May-June 2016

May-June 2016

Anna May Wong By: Cliff Weimer

Let’s Take A RYDE:

Shasta Smith on Motorcycle Mondays

By Christina Marie

HELLO DOLLY! An interview with Holly Doll

By Darren Paquette

x 20 20: Aaron Leong

PTSD Meets BDSM: Oscar Benjamin Interviews Dr. Zee

Second Anniversary Issue!

Please Save the Date!

May 3rd, 2016 All donations made on this date will be match funded! The CIC depends on generous people like YOU to keep our regional Arts growing.

“Creating Entrepreneurs since 2011.�

Celebrating 5 years old!

www.CapitolINDIECollective.org

Inside INDIEblush Mar-Apr:

14

Cover Stories:

28

Anna May Wong By: Cliff Weimer

HELLO DOLLY! An interview with Holly Doll

By Darren Paquette of QUROSCURO

Let’s Take A RYDE:

10

34 62 38

Thank you for your readership!

Shasta Smith on Motorcycle Mondays

By Christina Marie

Dr. Zee: PTSD Meets BDSM

By Oscar Benjamin Meet CLARA An Open House long overdue

20x20 Contemplating Light and Space An interview of Cinematographer, Aaron Leong

All stories and reprints used with permission.

All rights reserved.

Please direct any questions or comments to our website.

Editor-in-Chief/Founder: Christina Marie Staff photography: Quroscuro, CMYK photography Proofing: Pamela Finney

FASHION:

24:

Sabrina Baladad-Perez:

Theresa Truong

7: Intro from our Editor

About Our Contributors for this Issue: Christina Marie, Founder, Editor-in-Chief:

Christina Marie is a Writer, Producer, Director, and Actress with over 30 years experience in the entertainment business. She obtained her Theater Arts degree from CSU Sacramento with a Minor in Music. After working on the stage for several professional theaters, she converted to film. She is driven by the INDEPENDENT spirit in film, fashion, wine & food, and the outdoors. When not working, Christina enjoys camping, crafting, regional wine tours, day spas, and spending time with her extended family.

QUROSCURO

With over 30 years of combined photography experience and the creative minds of Darren Paquette, Craig Fouts and Jessie Rand we work to create a high-end finished product ready for print in magazines, billboards and all other advertisement needs.

Cliff Weimer, Film Historian

Clifford Weimer is a Sacramento-based writer and film historian; his website, inthebalcony.com, is celebrating its tenth year, and he also writes a regular column for ClassicFlix.com. He’s contributed bios, documentaries, and other material for numerous DVD releases for various companies, including VCI Entertainment, AC Comics, and others. Some of his work can be found on such DVDs as The Green Hornet, The Phantom Empire, and Buck Rogers.

Arlene Barshinger, Media Outreach

Arlene Barshinger is a model, film producer, actress, and photographer. She is half German and half Korean, and was born in Fort Belvoir, VA. She’s been involved in such projects as Fruitvale Station, HBO’s Looking, HP commercials, and worked as an American Express Print Model. She also currently models for INDIEblush Magazine and Hopelessly Romantic.

Oscar Benjamin, Music & Film Industry Writer/Photographer:

Oscar has always lived with the idea that an individual should always pursue their dreams and interests to the fullest that they can. This philosophy shaped Oscar’s career and positions he’s held over the span of his adventurous life. Oscar’s been a mobile disk jockey, a truck driver, a commissioned artist, and more. He relishes his current life as a professional photographer and writer who’s documented a number of high profile motion pictures, TV shows, red carpet premieres and numerous other entertainment events. He continues to enliven IndieBLUSH with his first-hand tales of the entertainment industry.

Pamela Finney, Sales, Features, and Proofing:

Pamela Finney has a Bachelors in Communication and an ABT Masters in Education from Simpson College, along with a Masters in English from CSU Fullerton, and spent many years as a college English professor. Pamela is a breast cancer survivor who has also spent most of her life acting, always dreaming of becoming a full-time SAG-AFTRA actor, an accomplishment she is finally realizing.

April Potter, Sales and Marketing

April Pirl Potter has been involved in the Fashion, Arts & Entertainment industry for over 15 years, working in film, television, music and fashion in various capacities. She is an Actress, MC, Stylist, Producer, Director, Writer, Videographer, Talent Booker and Promoter of the arts. She is fiercely dedicated to inspiring and connecting with others using media and entertainment as her medium, sharing it through Megatude Media.

If she’s not on a production of sorts, April can be found playing out in nature with her two dogs Johnny Cash and Pirl.

Sabrina Baladad-Perez, Fashion Writer

Sabrina is a fashion design student at the Fashion Institute of Design & Merchandising in San Francisco (FIDM). She is a FIDM Social Ambassador and contributing writer for The Odyssey Online. Sabrina is a coffee lover, creative crafter, and proud Bay Area Native. She is always on the lookout for the latest trends and new places to adventure.

Do YOU have what it takes to make us INDIEblush?

Send us a sample of your writing, photography, video, or join the sales team! INDIEblush aims to be a competitive magazine in the INDIE market. We need writers who are PASSIONATE about writing and all that is INDIE, photographers who have a unique eye with a knowledge of commercial production, and videographers who get 1 minute journalism. Is that you? Email us at indieblush@gmail.com.

From the Editor: Thank you for reading our magazine! It’s hard to believe that Capitol INDIE Collective, Inc., is nearly 5 years old!!

This July we celebrate 5 years of program execution and helping thousands of Sacramento Region citizens through Arts Education. Big Day of Giving is also coming up May 3rd-- so please save the date and give where your heART is!

This Bi-month, we celebrate National Asian-Pacific American Heritage Month, and the Second Anniversary of INDIEblush Magazine, learn about extraordinary NorCal Artisans... and so much MORE! Do you know of an INDIE who could use coverage? Our mission is to highlight the INDIE films, fashions, wine producers, and more in the Northern CA region and beyond. In the past we have highlighted Bollywood and other regions that produce Independently made products and services. Please contact us with your story! We also take photo submissions through our site. You may be highlighted on our blog, social media, or in the magazine itself.

Thanks again!

~Christina Marie

YOU could be Advertising here. www.INDIEblush.com

Let’s take a Ryde....

By Christina Marie

Photos provided by Shasta Smith

It’s a beautiful Sunday afternoon as I cruise through the Delta in Northern California. I remind myself that I live in one of the most picturesque regions on the planet. The wildlife rich rivers, levees, and wetlands between Sacramento and the Bay Area are home to America’s progressive Farm-to-fork movement with grapevines, produce, dairy, and rice fields that feed the world. I enter the tiny town of Locke, known for its rich Chinese- American history. According to their website, Locke is the only town in the United States that was built “exclusively by the Chinese for the Chinese”. It essentially stands today as it was built in 1915. At the bridge I take a left and enter the small town of Ryde on the other side of the river and arrive at the historic Ryde hotel, erected in 1927.

This place is a gem with an amazing story beginning during Prohibition and still being written today. What better place to book a Series Premiere Party for Motorcycle Mondays, a show that Shasta Smith may as well be called, “My Drunken Garage”? I interviewed Jaime Tafoya, Executive Chef of the Ryde Hotel and Shasta Smith, Host of Motorcycle Mondays in preparation of the Series Premiere Party.

INDIEblush: tell us about Vintage Monkey.

Shasta: I’m the owner of the international brand, Vintage Monkey. The story in a nutshell: We all find interest in different things, mine happens to be avant-garde design and classic motorcycles. I have a seventeen year history in architecture, design, and construction. If you are a TV watcher you will have seen me hosting the international TV show, Red Hot Design, and I currently produce a YouTube original series called Motorcycle Mondays. I’m a 24 year veteran rider, and my work has been featured worldwide-purely driven by passion. Among the many projects I work on, I design vintage motorcycles for charity and

non-profits. My love of motorcycle and gear design has provided customers and fans a piece of the largest subculture in the world. My site is: www.TheVintageMonkey.com INDIEblush: tell us about Motorcycle Mondays.

Shasta: “Motorcycle Mondays” has arrived and it’s not what you are thinking! I host with my shop bartenders as we drink our way into creating the “anti- ‘how to’ show”. No one needs me to show them how to change their oil, or rebuild a carburetor, so instead my bartender makes drinks, we talk shop and watch it all go to hell in a hand basket.

It should be the perfect escape for anyone needing a good laugh.

INDIEblush: Why YouTube?

Shasta: One of the biggest complaints about my former Cable TV show, was that not everyone had access to watch it. I was able to solve that dilemma with, “Motorcycle Mondays”, by airing it on YouTube so people can have access to it anytime of day, anywhere in the world, for free.

INDIEblush: how was producing in Sacramento? Did you have any roadblocks, and how did you overcome them?

Shasta: Producing a cable TV show is rigorous enough with permits and multiple locations to shoot, but my current show is filmed on location and on private property so there’s a lot less “paperwork” to deal with.

INDIEblush: When/where is the Series Premiere?

Shasta: The Motorcycle Mondays series can currently be seen every Monday on YouTube by visiting: www.YouTube.com/MotorcycleMondaysChannel OR going to www.MotorcycleMondays.com INDIEblush: Tell us about Ryde Hotel- the interesting history nuggets!

Shasta sporting her siren red hair in the beginning of the season.

Jaime: Besides having a storied history surrounding its prohibition years that ties to the Hollywood elite, I have entertained numerous paranormal investigations at the hotel during my current residency. Although I’ve never witnessed anything paranormal myself (I stay there every weekend) I hear many crazy stories. Good news is that there are no evil spirits and any spirits that are there are all partying. Perhaps they never left a party from years past. But it’s the rock-n-roll history that most interests me. We have confirmed stories that the Rolling Stones flew their helicopter here after the infamous Altamont incident and hid out at the Hotel.

The Eagles also penned at least part of Hotel California here although the song is not about The Ryde, specifically. I constantly run into people that attended weddings, promos and other events at the hotel over the years. Everyone has a story about the Ryde.

INDIEblush: tell us about the set-up for the premiere- can people stay the night?

Jaime: The Ryde has an original art deco design. The party will take place on the second floor grand din-

ing hall which has a bar, dance floor and seating. The entry way will serve as a Red Carpet reception area.

Delicious food will be served throughout the night and the bar will feature drinks from the show, “Motorcycle Mondays”.

Room packages will be available while they last. We only have 35 rooms and they normally sell out quickly.

Our packages deals will include event passes and Sunday Brunch. These packages can be booked on-line or by calling the hotel direct at (916) 776-1318 INDIEblush: What do you do for Ryde hotel and how do you envision the future of Ryde Hotel?

I have been the Executive Chef at The Ryde since October 2015. I cater wedding and special events and also do a traditional brunch service every Sunday from 10am-2pm. This hotel has had its share of “glory days”.

Much love for the hotel exists with many current and former employees. I see her as a really cool old car that is an absolute blast to drive and cool to look at! But, I also believe the future of the hotel rests in a substantial

Shasta as a suicide blonde mid-season. Whatever way she wears her hair, she is sure to entertain.

upgrade investment; perhaps make it a high-end boutique hotel while maintaining it’s historic character. Renovations and upgrades are already taking place on the exterior grounds. She has good bones, the hotel just needs a little tender loving care and some expert restoration & upgrades. That would make it an epic location capable of generating millions in annual revenue. Good stewardship, ownership with vision, entrepreneurship and hospitality industry savvy would go long way toward achieving this.

INDIEblush: Is there anything you are doing in the future as a film location? Are you available as a film location?

Many films have been shot at the Ryde Hotel, and yes it’s available as a film location.

INDIEblush: Tell us about the Premiere’s menu- are you farm-to-fork?

The menu for the Premiere is very casual. This is not a formal sit down dinner party. Guests want to mingle, drink, and have fun. My chefs and I will be bringing out waves of various bites. I source as much local product as possible when budget, menus and logistics can accommodate it. We have also started a garden and have existing fruit trees that I utilize for various menu items. Ownership has been very supportive, and to date, I have arranged two farm-to-fork specific dinners. With the assistance of The Sacramento Convention and Visitors Bureau Farm to Fork division, I plan to do several more during the summer and fall of 2016. I will also be showcasing Sacramento Farm to Fork Cuisine in Washington DC. My first trip there will be the week after this party on May 18th.

INDIEblush: We will see you at the Series Premiere, Jaime and Shasta!

To purchase tickets, please visit https://ticketbud.com and enter Motorcycle Mondays under “find event”

A n n a M a y Wo n g America’s First Chinese Superstar

By Cliff Weimer

In an era of typecasting and lack of respect for non-Caucasian film players, she stood with dignity and grace, even when the roles were beneath her or adhered to racial stereotypes. Despite her popularity and box-office draw, she watched as plum rules for Asian women went to Myrna Loy (of Swedish stock, raised on a ranch in Montana) and Louise Rainer (born and raised in Germany). She was Anna May Wong, the first female Chinese superstar on American theatre screens.

Anna May began life as Wong Liu Tsong in 1905 in the Chinatown district of Los Angeles, born to a wealthy laundry owner and his wife; her grandfather, the first family member to immigrate from China, had made the family fortune by being fortunate (or shrewd) enough to own a general store in Placer County, just outside of Sacramento, during the great Gold Rush. Young Wong Liu Tsong was raised on silent movies, which posed no language barrier and thus were immensely popular with immigrants and their families. Anna May – only 14 – was working after school in a department store when she was nabbed by a casting director for Metro Pictures Corporation (soon to be part of Metro-Goldwyn-Mayer), which was producing a film about missionaries, set in Peking—Chinese youngsters needed, no experience necessary. After that, her beauty and natural charm kept her busy in a variety of bit roles and extra work, and she dropped out of school to pursue her passion, although she later admitted working in her family laundry was always her backup plan in case her career flopped. She needn’t have worried; in 1922, at the age of 17, she starred in the early Technicolor feature The Toll of the Sea and was greatly praised by critics; the film was a huge hit, and led to her being cast as the beautiful, exotic, and evil Mongol femme fatale opposite Douglas Fairbanks in one of the great triumphs of the silent screen, The Thief of Baghdad (1924), also in Technicolor.

Unfortunately, leading romantic roles were hard to come by for the young and beautiful Miss Wong due to her race, and so she formed her own production company to produce pictures to star in—only to have financing fall through. In 1926, she was the guest of honor at the groundbreaking ceremonies for Grauman’s Chinese Theatre in Hollywood; after that, offered mainly

stereotypical roles in inconsequential pictures, she fled for Europe, where she was able to carve out a successful career even as the era of talking pictures dawned. By the early 1930s, she’d been re-summoned to Hollywood by Paramount Pictures, which promised better roles (and money) for the popular star and delivered Shanghai Express, the top-grossing

picture of 1932 and a film that inspired a rumor that Anna May had an affair with her co-star, Marlene Dietrich. It didn’t hurt Wong’s career any, and her natural beauty and sense of fashion led in 1934 to her being named Most Beautiful Woman by the Mayfield Society in New York.

The year 1934 was also when the Hollywood Production Code began to be enforced, and the Hays Office censors took a dim view of a Chinese woman, even one as popular as Anna May, starring in romance pictures. Offered a variety of scheming Chinese killers and servant girls, she went back to Europe, and then on several tours to raise awareness of the plight of native Chinese during the invasion by the Imperial Forces of Japan, including her first-ever trip to China. For the next several years, she returned to Hollywood a few times to make minor B-movies that paid her enough to continue her charity work; eventually, she virtually retired from the screen, acting occasionally on television. She died in her sleep in 1961 at the age of only 56, and was lionized as one of the great early stars of the silver screen.

Asked later in her career why she didn’t make more pictures or nab more starring parts, she only repeated something her father had told her: “Don’t be photographed too many times; you lose a piece of your soul.” Viewed today, in her best films she seems a fresh, beautiful actress who happened to be Chinese – which is, ironically, which held her back from mainstream roles, but not from being the premier Asian actress of her era. ~CW

Representation then.

Representation now. (and we’re STILL filling up the page)

May 27th and 28th, 2016

The Guild Theater 2828 35th Steet Sacramento, CA 95817

Sacramento

Special Guest:

ASIAN PA C I F I C

Joz Wang

EIC - 8Asians.com, Publisher, Blogger

Film Festival

www.SAPFF.org Special Guest: Special Guest:

Hudson Yang

ABC’s Fresh Off The Boat

Peter Kwong

Big Trouble In Little China, Golden Child

Designing Life with Theresa Truong

By Sabrina Baladad-Perez

Photo by: Julian Maletsky

The Fashion Industry is not all glitz and glamour. “Making it” as a fashion designer involves a lot of sleepless nights, last-minute miracles, and harsh criticism. However, in February 2016, I met a designer who seemed to have it all under control--and she’s only 21. Theresa Truong is a young fashion designer in Sacramento, CA. She has previously participated in Sacramento State University’s yearly fashion show, where she is a current student. However, this year Theresa has stepped it up and was able to be one of the youngest designers to showcase at the 2016 Sacramento Fashion Week for Emerging Designers. I was lucky enough to be introduced to her while I was interning for Sacramento Fashion Week, and later was able to sit down and learn more about her life and ambitions. What I learned was that Theresa Truong is a humble young lady who’s not afraid of chasing her dreams.

Q1: How long have you known you’ve wanted to be a designer?

Since I was a little kid! My mom taught me how to sew when I was really young.

Q2: What’s the first thing you’ve ever sewn?

Well the first thing I was actually proud of were my High School prom dresses. But, I also made myself a dress out of my 1st place swimming ribbons.

Q3: Now that you’re in school for fashion design, what’s the most significant thing you’ve learned?

I’ve learned to be more confident and to rely on myself more. Time management is hard, but I know that I can do everything that needs to be done.

Q4: Who is your design icon?

Alexander Wang! I’m obsessed with everything he does.

Q5: How would you describe your style?

I’d describe my style as an edgy and unique take on ready to wear. I really love basic, versatile pieces and crop tops.

Q6: What inspired your Spring/Summer 2016 line?

I was inspired by the fabric and colors of my line. My mother brought back a bunch of fabric from Indonesia.

I’m half Indonesian and half Vietnamese. And I incorporated a lot of black because it’s easy and goes with everything.

Q7: What do you love most about the fashion industry?

I love how creative you can be. There’s no right or wrong way to do fashion.

Q8: Where do you see yourself in five years?

I see myself in LA, still designing and just working in the fashion industry somehow.

Q9: What is your ultimate career goal?

I want to have my own line and sell it in stores such as Nordstrom and Bloomingdale’s.

Q10: Finally, do you have any advice for the aspiring fashion designers out there?

Photo by: Julian Maletsky

Just go for it. Don’t sit around and wait for something to happen. Go out and meet people! ~SBP

Photo by: Julian Maletsky

HELLO

DOLLY

By Darren Paquette All photos by QUROSCURO

I pull up to the parking garage, it’s time for the great “left- arm stretch” to produce a ticket. I veer my car left, then a slight- right after the barrier arm closes behind my van. It’s time to go under the I- 5 exit to the second lot. Hopefully, I’ll get a spot right behind Fannie Ann’s Restaurant/ Bar just above CAPITAL INK TATTOO & PIERCING in Old Sacramento, CA. As I walk down the red brick steps I can hear the buzzing of tattoo guns, drawing away on the latest Customers getting “ink done”. I wave to the ones not buried in their artwork and proceed to the computer room adjacent to the piercing area, near the back of the establishment.

Seated in the foreground is Holly Doll, our longtime Client. She has a bump, something hidden in a wrap around her chest area. That something is in fact a someone...Zoey, who’s all of 7 months old as of March 16th. It’s Holly’s first child, which inspired me to interview her on her new (and old) chapters in her life.

1. Tell us something about “The Holly Doll” that most people wouldn’t know.

HD- One thing that always surprises people is that I was a cheerleader for 15 years (half of those years as a Captain), haha. From pop warner to college I lived and breathed cheerleading year-long for both football and basketball plus year-round competition dance and stunt teams.

2. During your high school days, were you as ambitious and as personable as you are now?

HD: I like to think I “appeared” as ambitious and personable as I actually am now, especially among the safety of my circles. My self-confidence on the other hand, was non-existent... and I was bullied a lot. I ended up taking the California Exit exam at 16 and graduated high school 2 years early to get away.

3. At what point in your life had you gained an interest in the fashion sense that stands out so much today?

HD- I’ve always been eclectic in my fashion sense. I’ve never had much of one style - my dress changes daily with my mood and how I want to be perceived. I can say that I wasn’t under my mid-twenties that I really started “owning” whatever I felt like wearing, regardless of trends or judgement.

4. As of 6 months ago, your baby Zoey arrived. How have you adjusted to being a Mother?

HD- I have been blessed with an amazing bonus son from my husband but I didn’t meet him until he was 5 years old; Motherhood in the sense of bearing a child and being wholly responsible for this tiny human is NOTHING like what I thought it would be - it’s better.

I knew that I would love it but I had no idea i would love it this much - I had no idea that I would literally feel like I was MADE to be a mom.

5. What’s the most surprising thing so far about Motherhood?

HD- I am NOTHING like the Mother I thought I would be - I’m better. I thought I would have a tough transition and struggle with my identity but that isn’t how it has been. Zoey inspires me to take care of myself in order to take care of her - to be a better person.

We are connected on a level that allows her to simply flow with me through our day to day lives. I take her to work with me at my tattoo shop as well as on photo sets with me.

6. It was great to see Irish Cash and yourself get married next to The Delta King (an historic steamboat in Old Sacramento). A lot has happened in the past (almost) two years, has the life become more stressful, or more challenging since Zoey was born?

HD- We had such an amazing wedding, I wish I could relive it over and over! Life is definitely more challenging with a newborn because my Husband and I have to take better care of ourselves to take better care of - and be present for - our kids and our business. We have had to learn better and more efficient ways to communicate and support one another. When you think about it, It’s actually been a blessing for our business and our marriage.

7. It’s no secret, both Irish and yourself are heavily tattooed Parents. Do you feel like we’ve come a long way against the prejudice towards people with tattoos, or do you think we have a long way to go?

HD- I think we have come a long way AND have a long way to go. Heavily modified parents will always have to fight a stereotype to some degree but at the rate

Quroscuro we are going, there will soon be more of us than them.

8. You made the cover of TATTOO SAVAGE Magazine, along with Bobo Norco, Karlee, and Lexi Bonkers. Tell us about that experience.

HD- That was a great experience! It was a super fun shoot because everyone on set was my friend! it was like hanging out - except in my underwear with a camera hahaha. I was very rewarding to see my face on the cover of one of my favorite magazines.

9. What are some of the goals that you feel you still need to accomplish?

HD- I feel like I reached some huge goals being featured in the 3 top tattoo magazines in the world!

Among my many goals I have left including expanding our shop, establishing myself as a female piercer and raising amazing mini humans; one of my may goals

I have left to accomplish would be to share my story in a NON-tattoo platform - parenting magazines and related outlets are my next goal.

10. Now that Zoey is out and about with you, what sort of looks or comments do you get from “Joe and Jane Public (people unbeknownst to you)?”.

HD- Most of the responses we get are very positive Zoey is a very happy spirit and I feel the majority of people can see that she is well loved and treasured despite the way we look - I think they can come to terms with the fact that the scary tattooed folk don’t actually eat their young or sacrifice them to the Devil haha.

I can count on my hands the negative comments or looks that I have gotten and I just ignore them. In fact, as a parent, I pity their children - that kind of judgment and closed-mindedness sets their children up for inevitable failure and inability to explore themselves as individuals.

Quroscuro 11. The Cash Family is very active, how do you get the energy to maintain yourselves?

HD- I admit, we run ourselves ragged sometimes haha. We love our coffee and try to eat as clean and as healthy as we can while on the go. I think good old fashioned drive and stubbornness keeps us going sometimes.

12. When you moved to Sacramento, did you ever think this is how life would be for you?

HD- I had no clue. I originally moved to Sacramento to pursue a career in forensics psychology. I planned to study messed up brains - not poke holes in perfectly good bodies!

13. Modeling, when did you decide to pursue that as a career?

HD- I chose to pursue modeling as a career around 2010 when I began getting paid gigs. Little projects for clothing companies or for salons (I had long, natural brunette hair at the time) was a fun and easy way to help pay for college while working full time.

14. What tips do you have pertaining to new Models, like how to choose a quality Photographer? MUA? Hair Stylist?

HD- I feel like every model’s journey is different but, yes, who you work with reflects your talents. When you work with low quality, you are perceived as low quality. I recommend to new models to invest in your portfolio.

15. You’ve recently got in to piercing, tell me about the skills needed to be a quality Piercer.

HD- Piercing is more than simply poking a hole and

calling it a day. Piercing is a craft that requires knowledge of the human body, precision, passion, patience and an open mind to constantly grow and adapt.

16. Where did you grow up?

HD- I grew up in the small town of Willits, Ca - Gateway to the Redwoods! I’m a small town girl to the core.

17. What’s the most painful piercing you’ve ever heard of?

HD- Geez, I hate pain - they all hurt.

18. Is there anyone that inspires you?

HD- Women like Heidi Klum, Jessica Alba, Gwen Stefani and Angelina Jolie inspire me because I see powerful, successful, career-driven Mothers balancing it all with grace and style.

19. What other roles do you have in the Cash Family... besides “Mother/ Wife?”.

HD- What role DON’T I have in the Cash Family?

Mother, Wife, Dog- Mom, Taxi Driver, Chef, Maid, Waitress, Hairstylist, Fashionista, Nurse, Counselor, Attorney, Secretary, Contractor...you name it! Haha.

My Husband compliments me often, telling me that I “make our house a home”. ~DP

Darren Paquette of QUROSCURO, (photo above) provides INDIEblush with photos and stories regularly. Please follow his work on-line at www.QUROSCURO.com

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P.T.S.D. Meets B.D.S.M.

Dr. Zee Discusses the Spirituality for his Next Movie

Photo and story by: Oscar Benjamin

I had first encountered independent film director, Hassan Zee, in his beloved adopted city of San Francisco for a previous interview as he had just finished directing his supernatural thriller entitled “House of Temptation.” His enthusiasm about his film was wonderfully infectious and I knew that I needed to follow up that interview with another to see what had transpired in the life of this filmmaker, who has branded himself Doc Zee in the best tradition of those in industry who often create professional names in order to attract attention to themselves and their artwork that they create in the medium.

Doc Zee was born in Pakistan and he decided to pursue his lifelong passion of being a filmmaker by relocating to the United States seventeen years ago. Doc Zee begins, “Ever since I was a child, I always wanted to make films, but when you are growing up, your family wants you to become a lawyer or a doctor. I was nineteen and I got into medical school because there are no film schools back home in Pakistan. I kept my interest in film alive by going to a television station in the evenings. Film was my passion and my calling.” Doc Zee continues, “I finished medical school and was doing television on the side. I made a small film that was released on television. I came to America and pursued my passion for making films while working at the Detox Center in San Francisco.

I help people who are detoxing from alcohol and drugs.”

The mind boggles on how one can juggle dual careers of being a doctor and a filmmaker, and it was a question that Doc Zee responded to in a manner that truly reflects his approach to life. Zee says, “I feel that in this world we are all on a journey and must make time for what we love. I really encourage people to pursue their passion when they are young and energetic. I find time to write, and when I am ready to shoot, I have to take a month off from my work. Editing I can do once time permits.” Doc Zee reveals, “We shot ‘House of Temptation’ in fourteen days-- which was just picked up for distribution by Tony Brewster who is the president of EMA WORLDWIDE.” All artists-- including filmmakers, writers, painters and others-- will eventually leave their signature style that many will begin to recognize after being exposed to said artist’s work. It is the opinion of the IndieBlush correspondent that the good doctor found his voice during the realization of his acclaimed film known as “House of Temptation”. Doc Zee’s film tells the tale of a family whose faith is challenged by a temptress who resides in a mysterious house. The story is told through the eyes of the family’s 16-year-old son who, is working on filming a short movie for his media class on an individual he admires. His choice is his father, who is a pastor, and it is the subsequent events that unfold before the son’s eyes and camera that form the bulk of Doc Zee’s film. It is a haunting film that depicts the world that might co-exist with the visible one we all blithely dwell within. There are touches of Hitchcock and a light sprinkling of Fellini that is at the heart of Doc Zee’s “House of Temptation.”

I brought this point up with Doc Zee and he addressed it succinctly. Zee states, “Every filmmaker has to find his or her style and voice. After making three films, I am just now finding my voice. I think that the supernatural and spiritual aspect is the direction in which I am going. I am very spiritual. I am connecting more with my spiritual side and bringing that element to my films.”

There is more to Doc Zee than expressing spiritual and supernatural subjects in his film. Another common theme running throughout his films is a strong celebration of the poetic side of humanity and specifically that which flows out of the filmmaker. Doc Zee reveals, “When I was a child of seven or eight years old, I started to write poetry in my native language of Urdu. I pursued that for a while and I have some very good compilations of poetry. I think cinema is like poetry. It is poetry of images. You are expressing your soul on the screen through pictures. You are telling a story in cinematic poetry.”

Doc Zee also shares a storytelling device that the late director Alfred Hitchcock often employed. Cameo appearances of Doc Zee can be seen in all of his films and it goes beyond merely the need to indulge his vanity.

Doc Zee explains, “When I was a child, I always wanted to be an actor, and then I decided I really wanted to tell the whole story, and the director has the ability and control over the story to do so. Everybody wants to tell his or her own story and how he or she envisions it and it is a team effort, but it is the director or auteur that has to

the have the capability to convey that vision to an audience.”

One of the aspects of independent filmmaking that will bedevil any ambitious filmmaker is that of how to finance the visions that he or she wishes to share with the public. Doc Zee had also encountered this and like directors Spike Lee and Robert Rodriguez, he was able to supply funds for his first film called “Night of Henna” utilizing this very risky technique of credit card financing. Doc Zee explains, “I have been reading the history of filmmaking, and ever since the 1940s many have been saying that films would be going away, but films are still being made and audiences have been going to see them. Filmmakers have to look at the new resources like the crowdfunding sites, but the competition right now is very big for independent filmmakers. You have to make something pretty excellent with whatever money you can gather, and then you will have the chance because there is so much product coming out! That is what I am trying to do as a filmmaker.” Zee offers more, “This industry is very relationship oriented, so if you have a business relationship with some distributors, then the chances are that you can find distribution for your film. I have been going to the American Film Market event in Santa Monica every year for ten years. I have made connections and relationships to the point that if I were to make a movie, they would consider it.”

Doc Zee’s next directorial effort has the working title of “Soldier of Love”. By all indications this appears to be a film that will be very personal for the director on a number of levels. Doc Zee explains, “I have had these characters in my mind for four or five years. I am very affected by the war and war destroys people and the world. I am working at the detox center with these veterans who have P.T.S.D. War haunts men for the rest of their lives.

These characters have been in my head for a while, and it is the story of an American soldier who has come back from the war in Afghanistan and goes into a downward spiral. He then meets a woman who shows him the meaning of life and what it takes to be a human being through the practices of BDSM. She changes his life.” Zee continues, “She is very spiritual. She is like a sacred Tantra Goddess.”

Doc Zee reveals a fascinating tidbit during the course of the interview. Doc Zee explains, “This is the first ever film from a blog. I had these characters in my head and I discovered this blog called Wise Sloth. It is written by this veteran named Travis Haan, who writes about his life and his life in the military. I called him up in Texas and told him that I really liked his blog. We are writing Soldier of Love together along with Jeffrey Wayne. The characters are mine, but the dialogue is being taken from his real experiences as a veteran.”

As a filmmaker whose films are enhanced with a wonderful sense of spirituality, the director himself is the best one to define what he may be trying to convey through his work. Doc Zee has the last word on his work.

Zee avers, “I think that horror films are very spiritual. When I talk about the spiritual aspects of things, I am talking about the ghosts and the energies that are working with us in everyday life. We have angels and spiritual beings that are guiding us. I sometimes think that Alfred Hitchcock might be guiding me from the spirit side.

We all have that and that part of the spiritual has not been completely experienced or written about. The characters in Soldier of Love were all in my head, and then spiritually I was guided to Travis, who had all the dialogue that was needed! I believe in that and that is what I am trying to bring to my films!”

Soldier of Love is currently in the writing phase of the project, but Doc Zee encourages fans and other interested parties to check into his website at www.doczeefilms.com to see when they can contribute to the upcoming Indiegogo campaign for the film. ~OB

Celebrate our Second Anniversary with us!

May 1, 2014,we released our first issue intending to release quarterly. The magazine grew so much in popularity by August, we decided to go bi-monthly in September of 2014! We have consistently delivered quality stories and content over the years, and now you can order any issues, any time! Thanks to “print on demand� with MagCloud, you can have our photo essays, in-depth interviews, and engaging content at your fingertips to enjoy off-line.

C o n te m p l at i n g L i g h t & S

S p a c e w i t h A a ro n L e on g

20 x 20 Takes A Closer Look at “Crane” and “What You Can’t Have” Stills provided by Aaron Leong, by Christina Marie For a full list of Movie credits, please visit www.aaronmleong.com

When one thinks of quality, Sacramento film-maker, Aaron Leong comes to the top of a short list of those who dare to call themselves Directors of Photography. One must be a master of lighting and the camera before considering oneself a “DP.” He or she selects the composition, sets the exposure, conceives the lighting, and designates the filters or other photographic controls to be employed. The DP or Cinematographer is essentially “the look” of a film. We are about to get a glimpse at Aaron’s work through stills of the movies, Crane and What You Can’t Have, explained his own words.

Q1: Crane is one of the most beautiful low light films I have seen. How did you get involved?

Rachel Voter hired me very early on in the project and sort of knew what she wanted regarding aesthetic. She said she wanted it mostly lit by candlelight and she wanted everything to look natural. Well, it’s very hard to light a scene with just candlelight, so I mentioned that it was do-able as long as we can supplement with a lighting package. She also had some ideas about certain shots and we were able to do a location/tech scout so we could really plan the shots she wanted. So in essence, time was on our side, which allowed us plenty of planning and testing.

Q2: “FIRST LIGHT” What was it like to set up the shot above; did you wait for daylight and shoot or did you simulate daylight outside the window?

Interestingly enough the sun was too harsh coming through the window in the morning. We waited until the sun was further along and on the other side of the cabin and lit this with an M18. This way we could control the amount and quality of light coming through. Also setting the white balance correctly gives you a sense of morning.

Q3: “TOUGH LIGHT” Do you have any recommendations for working with candle light? How did you achieve this rich glow?

So, we had two different sources of candlelight. We had oil lamps, which gave us a continuous, flicker-free glow, and we had candles which were flicker free as long as there was no wind present. The amount of light coming from a single candle wasn’t enough, so we added a few extras to each scene; but we also supplemented with 650s on dimmers and inkies (150W). The correct white balance also gives you a rich, warm glow as well.

For this particular shot, we were on a crane, which was on a dolly. The camera had to travel from the candles and then alongside the bath tub at rim level. Because of this we had to make sure our lighting was sound for the background as well as the windows. So we had some nice afternoon light coming through the windows, which was our M18. This gave us a nice key light. The candles came in to fill and allowed us to see her face a little better and also gave us a nice rim light when the camera came around to the other side of the tub.

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Q4: “CREATING A LIGHT PALATE” When crafting the light for a film, do you focus on a color scheme or craft a look from the amount of lumens you prefer?

As a cinematographer in preproduction, I typically work with the director and production designer. This allows the color palate to be consistent. Everyone’s on the same page regarding the look. With Crane being a period piece, we knew we wanted a very natural feel to the camera work as well as the production design. Heidi Boucher did an amazing job with the production design on this project! Anywhere I pointed the camera was golden and I really appreciated that! The mason jars for his drinks, the wooden spoon, the oil lamps-- all gave this project a very homely, cozy feel.

The budget had a lot to do with the cameras we used for this project. Because we didn’t have enough for a RED camera or anything higher end, we shot it on a couple of Canon 5DmkIIs with my set of Zeiss lenses. We knew it had a higher contrast ratio and lower dynamic range, which Rachel was okay with.

Q5/6: “THE VIEW LESS TRAVELED” When framing this shot, what were you trying to convey? How does framing assist in story telling?

I was trying to give the audience a sense of space with this shot, a sense of solitude. Our main character lived alone before “she” arrived. The cabinets in the kitchen area had a more modern feel, so we had to choose our lighting or angle wisely so we don’t show it as much.

Framing is important to me. I came from theatre and conventionally, heroes will enter stage right and exit stage left, whereas villains or antagonists would be opposite, in western cultures. It has to do with the way we read from left to right. In eastern cultures, you can imagine it’s opposite. Heroes enter from stage left and exit stage right. I also employed the rule of thirds here, placing Dallan on the screen left third. Subliminally, the audience will relate to him as your hero or protagonist. The windows were also on that side and those really helped draw attention to that side of the screen

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Q7: “FOCUSING ON WHAT’S IMPORTANT” How do you choose what is important in a shot?

I don’t choose what to focus on in a particular shot. The script dictates that as does the audience. I often ask myself, “What do I need to show the audience, in this shot to tell the story?” That motivates much of what the camera does and where it focuses. Everything in the frame should have some importance to the story; otherwise, why is it there? A big question we ask a lot of times will be, “Is that distracting?” Does a certain prop or color or brightness cause the audience to take their attention away from what is really happening? If the answer is yes, change it or get rid of it.

Q8: “LEADING THE EYE” As a filmmaker, do you try to manage where people will look on the screen as well as what they will see?

Yes, this sort of is a piggy-back from the question above. Throughout this shot, the camera moves from the candles to Jena to her legs and then around to the other side of the bath tub. It also focuses from Jena to her knees back to her face and back to her knees where we see the rash. There is a bit of concern here for her and although you could see it in her face, I needed to rack back to her so the audience knows this is an important moment for her and not just assume she’s worried.

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Q9: “LEADING LADIES” Tell us about lighting and shooting for SPFX Makeup.

Well, you only really have to worry about lighting for SFX when it’s not done well. David Ainsworth at Alchemy FX did an amazing job with the SFX and practical FX and we really didn’t have to worry about it too much. We were able to get in there nice and tight to see her pluck out her feather. When the effects aren’t done well, that’s when you have to be a little more creative with lighting, what you show and how you show it.

Q10: “THE BIG REVEAL” The reveal of this horrific transformation seems angelic. Since irony is often the basis for storytelling, do you look for ways to frame and light ironically, or does it just organically happen?

Well, in this story there isn’t really a transformation. Jena is the crane. This shot here is the first time we reveal her as the crane to the audience, so we wanted it to be pretty. As you know, we try to plan for everything in preproduction, but things don’t always go as planned.

This is a shot that we had in mind from there very get-go. Rachel had expressed seeing rays of light as she spread her wings, and that’s what we gave her. The candle light is highly supplemented. Behind the camera were 650s and 150s and a slew of flags so we don’t spill under the shelves, etc., or it would give it away that we added extra lights.

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Q11: When do you choose to silhouette and when is it more appropriate to light an actor from the front or use a fill?

For this example I chose a silhouette to show a difference between the two characters. Jena is starting to get more sick and Dallan is starting to thrive as a provider. You can’t tell in this still frame, but Jena is in the bed on the left of the frame and had just turned to face the wall. It was a great opportunity to utilize the frame within a frame as the edge of the door cut this shot in half. In this instance, we didn’t need to see Dallan’s face to know how he was feeling or what he was doing. We, as an audience, can see it physically in his posture, in the way he moves. He’s more confident than we’ve seen him earlier in the movie. So for that reason alone, it was okay to see him in silhouette. We hadn’t planned it that way, but when I saw the blocking, before any lights were placed on set, it totally worked and saved us a lot of set up time.

Q12/13: What lens did you use here to achieve this cinematic effect? Do you have a favorite lens?

I believe I used a 50/1.4 for this medium/close-up. Stopped all the way down, the lens has a beautiful bokeh* but it’s very difficult to pull focus with that shallow a DoF. I think I stopped up to about a 2.8, which is the lens’ sweet spot. I think it’s the sharpest at that aperture, plus it gives us a little room for error.

Favorite lens?! This is a tough one… Are we talking about specific brands and focal lengths or are we just talking about focal lengths. If we’re talking about focal lengths, I would have to say the 50mm, especially if it’s a fast 50: 1.3, 1.4, 1.5… Something that sucks the light in and gives us a REALLY dreamy, shallow DoF. A 50 generally have a sharp resolve and low contrast and, in my opinion, that combo makes for a pretty picture!

If we’re talking about brands and types of lenses, I’m very partial to the Zeiss Superspeed MKIIIs: VERY fast lenses but not perfect. They have an old-school, vintage feel. They do breathe a lot compared to, say, Master Primes, which every lens strives to be, but I really do like the old MKIIIs.

* In photography, bokeh is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens. Bokeh has been defined as “the way the lens renders out-of-focus points of light”.

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Q14: Tell us about, What You Can’t Have.

Lighting and framing seems integral to the story telling throughout the film. Each tableau chosen for this article tells a story in itself.

What one might not pick up at first is lighting for dimension, as illustrated here. Tell us the process of lighting subtly in the background to counterbalance the focal point of the actress in bed here.

With this image, I wanted to show how lonely she was. The framing helped tell a little about that story. The light we had concentrated on the bed helped draw the viewers’ eyes to that part of the frame. What I did with most of the lighting in this movie was use “shafts” of light just splashed on a wall to help give us some detail without drawing your attention that way. The light in the background was also pointed “towards” our character as if to say, “Look that way or look over there”. We even caught that “shaft” of light in the reflection in the mirror of her headboard, which points straight at her head.

Q14: Let’s talk about shooting with mirrors. You are literally catching “reflective thoughts” through reflections here.

Was this shot nearly impossible to set up? Did you have to edit out reflections of the camera for this film?

Shooting with mirrors is tricky, but as I mentioned this short was about self-reflection and we had so many mirrors on our set I couldn’t help but utilize them. This particular shot was somewhat difficult but not because of the mirror. During the beginning of the shot I placed both characters in frame using the rule of thirds. As the shot progresses on a slider, the camera slides left and puts our character “Audrey” on the right side and “Richard” sits on the bed to take his shoes off, framed on the left side. From here the scene plays out in a “soap opera” shot: both characters facing more or less towards the camera but one behind the other.

You’ll see a shot later in this article with “Richard” standing in the bathroom and there are several reflections of him. During this shot he bends over to spit out the toothpaste and when he does, he reveals one of our lighting guys standing in the shower with a light. I ended up going in with a little post magic, took that crew member out. That was the only instance that we caught ourselves on screen. We scrutinized every shot to make sure we didn’t see the gear.

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Q15: When to fill, when not to fill? I love the lighting choice here! Was there a fill light?

In short, yes, there was a fill. There was also a back-light. This scene seemed very heavy to me, and by that I mean the subject matter and the dialogue. I chose to give this shot a little more ratio to accentuate that fact. We had beautiful sunlight coming in through the window in front of him and we also supplemented with a little extra light to give us a more dramatic image.

Q16: HOW IS THE CAMERA NOT IN THIS SHOT???

This was a tricky room. There was one main mirror and two other mirrors that angled in a little. There were literally two spots that the camera wouldn’t be seen. This is one position. We had to be so precise with the placement that if we moved left or right one inch, the sticks would be scene in the frame.

The fluorescent lighting above was also manipulated to give us more of a dramatic look. Otherwise, the whole bathroom would just be flooded with light.

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Q17: The impression of “threes” seem to be prevalent in this film. Was there a conscious decision made to have a theme of three?

A: Well, there’s the rule of thirds regarding composition and the rule of threes regarding storytelling. This is an instance of storytelling and it was a happy accident that this framing occurred this way. As a DP, you can only hope that the production design is perfect. Well, the house that we shot in made it very easy to find out camera angles. It just looked so nice and complimented the aesthetic to the movie.

Q18: This is the least dimensionally lit stills for this particular movie, yet it is extremely cinematic. Tell us about the choices you made here.

Well, in this scene our character “Aubrey” is really contemplating her predicament. Here she is married to “Richard” and having an affair with “Dean.” I think this is an image we’re all used to seeing when we watch movies and associate it with being cinematic. Here are some reasons why that could be.

The light is directional. We shot this on an overcast day, so the lighting was already pretty soft. We supplemented with a 2K-watt light and gave her a little more dimension in her face. People typically call this Rembrandt lighting with the signature light triangle on her left cheekbone. This direction of light gives the appearance that the object being lit is a 3D object. We let the clouds give her a REALLY soft back-light.

The other thing is controlling the depth of field. We allowed this lens to go really shallow here, keeping her in focus and allowing the background to go soft. We only need the background for reference to where she’s at. Also she’s placed in front of a dark area of screen. This helps her stand out especially with what she’s wearing. If you peek through squinted eyes--go ahead and do that before continuing. If you tried that little experiment, you would notice that your eyes are very quickly drawn to her image: (1) Because she’s a lot lighter in color than anything else in the frame and (2) our eyes are drawn to faces especially if it’s in a power position. If you broke the screen up into thirds vertically and also horizontally, the power position is where the horizontal and vertical lines meet.

This is actually a very basic framing technique.

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Q19: You have such an affinity to paint with hard and soft light. Tell us about this scene and why the paper is so important?

I love lighting. It tells just as much story as dialogue does, but it tells it subconsciously. When you look at the world around you, it’s a mixture of light: hard and soft, daylight and tungsten. In this shot I took those different ideas and combined them. As “Richard” walks through the door, he drops his flowers and sees the most terrible thing. He ends up leaving the door open, which gives us this beautiful light coming through the door. It’s actually a 2K-watt light balanced for daylight. The sun doesn’t actually come through at a 90-degree-angle….

The edge light on the right side of his face is coming from a kicker just behind the door sill behind him. This gives him an edge. I don’t have a fill light per se. It’s actually daylight bouncing off of the wall next to him that is filling the left side of his face.

The paper is the big reveal. I can’t spoil it here. You’ll just have to watch the short to see what happened. It’s a pretty good twist; that’s all I can say. Rachel Voter, the film’s director, is also a fantastic writer. I highly encourage anyone to watch it. Here’s the URL.:

www.aaronmleong.com > cinematography > What You Can’t Have

Q20: This is the Close up of the scene. Has this emerged as your personal style?

I just felt the lighting needed to be this way for the end. It’s a beautiful scene and it needed to look beautiful--the end of the movie, the end of the day, the end of a “situation” if you will. Again, it’s a pretty dramatic scene and the lighting had to be beautiful and dramatic.

I don’t know if I have a “style.” I typically make decisions using the script to help dictate what the movie should look like, how it’s lit and what kind of camera work to use. I like to think that I’m adaptive to different situations.

Then again, having a certain signature style isn’t all that bad either. I light to my liking, how’s that? I light the way I think it should be lit according to story and script. The director can steer that in other directions but hasn’t so far. I’ve been lucky.

Well, INDIEblush thinks that Sacramento is the lucky one to have Aaron Leong, Cinematographer, residing in the region. TO see more of Aaron’s work and portfolio, please visit his site at www.aaronmleong.com.

~CM

The M.A.N.A. Show w/Myki podcast celebrates one year in the Sacramento area!

We thank everyone who has supported our show and look forward to continuing our efforts in supporting and promoting our local artists, films, music, and photography in 2016.

Podcast Random Rants Lez B Honest Artist Spotlight Visit our webpage and listen to the latest show, older episodes, and to find us on Instagram and Twitter. http://www.manashow.com Plays on iTunes and Stitcher Radio

Please help bring it back!!

We did not hold a challenge last Summer due to lack of funding and venue loss!! Our developing Designers need YOU. Be the Difference.

PLEASE DONATE

Four successful years of creating couture in 10 days with unexpected materials: Newspaper Couture, Fashion Pairings, Poe Couture, and TRASHION. Your generous donations will fund this year’s challenge.

What secret materials will there be this year?

On May 3rd, 2016 your donations get

match funded!

Capitol INDIE Collective, Inc (501c3) transforms Artists into Entrepreneurs. With your tax-deductible gift, we can have more success stories like Sacha Laurin, winner of the Fashion Challenge, who went on to show her fashions and jewelry at SAC Fashion Week, The Huffington Post, and at the Oscars as part of the Nokia Gifting Suite.

Your donations fuel projects like ELEMENTS Fashion Experience and The #DYSPHORIA Project, fighting back against bullies and body shaming. Because of your generosity we have nearly 100 people standing up to share their body types and educate on Body Dysmorphic Disorder.

Please SAVE THE DATE, May 3rd, 2016 We hope to acquire at least 100 new donors at $100.00 each.

If we raise $10,000, The #DYSPHORIA Project can go global at Burning Man 2016.

Meet “CLARA” The E. Claire Raley Studios For The Performing Arts

Photos by: Friedhelm Rosenau

Sacramento’s Second Saturday in April set the stage for CLARA’s Open House, arranged by their new Executive Director: Megan Wygant. This innovative new facility boasts six inaugural tenants: The Sacramento Ballet, Alliance Frances De Sacramento, Capitol Stage Theatre company, McKeever School of Irish Dance, Sacramento Preparatory Music Academy, and Brazilian Center for Cultural Exchange of Sacramento (pictured left).

According to their website, CLARA, “provides studios and performance space for professional and community-based arts groups and a place for creative collisions and collaborations. As the newest cultural icon of the Sacramento Downtown Renaissance, CLARA already is rich in history – housed within the 100-year-old historic Fremont School in midtown Sacramento – and bringing to life the fearless spirit, love of the arts and culture E. Claire Raley passed down through generations of the Raley-Teel family.

Rooted in the strong belief that arts are essential to the human spirit, fosters lifetime learning, and critical to economic development for the Sacramento region, CLARA also provides access to quality arts education in partnership with Sacramento City Unified School District.”

The open house was the first demonstration of these tenants working together to bring a funfilled day of performances, culture-sharing, food tasting, and fellowship.

Megan, a transplant from Boston, is an energetic element who provides the culture and pulse (as well as oversees operations) for the new building.

Her welcoming smile and quick wit is just what Sacramento needs in a facility that houses creativity, collaboration, and community engagement.

Overseeing a building that houses six organizations (with room for one more tenant and a cafe), can be a delicate dance in diplomacy. However, Megan is no stranger to high-profile projects.

According to her Linked-In Profile, she “Created and implemented a marketing plan to promote Emerson Stage’s nine-show season; ticket sales have increased 5% year over year throughout (her) tenure,” at Emerson college in Boston; and before that was the company Manager for Berkley Repertory Theatre. My experience at the Open House was delightful as I met with several of the tenants’ Executive Directors. It was very inspiring to be invited to try classes. I collected information on enrollment and learned how the tenants are creating a space for the Sacramento Unified School District’s pupils to learn what they have to offer.

This may be the first iteration in the nation where the City, School District, and Public/Private entities have come together to create a partnership like this. Two of the tenants have already teamed up in a collaboration early on. The Sacramento Preparatory Music Academy (pictured this page) and the Brazilian Center for Cultural Exchange of Sacramento offered dance lessons using “Sac Prep” as their band for the evening.

CLARA now has a beautiful website that further tells the story of the historic building in which they inhabit and has direct links to what the tenants offer on the home page, making CLARA your one-stop-shop for entertainment and Performing Arts Education at www.claramidtown.org.

INDIEblush looks forward to bringing you more stories of collaborations coming out of CLARA. Until then, feel free to visit the campus and sign up for classes! ~CM

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