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Pamela Heath – Steamer Trunk Satins: The Bridal Company That Provides Accessories for Bridal and Special Occasions
A strong visual intuition for color nuances, patterns, and textiles led Pamela Heath into a career of art publishing for major museums. She most recently has produced art books for the Getty Museum in Los Angeles, California. Building on a journalism background (B.A.and M.A.) in fashion and communication, she has joined the staff of Agenda to cover the bridal and wedding components of the magazine. Working as CEO and designer of Steamer Trunk Satins (a fashion house creating bead-embellished veils, garters, chokers, jewel bouquets, and coordinating tiaras), she is adept at researching the industry and assisting brides with their wedding needs and resources. For brides and their attendants, nothing is more reassuring than her motivation and commitment to enhancing the inner and outer beauty of women! Pamela Heath is the CEO and principal designer of Steamer Trunk Satins, a Southern California company, a design house, which creates satin and velvet chokers embellished with beads, lace garters, veils, and tiaras . They utilize the technique of virtual painting with beads, giving their pieces bursts of color. Their veils are two-tiered and hand beaded with a variety of colorful patterns with pearls and monochromatic beads. Each garter can be beaded to coordinate with the bride’s veil. Steamer Trunk Satins works with the brides from conception to completion. So how did Pamela Heath, an art book producer for the Getty Museum, get involved in bridal accessories? Well, she was going out to a lot of clubs at night and wanted something to wear that would stand out. Pamela had a lot of friends who were performers in the music industry. She really just wanted to wear something more vibrant. From there, Pamela started to make chokers for her musician friends on stage. She also started designing costumes. Pamela had applied and was accepted to FIDM, and before she was about to begin classes, she realized that she had had enough school at that point. All Pamela really wanted to do was bridal and special occasion accessories. She had been attending a lot of bridal fairs with her sister who was planning her wedding, and Pamela was helping her prepare for a strict, traditional wedding with a lot of attendants. Pamela and her sister were looking for things that would be both suitable and universal for the wedding. It was then that Pamela came up with the idea of fusing beads with bridal veils, chokers, and garters. And because of the sizing issues (with varying neck sizes), she chose to make those particular items herself, also designing the veils and the garters as an ensemble. Pamela has been in publishing for 15 years and has produced art books for the Getty Museum. “I am just a visual person, so I was sketching. I had to take fashion at FIDM anyway, so I just got involved in the bridal stuff. I was still paying off my grad school loans. I have a Master’s in Visual Communications, and I’ve done a little retail sales. In the past I sold cosmetics (Clinique and Lancôme), and was comfortable designing for women, including myself.” Pamela conceived of Steamer Trunk Satins 2 years ago, and in the process, a lot of things happened, where she was unsure about taking that step. But she did it. She attended a bridal exhibit in January—it was Steamer Trunk Satins’ first show, and she really wanted some feedback. Many of the exhibitors who had been in the industry for a while had never seen anything like it, and that was very encouraging to Pamela. “I am a really detailed person, and it was what I liked to do. It was a hobby, and I am glad that it eventually turned into a business.” Pamela showed me some of her accessories and talked about the most traditional ones—the veil and garter. “The veils are frosting. Even with the simplest ceremony, it is the symbol that indicates you’re a bride. You only wear a veil on your wedding day. The garters naturally came together. But also, I like the idea of bringing back something traditional.” How did you come up with the name? “The name Steamer Trunk Satins is actually from an old steamer trunk my great aunts had from 1912, and WWI, which I inherited—my great grandmother was a nurse in that war. The trunk reads ‘Nursing Sister.’ “Growing up , I was raised by a lot of women. And I was very close to my grandmother, my mother, and 2 aunts. One of my aunts was a ballroom dancer, and when I could barely walk, she had gotten me into ‘shimmer and sparkle.’ My sister and I took ballet, but we didn’t like it. We might have even been asked not to return the next year.” Pamela laughed. “So making costumes behind the scenes worked better for me.” Highest High “My highest high happened at my first bridal fair. Before we even started, and before the brides-to-be had entered, a fellow exhibitor came up to our booth and commented that it was the best one there—that it was really novel. Now that was when I knew I should be doing this.” Lowest Low “At one point, I wondered if this whole bridal thing was just a big waste of energy, and if this idea would ever get out of my head. Sometimes I am my own worst enemy, and I had a lot of doubt in the beginning.” How long had it been before you put your ideas into motion? “Well, my manly man website designer came up with this really amazing feminine website the first time out. And in maybe 6 months (with a year of trial and error), it eventually came together. “ I remember skipping my home economic classes when I was in school—I was the total feminist. I was actually close to failing home economics, which was unheard of at the time. My teacher called my mother and asked her why was I always missing school on those days. Later, I ended up taking sewing classes at the Santa Monica Sewing Arts Center. And the sewing machine I now have used to belong to my mother. She actually made our Halloween and ballet costumes on it.” Advice Pamela Gives to Start-Up Businesses: “Stick with it. There will be setbacks—just accept that. Do a lot of research and don’t be afraid to try new things.” What’s Next? “I hope this is something I can be doing well into my 60s and 70s. I’d like to expand into halters and other pieces. I don’t know if I’ll get married, but I’m glad I have my wedding veils. My pieces are really a feminine outlet for me. When I am working as an artwork producer, everything is just print. So this is something tangible.” To learn more about Steamer Trunk Satins, visitwww.steamertrunksatins.com. Interview by Kaylene Peoples |
Category: Interviews
Cheryl Murphy of Spectrum Talent Agencies – From Entertainer to Successful Entrepreneur
Cheryl Murphy of Spectrum Talent Agencies – From Entertainer to Successful Entrepreneur
Cheryl Murphy, the owner of Spectrum Talent Agency, located in Los Angeles and Las Vegas, started off dancing for the Osmonds in Utah, where she grew up. She then moved to New York and took classes at Alvin Aley, Melissa Howard, David Jennings, Luigi, etc. So she grew up in the entertainment business, dancing and performing. Then she went to Vegas and was a Las Vegas showgirl for 20 years, and she danced with some really big names: Melinda, the First Lady of Magic; Miller Reich Productions; and Penny France Productions. She then started doing wardrobe as well for people like Carrot Top, and she does a lot of work with David Copperfield.
Cheryl Murphy got into the other side of this business about twelve years ago. A young lady named Crystal Roark owned Spectrum Agency when it was just casting, so Cheryl took it over and moved it to the next level. There is also another agency in Spectrum LA called Envy Models. Daniel Mahan is the owner and runs it. They have international as well as national recognition with both the agencies. “We’ve been here a year and are literally making it happen in the Los Angeles market,” says Cheryl.
Cheryl points out that Spectrum, located in both Los Angeles and Las Vegas are very different. “Las Vegas is known for being a convention town and corporate town—there are a lot of corporate events. We cover all spectrums of show business, whether it’s stage productions, dancers, musical acts, impersonators—they’re big in Vegas. In Los Angeles there’s a lot of theater, commercial, print, and film. Los Angeles has print wrapped up. This is what provides models a lot of work.” According to Cheryl, when picking models, there is a criterion where they have to have a certain edgy look. They take measurements, look through their portfolios, and sometimes recommend that they shoot with another photographer because their pictures may not be strong enough for their agency. It’s a process, especially for the younger models. Normally, they don’t have a really strong book put together, and it’s one of the reasons they’re sent to other countries so they can establish a strong book, which gives them a lot of tear sheets and editorial work.
Regarding selecting actors for Spectrum, Cheryl mentions one young man in particular, Toby Grattison. He was one of the New Orleans hurricane victims who came to Los Angeles. Cheryl feels he is a great up and coming young actor. Some of his credits include Ray,Dukes of Hazard, Glory Road, etc.
“Those are the actors you want to get a hold of because everybody is grabbing at them. But when you can get them and really push them, then that is the key. These young, promising actors really need somebody to get behind them, and that’s exactly what I want to do.”
What advice does Cheryl give to someone trying to start his/her own talent agency?
“In the beginning, when you select the talent, be selective. Don’t just take anybody who comes through the door. Make sure you have all the information, from A-Z on that person. Get their resumé, enter in all their skills, including their acting reels. What actually helps the casting director select the talent is when they are able to see the actor and who they really are. Just a photo isn’t enough. Sometimes we even ask for references, and we will call those references for a heads up on the actor. Some people have a history—maybe drugs, and even legal issues sometimes. Those are the kinds of things we take into consideration, because it is our reputation on the line, so we have to make sure that we’re presenting somebody in a good light.”
What advice does Cheryl give to potential actors?
“When you’re starting out green, you kind of need to get your face out there. We’re not the only agency in Los Angeles obviously. What I suggest is to get the best head shot that you possibly can, because a picture says a million words. And get in front of the agencies. If you don’t get in one or two of them, don’t worry. Just keep moving. Because one of the agencies will take you and then you’ll get your opportunity to shine. But this business is a real grind and you can’t be the type of person that once a door is slammed in your face, that you just stop, or quit. Get in as many castings as you can.”
What do you think of non-union casting calls?
“They’re great. You have your non-union and your union actors. Then you have those actors that were union and have not found enough work, so they went Financial Core. Unfortunately, sometimes you wait hours and hours in those lines to get seen, but sometimes it could be that role that is important to you. You have to go to those types of casting.”
Where does Cheryl see Spectrum in five years?
“In the next 5 years I see Spectrum doing big production work. I have two theaters right now in Branson, Missouri, where we’re booking shows: a comedy theater and dinner theater where we book different impersonation shows. One of those shows features the Brat Pack; the other is a tribute to Motown with the Temptations, 4-Tops, Diana Ross and the Supremes, and Stevie Wonder. I see myself in the production in a big way because I am a good producer. I was on stage with a lot of those acts. So for me to come in now and produce the shows, it’s great.
“I was in the movie Tap with Gregory Hines, and Breaking Part 2, and it’s better being on the other side. It’s pressure but in a different way. I thought I could be slipped into this role because I know how to instruct people on how to go to auditions because I went to hundreds of them. I’m able to instruct them in an experienced way because I’ve been there and I’ve done that.”
Highest High
“The day I made the audition dancing for the Osmonds. It was a 3-day process. I can say out of 1000 people there, I was one of 6 dancers chosen. It gave me the confidence and the boost to go on with my dance career.”
Lowest Low
“The day I had to retire from my career. It was so part of my life since I was 5 years old. I had been on stage for 20 years. And you always hope that you can go on to do something bigger and better than what you’ve already done, and that was probably the low point of my life—making that decision to hang up my shoes. Dancers are like athletes—there is one day when you have to hang up those shoes. And when that day came, I’ve never looked back. I have to look forward.”
As a woman, Cheryl has encountered some obstacles. Sometimes people don’t take her seriously.
“They can’t believe I own the agency—in my case, both the agencies. I am a serious businesswoman. I take care and handle my business. I am a real hustler, I get out there and I make things happen. And when things don’t just fall into place, I keep moving.”
Interviewed and Written by Kaylene Peoples
Ty-Ron Mayes, Stylist and Fashion Editor with a Super Hero Eye
Ty-Ron Mayes – Stylist and Fashion Editor with a Super Hero Eye
Some people see New York stylist Ty-Ron Mayes as a triple threat. Not only does he do styling, but he has also mastered make-up and hair. He was in town styling a shoot, and I was able to ask Ty-Ron some key questions.
While Ty-Ron Mayes was in college studying pre-law (he wanted to be a lawyer).
I have a Bachelor of Arts and Sciences in Pre-law/Political Sciences.
Styling was always his hobby, his extra-curricular activity, and it started to become a lucrative business.
Ty-Ron decided to give it a couple of years before he began to immerse himself in another industry. While he was actually doing work in the law field, it started to pull him away from law. That’s when he decided to try fashion for two years.
“I discussed it with my family because they invested a lot of money in me, doing other things. And luckily it took off. I am an opportunist, so I took the opportunity when it arose. I got an internship, and was briefly hired with David Glinert and Associates under Entertainment Law. We handled precedent setting cases at the time, like Martha Walsh and Lolita Hallaway. Their voices were being sampled illegally. Now, as a result, you have to reference anything sampled, and you must pay for it. That was my beginning.”
Ty-Ron was always shooting for his portfolio, and he ended up getting some good layouts on magazines. Always interested in some facet of entertainment, whatever career he decided, it would have to be in entertainment in some way. This explains why he went into entertainment law. If not, then it would have been something else that would lead to his fashion career. And his first break came very soon.
“I had positioned myself to be with Amica Magazine because they were a weekly Italian publication, which gave me 52 chances a year to get published; and because they did 10 stories, it gave me 520 chances to get published. They liked me, but it was that one time I walked in with pictures of Bridget Hall, a 16-year-old super model who had done covers with Italian Vogue. They were astounded that I was able to shoot with her—because they couldn’t even get her themselves. That was my big break, and they ran the story that we shot. I was then asked to come in and do some shoots. Tony Verga of Amica Magazine, the editor at the time, trained me on how to do a fashion layout with all the politics that went behind it. I even shot with Scavullo. Sean Byrnes of Cosmo also took me under his wing. I did Oprah and Iman and it all snowballed at one time.”
There must have been something extra special, a technique that makes you a great stylist.
“I was friendly, people liked me, and helped me because of it. Lisa Lawrence with Moda had been giving me Jean Paul Gaultier for 14 years. What happened was my first love was comic books. I wanted to draw the super heroes, so I was searching my entire life to be able to transfer that love for the comics into the fashion divas that I was working with. I wanted women to look beautiful and heroic. I learned how to do makeup and hair, also; and because of my drawing technique, I was able to pick it up very easily. I learned how to augment the nose along with the little tricks that make celebrities look special. That made my vision of how women could look special. That was my secret weapon.
“It’s more about understanding what’s reality and not reality. Fashion is fantasy—it’s 2-dimensional. So you’re taking a human being who is 3-dimensional, and you have to see them as a 2-dimensional image. It’s almost dehumanizing. When I’m working with models, I’m thinking about the way they’re going to look in the picture. If you know the way the camera was created, whatever is closest to the camera is going to get bigger. A lot of times when I do makeup, I do contouring of the nose, because it’s going to be the closest thing to the camera. So the nose has a tendency to get a little bit wider. So you do some tricks, or see things in 2-dimensional. You’ll highlight the front of the nose and contour the sides because what gets darker falls back and what gets lighter goes front. That’s how you compensate and balance for what the camera is doing, taking a 3-dimensional image and flattening it into a 2-dimensional image. That’s also another reason they like models to be very tall and thin, because they look very normal on the runway. But when you see them in person, you’ll say, ‘’My God she’s 6’1, she didn’t look like that,’ because the camera squashes, flattens, and widens. So if you have a very long body, and it’s photographed, it will photograph like it’s normal. It’s really about understanding the medium that you’re working with.
“There are a lot of tricks, too. Photographers use certain lenses that can slim and elongate the body. They use different lenses that will be for beauty that won’t distort the face. It won’t make it wider or longer. We use a lot of different techniques in order to create an image. I would love for women to know that it is not real. It is definitely for fun—it’s fantasy.
“Then of course there’s retouching—everybody has computers now. No image goes through fashion without being retouched somewhat. Eyes are cleaned up to look whiter. Pupils are made a little bit bigger because they’re considered an erogenous zone, and that means that you’re sexually turned on if your pupils are very wide. So they will sometimes tweak and augment the eyes for magazine covers. There are lots of little tricks that go into making pictures.
“I also wanted to know more than if just the dress is pretty, or if she’s pretty. ‘Pretty’ gets you in the door. It’s all the other techniques that you learn that create the artist, and create someone that people want to work with, and people feel like they’re going to bring something fresh and new and different. The interpretation is going to be different each time. For all artists, you really have to learn your medium. A lot of the new kids that are on the block have no references. You need to have your references so you know what 60s fashion was about. And if you’re going to talk about make-up, what a doe eye is, a smoke eye, and color wash. You know the top and bottom lashes like Liza (Minnelli) and Cher. You really have to have some good references to pull from. This is what’s going to make a fashion picture even more interesting. When people look at a story, it should have some continuity and fluidity. They should be able to look at a fashion layout and see some kind of thin thread that ties all of the images together, and it creates a story and it speaks to you before you even read the title.”
What does Ty-Ron consider to be a trend in 2006?
“On the red carpet I see a lot of clutches from the Hollywood actress with drop down earrings. Platform shoes are more arched, streamlined, and thinner, corked bottoms and wood bottoms. It’s rethought, and shaped into something new. People don’t want to buy something completely old; they want to buy something new with a twist. Celebrities can be a great vehicle for trends, but the designers all have their own individuality—but they also have an ESP. I like to call it the hive mentality, you know, like a beehive. The one queen bee does something, and then all of the other yellow jackets go around and follow her message. So you’ll find that designers will do something and somehow the buzz word gets around. Celebrities have become the new runway stars, and the fashion model has stepped back into her old place. Now people really are celebrity driven. They’re following trends through celebrities. The tabloid magazines have all changed their direction and have gone with the times. And they’re tracking what these celebrities are wearing. You’ll see credits of who’s wearing what, their handbag, shoes, etc. The knock off industry has exploded because we can’t afford the Roberto Cavalli. But you’ll see the day after the Oscars the six hottest dresses duplicated in affordable fabric because people want to look like celebrities now. And now these celebrities look better than ever. They have the perfect haircut, the perfect color. They’re all skinny. They’re all killing themselves dieting so they can actually be on that red carpet. It’s leading to celebrities getting cosmetic, designing, and fashion campaigns. They’re now making their own clothing lines. Instead of blowing up designers on rap records, you’re seeing rappers now talking about their own line. And the kids are going out and they’re buying it, because the celebrity is so powerful.
“It doesn’t come easy. One thing you have to know about the fashion industry, if anyone is going to get involved with it, a lot of it has to do with rejection. It has nothing to do personally with you. A lot of times, you’re just not right for the job, or someone is a friend of someone, and they’re going to get the booking. If you can deal with the rejection and a lot of the near misses, you can have a really good career in the industry. But you really have to know the animal that you’re with. This industry is very fickle. You can be in one day, and out the next.”
Who are some of Ty-Ron’s favorite designers?
“I have designers I gravitate toward for many reasons. Artistically, I like Vivienne Westwood and Alexander McQueen for incredible corseting and interesting beading, and for chic and sexy [there] is Gucci. I always like to bring in somebody new. I am always interested in who’s going to be the next big designer, for instance, Jason Woo, who is a new designer who created the RuPaul doll. I like to book designers who do well and don’t try to make something out of what’s not there.”
Is it hard to be a stylist and not try to make over everyone you meet?
“I learned early on to turn it off, ‘cause if not, you’ll go crazy. You’ll scrutinize everybody that goes past you. I don’t traumatize women by putting them up to an unlivable standard. It’s O. K. to have an eyebrow out of place, or if you want to be experimental with a weird hair color. I like people to be normal. I talk to women all the time about this fashion machine because it can be very abusive to women. Fashion is for children. All of the models that you see walking down the runway that are size 0, 1, and 2 they’re all 15 years old. When they get that dress in the store, it’s going to be cut, reshaped, and lengthened to fit a woman’s body.”
Can you make any woman over?
“I can make a woman look fantastical and beautiful. But I am not a plastic surgeon and cannot move things around. But with tricks we can corset, pad, push up, lift up, and strategically hide things. Everyone, even models, have something that we as stylists hide and something that we really play up on. So if you look at the person’s best asset like maybe a great bust line or great legs, everyone has a little something. You can take that and magnify it, and make that your focal point, and I think that if women learned that little trick, they could take that into their everyday life. And they will feel a lot better about themselves because the real fashion models you see in the magazine don’t really exist. But they each have something special, and remember that we constantly fix and retouch.”
Highest High
“I think that I am enjoying the highs right now. I am in a place where I feel like I learned my craft and I have a lot to offer to my clients. They trust me. It takes a long time to gain people’s trust. It’s a really unfriendly industry to people that are new. A lot rides on a great makeup artist, great stylist, and a fashion model who’s thin, has great skin, and is on time. Millions of dollars are riding on whether or not we are going to produce what we say we can produce. So if I have to say that I am riding on high, right now people can trust my layouts, I have a history behind me. And hopefully I can go further with the career. I am also looking at a book deal.
“I am the fashion editor of a new magazine called Jewel Magazine. I get a chance to do this high-end magazine for people of color. If I can bring all the techniques that I learned on mainstream magazines into this publication, I think I can help change the face of publishing and prove that yes we can sell. One of the biggest injustices in the industry is that they say that blacks and others don’t sell when they put us on their magazine covers. So my task right now is that I want to bring that to the publishing world and show that we can sell.”
Look for Jewel Magazine on the newsstands. For more information about Ty-Ron Mayes visit Warren Tricomi Artist Management at:www.wtmanagement.net.
Interviewed and written by Kaylene Peoples
Alan Del Rosario – Creating a Global Unification of Fashion the Second Time Around
Alan Del Rosario: Creating a Global Unification of Fashion the Second Time Around
Alan Del Rosario describes his clothes as sexy, flowing gowns with unexpected touches of leather, lace, and trim. Fun, billowy ball skirts worn with intricate sexy tops. Ruffles, both soft and starched, cascading out the backs of corseted gowns. And I agree whole-heartedly. But when I visited Alan Del Rosario’s place several weeks ago, I saw more than just that. I saw a warm, caring individual who had been through a lot just to get back what he had lost.
I heard about Alan Del Rosario through Adrienne Janic, a Ford model who is the co-host of TLC’sOverhaulin’. She sang Alan’s praises as a designer. I was compelled to interview him. While at Alan’s studio, I observed his design team diligently working to meet what seemed like an impossible deadline. Alan was going to be launching his new couture line at the Mercedes Benz Fashion Week in a couple of weeks.
I was immediately taken by the combination of styles and the delicate choices of fabrics. I asked Alan to shed some light on his new collections and to explain what had happened with his first line . . . why he had to make a comeback in the fashion world.
Alan Del Rosario used to be a Civil Engineer back in the Philippines. He had just finished a big project and decided he needed a little break, which led him to an early retirement and the start of a brand new career. A friend of his urged him to look into the film industry since his family had connections there. Ultimately, he ended up in fashion design.
“I came to USA to check on some schools, and accidentally went to a fashion school. It just hit me that this was what I had been looking for all my life. Back home, we’re not conditioned to explore our creativity, but a friend of mine had noticed that I was into more creative things and recommended that I look into the fashion institutes.”
At one of those fashion institutes, after just getting out of the elevator, Alan had overheard that a student had just won the Bob Macke award.
“This was a prestigious award where the faculty nominates 10 out of 500 students. Those 10 students have to submit their portfolios, while prestigious people in the fashion industry judge them on their work. Later that year, I was fortunate enough to have won that award myself. But it didn’t hit me until years later when I realized that the moment when I saw the value of the student who had won the award, there was a part of me that knew my own work will be even better—and it was a lot of work, but when you’re passionate about something, it becomes easy.”
Because Alan already had a college degree, he was placed in the institute’s accelerated program, where basically everything you’re supposed to learn in one year, you’re supposed to learn in two. Alan’s 2nd quarter consisted of both creative and sketching classes, which proved to be extremely challenging.
“It was a challenge, but it was probably one of the best years because that same year I won the award for my advanced program, and was sent to Europe to pick out hundreds of thousands of dollars’ worth of fabric.”
This is Alan’s second attempt at designing his own line. His first line was called “Del Rosario” and was not as high end as his Alan Del Rosario line is today. His new line is couture, while the other was more contemporary.
“I started Del Rosario with baby steps. My family helped me with the financing. When I won the 1st place designer for Gen Art, it increased my demand. When the orders came as a result of my award, I was only able to fill half of them—I just couldn’t deliver. I was trying to get backers, and I was so close until 911 happened. So, instead of digging myself even deeper in debt, I decided to close the business. Soon after, I had another chance to do the Relic jean line, and unfortunately it too was hit in just a short time. My financier got hit big time, also. So I closed that business, too. From then on I had an incredible offer to rebuild my finances from a junior clothing company, where I worked for a couple of years. I made that seven-year-old company a profit after only six months.”
Alan expressed how fortunate he is to be able to do what he loves for a living. His business partner, whom he’s known for over a decade, had followed his work. He wasn’t in a position to invest until now. But last year, as fate would have it, the two men ran into each other quite accidentally, and they decided to join forces. Their business is currently in a small space, but they are in the process of expanding to a bigger facility.
“There are a lot of great people out there, but if you’re not properly financed, don’t start a business unless your dream is just to be small and make only enough money to pay the bills. But even then, there is no guarantee that will be enough.”
Alan’s partner suggested he start a contemporary label. He did and named it Baby Tears. It is a junior contemporary line which Alan just launched a week prior to our interview.
“It’s not true junior, the prices tend to be very cheap, and I didn’t want that. With today’s woman, you have a young 20s and young 30s, so today’s junior ranges from high school through 30s. There are different price points, and the construction and fabrics are better than the true juniors. Baby Tears retails from $30-$60.00. I would like to be somewhere in the middle as the bridge between the junior line and the contemporary line.”
As a designer, Alan considers everything. He states that the best part about working for a junior company is you really get yourself trained as a designer. You learn what people are reacting to and buying, and you have to consider that in your line. He doesn’t believe in just designing, or not caring whether it sells.
“Of course not, that is such bull! It’s arrogant, too, because you do want somebody to wear your clothes. I enjoy seeing my clothes on people.”
Baby Tears will be in stores as early as April 30th. And there are already a lot of stores interested in stocking the new line.
Alan Del Rosario, the couture line, was debuted March 21, 2006, at Mercedes Benz Fashion Week; and so far the reaction has been incredible. People still remembered Alan from his previous line, Del Rosario. When they discovered his return, needless to say, they were very excited and could not wait to have him in their stores again.
In the new couture line, Alan Del Rosario, the details are more delicate, and the workmanship is as good, but very different. Alan feels that he has a better understanding now of the American market.
“I don’t want to be like a Gaultier, where just a handful of people can wear my clothes. Alan Del Rosario is not quite high fashion, but it’s more understandable, and I want women to wear my pieces more than once.”
From Alan’s first line a few years ago, a typical outfit retailed from $800.00-$900.00. But now with the new couture line, the prices range from $1500.00-$3000.00 depending on the style.
When asked what Alan thought was visually different about this new line, he said it was completely different. The choice of fabrics is different. It has been five years since his last line, and the trends are different now.
“Before, everything was an embellishment, but today everything is more subtle, more refined. The look is much younger.”
I commented that it seemed like a more sagacious, wiser, Alan. From my observation, I noticed Alan’s new couture line was very Mediterranean and more detailed with a feeling of the 1950s and 1960s influence. One very feminine black and white chiffon polka dotted, free flowing dress caught my eye, which caused me to make that comment. Alan agreed.
“You’re right, there [are] a lot of Mediterranean, Russian, and Spanish influences. And because of the Internet, the world is getting smaller—and as a result, so is fashion. The global unification of influences is very clear in fashion. Women today can wear a flamenco skirt with a Russian vest and a parka. It’s just one of those things that people are influencing in fashion all over. I think I am trying to do it with myself, too. You can do a gypsy skirt with cowboy boots and wear an ultra modern jacket. There are no rules. The media dictates so much of those influences, and things that were a no-no are O. K. to wear now. What’s great about this time is that it’s way more fun!”
In five years Alan hopefully sees himself doing the same thing, and growing to be able to help more people.
“I am so blessed, and I am a true believer that whoever you are is a true result of your past. I like harmony in my designs, and there is a thought behind it. I am really conscious about it.”
It was very heartwarming to learn that those who had worked for Alan in the past are back with him today.
“They are like family to me. The last three weeks they have been working so hard to get ready for Magic. I hired a masseuse for the whole staff to give them back massages. I see their dedication. With most workers, you cannot ask them to come in on the weekend without a lot of complaining or struggle. But my staff will suggest they come in on Saturdays if they need to. And if they ever make a mistake with sewing and something needs to be ripped apart and re-done, they rip apart their stuff at home and keep working on other things here at work. But I don’t believe that work is everything. I am always reminding them that this is just a job. Don’t neglect your personal life. I will let them tend to their families when necessary. I think that is why I have loyal employees. It’s all about the way you treat them.”
Highest High
“It always thrills me to see anybody wearing my clothes. As a person I really am very positive and I get high on a lot of things. I would not even say that winning an award is a high for me. To me it’s just something that has been recognized because I am doing what I love to do. And sometimes it’s a little bit too much. Sometimes I need to humble myself. Yes, I am grateful, but it doesn’t define me. I just ebb and flow because every day I see something really wonderful. I enjoy my work, and coming here, it’s not a struggle. Even with just two hours sleep, I continue doing what I started. I am very blessed. But if there was an Oscars for fashion, that would be a real high.”
Lowest Low
“When I lost my business, it was crippling. Not just for me, but also those who worked for me. I hate that I disappointed and let everybody down. But fortunately, as much as I disappointed them, they are still loyal and behind me. I talked to the buyers from Saks and they said, ‘Alan, don’t feel like you’re a loser. You are not a loser because most of your clothes have sold 97% in our stores. People want your clothes, and for that reason alone, you should consider yourself a winner.’ It was tough, and 911 was such a weird time. Just think about the people that lost their lives. I only lost a business. I got a lot out of it in terms of maturity. I learned a lot from that experience.”
Alan’s Advice to Young Designers:
“Be true to yourself, and if you really want to start your own business, remember that it is a business. You’ve got to have your finances on track, and just remind yourself that it’s a business because it can be taken away from you. If you don’t address that, no matter how creative you are, if you don’t have the backing and are reckless with your spending, it can be taken away from you.”
Interviewed and Written by Kaylene Peoples
Adrienne Janic – From Model to Television C0-Host
Adrienne Janic – From Model to Television Co-Host
“I played the part of a shop owner’s wife. I had on a mini-skirt, stiletto heels, and big hair, just really gaudy. It was what I thought an auto shop owner’s wife would be. The guy came to get his truck, and he thought it was getting done for free. Well, little did he know that I was going to charge him $1,500.00. So, I really got under his skin, and he was so upset with me. He called me every nasty name in the book (which was cut out of the show), and the director loved what I did and asked me to come back for another episode. That one episode led to more episodes on Overhaulin’, and the next thing I knew, the network called me and asked me to be the Co-Host.” Before joining Overhaulin’ on TLC as a Co-Host, Adrienne hosted several shows on E! Entertainment. She hosted the pilot Music Café, and worked as a spokesperson for Coca-Cola’s Fanta Soda. Adrienne was born and raised in Whittier, California. Her mother was from Mexico, and her father was from Yugoslavia. Adrienne always knew she was an entertainer, and as early as six years old, she acted and danced on stage. She continued acting and dancing all through junior and senior high school. Adrienne attended Rio Hondo Community College and even wrote for a local newspaper for a short while. At a supermarket one day, Adrienne was approached by a scout who asked her if she wanted to enter a modeling competition. At first she thought it was a scam, but the scout assured her it wasn’t and that it wouldn’t cost her anything. She thought about it and brought her dad along to the competition. Adrienne came in second place and won $200.00. “For a 17-year-old, $200.00 was a big deal. So I did more local contests around the Whittier area. I would win anywhere from first to third place, and put cash in my pocket. One day, a photographer said I should go to Los Angeles to visit the different modeling agencies, and do this professionally. It took me a while, because Whittier seemed so far away from Hollywood to me, even though it was only twenty minutes away.” Adrienne eventually gathered up the courage and went to five modeling agencies. The first one turned her down, telling her she was really pretty but too commercial. The other four wanted to sign her, but she ended up going with Ford. Adrienne had no idea that they were the largest modeling agency in the world. “When I went to their open call, my hair was down to my waist, and I came in wearing so much makeup, big hoop earrings, red lipstick, too much mascara, blue eyeliner. I thought I was supposed to look like the cover of Cosmo. They actually told me to come back the next day and take off the earrings, get rid of the red lipstick, and remove the makeup. I thought, oh wow! I can’t go there without makeup. But once I came bare-faced, they offered me a contract.” Adrienne has been with Ford Models for 10 years now. She started off doing Seventeen Magazine, Fitness Magazine, and was featured in so many more popular fashion magazines. “As I’ve grown more comfortable in my skin, the more modeling jobs I’ve booked. I’ve learned with modeling it’s not so much physically—it’s how you feel about yourself, your confidence, and your personality. And as a result, I’ve been booking a lot more. But now with the show Overhaulin’, it’s been tough, but Ford has been really supportive.” I asked Adrienne where she saw herself in five years. She would love to be doing films, and has already had some small supporting roles. “Film is a whole other game. The pace is a lot slower, which it’s hard for me to get used to because I’ve done so much television. You shoot an episode in a week, or a couple of days, and I’m done. But in a movie, you’ll shoot just one scene in a day. On television, I can shoot my whole part in a day. It’s different, but I do love the big screen. So I hope to be there one day.” Highest High Lowest Low I asked Adrienne if there was a love interest in her life, and she confessed that there was a special guy. She dated enough actors and models to know that she didn’t want to be with them. The more she got involved in those past relationships, the more they turned into a competition. One guy she dated had the nerve to ask her why she had more auditions and bookings than he did. “A lot of insecurities came out with them. I just didn’t need that. I’m secure with myself in a relationship, and I don’t want to be with someone who’s like that. But at the same time, when I dated a guy that was not in the industry, they didn’t understand the schedule, or the fact that I had to do a kissing scene when it’s just work and doesn’t mean anything. That was tough, too. So I wondered where could I find that balance with someone who understands my schedule and is behind me 100 percent? So the guy I’m seeing is in production. He’s very supportive. He has to travel and be on set for hours at a time. With him, I think I finally found the right balance.” Adrienne’s father has been her biggest fan since the day she decided she wanted to enter this crazy business that we call show business. He told her that whatever she wanted to do, whether it was basket weaving, or an oil painting in the mountains—he was behind her 100 percent. Adrienne’s mother was a little tougher. Being that she was from Mexico, she was big on education. Her mother had come to this country to better herself, and she had become a nurse. “I’ve always known that I wanted to travel the world. It’s such a big world out there, and I didn’t want to stay in Whittier in school. So right out of high school, when I got the opportunity to model and travel the world, my dad gave me a little bit of money and told me to have fun. So my dad has been my biggest fan.” And Adrienne is doing just that, and having fun right now. She is really grateful for her job at TLC. “After ten years into this business, I’m so glad I didn’t give up. There were many times I wanted to throw in the towel. But to see the famous people that stuck with it succeed, that’s what kept me going. I probably have more rejections than I have had jobs, but you grow from that. You learn to have thick skin; and when something does happen, you’re grateful for it, because nothing is forever. So I’m going to try to ride this wave for as long as I can. I am going to enjoy every minute of it!” Interviewed and Written by Kaylene Peoples |
Sheryl Lee Ralph “Sometimes I Cry”
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Sheryl Lee Ralph’s “Sometimes I Cry”: Raising Our Women’s Consciousness to This Crippling Epidemic HIV/AIDS
“I was like whoa! With women come children, and then there were families. Why is no one saying anything about this? Then there was the great debate, when our vice-president sat up there when the question was posed, ‘What do you think about the rising rate of infection in black women when it comes to HIV AIDS?’ He said, ‘Huh? I wasn’t aware of that at all.’ I said, oh my god, we’ve got to do something. So these stories have always been in my head. And I sat down one day and I just started to write them down. And I was afraid because I thought I can’t write. Well, I can write. Nah, I’m too lazy to write. No, no! You have to sit and write every day! No, I can’t do it. I’m not committed enough to write. No!!!! I was giving myself all the reasons why not, and had writer’s block before I even started. And then one day I said, ‘Get over yourself! Let’s do it.’” So Sheryl Lee Ralph sat down and started writing. She found Sherri Smith, who wrote as fast as she spoke. And before Sheryl knew it, she had nine stories. Then the Black AIDS Institute sent out a letter asking women to submit their stories, and that’s how “Sometimes I Cry” came together. December 2005, during World AIDS Day Week, Sheryl Lee Ralph performed “Sometimes I Cry” for the first time. There was a lot of support. It stunned her. She was hoping people would be receptive, but she had no idea they would be that receptive. They started to come out by the hundreds. They had a 4-day run in Santa Monica a few weeks ago, and people were there every night. “Sometimes I Cry” made money for the foundation. Sheryl could not believe it. “I thought we’d break even. We did a co-partnership with somebody. We made money for the foundation because people came to see the show. It’s just been amazing the kind of calls we’ve gotten since then. We’re going around the country to New Jersey, Arizona, New York 3 times in different areas. There’s been talk about off Broadway and Broadway. It’s exciting.” “Sometimes I Cry” is about the loves, lives, and losses of women affected by HIV/AIDS. Sheryl Lee Ralph wanted to create a piece that would shed some light on the fact nobody was really talking about this disease. “If you’re a female who is thinking about sex, or may have sex in the future, then this disease is all about you. We really have to create a movement. So for me ‘Sometimes I Cry’ is much more than a show—it’s a movement for women to really take stock of their self-esteem, their sexual well-being, their sexual rights, their reproductive rights, all of that to take stock in how they lead their sexual life.” Sheryl gives shocking information about the new rate of AIDS infection, that it is starting to equal that of men; and it is becoming increasingly obvious that the weight and the burden of HIV is going to be borne by women, which means death. “And in my mind, life is born of women, not death. Don’t get it twisted just because you’re young and you think sex is all about you. A lot of folks, once they have it, continue to have it, especially if they’re lucky. Good sex is a good thing to have. At the same rate, there are things like abstinence, and there is nothing wrong with abstinence. You abstain while you’re in your mama and your daddy’s house. Then you get out there on your own, and you get buck wild, but you don’t have the proper information, so therefore you’re not protecting yourself properly and you catch an STD. And HIV is definitely an STD. So I’m saying, let’s give all of the people the proper information so that they can make good choices for themselves. So I’ve got this show to let you know, be aware.” The show is basically different women’s stories with each one running about 15-20 minutes. In this one-woman show, she takes on these true-to-life characters herself and becomes everything from a kid to a 68-year-old grandmother who ends up getting HIV/AIDS. “I am not making this up. She’s out there, and it’s real. Miss Chanel—the successful entrepreneur who lives the life of Chanel: The Manolablonic shoes, the Chanel suit, the Chanel bag, and she never knew or thought that sex would be or could not be good for her. Why would it be bad? I’m still working on the 11-year-old twins having sex with Bubba to get ‘they hay done and they nails did’—both of them infected with AIDS, and Bubba’s 35.” Sheryl had read the book, The Purpose Driven Life, and she realized that it was her purpose—to create a movement to help young women take stock of their lives and move forward in a healthy way. She realized it is harder to have a message that means so much to her, yet she is constantly hearing people tell her to quit talking about AIDS. “Until somebody can introduce me to the test tube babies, we all get here as a result of one particular act—sex! We may talk about sex, but mostly in a salacious manner, but we need to talk about sex in a healthier human manner. And right about now, it’s not about birth; it’s about death, and it is very real.” Even though Los Angeles is home for Sheryl Lee Ralph, she has really enjoyed doing the show in other places where she found people to be so supportive and excited about it. The church doors have swung wide open, and she is very happy about that. “I don’t care what anybody says. The black church is a powerful institution, and we got to get right with the churches.” Highest High “For those who want to bring it to their city, just log on towww.sometimesicry.org. and let us know—let’s just make it happen, because it is all about you and your well-being. Because everybody’s sitting up there, waiting for you to do something. And it takes ordinary people every day to effect real change.” What’s next? Sheryl wrote a script called Red Rum and Coke. Red Rum is “murder” spelled backwards. The screenplay is about a mother in her 40s with a very successful daughter in her 20s, and the things that she thinks she knows about her daughter are not at all what she knows. The more she digs, the more she finds out. It is set in Jamaica, where Sheryl would love to do a movie some day. “People ask me all the time if I’m going to make “Sometimes I Cry” into a book, or a film, or stage performance, or perform it at schools. So I think I’m going to have to put it in all of those forms in some way or another. Oddly enough, when I was doing Dream Girls on Broadway, there was this dreadlock ‘commedianish, social commentaryish’ person who had this strange name. If you could catch her, you would run after your show to go see her. And her name was Whoopie Goldberg. And she was doing this one-woman show. And I remember seeing that show and thinking what it must be like to be up there talking about things that she was passionate about, and affecting people, and I always held on to that. One day I was doing ‘Sometimes I Cry’ and I was like, oh my god, it’s a Whoopie Goldberg moment! “I really have to thank the people I work with, like Sherri the typist, and then Scott Hamilton, who produces with me. We’re working on doing a tour, and getting it on the college campuses. We’re working with Dr. Lightfoot at USC, and we’re putting together a complete package for people who ask, ‘What do I do next?’ I’d like to be able to hand young people between the ages of 13 and 21 years old a DVD with a workbook and say ‘these are some of the things you might want to consider.’ I love being able to have that sort of synergy with someone. I’m looking forward to the 16th annual Divas Simply Singing, October 7th, in Los Angeles. People can log on towww.Divassimplysinging.com.” Interviewed and Written by Kaylene Peoples |
Lisa Michelle – Designing Clothes Beautifully Both Inside and Out
Lisa Michelle – Designing Clothes Beautifully Both Inside and Out
The Lisa Michelle Collection may have only debuted last spring, but designer Lisa Felsenthal herself is not just stepping into the fashion scene. Having designed for names like Rozae Nichols and Monique Lhuillier, this designer has a resume to envy. Establishing her own line just moves her one step closer to achieving her dreams of having her designs worn by models strutting down the runway during Fashion Week.
It’s a dream to be able to have the opportunity share my work with so many people.
Lisa goes on to explain that passing random women on the street wearing the Lisa Michelle label will be a huge milestone for her as a designer.
The Los Angeles native has always had an interest in art and fashion. However, her journey to becoming a designer was slightly unorthodox.
While attending Reed College in Portland, Oregon, Lisa studied Fine Arts and Art History. The school’s liberal arts program allowed her to explore and fine-tune her skills in multiple disciplines: photography, painting, and drawing. For her final project, she used a culmination
of all media to design a series of sculptures based on connections between fashion and architecture. It was her sculptural clothing “finale” at Reed that inspired a new beginning.
My journey in art transformed into one in fashion. I realized I wanted to make things both artistic and functional. I moved back to LA and attended Otis College of Art and Design. It was a three-year program with intense pattern making, sewing classes, and internships.
During her studies, Lisa had the opportunity to work beside both designers Michelle Mason and Jeremy Scott. It was under the wing of Jeremy Scott she began to grasp how to take sketches and make them come to life.
I wasn’t always sure how to do it at first, so I just started trying to put everything together, 
and throughout the creative process I would transform these sketches into a reality. The internship was a very positive experience.
As a student, she did not go unrecognized for her talent. She received numerous awards and honors, among them the Rosalind Gilbert award for evening wear, a Fashion Group International Award. Select designs by the budding young designer were even featured in the windows of Neiman Marcus.
The Lisa Michelle Collection offers a style that is feminine and flirty. It provides a mixture of serious architectural jackets and soft drapery in dresses. There is great attention to detail in each garment. As a clothing designer, there is always the challenge of finding ways to distinguish yourself from your peers. Perhaps, the thing that separates the Lisa Michelle Collection from other clothing lines is the use of such unique and exquisite fabrics. Traveling to the top European mills has allowed Lisa to stay on top of the latest trends and give buyers luxurious, quality pieces to add to their wardrobe. Lisa strives to come up with interesting ways of finishing garments, whether it is through contrast binding or specialty trims.
I pride myself on making everything as beautiful inside as outside.
Lisa describes the 2008 Fall Collection as having a “playful and optimistic attitude.” The line is made up of two distinct groups. A black and white group inspired by bold graphics combines different fabrics and textures. She found a fuzzy hounds-tooth to be very inspiring and used it to create a jacket that’s sure to stand out in a crowd. In contrast to the harshness of the black and white group, Lisa chose more natural earth tones, skirts and jackets made of velvets and a floral jacquard.
One of my highest points as a clothing designer was putting together the Fall 2008 Look 
Book. At the photo shoot, when the models are dressed in the clothing, it allows me to see it all come together. The collection comes to life, and all the hard work is rewarded.
Lisa does admit that so far each season’s Look Book brings a higher ??? with the new fabrics, the expansion of the collection, and new photographs.
So what has been Lisa’s lowest low since stepping into the world of fashion?
It’s hard to pinpoint just one particular moment. There are so many ups and downs, but it always goes back up.
Each day Lisa is faced with the same challenges and frustrations that many of her peers deal with as clothing designers.
Sometimes I will drape a garment and when it comes back from the sewing machine, it isn’t the way I want it and I have to rework it. Eventually some pieces have to be put aside, but some turn out better.
Lisa freely admits the beginning stages of production and getting her line into stores have been more difficult than she expected, but it is clear that her passion will allow her to prevail. Her advice to up-and-coming designers is to just start making pieces and let it evolve.
My first collection started with a dress. Then I made a jacket, next a shirt. Ilet it evolve and my mentality was that even if the collection did not work out I would have my dream wardrobe!
A sneak peak of her Spring 2009 collection reveals a much softer color palette, made up of creams, lavenders, and mossy greens in combination with bright yellows. Expect to see
floral prints, matte jersey dresses, and a Grecian theme throughout, which inspired interesting drapery in the garments.
Try to create something new every day. It doesn’t have to be perfect, just an expression of yourself is Lisa’s personal motto; and it would appear, thus far, it is leading this ambitious young designer down the right path.
To Learn more about this designer, visit her website at www.lisamichellecollections.com.
Interviewed by Shannon Haggard
Death Race’s Max Ryan – Making a Career Playing the Villain and Making It Look so Easy!
Death Race’s Max Ryan – Making a Career Playing the Villain and Making It Look So Easy!
Landing your first part in a movie your first time out is a big deal, but landing your first role in a blockbuster starring Jet Li and directed by Luc Beson is a sign. Max Ryan has proven that he is and always has been a force to be reckoned with. He plays the villain in Death Race and has had major roles in countless other movies (Blackline, Dark Moon Rising, Kiss of the Dragon, League of the Extraordinary Gentlemen,The Box, Four Years Running, Craven Marsh, Thr3e, Attila the Hun, and The Corrupt).
An Interesting Fact…
At age 12, Max received his first motor cross bike. He had saved his money and his dad helped him buy it. “I started racing school boy motor cross, won my first race at 13 years old; it was my fourth official race.” After that he got sponsored and made it to the British championships in his teen years. After that Max transitioned to super bike and started road racing. “I love bikes and cars, how fast will the bike go, how fast will the car go … Ok, let’s go!” Max loves sports and pushing it to the limits. He’s a big skier and although he’s never skied in America, he laughs that when he skies, the question is “How fast can I go down this hill without killing myself!”
I understand there was a life altering incident that occurred while you were racing. Could you please share that with me?
I was on my race bike. I had a really big accident. You know most riders break a leg and a collar bone—most riders do—you fix it and you go back. I was about 30. I said that’s it, I’ve had enough now. I enjoyed my time, but I want to do something else. I thought maybe it was too late to start something else and I fell into this business (acting). I did a lot of print work and commercials then got bored with that. I thought if I can’t be an actor, then I’m going into property, also another interest of mine. My first movie audition wasKiss of the Dragon. That was the commencement and it set the precedence of who Max Ryan was to become.
Looks like you fell right into your destiny.
It was a real challenge. Thrust into that kind of world first shooting commercials and all of a sudden I’m being [thrown] around and beaten up by Jet Li, and cracking Bridgette Fonda around, I was like ‘damn I hope no one’s watching.’ And all of a sudden I start playing these bad guy roles.
So you have a few movies in production right now that have yet to be released.
Yes. The big one is Death Race for me right now. I’ve shot 4 studio pictures and they’ve been amazing. To stay in the studio system for any actor, to be really honest, it’s difficult. So you get asked to do independent films. And I’ve got three movies now that are in post production. They’ll be coming out next year. That’s the exciting thing. I’m actually the good guy in 2 of those movies.
Well that’s positive. (They both laugh) So we actually get to see you smile.
That’s going to be interesting for me even. They’re looking really sexy. By the end of the year all three of them will be finished.
So you were lucky… You know I’m not going to say lucky because that’s not a really fair term. People work hard and people call them lucky. That’s not really fair.
Yeah it’s been hell because I was living in England trying to get an agent or a manager. It’s like getting a hole in the head. It’s difficult. You walk into [an audition] and you’re either on it or you’re not. It’s a fine line between getting it right. But for me I put it out there. I really give it a good shot. I think I’m just a competitive guy. With the racing I kind of have it in my genes, my metabolism, my body and my train of thought that I want to be really good at what I do. That takes a lot of focus. It doesn’t come easy. It’s extremely challenging.
It probably takes a lot of energy I would assume.
It takes a lot of energy—emotional energy. Trying to hold a relationship down is really difficult. Telephone relationships have been difficult. It’s cost me a couple of relationships if you know what I mean.
So have you worked around that problem yet?
Not right now. I thought I cracked it but I missed—another chapter of my life.
So you mentioned that being a competitor has helped you land roles. Is there anything that you feel as an actor that you do that gives you the edge?
I am not good at auditioning. I don’t think any actor is good at auditioning, but I think I am particularly bad. I’m nervous. I don’t like being put on the spot. I’m Piscean rising star Leo with an element of Virgo. (Laughs) Don’t ask me why I know that! The casting part of it I’m not particularly good for, but some of the roles I go for they have that element of maybe nervousness or intensity about them so it kind of plays in my favor. This is a helpful message to any aspiring actor or actress: Whenever you get scene, make sure you have everything down in your head. Whatever the other character is saying, what you’re saying. You’ve got to put it down on tape. Find a location and make a film of it. Just make it short and sweet and bring it home. That’s what I did on death race. I was in Europe shooting this TV series and I got sent the sides. We shot it and it happened really quickly. It was just one of those things that was real. I was so excited. I got the offer with the tape. I didn’t have to come to America [to audition].
Tell me about your role in Death Race
I play an inmate named Pachenko who is a killer [Other characters: Jason Slatham, Tyrese Gibson, and Joan Allen]. Set in the future of America and it’s a high security penitentiary. He is sent to kill Jason’s wife and frame him. Jason finds out that it was Pachenko who killed his family. They end up on the race track. Pachenko is a neo-Nazi with tattoos and a mohawk. When we were doing the fight scenes there wasn’t much said because the atmosphere was really intense, and it comes across on camera. There are very intense moments. Even when I saw it, it was so silent and so powerful. It was really good stuff. I’m proud of this work. Everybody including myself worked really hard on this movie.
When you’re in the trenches of such a deep role like that, almost the anti-thesis of whom you might really be, do you find yourself actually becoming that role?
That’s a difficult question. The body goes through a big change. That’s number one because of my diet, training, costumes, and then I was branded with tattoos. I don’t sport any tattoos. So it does have some effect. I’m not a killer of course. But it becomes a very intense chapter in my life. In the audition, I was picked was because I got it down. Like I said it’s a fine line between getting it right and getting it wrong.
It seems like your aim has been dead on for most of your acting career.
I’ve done some great movies. For me it’s all about decisions. I know when I’ve done wrong. I just pick it up and make adjustments where needed. I make really big notes in my mind about auditions.
So what’s next for you?
I have three movies that I am currently the choice, and I want these movies to work out. I wish I could talk about them. They will not be the characters I have played before. One in particular is a really sensitive role. He’s an American icon and it’s a very intense drama, but a real life character, not fictitious. The script is really quite disturbing. The next six months are going to be interesting.
Highest High
The first job (Kiss of the Dragon) I got because it was my first movie. I hadn’t worked for 3 to 4 months. I had gotten offers to do commercials and print. And I said no. I have to stick to my guns here. And when that phone rang, I was like yeah there is a God! That was a real high. I called my mom and Dad. Mom started crying. It was wicked. I learned a lot from that movie as well. Luc Beson gave me some great advice and I still hold on to that today.
Lowest Low
I think I lost some movies because of myself. I am very outspoken. It’s not my fault it’s just the way I am. I went into this one audition. They wanted a big monologue and I completely flubbed it. It was a nightmare. And the casting director said ‘thank you very much.’ He didn’t even look at me. With 15 people in the room, I said ‘I just want to say something in my own defens—that was probably the worst read of my life.’ There was total silence. I used to beat myself down. Think about it for a few days [wishing I had done something differently]. Now I don’t audition unless I am really on it. You’ve got to love the competition and whoever gets the job is right for that part.
On Women
Like any guy I like beautiful women, but I’ve matured a little bit. I still want a beautiful girl, but now I want to know what’s in her head, what makes her tick. I’m in the industry so I attract people in the industry. I’ve met some beautiful women. Personality is really a big thing. The next five years I am looking forward to finding a woman and start a family. It’s just going to hit and it will happen.
A lot of actors have aspirations of writing and directing. Do you have any of those types of aspirations?
I’m a writer. I’ve written 2 screenplays. One of them won the Queens Spirit Award at the Queens Film Festival in New York, which was a huge step. I have a co-writer I worked with on the script for over 5 years. I am particularly good at writing action and dialog because of my background and I’ve read a lot of scripts. As a writer I have achieved something but I don’t think I would ever write again. It consumes your life. I only wrote something because I wanted to make it in the future and I want to star in it. I haven’t directed anything. I’m an actor right now and that is where I want to focus my energies. I don’t want it to take away from what I am currently good at.
To learn more about Max Ryan, visit his website atwww.maxryan.eu.
Interviewed by Kaylene Peoples
Alice Greczyn – Working Hard for the Hollywood Dream
Alice Greczyn – Working Hard for the Hollywood Dream
Alice Greczyn lives the Hollywood dream. Unlike the young starlets who were discovered back in the 30s and 40s, most people struggle for years before they ever got that big break—and some never got that break their whole career. After filling out a card for a modeling agency at the mall with her friend on a whim, she received a call back. She modeled in and around Denver, Colorado, and then one day, a Los Angeles manager came to her agency and requested she come out for pilot season. Out of 300 rising talented aspiring actresses, Alice was one of the three invited to Los Angeles. She immediately booked a commercial and had a guest spot in a film. But don’t be fooled. This actress worked really hard for what she’s earned.
Since that first audition, Alice Greczyn has appeared in several movies including Dukes of Hazard, Shrooms, Fat Albert, and her most recent film, which was just released, Sex Drive. Greczyn’s first television show was the short-lived NBC series “Windfall,” playing the daughter of a lottery winner. She currently co-stars on “Lincoln Heights” where she plays Sage. I interviewed Alice in her brand new apartment in LA and I could see why she is one of those chosen few—she has that special indefinable something. Some have referred to it as the ‘it‘ factor. If she comes across half as authentic on screen as she does in person, then it’s no wonder why she’s come so far in such a short time.
Tell me about some of your recent roles.
I wrapped a film called Sex Drive which will be coming out I believe in October. The director was Sean Anders and he let the actors adlib a lot. I was working with a lot of good people: Clark Duke, Seth Green, James Marsden, Josh Zuckerman, and these guys are funny. And coming from Lincoln Heights where (understandably so) every word needs to be said exactly as written, it was really fun for me to go and be goofy and improv. I play an Amish girl, which was really weird because I so don’t look Amish, but whatever, if they want me for that, okay. It was a lot of fun. I filmed in Florida this summer. I was actually working during the writer’s strike so I was one of the lucky few.
The horror film I did is called Shrooms , and it’s about bad trips while on shrooms. That was my first horror film and that was just exhausting. It was fun. I thought it was a really cool idea and I had so much fun working on it. Plus I got to film in Ireland for 2 months. That was amazing and travel is definitely my favorite thing to do. If I’m not working I’m gone somewhere. That’s nice because my family travels too.
Looks like you’re really close with your family. Are they very supportive of your career?
Yes. I’m the oldest of 5 kids. My mom and my dad and our cat Gypsy. We all traveled a lot together and lived in very small quarters for a long time. So we’re very close. We were home schooled our whole lives. And since we moved around so much our whole lives, we pretty much just had each other.
That’s interesting about you being home schooled. You must have some kind of an edge to be able to book these roles. It seems like it’s happening for you rather effortlessly. Do you think that maybe your education (home school as opposed to traditional schools) is what has helped you get an advantage?
I can see both sides of the argument to home school or to not home school. I’ve had people ask me about it. “Oh I’m thinking of home schooling my daughter. What do you think?” For me it has definitely helped a lot. It’s made me very adaptable, very flexible, I was always told ever since I was a little girl, “Oh you’re so mature. You can speak with adults.” I only had adults! And then my siblings. It definitely made me very open minded.
Did you have any obstacles in pursuing acting?
The biggest obstacle was finding a place to live in Los Angeles. I always tell people get a place to live first. It took me about a year to finally decide I was going to do this. I had roommates and some of them just did not go well, and it’s very expensive to live here as we all know. Fat Albert was a job which allowed me to really cement here.
Auditioning is hard too—it’s exhausting. I don’t feel guilty now about the money I make or anybody else makes because it’s payback for years of work. It’s a fulltime job. During pilot season, I was going on 3 to 4 auditions a day, staying out all night, reading scripts, getting coaching, and driving all around. But then once you are working, it’s like a vacation. I’m focusing on one character, especially if it’s an ensemble cast that’s even better because then you have some time off, and then you can really develop more than having to fry your brain out trying to do too many things at once. Or there’s a flip side—You don’t audition enough and that’s just really discouraging.
Do you take a lot of acting classes?
I took acting classes for the first year and a half I came out and now if I’m having a hard time with a role, or I just want to sharpen up, there are a few acting coaches I see. I prefer to work more one on one as opposed to a class model.
Where do you see yourself in 5 years?
I hope to still be doing films and call a little more of my own shots. I’d love to get married sooner than later I guess. I used to have a whole 10 year plan and honestly with this job, who’s to say. I have no idea. The industry could decide it’s done with me tomorrow. In 5 years I would love to have gone to massage school and be a license massage therapist. My dream would to be able to do one or two amazing films a year, travel with my family, do massage therapy, and cook and do all the things that I like. I’ve never been the type to want to just do one thing.
Maybe you’ll do those things with different roles.
Exactly! That’s the fun thing about acting. I can play different characters. I can travel through time. I can be an army nurse one day and the next day I can be a fashion model.
Highest High
I like being able to take my family on vacation. I was able to pay for them to come out here and go to Catalina Island for a few days. When I was a kid we didn’t have a whole lot of money and our vacations were camping. We literally lived in camp grounds without a house for quite a while. And there were a lot of us. So it was a big treat if we got to eat at the Cheese Cake Factory once a year. So it’s nice when they come out, we can splurge and go to the Cheese Cake Factory every night if we want. [I’d like to] help my siblings out with college. That’s probably my greatest high, being able to share it all.
Lowest Low
Anxiety attacks. This industry is not very friendly to the emotional psyche. It’s just very easy to get stressed out and spread too thin. I have to get away in order to come back. I can’t do what some of the people out here I’ve seen do. It’s just too much. I don’t know how I could go from one job to the next to the next to the next. Pilot season was a pretty low point for me. I was just ready to give it up. There’s nothing humane about it. Everyone just sees you as what they hope you’ll fit. But so many times, you get so rundown and you wake up in the middle of the night and you can’t go back to sleep [worrying if you know all your lines, etc…]. It’s hard to maintain friendships, much less personal romantic relationships when you’re in a job where you do have to travel. I’ve lost touch with so many people and it’s very difficult to maintain a healthy sense of sustained connection and love and support when you’re just exhausted all the time.
What advice would you give to someone who’s trying to pursue an acting career?
Logistically have a place stay if you’re going to come out here, whether it’s a friend or a relative. Save up a lot of money. Secondly, do not take things personally. Have a lot of back bone and a lot of self-discipline. You can’t be sleeping away your auditions. You can’t be lazy and show up on set and make everyone else mad at you because you were out late partying. Keep being inspired and that will get you a long way I think.
Interviewed by Kaylene Peoples
Marilyn Anderson’s Never Kiss a Frog: A Girl’s Guide to Creatures from the Dating Swamp
“Someday my prince will come. What a romantic thought! And like millions of little girls, I grew up believing it. Why? Simply because I loved fairytales.”
-Marilyn Anderson, Author
Marilyn Anderson is an author, playwright, dating expert, spokeswoman, comedian, bio-chemist, and founder of Frogaholics Anonymous. Her book, Never Kiss a Frog, has made quite an impact on single women everywhere. People have named her the “dating guru.” And she has offered dating advice to Complete Woman, and Teen People Magazine.
Since writing her book, Marilyn has been interviewed on several talk shows, and she has appeared on “Extreme Makeover” as a dating expert. Her popularity from her book, Never Kiss a Frog, hit a familiar nerve with both men and women worldwide. It is now published in several languages. Marilyn boasts that Never Kiss a Frog has even been pirated. (To her chagrin, she actually prefers the pirated version). Since the book’s popularity in 2003, Anderson has been in the process of writing part two, Never Kiss a Frog Again.
What makes Marilyn an authority?
“I’ve been single forever. I’ve dated the rich and the homeless, the tall and the pygmy, the tan and the albino. I’ve met frogs on beach towels and ski lifts, in supermarkets and meat markets. I’ve met them on park benches, bench-pressing, and one who was pressing his pants. Once, my hairdresser’s gynecologist gave my number to a man on a passing gurney! Oh yeah, I’ve had blind dates and bland dates. The only date I haven’t had is a wedding date.”
While reading Marilyn’s book, I laughed so hard at her hilarious dating mishaps and ironic truths. I honestly don’t know one woman who hasn’t bought into the myth that if you kissed enough frogs, one of them might eventually become a prince. Or maybe somewhere in this world there is a prince disguised as a frog. I can recall recent conversations with my female friends, telling them not to be so critical of what Marilyn describes as frogs, and to give their poor toads a chance. But just as my mother and grandmother did, I too am guilty of passing down this perverse falsehood that maybe a frog could turn into a prince.
In Marilyn’s book, there are a plenty of examples of frogs. Anderson manages to add a comical tone, along with the unflattering comparisons, to the wart-infested reptile. She came
up with several interesting, yet disturbingly true, descriptions for each type of frog we should definitely avoid, and the list is very long.
First, there is the Long-Term-Go-Nowhere Frog. This wart-infested undesirable is afraid of commitment, yet he will continue to string you along until only you are strong enough to break it off. I have experienced that frog before—more than once in my lifetime. Marilyn gives an example of how she and her boyfriend hung out for years but never really had a commitment.
“This kind of relationship is dangerous, because you can get lulled into a false sense of security, and your best years are wasted.”
Another one of Anderson’s frogs I dated was the Really-Nice-Guy-But-Really-Bad-Kisser Frog. How many of those did I encounter when I was single? There were too many to count. The other frogs consist of Horny Toads, Mama’s Frogs, the Flattery Frog, Obsessed-With-His-Body Frog, and the list continues to grow.
When it comes to self-help dating books, I am a veteran; I’ve read the gamut:Maybe He’s Just a Jerk; Women Men Love, Women Men Leave; Men Who Can’t Love; Men are from Mars, Women are from Venus; Ten Stupid Things Women Do to Mess Up Their Lives; The Sensual Woman, etc.; yet I am by no means an expert on the subject. If I were, you would think I could have gotten it right eventually. But just like a-hard-to-rid tick, dating for me was more a knee-jerk reaction, not the satisfying, potentially pleasant experience I was promised. Instead, it was a horrible journey from which I barely survived.
Never Kiss a Frog brings everything into perspective. Marilyn Anderson’s cute little quips make light of an otherwise arduous, and in my opinion, overrated, outdated ritual. I asked Anderson how she was able to identify these frogs so easily. She stated that she dated most of them. Then again, who hasn’t dated a Dr. Jekyll and Mr. Frog, or even a Toadal Makeover? I wish this book had been handy when I was dating amphibians. I must have kissed at least a few dozen frogs myself. Damn that book The Frog Princess. This fairytale by Sondra Eklund is about a princess who meets a frog, kisses him and breaks a witch’s spell. The frog transforms into a handsome prince. They marry and live happily ever after. That one book may have single-handedly caused even the most rational women to act irrationally when it comes to dating. And Marilyn thinks the fairytale is the most likely suspect responsible for today’s dating woes.
During our interview, Anderson also pointed out that part of meeting the right guy is about making the right choices. But how does a girl recognize a frog? That has been a burning question for centuries. From Casanova to Henry the Eighth, women didn’t stand a chance back then, and we can barely survive the dating swamp now. With the abundance of dating books out there, sifting through the mire can be a complicated, time-consuming, icky job. Luckily, Marilyn’s Never Kiss a Frog simplifies the process for us. She explains in detail which frogs we must avoid.
The book’s packaging is very clever, too. The artwork was deliberate on Marilyn’s part. Resembling a pamphlet, the cartoon frog ne’er-do-wells appeal to a surprisingly wide audience, ranging from pre-pubescent girls—to fed-up divorcees—to single moms. If pre-teens memorized Anderson’s book before they turned sixteen, they might just escape the horrors the past generations endured.
Even though Marilyn Anderson’s book is an easy read (it took me less than an hour to get through it), don’t be fooled. There are pearls of wisdom jumping off her double-spaced ninety-six-page book. I advise all single women to keep this “reference guide” close at hand. You never know when you’re going to need to quickly identify a frog. Anderson even guides those women who are not sure whether or not they are actually dating a frog. She has various hilarious sections to help you remove all your doubts. She has footnotes disguised as cooking recipes. She even devised an adorable frog family album with disturbingly familiar tender frog-types. For the game board lover, Anderson’s Frogopoly is the next best thing to Monopoly when it comes to spotting the hard to detect frogs.
But in all seriousness, Marilyn does point out that just as one person’s junk might be another person’s treasure, one woman’s frog could give another woman pleasure; and don’t throw out your prince if he has only a few minor frog qualities. After all, nobody is perfect. Her light-hearted tone is a pleasant reminder not to take this whole dating thing too seriously. Keep in mind, if you notice early in your relationship that he has frog qualities, just toss him out before you get too attached.
“A frog doesn’t have to be a bad guy. He could be a good guy, but if he’s not the right guy to walk you down the aisle, he’s a frog, and you should throw him back into the pond.”
To learn more about Never Kiss a Frog, visit Marilyn Anderson’s website atwww.neverkissafrog.com.
Interview and book review by Kaylene Peoples
