Podcast appearances and mentions of Arthur King

Arthur King is a Chinese-American Magic player based in Shanghai, China. Arthur's podcast is called "The BingKing Podcast." Find it at https://www.youtube.com/@LookitCrows 0:00 Intro 1:03 Arthur's origin story 8:53 Playing Magic during college 13:35 Moving to China 17:49 Getting into Commander 22:07 A fork in the road 29:09 Dancing in public spaces 36:14 Why Arthur stopped drinking 44:30 Life in China (as an ABC) 48:56 People want connection 54:23 Happiness 1:00:11 Has data ruined everything? 1:05:40 Doing hobbies for the wrong reasons 1:13:44 Building Commander decks 1:17:32 Nobody cares about the Magic story 1:21:00 Magic's failure in the China market 1:30:17 Shanghai EDH rocks 1:33:12 How Arthur would fix Magic 1:38:45 The Magic social contract 1:41:55 Magic needs to be more watchable

Welcome to Cori's Favorite Episodes Series! For a week or two every day, you'll be getting a rerelease of an episode that Cori feels can help someone out there if you share. So please enjoy and share!Have you ever been "challenged" by someone else's behavior?  Maybe it's what they said; maybe it was how they acted.  How should we respond?  Today's episode is the story of literally coming to someone's rescue and being the hands and feet of Christ when it was needed.  Arthur King shares his story -- one he has rarely shared -- with us...and we will truly be blessed.Reach Out To Me:Website: www.dontignorethenudge.comPatreon: www.patreon.com/dontignorethenudgeIG: @dontignorethenudgepodcastPrivate FB group to WATCH interviews: www.dontignorethenudge.com/facebook__________________________________________________________________________________________Business/Personal Coaching with Cori:www.corifreeman.com(951) 923-2674Additional Resources:LINKS:The Romans Road www.christianity.com/wiki/salvation/what-is-the-romans-road-to-salvation.html

Hey gang glad you're back, glad we're back! Please stow your tray tables and put your seats in their upright positions on this flight you're going to encounter a plate of cobra eggs, Arthur King of Costumes, and a close encounter with Haley's Comet. Ya'll stay with us

也没什么好说的300期也就是个数字。我们继续走！

1. Warrington-Runcorn New Town Development Plan - Gateway to the North 2. OrageOrange - Hirondelle Dusk 3. Location Services & Derek Hunter Wilson - Photo Aware 4. Sofie Birch & Antonina Nowacka - The Journey 5. Weyes Blood - In Holy Flux 6. James Devane - Beauty is Useless 7. The Soft Pink Truth - Was It Ever Real? 8. Pantha Du Prince - Mother Drum 9. Mabe Fratti - Desde El Cielo 10. Lucrecia Dalt - El Galatzó 11. The Ephemeron Loop - Acetoxyhexorchid II (Dispersed Phase) 12. Jeremiah Sand - Lift It Down 13. Precipitation - Refrain for Hans 14. Nils Frahm - Right Right Right 15. Sebastian Plano & Maarten Vos - Hell & Heaven 16. Duval Timothy & Yu Su – Wood 17. Jeremiah Chiu & Marta Sofia Honer - Stureby House Piano 18. Sun Ra Arkestra – Chopin 19. Coil – Ether 20. COH meets Abul Mogard - Find and Hold 21. Arthur King - 75th St (E58) 22. DeepChord – Amber 23. Ex Ponto - Ex Ponto

Tonight, we'll read another story from our King Arthur series. This one, “The Crowning of Arthur and the Sword Excalibur” comes from a book edited by Rupert S. Holland and published in 1919. If you'd like to listen to this whole anthology easily in order, go to snoozecast.com/series. Excalibur is the legendary sword of King Arthur, sometimes also attributed with magical powers or associated with the rightful sovereignty of Britain. Excalibur and the Sword in the Stone (the proof of Arthur's lineage) are in some versions said to be different, though in other incarnations they are either the same or at least share their name. Several similar swords and other weapons also appear in this and other legends. Historically, a sword identified as Excalibur (or rather, Caliburn, at the time) was supposedly discovered during the purported exhumation of Arthur's grave at Glastonbury Abbey in the year 1191. That same year, either this or another sword claimed as Excalibur was given as a gift of goodwill by the English king Richard I of England to his ally the King of Sicily.

Episode 584: July 24, 2022 playlist: Loraine James, "Maybe If I (Stay On It)" (Building Something Beautiful For Me) 2022 Phantom Limb Hanna Svirska, "Nich" (Echo EP) 2022 System Mouse On Mars, "Blood Comes" (Radical Connector) 2004 Thrill Jockey Pete Namlook, "Seasons Greetings · Summer (excerpt)" (The Ambient Gardener · Summer) 1995 Fax Big Joanie, "In My Arms" (Back Home) 2022 Kill Rock Stars Christoph de Babalon, "Got To Let Go" (Leaving Time) 2022 Super Hexagon Ellis Swan, "Puppeteers Tears" (3am) 2022 Quindi Heith, "Your Element (a spell of equality)" (X, Wheel) 2022 PAN Arthur King, "Dinamitar" (Changing Landscapes (Mina Las Pintadas)) 2022 AKP Christopher Willits, "Crescent" (Gravity) 2022 Ghostly Tall Dwarfs, "Nothing's Going to Happen" (Unravelled: 1981-2002) 1985 Flying Nun / 2022 Merge Cleared, "Of Endless Light" (Of Endless Light) 2022 Touch Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Tonight, we'll read another story from our King Arthur series. This one, “Merlin Fortells the Birth of Arthur” comes from a book edited by Rupert S. Holland and published in 1919.If you'd like to listen to this whole anthology easily in order, go to snoozecast.com/series.Merlin is a mythical figure prominently featured in the legend of King Arthur and best known as a wizard. He became one of the most important figures in the imagination and literature of the Middle Ages. Most notable among his superpowers being that of prophecy and shapeshifting, Merlin engineers the birth of Arthur through magic and intrigue.— read by V — Listen Ad-Free on Patreon See acast.com/privacy for privacy and opt-out information.

Join me as we take a journey back to the time of King Arthur and his Knights of Justice. On this exciting interview I am talking with actor Andrew Kavadas the man behind the voice of Arthur King from King Arthur and the Knights of Justice. This was by far one of my absolute favorite animated shows growing up as it dealt with Arthurian Legend, King Arthur. History has always been one of my favorite subjects and that combined with an amazing voice cast, dealing with King Arthur and his Knights in a unique and mythical way was mind blowing as a kid. If you haven't seen this series I highly recommend King Arthur and the Knights of Justice to anyone and everyone. I have always thought the concept of this show would make an excellent live action movie. Anyway, not only did Andrew voice King Arthur aka Arthur King. He also voiced Simon Belmont on Captain N: The Game Master. I hope you enjoy todays episode. You can find Who Did That Voice the podcast on all podcasting platforms, on social media and on YouTube.Facebook: https://www.facebook.com/whodidthatvoiceTwitter: https://twitter.com/whodidthatvoiceInstagram: https://www.instagram.com/whodidthatvoiceTikTok: https://www.tiktok.com/@whodidthatvoiceYouTube: https://www.youtube.com/whodidthatvoice24 

In order to restore the Space Station Camelot. Arthur King, Lancelot, and Gwenivere; Must find the Holy Grail before Mordred and the Evil Ai, La Fae.

What you'll learn in this episode: Why jewelry artists from the 60s and 70s, such as Andrew Grima and Arthur King, are gaining more appreciation today The difference between artist jewelers and jewelry by artists What a jewelry lover should do to refine their taste and start their collection What defines a passionate collector What to expect from the Kimberly's upcoming exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s” About Kimberly Klosterman A graduate of Stephens College with a BFA in design, Kimberly Klosterman was always interested in art, antiques and design. After graduation she studied Decorative Arts at Sotheby's London, where she was exposed to the world of antique jewelry. Upon return to Cincinnati, she and her Husband, Michael Lowe, opened their first gallery selling art and antiques. At this time, she also began her search for fine jewelry. To make ends meet for the new business, Klosterman went to work in the family company, Klosterman Baking Company, in 1982 where she currently moonlights as C.E.O. Her jewelry business, established after another Sotheby's course, Understanding Jewelry, was opened in 1996. Her love of 1960s and 70s jewelry developed through the tutelage of Amanda Triossi, whose own collection thrilled Klosterman. After living in Amsterdam and London, she returned to Cincinnati where she continues to collect fine jewelry.  Klosterman has given gallery talks at the Cincinnati Art Museum, the Taft Museum, the American Society of Jewelry Historians, and the American Society of Jewelry Appraisers, NYC Jewelry Week, Christies Auction, Bonhams Auction, etc.   The current exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s,” organized by Cynthia Amnéus, Chief Curator and Curator of Fashion at the Cincinnati Art Museum, is a result of Klosterman's passion for collecting. Her goal, to help preserve the legacy of these bold men and women who were jewelers to the jet-set. The exhibition, which opened at DIVA in Antwerp, Belgum and traveled to the Schmuckmuseum in Pforzhiem, Germany, will be on view in Cincinnati Oct 22- Feb 6. A catalog complete with biographies and makers' marks accompanies the exhibition. Additional Resources: Website Facebook Instagram Pintrest Photos: This is the cover of the book, which is also the catalog and a listing of where the exhibit has been. Roger Lucas for Cartier astronaut ring Romolo Grassi Gold and emerald pendant. Gilbert Albert ammonite and pearl Bracelet Brooch Cedars Devecchi carved coral and gold brooch. Arthur king Brooch Collection of Andy Warhol and Kim Klosterman Andrew Grima amethyst ring. Andrew Grima agate and tourmaline necklace. Transcript: What makes a passionate collector? For Kimberly Klosterman, it's someone who can't get enough of the objects they love, no matter what they are. She herself became a passionate collector of 1960s and 70s jewelry long before it became popular. Her collection is now being featured in a traveling exhibition, “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s.” She joined the Jewelry Journey Podcast to talk about the qualities that draw her to 60s and 70s jewelry; why the unique jewelry of this period has come back in style; and what aspiring collectors should do to create a thoughtful collection. Read the episode transcript here.  Sharon: Could you collect a production piece in your collection? Kimberly: I do have some production pieces in my collection, for example pieces by Elsa Peretti; I happen to like Elsa Peretti very much. I think she's a great designer, but again, she settled on jewelry as being her first and foremost love. Even though they're production pieces, in my opinion, she's an artist jeweler because she's designing that way. Other production pieces that I have—during the late 60s and early 70s, Cartier made some production pieces that were pretty wonderful. There was another person, Aldo Cipullo, who designed the love bracelet and a number of other things that Cartier started selling. I think of him as an artist jeweler as well. Sharon: Is a piece that you want for your collection high-end or limited like Peretti? She's not what I consider a production jeweler. I'm sure some of her work she signed and numbered, but I wouldn't consider it production. You used TJ Maxx before; if you walked into TJ Maxx and saw a piece and you thought, “Oh my god, this is incredible,” would you maybe not wear it but consider buying it?  Kimberly: I love all kind of things, but for my collection, no. They're signed pieces. That's something, too, that I always looked for in forming my collection. I would see things that I thought were interesting and I would buy them. It didn't always have to be signed, but nine out of 10 times, if the piece was signed, even if I didn't know the name of the maker at all, I would buy it if I liked the piece because then I could do the research later. A lot of the material I have in my collection came to me that way, by buying unknown people and later finding out who they were and why they were important to this group of people in this time period. Sharon: If somebody wants to start a collection, if you've ignited somebody's interest in this, where would you say they start? I don't necessarily believe that things always have to be signed. I have some very nice things that aren't signed, but where would you suggest they start? Are there certain designers? Kimberly: First of all, just getting out and seeing what's available is very helpful. Go to the big shows. If you can, go to Miami, or there's a show coming up in New York. Go to interesting places, because you can see a lot of jewelry and start thinking about what you might like. Look at books, look at auction catalogues; auctions are also a great place to look. Then settle on something that sings to you and go down that path. I think people have accumulations of things, which is really a shame. I find that people want what their friends have. They buy this and this, things that are hot, like Van Cleef and Arpels Zodiac pendants, which are fine; they're wonderful and they're really cool, but you start ticking off things. I want an Alhambra necklace; I want a Van Cleef Zodiac signed. To me, that's wonderful jewelry. It's great to wear all the time, and it is a collection. Believe me, the stuff will become and is more valuable than many of the one-of-a-kind pieces I like. You know what? Scratch all that stuff. That's not good to say. Sharon: It is a collection if you're talking about the Zodiac piece and Alhambra.  Kimberly: It's a collection and it's fine to have. I guess sometimes I get bummed out because I feel so passionate about these wonderful, one-of-a-kind pieces, and I find that a lot of times, people can't wrap their minds around it because it's something they don't understand or haven't seen much of. Sharon: Also, you might not be doing as much dealing now, but you look at things in terms of whether it's going to appreciate. I buy things knowing sometimes they will appreciate. I have a friend who buys only with the idea of selling it. I don't do that.  Kimberly: No, I definitely don't either. I just buy my passion and what appeals to me. Sharon: I don't know if I would have had the fortitude; you must have had to buckle up. Why you started out in this genre of jewelry, you must have had to buck a lot of people saying, “Oh my god, what do you see in that?” Kimberly: Well, dealers didn't say that because they were just happy to get rid of it. I had a number of people showing me things that weren't right at all, and I'd still get that. This is my view, and it's like, “No, that doesn't look like it at all.” I just love this path, and I think you do too, of having jewelry that celebrates your individualism. Sharon: Similar to you, I love it when I find a piece that's one of a kind, even though nobody ever heard of the person. They're never going to become a Cartier, but I like the fact that it's really different. I'm curious about the exhibit, which I'm looking forward to seeing at some point in Cincinnati. Tell us about how it came about. Was that your brainchild? Kimberly: Yeah, it was interesting. In 2012, I had given a lecture for the American Society of Jewelry Historians in Manhattan, and in the audience was the curator of jewelry for the Cooper Hewitt, Sarah Coffin. Sarah came up to me after the lecture and said, “All this stuff is amazing. I think we should do an exhibition,” and I said, “Oh, that's a cool idea. I like that idea.” For one reason or another, we could never get it together.  In 2015, I started thinking, “I'm going to propose this to someone else,” and I started thinking about what museum might make sense and who might like the idea. I went to the Cincinnati Art Museum and heard Cynthia Amnéus speak, and I was very impressed by the talk she gave. I remember that it was on modernism, a subject I know pretty well, and she had to get the lecture together overnight. I thought, “Wow, if she can do that overnight, she knows her stuff.” So, I went to Cynthia and said, “I have this collection of jewelry, and I'd like to talk to you about it.” She took my PowerPoint presentation and she really liked it. I thought this would make perfect sense because she's Curator of Fashion for the Cincinnati Art Museum, and it's literally in my own backyard. I know the material really well and I knew that a lot of people didn't understand it, so I knew I was going to have to be hands on with the exhibition. This gave me the opportunity to do that, and it was really exciting.  After the show was accepted, we decided to travel it. It was an honor that DIVA picked up the show. They did a great exhibition. Sadly, I didn't get to see it because of Covid. Following that, it went to the Schmuckmuseum of Pforzheim, Germany. Cornelie Holzach knew all about this kind of material, which I was very excited about. I had met with her and asked if they would be interested. She knew almost everyone in the exhibition, and she had great stories about them. I showed her a watch I had and she said, “I think that's this artist,” and she went back and showed me where the source came from and some of their early catalogues. It was a real honor to be in both of those museums. I'm looking forward to the show in Cincinnati. Sharon: How long is it on for? Until next year, at least? Kimberly: Yes, it runs October 21 through February 6. Sharon: I certainly hope I get there. Cincinnati from Los Angeles is at least a little bit closer than New York. The other thing I'm curious about is what attracted you to this kind of jewelry first and what holds your attention. Kimberly: For me, it's the naturalistic quality of the jewelry. There's a lot of texture and warmth in most of the jewelry I collect, and I love the idea of using odd materials. The necklace I have on today by Arthur King has an amber piece with a petrified mosquito in it, and I just love that. The Gilbert Albert pieces that are in the catalogue with the fossilized ammonites, I think those are very interesting. I have some jewelry also by Gilbert Albert with beetles in them. I find all this natural material something special, and the natural crystals and uncut stones. Sharon: Did it give birth to what we see today? Kimberly: I really believe so. I haven't talked to any young designers as to what their inspiration is, but one would think. All you have to do is look at the catalogue and page through it to see how this jewelry could have influenced young designers. Jacobs, for example, is a huge fan of Andrew Grima. So was the fashion world, I think.  Sharon: You could take any piece from the catalogue and put it in Nieman Marcus today. It wouldn't look like a dated piece or anything; it would look like a fashion piece or a current piece. It's a beautiful book, and I encourage anybody who has an interest in this to get their hands on it and take a look. Did you think about the book on its own aside from the exhibit, or did the book only come about because you knew you were doing an exhibit? Kimberly: The book came about because of the exhibit, but I did feel very strongly that the two should go hand in hand. I think, especially for jewelry, that's a wonderful thing to happen, because you're able to see the pieces in the flesh rather than just see them in a book. I do like having the record of the book. One thing we did, and this is where the dealer and the collector part of me comes in, is that the book is mainly buyers of these different artist jewelers who were fascinated themselves. Many of them sold to the jet set; it was that time and period and craziness. There are buyers of the artist jewelers, and in the back we have makers' marks of all the jewelers that are in the exhibition. That comes in handy, especially for some of the more cryptic makers' marks that people can't figure out so well.  Sharon: It's fabulous to see that. It's a great resource. I know you have a background—is it in art history? Kimberly: Design primarily, but my husband I have had a gallery for as long as I can remember, and we've been together about 40 years. My husband sells, but mainly he's like I am. We're both hopeless collectors. It's mostly minimal and conceptual art. Sharon: Wow! Do you enjoy the research part because it's researching jewelry and art, or do you like research in general? Kimberly: I love research. I love research in general I suppose, but anything I'm passionate about. The only other thing I like to do is eat. Sharon: I can join you in that. Are there certain characteristics that a new collector should look at in terms of signatures or one-of-a-kind or limited edition? You're driven by what you like and you're suggesting that new collector would be driven by what they like. O.K., but are there certain things—everything you're pointing out has what I call tentacles. You called them something else before. What are the characteristics here? Kimberly: Again for me, I think it goes back to the naturalism of all the material. I have to say I've always described my jewelry as painterly, meaning it's textural, it has some kind of artistic quality to it. If I had to give advice to a budding collector, like I said, it would be try to see as much as you can, read as much as you can, and if you don't read, that's O.K.; look at the pictures. Look at jewelry catalogues and jewelry books and jewelry publications. Everybody will hit on something. It's like you said earlier; you've got how many black shirts in your closet? I'm with you on that account, too. I think we will walk down our path of what our own taste is. It's just discovering what the level of taste is and then going with it.  Sharon: Years ago, I was trying to decide what I should keep, what I should look at passing on or selling, and someone who sold art said to me, “Buy what you love.” I talked to other collectors in other areas where I tend to be—if it's in TJ Maxx, I may not buy it, just to be truthful about it. Are you a believer in the buy what you love, or are you looking for certain things? Kimberly: Oh, absolutely. You have to buy what you love. The things is, you have to learn what you love, and you only do that by exposing yourself to what's out there, or else you don't know what you love. It's just like a kid; they won't eat certain things because they  haven't tried them. Then they try them and they like them. You need to know what's out there and what's available so you can form an educated opinion. After all, like Christopher Dresser said, “Knowledge is power.” I think that's an important statement. Sharon: I want to say it's amazing—that's not really the word I want, but the fact that you've collected this for so many decades now, several decades, and it's still what you love. I don't know what I want to say, but there are things I've liked; there are trends, but the fact that you have been so passionate about it for so long— Kimberly: It's interesting, because I am very passionate about it still and I don't see that waning at all, but that said, I love ancient jewelry. I love antique jewelry. I love jewelry by artists. There are many, many different kinds of jewelry that I absolutely adore as well. I just don't go down that path as much because I find that I know more about this now. It's like a friend of mine said, “Stick to your knitting.” I try to do that. However, with the ancient jewelry and ethnic jewelry, it informs the stuff I collect anyway. It's not uncommon for me to wear a pre-Columbian pendant. What else do I have that I like to wear a lot? I have a lot of jewelry by a woman named Patti Cadby Birch who took ancient materials and reconfigured them in the 70s, so the materials are ancient, but they're a little more wearable. I love that as well. Sharon: Have you thought about what your next exhibition is going to be? Kimberly: I'm going to say, because I don't know if it'll be an exhibition or not, but I'm really fond of the work by Arthur King. I think he's an interesting American jeweler and an important American jeweler from the 60s. There are lots of people out there that have his jewelry. In my dream world, if I have time to do it, I'd like to do an exhibition of Arthur King, not just with the jewelry I have. Anybody listening, if you're an Arthur King collector, I would really like to do a museum exhibition of his work. I would do that myself. Sharon: That would be fabulous. I don't know his work. When you say there are a lot of people out there who collect him, I'm sure there are. I don't see a lot of it. When I go to shows, I don't see it or I don't know it. It's not being called out, like when they have a little tag saying, “This is a Cartier.” There are lots of jewelers besides Cartier, but I'm just saying. That would be fabulous. I didn't even know he was American. Kimberly: Oh, yeah. He had a couple of stores in Manhattan and, like I said, in Florida as well, so lot of his jewelry ended up in those pockets of the world. A lot of people knew him, and there are some great stories about him. I have been in touch with people that were close to him, and right now I'm trying to get their stories just in case this comes to fruition. Sharon: That would be a fabulous next step. I'm sure you're just going to sit down and be, like my husband would say, “eating bonbons” after this. Anyway, Kimberly, thank you so much for being here. The exhibit sounds wonderful. Who better to put it together and drive it than you, with your passion and knowledge? We are all looking forward to it. It starts October 21 at the Cincinnati Art Museum, which I understand is a fabulous museum. I look forward to getting there, and I hope everybody listening to this can make it also. Thank you so much. Kimberly: Thank you so much, Sharon. I hope to see you in Cincinnati.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why jewelry artists from the 60s and 70s, such as Andrew Grima and Arthur King, are gaining more appreciation today The difference between artist jewelers and jewelry by artists What a jewelry lover should do to refine their taste and start their collection What defines a passionate collector What to expect from the Kimberly's upcoming exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s” About Kimberly Klosterman A graduate of Stephens College with a BFA in design, Kimberly Klosterman was always interested in art, antiques and design. After graduation she studied Decorative Arts at Sotheby's London, where she was exposed to the world of antique jewelry. Upon return to Cincinnati, she and her Husband, Michael Lowe, opened their first gallery selling art and antiques. At this time, she also began her search for fine jewelry. To make ends meet for the new business, Klosterman went to work in the family company, Klosterman Baking Company, in 1982 where she currently moonlights as C.E.O. Her jewelry business, established after another Sotheby's course, Understanding Jewelry, was opened in 1996. Her love of 1960s and 70s jewelry developed through the tutelage of Amanda Triossi, whose own collection thrilled Klosterman. After living in Amsterdam and London, she returned to Cincinnati where she continues to collect fine jewelry.  Klosterman has given gallery talks at the Cincinnati Art Museum, the Taft Museum, the American Society of Jewelry Historians, and the American Society of Jewelry Appraisers, NYC Jewelry Week, Christies Auction, Bonhams Auction, etc.   The current exhibition “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s,” organized by Cynthia Amnéus, Chief Curator and Curator of Fashion at the Cincinnati Art Museum, is a result of Klosterman's passion for collecting. Her goal, to help preserve the legacy of these bold men and women who were jewelers to the jet-set. The exhibition, which opened at DIVA in Antwerp, Belgum and traveled to the Schmuckmuseum in Pforzhiem, Germany, will be on view in Cincinnati Oct 22- Feb 6. A catalog complete with biographies and makers' marks accompanies the exhibition. Additional Resources: Website Facebook Instagram Pintrest Photos: This is the cover of the book, which is also the catalog and a listing of where the exhibit has been. Roger Lucas for Cartier astronaut ring Romolo Grassi Gold and emerald pendant. Gilbert Albert ammonite and pearl Bracelet Brooch Cedars Devecchi carved coral and gold brooch. Arthur king Brooch Collection of Andy Warhol and Kim Klosterman Andrew Grima amethyst ring. Andrew Grima agate and tourmaline necklace. Transcript: What makes a passionate collector? For Kimberly Klosterman, it's someone who can't get enough of the objects they love, no matter what they are. She herself became a passionate collector of 1960s and 70s jewelry long before it became popular. Her collection is now being featured in a traveling exhibition, “Simply Brilliant: Artist-Jewelers of the 1960s and 1970s.” She joined the Jewelry Journey Podcast to talk about the qualities that draw her to 60s and 70s jewelry; why the unique jewelry of this period has come back in style; and what aspiring collectors should do to create a thoughtful collection. Read the episode transcript here.  Sharon: Today, my guest is Kimberly Klosterman of Kimberly Klosterman Jewelry. While she's dealt in jewelry across a number of periods, she's recognized for her collection of designer jewels from the 60s and 70s. Her collection is currently being featured in the museum exhibit “Simply Brilliant,” scheduled to open at the Cincinnati Art Museum on October 21. The show has already been at DIVA, which is the new diamond museum in Antwerp, as well as at Pforzheim in Germany. We'll hear all about Kimberly's jewelry journey today as well as about the museum exhibit. Kimberly, welcome to the program. Kimberly: Thank you. I'm so happy to be here, Sharon. Sharon: Tell us about your jewelry journey. I was looking at this beautiful catalogue, “Simply Brilliant.” It's a standalone book, but it's a catalogue of the show. I'm reading the review that Ruth Peltason, I think, did with you. You've really had such a journey if you'd tell us about that. Kimberly: I've been interested in jewelry for a long time and started collecting Art Deco things and different kinds of jewelry earlier on. I decided if I'm going to do this, I'd better learn a little more about what I'm getting myself into. So in 1996, I went to London and found out there was a course called “Understanding Jewelry” at Sotheby's. I thought, “This might be a great thing for me to do. I've been a Sotheby's student before, and I learned a lot the first time around.” This was a course that lasted five or six weeks and Amanda Triosi was teaching it. So, my husband and I went to London and I took the course. It was great. It was the history of jewelry. It was a lot of fun. I do have an art background, so it was easy to pick up on the jewelry she was talking about. We had great speakers, but one thing that stood out for me was that I was exposed to the artists' jewelry of the 1960s and 1970s, and that happened in two ways.  One of our projects for extra points was to go see a show at Hancocks in London, and that was an Andrew Grima retrospective. I went to the show, and I was completely bowled over. I was almost shaking when I saw the jewelry there. I walked in, looked at it, and the man behind the counter was very tall and dapper, a really elegant man, and he looked at me and saw my enthusiasm and said, “Would you like to meet the artist?” I said, “Oh yes, that would be fantastic,” and he extended his hand. It was Andrew Grima. That was my first exposure to that kind of jewelry. Up until then, if you think about what was happening the mid-90s, everybody was into white gold and small jewelry and little, tiny things. Here were pieces that were big and bold and gold, and all kinds of materials were used instead of precious and semiprecious stones. It was a real eye-opener. The other thing is Amanda, who has become a very close friend, at the time when I was her student, she took some of us back to her little apartment in London and said, “Would you like to see my jewels?” I said, “Oh sure, that would be great.” So, she reached behind the radiator and pulled out these hot jewels, and they were incredible. She had a necklace by Gilbert Albert and Andrew Grima pieces and a host of things I had never laid my eyes on. The other few students that were with us didn't get it at all. I immediately responded to it, and I knew that was a path I wanted to carve out for myself.  At the time, I was taking a bit of a break from my family business, which is Klosterman Baking Company. My husband and I were in Europe, and I didn't know what I was going to do. I woke up one morning and said, “I know; I'm going to sell jewelry.” I took the previous stuff I had collected, which actually turned out to be a lot better than I thought, and started selling that, but with an eye to look for these other jewels. I think one thing that was so amazing to me is how difficult it was to source that material from the 60s and 70s. I didn't realize until some years later that the reason was because it simply wasn't out of the jewelry boxes yet. It hadn't come into the marketplace, and if it did, it was probably scrapped pretty quickly, as they were heavy pieces of gold. So I went on this quest, but it took quite a while to build a collection. If you are thinking about this jewelry in today's marketplace, say for the past four or five years, it's everywhere, but it was very difficult to source in the beginning. I made a little booklet on my iMac that I used to take to shows on the jewelry I was collecting. This was before we had cellphones. I would take it around with me to shows and show various dealers, “If you get anything like this, call me. Here's my card.” That's how I started collecting. Sharon: Did you get a response from dealers? Did they say, “Oh, I've had that in my drawer for ages”? Kimberly: I did have a funny thing happen one time in Miami. I was wearing a piece of jewelry by Arthur King, and I really like King's work. He's an American jeweler that started working in the late 40s. He started out as a studio jeweler making his own jewelry in Greenwich Village, right on the same street as Sam Kramer and— Sharon: Art Smith? Kimberly: Art Smith, yes. He was right in that group. I think he went to Florida right after that and eventually started working in gold. He started hiring other bench jewelers to help him as well. He had a place in Cuba. He had a couple of different stores in Florida, and he was also showing at Fortnum & Mason in London. He's a very interesting jeweler to me, but anyway, back to the Miami Beach, Florida Antique Show. I was wearing an Arthur King piece, and one of the dealers looked at me and said, “Do you like that stuff?” and I said, “Yeah, I do.” She said, “I have these things in my safe.” It ended up being a number of pieces that came directly from Louise King, Arthur's wife, and she had them on consignment. I bought those pieces and started my friendship with that dealer, who down the road would show me things like that when she got them.  Sharon: I'm sure people were surprised because that stuff was so out of fashion when you started collecting it. Kimberly: It really was. The other dealer stories are a total crackup. I say my best pieces came out of people's big and ugly boxes. You would go to the show, and they'd have this box, big and ugly.  Sharon: Today it's not white gold, but it's still tiny, little pieces. I call it Brentwood jewelry.  That's an affluent area near here. I'm knocking somebody's jewelry, not any particular designer, but I don't understand; it doesn't show up. Why are you wearing it? That's all. Kimberly: I've always said it's funny about jewelry. I learned a long time ago that people that wear big jewelry don't necessarily have to be big people. A lot of times different jewelers would say, “Oh well, you need a big woman for that,” and I said, “No, you need a big personality.” Some of the people I know that wear the biggest jewelry happen be to the tiniest people. Sharon: That's true with art jewelry being made out of plastic or wood. It's big, but it may be a little more out there, avant garde. I remember at a gallery, there was a small, very elegant woman telling me how she would have to convince her clients they could wear this stuff. They didn't have to be big women, like you're saying. You mentioned Graham Hughes. Tell us who this is and how he influenced your collecting or your path. Kimberly: Graham Hughes was in the late 50s at Goldsmiths' Hall. His father had been at Goldsmiths' Hall and Graham followed in his father's footsteps. This is in London. Graham was initially involved with the silver department there, but he had a real love of jewelry and decided this would be a good avenue for Goldsmiths' Hall to go down to start a collection of jewelry. He was very passionate about it and has written a number of books on the history of jewelry. I always liked his take on things. We just seemed to have the same taste. Even in his historic collection of jewels that he chose to picture in his books, they were always the best; they're just great. He was a bit of a character, from what I understand.  I never did get to meet him, but he got together with some people at the V&A. They started talking in the late 50s about putting an exhibition of jewelry together, and they didn't want to do just any jewelry. They thought jewelry was boring, staid; “What can we do to shake it up?” This little group initially said, “I know. We'll get artists to make jewelry. We'll commission artists to make jewelry and we'll have this exhibition.” They talked about that, and the more they talked about it—it was actually Graham, I believe, that said, “No, we can't do that, because artists don't always understand how jewelry hangs on the body or how it attaches to clothing because they're artists; they're not jewelers.” He said, “We need to reach out to people that are jewelers making amazing jewelry already, people making one-of-a-kind pieces of jewelry that are thinking outside the box.”  There were a couple of different reasons; I don't know exactly what they were. Health was one issue. One of the people had a health issue, and something else happened at the V&A where they were going to cancel the show. Instead, Graham proposed that they have the show at Goldsmiths' Hall, and everything came together. They started reaching out to people all over the world for this proposed show. I can't remember how many countries; maybe 80 countries, something like that. Just under a thousand pieces, 900 and some odd pieces were exhibited in the show when it happened in 1961. It was also a historic show because it showed works by René Lalique, Chaumet, some other big houses. It was kind of a survey in that area, but the idea was modern jewelry, 1890-1961. Sharon: I want to make sure everybody knows that the V&A is the Victoria and Albert Museum. Kimberly: Anyway, this put a lot of people in the limelight. People like Arthur King exhibited from America in that show; Andrew Grima exhibited; just a whole host of people. Those people helped inform my collection. The catalogue he wrote that accompanied the exhibition as well as the book that followed it became the Bible for my collection, my wish book. Sharon: I want to ask you something else, a small detail. Amanda Triosi's class, was that every day for five or six weeks or once or twice a week? Because if it was every day, wow!  Kimberly: It was five days, and it was great. We had the best speakers and great field trips. It was really wonderful. Sharon: Wow! I'm ready. Sign me up. That sounds wonderful. I'm curious if today you go to some social event and wear your jewelry, do people understand it more than they did 10, 15 years ago? Kimberly: I think so, absolutely! If you look in today's marketplace, heck, go to TJ Maxx and look in the case. So much jewelry is influenced by what was happening in the 60s and 70s, whether these contemporary jewelers know it or not. It has definitely come back around. Uncut stones, rough diamonds, textured gold, bigger, bolder items; all of these things have come back into the marketplace, and yellow gold again as opposed to white gold. Sharon: Was there a time, maybe 20, 25 years ago, when friends, people at social events, would say, “What is that?” Was there no understanding or appreciation? Kimberly: I think overall people do appreciate it more than they did. To my face they didn't tell me they didn't get it, but it's been interesting working with different people on the exhibition that maybe weren't exposed to this kind of jewelry before, even possibly the curator at the art museum, Cynthia Amnéus, who wrote the book, or Ruth Peltason, who's also writing a book on 1960s and 1970s jewelry and did the interview with me in our book. I have educated them to the point where they really like the jewelry now.  Sharon: It definitely grows on you. Kimberly: It does, and I think that's true with anything. People tend to like what they know, not know what they like. Sharon: That's interesting. That could lead into a whole different discussion. Did somebody have to teach us to love Art Deco jewelry, or is that just something that is beautiful? Kimberly: You know what? I think it's just beautiful. I remember declaring, after I graduated from my “Understanding Jewelry” course at Sotheby's, that I knew what I was going to sell: Cartier Art Deco, because it's the best. Well yeah, everybody else thought so, too. So, I carved out a niche for myself that was remotely different. Sharon: It must have been easier to source at least, Cartier Art Deco. A lot pricier I would think, but easier to source. Kimberly: Easier to source, but out of reach for me at the time. Sharon: In some of the literature I was reading about you, it says you sell to the passionate collector. What is the passionate collector to you? Kimberly: It's anyone that can't enough of anything. I have one friend I sell to and they're—you know what? I think you should answer that question. You're the collector. Sharon: I was thinking about that. Is that somebody like me who occasionally will buy—let's say it's out of my budget; it's out of my reach, but it's so beautiful I have to have it. There are a lot of things I don't think about that way. I don't need sports cars. I don't need a boat. I don't need a horse. Kimberly: I think it's when you can't stop. I know from my own self I'm a passionate collector. I keep thinking, “I don't need that, but that's fantastic.” You try to say, “Hey, I've got all this. I don't need another example of this, but I need an example of this.” Sharon: I's like as my mother used to say to me, “You have a black blouse.” Yes, I have a black blouse, but does it have short sleeves? Does it have a bow? Anyway, the other thing you talked about is jewelry by artists versus artists' jewelry. Can you tell us a little bit more? Kimberly: The difference between an artist jeweler and jewelry by an artist is this: an artist like Calder, Goya, Dalí, etc. makes other art. They're more passionate—I don't know about passionate, but— Sharon: They're artists in that way. Kimberly: They're artists in a bigger realm. They're making paintings and sculptures and different things, and jewelry is just a small portion of what their oeuvre is. Whereas an artist jeweler is a jeweler by trade or in the jewelry industry by trade, making one-of-a-kind pieces of jewelry that are in that marketplace. It's almost like a marketplace situation. You've got jewelers and you have artists, but certain jewelers that we call artist jewelers are making one-of-a-kind pieces, usually, or limited pieces for the jewelry market. Does that make sense? Sharon: Yes, it is hard to define. I've talked to a lot of different people about what a passionate collector is and what collecting is. Someday somebody will come up with some definition that's definite. What you're saying makes sense. I understand what you're saying.

Arthur King and his crew of Space fairing scavengers find the sword class ship Excalibur. In order to restore the Space Station Camelot. Arthur King, Lancelot, and Gwenivere; Must find the Holy Grail before Mordred and the Evil Ai, La Fae.

Bienvenue dans “Assieds toi faut que j'te parle”, le nouveau podcast de Konbini. Dans ce quatrième épisode, Coumbis Hope Lowie reçoit Mister You, rappeur historique de la scène française, pour une conversation intime et débridée.  Au cours de cet entretien, Mister You nous raconte l'arrivée de ses parents marocains en France dans les années 80. Il revient ensuite sur son adolescence, ses déboires avec la justice, ses passages en prison et enfin sa réinsertion. Il partage des moments clé de sa carrière, faite de réussites et de coups durs et de débrouille. Il raconte enfin comment il vit personnellement la célébrité et le prix que coûte cette dernière.  Host : Coumbis Hope Lowie | Production et réalisation : Robin Riccitiello | Direction de création : Arthur King & Raphaël Choyé | Communication : Marguerite Courcoux | Enregistrement, mix et musique originale : Louis BeriHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dans ce troisième épisode d''Assieds toi faut que j'te parle', Coumbis Hope Lowie reçoit Lyna Mahyem. La chanteuse pop urbaine d'Argenteuil s'est fait connaître en 2017 avec son remix de 92i Veyron de Booba. Elle a ensuite tracé sa route, sorti deux albums, dont “Femme Forte” en 2020, et collaboré avec GLK, l'Artiste, S.Pri Noir, Barack Adama ou encore Anas. Au cours de cet entretien, Lyna raconte son adolescence et ses côtés garçon manqué. Elle revient sur son éducation, sa double culture franco-maghrébine puis sur l'importance qu'elle accorde à la valeur travail. Elle partage son experience en tant que femme dans le monde de la pop urbaine, ses galères de label et ses objectifs de carrière. Host : Coumbis Hope Lowie | Production et réalisation : Robin Riccitiello | Direction de création : Arthur King & Raphaël Choyé | Communication : Marguerite Courcoux | Enregistrement, mix et musique originale : Louis BeriHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Have you ever been "challenged" by someone else's behavior?  Maybe it's what they said; maybe it was how they acted.  How should we respond?  Today's episode is the story of literally coming to someone's rescue and being the hands and feet of Christ when it was needed.  Arthur King shares his story -- one he has rarely shared -- with us...and we will truly be blessed.Additional Resources:LINKS:The Romans Road www.christianity.com/wiki/salvation/what-is-the-romans-road-to-salvation.html

Bienvenue dans “Assieds toi faut que j'te parle”, le nouveau podcast de Konbini Radio. Dans ce deuxième épisode, notre journaliste Coumbis Hope Lowie reçoit Kodes pour une conversation intime et débridée. Kodes est un rappeur du Parc aux Lièvres à Évry dans le 91. Il s'est fait connaître au sein du duo Mafia Spartiate et avec ses featurings avec Koba LaD ou encore Bolémvn. Tous sont originaires du fameux bâtiment 7 dont ils parlent très régulièrement. Au cours de cet entretien, Kodes revient sur sa vie au Bat7 faite de freestyles, de débrouille, d'amitiés, et parfois d'embrouilles entre quartiers. Il se livre enfin sur sa vie sentimentale et son rapport à la célébrité. Host : Coumbis Hope Lowie; production et réalisation : Robin Riccitiello; direction de création : Arthur King et Raphaël Choyé; communication : Marguerite Courcoux; enregistrement, mix et musique originale : Louis Beri.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

You're back to PT MEAL: Physical Therapy podcast. This is Episode 56. Just in time for the Valentine's weekend, we are going to talk about the heart. Today, we are going to talk about Cardiac rehabilitation. My guest is Arthur Bhenedict King, PTRP, an alumnus of the University of Santo Tomas, a member of the Philippine Physical Therapy Association Board of Director, a cardiac rehabilitation PT, and the Chief Physical Therapist of the Cardiac Rehabilitation Section of the Philippine Heart Center. In our conversation, we discussed what cardiac rehabilitation, phases of cardiac rehabilitation, common conditions seen in cardiac rehab, and challenges and lessons he learned and passed on to his students. So taralets! --- Support this podcast: https://anchor.fm/ptmealpodcast/support

S01E01. Bienvenue dans “Assieds toi faut que j'te parle”, le nouveau podcast de Konbini Radio. Dans ce premier épisode, notre journaliste Coumbis Hope Lowie reçoit le rappeur marseillais YL pour une conversation intime et débridée. Au cours de cet entretien, YL revient sur son enfance, son rôle de grand frère qui lui est cher et sur l'éducation franco-algérienne qu'il a reçu. Il nous raconte ses déboires de cœur, se questionne sur la longévité d'une relation amoureuse passionnelle et sur l'empreinte qu'il va laisser dans ce monde. Il partage enfin son expérience en tant que rappeur, ses objectifs de carrière et ses projets professionnels en Afrique. Un épisode vrai avec une bonne dose de sagesse et de philosophie.  ______ Host : Coumbis Hope Lowie  | Production et réalisation : Robin Riccitiello  | Direction de création : Arthur King & Raphaël Choyé | Communication : Marguerite Courcoux  | Enregistrement et mix : Lucien Oriol  | Musique originale : Louis BeriHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Sean and Bryan discuss the status of Hong Kong and Paris Disney Parks, an interactive online Disneyland Paris Advent Calendar, special Disney trivia, extended holiday hours for Downtown Disney, and California Screamin'/Incredicoaster! We have a sponsor: Get Away Today! Use our referral link to get $10 off any 2+ night Southern California package, tickets included. www.getawaytoday.com?referrerid=7479 or use promo code mainstreet10 Donate to our Patreon! www.patreon.com/wordonthemainstreet Contact the hosts: Voicemail: 801.923.2455 Sean - sean.wotms@gmail.com Bryan - bryan.wotms@gmail.com

In January 2020, Rozi Plain travelled over to the Isle of Eigg to work with two of her closest companions; GERARD BLACK, a Glasgow-based musician and songwriter, frontman with electronic synth upstarts Babe, and frequent performer with Charlotte Gainsbourg and François & The Atlas Mountains; and JAMIE WHITBY-COLES, a fellow acolyte of the Bristol scene, who plays alongside Rozi with This Is The Kit, and creates his own music under the moniker B-Fax.Whilst on the island, this ebullient trio recorded a collection of woozy, groovy instrumentals and songs; dreamy guitars, soft analogue synths, floaty drums and percussion collide, each pal taking a turn on lead vocals.Part two of our two-part interview, was recorded in September 2020. Rozi, Gerard and Jamie were in Winchester, sat in Rozi’s parent’s garden - taking a break from recording some new demos. They discuss how they met one another, their trip to Eigg, and their writing/recording process during their stay on the island. Throughout this episode you’ll hear clips of some of the tracks they created for the project.To listen to the music they created in full, and to support this podcast, please subscribe to VISITATIONS. You’ll receive 3 x 12” vinyl releases (with CD and download copies included) from the three acts in the current series - Arthur King, Rachel Aggs, and Rozi Plain. Go to lostmap.com/visitations for more info.You can find Rozi over on roziplain.co.uk, and on all the regular social media places with the handle @roziplain. Gerard Black is @akuriousoranj on Twitter, and @babeband on Instagram. Jamie Whitby-Coles is an online enigma, but you can purchase his debut solo album, under the name B-Fax, available only from indie-shops across the UK.At the end of the episode, Pictish Trail presents an overview of the two series of VISITATIONS thus far, reflects on their common themes, and reveals what lies in store for the podcast…Lost Map Podcast is presented by Pictish Trail. Additional production and editing by Joe Cormack.

ROZI PLAIN's gently hypnotic, slightly askew songs have steadily made their way from her home-town of Winchester, reverberated through the bustling Bristol DIY scene, and currently emanate from London’s creative epicentre. One of Lost Map’s most successful alumni, now signed to Memphis Industries, Rozi’s music has acquired a worldliness that’s reflected in her international touring schedule; each of her albums broach new sonic territory, but retain a sense of intimacy and a reassuring warmth of spirit.In part one of our two-part interview, Rozi chats to us from her folks place in Winchester, discussing her life in music, and the people she’s worked with over the years. Throughout this episode you’ll hear clips of music she’s released across her career, including some of the tracks she recorded on Eigg with her collaborators Gerard Black and Jamie Whitby-Coles. We’ll hear more from those guys in part two.To listen to the music they created in full, and to support this podcast, please subscribe to VISITATIONS. You’ll received 3 x 12” vinyl releases (with CD and download copies included) from the three acts in the current series - Arthur King, Rachel Aggs, and Rozi Plain. Go to lostmap.com/visitations for more info.You can find Rozi over on roziplain.co.uk, and on all the regular social media places with the handle @roziplain.Lost Map Podcast is presented by Pictish Trail. Additional production and editing by Joe Cormack.

Tonight we have special guest Arthur "King Arthur" Lewis Athlete and Happyvillian. The Harlem Wizards talent will be with us to discuss Team of We and What is Happyville? Phone lines will be open. Please like and share our video it just takes a second and one click. #cntgshow #teamofwe #happyville #harlemwizards

We journey back to the land of Wrogles where Arthur rides to meet with Leodegrance but along the way he is ambushed by Lavic's men. Can Arthur escape and who is the brave, brilliant mysterious knight who rides to his rescue-- it's Lancelot. Of course it's Lancelot. Special Thanks: Fuck Yeah Arthuriana for your brilliant efforts in providing subtitles. Music: Arthurian Mythia Theme by Invictus Media Links: IMDb - The Tales of the Knights of the Round Table: King Arthur Wikipedia - King Arthur (TV series) My Anime List - Entaku no kishi monogatari: Moero Arthur Ignacio Rodríguez Chávez (YouTube) - 1980 Entaku no Kishi Monogatari Moero Arthur Opening

In our previous episode, we met Grandaddy front-man Jason Lytle, and were introduced to the world of ARTHUR KING - a collective of musicians and film-makers associated with the Dangerbird Records label, in Los Angeles. The ferry from Mallaig had just arrived on the Isle of Eigg, and the ARTHUR KING gang were about to disembark, and begin their week long stay as part of our VISITATIONS artist residency project.Donning all-white laboratory overalls and red-beanie hats, the team immediately set about extracting samples of their surroundings with recording devices, creating an hypnotic collage of wildlife, nature, weather and local gossip. This provided the sonic landscape, over which the members improvised - culminating in a performance in the living room of one of the island’s residents, and a trippy late-night slot at the Ceilidh Hall as part of our Howlin’ Fling! festival.In this second episode of the podcast, we chat to Jason Lytle, Aaron Espinoza and Peter Walker about life on Eigg, their recording process and the creation of the music for the project, as well as the experience of performing at Howlin’ Fling!. It also features an exclusive recording of Jason performing a classic Grandaddy song on piano, live at the festival.If you’d like to support this podcast, and listen to the music that has been created by ARTHUR KING, you can do so by signing up to VISITATIONS. Go to www.lostmap.com/visitations for details on our vinyl and digital subscriptions.This series of VISITATIONS was conducted in St Franny’s Bothan. If you’d like to check out the space, and maybe book a trip to the island yourself, check out www.stfrannys.com.To check out the other projects of ARTHUR KING, go to www.whoisarthurking.com. You can see what Jason Lytle is up to, over at http://jasonlytle.com/.Lost Map Podcast is written, produced and presented by Pictish Trail. Additional production and editing by Joe Cormack.

Our second series of Lost Map’s artist residency project, VISITATIONS, gets underway with a release from ARTHUR KING - a collective of musicians and artists associated with the Dangerbird Records label, in Los Angeles.Their journey was sparked by an online conversation between Jason Lytle (front-man with alt-rock pioneers, Grandaddy) and Pictish Trail, in early-2019; having seen photos of our first series of VISITATIONS, Jason was keen to embrace the opportunity to explore the Isle of Eigg, and collaborate with his musical cohorts, Aaron Espinoza and Peter Walker of Dangerbird. All of this was to be captured on camera, manipulated, and projected back onto the island itself by fellow Arthur King companions, John Schlue and Aaron Farley. In this first episode of the podcast, we chat to Jason about his life in music, and his journey to Eigg … and we hear from Aaron Espinoza and Peter Walker about the Arthur King project itself.If you’d like to support this podcast, and listen to the music that has been created for this project, you can do so by signing up to VISITATIONS. Go to www.lostmap.com/visitations for details on our vinyl and digital subscriptions.Lost Map Podcast is written, produced and presented by Pictish Trail. Additional production and editing by Joe Cormack.

Daft-pop impresario Pictish Trail (aka Johnny Lynch) runs Lost Map Records from the remote Scottish isle of Eigg. In 2018, he conducted an artist residency programme on the island, inviting three different music acts over to write and record new material during the course of a week’s stay. The music they made was pressed on to vinyl, and available as part of a subscription set from the Lost Map website. The project was called VISITATIONS, and it returns in 2020 for a second season.There are three new acts taking part this year - the otherworldly L.A. collective ARTHUR KING (featuring alt-rock hero, Jason Lytle, of Grandaddy), the ecstatic post-punk of Glasgow’s RACHEL AGGS (of Sacred Paws, Shopping and Trash Kit), and the hypnotic sway of Winchester’s finest ROZI PLAIN. For this second podcast series, Pictish Trail will be interviewing the various musicians involved, asking them about their lives in music, and their experience on the island.If you’d like to support this podcast, and listen to the music that has been created for this project, you can do so by signing up to VISITATIONS. Go to www.lostmap.com/visitations for details on our vinyl and digital subscriptions.Lost Map Podcast is written, produced and presented by Pictish Trail. Additional production and editing by Joe Cormack.

Vous vouliez tout savoir sur comment et pourquoi on ne “bullshit” plus la génération des millennials avec la “pub à papa” ?... Pour commencer en fanfare cette nouvelle année dans l’écho "pop’s" des bouchons de champagne de la st sylvestre, c’est chez KONBINI, média affinitaire privilégié des Millenials et au-delà, que je vous propose de m’accompagner pour une trentaine de minutes en compagnie de Guillaume AUBERT, directeur de Création de KEWL, une hotshop créative « nouvelle » génération » lancée ces jours-ci par KONBINI. Plus jeune invité de ce podcast depuis sa création, et ça se sent chaque seconde. A 28 ans à peine, Guillaume a « survécu » (ou fait ses armes, c’est selon…) à un début de (jeune)carrière chez FullSIX, puis « social mediatisé » tout ce qui pouvait l’être chez CLM BBDO et chez Marcel (Publicis)sous le soleil burinos-élyséen de Pascal Nessim que je salue au passage. Il conseille les marques chez KONBINI depuis l’été 2018 au côté d’Arthur King, directeur de la création historique d’une maison pop créatrice de certains des formats éditos les plus cool de l'hexagone. Après l'écoute de ce podcast vous comprendrez pourquoi le poste de "Community Manager" chez Marcel est le tremplin de lancement pour la piste aux étoiles...Et deux ou trois autres tips sur vitaminés à consommer sans modération. Une vision rafraichissante d'un brand Content que l'on a envie de rebaptiser à l'atterrissage.

Rex 现在射反曲弓三年多了，对我一个刚开始射箭的大坑，他这期教了我很多。感兴趣射箭的朋友可以去射箭吧兄弟(soho复兴广场店)，从新天地地铁站可以直接进广场。 找 Ryan 说你认识 Arthur King 或是 杨老师。

Arthur King has his own podcast called the Bing King Podcast. Before I started podcasting Arthur actually had me on his show and I had such a good time it was one of the reasons I start my own show. Today we talked about our experiences in Shanghai and our goals.  Check out Arthurs podcast: https://podcasts.apple.com/us/podcast/the-bingking-podcast/id1313152669

As 2019 draws to a close, we meet up with our good pal, Chef Royce Burke of Secret Lasagna fame, at one of Los Angeles’ most anticipated restaurants of the year, All Day Baby. We take a look back on the last 12 months and all the ups, the downs, the old, the new and the key players that made L.A.’s dining scene so exciting. In keeping with the themes of reflection and Los Angeles, we pull from our archives the first-ever live music recording we did at the Silver Lake studios of Dangerbird Records. Performing for us that day in 2018 were Peter Walker, Aaron Espinoza and John Schlue of the music-and-art collective, Arthur King. The group crafts ambient improvised music utilizing synthesizer, guitar, drum machine and sounds extracted from environmental field recordings, combined with the experimental visual projections.The holiday season is all about food and community. There’s no better time to show your support for food radio by becoming a member! Lend your voice and help HRN continue to spreading the message of equitable, sustainable, and delicious food – together, we can change minds and build a better food system. Go to heritageradionetwork.org/donate  today to become a crucial part of the HRN community.Snacky Tunes is powered by Simplecast.

Sound Field Volume One turned out quite differently than its creator planned. Randy Randall had grand plans for field recordings. Inspired by his early years growing up the Inland Empire, the No Age guitarist took a microphone to the freeways of Southern California. Turns out all freeways more or less sound the same. Lesson learned. The experience did, however, shape his first instrumental for the Arthur King collective. A more traditional collection of ambient tracks, the album takes the listener on a sort of sonic road trip, from Desert Sunrise to Shore Sunset. It’s an impressive collection for a first time ambient artist, and a far cry from No Age’s much loved noise rock.

NYLONANDJUNO finds Jason Lytle trying something new. It’s a set of songs constructed around limitations — in this case, all of the music is played on a synthesizer and guitar, with a broken bottom nylon string. It’s also an entirely instrumental album, a far cry from the singer-songwriter’s days fronting indie-rock mainstay, Grandaddy. The record finds Lytle joyfully exploring new territory more than 20 years into his professional recording career. With a number of his fellow Arthur King collective members in town for an art exhibition, the musician joined us to discuss the ups and downs of his long celebrated career, time as a pro skater and reconnecting with the joy of making music.  

The group’s URL evocatively posits the question, Who Is Arthur King? It’s not a particularly easy question to answer. It never is with a collective. For the sake of brevity, we’ll cowardly default its own description. Arthur King is an experimental music and visual art collective seeking to engage the tension between the known and unknown inherent in creative expression. For the sake of this interview, Arthur King is, in part, former Earlimart guitarist Aaron Espinoza and painter, John Schlue. The first of a three part series, the duo will be joined in coming weeks by Grandaddy’s Jason Lytle and No Age’s Randy Randall. All parties sat down to discuss their on-going collaborations while putting on an exhibition in Manhattan. In this first part, Espinoza and Schlue discuss the collective’s multimedia work.

  Today we look at the English subtitles for the Italian dub of a Japanese interpretation of the Anglo-French adaptation of Welsh myth; Entaku no kishi monogatari: Moero Arthur, the King Arthur anime. Will Arthur reunite the kingdoms of Wrogles or will the villainous Lavic succeed in killing the new king? Special Thanks: Fuck Yeah Arthuriana for your brilliant efforts in providing subtitles. Music: Arthurian Mythia Theme by Invictus Media Links: IMDb - The Tales of the Knights of the Round Table: King Arthur Wikipedia - King Arthur (TV series) My Anime List - Entaku no kishi monogatari: Moero Arthur Ignacio Rodríguez Chávez (YouTube) - 1980 Entaku no Kishi Monogatari Moero Arthur Opening

The Hmong are an indigenous people who’ve historically called Southeast Asia home. Following the ravages of the Vietnam War, many Hmong escaped to America settling in all places the Upper Midwest. In St. Paul, MN, Chef Yia Vang has been running Union Kitchen, a pop-up restaurant that specializes in Hmong fare, and he hangs with us to explain the nuances of his culture and its delectable cuisine. For “Snacky Tunes 5’s," our go-to oenophile Jameson Fink does some island hopping, and tells us all about the wonders of volcanic wines. We then head to Los Angeles and the Silver Lake studios of Dangerbird Records to get a live, one-of-a-kind performance from Peter Walker and Aaron Espinoza of the music-and-art collective, Arthur King. The duo crafts ambient improvised music utilizing synthesizer, guitar, drum machine and sounds extracted from environmental field recordings, and combine it with the experimental projections of visual artist John Schlue. All the sonic material used on Arthur King’s latest album, Changing Landscapes (Grand Escalante), is derived from a trip to the Grand Staircase-Escalante National Monument in rural Utah. Snacky Tunes is powered by Simplecast.

His name first appears in the History of Britain by Nennius. Credited for saving Britain, at least the Celtic half. From the Saxon hordes. We take some time to talk about Welsh national myth making this week. Clip: Monty Python and the Holy GrailSource: https://www.youtube.com/watch?v=-8bqQ-C1PSEArtist: Monty Python Music: Celtic Impulse - Celtic by Kevin MacLeod is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100297Artist: http://incompetech.com/

In which Sir Blackwood and Dame Leslie look into the connection between the Doctor and Merlin, spoilers they are the same guy. http://www.behindthename.com/name/gwalchmei Gwalchmei Name Info http://arthurkingoftimeandspace.com/ Arthur King of time and Space Web Comic, we also got a quote from the creator. http://tardis.wikia.com/wiki/Doctor_Who_Wiki Doctor Who Wiki, very informative And we checked all the Actor's Pervious work on http://www.imdb.com/ Music Everyone Wants to Rules the World by Tears for Fears Doctor Who Theme Tune 1963-1969 by Ron Grainer and Delia Derbyshire End Music - taken from Monty Python' and the Search for the Holy Grail Opening Music from Heart of Medieval by Butterfly Tea. Downloaded from http://www.last.fm/music/Butterfly+Tea/_/Heart+of+Medieval Wha Wha Sound Effect Taken from You Tube https://www.youtube.com/watch?v=UtmI--F8Zmo

In which Dame Leslie and Sir Blackwood talk about a movie that is not entirely unlike a movie about King Arthur, Oh and there are Nazis. This Movie is Public Domain You can watch it here https://archive.org/details/KingArthurWasaGentleman Crash Sound Effect http://www.freesfx.co.uk/ Web Reference http://www.britmovie.co.uk/films/King-Arthur-Was-a- Gentleman/ Music Opening Heart of Medieval by Butterfly Tea. Downloaded from http://www.last.fm/music/Butterfly+Tea/_/Heart+of+Medieval Closing Intermition Music - taken from Monty Python’ and the Search for the Holy Grail. The Book Mentioned is Modern Arthur #1 Knight Life http://www.goodreads.com/book/show/366033.Knight_Life? from_search=true&search_version=service Gawain Comic Mentioned http://gawaincomic.com/ Arthur King of Time and Space Did Dracula Vs. Arthur http://arthurkingoftimeandspace.com/1043.htm http://arthurkingoftimeandspace.com/1657.htm Also there is a Comic Book http://www.comicvine.com/dracula-vs-king-arthur/4050-20166/ It's the "Ministry of Ungentlemanly Warfare" https://en.wikipedia.org/wiki/Special_Operations_Executive King Arthur was a Gentleman Wiki Page https://en.wikipedia.org/wiki/King_Arthur_Was_a_Gentleman Arthur Askey Wiki Page https://en.wikipedia.org/wiki/Arthur_Askey IMDB Page http://www.imdb.com/title/tt0034943/ To learn More about Universal Carriers http://www.canadiansoldiers.com/vehicles/universalcarriers/univers alcarriers.htm Also Shout out to @Professorerudite for information given to us in this post, sadly been to busy working on the episode to respond. http://professorerudite.tumblr.com/post/132272401801/arthurian-mythia-professorerudite

This Saturday morning, Joseph and Chris watched KING ARTHUR AND THE KNIGHTS OF JUSTICE from 1992! SYNOPSIS: When the real King Arthur and his knights are captured by Morgana, Merlin casts a spell to bring an American football team called The Knights led by Arthur King to the past to help free the real king […]

For He-Man's sake, don't drink the mucus of this week's Geek Shock as we talk about such awesomeness as Royal Tumble, The Werewolf Song of Forever, Beer Belly, Shell of a Ghost, Arthur King of the 6 Picture Deal, Star Wars: Rebels, New Triffids, King Kong Ping Pong Play, EVE Online gets EVEier, Saga, Robot Sex Land, The Cruise Ship of Doom, Snails of Unusual Size, and Paul hates shark guy. So take the suggestion of Harry Rose, cause the tap is running with Geek Shock!

In episode 34 of Carnagecast, cartoonist Paul Gadzikowski joins us to talk about his early brushes with tabletop role-playing, cartooning, his on-going series Arthur, King of Time and Space, the changing ways in which we create and consume stories, plus his long-standing interest in the Arthurian mythology and how its characters have been interpreted over […]