It was close to midnight and it was unusual to see vehicles on the road. However, several trucks pulled over and workers silently unloaded camera equipment and cardboard boxes, and then carried them inside the Morgenson family home.

    What took place over the next eight weeks was inspired by a Hollywood movie called The Joneses about a family of marketers who move into a local neighborhood to sell their products secretly to their neighbors. The idea was to test the power of word-of-mouth marketing. By filming a 'rear' family in unscripted (无剧本的) situations, my team and I would document how the Morgensons' circle of friends responded to brands and products the Morgensons bought into their lives.

    With the help of 35 video cameras and 25 microphones hidden inside the furniture, the operation done secretly showed something shocking. The most powerful hidden persuader of all isn't in your TV or on the shelves of your supermarket. It's a far more important influence that's around you almost every waking moment: your very own friends and neighbors. There is nothing quite so persuasive as observing someone we respect or admire using a brand or product.

    Our analysis also found that the brands the Morgensons used went faster. About one third of the Morgensons' friends began promoting these same brands to their friends. We also found that the brands their friends were most likely to buy at the Morgensons' suggestion were the bigger and better-known ones. This proved my thoughts that traditional marketing and secret marketing work well together. The most persuasive advertising strategies are strengthened by word-of-mouth advertising.

    Whenever I meet with company managers, I tell them that the people who hold the real marketing power are mouse-clicking consumers and their wide circles of real-life friends. In other words, the people who hold the real power are us.

    A year ago, I paid no attention to English idioms, though my teacher emphasized (强调) the importance again and again. But soon, the importance of English idioms was shown in an amusing experience.

    One day, I happened to meet an Englishman on the road, and soon we began to talk. As I was talking about how I was studying English, the foreigner seemed to be astonished. Gently shaking his head, shrugging his shoulders, he said, “You don't say!” “You don't say!” I was puzzled. I thought, perhaps this is not an appropriate topic (适当的话题). “Well, I'd better change the topic.” So I said to him. “Well, shall we talk about the Great Wall？ By the way, have you ever been there？” “Certainly, everyone back home will laugh at me if I leave China without seeing it. It was magnificent.” He was deep in thought when I began to talk like a tourist guide. “The Great Wall is one of the wonders in the world. We are very proud of it..” Soon I was interrupted again by his words: “You don't say!” I couldn't help asking, "Why do you ask me not to talk about it？" "Well, I didn't request you to do so, " he answered, greatly surprised. I said, "Didn't you say' you don't say？”Hearing this, the Englishman laughed to tears. He began to explain, “'You don't say' actually means 'really!' It is an expression of surprise. Perhaps you don't pay attention to English idioms.” Only then did I know I had made a fool of myself. Since then I have been more careful with idiomatic expressions. Remember: what the English teachers said is always right to us students.

    China is fondly remembering one of its most famous radio voices, a man whose vivid storytelling was a comfort to millions of people, from commuters stuck in traffic to restless teens struggling to sleep. Shan Tianfang, was a leading performer of the traditional Chinese art form pingshu, which translates as "storytelling".

    Pingshu dates from the Song Dynasty (AD960-1279) when performers would entertain villagers by telling stories in a particularly emotive style. It remains particularly popular in north-eastern China. Performers wear traditional dress and use very basic props - often a folded fan and a gavel. Pingshu is sometimes performed in tea houses and small theatres, but many Chinese associate the art form with radio. And in a country where sleeping problems are commonplace, pingshu is still popular as a way of helping people to wind down at bedtime.

    Shan Tianfang was born in 1934 in Yingkou, in north-eastern Liaoning province. His family introduced him to folk arts from a young age and he began learning pingshu when he was 19. He became known in Liaoning for his work on stage and in local teahouses during the 1950s and 1960s, and performed in an art troupe around the region. From 1966-1976, Shan, along with other pingshu performers like Yuan Kuocheng, was forced to stop work. During the 1980s.Shan made the transition (转型) to state-run radio, and his captivating storytelling became comfort listening for people across the country. By the 1990s, Shan had become a well-known face on state TV, even performing in the annual Spring Festival Gala show. He has died aged 84 following a long illness.

    Shan performed over 12,000 stories on TV and radio. His stories attracted people of all ages. One of his most acclaimed performances is of the Heroes in the Sui and Tang Dynasties. He gave countless performances of the “Four Classic Novels” (Romance of the Three Kingdoms, Journey to the West, Dream of the Red Chamber and Water Margin) and also helped to bring lesser-known classical Chinese literature to new audiences.

    He was able to use the medium to entrance his audience and in the process he helped to popularise classical Chinese literature. As film director Zhang Jizhong told the Global Times newspaper: “He could describe a scene and a character extremely vividly. He once had a long talk with me about adapting the heroic stories he told into films or television shows to help promote Chinese classics and traditional culture.”

    But in his later years, the growth of online and digital media exposed the challenges of keeping his art form alive. Shan turned his efforts towards writing books and opening performance schools to teach pingshu to young people. They included the Shan Tianfang Culture and Media Academy in Beijing, a Shan Tianfang teahouse and “storytelling base” in Anshan in Liaoning province. Meanwhile, modern productions of pingshu reference (引用，参照) contemporary  (现代的) culture to draw in new performers and audiences. Performers like Guo Heming have emerged, putting a modern spin on pingshu by adapting popular works, including the Harry Potter stories.

    Although he wasn't particularly active on social media, he amassed more than one million fans on the Sina Weibo platform.

A memorial was held for him on 15 September but millions of Chinese will miss his voice.

    I was raised in a house where my sisters and I weren't trusted by our mother to manage our own appearance. As a result, there were rules, and trends were largely ignored. A few years ago, I was home for a visit when my mom, now in her early 70s, called me into her bedroom. We were about ready to leave for dinner. “I don't know what to wear” she complained “You girls always look so good. ”

    I paused in the doorway and looked at her, wondering if I'd misheard. “What do you mean?” I asked her. “You know what to wear" No. ”she answered. “I don't. Can you pick something?” I was so surprised.

    This was the same woman who, in 1989, told my younger sister she wasn't allowed to leave the house wearing a pair of ripped(有破洞的)jeans；the same woman who, in high school, called me while l was out at a party to ask if my hair was up. “You look better with it down, ”she told me, before I could answer I realized, suddenly, that my mother—always so strong—not only wanted my opinion, but needed it. I pulled a pair of blue jeans from the closet and a light blue sweater from her drawer “Wear this with your black shoes, ”I told her. She did My mother certainly doesn't need anyone to take care of her. In fact, she still cares for my grandmother who lives with her. But with that one question, my mother and I started the role reversal(转变)that happens with all parents and all children, from caregiver to receiver.

    Now, if I'm visiting or we're together, it's rare for her to wear anything without checking with me first. But every so often, it seems like she asks me just to be able to disagree with my answer and pick out something on her own. And when she does, I just tell her what I think of the way she looks. Sometimes it's “great”. And sometimes it's "awful."

This document sets out the display standards for Glasgow Museums. This guide will help exhibition planners provide access to exhibitions in our museums. Glasgow Museums' aim is to improve access to collections by having as many items as possible on display and without physical barriers. We also try out best to protect these objects without limiting access to them.

Object Placement

·Don't place objects in such a way that they could present a danger to visitors.

·All object displays, cased or otherwise, must be viewable by all, including people who are small in figure or in wheelchairs.

Open Display

·All objects on open display must be secure from theft and damage.

·All objects identified for potential open display must be viewed and agreed on an object-to-object basis by the Security Manager of the museum.

*In some cases, 600mm may be acceptable, provided the plinth height is above 350mm.

Cased Objects

·All cased displays should fall within the general optimum（最优的）viewing band of 750-2000mm. Ensure everything is visually accessible from a wheelchair.

·Position small objects or those with fine detail in the front part of a case, with larger items behind.

·Position small items or those with fine detail no higher than 1015mm from floor level. Objects placed above this height are only seen from below by people in wheelchairs or people who are small in figure.