Nicole Ari Parker Discusses Life, Career Choices and “HeadShop”

                                                  Image courtesy of Kim Bass

Getting and maintaining traction in the fashion industry is a circuitous journey that takes talent, perseverance, hard work, providence, and nerves of steel. Acting has similar requirements. And success and good fortune have eluded talented thespians who would have become household names if only the fickle of fingers of fate were pointed in their direction.Nicole Ari Parker is one of those fortunate actors who has been blessed by providence. Well known for her role in the Showtime series “Soul Food,” Nicole Ari Parker for the past two decades has successfully portrayed characters that run the gamut of emotion, sensitivity, humor, and pathos.

Equally known for her roles in television, as well as film, Nicole Ari Parker continues to hit her stride in the upcoming independent film “HeadShop.” Conceived and directed by Kim Bass, “HeadShop” examines issues of gentrification, class, cultural appropriation, and community.

Scheduled for release in early 2018, Nicole Ari Parker chatted with Fashion Reverie about her love of acting, her career trajectory, and her role in “HeadShop.”

                                              Image courtesy of Kim Bass

Fashion Reverie: Now you started out as a ballet dancer, why the shift to acting?Nicole Ari Parker: Well, I studied ballet mostly as a kid and I was more serious about becoming a classically trained actress. My mom had me involved in lots of things as a child, and theatre and acting kind of stood out over the other creative pursuits.

FR: Where did this love of acting come from? 

Nicole Ari Parker: I was just full of drama as a kid. I am an only child and I had a vivid imagination and read a lot of books. I would turn the stories I read in books into plays. I would also write my own plays and produce them. I just had a natural affinity for the stage; it is truly my first love.

I am from Baltimore and my parents had sacrificed so much to put me through private school that lead me to going to New York University (NYU) a year early at the age of 17. I went to NYU as an English and drama major that I thought would be more stable than majoring in theatre. I wanted to do something that would make my parents proud of me.

In my second semester I auditioned for the Tisch School of the Arts—that is a part of NYU—and I called my Dad and asked him if I could change majors. He said if I did, I had to be diligent and not give up. So, here I am!!

FR: Your range as an actress is phenomenal from “Boogie Nights” to “Subway Stories” to “Soul Food’ to “Brown” Sugar,” and “200 Cigarettes” to “Almost Christmas.” The depth and width of your roles have gone from comedy to drama, and back again. That said; what do like best comedy or dramatic roles?

Nicole Ari Parker: The older I get, the funnier I have become. Life teaches you so much. My heart is always on the stage and with more dramatic roles. There is a whole world of opportunity out there to tell more stories, and we need more people of color writing those stores (both funny and serious), so that there is more range and a diversity of voices.

                                           “Headshop” cast images courtesy of shadowandact.com

FR: You have done a lot of big studios films and well as independent films, what do you like best, independent or big studio?

Nicole Ari Parker: I like work that is more character driven whether it is from a big studio or it is independent film. I jumped at the change to work on the character I play in Kim Bass’ “HeadShop” when the role fell in my lap.

FR: Why did “HeadShop” excite you?

Nicole Ari Parker: Kim is a visionary and that is a rare opportunity in this industry to work with someone who is a visionary. When you are creative person in this industry, you have to take a lot of jobs to pay the bills that don’t challenge you as an artist. You have to take guest starring roles in television and other mediums that are not always challenging.

I have played some sort of executive on television now for over ten years. You get pigeon holed and then you get a script that is just beautiful on the page and saturated with color and nuance and all the sensibilities that excites you as a creative person. Add to that, Kim Bass, a director of color, and “HeadShop” as a film is a dream come true.

FR: Without giving too much away, could you talk about your character Dr. LaTrice Monroe?

Nicole Ari Parker: She is a therapist in San Francisco in private practice. She breaks up with her long-term boyfriend, and reconsiders the direction of her life. She drives into her old neighborhood in Oakland, and decides to open up a practice in Oakland, meeting a coterie of characters that change her life in unexpected ways.

FR: What appealed to you about this character?

Nicole Ari Parker: Kim wrote this character with a keen sense of where a lot of professional women are in their lives. They have sacrificed so much to get ahead and now they are at a crossroad. And it is right in this moment of that success that these women are looking for a deeper connection. And that crossroad is what appealed to me about the LaTrice Monroe character, because she is at that critical moment in her life.

                                                  “Headshop’ set images courtesy of Kim Bass

FR: There are some gentrification storylines in the film. How does your character relate and play that out in the film?

Nicole Ari Parker: Kim layers a whole lot of themes that are affecting communities right now in real time in this film. Things that are going on with small business owners; issues around gentrification; misconceptions of cultures, all these things are packed into this sweet film.

FR: Now you worked with Michael Jai White in ”Black Dynamite,” and Kimberly Elise in the “Loretta Claiborne Story” what was it like working with both again?

Nicole Ari Parker: This was my third time working with Kimberly Elise and it was awesome working with some of my former co-stars again. Come on, I am working with Marla Gibbs and Loretta Devine, what couldn’t be better than that?

It was a real pleasure. I also worked with Evan Ross, Deon Cole from “Blackish,” it was good times on the set. Kimberly and I laughed so hard and had so much fun.

FR: What was the shooting schedule like, and how long did it take to shoot the film?

Nicole Ari Parker: We shot the entire film in under a month with really long hours and a six-day schedule. We shot mostly in San Francisco with exterior shots done in Oakland.

FR: Fashion Reverie is an online fashion magazine, so our viewers would like to know, who are your favorite designers?

Nicole Ari Parker: I love Byron Lars and CD Greene.

FR: Which designers would you like to wear that you haven’t worn, yet?

Nicole Ari Parker: I love Monique Lhuillier, Oscar de la Renta who I’ve worn before, but I would like to keep wearing him. I also would love to wear Michelle Blanchard. I have a real eclectic taste, so I am open to a lot of designers.

                                                     Image courtesy of people.com

FR: What’s next for you? 

Nicole Ari Parker: I have a movie out on TV One with my husband Boris Kodjoe called “Dowsized” about a couple that had a baby when they were still teenagers and now they are in their early 40s, and everything is different. I just wrapped filming a thriller with Forrest Whitaker. And I am just very busy and happy with my life.

—William S. Gooch

 

Fashion Reverie Exclusive: Antonia Franceschi Comes Full Circle

Antonia_Franceschi1“Do you know where you’re going to, do you know the things that life is showing you, where are going to? Do you know? — Theme song from “Mahogany”

Antonia Franceschi may not have known exactly where life would take her, but she sure she has ended up in some pretty spectacular places. And where she is right now is just right!!

Most people, if they are old enough, know Antonia from her role as the spoiled ballerina in the movie “Fame.” But that was kind of just the beginning. After “Fame” Antonia spent 11 years in the New York City Ballet and another two decades working in Europe. And all those years on the world’s stages have given her a keen eye and life perspective that is more precious than gold.

Still, life didn’t turn out exactly the way Antonia envisioned. (It rarely does for most of us.) Antonia was the ‘It’ baby ballerina of the early 80s with name recognition and a promising career at the New York City Ballet. That potential went unrealized and for those who never saw the movie “Fame,” or New York City Ballet in the 1980s and 90s, Franceschi’s name does not resonate.

But, life is more than some familiar nods. And Antonia has turned what could have been just 15 minutes of fame into a lifetime of nuanced experiences and creative satisfaction. How many people can name George Balanchine, Natalia Markarova, Jerome Robbins, Alan Parker, and Karole Armitage as personal influences? Not many.

Fashion Reverie was given the extraordinary opportunity to reminisce, revel, and luxuriate in the meandering, sometimes slippery slope, of Antonia Franceschi’s life. And we are all the better for it. We expect our readers will be, too!!

Fashion Reverie: How did you get started in ballet?

Antonia Franceschi: I was born in Ohio and then we moved to Detroit, later to New Rochelle and finally Manhattan. My mom is a painter and she loved ballet and used to take evening classes when we lived in Detroit. I would accompany her and sit on the floor while she took class. I started to imitate her and my mom thought I had some talent and enrolled me in ballet school. 

FR: How did you become one of the dancers in the movie “Grease”?

Antonia Franceschi: “Grease” happened in a very interesting way. I was a student at the High School of the Performing Arts in New York City (PA) when the school was located on 46th Street. I auditioned for both the drama and dance departments because I wanted to be a great dramatic ballerina. I was accepted into both departments, but I opted for the drama department and took ballet classes after school.  I studied the Cecchetti technique with Margaret Craske. Cecchetti technique is one of the hardest techniques because you work without mirrors; you have to feel everything. The core of the training is so good that it keeps you from getting lots of injuries.

One of my very good friends Jerry Regan at PA told me about the “Grease” open call. Now mind you, I had never heard of the musical “Grease,” although it had been a successful production on Broadway. Patricia Birch was the choreographer and she gave a dance phrase and you had to replicate it very quickly. I did my phrase and they kept me and told me to come back the next day for the second part of the audition.

The next day at the audition Pat Birch told anyone under eighteen to leave. (I was sixteen at the time.) I stayed because I figured I would never get the job. A month later I was contacted that I was cast in “Grease.”

The only way I was able to take the job—all the filming was in LA—was that the film was shot during the summer. That way I didn’t get in trouble at PA. But I got kicked out of PA anyway because filming went into early fall and PA found out. It is really hysterical when you think about it because the following year I am cast in the movie “Fame,” which is about my alma mater, PA.

The good thing about “Grease” is that I earned enough money to go to Professional Children’s School (PCS), which was necessary for me because I was now studying at the School of American Ballet (SAB), being that I was expelled from PA.  At the time no one knew that “Grease” would turn out to be the box office hit that it turned out to be.

Antonia Franceschi in "Grease" and Franceschi with "Fame" cast

Antonia Franceschi in “Grease” and Franceschi with “Fame” cast

FR: Now, lets talk about the movie “Fame”, we all know that you played the character Hilary van Doren. How did that all come about?

Antonia Franceschi: Because of the filming of “Grease,” I felt I had lost some valuable ballet training. So, I auditioned for SAB and got a scholarship while attending PCS. I lot of the students from PCS and SAB were talking about auditioning for the movie “Fame.” I didn’t want to lose more time in my dance training, so initially I was not interested. And at the time the ballet world frowned upon doing anything outside of the dance world.

The producers of “Fame” were having a hard time finding ballet dancers of the appropriate age to be in the ballet classroom scenes. So, a bunch of students from SAB went in and auditioned. Also, one of the casting agents from “Fame” contacted me and asked me to audition.

I went to the casting and they had me read Hilary van Doren’s abortion clinic scene. They liked my read and immediately had me read for the director Alan Parker. And just like that I got the part. I really liked the script and Alan Parker, so I thought it would be great to be in the movie.

The only thing that had me kind of freaked out was that George Balanchine would sometimes observe the morning advance class and choose dancers. I was worried that the day he scouted dancers for New York City Ballet (NYCB), I would be filming “Fame.” The day that Balanchine did come in, my filming schedule was in the afternoon. I was in Stanley Williams’ class that morning and Stanley organized the class to show off my best qualities. After filming “Fame” sequences that afternoon, a friend of mine, Cynthia Lochard—who was also in “Fame”—called me and screamed in the phone, “We’re in. We both got into City Ballet.” So, it worked out perfectly, I got to be in “Fame” and I was signed to the NYCB. Coincidentally, I didn’t go to the premiere of “Fame” in NYC because my graduation performance from SAB was the same night. But, I did go to the “Fame” after party at Studio 54 with my boyfriend in a limousine.

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Images of Antonia Franceschi in “Fame”

FR: By the time “Fame” was released you were already in the New York City Ballet. Did you know that you wanted to be a ballet dancer as opposed to an actress while you were filming “Fame”?

Antonia Franceschi: Honestly, I only wanted to be a ballet dancer and work with a genius like George Balanchine. With “Fame,” the director Alan Parker is also a genius. So, early in my career, creative masters surrounded me, and that desire to collaborate with the best has stuck with me.

Also, Hollywood turned me off when I was in “Grease.” I was sixteen and very insecure. I had acne, I didn’t have large breasts, and I didn’t think I had anything special. After “Grease,” John Travolta’s manager wanted to manage me. But, I knew at that young age I couldn’t emotionally manage being in Hollywood. I didn’t have a strong support system, my parents had separated, honestly, and I really just wanted to dance. So, I opted out of becoming an actress.

When the “Fame” television series was being developed, I was asked to be a part of the cast. But, by that time I was already in the NYCB. I didn’t realize at the time that Mr. Balanchine would be dead in three years.

Even after I got into the NYCB, Hollywood would always call. I got offered a three-picture deal after “Fame.” But, I had blinders on; you have to if you are going to have a career in ballet. When I left the NYCB, I did other things. I moved to London, I acted in plays and did some film. I even wrote a play that I choreographed and starred in.

FR: You were one of the last dancers that Balanchine personally chose for NYCB. What was it was like working with Balanchine?

Antonia Franceschi: Even though Balanchine didn’t live a long time after he chose me for the NYCB, I was so fortunate to work with him closely. When Nureyev and Patricia McBride performed Balanchine’s “Le Bourgeoisie Gentilhomme,” I was one of the six SAB students chosen to perform the work. I also was in some of Balanchine’s last ballets—“Ballade” and “Noah’s Ark.” He would talk to me a lot in class and in rehearsal. He was nicest man, but his classes were not kind to your body, everything was extreme.

NYCB, at that time, was an amazing ballet company because Balanchine chose every dancer for their unique gifts. That was my environment and everything was sugar for me. Just to be in his presence and learn from this great genius has made an indelible mark on me as an artist.

FR: How were you received at NYCB because of your early fame?

Antonia Franceschi: By the time “Fame” came out I was already in the corps de ballet of NYCB after having danced with “Markarova and Company.” While I was dancing with Markarova, she got injured and I had to dance one of her roles. Clive Barnes, the dance critic for the New York Times, predicted I would be a great star.

So things at NYCB for me were a little odd in the beginning because I was already famous. Ballet companies tend to make dancers stars because of their association with certain choreographers and/or for dancing major roles. I was already well known before joining NYCB because of “Fame” and “Makarova and Company.” There were some people at NYCB that were threatened and were not as nice as they could have been. It took a while for me to prove to certain folks at NYCB that I was serious. There was some jealousy because early on choreographers would make roles on me, which is highly unusual for a new dancer. It was a tricky time.

Antonia_Franceschi

Images of Antonia Franceschi in the New York City Ballet

FR: Do you realize that to people who were not ballet fans you were more well known because of “Fame” than most ballet dancers with the exception of Nureyev, Baryshnikov and maybe Margot Fonteyn? How did you deal with that recognition early on in your career?

Antonia Franceschi: Because of the Internet and social media it is now a good thing to be famous. However, thirty years ago in the dance world you had to be humble and self-effacing. I would take the subway and people would recognize me and I would pretend I was someone else. The best compliment I ever got was this girl came up to me on the subway and said, “I hated your ass in the movie.” That comment confirmed I did my job well.

The whole world has changed since “Fame” and being in NYCB from 1980 to 1992. You can live your life in a bubble in a ballet company. I was working from 7:30 in the morning to 11pm at night, six days a week. The only people you meet are mostly those involved with the ballet world. You give everything to that world. If you had any energy left over, you’re made to feel you were not giving enough. Mr. Balanchine used to say, “What are you saving it for.”

FR: How long were you in the New York City Ballet, and what was your experience there like?

Antonia Franceschi: For most of the 11 years I was in the NYCB, I would say it was great, but very hard. One of the hardest things is that I didn’t have the success at NYCB that I wanted or that was predicted. The good thing about NYCB is that you perform a lot and dance a wide range of roles, even soloist and principal roles, while still in the corps de ballet.

I had the great disadvantage of being a transition dancer. Balanchine chose me for the company and then he passed away in 1983 and Peter Martins became the creative director. You hope things will stay the same, but they weren’t. By the time I realized how different things were I was 27 years old and too old to go to another company; which is not the case now, but back then you stayed where you were.

When Peter Martins took over NYCB, he had to learn how to run this huge institution. That said; I was never a hater; I felt I had to work harder and continue to prove myself. So I continued to work really hard, but nothing was happening. At 27, I got married and decided to get really thin, because Peter Martins liked really thin ballerinas. Immediately, I started getting soloist roles. I stayed really thin for three years but couldn’t maintain it. It was too hard counting every little calorie all day. I was worn down mentally trying to maintain my weight.

I would always get asked to do things outside of NYCB, but I would always turn things down. However, in 1992 I was offered one of the leads in a production of “Brigadoon” and some other things and I decided why not leave NYCB on a high note while I was getting all these major roles. So, I left with my dignity at the age of 30.

FR: You were in the NYCB corps de ballet for 11 years. What lead roles did dance and what roles were created on you?

Antonia Franceschi: Jerome Robbins made “Piano Pieces” for me and Jean-Pierre Bonnefous made a beautiful pas de deux for Ib Anderson and me. I did leads in Balanchine’s “Four Temperaments,” “Episodes,” a demi-soloist in “Diamonds,” Tenderness fairy in “Sleeping Beauty,” and one of the leads in Lar Lubovitch’s “Rhapsody in Blue.” When I moved to Europe I danced as a guest artist in the works of Mark Baldwin, Wayne McGregor, Michael Clarke, Arlene Phillips, and Karole Armitage for ten years and then started producing and choreographing my own work. I had a second life in Europe in my thirties that has taken me to where I am now. If I had become a principal dancer with NYCB, I never would have explored more acting opportunities and dancing with these great European chorographers, as well as realizing my gifts as a choreographer and producer, and teaching at the Royal Ballet and Rambert Dance Company.

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Antonia Franceschi’s dance company AFD Just Dance and Antonia Franceschi in rehearsal

FR: How would you describe your choreographic style?

Antonia Franceschi: When you start choreographing, your work looks like everything you have ever danced. You don’t have your own voice yet. The starting point for me, like Balanchine, is the music. My style is an amalgam of all the things I have learned from Cecchetti to Balanchine and the contemporary choreographers I worked with in Europe.

You don’t really learn to choreograph when a choreographer puts a work on you, you learn watching them work and teaching. I have worked with Richard Alston for over 15 years and I learned from him how to get people on and off stage and link movement.

FR: You continue to perform, why?

Antonia Franceschi: I continue to perform because I stayed healthy. I am so healthy because I was trained by Margaret Craske in the Cecchetti technique which when done properly keeps you from getting so many injuries. If I am asked, I will dance things that I can still dance well. I have no injuries, I have no pain and my body feels good.

I recently danced some excerpts from Balanchine’s “Serenade” and “Symphony in Three Movements” for a group piece called “Museum de Dance” at the Sofia Museum in Spain. Mark Baldwin recently made a solo for me. Still, I only perform if I think it is the right thing to do.

Downloads361FR: How has the dance world that you were such an integral part of changed? Have the dancers changed?

Antonia Franceschi: I am at a disadvantage answering that questions because I just moved back to NYC after living in London for 22 years. One of things I noticed was that there is just a quick turnover at NYCB. Balanchine rarely fired dancers. You could stay there until you didn’t want to perform any more. That is not the case now.

Also, when I was dancing I was very much on the down low about going to classes at Fordham University on my day off. Now, everyone talks about what they are going to do after they stop dancing. Dancers are now more realistic about their careers. However, the flip side of that is that maybe dance is less precious and there is less of a commitment because there are more options. And some of the magic is gone. So, there is a trade off.

FR: In your ballet for New York Theatre Ballet “She Holds Out Her Hand” one of the lead dancers was a dancer of color. That said; how do you feel about diversity in ballet?

Antonia Franceschi: When I was in “Fame” I had scene where I had to kiss Gene Anthony Ray. Now, that was back in 1979 and I was advised not to do it because it could ruin my career. I did what I wanted to do, kiss Gene Anthony Ray, because I wasn’t going to be an actress.

Now, that incident was over 30 years ago. However, I was producing a ballet program in London some years back and I brought some dancers over from the NYCB—Wendy Whelan, Peter Boal, and Albert Evans. There was beautiful poster featuring Albert Evans with the caption “New York Ballet Stars.”  Albert Evans is African American and a big star with the NYCB at that time. One of sponsors didn’t want me to use the poster because a black person didn’t represent ballet to her.  I went with the poster and we sold out. So, there!!

Still, even in Europe there is this embedded racism in ballet. They don’t want to see a brown or black girl in the corps de ballet of “Swan Lake” because in their minds all the swans should look the same. That is still a factor on the other side of the Big Pond.

To use Amanda Smith as the lead in my ballet was a no-brainer. She is deep, musical, and has a beautiful quality. Perhaps, I got that from Mr. Balanchine, he liked people who could dance.

Image courtesy of NYTB.

Antonia Franceshi’s “She Holds Out Her Hand” image courtesy of NYTB. All other images courtesy of Antonia Franceschi

FR: What is life like for you now back in the States, and what’s next for you?

Antonia Franceschi: Well, my son is 13 and I moved back because I wanted him to experience NYC and more cultural diversity. I have been substitute teaching at Barnard College and Julliard, I have two ballet commissions and I have work back in London for the summer.

I started a company called AFD Just Dance in London and we were invited to perform at the Opera House in Malta. I handpicked dancers from the Royal Ballet, Rambert, and Random DV8. We sold out, so I decided to keep the company going. We performed at the Royal Winchester and also sold out.  So, voila, I had a company. I am planning to do the same thing in NYC, mix British dancers with American dancers, performing to live music. And there were other things in the works.

—William S. Gooch

 

Antonia Franceschi’s choreography will be a part of Barnard College/Columbia Dances at Miller on April 21 & April 22.

Fashion Reverie Exclusive: Laura Michelle Conjures up “Chuck Norris” and the “Rockstars of Fashion”

Laura_Michelle_Chuck_Norris_05The synergy of fashion and music has become such a constant presence in music videos that the hard work, the style options and the delicate balance that’s necessary to create that seamless flow is not obvious to most viewers. Still, when it all comes to gather—which is a miracle in itself—the videos can create an indelible impression in consumers’ memory.

Who can forget Madonna in Jean-Paul Gaultier’s cone-breasted bustier in “Vogue,”  Michael Jackson’s leather jackets in “Beat It,” Toni Basil in cheerleader gear in “Mickie” or Janelle Monae’s androgynous style in most of her videos. Being styled in certain fashion can bring more audience engagement to fashion designers and/or help launch the career of style. (June Ambrose holler!!)

This cross-pollination of music and style has created some iconic music videos. And the evolution of fashion and music continues with Laura Michelle’s new video “Chuck Norris.” And though the Chuck Norris reference doesn’t necessarily conjure up images of high fashion, stylist Jill Christiansen has injected some Alexander Wang, Alexander McQueen, Gucci and some Louboutin’s into this off-beat video.

After the release of “Chuck Norris,” Laura Michelle spoke with Fashion Reverie about her personal style and how Chuck Norris served as a reference point for this wacky, but stylishly chic video.

Fashion Reverie: How would you describe your musical style?

Laura Michele: That is always such a hard question because my taste in music is very eclectic. However, my musical style can be described as pop rock. The “Chuck Norris” video is more pop, but the rest of the CD. “Novel With No End,” is more pop rock.  There are a lot of influences in my music. One time on the way to the studio to record I was listening to country music and when I got to the studio my sound came out sounding very country western. So, the technician at the studio said ” No more country before you come into record.”

FR: Your have an eclectic musical style, as well as an eclectic fashion sense. Where does this all come from?

Laura Michele: I have always been really silly and quirky, although I was shy as a child. My Dad was always sick when I was kid so I would use humor to try to cheer him up. So, that is where my quirky side comes from. Plus, my whole family loves to laugh and likes to make jokes.  We are a silly family and that quirky silliness comes out in my music and my fashion style.

12_TopOfTheWorldFINAL2FR: I read in your bio that one of your early musical influences was Donny Osmond in “Joseph and the Amazing Technicolor Dreamcoat.”

Laura Michele: My mom would buy me these CDs and she brought me “Joseph and the Amazing Technicolor Dreamcoat” with Donny Osmond. I must have worn that CD out, playing it over and over again. Once when my family was in Hawaii on spring break we found out that Donny Osmond was performing in the show in Maui. My Dad couldn’t get us tickets and later I found out that that particular performance was the last time Donny sang in “Joseph and the Amazing Technicolor Dreamcoat.” I also love the song he does in the Disney movie “Mulan.”

FR: Who are some of your other musical influences?

Laura Michele: When I was really little I loved all the music from the Disney musicals. As I grew older, I was enchanted with Celine Dion. I couldn’t have a good day at school unless I started my day listening to Celine Dion. Then, I transitioned to N’Sync and Britney Spears. Now, my tastes are all over the place. I find inspiration from so many artists; there are so many good musical artists on the scene right now.

Image courtesy of Venone PR

Image courtesy of Venone PR

FR: Could you talk a little about your musical training?

Laura Michele: I started voice lessons in the third grade. I started with a guy with named Jim Beckford. I started recording in my senior year in high school. And Beckford taught me a lot about studio singing. I later studied with David Corey in LA and he was been vocal coach ever since.

FR: Why did you choose Chuck Norris as a cultural reference point for this video?

Laura Michele: As I mentioned earlier my Dad was sick for most of life and in the last four years of his life we watched a lot of  “Walker, Texas Ranger” that starred Chuck Norris. And I found out that Chuck Norris also gives a lot to charities and his own foundation. And who is more badass than Chuck Norris?

FR: So in a way in this video an homage to your Dad.

Laura Michele: To some extent, this video does give honor to my Dad. I kept thinking when we were shooting this video about how much my Dad would have gotten a kick out of this video. In the video I am wearing a diamond heart pendant necklace my Dad gave me. There is also a framed photo my Dad and me in several scenes of the video.

Images courtesy of Venone PR

Stills from “Chuck Morris” video. Images courtesy of Venone PR

FR: What are some of your styling choices in this video?

Laura Michele: My taste is very eclectic. There some very 50s silhouettes mixed with rock n’ roll.  That is what I am very drawn to. I am also very drawn to comfort that is one of the reason I love Alexander Wang and he clothes are used quite a bit in this video. In the waiting room scene I am wearing Alexander Wang. Jill Christiansen, my stylist, really understands my style aesthetic and is always directing me to get great garments for my own personal wardrobe.

FR: How did your relationship with Jill Christiansen develop?

Laura Michele: I met her through Matt Beard who is the photographer for my current CD. I have known her for ten years and we hit it off immediately. She is so hard working, really understands my aesthetic and so easy to work with.  Most of all she never tries to dress me in clothes that I am not comfortable in. And consumers can see when you are not comfortable in certain stage costumes or clothes in photo shoots.

FR: You are somewhat of a curvy girl, does being curvy dictate how you choose fashion and which designers you are attracted to?

Laura Michele: I gravitate toward what I like and in reality I really only a size 6. Sometimes because of the curves, consumers think I am larger, but I am really only a size 6.  My style is geared toward more what catches my eye.

Images courtesy of Venone PR

Images courtesy of Venone PR

FR: What’s next for you?

Laura Michele:  I filmed a Comcast on Demand special and that should be airing soon. My new CD comes out August 7. I will be touring and doing shows in the fall and I am already working and writing music for my next CD.

For more information on Laura Michelle, go to www.lauramichelle.com. And to check out Laura Michelle’s “Chuck Norris video, go to www.youtube.com/watch?v=5UFllztXKU4

—William S. Gooch

 

 

 

 

 

Fashion Reverie Exclusive: “Devious Maids’” Sol Rodriguez Transitions to American Television and the Big Screen

Image courtesy of the Anderson Group

Image courtesy of the Anderson Group

Latina women are becoming a regular presence on television and the big screen. From the groundbreaking performances of Sonia Braga in the late 80s to Academy Award–winning and nominated performances of Penelope Cruz and Salma Hayek, Latina women are making an indelible imprint in Hollywood.

Nowadays, Latina women don’t have to just play the stereotypical exotic, docile beauties or the fiery sex kittens that Rita Moreno and Rita Hayworth played half a century ago. The roles are becoming more diverse and multi-layered, particularly for Latina actresses in their 20s and 30s. And the good news, an accent is not necessarily an impediment.

Image courtesy of lifetime.com

“Devious Maids” season four image courtesy of lifetime.com

Sol Rodriguez is primed to be one of those Latina breakout actresses. With her new role on the fourth season of “Devious Maids,” this Argentinean beauty will get the chance to show the width and breath of her acting chops.

Fashion Reverie was given the opportunity to chat with Sol (short for Soledad) Rodriguez on the eve of the premiere of the new season of “Devious Maids.”

Fashion Reverie: You are from Argentina; did you aspire as a child to become an actress?

Sol Rodriguez:  I never wanted to be an actor as a child; I just kind of stumbled on it. I moved to Miami when I was a teenager and I signed with a talent agency in Miami to do commercials for extra money. The agency sent me to an acting audition although it was not my intention to become an actress. At any rate, I learned my lines and I got the job that turned out to be on Nickelodeon’s teen show “Grachi.” And I have been in the acting field ever since.

FR: So, in some sense acting was by accident.

Sol Rodriguez:  Exactly. When I got the job on “Grachi” I had never taken one acting lesson. I was studying travel and tourism in college and when I landed the lead role on “Grachi,” I had no time for my studies, so I had to make a choice, and I chose acting.

FR: From “Grachi” you started acting in Spanish telenovelas.  Could you talk about that?

Sol Rodriguez:  From “Grachi” I moved to acting in Spanish telenovelas; three to be exact. And about a year and a half ago I made the big move to Los Angeles to expand my choices of roles.

Moving to Los Angeles was scary. It was like starting all over again because I was working on Spanish telenovelas nonstop in Miami. I had a very secure acting life working on Spanish telenovelas, also my family lived in Miami.

It was a hard decision, but I knew I wanted to work in the American market. I knew the writing and directing in Hollywood was better than what I was getting in Spanish telenovelas. The work on those kinds of soap operas was no longer fulfilling. I am not the typical Spanish telenovela female leading glamorous character with big hair and lots of curves, so the roles were limited to me always playing ingénue supporting roles.

I just wanted more diversity in roles and more opportunity. I grateful for the opportunity Spanish telenovelas gave me, but it was time to move on. I knew I could reinvent myself in Hollywood and go after roles that were grittier and more multidimensional.

Sol Rodriguez as "Daniela Mercado" in "Devious Maids," image courtesy of Lifetime

Sol Rodriguez as “Daniela Mercado” in “Devious Maids,” image courtesy of Lifetime

FR: Let’s talk about your character, Daniela Mercado on “Devious Maids”?

Sol Rodriguez:  She is a new character this season on “Devious Maids.” I play Carmen’s (Rosalyn Sanchez) cousin who has come to Los Angeles from Puerto Rico to pursue an entertainment career. I crash in on Carmen’s life and unintentionally make her life miserable. Daniela is young and very impressionable, and creates a lot of drama. Daniela also finds out that Carmen is not really her cousin, but her mother.

FR: We know that you love clothes because you’ve been voted 10 Best Dressed for the 2013 Latin Billboard Music Awards. That said; who are some of your favorite designers and how would you describe style?

Sol Rodriguez:  I really like Calvin Klein for the simplicity of the brand’s design. The clothes are very easy to wear due to the minimalist aesthetic employed throughout the collections. Also, I don’t like clothes that fit too tightly and you can be comfortable and chic and Calvin Klein allows me to be that.

My personal style is very eclectic. I lived in Guatemala for a few years and fell in love with the indigenous culture, so you will see tribal prints and indigenous designs pop up in some of the things I wear. I like to mix Central American design motifs with vintage clothes from the 90s.

I really like to be comfortable, so you will not see me in high heels unless I am attending a red-carpet event.  I like to wear crop tops with loose-fitting jeans, and tennis shoes. I like to mix in a lot of different style from all over the world that expresses my mood and how I feel.

Image courtesy of the Anderson Group

Image courtesy of the Anderson Group

FR: How would you describe fashion in Argentina?

Sol Rodriguez: Fashion in Argentina is all over the place. I left Argentina when I was eight and I went back to visit when I was sixteen and a couple of years ago, so my opinions are based on visiting, not living there. However, when I visited my homeland, I saw women wearing platform shoes with boyfriend jeans and crazy floppy hats.

Women in Argentina don’t wear a lot of makeup; they prefer the natural look. I never wore makeup until my early 20s, and even now I don’t like to wear a lot of makeup. I guess I get that from my Argentinian roots.

Some of the fashion is very European with very loose-fitting clothes, not showing off your curves. Just dressing to be comfortable with a sense of individual style.

FR: In popular conversation, there is a lot of conversation of there are not being enough roles for Latina women in Hollywood. But we see that changing with “Devious Maids,” and Sophia Vergara in “Modern Family.” What has been your experience?

Sol Rodriguez:  I am very excited to be living in the era where there are more opportunities for Latina women. This progression is very new and I am a part of it!! A couple years ago it was very difficult for someone who looked different and spoke English with an accent. But, that is changing, for me to have such a big role on “Devious Maids,” is incredible, I feel so lucky.

I look Latin, Sophia Vergara, Rosalyn Sanchez and Eva Longoria, we all look Latin, not a European version of a Latina woman. I hope girls we look like me, and have an accent will see that it is possible to look Latina, have an accent and be successful in Hollywood.

Image courtesy of the Anderson Group

Image courtesy of the Anderson Group

FR: You love to give back to your community with such non-profits as the International Women’s House and PETA Latino, could talk about that?

Sol Rodriguez:  Actors have a lot of free time between acting and other projects. I have been so lucky to have the kind of life I have, so why not give back to people that are less fortunate. And because I am in a career where I have downtime between projects why not volunteer to charities and give back. I volunteer at shelters in Miami, Atlanta, and Los Angeles.

I have volunteered to help at a pet shelter here in LA. In Atlanta, I volunteered for refugee kids in a shelter. I would help them with homework and social activities. In Miami, I would always rally and protest outside of big circuses against their cruelty to animals.

FR: What’s next for you?

Sol Rodriguez:  I have two English-speaking movies in post-production. I am in “Going Under” with Bruce Willis and the other is “You Are Going to Miss Me.” And I am waiting for the premiere for the fourth season of “Devious Maids” which airs on June 6.

“Devious Maids” season four premieres on the Lifetime Channel on June 6, 9PM, EST.

—William S. Gooch

Fashion Reverie Exclusive Interview: Zane Pihlstrom

Company_XIV.jpg_02If anyone has ever attended any production by Company XIV, you are immediately dumbstruck by the seamless melding of dance, music, costumes, and set design. Though artistic director Austin McCormick is solely responsible for brilliant choreography that incorporates movement elements from Baroque dance, classical ballet, modern dance, and burlesque, Zane Pihlstrom is the guiding force behind the set design and costumes that helps brings Austin McCormick’s concepts to life on stage.

And he has a tough job. McCormick’s choreography though grounded in the Baroque dance necessities of grande rond de jambe parterre, petit allegro, and quick petit batterie is also injected with hard Graham falls and recoveries, angular grande battement, and sizzle and pop Burlesque disrobing. Zane Pihlstrom has to design and maintain costumes that stand up to this activity. An arduous tasks indeed, but Philstrom is more than up for the challenge.

While Company XIV was in season with their controversial and titillating “Nutcracker Rouge,” Zane Pihlstrom spoke with Fashion Reverie about his love of dance, costume design and the melding of beauty with the absurd.

Fashion Reverie: How did you first become involved in fashion and set design?

Zane Pihlstrom: When I was a little kid I would stage productions with my dolls and toys. I would make up lives for imaginary people. When I was nine or ten I converted my family’s barn into a little baroque theater or what I thought a baroque theater looked like at that age. My friends and I would make plays and design costumes. I just of kind of always knew what I wanted to do as an adult.

FR: Do you any formal training in set and costume design?

Zane Pihlstrom: I attended McGill University in Toronto where I studied set design ,and for graduate school I attended the Yale School of Drama.

FR: Who are your favorite costume/fashion designers?

Zane Pihlstrom: I love Vivienne Westwood and Alexander McQueen. Everything that they do looks like you could pluck it off the runway and put it into a Greek tragedy. I am also inspired by the photography of Ken Blocker. With one image, he can capture and detail an entire story.

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FR: How would you describe your design aesthetic?

Zane Pihlstrom: My design aesthetic is different depending of the production. When it comes to Company XIV, I draw on vintage burlesque. The aesthetic of Company XIV really comes from the artistic and creative director Austin McCormick, and I just kind of build from his perspective and point of view. There is a lot of burlesque and Austin’s choreography is influenced by French baroque court dance, as well as classical ballet, modern dance, and jazz. So, I always look at the shape and silhouettes of French baroque dance and that era and incorporate it into the costumes.

FR: How did you first become affiliated with Company XIV?

Zane Pihlstrom: About seven or eight years ago when Company XIV was still located in Brooklyn, Austin McCormick asked me if I would work with him. I was suggested to Austin through a mutual friend. He asked me if I would work on Company XIV’s production of “The Judgment of Paris.” We worked really well together and Company XIV is my favorite company to work with.

FR: You have seen Company XIV’s design aesthetic evolve from “The Judgment of Paris” to “Le Serpent Rouge” to “Nutcracker Rouge.”  How has your design aesthetic evolved with the company?

Zane Pihlstrom: I work with the company so frequently so that even I work with other companies I am drawn to the same principles found at Company XIV. We started off imitating what we thought European costume and set designers were doing.

We were looking for more experimental ways of telling stories that was seen in our earlier work. Now, we pretty much know the tools that we need to tell a story, and we are probably a little less experimental now.

FR: There seems to be this seamless melding of music, sets, costume and design in Company XIV’s productions. How do you achieve this?

Zane Pihlstrom: I work very closely with Austin and he is also very flexible. If there’s something within the design that isn’t working, Austin will often find a way to adjust things.  It seems that he can accommodate any design idea.

FR: What was the design concept behind “Nutcracker Rouge”?

Zane Pihlstrom: We wanted a “Nutcracker” that was fresh and current so we used a light of neon and special effects. We also wanted a dance hall vibe from the turn of the century. So, in this production of the “Nutcracker” you get a marriage of those two disparate points of view.

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FR: This revamped production of “Nutcracker Rouge” has evolved. Why did you make some changes?

Zane Pihlstrom: There were some practical reasons. We are now in a smaller, more permanent space. And with this new permanent space, we have the opportunity to evolve several of our older productions.

FR: How many productions have you worked on with Company XIV and which one is your favorite?

Zane Pihlstrom:  I have worked with Company XIV for over eight years and I worked on about 15 productions from children’s shows to productions with adult themes to operatic productions. Our early productions were in a warehouse in Brooklyn right off the Gowanus Canal. So, from those early productions we have figured out what works.

My favorite shows are the ones that combine beauty and decadence. That said; “Le Serpent Rouge” was my favorite production because there is a wonderful synergy of decadence and beauty.

All images courtesy of David Gibbs PR

All images courtesy of Company XVI

FR: What is the challenge of making costumes for a dance company that incorporates such a variety of movement forms?

Zane Pihlstrom: This is perhaps the most challenging kind of work I will ever do. The combination of graceful movement combined with forceful, frenzied movement is difficult because we use a lot of period costumes that in its construction and form  be quite fragile. But, the beauty in this assemblage of different movement forms is that juxtaposition of grace married with violent, chaotic movement and having costumes that support that.

It is tricky to keep the clothing in its period shape and then add in the element of Burlesque where you are seductively taking clothes off. Over the years, we have learned all the tricks of Velcro and fake zippers it!!

FR: What’s next for you?

Zane Pihlstrom: I am worked next with Yana Ross on a Russian political play that will have 100 live dogs on stage. Imagine that!!

—William S. Gooch

Fashion Reverie Exclusive: Misty Copeland, an Unlikely Ballerina

Images courtesy of Vogue Italia

Images courtesy of Vogue Italia

Soloists in the ballet world are usually fairly anonymous beings, except to those who religiously follow the classical ballet world. They are, as one dancer once put it, the bridesmaids of ballet—in a state of constant waiting—to get a precious lead role, to move up, to be the one.

But Misty Copeland is anything but the usual soloist.

Yes, technically Copeland is a soloist with the prestigious American Ballet Theatre (ABT), a rank she’s had since 2007. And yes, within ABT—the country’s second largest ballet company— she is certainly playing the waiting game when it comes to getting plum roles.

But in every other way, Copeland is unique, achieving a level of renown and celebrity that even many principal dancers never achieve.

Images courtesy of Vogue Italia and ABT.com, respectively

Images courtesy of Vogue Italia and ABT.com, respectively

Part of that is due to her unique status. Not only is she a black ballerina in the very white classical ballet world, but she is one of a very few black dancers to ever make it to her level—a soloist with one of the world’s top ballet companies. Copeland is only the second black woman ever to be a soloist at ABT.

Then there is Copeland’s unique story. She only began studying ballet at age 13 after a drill team coach at the local Boys and Girls Club introduced her to a ballet teacher. Most girls begin training by age 7, if not younger. After only a few months, she was dancing on pointe. Within a year, she was competing and performing.

But that ascendancy came amid instability at home—constant moves, including a period living in a motel; dealing with her mother’s boyfriends and husbands including some who were alcoholic or abusive; and a battle between Copeland’s mother and her ballet teacher that culminated in Copeland briefly seeking to emancipate herself from her mother.

All of that, to say nothing of Copeland’s dynamic presence onstage, has led to the type of offstage celebrity that few dancers, even principals, enjoy. She’s even performed with music superstar Prince. Nelson George is filming a documentary about her.

Image courtesy of huffingtonpost.com

Image courtesy of huffingtonpost.com

This month, Copeland has released her autobiography, “Life in Motion: An Unlikely Ballerina.” In May, she’ll appear with American Ballet Theatre, including a major new role for her—the lead role in Delibes’ “Coppelia.”

Here, Fashion Reverie offers a brief, exclusive Q & A with Misty Copeland.

Fashion Reverie: Why did you decide to write your book and why now?

Misty Copeland:  When the opportunity came from Simon and Schuster/Touchstone, I was definitely intrigued. I thought the timing as far as where I am in my career could make for a very unique viewpoint.

FR: What did you want to say or feel was important for people to know now?

Misty Copeland: I felt that with the platform I have as an African American ballerina still in the prime of her career, that I could reach so many people. Sharing my story I thought was bigger than me as an individual. I believe it is universal and could influence a new generation to want to dream.

Images courtesy of Vogue Italia

Images courtesy of Vogue Italia

FR: You have been, without question, the most visible and celebrated soloist in a major ballet company who hasn’t—as of yet—been elevated to a principal dancer position. Others have been seemingly fast tracked ahead of you for whatever reasons. Do you think your being so open and public about your issues as a black woman in the ballet world has been a reason why you’ve been held back?

Misty Copeland: I don’t believe this is the reason. I know that my Artistic Director Kevin McKenzie has always been my number one supporter, willing to nurture me through all of my setbacks with injuries. I think that timing plays a role. My late introduction to ballet caused me to have to reassess a lot as I was evolving as a professional, which often happens while you’re still a student. I do believe that more than just the Artistic Director makes decisions and maybe his support alone hasn’t been enough to push me to the next level.

FR: What were the toughest parts of the book for you to write about and why? 

Misty Copeland: The toughest was writing about my childhood. There were situations I never actually spent time analyzing. It was a healthy process though.

FR:  Do you feel a lot of pressure to succeed, even now or especially now?

Misty Copeland: The pressure I feel is not so much from the black community, but from the dance world. Waiting and watching to see if I’m perfect because maybe that’s what they [the dance community] believe a black woman needs to be to reach this level of success in ballet. I have my own expectations of myself that I feel I need to accomplish in order to make my people and myself proud.

Downloads191FR: The subtitle of your book says “My story of adversity and grace.” When did you realize or come to understand that handling things with grace would be a crucial part of your story.

Misty Copeland: I’ve learned in my time as a professional ballerina that the ballet world doesn’t work like rest of the world; which I appreciate to some extent. The structure of respect and history is deep rooted in ballet. So that is ingrained in me because of ballet, to handle things with grace throughout my life.

—Karyn Collins

 

 

Fashion and Football’s Brad Smith

Brad_Smith_14Brad Smith admits that most of the time if you see him on the street, the wide receiver for the Philadelphia Eagles will probably be dressed in sweats or jeans.

“I’m an athlete,” he said, explaining. “I don’t dress up too much.”

Brad_Smith_11

Photo by D. King for Visit Philadelphia/Philly 360°

But that doesn’t mean Smith is clueless when it comes to fashion. His closet, he said, includes a little bit of everything. Yes, there’s some Wal-Mart on the rack. But Smith said his closet also contains some Canali and Balenciaga.

If Smith has a discerning eye for fashion—he calls his personal style “subtle devastation”—he also has a sense of the realities of the fashion world. That’s why he’s headlining a special reception Friday night during New York Fashion Week to introduce designer Keser “Kassie” Haji of Columbus, Ohio who won a design contest Smith sponsored.

Brad_Smith_11“We wanted to build something where we can show how much we love fashion but at the same time give somebody an opportunity to be seen, let their art be shown and give them a step in the right direction in building a career in fashion,” he said of the Design for Brad Smith competition.

Fashion is more than just a passing fancy for Smith. He is a fashion contributor to Men’s Health magazine and did a fashion editor internship with the magazine last year.

“Fashion is like an art form. It’s a way of expressing yourself, just like sports,” he said. “For me it’s just a natural carryover from sports. It’s a way to get out of yourself.”

—Karyn D. Collins

 

 

Rubix Kube: The 80s Have Never Been This Much Fun

Rubix_Kube_03They’re a little bit Punk, a whole lot of Rock n’ Roll with a healthy portion of Pop bundled into a stage show of miasmic crazy, frothy fun. But, that is why their fans love them. Rubix Kube takes you back to the 80s, a fantastic voyage of bold, kaleidoscope colors paired with a nostalgic purview into 80s music as we would like to remember it, crazy, uncensored, unabashedly liberating and free of restrictions. Yeah, that is what 80s music was all about!!

RubixKube_CherieMadonna“As an entire decade of music, 80s music is the most fun … When you think of the 80s, you immediately smile,” contends David Zablidowsky, Rubix Kube bass player and vocalist. Rubix Kube lead singer Cherie Martorana continues, “Out of all the decades of music, the 80s has the most genres within that decade. Every decade has one or two genres, but in the 80s there was Punk, Dance, New Wave, Hair Metal, Pop, Rap, and R&B. And every one had money and was happy.”

Rubix_Kube_04And happiness and frenzied joy is what Rubix Kube brings to their fans.  They have even found a unique way to make Punk, a music genre that speaks to political outrage and nihilism, a pleasurable stroll down 80s memory lane.  Vocalist Scott Lovelady who has an uncanny resemblance to Billy Idol explains, “We also perform Billy Idol, Adam Ant, The Clash, Oingo Bongo, Bow Wow Wow, Missing Persons, Nena, Vapors, the Thompson Twins; even early Duran Duran. You have to understand that by the mid-80s Punk was a lot more melodic which made it appealing to a wider audience.  It still had a rebellious message but was more radio friendly.”

Still, whether finding a way to make 80s Punk more palatable or successfully mixing all the 80s genres onstage in one show, Rubix Kube guarantees to give audiences the complete 80s experience. “There are other 80s cover bands that try to do what we do. But they sound like they are covering the music from the 80s. Rubix Kube doesn’t cover the music; we sound like the 80s artists themselves. We are a tribute band, not a cover band. We re-create the 80s onstage in our music, in our dress, and also in our attitude,” explains David Z.

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Images courtesy of DeWolf Photography

And a 80s experience it is. From Cherie Martorana prancing around in Betsey Johnson frocks to David Z conjuring up images of David Lee Roth in zebra spandex tights to Scott Lovelady performing Spandau Ballet in a 80s Armani suit, Rubix Kube leaves no 80s stone unturned. “We love performing Madonna’s “Like a Virgin,” admits Drummer John Laspina. “Although Cherie performs that tune, sometimes we parody other songs and the guys gets to wear some feminine clothes onstage,” continues Laspina jokingly.

David Zablidowsky in a bustier and garters, hmm, I don’t know? Maybe Rubix Kube should contact The Blonds.

—William S. Gooch

 

 

David Zablidowsky: Positively Expecting the Unexpected

 

DavidZ_feature_jpg

When Fashion Reverie sat down with David Zablidowsky (David Z) after our photo shoot, we were struck by the contradictions and polar opposites, all good. Here is a rock musician who doesn’t party or live the hard, wild life of a  rock musician, though he has the party boy swagger and attitude. The long hair conjures up images of 80s rocker style—which is the music he sometimes plays—but his taste and personal style extends to the current punk chic trend with sophisticated tailoring seen currently in high-fashion menswear brands. And though David Z is a bonafide guys’s guy with a strong masculine jawline and ripped body, his complex mix of wild rocker hair, ringed fingers and bangles, black eyeliner and black painted nails demonstrates that he is comfortable pairing the masculine with the feminine in his own unique way. In other words, David Zablidowsky is a kind of modern-day rock n’ roll dandy that appeals to a wide variety of women but is also the man that a lot of men would secretly like to be.

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Shirt by Custo Barcelona, leather jeans by John Varvatos, boots by Zara

But wasn’t David Bowie, Mick Jagger, and Alice Cooper rock dandies of their generations?  And you cannot forget Marilyn Manson and Adam Lambert, who have successfully combined feminine and masculine elements with onstage outré theatrics. If that be the case, David Z is in good company and his lists of musical accomplishment speak to his ability to find that delicate balance between performance art and skilled musicianship.  “In addition to ZO2 and ZO2’s reality-based television show Z-Rock, I have been playing with the Trans-Siberian Orchestra for the past 12 years. When I started out with Trans-Siberian, we were playing small theaters and venues; now we play huge arenas like Madison Square Garden … I have played with Joan Jett and the Blackhearts. I also play with the very popular 80s tribute band Rubix Kube where I get to wear neon colors and spandex on stage … I just finished a European tour with Jeff Soto who used to sing with Journey. Yeah, you could say I stay very busy.” details David Z.

Image courtesy of Anthony Tudisco, shirt by Custo Barcelona

Shirt by Custo Barcelona, leather jeans by John Varvatos

Still, at the heart of David Z’s craft and stage acumen is his love of head banging music and fashion. “Hey, I love clothes … Believe it or not I shop a lot at Zara. It is a European look, affordable and the fit is great. But, I also love G Star, Dsquared2, Custo Barcelona, Tallia Orange, Rochambeau, and John Varvatos, who is geared toward rock n ’roll, and his shop in the Bowery is in the area where the old CBGBs was, so you cannot go wrong,” confirms David Z.  “It is unfortunate when musicians don’t realize that you have to present a complete package and your look onstage and off is so important. You have to be cognizant of the fact that this is a business and people are always looking at you. KISS was my idol growing up, so early on I tapped into stage theatrics and enhancing your performance on stage and off with your wardrobe,” continues David Z.

And Rubix Kube is the perfect synthesis for David Z of the music he loves, onstage wild theatrics expressed in flashes of bold color and the manic energy found in 80s Punk. “What I love about Rubix Kube is we get to dress up on stage in crazy 80s clothes and have fun!! There are no rules for what is too much. Sometimes, I’m wearing fuchsia spandex with neon sneakers and a Mohawk,” explains David Z. “Rubix Kube does all 80s music so our Punk repertoire in that genre would be Blondie, Wendy Williams and the Plasmatics, David Byrne and The Talking Heads, Adam and the Ants, Billy Idol, Big Country, The Human League, Oingo Boingo, the Pretenders, Siouxsie and the Banshees, and Eurythmics. A lot of these bands were crossover, so our audience members recognize the music, even if they weren’t fans of Punk.”

Image courtesy of Anthony Tudisco, red shirt by Mark

Red shirt by Mark

David Z’s Punk leanings go beyond just 80s Punk bands; it extends also to clothes. “I love the mix of styles that pops up in Punk that can be a hodgepodge of interesting fabrics from tartans and denim to vinyl and plastic to the new aesthetic that is more sophisticated and tailored. I love the spikes and hardware. I love the fact that Punk crossed over from music and street fashion to a point of view that you now see on high-fashion runways.”

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I guess you could say David Zablidowsky’s musical taste, fashion points of view and life cred could be summed up in positively expecting the unexpected. “I don’t know what every day or prime time work is. My life has be a series of unexpected opportunities … I live a charmed life.” Hmm, we should all be so lucky!!

—William S. Gooch

To view more images from the editorial shoot, click credits image below. For Full Screen click arrow at bottom right of slide.

 

 

 

 

Fashion Reverie Exclusive: Peter Fletcher

Peter_Fletcher_02Getting young people in the seats for a Peter Fletcher concert has never been a real challenge for his management team. Though the New York Times recently commented on declining youth at what they described as the ‘gray-haired ‘ arts, Fletcher has always had a sizable audience on young people. And its growing.

And they are coming to  luxuriate the ear to the strains of Bach, Grieg, Satie, Ravel,  Mompou, and a host of composers that are sometime not associated with classical guitar. How does he do it? Well, if you have to ask that question, you probably have never been to a Fletcher concert.

Peter Fletcher through his passion and mastery of classical guitar knows how to entertain. He doesn’t use cheap tricks and gimmicks. Fletcher enchants ears and quickens heartbeats with his impeccable technique and his special way of emoting through his instrument.

On April 6, Fletcher will again quicken pulses and rapture spirits at New York City’s Weill Hall. With a program that includes Bach, a rarely heard piece by Frederico Mompou, and the world premiere of Jeremy Gill’s “Diary of a Camino,” Fletcher will demonstrate that great music has no cultural, ethnic or age boundaries.

Fashion Reverie: How did you get started in classical guitar?

Peter Fletcher:  I started playing on a ukulele when I was a young child. I got first guitar as a pre-teen and my instructor John Sutherland told me that if I started with the classical style other styles would come easily to me. And as you can see I have stuck with classical guitar all this time.

 FR: Who are some of your favorite composers?

 Peter Fletcher:  I love Johann Sebastian Bach, Wagner, and Beethoven for classical listening. And for the classical guitar I love Manuel Ponce, Frederico Mompou who I am playing at Weill Hall.

FR: Now, when I interviewed you about five years ago, you stated that the audience for classical guitar was growing to include some younger listeners, is that still true?

Peter Fletcher:  As I am touring I am noticing a younger audience. I contribute my appeal to a younger audience to my publicist sending press releases to high school band directors and increasing music awareness that way. We also make sure there are affordable student tickets. We are competing with pop concerts that young people will spend a lot of money on. So, we have to bridge the gap between what will be spent on popular music by making the program classically diverse and making ticket prices more affordable.

Peter_Fletcher_03JPGFR: There was in article in the NY Times that spoke about the decline of young audiences for what they called ‘The gray-haired arts.’  How are you reaching out to younger audiences?

 Peter Fletcher:  Our main strategy is to formulate the idea that this is something that young people will enjoy; that it is not highbrow, but very entertaining. Our repertoire is chosen for its accessibility. Music is something that you feel. We don’t pander to our audiences. We try to present our musical point of view in a very sophisticated, dynamic, well-constructed, but always relevant way.

FR: Do you think classical music is something that people respond to naturally or can it be an acquired taste?

Peter Fletcher:   I would say both. Music can be an acquired taste. Music that I found boring when I was younger over time I have come to love and appreciate. One of the pieces I always play by Bach is “Jesu, Joy of Man’s Desiring.” It is a beautiful guitar transcription that allows the guitarist to play the entire melodic bass line. I play this piece because I know everyone will recognize the piece and I don’t think you need an acquired taste to love this particular work.

FR: Have you ever included pop pieces for the guitar in your repertoire?

 Peter Fletcher:  A long time ago I played some good arrangements of Beatle’s songs for the guitar. The Beatle’s “If I Fell” made a beautiful piece for the guitar. I do play the theme song from “Deerhunter” occasionally in my concerts. Most of what I play is categorized as classical music for the guitar. Second to that, I love good rock n’ roll and R&B—Pink Floyd, Motown, Jefferson Airship— and a well-constructed pop song.

 FR: Let’s talk about your choice of selections for your concert at Weill Hall. Some of the movements in the Bach Partita and Michael Praetorius’ Terpsichore mirror Baroque court dances, the pavane, the courant, etc. Why is that?

 Peter Fletcher:  Most partitas and suites are generally comprised of dance movements because they are loosely derived from court dances. You usually start with a prelude, then an allemande, a courante, a sarabande, a bouree, and a gigue. That is how that genre of music was organized during the Baroque period.

The movement I am playing for my concert at Weill Hall is the chaconne from the Bach Partita in D Minor No. 2 for Solo Violin arranged for the guitar. I am only performing the chaconne because this Bach Partita is a rather long piece. The chaconne is a slow dance from Spain. Musically, the chaconne is a theme and variations type of music with four measures of harmony that repeats itself. George Bernard Shaw wrote that the Bach Chaconne is the greatest piece every written for a symphony orchestra.

Praetorius’ Terpsichore has a lot of court dances in it. Terpsichore is the Greek muse of dance and Praetorius had compiled over 300 dances collected throughout Europe. I have included three pieces in this concert, the courante, ballet, and the volta.

 FR: Now, you have recorded the Mompou before, why did you go back to it?

 Peter Fletcher:  I recorded Mompou in 2002 for Centaur Records. That album enabled me to set up a concert career. First, I like the composer, also this year is the 120th anniversary of Mompou’s birth. There are some minor Mompou celebrations going on this year in different countries. There is a Mompou foundation in Barcelona that encouraged me to  reach back and perform this rarely heard Mompou piece to celebrate the 120th anniversary. The piece that I am performing, “Suite Compostelana,” at Weill Hall was written for Andres Segovia, dedicated to the holy city of Santiago de Compostela.

Peter_Fletcher_01FR: Let’s talk about your world premiere “Diary of a Camino” by Jeremy Gill.

 Peter Fletcher:  Jeremy Gill is a friend of mine from my graduate studies at Eastman School of Music.  He wrote this piece for me last January and this work dovetails with Mompou. Jeremy did the El Camino pilgrimage in Spain that ends in the holy city of Santiago de Compostela and the Mompou piece I am performing is dedicated to that holy city.

 ”Diary of a Camino” describes musically Gill’s travels while he was doing the pilgrimage. There is bells, chanting, fog and thunder and clock ticks. He conjures up all these experiences in the piece.

FR: How many concerts do you perform a year?

Peter Fletcher:  I perform about 150 concerts a year, mostly in the US, for about five months out of the year. But, I am living my dream, doing what I want to do.

FR: What is one of your oddest experiences on stage?

Peter Fletcher:  There was a kind of morbid occurrence in 2005. I nicked my finger on a razor blade preparing for the concert, and as I was performing my finger started to bleed profusely on stage. I looked down and my shirt was covered with blood and there was blood on the guitar and the floor. I did have to end the concert. Oddly, the finger healed by the next morning. I realized that as I was playing, the guitar string had opened up the nick on the finger.

FR: You are always look sharp on stage.  That said; who are your favorite designers on stage and off?

 Peter Fletcher:  I love Ralph Lauren, Brooks Brothers, and Armani. Onstage I like to wear a black suit and a white shirt and tie on stage. I don’t want to distract the audience from the music by dressing flashy. Sometimes, I do like to wear bowties onstage like Horowitz.

FR: What’s next for you?

 Peter Fletcher:  My Edvard Grieg album comes out in the fall of 2013. I will be performing an all Bach program at Carnegie Hall in 2015.

 

—William S. Gooch

 

 

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