Newest articles on The Sacramento Press tagged as "the voice"

Spotlight on Sacramento fashion with Simone Vianna

2013-03-19T06:04:49Z

Sacramento fashion has grown at a rapid pace during the past few years. Boutiques, salons, fashion shows and local designers have exhibited their talent on the local and national fashion scenes.

Creative interior and fashion designs created by Simone Vianna have resulted in unique collaborations. Models, designers, photographers and stylists enjoy collaborating with Vianna and look for her guidance when it comes to fashion.

Originally from Baru, Brazil, the multilingual and multitalented Vianna has created a priceless reputation for herself as a leading creative designer, stylist and consultant in Sacramento.

Besides being a talent coordinator for Sacramento Fashion Week, Vianna's tireless work allows her the opportunity to work as an editor and wardrobe consultant.

Vianna recently began hosting a radio talk show on cable FM 88.7. Vianna recently began work as a host producer for a weekly talk show on cable FM 88.7, in which she talks about fashion, art, interior design, health, beauty and other things related to the fashion industry. Once a month she airs a Portuguese-language talk show.

It was at the Access Sacramento, Coloma Community Center, that I had the opportunity to ask her a few questions for this spotlight.

Sacramento Press: Can you tell me about yourself?

Simone Vianna: My name is Simone Vianna. I am an interior designer and a wardrobe stylist. As a wardrobe stylist I do a lot of closet edits, workshops, editorials, runway shows and I help with the modeling industry as well.

SP: Where are you from?

SV: I'm originally from Brazil. I've been in the United States for the past 17 years. I've lived in Davis for nine years and have been in Sacramento since.

SP: How did you end up in Sacramento?

SV: I moved to Sacramento, but I was initially supposed to move to LA. I came here for a project I was working on. I fell in love with downtown, the trees, Second Saturdays and all of that. I wanted to be close to that, but I was not supposed to stay here. I lived in a very small apartment downtown at a very nice location and I ended up here. So here I am nine years later.

SP: How did you become involved with Sacramento Fashion Week?

SV: Two years ago Mykha (Duane Ram) approached me, wanting me to be part of the Fashion Forum for the 2012 event. I said yes of course, but it ended up that we didn't see each other for a while. He approached me a couple of months later. He knew I was in fashion and he was doing a jewelry video and asked me if I knew of a jewelry store. I said I didn't know any jewelry stores but knew of a store that sold jewelry and I was able to find him a venue to do the video. After that we met again when I was working as an apprentice for Stacy London back in October 2011. He went and attended the event at the Galleria in Roseville. He then asked me to be part of Sacramento Fashion Week and help with the editorials for the posters for 2012 event.

SP: Who or what inspires you when it comes to fashion?

SV: There's a lot of different people who inspire me. As a stylist, Rachael Zoe definitely inspires. She's so kind first of all, she's always a team player and she's always talking about her team. She has an amazing team that she works with, always trying to bring them together and keep them together as a team. That's very important. She doesn't have a great turnover as a team. I'm a team player so being part of a team comes first. As far as designer inspiration goes I look to Chanel and a couple of other vintage designers like Lilian, Oleg Cassini and Emilio Pucci, so I enjoy a variety of different designers.

SP: What have you found to be your toughest experience that you've overcome in life or fashion?

SV: Well in fashion it's probably the politics. It's very sad to see the politics involved because they keep talented people away and keep people whose dream, they think, is bigger than any event or any organization. In life I think I've overcome everyday things that challenge on a daily basis. When I first came here as an immigrant, learning a new language and trying to find a job and adjusting. With culture I really didn't have a problem with that but other people had problems with me adjusting and embracing. I try to embrace everybody; their food, culture and values. I work with people of all nationalities without judging. Another obstacle that I've overcome has been switching jobs, careers, and the recession. As an artist the recession hit hard; because of it nobody buys antiques, nobody buys vintage, nobody wants to remodel their home or embark on new construction.

SP: Can you share what's been the best advice you've received and from whom?

SV: The best advice I received was actually not long ago but it really hit me. I'm a Christian so it was a quote I saw that said something like 'If you get on your knees and pray to God every day you're never going to have to get on your knees to people and beg for anything in life.' So that's what I do, I get on my knees and pray to God every day.

SP: Tell me a little about your radio show on Access Sacramento, how it got started.

SV: I wanted to start a TV show first but it's taking longer than radio. I actually aimed for the TV show first and then I found out they had a radio program. I thought it was a great idea to have a radio show because it's transmitted through cable, meaning that everybody all over the world can listen to my radio show over the Internet. I thought it would be very interesting to have guests and use the same kind of frame I thought about for my TV show. My vision for the TV show was having people, different types of artists, and most important to share my experiences and try to help people wanting to be in fashion and the art industry. I want to bring professional people to be on the air and talk about how listeners can help and how they can perhaps become a better person, so it's all about community and helping the community.

SP: Where do you see fashion in Sacramento going in the near future?

SV: Well, I still think we need to raise the bar in construction first of all. Construction is important to me maybe because I have an interior designer background; it's all about foundation. So construction is important because trends, colors and styles, anybody can put something trendy together . Construction should be first and then quality. This foundation makes clothes last like vintage outfits from old designers back in the day from designers like Oleg Cassini, Lilian and others. Their designs are impeccable, have great construction and great fabrics. So I think the future of fashion is going to be great, but we still need to raise the bar in construction and quality.

SP: Define construction.

SV: Construction usually means containing a good seam, good lines, clean lines, no threads pulling or missing and no messy zippers. Good construction is something that will fit a body, any body, and is made to fit that certain body type that you're creating for.
SP: Any advice for young people trying to get into fashion, design or modeling?
SV: Well you know I'm always on a budget and I'm always very careful with people spending a lot of money going to a very expensive school. I think first they should try something like taking a sewing class. A lot of stores offer sewing classes so I think that's first, because if you're a good designer you must know how to sew, period. You have to. Second, learn a textile class so you know which textiles are good for certain coats or dresses or jackets and how they feel; if they breathe. Is it breathable? You have to know if it's going to stain, how it should be maintained and all that stuff. All that you learn on textile will pay off, that's a great class; it's a must. Then if you really like it everything else flows because the art is there; if you have it in you it's going to happen, but I think you know sewing and learning about textiles is a must.

SP: Anything else you'd like to add?

SV: Keep following your dreams. Make sure you do a lot of planning and preparation before you get into anything and don't let your ego get too big. It's all about the community, it's not all about you, it's about serving others. If you're a designer you have to know all about serving your clients. Serve the people who want to purchase from you, so make sure you help them and you'll become a better person every day.

Readers can listen to Vianna over Sacramento Community Radio every Saturday. Log on to “The Voice” to view their schedule. You can also follow Vianna via Facebook, Instagram and Twitter.

The Hunger Games

2012-03-23T10:38:36Z

The Hunger Games
Directed by Gary Ross

There’s no shortage of opportunities out there at the moment for some ‘last man standing’ vicarious voyeurism - whether it be “Celebrity Apprentice,” “The Voice,” any number of cable cooking shows, the NCAA finals, or the latest ‘vote them off the podium’ phenomenon: “Survivor: The Republican Primaries.” And given our species’ propensity for rubber-necking at freeway accidents, watching video clip shows that focus on hard crotch landings, and tuning in to assorted gameshows in which contestants endure pain and/or humiliation, it’s no wonder that we’re periodically given fictional contests in which the stakes are raised to life and death proportions.

These have come in multiple formats, from homeless people being hunted for sport (e.g. “The Game”), prisoners competing for freedom (e.g. “The Running Man,” “Death Race”), and groups of people thrown into obtuse deadly challenges (e.g. “Cube”). We’ve even had the premise before with kids as contestants (e.g. “Battle Royale”). But “The Hunger Games” raises the stakes in a new way, by taking ritualized game show death to the masses, especially young audiences, in unprecedented numbers (well, perhaps since the Roman Coliseum) – after three years on the bestselling book lists and with a movie opening that’s going to crush the competition (and which might even break records). Note: With a reported production budget of only $78million, it could be profitable on a worldwide basis by the end of the weekend – it’s like the anti-“John Carter.”

All of which practically forces one to view this and consider it not just as a movie or even an ‘event movie’ but on multiple other levels – including what it says about us that a story of this kind would be so appealing to so many people.

For starters, I can’t comment on the book, as I haven’t read it and, therefore, I can’t determine how good the adaptation is - although author Suzanne Collins’ presence as a producer would seem to be a good sign.

The basic story is set in a future society built on the rubble of North America and in which 12 “Districts” are controlled by “The Capitol,” in part by requiring them to send 2 young “tributes” to take part in the annual “Hunger Games” – a staged gladiatorial competition in which 23 of the 24 contestants are necessarily going to die. The film does little (virtually nothing) to explain why this system would diminish likely rebellions rather than encourage them, but it’s the premise so we’re expected to roll with it however hard to fathom.

Our focus is on the two tributes from District 12 – which looks remarkably like an Appalachian coal mining community in the past, as it’s apparently an Appalachian coal mining community in a post-apocalyptic future. Katniss Everdeen (Jennifer Lawrence) is a reluctant volunteer who jumps in to take the place of her younger sister and Peeta Mellark (Josh Hutcherson) is the local baker’s kid, chosen by the same lottery that selected Primrose Everdeen.

As one might expect from a film like this, the focus is on the competition and the opening scenes feel like content that we need to get through to get to that point. I’m guessing that the character development and relationships are explored more fully in the book – as perhaps are the characters of at least some of the other tributes – but not here.

That said, while Katniss and Peeta aren’t exactly looking forward to the Games, there are other tributes that are, with some Districts grooming children from birth to fight for local honor and reward. Interestingly, one of those kids is played by Jack Quaid, who as the son of Dennis Quaid and Meg Ryan may also have been groomed since birth for “The Hunger Games.”

This idea reminded me of two other novels – “Never Let Me Go” and Unwind.” Both involve, within their own contexts, the idea of farming young people for body parts (not quite the same as death bouts, but equally fatal). But whereas the film adaptation of “Never let Me Go” seemed bothersome to me for its relative lack of outrage, “Unwind” depicted both kids who had been raised to want to be harvested, with a religious conviction, and those who wanted to avoid it to the point of becoming renegades – a balance that seemed far more realistic and closer in tome to “The Hunger Games.”

Purely as a film, “The Hunger Games” actually works quite well – assuming you roll with the story. It’s well produced and well acted by cast members of all ages (and realize that the tributes can be as young as 12). It also feels tightly packaged, not feeling as long as its 142 minutes running time, with a substantial, authentic feel that’s missing in some of the competition (although that diminishes somewhat when we’re introduced to some redundant CGI critters). And the art direction team had fun with the relative freedom of creating a future society, with clothing, hair, and makeup that looks like they dropped acid backstage during Milan’s fashion week.

But it’s hard to get away from the fact that this is still a film about kids killing kids, intentionally, and often with great eagerness. It’s also hard to reconcile the timing, with “The Hunger Games” being out there in the widest of wide releases with a PG-13 rating while “Bully,” a film about real life kids hurting other real life kids, that might actually reduce violence, is being blocked from its intended audience by an R rating. In one it’s apparently fine to watch adolescents filled with blood lust as they dispatch one another with blades or their hands, but in the other it’s unacceptable to hear the “F” word seven times without upping the MPAA's rating to avoid tragically corrupting our impressionable young people.

This is the same rating system that tends to amaze Europeans by typically allowing teenagers to see bloody massacres featuring chainsaws and automatic weapons, but conservatively “protecting” them from visible genitalia or, god forbid, two people of the same gender kissing.

Meanwhile, whether or not it’s a stretch to think that we might ever get back to a point where as a society we might throw kids into the ‘ring’ – along with the cocks, dogs, bulls, and human adults that various members of various societies already like to watch bloody each other – it’s not such a stretch to imagine that people would watch. Our propensity for watching just about anything has already been parodied in such films as “The Truman Show” and “EdTV” – and mere rumors of filmed death can spike viewing numbers of controversial online videos – ratings be damned.

The other interesting aspect of all of this is the young adult fiction genre in general – as previously championed by the “Twilight” series. At some level it’s surprising that none of the tributes suddenly grow fangs or claws. But this is a boom segment of the market – typified by themes of lack of control, perceived futility in life, adults calling the shots, and young characters with chances or perhaps special powers that suddenly allow them to control their own destiny, or to at least offer a glimmer of hope. And it’s not just being embraced by young adults, which perhaps reflects how little control over their circumstances and opportunities even older adults perceive.

So I don’t think it’s just a factor of age that comes into play when I find some aspects of this film somewhat disturbing (in different ways than when I recently watched “Project X” and just saw it as multiple lawsuits waiting to happen). It’s worthwhile remembering that this isn’t a fantasy world like the “Harry Potter” and “Twilight” environments – the world of “The Hunger Games” is only separated from our own by time and future political constructs and treaties. And if we can live in a world with human and child labor and sex trafficking, and underage armies fighting adult wars, it sadly doesn’t seem like a complete fantasy that we could have 12 year old gladiators settling adult political conflicts – at least somewhere in the world. And, if nothing else, that makes for dubious children’s entertainment.

But it’s still going to make a killing, figuratively speaking. Perhaps if we put our political candidates into an arena, we could solve our economical problems.

Blake Shelton and Justin Moore bring honky-tonk to Sacramento

2012-03-19T04:51:22Z

Country crooners Blake Shelton and opening act Justin Moore charmed Sacramento during Shelton’s “Well Lit & Amplified Tour” Thursday night at Power Balance Pavilion.

Referencing the sea of cowboy hats and daisy dukes, Moore riled up the female fans in the audience by noticing, “there are more country girls here than anywhere in the world!”

Red Solo cup in hand, he called Sacramento “the best keep secret ever” and went on to perform a 10-song set chock full of cheeky lyrics.

The raucous audience raised their beers in appreciation of Moore’s saucy hits like, “If You Don’t Like My Twang,” “Bait a Hook” and “I Could Kick Your Ass,” which he dedicated to all the “rednecks” in California.

Moore next slowed it down with a few love ballads, “My Kind of Woman,” “If Heaven Wasn’t So Far Away” and the particularly sappy, “‘Til My Last Day,” his hit single written in dedication to his wife.

As his performance came to a close, he jokingly thanked the audience for buying tickets they couldn’t afford, especially the fans sitting in the “cheap seats.”

With the energy high and the audience in the throes of a romance with country music, Moore gave over the stage to the star of the night.

Shelton opened his 15-song set by injecting some honky-tonk into Kenny Loggins’ classic, “Footloose.”

With a country twang that made hearts flutter, he revved up the audience for a lively performance.

“I know you all have to go to work tomorrow morning but I don’t give a crap! Let’s have a good time tonight!” before going on to sing, “It’s All About Tonight.”

Shelton crooned about living, loving and (naturally) drinking. He sang current radio hits including "Drink On It," “God Gave Me You” and “Honey Bee,” and got the crowd stomping their cowboy boots with upbeat hits like “Hillybilly Bone” and “Some Beach.”

Fans were treated to a surprise duet with Shelton and season one runner-up from “The Voice,” Dia Frampton. A Sacramento native, Frampton took the stage donning a Kings jersey, to Shelton’s dismay.

“That’s cheatin’!” Shelton playfully whined, “I had to wear this stupid vest.”

Using Frampton's appearance as an opportunity for a little bit of self-promotion, Shelton called the NBC hit show the “coolest thing” he’s ever done.

In a nod to his co-star, Shelton injected a bit of pop into the Pavilion with Cee Lo’s “Forget You.” Interrupting his own song halfway through, he asked himself out loud what he was thinking singing a pop song at a country show.

Switching gears back to his own genre, Shelton belted out a few tunes from wife Miranda Lambert. Chaos ensued when Lambert took the stage, surprising the excited crowd.

With the thrill of Lambert still in the air, Shelton wound down the night with classics from early on in his career like, “Nobody But Me,” and his first debut single, “Austin.”

Shelton made hearts pitter patter yet again when he put a couple on the Jumbotron and encouraged a man to sing the lyrics to “Who Are You When I’m Not Looking” to his date. The man obliged, much to the delight of his girlfriend (and the audience).

During another strategically planned PR move, Shelton put his own Twitter page up on the big screen, performing a live tweet to “his people” in Nashville, who Shelton said give him trouble for drinking, raising hell or tweeting.

The later-deleted tweet kicked off the sassy, “Kick Your Ass.”

As the show came to a close and Shelton exited the stage, the crowd was left wanting much more.

Giving into the crowd’s pleads of “Blake! Blake! Blake!” Shelton returned to the spotlight with Moore by his side. The two performed a bonus duet of “Whiskey Ain’t Working Anymore."

As the show came to a close, fans left completely enamored with Shelton's country boy charm; Men want to be him and women want to be his "Honey Bee."

Following a St. Patrick’s Day performance in Las Vegas, and a quick stop in Reno, Moore and Shelton are heading back across the country to the Bismarck Civic Center in North Dakota on Tuesday.

Photo credit: Steven Chea, Steven Chea photography