the platform or maybe thefeedback method, which is just
new and, and slightly different.
So I do think it's a steeplearning curve and with a lot of
high pressure demands in a lotof cases, and you're not able to
necessarily book your time andcapacity in the way that you
(08:39):
would want to.
Rosie Stewart (08:40):
Normally, that's a really good point, isn't it?
Because if you are working on,say a book, all in one go, you,
you block out however many weeksto work on that book.
Whereas this is a totallydifferent approach of having
batches and fast moving andmaybe a bit comes and then, then
there's a break and yeah.
And it's immediate, you'remaking changes maybe directly
into a platform.
(09:00):
Yeah, exactly.
And also the methods that you'reusing mm-hmm
vary from project to project.
It's not that you're learningone new type of working it's you
need to be really agile evenmoment to moment.
So what would you say to someonein the light of what we've just
discussed, who is looking tostay up to date with their
editing or proofreading skills,or is just starting out in the
(09:20):
industry?
Kat Mitchell (09:21):
I think I'm probably starting to sound a bit
like a broken record, butparticularly for those just
starting out and, and really, Iguess, for anyone be open to
learning continually and thefact that, you know, you're
never gonna know humility andself-reflection are key.
So read up, read lots, and whenyou can afford it, buy those
copy editing books and takethose courses to make sure your
(09:43):
skills are top notch.
Um, set aside time in yourbudget and schedule, you know,
make that capacity for yourselffor personal and professional
development and focus onfiguring out what you don't
know, you know, ask for feedbackat every job.
And like we said before duringthe job, ask for feedback, talk
to publishers, talk to packagersabout what they're, you know,
(10:04):
what they need and what skillsthey need and what they think
you can do to help keep yourskills up, find networking
groups, forums for otherqualified professional people.
You know, if there's at leastthree or four Facebook groups
that I can think of, um, the C IE P community forums.
Um, and you know, especially nowthat we're back to seeing people
(10:24):
in the physical world, again, goto events, go and go and see
people.
It's not easy for everyone, butit does make a big difference in
the industry, being able to talkto people and, and see what
everyone's up to.
Rosie Stewart (10:35):
Absolutely.
And just to completely emphasizethat you and I met at a
publishing event
Kat Mitchell (10:40):
Exactly.
Rosie Stewart (10:41):
A few months ago, and all of these conversations
have come off the back of thatmeeting.
Absolutely, and I've certainlyhad so many kind of new ideas
and new insights from ourconversation.
And sometimes just talking tosomebody, you know, we didn't
plan that.
We didn't expect, we didn't meetup to have a conversation about
that, but so much has come fromit.
And that's just from a, you know, a casual interaction.
So really can't overstate howimportant these events are, if
(11:04):
you can make them.
Yeah.
So Kat I have one final questionfor you?
Hmm.
I would love to know what do youenjoy most about your work?
Kat Mitchell (11:11):
You know how to ask the really tough questions.
Rosie Stewart (11:14):
Kat Mitchell (11:16):
Hmm.
I mean, I love everythingreally, but, and this is gonna
sound super nerdy, but I think Iprobably love the fact that I
get to see and be a part of justabout every stage of the
publishing process, sort of frommanuscript to press PDF.
Um, I find it super satisfyingto be able to see the finished
(11:37):
product and know just how muchhard work went into it.
Um, you must feel this way aswell, that, you know, the way
you're able to fully appreciateworks that are out there in the
world, just because youunderstand the decisions that
were likely made along the wayand the work that has been
involved in creating it.
Rosie Stewart (11:54):
Absolutely.
Yeah.
It gives you such anappreciation for every book,
every journal, every magazinethat you see out there,
understanding how much has goneinto it.
So yeah, there is a huge senseof fulfillment in completing and
contributing to these projects.
Well, thank you so much forjoining me for this second
installment, Kat.
I've really enjoyed catching upwith you again, you
Kat Mitchell (12:13):
As well.
It's been really fun.
Thanks so much for having me on.
Rosie Stewart (12:16):
For more podcasts from Westchester publishing
services, UK, just searchWestchester words on Spotify,
apple or Google podcast willfind us on our website.
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If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.