Podcasts about unique art

In this episode, Hailey shares everything you need to know about Jefferson County's Midwest Fire Fest. It's an enchanting experience celebrating fire and its boundless role in creating beautiful artwork. Along the way, she learns from the local artists, gains creative experiences, and sees the showstopper. It's all here and blazing with creativity at Midwest Fire Fest, June 8-9, 2024!Read the blog here: https://discoverwisconsin.com/everything-you-need-to-know-about-midwest-fire-fest/Cambridge: https://www.visitcambridgewi.com/; Cambridge Wood-Fired Pottery: https://cambridgepottery.com/; StormCloak Forge: https://www.stormcloak.com/; Upper Midwest Blacksmith Association: https://www.umba-forge.com/; Kate Marotz Ceramics: https://www.marotzceramics.com/; McKee's Pottery: https://www.facebook.com/mckeespottery/The Bobber: https://discoverwisconsin.com/blog/The Cabin Podcast: https://the-cabin.simplecast.com. Follow on social @thecabinpodShop Discover Wisconsin: shop.discoverwisconsin.com. Follow on social @shopdiscoverwisconsinDiscover Wisconsin: https://discoverwisconsin.com/. Follow on social @discoverwisconsinDiscover Mediaworks: https://discovermediaworks.com/. Follow on social @discovermediaworksJefferson County: https://www.jeffersoncountywi.gov/. Follow on social @jeffersoncountywiMidwest Fire Fest: https://midwestfirefest.com/. Follow on social @midwestfirefest

We went to the UK games expo, and had a lovely old time. We chat through our experiences there and the elephant not in the room, warhammer! We missed them, thoughts on why they might not have attended this time? Join our Patreon: https://patreon.com/thepaintingphase Merch: https://thepaintingphase.creator-spring.com Streaming: https://www.twitch.tv/thepaintingphase01 Help Support the channel with our affiliate links: UK & EU: https://affiliates.waylandgames.co.uk/idevaffiliate.php?id=1214 UK: https://elementgames.co.uk/?d=10835 EUROPE: https://taschengelddieb.de/?affiliate=tpp US: use code paintingphase to get 10% off at https://www.goblinshut.com/ H&S Airbrush: https://harder-airbrush.net/?sca_ref=5530415.aOjOVt339C Gaahleri airbrush: https://www.gaahleri.com/?ref=Thepaintingphase We Print Miniatures: https://weprintminiatures.com/thepaintingphase THEPAINTINGPHASE for 10% off Follow us: https://www.instagram.com/thepaintingphase/ https://www.instagram.com/geoffsavory/ https://www.instagram.com/pileofshamepaints/ @fauxhammer Where we get our music: https://artlist.io/Patrick-75781 Contact us: thepaintingphase@gmail.com Chaptters 0:00 - Introductions 1:16 - Mistaken Identity Stories 1:54 - Battle Brother Miniature Giveaway 2:52 - More Mistaken Identity Fun 4:09 - MDF Puzzle Cube Challenge 11:17 - Bandai's Gundam Kits 15:25 - Challenges with Warhammer Sprues 17:05 - Building Older Sprues and Vehicles 19:01 - Impressing with Gundam Engineering 21:03 - Space Marine Heroes and Japanese Influence 24:01 - Limited Edition Collectibles 26:10 - Meeting Fans of the Channel 28:16 - Unique Art and Artist at the Expo 30:01 - More Fun Encounters at the Expo 32:19 - Painting and Model Kit Techniques 34:29 - Techniques for Painting Orc Skin 38:02 - Learning from Marco Frisoni's Videos 41:02 - Meeting Fellow Content Creators 45:36 - Interesting Exhibitors and Games 48:03 - Space Marine Cosplayers at the Expo 50:01 - Missing Games Workshop Presence 54:01 - Color Forge and Community Colors 56:29 - Gaming Tables and Nat 20 Custom Tables 59:11 - Upcoming Games and STL Files 1:00:30 - Innovative Finger Golf Game 1:04:39 - Shape Invaders Game 1:06:18 - Evaluating New Games and Purchases 1:10:00 - Examining Fun Cosplays 1:12:18 - The Appeal of Custom Gaming Tables 1:17:00 - Absent Games Workshop at the Expo 1:21:01 - Food and Seating Challenges 1:26:03 - Unexpectedly Enjoyable Games 1:30:16 - Engaging and Progressive Board Games 1:35:00 - Reflecting on the Expo Experience 1:39:32 - Community and Content Creator Interactions 1:42:41 - Future Plans and Excitement

Art For Everyone Podcast With Carini & Vinnie Episode 20: Balloon Artist Brian Potvin Joins Us To Talk About Unique Art Mediums Guest: Brian Potvin Ballusionist.com @Ballusionist Welcome to the "Art For Everyone Podcast With Carini & Vinnie." Michael Carini is the Acrylic Alchemist, a full-time artist and the owner of Carini Arts. Vinnie works in real estate and doesn't have an art background. For far too long, the art community has felt like a special club or prestigious society, and it's time to bring it back to the people. Art should be inclusive and all levels should be welcome, so we invite you to the conversation. Join us as we talk art and art biz. No filters. No BS. No experience required. Michael Carini is a neurodivergent artist with Tourette's based in San Diego Michael Carini received his artistic training in Los Angeles, studying at Loyola Marymount University while simultaneously serving as an apprentice under respected artists Jane Brucker and Roland Reiss. Graduating at the top of his class with honors including the Scholar of Distinction Award in Painting, Carini returned to his hometown in San Diego, where he currently maintains his studio. With over 100 exhibitions nationally and internationally, he has received over a dozen major awards and was named Emerging Artist of the Year by Art Design Consultants. Carini's work can be found all over the globe in the collections of celebrities, major businesses, and private collectors. Don't be afraid to be different…Be afraid to be the same CariniArts.com FB: @CariniArts IG: @AcrylicAlchemy TikTok: @CariniArts Vicente Enriquez aka Vinnie is the team lead of The Enriquez Group and Host of the Road to Growth Podcast. His real estate team is based out of San Diego, Ca and his team has successfully sold over $300,000,000 of San Diego Real Estate. On his podcast, he interviews Entrepreneurs that have overcome adversity and allows them to tell their story on how they have done it. Besides running his real estate team and telling the story of business owners he also coaches a select few of realtors at Keller Williams San Diego Metro. Those select few individuals will get a honest support system that will guide them to success. When Vinnie is relaxing he is working out, playing basketball, geeking out on a movie or watching Padres Baseball If you are looking for San Diego Real Estate Help. Call Vinnie and The Enriquez Group Contact us at 858-345-7829 or visit our website at www.TheEnriquezGroup.com. Cal BRE Lic #01849409 Cal Bre #01295699 Episode Sponsors: Sparks Gallery Start Shows Carini Arts The Enriquez Group Try Canvy Pro FREE for 30 days! Logo by @Blobri

The Texas Medical Board has offered a wide definition of emergency medical exemptions to the state's strict ban on abortion.Health care is also at the center of a massive cyberattack that’s been crippling insurance payments, but consumer information is very likely involved.Police high-speed chases can be extremely dangerous for the general public, not just the […] The post Introducing Rhizome, Laredo's unique art project and community collaboration appeared first on KUT & KUTX Studios -- Podcasts.

Brian O'Connell, RTÉ Reporter

Today we're diving deep into the world of precision and craftsmanship—two crucial elements in the realm of hand soldering and rework of circuit assemblies. Whether you're a seasoned electronics enthusiast, a hobbyist, or just someone with a curious mind, this episode promises to demystify the art and science behind hand soldering and rework. We'll be exploring the latest tools, techniques, and trends that define this intricate process, shedding light on the unsung heroes who meticulously bring circuit assemblies to life, or in the case of rework, back to life. There is archaeological evidence that soldering was employed as early as 5,000 years ago in Mesopotamia. Soldering and brazing are thought to have originated very early in the history of metal-working, before 4,000 BC. Sumerian swords from 3,000 BC were assembled using hard soldering techniques. While soldering applications have morphed and expanded over the centuries, the basic “rules” of soldering have not. On this episode, we're going to talk about an obvious soldering application, at least to my audience, and that's soldering of electronic assemblies. From the evolution of hand soldering with numerous technological advancements to the challenges faced by DIYers and professionals alike, we've got it all covered, thanks to Mike Konrad's subject matter expert guest, Debbie Wade.  Wade is managing director of ART A-R-T, Advanced Rework Technology, a fully independent training organization, which has been presenting various training courses for over 30 years. She has been in the electronics industry for over 20 years with the last 15 of those years at Advanced Rework Technology.  Wade comes to us well-credentialed. She chairs the IPC-A-620 Training Committee and IPC European Training Committee, and with her Master IPC Trainer status for IPC-A 600, 610, 620, 7711/21 and J-STD 001 is an expert in the field of fabrication, assembly, process and acceptance of board and cable assemblies.  She has been presented with numerous awards from IPC in recognition of her contribution to IPC standards and training courses. So, grab your soldering iron (metaphorically speaking), get ready to dive into the flux, and join us as we unravel the secrets of successful hand soldering and rework. Stick around for valuable insights, practical tips, and maybe even a few stories from the trenches of hand soldering and re-work. Chapters: 00:00:00 - The Art and Science of Hand Soldering and Rework 00:03:01 - The Unique Art of Hand Soldering, Featuring Debbie Wade 00:06:30 - The History of Advanced Rework Technology (ART) 00:09:57 - The Impact of IPC Certification on Careers and Companies 00:13:14 - Investing in the Right Equipment for Soldering and Rework 00:16:22 - Controlling Heat in Soldering 00:19:24 - Creating the Heat Bridge 00:22:29 - Challenges in Soldering Electronic Components 00:25:39 - The Dangers of Using Soldering Guns for Electronics 00:28:32 - Common Mistakes in Hand Soldering 00:31:42 - The Importance of Flux in Soldering 00:34:38 - Proper Flux Application and Potential Issues 00:37:35 - The Problem of Flux Buildup on Test Points 00:40:50 - Appearance vs Function in Solder Joints 00:43:42 - Choosing the Right Soldering Iron 00:46:55 - Safety Precautions in Hand Soldering 00:49:50 - Appearance and Plating Issues 00:52:48 - Inspecting Different Classes of Products 00:55:39 - The importance of human control in machine programming 00:58:45 - Bespoke courses and certifications for inspectors 01:02:01 - The Importance of Proper Component Selection and Soldering 01:05:09 - Differences in Soldering Dummy Parts 01:08:04 - The Art of Hand Soldering 01:10:55 - The Importance of Reliability

Does street art call to you? Not graffiti, but murals, street art, art that is part of the community? We have an awesome episode for you!On this episode, we are so excited to have on Susan, founder of Chasing Street Art based in Morocco, where they offer a variety of tours, both day tours and multi-day tours that are private for to embrace, adore, and love Morocco and all of its beauty through a local's perspective. Some highlights we talk about in the episode:Learn more about Susan's background and how she started her tourism businessMore reasons into why the name Chasing Street Art existsAn overview of what you can expect when booking a tour with Chasing Street ArtUnique experiences to do in Morocco that you wouldn't expect to doDo they support local people and tourism? Listen to the episode to find out! ___________________________________________________Did you love today's episode? Don't forget to click "Subscribe" and share with us a comment on how you're loving the podcast so far!Are you interested in being featured as a tour guide or host on our podcast? Go fill out our form to find out how YOU can have a chance to share your story and elevate your voice by sharing more about your background, what you offer, and fun facts and tips about your city!Travel Experiences Reimagined Links:InstagramFacebookSupport the show

Visual Artist Pakan Penn enlightened us with a discussion about his unique painting style - using a palette knife instead of a brush - which results in a textured "3D" effect because of the many paint layers. Also hear about his upbringing in Cambodia and how these memories  influence his work, the great honor he had of having a painting hung in the White House during the 8 years of the Obama Administration and his response to the age-old question "how do you know when a painting is done."

Ed Galloway's Totem Pole Park near Foyil in Rogers County is getting new life, thanks to a Tulsa native artist. James Watts, Jimmie Tramel and summer intern Lydia Fletcher discuss this and other unique roadside attractions in the state. Plus, more on upcoming Scene content. Related Things to do this weekend: Sten Joddi returns, pop culture cons and OkieKaraoke ICYMI: 'Reservation Dogs' is 'unapologetically Oklahoman,' director says Here's what lies ahead in farewell season of 'Reservation Dogs' New Brazilian steakhouse open in west Tulsa at former Avalon Steakhouse Two Van Gogh 'immersive' shows coming to Tulsa Isla's Southern Kitchen to offer extreme state meal challenge Fixins Soul Kitchen serves up sweet tastes of down-home foods 50 things we are loving in Tulsa right now Contact us Scene Writer Jimmie Tramel: Email | Twitter | Follow his stories Scene Writer James Watts: Email | Twitter | Follow his stories Scene Writer Lydia Fletcher: Email | Twitter | Follow her on Instagram Subscribe to this podcast on: Apple | Google | SpotifySupport the show: https://tulsaworld.com/See omnystudio.com/listener for privacy information.

Emma Tate grew up in a small lakeside town in central New York State riding, living, sleeping, and breathing horses. From day one, Emma has been affiliated with the colorful equestrian world. Her passion for horses led her to compete in several of the top competitions in the United States throughout her riding and training career. It wasn't until the final year of college when she took her first Figure Sculpture class, Emma realized her passion to make one of her greatest loves in art form. Emma's first sculpture was a self-portrait, and the second one a life-sized horse rearing out of the ground which now sits among the trees at the Stone Quarry Hill Art Park in Cazenovia, New York. The rest is history. Listen in!

Today's conversation covers both sides of the Mississippi River at an area of Iowa and Illinois known as the Quad Cities. Megan Bannister from the Olio in Iowa blog chats with Stevie about art, coffee and more in the Quad Cities.Show Notes ⬇️Published on 4/14/23Timecodes0:00 - Intro2:20 - Where at What are the Quad Cities?3:02 - The Black Hawk State Historic Site and the Quad City Botanical Center6:36 - Unique Art to Find on the QC Public Art Trail8:20 - The Quad Cities Coffee Trail9:42 - The Food Scene in the Quad Cities11:03 - Stay Connected with Olio in Iowa and Destinations Beyond ExpectationsRead Megan's Quad Cities Blog PostPlan a Weekend Getaway to the Quad CitiesFollow Olio in IowaFacebookTwitterInstagramOrder Your Copy of Iowa Supper Clubs!Explore Group Experience to Learn how to Build your Travel TribeSupport the show

Visual Artist Francie Hester appeared on the "Embracing Arlington Arts Talks" podcast to tell our listeners about her unique art genre and work with aluminum honeycomb panels, steel, fiberglass and plexiglass. Also hear about her phenomenal project entitled "Art in Healing" that helps families cope when confronted with a cancer diagnosis. Then get all the details about her upcoming exhibition - "Confluence" - at the Fred Schnider Gallery of Art.

What you'll learn in this episode: Why every art student should have business classes as part of their curriculum How the American mythology of the starving artist is more harmful than helpful Why it's important to expand a creative business beyond just making How polymer clay went from craft supply to respected artistic medium Tips for entering jewelry and art exhibitions  About John Rose and Corliss Rose 2Roses is a collaboration of t Corliss Rose and John Lemieux Rose. The studio, located in Southern California, is focused on producing one-of-a-kind and limited-edition adornment and objects d'art, and is well known for its use of a wide range of highly unorthodox materials. The studio output is eclectic by design and often blended with an irreverent sense of humor. 2Roses designs are sold in 42 countries worldwide and are exhibited in major art institutions in the US, Europe, and China. Photos Available on TheJewelryJourney.com Additional Resources: Website Etsy Transcript: For John and Corliss Rose, business and artistic expression don't have to be in conflict. Entering the art world through apprenticeships, they learned early on that with a little business sense, they didn't need to be starving artists. Now as the collaborators behind the design studio 2Roses (one of several creative businesses they share), John and Corliss produce one-of-a-kind art jewelry made of polymer clay, computer chips, and other odd material. They joined the Jewelry Journey Podcast to talk about their efforts to get business classes included in art school curriculum; why polymer clay jewelry has grown in popularity; and how they balance business with their artistic vision. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guests are designers John and Corliss of the eclectic design firm 2Roses. Located in Southern California, they sell worldwide. 2Roses in an award-winning design recognized for their use of unusual materials. Welcome back.    When you look at these things, do you have visions right away? Does something jump out at you that says, “Oh, there's a pair of earrings,” or “There's a pendant. I can do something with this”?    John: Sometimes.    Corliss: Sometimes. With the way I personally work, I have a table full of all sorts of things. I'll take a certain amount of time and just look and pick and group and put this away. It's almost like a cat playing with a couple of little toys. You put it over here and you scoot it over there. Then we'll have dialogue about it, and we'll talk about things. Then it'll rest, and it'll come back. Sometimes the decision is immediate; sometimes it takes a little while. It's just the process. It's the same thing when John works. He's a little more direct than I am. I've learned from a couple of other peers that it's very helpful to have many, many things at the table at the time, because you can look at a variety of things and the mind just flows. It's like automatic writing. But John's very direct. He'll go through a process and then say, “Come here. Let's talk about this,” and we'll talk about something.   Sharon: What's the division of responsibility between the two of you? Does one person do the back-office stuff and the other person makes? Do both of you do the creative aspect? How does that work?   John: We're very collaborative. It's a very fluid process. I always refer it to as improvisational jewelry design. We don't set out with a plan to make a series of things, although themes and series have evolved organically through the process. We see these themes—moral themes, humor, political or social statements—just keep cropping up on their own to our particular point of view. But within the jewelry production design, it's really—   Corliss: It's fluid. Depending on the task that needs to be done, some things I will be better at soldering. There are some things that John does. He does a lot of—   John: Welding.   Corliss: Machinery and welding and things of that sort, engraving. That's where things maybe get a little compartmentalized. Not in the creative thinking process, but in the actual, physical production stages. “O.K., I'll take this stage. You do that better, so you do that and we'll talk about it.” That's what happens.   John: We don't want to get too far away from our business sides, like, “O.K., who's more efficient for the task?” But we do have certain divisions of tasks. On the back end, when it comes to the hard business stuff, Corliss tends to be the accountant. I'm the sales and marketing guy. She does all the web work. I do social media. I'll do photography and she'll do inventory. We do have certain tasks we fall into, but it tends to be more business operations than the creative work or production.   Sharon: Interesting. How many other businesses do you have? John, you have a multi-media empire it seems. What do you have here?   John: The main corporation is called Mindsparq. That's really an umbrella corporation. Underneath that, we have a variety of different business entities. There's the marketing company. There's 2Roses Jewelry. We have an education arm, a publishing arm, photography. I do a lot of restoration work.   Sharon: Restoration? I'm sorry, I didn't hear that.   John: Of jewelry antiquities.    Sharon: Oh, really. Interesting, O.K.    John: We're working with a lot of museums, auction houses, things like that, movie studios. That's turned into a whole thing unto itself. Then we do light manufacturing. There are a lot of different business entities. Some are intertwined with the jewelry; some are not.   Sharon: Corliss, you're doing the teaching on the educational videos or the educational aspect. How does that work?   Corliss: Yes, a lot more video now. I found that Zoom has opened up a whole wonderful world for expanding education, where I used to have to rely on being someplace in person, and the students had to rely on airfare, hotel rooms, that sort of thing. I have a very international following with online instruction in all different variants. It has proven to be not only lucrative, but very rewarding personally. John has been very instrumental in helping get the lighting and the connectivity set up and teaching me about different cameras and how to adjust them while I'm doing my instruction, that sort of thing. It's worked out very well.   John: I keep her on her marks.    Corliss: Oh, yes.   Sharon: It's so meticulous when you're trying to demonstrate something like jewelry making, metalsmithing, how to weld something, how to incorporate metal into this or that, because you're so close. It's like a cooking class in a sense. How do you show how to do it?   John: Yeah. Actually, the things we were doing with cooking demonstrations when Corliss was more involved in that helped us a lot when we started doing jewelry demonstrations and workshops. Basically, the videography and the whole setup is very, very similar.    Sharon: So, you were ready when Covid came around. When everybody was on lockdown, you were already up and running.   John: We were.   Corliss: Yeah.   John: Actually, what you're seeing behind us, we're in our broadcast studio now.   Corliss: With some of the equipment behind us.    John: Yeah, when Covid hit, we made the investment to set up a complete streaming broadcast studio because it was obvious that this was going to be the transitional network. It wasn't going to just be for the next six months.    Corliss: We've always been very pragmatic about trends and where everything is going. During the pandemic, we saw Zoom as something that was going to outlast the pandemic. It was going to cause a shift in education and a lot of other things, business meetings. So, we took the time to invest in learning the software and watching all the how-to videos and getting questions answered. We wanted to be able to hit the ground running with a certain amount of knowledge and have things work correctly, have that person's first impression be a good one, whether it was a student or I was doing a board meeting or whatever. We just saw that as the right thing to do.   Sharon: Do you see trends both with jewelry and with this? Zoom will continue, but do you see more polymer clay? Maybe it's me. It seems to have subsided. Maybe it was a big thing when it came out. I heard more about it, and now it's—not run of the mill; that's too much—but it's more widespread, so people aren't talking about it as much. What are your thoughts about that?   Corliss: You're talking about the polymer clay, correct?   Sharon: Yes.   Corliss: There have been advancements made within the community, but I actually see the most innovative work coming out of Eastern Europe. There's a design aesthetic there that is very traditional and very guild-oriented. There's a different appreciation of fine art over there, where in America this is a craft media; it's something to introduce young children to. There's nothing wrong with that at all, but it's just a different perspective on it.    John: I was just going to add that what you see in Europe is more professional artists.   Corliss: Yes.   John: Mature, professional studio practices incorporating very sophisticated raw material. Right now, the more innovative stuff is coming out of Europe. How that plays out, that's not to say there's nobody in America. I mean, obviously there are.   Corliss: There's more happening now. We're seeing more and more of our contemporaries getting into the large exhibitions, the large shows with very wonderful work. It's very satisfying to see that, but it's been a slow growth, mainly because this particular medium was introduced as something crafty and not something to really be explored as an art form. That came from within when polymer clay was first manufactured from a very small group of people who saw the potential of it. They set the foundation of pursuing polymer clay as an art form. It's taken a while to grow, but it is starting to get a little bit sweet now.   John: And that's not really different from other mediums. Look at it: it's just a medium. If you look at the introduction of acrylic paints into the painting world, it took 75 years for those to eclipse other things. Polymers are on that path.    Corliss: They were first invented, I think, in the 70s and 80s as a—   John: Well, they were invented of course.   Corliss: Yes, that is absolutely correct, but as an art supply. They were made in the 1980s. That's when they started being discovered.   John: Do you know how polymer clay was invented? Do you know the story?   Sharon: No.   John: It was invented by the Nazis.   Sharon: Was it? For what?    John: During World War II, for the leadup to World War II, it was an industrial material that was invented as a substitute for hard-to-find steel and things like that. It was used in manufacturing leading up to the war. It's an incredibly versatile and really durable product, and it's very plastic. It can be used for a lot of different things. So consequently, it was sitting on the shelf for many years, many decades, until around the 1980s when somebody somewhere discovered this stuff and said, “Hey, look at this. We can throw some color into it and do all sorts of crazy, artistic stuff with it.” That's where it took off.   Corliss: That was the start of Premo, and now you have countless brands of polymer clay that are being manufactured. Just about every country on earth has its own brand of polymer clay, including Russia and Japan. Polymer clay is very big in Japan.   Sharon: That's interesting.    John: Including us. We have it as well.    Sharon: You are early adopters, then. It sounds like very early adopters.   Corliss: Back in that particular time, the internet was just getting started. There wasn't a big outlet like there is today with social media for polymer clay enthusiasts or groups or fellow artists to get together. I learned everything online. There were one or two websites that acted as portals with links to different tutorials and other web pages with information about products, manufacturers' pages, that sort of thing. I learned polymer clay online.   Sharon: Wow, online.   John: There were no instructions.   Corliss: No, there was nothing.   Sharon: Wow! I give you a lot of credit, the stick-to-itiveness and determination to say, “I'm going to learn this.” Polymer clay, I took a class decades ago where they used some—is it baked?   Corliss: Yes, we prefer to call it cured.   Sharon: Cured, O.K.    Corliss: And some of the terminology that's been developed recently is to give a little more sophistication to the product so it isn't so crafty. So yes, it's cured. Most of it is cured around 275º Fahrenheit. There are brands that are cured a little bit higher and maybe slightly lower, but a lot of the brands are interchangeable, intermixable. You can have polymer clay look like a gemstone. You can have it look like old, weathered wood. It's very adaptable. It's a perfect mimic. It supplants the use of other materials in different jewelry compositions. It's a very interesting material to work with.    Sharon: It sounds like it.   Corliss: You can paint it. You can rough it up. You can use alcohol on it, just about anything.   Sharon: Recently you mentioned competition. You enter your work into competitions—I call them competitions. I don't know what you call them, where they give an award for best—   John: Yeah, exhibitions. That's something we do. It's part of the promotion of your work. It's about getting your name and your work out there in front of as large an audience as possible. It's one way to approach it. We've used that in a lot of cases, and these things are building blocks to how you build a sustainable practice. Being in an exhibition—for example, we've been in the Beijing Biennial for three years running. We've won numerous prizes for that, and we're representing the United States. We're one of six artists that have been chosen to represent the U.S. and one of the only clay artists outside the U.K. That'll pick up a lot of opportunities for us and allow us to make connections in China, particularly within the arts community in China. Just that one event has caromed off into, I don't how many years now it's been playing out, and it has continued to provide opportunities for us to do different things. So, yeah, they can be very, very useful, but you have to also recognize that the opportunities are there only if you recognize them and then take action.   Sharon: Would you recommend it to people in earlier stages of their careers, just for validation, to be able to say, “I won this”? Or would you say don't do it until you're ready? What's your advice?   John: I don't think we advocate one way or another. All I can speak to is this is what works for us. Results can vary. It depends on how you approach it. We had a discussion about this in one of the arts groups recently, and I was surprised that one of themes that emerged out of that was a lot of artists' discomfort with competition. If that's the case, then that's probably not going to be good advice for you. When you do exhibitions and competitions, you'd better have a thick skin because you need to be able to say, “It's not personal;  they didn't like my jewelry.”   Corliss: I think one area where we have been a bit instrumental is with younger people who want to enter that first competition for the first time. It's more of an instructional thing. The technology no longer does slides; you do images. It's little things like making sure your images all have pretty much the same backdrop, that they're easy for the jury to look at. Out of the 12 or 15 things that we made, we pick the five or three strongest that we feel would be looked at in front of the jury. When you fill out your questionnaire, if it's anything you have to hand write, please print legibly. It's surprising how careless people can be. Just things like that. Don't be disappointed if you don't get in. You go through the experience of having a binder three inches thick of, “Thank you very much, but no thank you,” before someone comes in saying, “Congratulations.” Then that new little binder starts growing and growing and growing. It's more of a basic instruction, hand-holding, a little bit of counseling and, “Here, go on your way. Just give it a try.”   John: For a long time, we confronted ourselves with that kind of thing. We have what we call the “wall of shame.” We post all our rejection letters and say, “O.K., we really suck. Look at this is a massive array of rejection letters.” But I think most professional artists that do exhibitions and things will tell you it's a numbers game. You just keep submitting and eventually you'll get into some, and you won't get into others; that's all there is to it.    Sharon: Yeah, I can see how thick skin comes in handy.   Corliss: I was just going to say I run to the bathroom and cry.    Sharon: No, but you have to have thick skin to do what you do in terms of putting your work out there. You see people looking at it. They walk to the next table. They walk to the next booth. I was talking to a jeweler about this the other day. It's challenging right there.   Corliss: I go back again to the early days of the apprenticeship. Speaking for myself, I had some hard masters. I remember one class—I will never forget this guy, Salvatore Solomon. He was a fabulous artist, a very good, well-respected artist, and I'm in class and he comes around. He didn't say a word, just took the piece I was working on, ripped it up. He said, “Start over.” Oh no, that didn't sit well with me, but that was his technique. He was very hard on his students, but he was teaching you a number of things. One, thick skin. Two, perseverance. The experience I came out of that with has benefitted me for the rest of my life. Now, I understand what he was trying to do.   Sharon: That would be hard thing to go through. John and Corliss, thank you so much for taking the time to talk with us today. I give you a lot of credit for everything you've built, not just the jewelry, but everything around it. Thank you so much for taking the time.   John: Sharon, thank you very much for the opportunity and for taking the time to do this. It's been a real honor and a pleasure.   Corliss: Yes, it's been nice. Thank you so much.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

After RZA's performance at Lollapalooza, Lexman interviews him about the unique nature of his work. How does he approach imitation? How has this ever influenced his music?

What you'll learn in this episode: Why every art student should have business classes as part of their curriculum How the American mythology of the starving artist is more harmful than helpful Why it's important to expand a creative business beyond just making How polymer clay went from craft supply to respected artistic medium Tips for entering jewelry and art exhibitions  About John Rose and Corliss Rose 2Roses is a collaboration of t Corliss Rose and John Lemieux Rose. The studio, located in Southern California, is focused on producing one-of-a-kind and limited-edition adornment and objects d'art, and is well known for its use of a wide range of highly unorthodox materials. The studio output is eclectic by design and often blended with an irreverent sense of humor. 2Roses designs are sold in 42 countries worldwide and are exhibited in major art institutions in the US, Europe, and China. Photos Available on TheJewelryJourney.com Additional Resources: Website Etsy Transcript: For John and Corliss Rose, business and artistic expression don't have to be in conflict. Entering the art world through apprenticeships, they learned early on that with a little business sense, they didn't need to be starving artists. Now as the collaborators behind the design studio 2Roses (one of several creative businesses they share), John and Corliss produce one-of-a-kind art jewelry made of polymer clay, computer chips, and other odd material. They joined the Jewelry Journey Podcast to talk about their efforts to get business classes included in art school curriculum; why polymer clay jewelry has grown in popularity; and how they balance business with their artistic vision. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week.    Today my guests are designers John and Corliss Rose of the eclectic design firm 2Roses, located in Southern California. They sell worldwide. 2Roses is an award-winning design firm recognized for their use of unusual materials. Today we'll hear more about their jewelry journey. Corliss and John, welcome to the program.   John: Thank you. It's a delight to be here. Thank you very much.   Sharon: So glad to have you.  Tell us about your jewelry journey. Were you designers first? How did that work?   John: Actually, we both started rather early in life. Corliss started as an apprentice in her father's floral store when she was 10, and I was apprenticed into design and graphic arts at age 12. We both came up in the old-school apprentice system and were working professionally by our early teen. It wasn't until later, in our late teens, that we both started professional or, I should say, a traditional academic trend. So, we've always been in the arts, both of us, very early.   Sharon: Were you both attracted to jewelry early as part of this? Where did that come in?   Corliss: We met at art school, and our backgrounds and our career focus on developing a creative career were almost identical, so we hit it off right from the get-go. For the first 10 years of our relationship, we focused on our own individual creative paths, but we kept intersecting with each other. Eventually we made the decision to work together full time collaboratively for a creative endeavor. Jewelry, at that moment in time, was the highlight of where we wanted to focus our energies.   Sharon: Is that when you met, when you were both part of the apprenticeship, or when you were in college? Where did you meet?   Corliss: We met in art school in Chicago.    John: Prior to that, we had quite a bit of time to develop different practices and careers. So, we met midway, I suppose, in our journey.   Sharon: When you say you were apprenticed, was the idea that you would learn how to be a designer, how to be a florist, and that's what you were going to do?    Corliss: At that time, I was being groomed to take over my father's business. I learned not only the design aspect, but at a very early age, I learned cost accounting. I was learning the business aspect of it. I was pretty much indoctrinated from the very beginning that you're going to be an artist, but you're not going to be a starving artist. You need to make a profit out of this so you can flourish. Later on in my career, I had one gallery owner tell me that the work was wonderful, but price it this way because it's one thing to make your bread; it's another thing to put butter on it. So, it was something that I had gotten all along.   Sharon: Wow! Most people don't get that so early, so that's great.   John: All of the apprenticeships I did, it was all about how this is a business first, and we do creative things like manufacturing a product. So by the time we hit formal arts school, when we first met, we very quickly realized that we had a mutual experience of understanding of the art world and our career path. That's what was a very strong attraction; that we both looked at this as a business career. This isn't about abstract ideas of, “Let's be creative,” and all the mythologies that artists are inculcated with. We didn't seem to have that kind of thinking.   Sharon: Were you ahead of your peers in that respect? Were you ahead of your peers because you recognized the business aspect?   John: Oh my god, yes. Yeah, it was really like that. By the time we hit college, most of our peers were just starting out. They were just starting to learn their career paths and trying to figure out what they were doing. We already had several businesses going. For us, the academic training was more of a cherry on the cake and polishing skills. By that time, we were working professionals and had been for quite some time.   Sharon: Wow! Tell us about the jewelry you make. We'll have pictures when we post the podcast, but it's so unusual.   Corliss: We've always been driven by exploration and experimentation with what we call odd media. This is what drew us to art jewelry in the early days. It was like the wild west. Anything went, and we just threw out all the rules of traditional jewelry. Fashion and adornment were being challenged at that time. It was almost like a golden age, where there was a lot of free-flowing ideas, a lot of collaboration with John and me, and a lot of fluid dialogue creatively between the both of us.    John: You asked about jewelry, and one of the things is we didn't start out as jewelers. Both of us came to it through a lot of other mediums. Myself, I started out as a painter, illustrator, furniture maker, gem cutter, sign maker, designer of one thing or another, machinery. Corliss went through all sorts of other endeavors herself.   Corliss: It was basically when we had been together for 10 years, plus doing all of these interesting things, that we made the decision, “Jewelry would be a great direction to go into.” And just to pull the curtain back a little bit and give a peak, I think one of the nicest things that happened to me at that time was that as an anniversary gift, I received lessons for metalsmithing. I learned how to solder, and that was the beginning of it. What I learned, I taught John. We experimented with a lot of different processes and a lot of different materials, and it just started to take off from there.   Sharon: When you say metalsmithing, I would think you would go in the traditional direction, whereas you took the metalsmithing and combined it with polymer clay, it seems, which people don't do. I'm looking at what your website has, and that's unusual. How did you reverse course in a sense?   Corliss: We were very much interested in color. At that time, we were following the traditional path of experimenting with color and its relationship to metals: patinas,P Prismacolor pencils, enamels and things like that. Polymer clay was such a versatile material. It could mimic just about anything. At the time, the product was being developed in Europe, where it was originally manufactured, and there was a small group of people using the product and doing some pretty innovative things with it. I latched onto that train very, very quickly and took myself through the learning curve of how to work with it, and I got involved with that particular community for quite a while to absorb everything I could, like a big, old sponge. To this day, it plays a very vital role in a lot of work we do. Because we have been metalsmiths and I teach, I have been able to actually teach the incorporation of some of the simpler metalsmithing techniques with polymer to people who have only worked with polymer and opened up that door to them. It's been very rewarding in that respect.   John: You made a good observation about that crossover because as Corliss mentions, it's really a two-way street. What we recognized after a while is that introducing polymer clay to the metal world was one side of the sword, and then it was basically introducing metals into the polymer world. Corliss has developed a whole range of courses, workshops, if you will, going in both directions, and that's become a business unto itself.   Sharon: You seem very entrepreneurial. You seem to go on and on.   Corliss: As John would say, there are many paths to the artist's income.   John: Yeah, entrepreneurialism is really baked into the DNA. I have to go back to the apprenticeships that we both did that gave us a foundation in—I always express it as art as a business and business as an art.   Corliss: It was a work ethic, too.   John: Yeah. So, we tend to always look at what the business opportunities are, how to make money doing this. That's always an issue for anybody in the arts, and that's also part of what we have advocated for for the last 40 years. I have worked with the California University system for decades trying to introduce a business curriculum into the arts, and it's taken 40 years to actually get that message across. It's only been in the last 10 years that we've started getting any kind of acceptance. We've developed many programs for various universities to teach the business side of art, and it's been an obstacle course to get that through. It runs counter—or at least it used to run much more counter to the academic approach to teaching arts, which focuses more on technique than actually earning a living.    Corliss: I've had quite a few experiences with individuals who were poised for graduation in the next six months or so. We would have conversations about, “I don't know what I'm going to do next. I'm going to graduate, but I don't know how to start a business. I was never taught how to make this a practice.” That's where everything started. It started by recognizing that there is a need for it within the education system. It led to developing more and more sophisticated ways of instructing people and getting them a little more prepared for what comes after graduation.   John: The thing we found, though, is that this is a uniquely American perspective. We've developed programs for Canada, for Mexico, South America, and they embraced them. To them it's a no-brainer. It's only America where we've encountered any resistance to it.   Sharon: Interesting. Why do you think that is?   John: I think a lot of it is the mythology of art. I want to be specific about this. We are focusing on metals programs and jewelry design programs for this kind of thing. When I was involved in SNAG, we got into this quite in-depth. One of the biggest impediments is that the instructor basically had never operated a business himself, so to them, they were being asked to teach something they had no experience in. Basically, they got their master's degree, and they went from being students to teachers. That's it. The idea that there was another world out there, they would say, “Yeah, that's great. That would be wonderful, but that's not something I have any experience with.”    Sharon: That's interesting, the idea that art should be pure and sell itself.    John: That's one of the mythologies, so Puritan. It's your labor, I guess. One of the things that occurs to me: many people in the arts define themselves by what they do with their hands, and we have never done that. We conceive the opportunities of who we are by what we do with our minds and how we harness our creativity and create opportunities for ourselves to express that creativity. Jewelry is just one of those things. We have a long history in developing businesses, which goes back to the apprenticeships. From our perspective, it's all creative endeavor.   Corliss: I was a pastry chef.   Sharon: Wow!    John: A television pastry chef, no less   Corliss: Yes.   John: And she basically made formulations for a lot of very famous restaurants and product lines that you would know of.   Corliss: Making the croissants for Marie Callender's. Looked up the recipe for that.   Sharon: Wow!    John: That's Marie right there.    Sharon: How did all this meld into jewelry? I know you through Art Jewelry Forum. I know you do art jewelry, but how did everything you're talking about meld, at one point, into art jewelry? I know you do a lot of other different things, but in terms of the product, let's say.   John: We were both active artists in various spheres. One of the things we were doing a lot was running mining and prospecting operations. We were accumulating massive amounts of gem material, and it came to the point where we had to make a decision of what the hell we were going to do with all this stuff. That's when we came upon jewelry. We could either sell the material wholesale, which we were doing, but really the profitability in jewelry is that we had to finish the faceted stone and polish the rough material. You get the material by the pound, but you sell it by the carat.   Corliss: It was lapidary skills that was the predecessor to this. We were making cabochons. John was faceting and we were also carving. We were carving a lot of natural materials, like bone and wood. The jewelry morphed from that, and it started selling. I was actually schlepping things in a big case, and we found that our work was being very well received. It grew and built from that. Soon enough, we were incorporating precious metal into our pieces.   John: We started doing more of what I would call conventional jewelry, and we had quite a success doing that. Early on, we got contracts with Neiman Marcus and Nordstrom and some larger chains, and very quickly we found out that doing that kind of work is not what we wanted to do.   Corliss: Yes, multiples.   John: Like doing 5,000 of something. You can make money, but the toll that takes on your body—I know a lot of people that do that, and all of them have wrist problems. It leads to health problems. So, that kind of jewelry was when we were getting started and taking off.    When we discovered art jewelry, we lost our minds. It was the wild west. It was all of our art training, all of the things we thought of ourselves as, what we wanted to do in terms of unfettered creativity and experimentation, pushing the boundaries and the edge. That's what was happening in art jewelry. So, we said, “Yeah, that's where we want to go. If we're going to do jewelry, that's the kind of stuff we're going to do.” That's basically how we backed into this world.   Corliss: That's how it opened us up to a lot of different materials. We were in the frame of mind of purposely going out and looking for materials in a lot of different places, everything from upcycling to computer boards and things of that sort, a whole variety of things. We had friends who would tease us and bring us little offerings we could use in the studio and comment, “You two can make something out of anything.” We took that as a wonderful compliment and put ourselves in a position to receive a lot of very interesting material we could use.   John: Well, we had good circumstances and still do because of all these other businesses we were involved with. We had connections within the military, NASA, foreign governments, lights and heavy manufacturing, the medical industry. We were getting access to this insane array of stuff and materials. I've got stuff from someone's space capsule, a jet fighter, fossils of every kind, medical devices you wouldn't normally get your hands on. All of this became fodder for “Let's make jewelry out of it.” One example: I have what we call the world's most expensive pair of earrings. One of my contacts ran a medical manufacturing business, and they spent something like $35 million developing these little—   Corliss: Chips.   John: Yeah, for CAT scanners, and they failed. They didn't work as intended. So we stocked six of these prototypes, which literally cost $35 million, and they were like, “Well, we can't use them. Here, make some jewelry out of them,” which we did. We made earrings out of them, and I love that particular piece. It has a story because they went from being extravagantly expensive to being completely worthless, and now they're a pair of earrings. Somebody put some sort of value on it, I guess.   Sharon: It sounds like people who know you just ship you boxes and bones and screws and whatever they have.   John: We receive regular offerings from friends, which is a delight; it really is. Over the years, we've developed a solid foundation of collectors. We get a steady stream of commissions, and it's very typical to hear, “I have this thing. Can it be—” I mean, we've gotten everything from antiquities—   Corliss: We have Roman coins and special pottery shards.   John: And crazy stuff that people say. “Here, use this as the starting point and make me something.” We actually got a guy's pacemaker one time. “I've had this inside of me for the last six years, and now I'm going to wear it on the outside.”    Sharon: That's an interesting idea.   John: It was quite an interesting piece. 

VENUS IN GEMINI ♊️ TRANSIT ENERGIES FOR YOUR SOULPRENEUR BIZ In your soul work Venus represents the Lovers Archetype, money, sharing your unique art and getting paid for your magnetism Venusian energy is a powerful branding code for you to activate in your soul calling work and this transit in Gemini, is where you can tap into the vocalisation of your abundance 3D desires, wealth & visualisations A time of speaking to your vision, your dreams, the way you perceive your own truly abundant AF life This is your divine right to be compensated for your witchy, intuitive, starseed magic WORKING WITH YOUR HUMAN DESIGN: You can look to your Human Design chart- if any of these gates are activated for you they might feel heightened - if you don't have them in your chart this might feel like a temporary bubbling to the surface of these energies… Gate 20 - Effervescent truth Gate 16 - Sharing with enthusiasm Gate 35 - Speaking about experiences Gate 45 - Directing resources Gate 12 - Impactful Voice Gate 15 - Duality & extremes LINKS: Explore your Human Design with self study guides, PDF downloads + audios for your Energy Type, Strategy, Authority + Profile CLICK HERE

NexTech AR Solutions CEO Evan Gappelberg joined Steve Darling from Proactive to share news the company has signed multiple new contracts for AR and 3D models. Gappelberg telling Proactive these new deals will provide the Company with a continually growing base of annual recurring revenue and monthly recurring revenue. Some of the sectors they now have clients in include Home Goods, Sports Equipment, Unique Art and Logos.

Did you know that consuming certain Tibetan precious pills on auspicious days based on the lunar calendar enhances the efficacy of these pills? What is the relationship between the planetary system and the consumption of the precious pills/Rilbus? Tune in now to know it all, as Tenzin continues her conversation with Dr. Dorjee Rapten Neshar and Jalpa Vithalani on the topic of Tibetan Medicine.

Did you know traditional Tibetan physicians diagnose diseases and illnesses with pulse reading? The art of pulse reading comes from the system of Tibetan medicine/Sowa Rigpa. Sowa-Rigpa in Tibetan translates to Science of Healing. It is one of the oldest healing traditions in the world. Want to learn how we can heal ourselves holistically and improve our vitality? Tune in now, as Tenzin speaks to two special guests - Dr. Dorjee Rapten Neshar, a renowned Tibetan Medicine Doctor and Jalpa Vithalani, an established multi-preneur who is known for setting up Tibetan medicine camps in South Mumbai.

My favorite Humans Outside interviews are with people who teach me lessons so memorable that I find myself thinking about them months later when I'm outside. My interview with Max Romey was one of these, and why I've selected it as a “Best Of” episode. There is no stopping Max Romey -- not when he's painting, not when he's filming, not when he's running and not when he's doing all three at exactly the same time. What he creates is better than brilliant and it's better than art: it's inspiration. In this episode Max shares with us his why, his world and insights into how you can find for yourself the same life fire he feels and the push to great creative in nature. Good Stuff [2:11] Max Romey's favorite outdoor space [3:00] How Max became a person who heads outside [5:45] How Max sees storytelling [7:08] Max describes his art [12:34] How Max found his place in the world [19:17] How nature unlocks creativity [27:02] How 2020 changed Max's projects and what he's working on now [31:25] Proof Amy is very bad at Alaska state history [38:40] How heading outside can help non-artists tap their creativity [44:17] Max's favorite and most essential outdoor gear [47:41] Max's favorite outdoor moment Connect Follow Max Romey on Instagram Follow Max's Trail Bound Sketches work on Instagram Follow Max Romey Productions on Facebook Favorite outdoor gear: A jacket with a great chest pocket (we like this one from Outdoor Research) and a travel size sketchpad and watercolor set. Most essential outdoor gear: A great running vest or backpack (this Adv Skin 12 from Salomon is still our favorite).

Atomika, originally published as individual issues between 2005-2011, is receiving a Kickstarter campaign to publish a complete omnibus. But Why Tho? sat down with Artist Sal Abbinanti to discuss what went into making this unique tale of old and new gods in Soviet-era Russia. The following interview is edited for brevity and clarity. The full interview can be heard on the But Why Tho? Podcast.

In this episode of Design and Shine, I talk to artist and surface pattern designer Lauren Lesley about finding your unique art style. We cover when you do and don't need to worry about when developing your own style, the mindset battles that are commonly faced and how to stay consistent.  Lauren also shares her tips on sending your portfolio to clients to get work. You can sign up to Lauren's free mini course 'Art Style Secrets' here And find out more about her on her website here 

Between painting alongside her grandmother and watching her father build reproduction antique furniture, Rosa Leff grew up seeing no distinction between fine art and craft.  What mattered was that things were made by hand and done well.  It is with that in mind that she creates her hand cut paper pieces.  Each of Leff's papercuts is cut by hand from a single sheet of paper using a knife.  Her cityscapes are based on photos she's taken in her neighborhood and all over the world.  While Leff is best known for her ability to capture thin tangles of powerlines and intricate brickwork, she also enjoys experimenting with novel media such as paper plates and paper towels.  Leff delights in bringing a modern, urban perspective to a traditional folk medium. Leff serves on the board of The Guild of American Papercutters and is a member of The Paper Artist Collective.  She has exhibited her work throughout the United States and in China.  She resides in Baltimore with her husband and chihuahuas, Chalupa and Refrito.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Photo by Justin Tsucalas, BmoreArtFollow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Ryan Wagner (he/him) is a proud native of the Baltimore area, having grown up in Baltimore City and attending high school in Harford County. After receiving a degree in Musical Theatre from Frostburg State University, Ryan spent the first part of his professional life as a stage actor in New York City performing in hundreds of shows both in New York and around the country. Following a stint on a Broadway National Tour, Ryan spent a year hosting the MLB Fan Cave, a digital and social media project for Major League Baseball. That experience was followed immediately by a return to Baltimore, where Ryan was hired in 2012 to be the next voice of Oriole Park at Camden Yards, a position he held through the 2020 season. Ryan lives in Hampden with his wife, Amy, and their two pets. One of the first people hired at the Guinness Open Gate Brewery in Baltimore County,  Ryan serves as the brewery's National Ambassador, supporting the growth of the Open Gate Brewery and all Guinness initiatives nationwide in a variety of ways - always working from our pillars of Quality, Integrity, and Passion. His main areas of focus are developing training and education programming for internal staff and consumers, building on and celebrating our culture and heritage, acting as spokesperson for media and PR requests, leading our efforts in regard to beer quality both within the brewery and at retail, focusing on providing memorable and engaging industry hospitality, assisting with product commercialization and sales, and acting in a support role across various other areas. At the heart of it all is a passionate and energetic desire to share the spirit of Guinness with friends new and old, with his love for laughter and storytelling guiding the way.Please subscribe, rate, and review our show on iTunes.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

John Wells is an American rapper, producer, and songwriter from Baltimore, Maryland. Growing up around music, he always wanted to be an artist himself. At the age of 11, a friend introduced him to Eminem, inspiring him to write his own raps. From the ages of 11 to 15, he went though many phases of artists ranging from Tupac Shakur, to Lil Boosie, to Chance the Rapper. At the beginning of 2013, about the start of the second semester of his sophomore year in high school, he started playing video games every night with two friends from school, named Qwame Mundell, better known as QMD, and Tyrez Morton, who was already releasing music at the time under the name TC, better known as HB Rez. A few months of sleepless nights playing playstation passed, and he was introduced to Malik King, better known as 2k, another person to play playstation with every night. Around the end of April 2013, he was introduced to FL Studio by his friend, Jamal Scott, better known as Scotty Banx, who he'd met that year in an elective class for music video production at Kenwood High School. He'd always struggled with finding beats that he liked on YouTube. Inspired by a local young artist from Baltimore named Butch Dawson, who produced all of his own music, he decided he wanted to make his own. On June 27th, 2013, John Wells, at the time going by his nickname, Luckee, released his first verse that was featured on a song by HB Rez, entitled "DOPEBOY". Two days later, after a good response on the song, John, Tyrez, Malik, and Qwame were on the phone, playing playstation like they always would, when they decided they wanted to become a rap group. Being big fans of artists like, Kendrick Lamar, Ab-Soul, and Chance the Rapper, artists who often write based on their personal experiences to illustrate a general idea, they decided on the name Generation Why, eventually becoming Generation Y. Over the summer of 2013, two new members, Hassan Ricks, better known as Ali, and Johnny Martinez, joined Generation Y, making it a whole. Since the summer of 2013, John Wells has released multiple songs featuring members of Generation Y, local artists, solo tracks, a six-track EP with Generation Y, a beat tape inspired by the death of Billy Watts, a teen producer from Michigan who committed suicide, and produced his entire first project, entitled The KEILANI, which is set to be released February 22nd, 2015, making all of his own cover art throughout the whole process, and making many visits to the home of Scotty Banx, where he recorded almost all of The KEILANI. He says his sound is influenced by artists and groups such as Outkast, 2pac, Butch Dawson, Isaiah Rashad, Kendrick Lamar, Frank Ocean, King Krule, Lorine Chia, The Internet, Pink Floyd, Erykah Badu, Jay Electronica, Vince Staples, D'Angelo, and J Dilla, among many others, but he is mainly influenced by his own life, and everything and everyone that surrounds him. In his upcoming project The KEILANI, he tells stories of his life in great detail, some being as simple as trying to talk to a homeless woman when walking home from school, and sitting in a bar eating chicken wings while waiting for his father to drive him home, and some being as complex as his own thoughts of suicide, the effect of drugs on Baltimore, MD, and even his want for a child of his own. All of these subjects, and more, become simple, yet complex, through John Wells' music. The KEILANI is produced completely by John Wells himself, and mixed by Scotty Banx. He describes it as a self portrait.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Local Color Flowers is a Baltimore-based floral design business. We create personalized arrangements and bouquets from fresh, seasonal, and sustainable flowers cultivated by local specialty growers. We are committed to responsible use of resources, supporting the local economy and promoting neighboring farms. We provide our clients an environmentally and socially conscience alternative when purchasing flowers.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

This episode I have the pleasure of speaking with Jamillah Muhammad, owner of Taste This Cake.Taste This Cake is a gourmet cakery operating out of B-More Kitchen in NE Baltimore City. source locally for our specialize in uniquely flavored cakes (and other baked goods) for all occasions.  Our products are made from scratch using locally sourced dairy and eggs and other high quality ingredients. Let us create something special for you! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.

Max Lents is a co-founder and CEO, Baltimore Spirits Company. The Baltimore Spirits Company is humbly owned and operated by Max Lents, Ian Newton, and Eli Breitburg-Smith. Each of us is a proud resident of Baltimore, The Greatest City in America. We are inspired by the city's pride in its history, music, sports, cuisine, arts, and humanity to bring a culture of Rye whiskey and spirits manufacturing back to Maryland.We are proud to be a part of the buzzing, vibrant community that boasts of America's first cathedral, a world-renowned medical school in Johns Hopkins, Hampden's annual toilet races, multiple NFL Superbowl championships, and one of the nation's most eclectic, community-supported art scenes. Such a city deserves a spirit to be proud of.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Alex Fine is a freelance illustrator living and working in Baltimore, Maryland. A graduate of Maryland Institute College of Art, he has over a ten years of experience in editorial, advertising, and book illustration. As well as working full time as an illustrator, Alex is also an adjunct professor at MICA in the illustration department.Clients include: Adweek, Baltimore City Paper, Baltimore Sun, Billboard Magazine, The Boston Globe, Chronicle Books, Dallas Morning News, Edelman, ESPN Magazine, Grantland.com, Harper Collins, The Hollywood Reporter, john st., Kokanee Beer, McSweeney's, New York Magazine, New York Observer, Newsweek, O Magazine, Parade, Philadelphia Magazine, Politico, Scholastic Books, TBWA ChiatDay, Time Magazine, Time Out New York, Variety, Washington Post, WIRED, and 360i.***If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Aaron creates and produces original radio programs and podcasts for WYPR. His current project is the neighborhood documentary series, Out of the Blocks, which earned the 2018 national Edward R Murrow Award. His past work includes the long-running weekly cultural program, The Signal, and the Smithsonian Folkways Recordings series, Tapestry of the Times. Aaron's stories have aired nationally on NPR's Morning Edition, All Things Considered, PRI's Studio 360, & The World.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Christina Delgado is the founder & owner of Tola's Room, a mobile collective of the arts, community, and education—essential to the growth of healthy positive minds, leading to healthy positive communities.If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

Danielle Boinay is a dreamy painter from Oregon, USA. Her art is full of starry portraits of beautiful girls and whimsical animals. We talk about an easy way to tie all your art together and how significant art friends have been in her life. . . .  WHERE TO FIND Danielle Boinay: Instagram: https://www.instagram.com/danielleboinay Shop: https://www.danielleboinay.com . . . THINGS MENTIONED IN THE EPISODE:   Mighty Fine:  Art Money Success by Maria Brophy: http://mariabrophy.com/business-of-art/art-money-success-make-full-time-living-art.html Stephanie Boinay: https://www.stephanieboinayart.com/ Kristina Yu aka Cheery Human Studios: https://cheeryhumanstudios.com/ Holbein Gouache: http://www.holbeinartistmaterials.com/designer-gouache-sets/