Podcasts about blue drop

The Accidental Recycled Poop Marketer!That's the headline of a recent podcast guest application.And it came from someone leading marketing for an interesting product – a paid B2B and B2C product, sold by a nonprofit, that is run by an independent city government authority, a water and sewer utility formed in collaboration with the federal government.So no matter what type of marketing you do or business you run, there's probably a lesson for you in this episode with April Thompson, Senior Director for Bloom, Blue Drop [https://bluedrop.co/], (part of DC Water).Blue Drop is a nonprofit organization created by DC water to generate revenue and therefore save its ratepayers money. DC Water is the District of Columbia Water and Sewage Authority. DC Water reported $898 million in operating revenues for 2023.Thompson manages a two-person saleswoman team that has sold 65,000 tons of biosolids in its recycled poop fertilizer/soil amendment product in fiscal year 2024. Biosolids are a product most utilities pay to dispose of. Stories (with lessons) about what she made in marketingHere are some lessons from Thompson that emerged in our discussion:Marketing socially and environmentally responsible products is no different than marketing a conventional productChampion your championsQuit while you're ahead; no risk, no rewardOptimism is underrated“It's not brain surgery on babies"Highly successful people give more credit than they takeDiscussed in this episodeGet your Quick Start AI Productivity Kit when you sign up for a free, 3-month scholarship to the AI Guild [https://join.meclabsai.com/]Sustainable Marketing: Take the time to understand your target audience deeply and your value proposition (podcast episode #104) [https://www.marketingsherpa.com/article/interview/sustainable]Why You Should Thank Your Competitors [https://sherpablog.marketingsherpa.com/marketing/why-thank-your-competitors/]Customer-First Marketing: Every click is a wish (podcast episode #85) [https://www.marketingsherpa.com/article/interview/customer-first]Client Pitch Call from the Maternity Ward: “That sound? Oh, you know, the sounds of Brooklyn” – Podcast Episode #8 [https://www.marketingsherpa.com/article/interview/client-pitch-call]Get more episodesSubscribe to the MarketingSherpa email newsletter [https://www.marketingsherpa.com/newsletters] to get more insights from your fellow marketers. Sign up for free if you'd like to get more episodes like this one.For more insights, check out...This podcast is not about marketing – it is about the marketer. It draws its inspiration from the Flint McGlaughlin quote, “The key to transformative marketing is a transformed marketer” from the Become a Marketer-Philosopher: Create and optimize high-converting webpages [https://meclabs.com/course/] free digital marketing course. Apply to be a guestIf you would like to apply to be a guest on How I Made It In Marketing, here is the podcast guest application – https://www.marketingsherpa.com/page/podcast-guest-application

Scientist specializing in water resource management at University of Free State, Prof Anthony Turton on what to make of the challenges facing SA's water quality which is said to have reached crisis level, following the Water and Sanitation Department held a 2-day Water Services Authority Summit in response to the Blue Drop and No Drop reports and the Green Drop progress assessment reports released in December.See omnystudio.com/listener for privacy information.

Lester Kiewit speaks to Dr Ferrial Adam, the manager of WaterCAN, an initiative of the Organisation Undoing Tax Abuse, about the country's water crisis that has been exposed by the Blue Drop report.See omnystudio.com/listener for privacy information.

Mike is joined by Siza Water MD, Shyam Misra and Microbiologist, Chanel Kalopdeo, to discuss this prestigious accolade Radio Life & Style on Facebook · The Morning Show Sponsor: Excellerate Security

The latest full Blue and No Drop, and the Green Drop Progress Report, released by the Department of Water and Sanitation (DWS) on Tuesday, shows the deterioration of South Africa's drinking water quality, wastewater management performance and water losses and nonrevenue water. The Blue and No Drop Reports indicate that there is has been a decline in drinking water quality and an increase in non-revenue water since the last reports were issued in 2014. The Green Drop Progress Assessment Report also indicates a deterioration in the performance of municipal wastewater treatment systems. The full Blue Drop Report, assessing the quality of South Africa's drinking water from July 1, 2021, to June 30, 2022, shows that while South Africa's drinking water quality is generally good in the major metropolitan areas, there has been a regression in drinking water quality since 2014. Of the 958 water supply systems (WSS) in each of the 144 water services authorities (WSAs) across South Africa, only 26, or 3%, scored more than 95% and qualified for the Blue Drop Certification, compared with the 44 WSS, or 4%, which were awarded the Blue Drop status in 2014. According to the report, 277, or 29% of systems located in 62 WSAs, are in a critical state of performance, a deterioration from the 174 WSS' in 33 WSAs that were found to be in a critical state in 2014. Overall, 85% of drinking water systems were in an "average or better" infrastructure condition. Of the 151 systems physically assessed, 3% were found to be in a critical infrastructural condition; 12% in a poor infrastructural condition; 49% in an average infrastructural condition; 31% in good condition; and 5% in an excellent condition. This indicated that non-infrastructure factors such as a lack of skilled staff or a lack of proper process controls are as important as infrastructure condition as contributors to poor performance, said DWS director-general Dr Sean Phillips. Unpacking the results, he pointed out that assessment found that Gauteng, which has the highest percentage, at 62%, of drinking water systems with excellent or good performance, has the lowest shortfalls of qualified staff. Comparatively, the Northern Cape, which has the highest percentage, at 87%, of drinking water systems with poor or critical performance, a significant deterioration on the 48% recorded in 2014, has the highest shortfalls of qualified staff. "Based on water quality tests carried out by municipalities themselves during the 2021/22 municipal financial year, 54% of water supply systems achieved excellent or good microbiological water quality compliance and 46% achieved poor or bad microbiological water quality compliance," he continued. In 2014, 5% of water supply systems achieved poor or bad microbiological water quality compliance. Further, in terms of chemical water quality compliance, 76% of systems achieved excellent or good, while 24% of systems were unacceptable, compared with 15% in 2014. Phillips assured that DWS has sent noncompliance letters to the municipalities with systems which scored poorly or badly in terms of drinking water quality in the 2023 Blue Drop Report, requiring the municipalities to inform their residents should they still have poor or bad compliance. During the audit period, 14 WSAs did not report water quality data - or provide any other evidence that they have been testing their water quality - to the DWS, with noncompliance notices issued to those municipalities, instructing them to issue advisory notices to their residents that their water might not be safe to drink if it has not been properly tested. "Some of these WSAs indicated that they are in the process of appointing laboratories, others commenced with sampling, and others provided evidence of testing and achieving drinking water quality, and where necessary these WSAs did issue advisory notices," Phillips commented. Meanwhile, the No Drop Report, which assesses the status of water losses and nonrevenue water, a...

The latest full Blue and No Drop, and the Green Drop Progress Report, released by the Department of Water and Sanitation (DWS) on Tuesday, shows the deterioration of South Africa's drinking water quality, wastewater management performance and water losses and nonrevenue water. The Blue and No Drop Reports indicate that there is has been a decline in drinking water quality and an increase in non-revenue water since the last reports were issued in 2014. The Green Drop Progress Assessment Report also indicates a deterioration in the performance of municipal wastewater treatment systems. The full Blue Drop Report, assessing the quality of South Africa's drinking water from July 1, 2021, to June 30, 2022, shows that while South Africa's drinking water quality is generally good in the major metropolitan areas, there has been a regression in drinking water quality since 2014. Of the 958 water supply systems (WSS) in each of the 144 water services authorities (WSAs) across South Africa, only 26, or 3%, scored more than 95% and qualified for the Blue Drop Certification, compared with the 44 WSS, or 4%, which were awarded the Blue Drop status in 2014. According to the report, 277, or 29% of systems located in 62 WSAs, are in a critical state of performance, a deterioration from the 174 WSS' in 33 WSAs that were found to be in a critical state in 2014. Overall, 85% of drinking water systems were in an "average or better" infrastructure condition. Of the 151 systems physically assessed, 3% were found to be in a critical infrastructural condition; 12% in a poor infrastructural condition; 49% in an average infrastructural condition; 31% in good condition; and 5% in an excellent condition. This indicated that non-infrastructure factors such as a lack of skilled staff or a lack of proper process controls are as important as infrastructure condition as contributors to poor performance, said DWS director-general Dr Sean Phillips. Unpacking the results, he pointed out that assessment found that Gauteng, which has the highest percentage, at 62%, of drinking water systems with excellent or good performance, has the lowest shortfalls of qualified staff. Comparatively, the Northern Cape, which has the highest percentage, at 87%, of drinking water systems with poor or critical performance, a significant deterioration on the 48% recorded in 2014, has the highest shortfalls of qualified staff. "Based on water quality tests carried out by municipalities themselves during the 2021/22 municipal financial year, 54% of water supply systems achieved excellent or good microbiological water quality compliance and 46% achieved poor or bad microbiological water quality compliance," he continued. In 2014, 5% of water supply systems achieved poor or bad microbiological water quality compliance. Further, in terms of chemical water quality compliance, 76% of systems achieved excellent or good, while 24% of systems were unacceptable, compared with 15% in 2014. Phillips assured that DWS has sent noncompliance letters to the municipalities with systems which scored poorly or badly in terms of drinking water quality in the 2023 Blue Drop Report, requiring the municipalities to inform their residents should they still have poor or bad compliance. During the audit period, 14 WSAs did not report water quality data - or provide any other evidence that they have been testing their water quality - to the DWS, with noncompliance notices issued to those municipalities, instructing them to issue advisory notices to their residents that their water might not be safe to drink if it has not been properly tested. "Some of these WSAs indicated that they are in the process of appointing laboratories, others commenced with sampling, and others provided evidence of testing and achieving drinking water quality, and where necessary these WSAs did issue advisory notices," Phillips commented. Meanwhile, the No Drop Report, which assesses the status of water losses and nonrevenue water, a...

Join us as Alan Heymann, carrying momentum from Act 1, leaps right into the importance of failure and the lessons it serves up. He shares a wizened view of failure, posing a simple question: What's the worst that can happen? Alan reminds us that the potential to learn is hidden within every endeavor, so long as you have the tenacity and courage to try, trust the process, and remain mindful. He leaves us with a message of curiosity and its importance, reminding us that even when we're feeling stuck or lost, the answer to our path forward may lie in a simple change of perspective.Alan Heymann, JD, PCC (he/him) has a knack for coaching fellow introverts, helping them find their superpowers in an extroverted world. Alan also specializes in coaching through transitions — such as the transition from individual contributor to leader, the transition into a larger and more complex role, or the transition into a different career. He brings a warm, open and energetic presence to his coaching clients. To date, Alan has coached leaders who were born in 26 countries and work on 5 continents. His clients have spanned corporations (including the Fortune 50), nonprofit organizations,public utilities, federal, county and municipal governments.Alan is the author of the book Don't Just Have the Soup: 52 Analogies forLeadership, Coaching and Life. An expert communicator and engaging speaker, he spent more than two decades in public, government and nonprofit communications -- leading teams from 2 to more than 100 people who use words and images to inspire positive change in society. Inspired by a career transformation he brought about with the support of an executive coach, Alan decided to become a coachhimself. He founded Peaceful Direction in April 2019.From 2015-19 and 2010-13, Alan served as an executive leader at DC Water. He was most recently the founding president of the utility's nonprofit spinoff, Blue Drop. In his first tour of duty, he was chief of external affairs, leading the effort to rebrand DC Water and reconnect with a skeptical public. Alan was previously Vice President of Communications for The Humane Society of the United States. He also held various roles in the Government of the District of Columbia, including agency public information officer, mayoral speechwriter and legislative staffer. Earlier in his career, Alan was a television reporter, producer and anchor in his native Illinois.Alan is a member of the Barker Adoption Foundation Board of Trustees. He's followed a plant-based diet since 2002, enjoys running half-marathons and lives with his family outside Washington, DC. He is the son and parent of immigrants to the United States.Education: Executive Certificate in Leadership Coaching (Georgetown University) Juris Doctorate (The George Washington University Law School) Bachelor of Science in Journalism (Northwestern University)Certifications: Hogan Assessments, Leadership Circle Profile 360, Designing Your Life, Everything DiSCLinkedIn: https://www.linkedin.com/in/alanheymann/Website: https://www.peacefuldirection.com/

In this episode, Alan Heymann takes us on a beautiful journey, recounting the quiet Midwestern childhood that shaped his introverted personality. A child of an immigrant family with a love for travel, Alan was shaped by art, history and an exposure to ancient sites and cultures, which ultimately transformed his worldview. We discuss a lifelong thought-experiment on mortality, and how his philosophical disposition affirmed the importance of mindfulness, the beauty of history and the creative spirit of man. He ends Act 1 with sage advice: the first step in becoming good at something is accepting that we will be bad at it in the beginning.Alan Heymann, JD, PCC (he/him) has a knack for coaching fellow introverts,helping them find their superpowers in an extroverted world. Alan alsospecializes in coaching through transitions — such as the transition fromindividual contributor to leader, the transition into a larger and more complexrole, or the transition into a different career. He brings a warm, open andenergetic presence to his coaching clients. To date, Alan has coached leaderswho were born in 26 countries and work on 5 continents. His clients havespanned corporations (including the Fortune 50), nonprofit organizations,public utilities, federal, county and municipal governments.Alan is the author of the book Don't Just Have the Soup: 52 Analogies forLeadership, Coaching and Life. An expert communicator and engaging speaker, he spent more than two decades in public, government and nonprofit communications -- leading teams from 2 to more than 100 people who use words and images to inspire positive change in society. Inspired by a career transformation he brought about with the support of an executive coach, Alan decided to become a coachhimself. He founded Peaceful Direction in April 2019.From 2015-19 and 2010-13, Alan served as an executive leader at DC Water. He was most recently the founding president of the utility's nonprofit spinoff, Blue Drop. In his first tour of duty, he was chief of external affairs, leading the effort to rebrand DC Water and reconnect with a skeptical public. Alan was previously Vice President of Communications for The Humane Society of the United States. He also held various roles in the Government of the District of Columbia, including agency public information officer, mayoral speechwriter and legislative staffer. Earlier in his career, Alan was a television reporter, producer and anchor in his native Illinois.Alan is a member of the Barker Adoption Foundation Board of Trustees. He's followed a plant-based diet since 2002, enjoys running half-marathons and lives with his family outside Washington, DC. He is the son and parent of immigrants to the United States.Education: Executive Certificate in Leadership Coaching (Georgetown University) Juris Doctorate (The George Washington University Law School) Bachelor of Science in Journalism (Northwestern University)Certifications: Hogan Assessments, Leadership Circle Profile 360, Designing Your Life, Everything DiSCLinkedIn: https://www.linkedin.com/in/alanheymann/Website: https://www.peacefuldirection.com/

What you'll learn in this episode: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Berman Arts Agency Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program.   Sharon: When you say editorial—you talked about editorial versus advertorial—what do you mean?   Lisa: Years ago, we had magazines like W and Vogue and Vanity Fair, and the word advertorial did not exist. You had true editorial, where you were a new designer, you were creating something different, you had a new statement necklace, and they wanted to feature it. By the way, the vernacular “statement jewelry” wasn't in vogue 25 years ago. We talked about it. Now you see something on the cover and people talk about. From a marketing and selling point, it's a statement piece. That's something we were using in studio jewelry decades ago.    Let's see, we were talking about editorial, working with creative directors of publications. You have a timeline that's three months in advance because you didn't have digital. You had film; you had slides; you had all these timelines that were completely different. Then publications changed. They had to find a way to stay afloat, to stay in business, and like any other business they said, “Look, if you buy an ad, we'll promote you in an editorial article.” That's why you have some galleries now charging artists to physically have their work on the walls, which is something we didn't do, of course.   Sharon: That's interesting. Then you have people like me who walk into a gallery—I didn't know a lot—but depending on the gallery, they might pay to have their work on the wall. Having come from public relations, I immediately look at something to see whether they paid for that article or if it was chosen. I think it's important to point out—people might say, “Well, it sounds dated to be talking about all this print stuff,” but that goes immediately online. All the print is immediately online. There may be some things that never make print that are online, but it's important because whatever you see in print is going to be online.    Lisa: Well, I'll tell you why it's important and relevant. It actually goes back to catalogues and museums. I will get to museums in a second. As much as we want to save the planet and save paper and all of that, museums still demand catalogues for their major exhibitions. That's an important part of collecting. An important part of an artist's career is to have that physical catalogue, that tangible item that can be placed on a bookshelf, or talked about, or brought to a dinner party or a lecture series or whatever it may be. That's really important. An editorial and a printed editorial are the same. Obviously, there are more online publications and it's literally just flipping through the images.    For example, we just filmed a music video with Linda Hikel. We used a number of pieces from Sculpture to Wear in the music video. People loved it. They will use it for promotion, but she called me and said, “We want to capitalize on the fact that you brought such extraordinary work to the video. We want to capture those for editorial.” Then she called me and said, “We actually want to take it a step further. We're thinking about a book,” so these are the conversations. Printed materials are not a thing of the past, thankfully; they're an important element of documentation. That's why I tell artists, when I'm on an artist's tour or in their studio or we're having a conversation, “Please, if you're not a good note taker or you're not good about keeping files, literally keep a box on your desk, and anything—a summary or a note or something in regard to that project—keep it in there. This is so important for telling the story for an exhibition in a museum or just a gallery or online show.”   Sharon: Lisa, you mentioned that makers, jewelers, artists don't understand the role of a gallery. They think, “What am I paying you for?” in a sense. Tell us what your response to that is.   Lisa: I no longer have a physical, permanent location, but I do curate exhibitions. I will collaborate with fine art galleries or other locations to host exhibitions within their space. Even if a show is online, you still get the attachment of being in an exhibition that is part of Sculpture to Wear history and legacy. You have the exposure that I bring to that particular artist, whether it be through my website, through the newsletters I send out, through Art Jewelry Forum, through Indelible, which is my new column for older jewels. That's under the umbrella of Artistar Jewels.   Sharon: Artistar Jewels?   Lisa: Artistar Jewels; I'll tell you about that. Also, there's the collector base. A lot of artists think they pick up the phone and it just happens. Well, it does in some instances. It happens because I've cultivated a relationship for five to eight to 10 years. Yes, I can ask for a favor. Yes, I can propose an idea and I will be taken seriously because there's a track record of credibility. That's important for artists to understand. I think a lot of them coming from major schools do understand that. That is something that's part of their curriculum.    Sharon: You mentioned the importance of keeping all your sketches and notes and everything like that because it helps the gallerist tell a story.   Lisa: Right. In my garage, I literally have over two decades of artists' submissions. I know it sounds crazy. I have artists' submissions that were done on slides and then zip drives. I don't even know how I will convert those images, but I was so afraid of throwing away some of the most magnificent images I've ever seen and shown. Then each one of my exhibitions is in chronological order in a binder with the title and if there's any traveling accompanying that exhibition. I think I learned that from my days in the fashion industry, because you had to document, document, document. That has served me well, because if you don't document it, it never happened. So, you've got the documentation of the visuals and the notes and the advertising, and those are really important. Of course, now artists are saving all of that online, but hopefully there's still something tactile to incorporate.   Sharon: It's so important for credibility, whether it's online or not. Ideally, it's legitimizing it. I know for me, when I'm considering a piece of jewelry, if I know the artist has been in this museum or that museum or it's in the writeup, that makes a difference to me. It weighs more in favor of purchasing something, that credibility.   Lisa: Yes, and that's a whole round robin of a conversation. For example, the pieces I placed in LACMA on behalf Lynn Altman—unfortunately, Lynn is deceased. She was one of my favorite and dearest people on the planet. The three pieces that LACMA acquired were actually owned by me first, so it tells me I have a good eye, and it will also tell a collector I have a good eye. I know the process; I know what museums might be interested in. Mostly whatever I thought was interesting or fascinating, that's what I would collect, but it does matter. It plays a role in credibility in the conversation, if I'm going to be working with a client for consulting, either with a one-on-one client, with an artist or with a company or museum. By the way, one of the misnomers with museums and donations is that people think, “Oh, I have these amazing pieces and I want to donate them.” That's a very long process.   Sharon: From what I've heard, it's a challenge.   Lisa: It's a challenge because good museums will only accept pieces they can properly store. Of course, everyone wants them to be on display 100 percent of the time, but you can't do it. That's a conversation as well. You've got museums looking to acquire pieces, but they need funding for it. There's a whole program with their donors and collectors; “How do we buy this?” Then there are pieces they want that are being donated to them, but maybe they're going under renovation. Whatever the story may be, they want to make sure they're going to acquire them and be able to sort them, so that during their downtime another museum doesn't take them. It's really testing out there.   Sharon: When I've heard of collectors who have donated their collections, it sounds like it's been a long process. It's been something that took years before they even decided to do it. They were being wooed, or they would ask the museum, “What should I buy? What would you like to see in the collection?” that sort of thing. It doesn't sound like you just drive up and unload your station wagon.   Lisa: Oh, no.   Sharon: Do people have station wagons anymore?   Lisa: I don't know. They're called SUVs.   Sharon: Yes, SUVs.   Lisa: At least at a reputable location, that is definitely not the case. I think it's a very exciting time because you have people creating these secondary market pieces, people auctioning them, collecting them, and then you have some of the most dynamic makers. What's interesting to me is also the variations of ages from very young, 19 to 20, and then you have some jewelers I've met that were famous. They were architects or sculptors, and they wanted to change direction.    I've also talked to some of them in regards to ageism. They can't apply for certain grants because they're too old for one at 66. There are a lot of new conversations, like how we've had to learn to communicate with this new technology in Zoom. Life throws us curve balls and we go with it, and there are different trends, too. Brooches were so important probably 20 years ago and they still are, but you had it peak with the “Brooching it Diplomatically” book and Madeline Albright. For many years, large-scale collars were important. You have the Susan Lewin book that just came out and the exhibition book about rings. It's exciting. This field is constantly growing, constantly renewing itself, and I'm always inspired by it.    Sharon: I think we had a conversation once where you told me that brooches helped people segue to art jewelry. People could understand those and wear an avant garde brooch before they would wear something in their hair or an earring or something like that.   Lisa: Yes. People won't believe this, but fashion also played a role in that. For example, 25, 30 years ago, you had women entering the workforce—I know I'm going to get backlash on this—but they were wearing these blazers. So, they can't wear a large collar, plus they're downplaying it. They still want to make a nonverbal statement, and the easiest thing is to put a large-scale piece on a lapel. The ideal wall to place a brooch was on a blazer. For example, I'm wearing a Miyake shirt today. You can't put anything heavy through that. These blazers and large-scale shoulders, that was a perfect wall space to wear these pieces. For makers, these are the easiest way for them to literally make sculpture to wear. It was in a format that made sense to them, a smaller-scale sculpture that was on the left shoulder most often, but there are no rules now. Literally everything goes.    I happen to personally enjoy large-scale collars, just because I like to be hands free and my hands are always moving when I'm talking. I don't wear a lot of rings. When I had much shorter hair, I wore giant earrings. Now I don't, but it's all about personal preference. It was also interesting with the gallery. Someone would see a necklace or a piece in a feature editorial in the Los Angeles Times or W or whatever it may be, and they would call and say, “That's the piece I want.” Then, ultimately, they would come to the gallery and try it on, and they thought, “You know what? This just doesn't sit right on me. I want to look at something else,” or we would specifically have the artist there to meet with them and talk with them.   Sharon: You've talked about the fact that relationships are so important. I know what you mean. It's not just a matter of calling up Sally Smith who you've never talked to before and doesn't know you from Adam, versus calling somebody you've worked with or who knows you always bring her great pieces or something interesting. I want people to understand what you do and why they should call you, because you have your fingers in so many different areas.   Lisa: You know what's interesting about your statement, Sharon, is that I do. I am that person who will call anyone. I have the zero-fear factor.   Sharon: That's great.   Lisa: Completely, because the fact is the worst they can say is no. I'm on a phone call and I present the idea. I think it makes sense, otherwise I wouldn't call them or present them with the idea or exhibition or whatever it may be. I literally will pick up the phone, or I have a crazy idea and I will create a way to connect the dots. Most people think, “Oh my gosh! I would have never thought about that.” Often it's thinking about who's in that particular trade industry, how can we possibly get sponsorships, what's a different avenue. Let's think out of the box. We always hear that: let's think out of the box. I like to be creative, and I like communication. I literally will pick up the phone, and I always like to have a conversation.    So many people hide behind this little mouse on their computer or Facebook or Instagram or private messages. I say if we're going to work together or any of this, I have to have a conversation. Let's go on WhatsApp. If you're in a different time zone, a different county—it doesn't matter if they're speaking Latvian and they're mumbling through a translator, you just get their essence. That's really important, especially now with the lack of human interaction. I'm always an advocate for having a conversation because you never know where it's going to lead, that next step, that next unturned stone. You learn so much more when you have the conversation with the person.   Sharon: I always envy you people who have zero fear factor. I don't fall in that category, so I think it's great. Why should people call you today? To curate an exhibition?   Lisa: Thank you. I do a number of things. Obviously, first and foremost, I do represent certain artists' careers on an ongoing basis, whether it's curating exhibitions for their particular body of work. I can also host a show where we would sell work, because that's the fuel that makes the engine go: selling artists' work, curating exhibitions, connecting them to editorial, getting them placement for exposure. I would say 50 percent of what I do is a PR agency. That is the bulk of most of my day. It's writing articles, sending out newsletters, Instagram, Facebook posts, calling institutions or perhaps sponsors who are creating an exhibition, and creating those business alignments to further these ideas. Whenever I'm on Zoom conferences, I'm taking notes. Editorial, promotional, selling—it's like an ad agency as well.   Sharon: And when you say artists, that's bench jewelers, retailers, makers and fine artists.   Lisa: Yes, now I have branched out with the Berman Art Agency. That umbrella encompasses the very few select sculptors and photographers I've worked with throughout the years. For example, Bonnie Schiffman, she's a very well-known, iconic photographer in 16 museums worldwide. She came to me to make a commission piece in a gallery with Claudia Endler. That was an heirloom piece, and she wears it every day. Now we have this relationship where I'm working with her photographs. We've done shows throughout LA. I picked up the phone and created a museum exhibition for her back east. Some of these artists have had a rich career, and then they either hit a lull or they're on hiatus. How do I resurrect this? It's looking at those types of people. Like Marc Cohen—   Sharon: We just had Marc Cohen on the podcast with his box jewelry, which is so unique.   Lisa: I've known Marc for almost 35 years. I'm working with him on his 40 years of archives to make sense of them and understand how to present wearable art box sculptures, which are little, unique maquettes of a stage, like a Broadway stage. He incorporates iconic photography, and each of those tells a story. I'll be wearing one, and from across the room, someone will point at me and say, “That's the box man.” He's done a lot of much larger installations at the Museum of Jerusalem and some other work. So, presenting that work, how do we package that? How do we package it for a museum exhibition, for a gallery exhibition? Of course, we want to do a book.   Then I was working with Teri Brudnak. She was Karen McCreary's partner for Star Trek. We met 35 years ago in a plastics technology class. She and Karen were making work for Star Trek: The Next Generation, the television show. We were the only three women in this class, and people were making fun of us until they would see their pieces on television within the two-week period. They stopped the teasing and said, “O.K., this is something.” For example, the Skirball Museum has a Star Trek exhibition. How do we incorporate the legacy of what Terry and Karen created with their jewelry? It's always about peeking around the curve and finding a placement that makes sense. It is in alignment in an authentic way with their artist's voice and what they've created; not necessarily a stretch, but completely in alignment with their work and their creativity.   Sharon: Lisa, thank you so much. I learned so much today about how an artist has to sell their work. I know that's where so many get caught. Thank you so much for being here today.   Lisa: I appreciate the opportunity to tell your audience about this. It's very important. Thank you, Sharon.   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: The history of Sculpture to Wear and how Lisa maintains its legacy Why editorial and media coverage is crucial for getting art jewelry recognized as a fine art What the role of a jewelry gallery is Why Lisa always advises artists to keep good records of their work How the bold brooches of the 80s paved the way for today's art jewelry About Lisa M. Berman Lisa M. Berman is an internationally recognized “Ambassador of Wearable Art.” Based in Southern California, her expertise extends to major manufacturing and retail markets, museums and corporations in the United States, Canada, Mexico, Asia and Europe. Lisa is the owner of the iconic gallery Sculpture to Wear, which was instrumental in launching the studio jewelry movement in the United States. The gallery offers an eclectic array of art, jewelry and unique objects to discerning collectors, media producers and institutions, which have been featured in film, television and publications. Her recently launched Berman Arts Agency offers artist representation, career management, corporate acquisition, sponsorship advisement, museum placement, exhibition curation and education services on the disciplines of fine art, jewelry, design and fashion. Lisa holds degrees in Plastics Manufacturing Technology from California State University Long Beach, Product & Jewelry Design from Otis College of Art & Design and Merchandising/Marketing from Fashion Institute of Design and Merchandising (FIDM). She has served on the Board of Governors for OTIS College of Art & Design; as Public Relations Chair for the Textile and Costume Council at the Los Angeles County Museum of Art (LACMA); and on the Museum Collection Board at FIDM. She volunteers for Free Arts for Abused Children, STEAM projects and Art & Fashion Councils. Additional Resources: Sculpture To Wear Website Sculpture To Wear Instagram Sculpture To Wear Facebook Lisa Berman Instagram Photos: Lisa M. Berman wearing Archival 18k gold plate PEBBLES Necklace by Robert Lee Morris, her own sterling silver pendant by K. Lamberti, Issey Miyake coat and holding a signed ARTWEAR Catalog (RLM). Photo by Daniel Oropeza NUE Magazine Holiday 2020  Model Neva Cole, Photo by Daniel Oropeza  ICE Collar by Greg Orloff, 2018, $15,000 Creative Director / styled by: Lisa M. Berman  NUE Magazine Holiday 2020  Feature article "Powerful Woman of Dissent" from the "Feel the Frill" Exhibition honoring RBG curated by L.M. Berman.  Sculpture: LUX MAXIMUS, Winner of ARTPRIZE 2017 by Daniel Oropeza $350,000.  Model Neva Cole wears Emancipation Collar by 2Roses, 2020, $1,500.  Photo by Daniel Oropeza  Creative Director / styled by: Lisa M. Berman  Cover of IONA Magazine  Model wears Beaded Galaxy by 3 Tribes, from our Timeless Measures Exhibition 2006, curated by Lisa M. Berman & Pamela McNeil  1 year collaboration with women from 3 tribes in Africa - elders teaching the younger generation how to bead.  Cuffs (sterling Silver & Copper) by Tana Action  IONA Magazine  Models wears pieces by Jan Mandel: “REVEALED” Collar $50,000 (worn to the EMMY Television Academy's Governors Ball) and “POIGNET” (French meaning Wrist) $25,000 - both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine, 2001. IONA Magazine  Models wears pieces by Jan Mandel: Earrings - 18k gold & aqamarine (NFS), “TRANSITION” Collar, 18k gold, Onyx, Aquamarine $20,000  and “GOLDEN” Cuff, 18k gold, $10,000, made in 2001. Niche Magazine - TOP RETAILER SPIKED, red collar (Collection of Myra Gassman) & Cuffs on left side by Michelle Ritter  “POIGNET” (French meaning Wrist) $25,000 -  both with created from Stainless steel mesh, outlined with 18k gold wire, Citrine. Bouquet Ring, Stainless steel & garnet by Wendy Gwen Hacker $800 Collaboration with Sculpture To  Wear Designer Gina Pankowski & MOEN Facet manufacturer. Utlilitary into Wearable Art Cover of W Magazine  - January Jones wears LATTICE necklace (oxidized Sterling Silver) by Gina Pankowski, $4,000 And Bridge Bracelet sterling silver by Sergey Jivetin, SOLD in Private Collection    The images below are from a PHOTO shoot based in the music video Rico Mejia Photography Fashion Beauty Celebrity Lifestyle Mobile number: 323-370-0555 https://www.behance.net/ricomejia https://twitter.com/RicoMejiaFoto https://www.instagram.com/ricomejiaphoto/ Perpetual Light in Motion - editorial photography by Rico Meija for Costumes bResin and Diamond Bangle by Cara Croninger from 24K Show, 1979, $4,000 Citrus Collar of acrylic, stainless steel & magnetic closure $650, and Bracelet $300 by Adriana Del Duca of Genos Jewelry  Vintage Earrings- acrylic, one of a kind by Frank & Anne Vigneri, 1984, $350 Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  Resin DROP earrings by Cara Croninger $200 REGINA Collar of acrylic, stainless steel & magnetic closure $800 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Bracelet by Genos, NFS in collection of Julie Laughton Perpetual Light in Motion - editorial photography by Rico Meija for Costumes by Swinda Reichelt  BLUE DROP earrings Teri Brudnak $98 HEDGEHOG Collar of acrylic, stainless steel & magnetic closure $850 by Adriana Del Duca of Genos Jewelry for "Feel the Frill" exhibition honoring RBG, curated by L.M. Berman. Clear CUFF by Cara Croninger, NFS collection of L.M. Berman        Cover of Vogue with Cherize Theron     Transcript: Lisa Berman, owner of art jewelry gallery Sculpture to Wear, has been a figure in the art jewelry world for over 20 years, and she has a wealth of insight to share with fellow jewelry lovers. For her second appearance on the Jewelry Journey Podcast, she talked about how she's maintained relationships with hundreds of designers and collectors over the years, what advice she offers the designers she works with, and why art jewelry is coming into its own as a fine art collected by museums. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Lisa Berman. Although we share the same last name, I'm not related to Lisa; however, over the years she has become a friend and a trusted dealer. Lisa has been a guest on the show before. Today, we'll have a wide-ranging discussion with less of a focus on a particular piece, more talking about her experience in the jewelry and fashion world. Per our practice, the podcast is audio only. We will be posting photos of many of the pieces Lisa mentions today on our website, which is JewelryJourney.com. This is also a two-part podcast, so please keep your eyes open for our second episode which will air later this week. Please make sure you're a member of our jewelry community by subscribing to the Jewelry Journey Podcast. That way you can listen to both episodes hot of the presses, so to speak. With that, I'd like to welcome Lisa to the program. Lisa: Thank you, Sharon. I'm so delighted to be back here again. Sharon: It's great to have you. For those who don't know your background, can you give us a brief overview of your background? Lisa: Of course. I grew up in the fashion industry and had a career in fashion design. I had an accessory business for many, many years, and then I acquired the name of Sculpture to Wear Gallery in 1998. Of course, that was originally launched in 1973 in New York City in the Park Plaza Hotel. I launched my first exhibition at Bergamot Station Art Center, which I'll tell you about in a second, on January 16, 1999. I'm proud to be the second owner of Sculpture to Wear Gallery. Now, location is important. Location, location, location, you've heard a million times in real estate. Bergamot Station Art Center is in Santa Monica, California, Southern California, and it was formerly the home to 25 thriving contemporary galleries and the Santa Monica Museum of Art. It was, I believe, a five-acre complex. Now the Red Line runs through it. Sharon: The Red Line being the Metro. Lisa: Yes, the metro. Anyway, that's where I started my journey. I actually met my former husband, Robert Berman, there as well. It was the heyday. It was like Soho. It was the happening place on the West Side; it was a lot of fun. Every Thursday, Friday and Saturday night for 10 years, there were gallery openings. There was constant influx of artists and jewelers and collectors and educators and writers, so it was definitely the place to be. Sharon: What was groundbreaking about—first, it was groundbreaking that Sculpture to Wear was on the West Coast, but what was groundbreaking about the original Sculpture to Wear? Lisa: The owner, Joan Sonnabend, was basically located in Boston, but she had a tiny, little, postage-stamp gallery. Robert Lee Morris told me it was only about 400 square feet. The delineation was that she only showed work by signed artists. For example, you had Alexander Calder making jewelry, and he actually made his jewelry. There were pieces by Picasso; those were in addition to the series and those were made by other craftsmen. Of course, you have people like Robert Lee Morris, whose entire career was launched at the original Sculpture to Wear. The idea was that she was selling one-of-a-kind, sculptural jewelry made by fine artists, not by jewelry artists. That was the idea. Sharon: From what I've heard, nobody else was doing that then. This was unusual. Lisa: It was extremely unusual. The only person that was doing something similar was in Philadelphia. That's our beloved Helen Drutt, who is about to turn 91. She was also very monumental and important in bringing studio jewelry and wearable art to the United States, but she worked with jewelers and makers, mostly in Europe. Sharon: How did you know the Sculpture to Wear license was available? How did you find out about that? Lisa: I was introduced to the idea through Cindy Forbes, who's now Cindy Brown. She ultimately ended up being my gallery manager. We had a conversation, one thing led to another, and that was kind of it. It was available, so I capitalized on that and the domain and the name. When I acquired the name, I felt it was very important that every decision I made was legacy-driven, because it was a very important part of history. This is not something I just launched; they had an important history and legacy on the East Coast. That's why for my business card, I purposely selected the title of “visionary proprietor,” because it kept me on point and on target. At first, I got a little flak from it, but as I explained, that kept me on point to do my best. That was it. Sharon: Flak because people said, “Oh my gosh—”  Lisa: A lot of gumption that I would profess to be this visionary proprietor. Now, everyone on social media is a visionary and all the museum collectors' groups are visionaries. I don't know; I guess I was ahead of the curve. Sharon: You are a visionary. Lisa: This was 23 years ago. There you go.  Sharon: So, you opened at Bergamot Station and then you moved the gallery to Montana Avenue in Santa Monica? Well, they're both in Santa Monica. Lisa: I was in Bergamot Station from 1999 until 2003. In Bergamot Station, I had two separate little locations. In 2003, I moved to a much larger location. That was on Montana Avenue at the cross street of 11th Street. I moved there knowing I was a destination, that I had built a brand with Sculpture to Wear and with the artists through a number of different ideologies and media and exposure. We'll get into that in a second, but I knew I was a destination. I was not going to rely on walk-in traffic on Montana Avenue, like so many of the other stores did. That was really important, that I had built up that mailing list, the collector base. People would be traveling, or friends would be coming in from out of town and our collectors would pick them up at the airport and say, “We have to take you to Sculpture to Wear first.” It was those kinds of relationships we had built there. Sharon: Did people stumble on your gallery in Bergamot Station? How did they find you? Lisa: Bergamot had 25 galleries, so at any given day at any given moment, you had tons of people walking around. It's completely different than it is today; of course during the pandemic, but completely different. There was no problem reaching collectors, and I was the complete anomaly. You have this sculptural jewelry, and it was an education to a new audience. A lot of these people weren't necessarily open to the idea of jewelry not having diamonds or gold. People that had an educated eye in regard to design, like architects, were some of our first clients because they understood the design. It literally was a small-scale sculpture.  I think my passion for that and some of the artists were also incorporated into that conversation. I made a request of any artists that were local to the gallery that they do three things: they had to work in the gallery, they had to come and help set up an exhibition that wasn't theirs, and they had to attend an opening that wasn't theirs. I wanted them to understand the role of a gallery and what we did. At first it was, “Well, why I would give you 50 percent of the retail price?” This was a demonstration for them to learn why. There wasn't any artist who partook in those three requests that came to me and said, “No, this isn't right.” They all were shocked at what we did on a daily basis. Robert Lee Morris, I told him about that, and he was shocked. He said, “You did that?”  Sharon: You mentioned Robert Lee Morris. A lot of people will know who he is, especially New Yorkers or fashionistas, but tell us who he is and why he's important. Lisa: Robert Lee Morris is an icon. He's been designing jewelry for over 50 years. He's the only designer to earn the Coty Award for his jewelry design an unprecedented three times. He was the designer who made the big, bold, gold jewelry in conjunction with Donna Karan's black cashmere new work uniform in the late 80s, early 90s. Digressing to understand why he's important in my world, our world of art jewelry, is that he was one of the most important and prolific designers at the original Sculpture to Wear in New York.  He was self-taught. He was literally found at a tiny, little show in an offbeat path. He was immersed in this incredible work from Alexander Calder, Salvador Dalí, Louise Nevelson—amazing artists who already had these incredible careers, and as it turns out, people loved Robert's work. He outsold all the other artists combined at Sculpture to Wear. Then he launched his own gallery. After Sculpture to Wear closed, he launched Artwear. That launched a number of careers from a lot of famous artists, jewelers, studio jewelers, some of whom are still with us and some are not. That's his legacy; first at Sculpture to Wear, then Artwear. He has these amazing archives, and we'll talk about how editorial and prior images play a role in the secondary market. That might be a good place to talk about that. Sharon: O.K., please. Lisa: What's a phenomenon for me is that when I started and someone would ask if I sold jewelry, I knew the context. They would immediately think of CZ or— Sharon: Engagement rings. Lisa: Engagement rings. I said, “No, that's not at all what I do,” and I would always be wearing a piece. I was always wearing largescale pieces of jewelry. At that time when I first opened my gallery, I had very short hair; I think it was two inches long. People may not have remembered my name, but they would point at me from across the room and say, “Oh, that's the jewelry lady. That's the Sculpture to Wear lady,” and that was just fine.  This type of work, like photography 80 or 60 years ago, was not accepted in the realm of a fine art museum. Now you see photography auctioned at over $1 million, and some of the most incredible collections in the world are simply photography. Art jewelry is now collected in some specific fine art institutions, and that is for a number of reasons. First of all, it's because of exposure from editorial and media, and also because of the stewardship of specific collectors and designers like Helen Drutt, who bequeathed her collection to the Houston Fine Art Museum. I think it was almost a decade ago, and there's an incredible book. It's on my bookshelf. I can see it from here; it's very orange and large. She wanted her collection to be viewed at a fine arts museum versus a craft museum, and that started that conversation.  Lois Boardman on the West Coast donated her collection to LACMA, LA County Museum of Art, I believe five years ago. Also, for example, the Renwick Gallery at the Smithsonian has been collecting this work for a lot longer. For example, Jen Mandel and I were there for her induction into the Smithsonian. That was incredible. We were standing right next to a piece made by Alexander Calder, and that's where her vitrine was placed. It's really about this conversation, and I think it's a conversation of education.  As for the secondary market, we were just attending the Bonhams preview for the Crawford Collection. That's an unprecedented phenomenon, to have a collection of that level, of that stature, being auctioned by Bonhams without diamonds, without gold. There are a few elements and pieces to that, but you're looking at Art Smith pieces, modernists, studio jewelers. This is a very exciting and fertile time to be involved in studio and art jewelry. This is what I've been doing for the last 22, 25 years. We're at a very exciting place and there are a number of forums, especially with Covid and Zoom, with Art Jewelry Forum having open conversations about this, introducing collectors to artists and, of course, your podcast. There are a lot of variations and factors for the secondary market. Sharon: Lisa, because your jewelry and art jewelry in general is still avant garde—although it's coming into its own—do you think collectors or people like you are going to say, “O.K., what's next? What's on the horizon now? That's become old hat.” It hasn't, but do you think people are going to move on? Lisa: Sharon, I hope not. Within the genre of studio jewelry and wearable art, it has progressed and become so sophisticated. There are so many different makers out there, especially with the internet connecting us. When I first started in 1999, we didn't really have the internet; we barely had email, and now that's how everyone communicates. I think that people's creativity, the way people wear pieces and where they wear them—the reality is that we're not going anyplace right now during the pandemic, and I'm looking at different generations and how to include that next generation in collecting. For example, some of my first clients were in their 60s and 70s when they started collecting, and some are no longer with us. So, how do we engage their family members? You're our most recent convert to art jewelry. My gallery was so close to your house, yet you would have had no interest in what we did. I think it's a journey. Can you say someone's going to have a different trend? No.  I also think technology has played an important role not only in studio jewelry and the exposure, but also the techniques. People are using laser cutting, 3D printing. Technology has also been accepted into fine arts institutions and it has blurred the lines of the conversation of craft and fine art. Even five years ago, there was a delineation that was very distinct. There are still institutions that are not interested in immersion, but I think technology has been a friend, not a foe, to studio jewelers and the paths they can cross. Sharon: I do have to tell a story. Lisa and I were laughing because I lived close to where her gallery used to be. I lived not so far in the Valley, 10 miles away. I was never in your gallery, but I remember seeing an ad one day and thinking, “Who is going to wear this stuff?”  Lisa: And now the Jewelry Journey Podcast. Sharon: It was way out. When you say that people who were older started collecting it, that's the sort of people who don't automatically say, “Wow, that's so new and so cool.” Lisa: My collectors—and I'm sure a number of the gallerists across the United States who have been around for decades would say the same—our clientele, they're not interested in trends. If they open a Vogue, they might see a dress they like, but they're not going to buy it because it's on trend or in fashion. All my clientele, they're well-traveled; they're well-heeled; they're generally educated. They're willing to be avant garde. They don't want to wear the same thing everyone else is wearing, so it's a little bit different. The whole conversation now is that there are younger generations. I just met an incredible student at USC at the Bonhams preview. She's running this entire magazine department in her off time while she's full-time at USC. That's to reach a new collector base and new makers, but that's exciting. That's what makes it viable. Sharon: Yes, it keeps on going. Lisa: Right. That was one of the things I wanted to talk about in regards to when I first started in 1999: it was not only the relationships we built with the artists and the collectors, but we also had our version of social media, which was just printed publications. We didn't have social media, so building relationships with well-known stylists, who were either Emmy award winners or high-profile people that worked with celebrities, that was really important. We got to the point where they would literally call me up with the theme, tell me what it was, and I would already pull the pieces and have a box ready for them. We had a shorthand. That was, again, a relationship that would have to be cultivated. It was very exciting, and that's part of building the legacy of why this work is important. For example, Robert Lee Morris is pulling out his archives. Part of the excitement of these presentations is showing some of the editorial, these great magazine covers and shows that these pieces were included in. I have two decades of binders of images. So, that's very exciting, to show the relevance 20 years ago to now.

It's the 83rd episode of the Truth About Vintage Amps: More capacitor talk than you can shake a SnufferStick at, push-pull circuits, Ethiopian cooking tips and more!  This week's episode is sponsored by Jupiter Condenser Co., Amplified Parts and Grez Guitars. Support us on Patreon.com for added content and the occasional surprise.  Some of the topics discussed this week: 1:56 The TAVA Cookbook (coming soon, email us if you want it) 5:15 Skip's real voice or a young Jerry? 7:56 Interactive controls on amps, Neil Young's Whizzer, an Epiphone Blues Custom 30, roasted pickled onions 14:06 Old filter caps in PA conversions; Pelican Bay Brewing 17:59 1957 Tweed Deluxe with all original caps; a chassis-only Tweed Deluxe on eBay; Ampeg M12 20:15 Skip's philosophy on replacing caps in a customer's amp 22:30 Illinois capacitors; a Marshall JTM45 that pops when you turn it off 27:40 Even more capacitor talk: Orange Drop capacitors, Illinois MWR capacitors, Jupiter capacitors, Blue Drop caps 35:03 A Rickenbaker M-8E with modified output transformer wiring; Ethiopian ful beans 41:54 TAVA Big Index Page (link) 43:04 Wiring a new home for a vintage PA 48:44 Recommended book: 'Grateful Dead Gear' (Amazon link) 50:44 Washable Crayola on the Mona Lisa; an owner's manual for a 100-watt Multivox P88? 53:42 How to get better at diagnosing amp problems? 55:21 First 5E3 Clone upgrades, even more capacitor talk (disc capacitors), CTS metal-shaft pots 1:01:11 Overview of a push-pull circuit, single-open ended; mountain pie makers 1:05:25 Cast Iron Revival (Portland, Oregon; Instagram link) 1:09:13 Gibson GA-17RVT Scout oscillations 1:14:06 What to put inside a Gibson GA-15RVT? 1:17:50 Polarities revisited and rice water soup Hosted by amp tech Skip Simmons. Co-hosted and produced by the Fretboard Journal's Jason Verlinde. Email or send us a voice memo to: podcast@fretboardjournal.com or leave us a voicemail or text at 509-557-0848. And don't forget to share the show with friends. 

El escritor mexicano ganador de los Queer Indie Awards 2021, con tan sólo 23 años obtuvo el reconocimiento en la categoría de ficción especulativa por su saga ‘Huracanes 2007'. Desarrolló su talento desde niño, inspirado por los poemas de su abuelo y empezó como muchos niños leyendo historietas de Disney, títulos escolares, cómics y al cine. Spiderman, Batman inicia y El Caballero de la noche, además de El día después de mañana lo encauzaron por la ruta de la ficción. Al consultarle sobre la protagonista de su obra señala, que nunca buscó cuestionar a la Marina en la parte moral, sino que busco enaltecer la labor no solamente de ellos sino de todos los mexicanos durante estos tiempos difíciles. Razón por la que mi protagonista es lesbiana se debe a series de anime con esa temática como Sasameki Koto, Blue Drop y Riddle Story of Devil, así como el apoyo de la comunidad LGBT, por lo cual quise hacerles un tributo demostrando que puede haber un héroe o heroína perteneciente a ellos y ponerlos como seres fuertes que a su vez buscan ayudar a los demás.

(https://www.theh2duo.com/wp-content/uploads/2019/02/Water-in-Real-Life-Chanin-Bays.png) Chanin Bays is the Administrative Services Manager for Clackamas County Water Environment Services.  She began her career with Clackamas County in 2007 in the Elections Division, before joining Water Environment Services (WES) in 2010.  As the Administrative Services Manager she supports business activities of Department leaders and technical staff, manages administrative support staff, policy analysts, and customer service specialists.  Oversees coordination of human resource activities and leads development and implementation of performance measure methods and tracking procedures. She also manages the department’s procurement and records management activities. Chanin is currently the Chair of the Utility Management Committee and was recently awarded Woman of the Year from PNCWA. She holds an MBA from George Fox University. Top Takeaways: You don’t need support from everyone to start strategic planning. Some people may want to wait and see and that’s fine. But don’t let it stop you from starting. “Waiting for 100% buy-in is a recipe for disaster.” “I think as a leader it’s my job to talk to my team about what their dreams are.” This is awkward for some people. But it’s about what’s the big idea? If I had “this” I would feel successful in my job, in life, in career, etc? How can we connect that nugget of passion to your daily job? That’s how we stay young…to continually stay motivated. “What we need as a nation is for women to begin dreaming again and to step up and start claiming those moments. We have to find a way to connect to our communities and I really believe that getting more women into the water industry is the game changing idea.” Show Notes: [5:28] “When you can throw your passion behind your work, it has an amplifying effect.” Chanin’s rise at Clackamas County Water Environment Services. [6:57] NASA had the janitor. Clackamas has Harvey Clark, the plant operator. So what do you do? “I save lives.” [9:50] Chanin talks about how Clackamas handles their strategic planning efforts. [13:50] How do you overcome the naysayers? Why it’s important not to let them stall your efforts. [17:15] Learn how informational interviews are important not only when changing careers but also to continually grow in your career. They are also the secret weapon for the introverted networker. [21:38] Find out why sharing dreams and sharing stories are essential to effective leadership. “As leaders we need to allow ourselves to dream and share those dreams because that’s what inspires others to do the same. This also translates over to storytelling and idea sharing. We need people to share their story or their ideas because you never know who needs to hear it. You never know the next idea that could be a break through if we don’t voice those ideas.” [28:20] Listen how Chanin and her team are using the value of water narrative to engage with the community. [36:40] Chanin was recognized as the 2018 Woman of the Year by the Pacific Northwest Clean Water Association. Hear her advice for the rising female water professionals in the industry. “We need you. What we need as a nation is for women to begin dreaming again and to step up and start claiming those moments.” Resources: Courage by Gus Lee National Opinion Survey About Water by Blue Drop (https://www.bluedrop.co/wp-content/uploads/2019/01/national_opinion_survey_water.pdf) Sponsor: This episode is powered by (https://www.theh2duo.com/roguewater) ? Please consider rating the podcast with 5 stars and leaving a one- or two-sentence review in iTunes or on Stitcher.  This helps tremendously in bringing the podcast to the attention of others. We give a shoutout to everyone who rates the podcast with 5 stars in future

(https://www.theh2duo.com/wp-content/uploads/2018/12/Water-in-Real-Life-EP034.png) Check out our guests’ full bios and episodes at: EP017: Chris Long, Dean at Michigan State University (https://www.theh2duo.com/17/) EP023: Greg Wukasch, External Affairs Manager, San Antonio Water System (https://www.theh2duo.com/23/) EP013: Alan Heymann, President, Blue Drop (https://www.theh2duo.com/13/) EP016: Mike McGill, President and Founder, WaterPIO (https://www.theh2duo.com/16/) Top Takeaways: Dean Chris Long speaks with us of the value of taking the time to invest in true engagement with your audience. Only then does education have the opportunity to be transformative. Greg Wukasch, our mentor at the San Antonio Water System, recapped for us the Transformative Issues conference on Affordability hosted by AWWA and WEF and how the closing panel of both water professionals and non-water community advocates drove home how empathy means inviting everyone to the table that needs to be. Alan Heymann shares a story that demonstrates how empathy begins within, internally, with your own employees. Brand buy-in begins with them. Mike McGill, founder of WaterPIO reminds us that empathy requires putting yourself in someone else’s shoes, even—and maybe especially—your biggest opponents. We chat with Mike about both he and our experiences with Erin Brockovich and what it taught us about the power of walking a mile in someone else’s shoes. Sponsor: This episode is powered by Rogue (https://www.theh2duo.com/roguewater) ? Please consider rating the podcast with 5 stars and leaving a one- or two-sentence review in iTunes or on Stitcher.  This helps tremendously in bringing the podcast to the attention of others. We give a shoutout to everyone who rates the podcast with 5 stars in future episodes. Give us some love on Twitter by tagging us (https://twitter.com/the_h2duo) or by using the #WaterInRealLifePodcast If you know someone you think would benefit, please spread the word by using the share buttons on this page. Thank you for sharing some of your time with us. We know how precious those minutes are. Share your story, you never know who needs to hear it and remember, “Those who tell the stories, rule the world.” Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. Regardless, I only recommend products or services I use personally and believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s (http://www.access.gpo.gov/nara/cfr/waisidx_03/16cfr255_03.html) : “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

(https://www.theh2duo.com/wp-content/uploads/2018/07/1074-x-366-podcast-template-5.png) Alan Heymann is President of (https://www.bluedrop.co/) and the Chief Marketing Officer of DC Water. Blue Drop is the non profit arm of DC Water. Alan led the team that conceived, planned and launched Blue Drop in November 2016. At DC Water, Alan lead the utility’s effort to expand its revenue base by marketing products and services to new customers. Earlier in his career, Alan was a television reporter, producer and anchor in this native Illinois. He was previously Vice President of Communications for a large global advocacy organization and also served as Chief of External Affairs for DC Water, from 2010-2013. Top Takeaways: Water utilities may not be competing for market share but they are competing for mind share, the attention spans of our customers. It’s important now more than ever to create leadership training for the next generation of emerging leaders. How we as communicators, both inside and outside of the utility, can work together to duplicate products, not efforts. Book: That’s What She Said: What Men Need to Know (and Women Need to Tell Them) About Working Together (https://www.amazon.com/gp/product/0062437216/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0062437216&linkCode=as2&tag=theh2duo-20&linkId=d42cb39a58a52d0b881e1a19c7572d68) by Joanne Lipman Sponsors: Audible is offering our listeners a free audiobook with a 30-day trial membership. Just go to audibletrial.com/waterinreallife and browse the unmatched selection of audio programs – download a title free and start listening. Rocketbook Smart Notebook: Our friend Ryan Beltran got us hooked. It instantly connects and stores all your notes, ideas and doodles in the cloud with a free smart notebook app. Get 10% off your order of the (http://www.getrocketbook.com?rfsn=1462782.87c60) using the code: FromtheFuture Please consider rating the podcast with 5 stars and leaving a one- or two-sentence review in iTunes or on Stitcher.  This helps tremendously in bringing the podcast to the attention of others. We give a shoutout to everyone who rates the podcast with 5 stars in future episodes. Give us some love on Twitter by tagging us (https://twitter.com/the_h2duo) or by using the #WaterInRealLifePodcast If you know someone you think would benefit, please spread the word by using the share buttons on this page. Thank you for sharing some of your time with us. We know how precious those minutes are. Share your story, you never know who needs to hear it and remember, “Those who tell the stories, rule the world.” Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. Regardless, I only recommend products or services I use personally and believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s (http://www.access.gpo.gov/nara/cfr/waisidx_03/16cfr255_03.html) : “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”  

(https://www.theh2duo.com/wp-content/uploads/2018/06/1074-x-366-podcast-template-4.png) Megan is a bridge builder. Over the last 12 years, she has had the opportunity to work for a myriad of private sector consulting firms and for several public agencies. She has also served on several boards of directors, and she currently serves as the elected Director of Division 7 for the Municipal Water District of Orange County, in addition to her role as Policy Director to 5th District Supervisor Lisa Bartlett in Orange County. Megan has also served on dozens of committees for the Water Environment Federation (WEF), the California Water Environment Association (CWEA), and the Santa Ana River Basin Section, in addition to several other professional associations over the last 14 years. Currently, she is the Vice-Chair and incoming Chair of the WEF Public Communications and Outreach Committee and the Chair of the CWEA Kirt Brooks Memorial Scholarship Committee. She’s organized over a hundred conferences, seminars, plant tours, presentations, community events, and more, and she is part of the inaugural graduating class of the Water Leadership Institute. Megan’s company, Seven Management and Consulting, Inc., is also a partner with Blue Drop. Top Takeaways: Educating the youth not only impacts the adults of day through their parents, but also is growing the next generation of water ambassadors. Brain-based learning is about finding the most effective way to teach adults, which is much different than the way children learn. When ideas are created in a silo they only benefit the people in the silo. Collaboration creates solutions with more widespread impact. Resources Mentioned: (https://www.amazon.com/gp/product/1501111108/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1501111108&linkCode=as2&tag=theh2duo-20&linkId=cb4f78c5138af15b959c50eec64d6130) by Angela Duckworth Podcast: (https://www.eofire.com/podcast/2005-shane-snow/) by EOFire Please consider rating the podcast with 5 stars and leaving a one- or two-sentence review in iTunes or on Stitcher.  This helps tremendously in bringing the podcast to the attention of others. We give a shoutout to everyone who rates the podcast with 5 stars in future episodes. Give us some love on Twitter by tagging us (https://twitter.com/the_h2duo) or by using the #WaterInRealLifePodcast If you know someone you think would benefit, please spread the word by using the share buttons on this page. Thank you for sharing some of your time with us. We know how precious those minutes are. Share your story, you never know who needs to hear it and remember, “Those who tell the stories, rule the world.” Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I will receive an affiliate commission. Regardless, I only recommend products or services I use personally and believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s (http://www.access.gpo.gov/nara/cfr/waisidx_03/16cfr255_03.html) : “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

This episode discusses DrupalCon Nashville, the movie The Matrix, and various ways to understand the Drupal community

Alan Heymann, President of Blue Drop, LLC (a DC Water affiliate), joins us to discuss Blue Drop and how DC Water leverages its expertise to create new revenue streams to mitigate rate increases. Alan digs into the risk analysis and decision-making process DC Water engaged in when determining to launch Blue Drop, the products and services offered by Blue Drop. and the advice he gives to other utilities thinking about dipping their toes into alternative revenue streams.

Alan Heymann, President of Blue Drop, LLC (a DC Water affiliate), joins us to discuss Blue Drop and how DC Water leverages its expertise to create new revenue streams to mitigate rate increases. Alan digs into the risk analysis and decision-making process DC Water engaged in when determining to launch Blue Drop, the products and services offered by Blue Drop. and the advice he gives to other utilities thinking about dipping their toes into alternative revenue streams.

Introducing Gene Fowler Gene Fowler is a man who knows the ups and downs of running a creative business in an untraditional location.  He is the owner and creative director at the animation studio Loogaroo, which is a boutique animation agency focusing on commercial animations and tablet gaming.  Gene is also the creative director at the publicly traded e learning company Blue Drop.  He works both jobs out of his hometown studio in Miramichi, New Brunswick-- an area mostly known for fishing and the pulp and paper industry. Loogaroo wasn't Gene's first kick at the “animation” can.  Back in 2000, he and a few fellow animators were laid off at another animation studio and decided that they would try to take the reigns of their own gig.  They formed Fat Kat Animation Studios in Halifax, Nova Scotia and made some animations and put them online.  Soon enough, they got noticed and started creating flash animated training videos.  Three years later, Fat Kat had 50 employees and was making animations for Fortune 500 companies like Nike and Boeing.  Gene ended up giving away the company to its CEO for next to nothing and the company went out of business shortly later.  Gene went back home to Miramichi and decided to try again, but this time focusing less on e learning and more on entertainment.  The idea of a successful animation studio in the middle of the woods of New Brunswick was originally scoffed at, but a few years later, Fat Kat was employing around 120 people, had $175,000 in expenses, and was billing around $10 million a year. The success lasted until 2008, when people's attention shifted from televisions to iPhones.  Big companies started to spend less on traditional advertising, and broadcasters stopped buying content at the same volume.  On top of this, New Brunswick changed their tax credit for film and television producers, which made it much more difficult to compete.  Fat Kat had gotten too big, too quick and the company fell into ruin within a year.  Clients got what they were owed, employees were paid but the shop was closed.  Not to be defeated by failure, Gene picked himself up, walked across town, and opened back up again under the heading Loogaroo.  The new studio is a much smaller, but tighter business.   There are fewer people and projects, but Gene is much happier.    In this episode Gene tells us the stories of his past success, failure, and then success again.  He explains how telling this story can be cathartic and helps him move on.  Greg relates with his own business failure, and explains how it really isn't a fail if you try again or can take something from the experience.  Gene also tells us about his enlightening experiences in Jamaica and how it has influenced his attitude of living everyday like he is already retired.  Dave is impressed by Gene's attitude toward the past and that he doesn't shy away from it.  Dave also coaxes Greg to reveal a great achievement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kellen and James said they would never do a show blind after their last debacle, but here they are reviewing the first five episodes of Mushi-Shi. It's a program never seen by Kellen, and only in passing by James. While it's not as bad as Blue Drop, just how much does it fly over the low bar?

Kellen and James said they would never do a show blind after their last debacle, but here they are reviewing the first five episodes of Mushi-Shi. It's a program never seen by Kellen, and only in passing by James. While it's not as bad as Blue Drop, just how much does it fly over the low bar?

Kellen and James said they would never do a show blind after their last debacle, but here they are reviewing the first five episodes of Mushi-Shi. It's a program never seen by Kellen, and only in passing by James. While it's not as bad as Blue Drop, just how much does it fly over the low bar?

Kellen and James said they would never do a show blind after their last debacle, but here they are reviewing the first five episodes of Mushi-Shi. It's a program never seen by Kellen, and only in passing by James. While it's not as bad as Blue Drop, just how much does it fly over the low bar?

After suffering through nine episodes of Blue Drop, the final four ("Cirsium," "Thoroughwort," "Cosmos," and "Rosmarinus") finally break Kellen and James. The guys throw the format out, Kellen begins to apologize to anyone who's seen this show, and James eventually starts drinking as the two deliver some of the angriest rants in the history of the Earth-2.net family of podcasts. Also, Kellen makes an announcement about a future episode.

After suffering through nine episodes of Blue Drop, the final four ("Cirsium," "Thoroughwort," "Cosmos," and "Rosmarinus") finally break Kellen and James. The guys throw the format out, Kellen begins to apologize to anyone who's seen this show, and James eventually starts drinking as the two deliver some of the angriest rants in the history of the Earth-2.net family of podcasts. Also, Kellen makes an announcement about a future episode.

After suffering through nine episodes of Blue Drop, the final four ("Cirsium," "Thoroughwort," "Cosmos," and "Rosmarinus") finally break Kellen and James. The guys throw the format out, Kellen begins to apologize to anyone who's seen this show, and James eventually starts drinking as the two deliver some of the angriest rants in the history of the Earth-2.net family of podcasts. Also, Kellen makes an announcement about a future episode.

After suffering through nine episodes of Blue Drop, the final four ("Cirsium," "Thoroughwort," "Cosmos," and "Rosmarinus") finally break Kellen and James. The guys throw the format out, Kellen begins to apologize to anyone who's seen this show, and James eventually starts drinking as the two deliver some of the angriest rants in the history of the Earth-2.net family of podcasts. Also, Kellen makes an announcement about a future episode.

From the first three episodes of Blue Drop, James and Kellen can't help but notice similarities to a recently reviewed show on Animezing Podcast. A lady-heavy cast, amnesia, and people who are just plain stupid. Where have they heard that before? Will "Hydrangea," "Lavandula," and "Datura" impress?

From the first three episodes of Blue Drop, James and Kellen can't help but notice similarities to a recently reviewed show on Animezing Podcast. A lady-heavy cast, amnesia, and people who are just plain stupid. Where have they heard that before? Will "Hydrangea," "Lavandula," and "Datura" impress?

From the first three episodes of Blue Drop, James and Kellen can't help but notice similarities to a recently reviewed show on Animezing Podcast. A lady-heavy cast, amnesia, and people who are just plain stupid. Where have they heard that before? Will "Hydrangea," "Lavandula," and "Datura" impress?

From the first three episodes of Blue Drop, James and Kellen can't help but notice similarities to a recently reviewed show on Animezing Podcast. A lady-heavy cast, amnesia, and people who are just plain stupid. Where have they heard that before? Will "Hydrangea," "Lavandula," and "Datura" impress?