Tracy Shaffer
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How Affordable is Denver Home Ownership? Glad you asked.

“I See What You Mean” (Big Blue Bear) created by Lawrence Argent, photograph by Elizabeth Thomsen
You may be surprised to know that in the Denver metro area, The Home Affordability Index (HAI) is at its highest recording ever. What does that mean? The HAI compares the median price of a home in the Metro Denver real estate market to the median income level, and brings the current interest rate for a 30-year fixed rate loan into the equation. As a home buyer this is good news as the median income earner can buy more house today than ever before. Why? Because home prices, while rising quickly, are still well below their peak prices of 5-6 years ago and interest rates are at never-before-seen historic lows. It is the interest rates that continue to make homes so wonderfully affordable, so let’s dig into those a bit.
The typical rate on a 30-year fixed mortgage tumbled below 3.5% for the first time last week, the latest record low in a trend that has fired up homes sales around the country. Freddie Mac’s weekly survey of what lenders are offering to qualified borrowers showed the 30-year rate at an average of 3.49%, down from 3.53% the week before. The 15-year fixed loan fell from 2.83% to an almost unbelievable 2.8%! Let’s put this in perspective. In late July 2010 and 2011 the typical 30-year rate in the Freddie Mac survey was just over 4.5%, more than a percentage point higher than now. The 30-year rate was above 6% in 2006 and most of 2007, over 8% back in 2000, and over 10% in 1990. Back in the bad old days of inflation, the rate topped 18% in 1981. Look at how the interest payments affect your monthly Principle and Interest payments:
$200,000 property in 1981 at 18% interest: $3,014
$200,000 property in 1990 at 10% interest: $1,755
$200,000 property in 2000 at 8% interest: $1,467
$200,000 property in 2007 at 6.5% interest: $1,264
$200,000 property in 2011 at4.5% interest: $1,013
$200,000 property in 2012 at 3.5% interest: $898
But wait, there’s more! According to a recent CNN Money article the average cost of closing on a mortgage has fallen by 7.4% over the past year. At the end of June, a homebuyer looking to close on a $200,000 mortgage with 20% down paid an average of $300 less than 12 months earlier. Even if you don’t have 20% down payment saved, you can put 3.5% on an FHA mortgage. Very attractive, no?
No one knows how long these historically low rates can last. But in the meantime my clients are taking advantage of them to buy the homes of their dreams and lock in once-in-a-lifetime interest rates.

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Tracy Shaffer
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Stumbled Upon and Had to Share! “Cultured People Happier and Less Stressed”

http://www.mnn.com/lifestyle/arts-culture/stories/cultured-people-happier-less-stressed.

People who go to museums and concerts or create art or play an instrument are more satisfied with life, regardless of how educated or rich they are.


For years we’ve read studies about how arts in education create better students, especially with the math+music connection. Here’s proof (I’m calling it proof) that you don’t have to be Baby Mozart or write the Great American Novel to benefit from the creative spirit. Partaking in the experience is a spiritual anti-oxidant of its own.
Cultural institutions work hard raising funds and keeping doors open and the gift of your attention helps them keep giving, creating a rich communal experience and increasing the value of our cities. When funding issues hit the ballot the arts are ofttimes berated. Seems to me the beraters might be happier if they picked up that dusty guitar in the basement or that watercolour they’d judged themselves harshly for and didn’t finish.
We’re inundated with news of of the benefits of exercise and healthful eating; we would be well served to take heed of our need for arts & culture as well.

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Tracy Shaffer
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What Did We Wear Before YSL? Nothing.

One of Denver’s architectural wonders is the Fredrick C Hamilton Building, designed by Daniel Libeskind at the Denver Art Museum.. With its jutting roof line and walls all akimbo, I love its mix of elegance and surprise. Apparently the Fondation Pierre Bergé-Yves Saint Laurent did too because when DAM Director, Christoph Heinrich, approached them to host the Yves Saint Laurent Retrospective they said “Oui”. They make for a chic ensemble and quite the coup. Denver is the only stop in North America before this exquisite exhibit heads south of the border. New York must be green with envy.

When Yves Saint Laurent took his seam ripper to the nipped Dior waistline, he unleashed the power of the modern woman and seems to have designed her wardrobe for the past 50 years. The words ‘jumpsuit, pantsuit, safari look and bolero jacket’ were rarely heard before the genius of the YSL moment, and never to describe fashion. Influenced by global culture, Saint Laurent drew his inspiration from the arts and artists, from operas, literary figures, personal muses and “aesthetic ghosts;” he has woven time into the timeless.

Read more.
The Yves Saint Laurent Retrospective lands in Denver for an exclusive look into the designer’s genius. The Denver Art Museum is the only North American stop as this exquisite exhibit travels from Paris to South America. Why? “Because I asked.” says DAM Director, Christoph Heinrich. With the integration of local fashion stars and designers included in the gift shop and gallery, I say “Magnifique!”

I live and work in a city that fosters and grows its arts and cultural community, lights the way with a beacon of alternative energy investment, and preserves the character of the city’s neighborhoods and Technicolor past… That’s something to look up to.

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Tracy Shaffer
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Charlie Chaplin Speaks! and he’s talking to you.

It was headline news when Chaplin’s first “talkie”, “The Great Dictator”, premiered in October of 1940, and it seems the Tramp had a lot to say. I am a life-long film fan and being raised on the backlot of a Hollywood studio, I guess it’s only natural. I grew up watching movies and watching them being made. My father worked at M-G-M, our family friend ran the film library. I spent hours looking thorough old clips and screen tests (including my mother’s), viewing them as the celluloid was hand cranked through a Movieola or pressed into service by a warm projector. I’ve tried to give my sons some cinematic context for their lives, and despite the “Is this another old move, Mom?” protests, they are always happy we spent the time together when the final credits roll. I’ve seen them light up when they understand a reference to “Vertigo, grab a light pole and attempt a graceful swing around it, Gene Kelly style. They have the dubious honor of knowing all the words to “Shipoopi”, although Gabe insists it’s ‘Grab her buns when she isn’t lookin’. Chaplin, Keaton, Hitchcock, Wilder, Capra, Lumet and so many others; they have been the profits of my life. Sir Charles delivers a heartfelt and timely message here in the final speech of “The Great Dictator”. Enjoy.

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Tracy Shaffer
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Blow Out Your Birthday Candles, Paragon!

It’s been more than ten years since the evening I spent in heated conversation with a small group of theatrical dreamers. Actor/Director, Warren Sherrill, had just dragged me back onto the boards, directing me in a production of “Marvin’s Room” at the Denver Civic where I was blessed to share the stage with the lovely, talented and wittily acerbic Carolyn Valentine. That’s what put me in the room. The first meeting took place around a dining room table in southeast Denver; me, Warren, Lisa Rucker (Moon for the Misbegotten), and if I had more memory I’d recall who else was there (apologies, it’s been ten years;). Michael Stricker and Barbra Andrews were en route from Chicago after a bit of time working with Steppenwolf, but their praises were sung loud and clear. The result of this and subsequent meetings was what we now know at the Paragon Theatre Ensemble.
From a dining room table, to a dream, Paragon has built one of Denver’s premiere theater companies, growing their work season after season, maturing into perhaps the most consistent mid-sized company in Denver. When they began, our theater scene was quite different. Stalwarts of the day have closed, upstarts who planted seeds were blown away as many well intentioned theater groups found the artistic soil far too rocky to take firm root.
Paragon began with a clear vision, a modest business plan, and a high work ethic, then set out to produce quality theater which allowed them to carve out a niche for themselves in Denver theater. They saw a need and the over-filled it. The level of talent in the acting and producing company and the detailed professionalism in their planning and rehearsal process, the careful way they’ve cultivated their acting and directing pool have put the fun and the function into the dysfunctional family that is a theatre company.
Paragon is the only Denver company to present staged readings of works by Colorado/Wyoming playwrights in their Trench series, and they go a step further by considering these plays for full production. Two of my scripts, (w)hole, Saints & Hysterics, have been produced by Paragon through this process, as well as a play by Ellen K Graham. It takes guts to produce new works; it takes balls to produce new work by local playwrights.
Paragon has continued to build momentum by offering a blend of classic plays and edgy new pieces. Over the past few seasons, they’ve included a Equity guest artist contract in their season, bringing Denver Center fav, Sam Gregory, some of the most delicious roles. Hopefully the Equity idea will continue and expand.
On Saturday the 25th, Paragon will be holding their 10th Anniversary with a ‘gala’ (love that word) celebration at the Garner Galleria Theatre at the Denver Center for the Performing Arts. Part presentation, part profit, and all party, that’s my take on what the night will bring. Perhaps the hardest working, most fun to play with group of theater artists in the metro area, the Galleria may be the place to be come Saturday night.
Personally, I plan on moving from that dining room table straight up to the bar in celebration of a great decade of theatre. I’m a sucker for a success story. Hats off to you, Paragon Theatre Ensemble, congratulations on a decade of great work. Now put your lips together and blow~
tickets available at www.paragontheatre.org

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Tracy Shaffer
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Do You Know Prudence?

Perhaps you’ve heard of Prudence Mabhena, read about her in the Sunday paper, heard the story on NPR, caught the film about her at the Telluride Film Festival, or saw her beaming at the Oscars when Music by Prudence won Best Documentary.
There is a lot to know about Prudence Mabhena, a lot to learn from her as well. Born with a disfiguring congenital disorder called arthrogryposis, her twisted limbs meant she’d never walk, and so they were amputated below the knees. Her journey from Zimbabwe to the global stage has been told in many forms, a tragedy-to-triumph in a tale that lifts our spirits to the realm of possibility and teaches us to just get over ourselves. But where we really have an opportunity to learn from Prudence is by hearing her sing. That is possible for Denver this Sunday as Prudence joins jazz concept band Zuri at the Mercury Cafe for a 2:00 benefit concert. Wednesday night’s higher priced film screening and meet ‘n greet with Prudence at the Denver Film Center promises to be a moving and inspiring event. The $30 ticket for the Mercury gig promises to be a blow-the-roof-off-the- house experience! Both raise money for King of Kindness, Noel Cunningham’s foundation. Should be amazing, Grace.
Prudence Sings Amazing Grace at Kennedy Center

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Tracy Shaffer
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Rapture Rhapsodic

All this buzz about the end of days has got me thinking. First came the Absurdist humor Tweets and Facebook posts, followed by invitations to post-Rapture looting parties, (what to wear, what to wear?) and the folly that follows a good thread. But as I rise from my desk to continue the perpetual cycle of laundry, a new status update spins into my head. What if this actually happened? Not tomorrow, I’ve got plans, but maybe later in the week, say… Wednesday after Oprah’s final episode? I picture myself, turning off the television, slightly weepy, and crossing through the kitchen to the basement stairs. Wondering how the flies got in the house, I make a mental note to check the screens. The day is sunny; the rains have gone, and as I pass by the open backdoor I hear a croaking in the garden; a familiar sound of frogs who sang me through the summers of my youth. As I land at the bottom of the stairway I catch a glimpse of my teenage son on the basement couch. It’s well past noon and he’s still sleeping… at least I think he’s sleeping. Surely not the slaying of the first born, I think, and wait… there are no frogs in Denver. I cross to the couch, pass my hand by his open mouth to feel his breath and relieved I reroute to the laundry room.
I empty the dryer of its warm contents and bring them lovingly into folds as Apocalyptic thoughts tumble through my head. How different the world would be if the “Righteous” rose and left the rest behind. I imagine we’d reinstate Universal Healthcare to match the bloated need, which would be so much easier with the insurance lobbyists out of the way. Ditto for environmental causes. The real estate market would explode with vacancies, tipping the stagnant market to the buyer’s favor and foreclosures would drop: it’s hard to evict a zombie. Loans would be readily available with a plethora of bankers and mortgage brokers left, though interest rates might be hellish. I’m thinking the ranch style will be the dwelling of choice; writhing up a flight of stairs can be torture.
My thoughts turn inward. How would I feel if this really happened and how prepared am I to meet my maker? The spin cycle stops. I lift the lid and throw linens from their moist drum into the inferno of the dryer. I’d be okay I think, if the rest of my life is any indication: not the Valedictorian, but above average… top of the class perhaps.
Turning the washer dial 360°, the sound of the basin filling calms me. What the hell am I thinking? Of course you’d go to Heaven, Tracy. You’ll be there to greet the sinless mothers, Bounce sheets in one hand, box of Tide in the other: “Our Lady of Perpetual Laundry”. *smiles* Love can wash away a multitude of sins. Love and a can of Shout.

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Tracy Shaffer
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A Creative Space for Creative People

Home buyers are looking for that perfect space they can make their own. To many sellers, often on the advise of their Realtor, this means painting the whole house in shades of beige and removing anything that makes their home too “personal”. There have been times I’ve said the same to my clients, though I can count them on one hand. As a founder of the Thriving Artist Alliance, I focus my business on helping creative people build wealth through real estate. For some it means moving them from renters to homeowners, for others investing in real estate through purchasing fix-and-flip or rental property is a great strategy, and then there are those who long for a living space that allows for or inspires their creative pursuits. Because the Creative Class relates to the world and their place in it differently, I am rarely looking for or listing a “Beige Box”, it’s more likely I’m on the hunt for something special and unique. When the Smiths called me about listing their City Park bungalow at 3105 Elizabeth Street I arrived at our appointment with no idea what to expect. I took to this house (and to the Smiths) immediately and was blown away! The color pallet, artwork, furnishings and decor made me feel happy and instantly at home and I knew I was in the presence of two highly-gifted artists. Though art is not either of their professions, the artist touch has graced every corner of this home. Mrs. Smith is a part-time painter and Mr. Smith used his considerable craftsmanship on a basement finish that is warm and natural and very comfortable.
This home won’t appeal to everyone, and I’m sure we’ll get some “Why don’t they paint the whole thing neutral” feedback, but that’s okay. I’m not looking for that buyer. I’m looking for that special person, couple or family who understand that self-expression is high art and that individuality is paramount. Oh, and it’d be nice if they love the City Park Jazz concert series, because they’re close enough to walk or roll there every Sunday!

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Tracy Shaffer
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How Many Writers Does it Take to Write a Play?

One. But he really has to want to share.

For the past seven days, ten writers from around the country and within the Telluride community have been hunkered down at the Sheridan Opera House or gathered in Jennie Franks’ living room for a post-supper salon and informal reading. The event is the Telluride Playwrights Festival, a glorious blend of featured playwrights and theatre professionals existing in a fluid blend of rehearsal, response, reflection and rewrites with the goal of making good scripts better. Now in its fourth year, Ms. Franks has made impressive strides, attracting extraordinary talented writers, garnering support of the community and providing an experience unlike any other. As we lean into our public readings, tonight James McLindon’s DEAD AND BURIED and tomorrow’s offering LOVE ME SOME AMNESIA by James Still, I asked our two Jameses about this Telluride experience:

“I find the Telluride Playwrights Festival unique in that it’s such a small, intimate group of artists working together on these plays. Here, you have an opportunity to get to know everyone and to build relationships and trust. These are essential ingredients for any playwright seeking the constructive criticism necessary to take his or her play to the next level. I’ve also been impressed by the intelligence, artistry, kindness and generosity of the people Jennie Franks has gathered, and the result is, I think, a much better script that will performed Monday night than the one I arrived with last Thursday,” James McLindon told me over cocktails at the TPF funder at the Onyx in the Capella Telluride.
My personal experience two years ago was much like what I learned from listening to James Still. “Unlike a typical one-day reading/workshop… Being given the gift of immersing yourself in your play for 10 days is like finding yourself in a waking dream. The dream is the play you’ve written and are most often rewriting. There’s a tension for me in the fact that the writer’s creative life is a strange combination of the ‘private’ and the ‘public’. Unlike novelists who spend almost all of their writing lives alone (and then later go on book tours and readings in which they interact with their readers), a playwright spends a lot of time alone with his play, and then suddenly finds himself spending time with a big bunch of people and his play. It’s in that moment that the play becomes something else, something more. And that’s what’s happened to me this week in Telluride… I’ve spent time around a table with actors and other TPF members listening to LOVE ME SOME AMNESIA being read aloud, asking it questions, poking it, prodding it, begging it, threatening it, loving it, being mystified by it… And after several days of that, I took the play and retreated back to myself for a couple of days, shutting myself up in the condo where I’m staying and going back to that original relationship: just me and my play. It’s kind of like that moment when you’ve had house guests and you stand on the front porch and wave goodbye, watching them back out of the driveway. You go back inside the house and it’s… quiet. And different. So I’ve been back inside the quiet house that is also my play and is also not so quiet anymore. And I’ve cleaned up some messes, changed some wall colors, rearranged some of the furniture, and even discovered a few rooms I didn’t know were there! Rewriting. Tomorrow I’ll throw the doors open and invite people back in… more time around the table with actors where we’ll read the newest draft, more changes overnight, and then the reading on Tuesday. Private to public to private and back to public. It’s this writer’s life.”

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Tracy Shaffer
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Telluride Playwrights Festival asks “Are New Works Important?”

Actor Paul Page and me in Telluride


This is the question slated for the Telluride Playwrights Festival Open House on Thursday, and a conversation that circulates through the theatre community like a five dollar bill. I’ve popped this and a few other questions to some of the TPF participants. Grabbing a post-rehearsal snack at Smugglers with director/playwright William Missouri Downs, in from Wyoming to direct Telluride Rep actors in Phillip Gerson’s This Isn’t What It Looks Like. A prolific author and playwright, Bill has eight upcoming productions around the country and just closed the Denver hit, Books on Tape.

T- “Why do you think we keep asking this question?”

B- “To justify our existence.”

T- “Do we ask if new songs should be written, or if fashion should be recreated seasonally?”

B- “Good point. There’s been so much talk over the past few decades about theatre being dead or irrelevant. And with the Internet, we’ve got so many forms of public dialogue and expression.”

T- “Yes, but it’s not in 3-D.”

B- “We’re the original 3-D. If for no other reason than the disconnect of the internet, we’ve become more relevant. Those who want to participate in the intimate reflection of life that only theatre offers crave it. We are like books printed on paper, and campfire stories; not commonplace as the world changes, but essential nonetheless.”

T- “Like art museums. People still go to them but now they take a picture of the art and move on to the next masterpiece. We exist for those who actually stand there and look at the painting.”

B- “Theatre has got to tell stories which are universal, I believe that more and more. When your medium is about being physically in a room with a group of people for a shared experience, the observational story is less effective. Save that for film and television. Just the fact that you can’t talk in the theatre changes things.”

T-“Really, you’re not supposed to talk? What about texting?”

On the gondola with Denver actor Paul Page. “What do you like about being in Telluride?” I asked.

P-“It’s really exciting to be involved in the thought process of a new play. I’ve done many world premieres with script tweaks and changes before opening, but this is a much more raw discovery of the characters as the playwright is solidifying them. The festival really gives the script and the artists a chance to incubate.”

T-“How do you like the play you’re working on?”

P-“Oh god, it’s fascinating. James Still has created these really interesting characters and put them in a highly charged situation. We’re working through the script slowly, moment-to-moment, asking questions of each other in a process of discovering what the play is.”

T- “Plays do write themselves at some point. If you let them.”

P-“And James is so open, so talented. It’s great to work with artists from other markets. After New York I’ve spent the past twenty years in Denver.”

T-“Working constantly.”

P- “Well, yes. But it’s nice to shake it up a bit.”

We’re only a third of the way through the Festival and the energy is building steadily. Hunkered down in our rewrites and rehearsals, meeting up for dinners graciously hosted by TPF supporters, eyeing the mountains for a chance to hike, my experience of Telluride is always a balance of risk and safety. I feel held, which gives me the power to create. And I feel that is terribly important.

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