Exposure Model & Talent

Be sure to listen for Exposure's TOM KANE who will be announcing the 84th annual Academy Awards this Sunday on ABC!

2012-02-24T10:45:00.004-06:00

NBC Reality Show NOW Casting for Single Women age 24-33 yrs. old at T2 - details enclosed

2012-02-15T15:10:00.003-06:00

Fabulous Exposure Model Lauren Layne walking runway for IMITATION OF CHRIST - in NY Fashion Week Feb 2012

2012-02-14T13:54:00.003-06:00

Amazing Exposure Model Lauren Layne Modeling for Zooey Magazine Online NYC Feb 2012

2012-02-14T13:46:00.004-06:00

Beautiful Exposure Model Lauren Layne modeling in NYC Fashion Week

2012-02-14T13:43:00.002-06:00

Check out Exposure's JENNIFER MAYS in "Pump Boys and Dinettes" at the New Theatre!

2012-02-13T13:51:00.004-06:00

‘Pump Boys’ delivers sharp music, good performances, modest laughs

BY ROBERT TRUSSELL

The Kansas City Star

Read more here: http://www.kansascity.com/2012/02/02/3407543/pump-boys-delivers-sharp-music.html#storylink=cpy

“Pump Boys and Dinettes” was a unique show when it opened on Broadway just over 30 years ago and it still is – an amiable, slap-happy revue that pokes fun at our rural roots and country cousins without ever seeming mean-spirited.

The lively production now running at the New Theatre does it up right. Director Richard Carrothers, working with music director Chuck Mead and choreographer Richard J. Hinds (credited with “musical staging”) gets the most out of a talented cast. Indeed, the actors manage to sell the charm of this show, even when the material shows its age.

“Pump Boys” was written by the people who originally performed it – John Foley, Mark Hardwick, Debra Monk, Cass Morgan, John Schimmel and Jim Wann – and the result is a sort of countrified pastiche that is often played for laughs and now and then steps back to generate a little honest sentiment.

Check out the full article at:http://www.kansascity.com/2012/02/02/3407543/pump-boys-delivers-sharp-music.html

Read more here: http://www.kansascity.com/2012/02/02/3407543/pump-boys-delivers-sharp-music.html#storylink=cpy

Exposure's SCOTT CORDES and CATHY BARNETT enjoy ‘Beer for Breakfast’ at the Heartland

2012-02-13T10:30:00.009-06:00

Workin’ hard.

That’s what I thought as I watched a talented cast put its collective shoulder to a new comedy called “Beer for Breakfast” and push it uphill at the American Heartland Theatre.

Playwright Sean Grennan writes clever dialogue, and his play delivers some serious laughs, but the plotting seems forced, to put it mildly. This is a situation comedy beefed up with sexual humor and, inevitably, a big helping of sentimentality.

The burden is on the actors — one of whom is Grennan — to make the artificial relationships onstage seem plausible, if not convincing. That they succeed at least part of the time is a testament to their talent.

I can’t really call the play imitative, because Grennan seems to be doing his own thing. But it has the feel of something we’ve seen before.

On one level it’s a sort of male response to “Menopause the Musical.” No, this isn’t a musical, but bringing together three middle-aged men who have been slapped around by real life and now seek meaning in an uncertain world does invite comparisons to undemanding shows we’ve seen about world-weary gals finding strength in each other.

The setup: On a cold winter night three old college friends come together in a lakeside vacation house for a weekend of drinking, eating bad food and horsing around as they did back in the good old days.

The good old days, however, are long gone. Mark (Grennan) is a newspaper writer who’s been laid off but continues freelancing. Richard (Martin English) has had a stroke and now walks with a limp and can’t speak clearly. TJ (Scott Cordes) is an advertising executive being pushed out by young hipsters.

Read more here: http://www.kansascity.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html#storylink=cpy

itWorkin’ hard.

That’s what I thought as I watched a talented cast put its collective shoulder to a new comedy called “Beer for Breakfast” and push it uphill at the American Heartland Theatre.

I can’t really call the play imitative, because Grennan seems to be doing his own thing. But it has the feel of something we’ve seen before.

Read more here: http://www.kansascity.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html#storylink=cpy

y.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html#storylink=cpy more here: http://www.kansascity.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html#storylink=cpyWorkin’ hard.

BY ROBERT TRUSSELL

The Kansas City Star

Workin' hard.

That’s what I thought as I watched a talented cast put its collective shoulder to a new comedy called “Beer for Breakfast” and push it uphill at the American Heartland Theatre.

I can’t really call the play imitative, because Grennan seems to be doing his own thing. But it has the feel of something we’ve seen before.

http://www.kansascity.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html

Read more here: http://www.kansascity.com/2012/01/12/3366053/beer-for-breakfast-delivers-laughs.html#storylink=cpy

Lauren Layne Exposure "Super" Model in Seventeen Magazine's Dec/Jan issue

2011-12-28T13:09:00.009-06:00

Exposure Model Lauren Layne in NATIONAL TARGET AD - December 2012

2011-12-09T14:54:00.004-06:00

Exposure's COLLEEN GRATE lends her voice to 'THE MARVELOUS WONDERETTES' at the American Heartland Theatre

2011-12-05T13:42:00.004-06:00

Marvelous singing carries American Heartland’s ‘Wonderettes’

By ROBERT TRUSSELL

The Kansas City Star

One of the mainstays of commercial regional theater is the jukebox musical, a genre that holds few surprises. But for a golden-oldies show, the American Heartland Theatre’s production of “The Marvelous Wonderettes” is a superior piece of work — cleverly written, well-acted and inventively directed.

Speaking as one who can actually remember the 1950s, I’m not sure why writers insist on presenting that era as “innocent” because it was, in fact, a decade permeated with Cold War paranoia and marked by racial segregation. Presumably, the market for a musical that showed us the dark side of the “Nifty Fifties” would be rather limited.

The audience for “The Marvelous Wonderettes,” on the other hand, may stretch to infinity — at least as long as baby boomers with a taste for uncomplicated entertainment are still kicking.

As constructed by playwright Roger Bean, the show does offer a faint suggestion of social consciousness by contrasting the ‘50s and the ‘60s. Act 1 is set in 1958, and four high-school girls — Cindy Lou, Suzy, Missy and Betty Jean — are performing at their prom as the Marvelous Wonderettes. The music is facile and blithely free of calories as the girls run through a set of unapologetically superficial tunes, including “Mr. Sandman,” “Stupid Cupid” and “Lipstick on Your Collar.”

Act 2 depicts the 10-year reunion, and the music is a little looser, a bit more worldly and more expansive as we get renditions of “Heat Wave,” “Son of a Preacher Man,” “Respect” and “Rescue Me,” among others.

Congrats to Exposure's KATIE GILCHRIST and SAM WILLIAMSON on the recent production of 'BETRAYAL'

2011-12-05T13:29:00.004-06:00

‘Betrayal’ is an affair to remember

Living Room presents Pinter’s powerful drama with a fine cast and unusual staging.

By ROBERT TRUSSELL

The Kansas City Star

Harold Pinter’s “Betrayal,” arguably his most accessible play, can be read one of two ways: as a cleverly constructed dissection of a clandestine love affair and all the levels of betrayal that come with it, or as an indulgent autobiographical work by a self-obsessed writer.

There’s no rule that says it can’t be both, of course. This play spans nine years and allows us to see the exuberant beginning and sad end of a seven-year love affair between a literary agent and his best friend’s wife. Based in part on Pinter’s own affair with television presenter Joan Bakewell while he was married to actress Vivien Merchant, he lays out the major events in “Betrayal” in reverse chronology.

Thus, in the opening scene we see the final, bittersweet meeting between Jerry and Emma two years after their affair ended. In the final scene we see its passionate beginning.

There’s no denying that Pinter’s tight, economical dialogue draws us in. And his knack for conveying information about his characters as much by what they don’t say as what they do is compelling. In a strange way, “Betrayal” is put together like a thriller — although it doesn’t deliver much in the way of thrills.

The production at the Living Room, directed by Bryan Moses and featuring a talented cast, finds clever ways to distract us from the play’s fundamental emptiness. The love triangle presented in this play is remarkably cold and joyless, and how we feel about it all when it’s over seems curiously beside the point.

Katie Gilchrist brings her customary charisma to the stage as Emma, ably negotiating transitions between love, passion and, ultimately, an emotional void. And Rick Williamson, an actor I’d never seen before, delivers an impressive less-is-more performance as Robert, Emma’s husband. His work is subtle and controlled.

Williamson is particularly good when enunciating the script’s understated but withering commentary on the London writing and publishing scene, circa the 1970s.

Exposure Actors JAMES WRIGHT, LICIA WATSON and DOOGIN BROWN appeared in the recent production of 'ALL MY SONS'

2011-12-05T13:11:00.005-06:00

Veteran actor is father to ‘Sons’

James Wright puts aside his musical comedy penchant for an Arthur Miller drama

By ROBERT TRUSSELL

The Kansas City Star

James is back.

Actor James Wright, well known for his skills on the musical comedy stage, placed an enormous asterisk by his name with his 2008 performance in “Frankie and Johnny in the Claire de Lune,” Terrence McNally’s two-character comic drama about a one-night stand between a fry cook and a waitress.

That was a Metropolitan Ensemble Theatre production directed by Karen Paisley. Wright performed opposite Jan Chapman, and they both turned in effective, heartfelt performances. It was the first time a local producer had hired Wright to do anything other than to sing pretty or act goofy. And so the footnote by the asterisk should read something like: “He can also act.”

Paisley has invited Wright back to take on a much heavier dramatic role in the MET’s production of Arthur Miller’s “All My Sons,” his 1947 play about a family uncovering damning secrets in the wake of World War II. Wright plays Joe Keller, a businessman who knowingly sold defective airplane parts to the government, causing the deaths of 21 pilots during the war.

Wright said he’s known the play for decades and at one time hoped to play Chris, Joe’s son. For years he used a monologue by Chris as an audition piece, but eventually Wright grew too old for the part. But now Wright, 50, gets to inhabit the complicated role of 60-year-old Joe.

“He carries a secret through the whole play, and it’s not revealed until the very end,” Wright said. “You want to like him, but eventually you can’t help but feel disgusted. He’s sort of the Joe Paterno of his day.”

Joining Wright in the production are Licia Watson as Joe’s wife, Kate; Taylor St. John as Chris; Natalie Liccardello as Ann Deever, the daughter of Joe’s disgraced business partner; Doogin Brown as George Deever, Ann’s brother. Also in the show are Matt Griggs, Courtney Stephens, Angel Reese, Karen Paisley and John Robert Paisley.

Miller wrote “All My Sons” just before his history-making “Death of a Salesman,” which depicted the mental deterioration of Willy Loman and his troubled relationship with his wife and sons. You could argue that Miller had to write “All My Sons” before he could write “Salesman.”

“There’s a lot of similarities between the two plays,” Wright said. “Willy was kind of a pathetic hero because even when he decided to do the right thing for his family, it was all for naught. In ‘All My Sons,’ Joe Keller is a bit more honorable, I think. You’ll hear the syntax and the rhythms and the meaning of family as being similar in the two plays.”

Wright said this is the first Miller play he’s tackled since appearing in “The Crucible” in college.

“The thing about Arthur Miller is there is actually no fat on the bone,” Wright said. “There is nothing superfluous in his writing. Every single sentence, there’s a reason it’s there. It will come up later and it’s all connected.”

Wright is known in the theater community for his conservative political convictions. And Miller was a lefty. Indeed, he was called before the House Un-American Activities Committee because “All My Sons” was perceived as an attack on the American dream. But Wright said Miller’s politics don’t concern him.

“I think it’s political in nature but I’m also an actor and I remove myself from all of that,” he said. “I don’t understand why we can’t just separate it. It’s called ‘acting’ for a reason. It’s another character. I just do my job.

“Whatever political underpinnings there are, that’s not where my character is operating from. Joe is just a blue-collar guy who’s getting by from day to day. The political machinations are for when you and whoever you see the play with go out for coffee afterwards and sort all that out.”

“All My Sons” runs through Dec. 4 at the Metropolitan Ensemble Theatre, 3614 Main St. Call 816-569-3226 or go to www.metkc.org.

Sadie Moss and Zander Dible in trendsetter for HERLIFE Magazine December 2011

2011-12-02T13:57:00.010-06:00

Jayden Robison Barnes, Sheena Pena and Holly Starr Featured in HERLIFE Magazine trendsetter November 2011

2011-12-02T13:49:00.007-06:00

WALTER COPPAGE, PEGGY FRIESEN, CHARLES FUGATE, WHITTAKER HOAR, EMILY PETERSON, VANESSA SEVERO, RUSTY SNEARY, KATHLEEN WARFEL & CHERYL WEAVER in...

2011-12-02T11:10:00.004-06:00

KC Rep’s ‘A Christmas Carol’ draws strength from familiarity

By ROBERT TRUSSELL

The Kansas City Star

We can agree that the Kansas City Repertory Theatre’s annual production of “A Christmas Carol” is hardly pushing a political agenda, but it is tempting to view Ebenezer Scrooge as a member of the 1 percent while everyone else is part of the 99 percent.

Let’s just say the material’s political relevance — or lack thereof — can be pondered by theatergoers if they choose. But In Barbara Fields’ adaptation of the Charles Dickens classic, Scrooge’s seismic spiritual transformation from cynical skinflint to lovable eccentric is really about the old guy’s gooey need for love.

This year’s edition of the Rep show — its 31st — is a sturdy reiteration of a local holiday ritual that draws strength from its familiarity. Director Kyle Hatley and his design team have continued to spice up the show, offering an impressive level of technical refinement. The lighting and projections design by Jeffrey Cady underscores the fact that “A Christmas Carol” is, after all, a ghost story and should be a little scary at times. When Scrooge first glimpses Jacob Marley’s ghost, the front door of his house seems to undulate before our eyes, and at odd moments you see fleeting images of spirits looming from the shadows.

John Story’s sound design also plays a more prominent role this year. When a character strikes a match to light a candle, the sound reverberates in an echo chamber. And at times Scrooge hears voices in his head, expressed as a sort of sound montage in variations of dialogue which point to Scrooge’s fundamental inner conflict — the warm, sometimes explosive unpredictability of love versus the cold logic of account books.

The show continues its use of a turntable, which frees John Ezell’s scenic design from the straitjacket it endured for almost 30 years. It allows dreamlike scene transitions that give the show a pronounced cinematic quality.

But, as usual, the actors are what really make it go. Gary Neal Johnson in inhabits the role of Scrooge seamlessly. You would think that after all these years an actor might be tempted to flip the automatic pilot switch, but Johnson seems as committed as ever.

Charles Fugate admirably reprises the role of Dickens. Mark Robbins delivers another vivid performance as Marley’s ghost. T.J. Chasteen as young Ebenezer and Vanessa Severo as Belle once again make their doomed romance convincing and passionate in a few quick strokes.

Walter Coppage seems a bit more playful as Cratchit this year and always brings an irresistible warmth to the character. Cheryl Weaver makes a memorable and sympathetic Mrs. Cratchit.

The spirits — Katie Kalahurka as the ethereal Ghost of Christmas Past and Jim Gall as the expansive Ghost of Christmas Present — make lively contributions, and Gall also delivers a tasty performance as Fezziwig. Filling out smaller roles are young actors and veterans, most of whom do exemplary work. Emily Peterson as Fan, Scrooge’s beloved sister; Kathleen Warfel as the Charwoman; Alan Boardman as Old Joe; Peggy Friesen as Mrs. Fezziwig and Jerry Jay Cranford as Topper all score with memorable moments.

A key sequence in this production has always been the full-cast performance of “O Come All Ye Faithful,” and this year the number was better than I’ve ever heard it.

EXPOSURE Actress JENNIFER MAYS on stage in 'Seussical'

2011-12-02T10:58:00.003-06:00

Coterie Theatre’s ‘Seussical’ still charms

Talented local cast brings back beloved Dr. Seuss musical with flair.

By ROBERT TRUSSELL

The Kansas City Star

It’s possible to get tired of some shows after only one viewing. But then there are others that never get old.

And that’s the case with “Seussical,” which proves to be as charming as ever in the Coterie Theatre’s third production of the piece since 2004.

The backstory on this version is worth repeating. It began when Jeff Church, the Coterie’s artistic director, approached the team of composer Stephen Flaherty and lyricist/book writer Lynn Ahrens with a proposal.

“Seussical” works quite well as a small show, but in its 2000 Broadway version the inflated production values overwhelmed the nuanced work Flaherty and Ahrens had executed in bringing the Dr. Seuss books to the stage. Church hit them with a “what if” suggestion: Shrink the show to a one-act format tailored for young audiences.

That’s essentially what happened, and in 2004 the Coterie presented the world premiere of a simplified version of the show that has gone on to be widely produced in regional theaters.

The new production, directed and choreographed by David Ollington, showcases a cast that happens to include some of the best musical-theater actors in town. It also benefits greatly from Jennifer Myers Ecton’s audacious and whimsical original costumes, which have been adjusted a bit for this production by Georgiana Buchanan. This production also retains Gary Wichansky’s clever scenic and prop designs.

Seth Golay returns as Horton the Elephant, the gentle-giant protagonist who discovers the tiny residents of Whoville on a speck of dust and seeks to protect them from harm because, after all, “a person’s a person, no matter how small.”

Horton remains oblivious to the attentions of Gertrude McFuzz (a delightful Jennie Greenberry), a plumage-challenged bird who is ostracized by the richly feathered Bird Girls, until late in the proceedings. Ruling over the Bird Girls is Mayzie La Bird (Jennifer Mays in a fine comic performance), a diva who cons Horton into sitting on her egg while she goes on permanent vacation.

Exposure Actors MATT RAPPORT, ERIN McGRANE and MATT WEISS rock out in "The Salvation of Iggy Scrooge."

2011-12-02T10:36:00.007-06:00

Hound dog meets humbug in Unicorn’s ‘Iggy Scrooge’

By ROBERT TRUSSELL

The Kansas City Star

The rarefied world of rock ’n’ roll has always been a sport for voyeurs, never more so than when their beloved icons declare themselves to be infants in men’s bodies.

Overdoses, backstage tantrums, trashed hotel rooms, incoherent tongue-lashings of roadies and managers — this is the stuff of which rock legends are made.

But what happens when the fortunes of a rock star begin to fade? What happens then?

“Now he’s got that Journey-playing-at-the-state-fair kind of thing going on,” said Matt Rapport, who plays the title role in the Unicorn Theatre production of “The Salvation of Iggy Scrooge.”

The show is a rock musical by playwrights Larry Larson and Eddie Levi Lee and composer Edd Key that you could call a free adaptation of Charles Dickens’ “A Christmas Carol.”

“Iggy Scrooge” made its debut in 1994, the result of several years of work by the collaborators. Three years later it was staged by the Unicorn, which this year brings it back as an acerbic alternative to more traditional holiday shows.

Larson recalled that it all began when Lee wrote an adaptation of “A Christmas Carol” in the 1980s.

“It wasn’t ‘Iggy Scrooge,’ but it was an updated version,” Larson said from Atlanta. “I thought it would be perfect as a rock musical. I kept noodling with it and finally we went ahead and decided to write it.”

The show actually follows the Dickens original fairly closely. Iggy is the stand-in for Ebenezer Scrooge, and Bob Marley, naturally enough, becomes the surrogate for the ghost of Jacob Marley. After falling into a drug stupor, Iggy is then visited by two more spirits — one resembling Buddy Holly (the Ghost of Christmas Past), the other Elvis (Ghost of Christmas Present) — and eventually realizes he’s been acting like a jerk for far too long.

Exposure Models MELLISA RICHARDSON & SHEENA PENA in HomeintheNorthland Magazine

2011-10-24T13:33:00.009-05:00

Exposure Model - NICK BOLTON - Cover of 435 Magazine

2011-10-24T13:32:00.002-05:00

Exposure Model BRANDON WHITE featured in September's Spaces Magazine

2011-10-24T13:29:00.006-05:00

Exposure Actress PAT CLEARY - featured on Hallmark Card

2011-10-24T13:26:00.002-05:00

Exposure Models Stephen Bodenhausen and Tim McGrath featured in 435 Magazine editorial

2011-10-24T13:10:00.007-05:00

FABULOUS Exposure model MOLLY GAY on Cover and inside SPACES Magazine September 2011

2011-10-14T11:42:00.012-05:00

Jayden Robison Barnes latest NYC tests- Jayden was signed to Trump Models NYC by Exposure this spring - You look amazing Jayden!

2011-06-27T15:57:00.023-05:00

Congratulations to Lauran Layne on her alll day photo shoot for Hollister w/world famous fashion photog. Bruce Weber last week. GO Lauran!

2011-06-27T15:18:00.006-05:00

Exposure Model & Talent

Be sure to listen for Exposure's TOM KANE who will be announcing the 84th annual Academy Awards this Sunday on ABC!

NBC Reality Show NOW Casting for Single Women age 24-33 yrs. old at T2 - details enclosed

Fabulous Exposure Model Lauren Layne walking runway for IMITATION OF CHRIST - in NY Fashion Week Feb 2012

Amazing Exposure Model Lauren Layne Modeling for Zooey Magazine Online NYC Feb 2012

Beautiful Exposure Model Lauren Layne modeling in NYC Fashion Week

Check out Exposure's JENNIFER MAYS in "Pump Boys and Dinettes" at the New Theatre!

‘Pump Boys’ delivers sharp music, good performances, modest laughs

BY ROBERT TRUSSELL

The Kansas City StarRead more here: http://www.kansascity.com/2012/02/02/3407543/pump-boys-delivers-sharp-music.html#storylink=cpy

Exposure's SCOTT CORDES and CATHY BARNETT enjoy ‘Beer for Breakfast’ at the Heartland

BY ROBERT TRUSSELL

The Kansas City Star

Lauren Layne Exposure "Super" Model in Seventeen Magazine's Dec/Jan issue

Exposure Model Lauren Layne in NATIONAL TARGET AD - December 2012

Exposure's COLLEEN GRATE lends her voice to 'THE MARVELOUS WONDERETTES' at the American Heartland Theatre

Marvelous singing carries American Heartland’s ‘Wonderettes’

By ROBERT TRUSSELL

The Kansas City Star

Congrats to Exposure's KATIE GILCHRIST and SAM WILLIAMSON on the recent production of 'BETRAYAL'

‘Betrayal’ is an affair to remember

Living Room presents Pinter’s powerful drama with a fine cast and unusual staging.

By ROBERT TRUSSELL

The Kansas City Star

Exposure Actors JAMES WRIGHT, LICIA WATSON and DOOGIN BROWN appeared in the recent production of 'ALL MY SONS'

Veteran actor is father to ‘Sons’

James Wright puts aside his musical comedy penchant for an Arthur Miller drama

By ROBERT TRUSSELL

The Kansas City Star

Sadie Moss and Zander Dible in trendsetter for HERLIFE Magazine December 2011

Jayden Robison Barnes, Sheena Pena and Holly Starr Featured in HERLIFE Magazine trendsetter November 2011

WALTER COPPAGE, PEGGY FRIESEN, CHARLES FUGATE, WHITTAKER HOAR, EMILY PETERSON, VANESSA SEVERO, RUSTY SNEARY, KATHLEEN WARFEL & CHERYL WEAVER in...

KC Rep’s ‘A Christmas Carol’ draws strength from familiarity

By ROBERT TRUSSELL

The Kansas City Star

EXPOSURE Actress JENNIFER MAYS on stage in 'Seussical'

Coterie Theatre’s ‘Seussical’ still charms

Talented local cast brings back beloved Dr. Seuss musical with flair.

By ROBERT TRUSSELL

The Kansas City Star

Exposure Actors MATT RAPPORT, ERIN McGRANE and MATT WEISS rock out in "The Salvation of Iggy Scrooge."

Hound dog meets humbug in Unicorn’s ‘Iggy Scrooge’

By ROBERT TRUSSELL

The Kansas City Star

Exposure Models MELLISA RICHARDSON & SHEENA PENA in HomeintheNorthland Magazine

Exposure Model - NICK BOLTON - Cover of 435 Magazine

Exposure Model BRANDON WHITE featured in September's Spaces Magazine

Exposure Actress PAT CLEARY - featured on Hallmark Card

Exposure Models Stephen Bodenhausen and Tim McGrath featured in 435 Magazine editorial

FABULOUS Exposure model MOLLY GAY on Cover and inside SPACES Magazine September 2011

Jayden Robison Barnes latest NYC tests- Jayden was signed to Trump Models NYC by Exposure this spring - You look amazing Jayden!

Congratulations to Lauran Layne on her alll day photo shoot for Hollister w/world famous fashion photog. Bruce Weber last week. GO Lauran!

The Kansas City Star

Read more here: http://www.kansascity.com/2012/02/02/3407543/pump-boys-delivers-sharp-music.html#storylink=cpy