Too Much Heart and Not Enough Heat: the Short Life and Fractured Ego of the Empathic, Heroic Public Defender
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Pinch with Ing Pennies Penny Marshall
PINCH ING PENNIES WITH PENNY MARSHALL DEATH RITUALS FOR PENNY MARSHALL BY PROJECT MANAGER Alfredo Macias Victor I. Cazares DIRECTION Alton Alburo Martin Manzanita Barna Barzin Randa Jarrar Olivia Jimenez Frances McDormand as Madre Cabrona April Matthis Ellen DeGeneres Pooya Mohseni Leo Scorpio, Esq. MD/PHO MBA Ashton Muiiiz BBSloppyJoe Jesus I. Valles Penny Marshall EPISODE1 A Zoom Webinar Offering Financial Advice for OnlyFans Content Creators EPISODE2 Sliding Scales NEW YORK EPISODE3 Dia de la Muerta THEATRE WORKSHOP Victor I. Cazares is a Tow Playwright in Residence. just to name a few. Wearing all those hats has The Guggenheim (Machine Dazzle), Art Institute resulted in 1) a strong core & excellent posture, Chicago/Swiss Institute/New Museum (Cally 2) delight in working and playing with all sorts of Spooner), Biennial Performa/Lehmann Maupin people, 3) an enduring belief in the power of play. (Nicholas Hlobo) & Pace Gallery (Lilleth Glimcher). Olivia’s curiosity currently lies at the intersections Additionally, Ashton has danced for Marc Jacobs of embodied healing, civic practice, and FW 2020 (Karole Armitage), A$AP Rocky (Lab sustainability. Olivia holds a B.A. in Theater from Rat-Sotheby’s), Rihanna (MTV VMAs 2016). Muñiz is the University of Southern California and studied a co-founder of Legacy: A Black Queer Production interactive storytelling with Deep Dive Austin. She Collective & received training at Ithaca College, is a company member of the VORTEX Repertory Moscow Arts Theatre School and Shakespeare & Company and Shrewd Productions, and an Company. Enterprise Rose Artist Fellow working at Foundation Communities in Austin, TX. Jesús I. Valles Penny Marshall April Matthis Jesús I. -
Uncovering Sports History Fact and Fiction
Coombs “Reel” Stories vs. “Real” Stories: Uncovering Sports History Fact and Fiction Appendix 14.2. Sports-Based Films Film Year Director Focus 42 2013 Brian Helgeland Features Jackie Robinson’s experiences as an African American baseball player from 1945–1947. A League of Their 1992 Penny Marshall Tells the story of the All-American Girls Baseball Own League that formed during World War II. The Blind Side 2009 John Lee Hancock Depicts the experiences of Michael Oher and the Tuohy family as he went from homeless to a first- round NFL draft pick. Chariots of Fire 1981 Hugh Hudson The story of British sprinters Eric Liddell and Harold Abrahams and their quest for victory in the 1924 Olympics. Cinderella Man 2005 Ron Howard Set amidst the Great Depression, this film tells the story of James J. Braddock, who boxed in order to feed his family and ultimately inspired a nation. Eight Men Out 1988 John Sayles A depiction of the 1919 scandal of the Chicago White Sox accepting bribes and being accused of throwing the World Series. The Express 2008 Gary Fleder The story of Ernie Davis, the first black Heisman Trophy winner, and his experiences at Syracuse University playing football in the midst of the Civil Rights Movement. Friday Night 2004 Peter Berg This film tells the story of the Permian Panthers, a Lights high school football team in Odessa, Texas, where football is both a sport and a way of life. Glory Road 2006 James Gartner The story of the Texas Western basketball team that won the national championship amidst racism and discrimination in 1966. -
The Adminstration of Justice Under
THE ADMINISTRATION OF JUSTICE UNDER EMERGENCY CONDITIONS Lessons Following the Attack on the World Trade Center Oren Root, Senior Associate Vera Institute of Justice January 2002 © 2002 Vera Institute of Justice, Inc. Executive Summary The attack on the World Trade Center plunged the administration of justice in New York City into turmoil. Courthouses throughout lower Manhattan became inaccessible; prosecutors and defense lawyers lost access to phones, files, and computers; and police officers became unavailable to testify at hearings and trials. Hundreds of adults, many accused only of petty crimes, were stranded in jail longer than the law would normally allow. Dozens of children, locked in detention and accused of delinquent acts, were similarly deprived of their day in court. How was the justice system to cope? The Vera Institute redeployed two attorneys and two writers on September 14 to document how the administration of justice continued under emergency conditions. They interviewed more than 50 officials, including the Mayor’s Criminal Justice Coordinator, the state’s Chief Administrative Judge, other judges, prosecutors, and defense attorneys. They observed several hundred court hearings and read court files in others. They reviewed a 1969 report, The Administration of Justice Under Emergency Conditions, that Vera produced for the Lindsay administration following the collapse of local justice systems in the wake of civil disturbances across the United States. The examination revealed four issues crucial to the administration of justice in such times. First is the question of leadership in a system that often resists management. By stating immediately following the attack that the courts would be reopened and conducting business at the earliest possible date, New York State’s top judge established the priorities that guided the system throughout the crisis. -
More Than Zero: Accounting for Error in Latent Fingerprint Identification Simon A
Journal of Criminal Law and Criminology Volume 95 Article 10 Issue 3 Spring Spring 2005 More than Zero: Accounting for Error in Latent Fingerprint Identification Simon A. Cole Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Simon A. Cole, More than Zero: Accounting for Error in Latent Fingerprint Identification, 95 J. Crim. L. & Criminology 985 (2004-2005) This Criminology is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. 0091-4169/05/9503-0985 THEJOURNAL OF CRIMINAL LAW & CRIMINOLOGY Vol. 95,No. 3 Copyright0 2005 by Northwestern University, School of Law Printedin US.A. MORE THAN ZERO: ACCOUNTING FOR ERROR IN LATENT FINGERPRINT IDENTIFICATION SIMON A. COLE* LOUISE: I never would have guessed that he was selling fake insurance. CANEWELL: That's what the whole idea was.., he didn't want you to guess it. If you could have guessed, then he couldn't have sold nobody no insurance. - August Wilson, Seven Guitars (1996) INTRODUCTION The year 2004 witnessed what was probably the most highly publicized fingerprint error ever exposed: the case of Brandon Mayfield, an Oregon attorney and Muslim convert who was held for two weeks as a material witness in the Madrid bombing of March 11, 2004, a terrorist attack in which 191 people were killed. -
Defend L.A.: Transforming Public Defense in the Era of Mass
TRANSFORMING DEFEND PUBLIC DEFENSE IN THE ERA OF MASS L.A. DEPORTATION Acknowledgments This report was written by Andrés Dae Keun Kwon, Attorney and Equal Justice Works Emerson Fellow at the ACLU Foundation of Southern California (ACLU SoCal). The report builds on the author’s law review piece Defending Criminal(ized) “Aliens” After Padilla: Toward a More Holistic Public Immigration Defense in the Era of Crimmigration, 63 UCLA L. REV. 1034 (2016). Interviews and research for this report were conducted by Ahilan Arulanantham, Andrés Dae Keun Kwon, Jennie Pasquarella, Devon Porter, and Adrienna Wong of the ACLU SoCal; UCLA School of Law students Katrina Landeta, Kelly Miller, Bernadette Rabuy, and Alex Trantham; Emilou MacLean of the National Day Laborer Organizing Network; and Victor Narro of the UCLA Downtown Labor Center. Editorial assistance was provided by Marcus Benigno, David Colker, Peter Eliasberg, Sandra Kang, Jennie Pasquarella, Geneva Tien, and Adrienna Wong of the ACLU SoCal. Copy editing was conducted by Henry Fuhrmann. Report design was done by Czarah Castro, with guidance by Jenna Pittaway of the ACLU SoCal. The following additional individuals made important contributions to this report: Sarah Deri Oshiro and Alice Fontier of The Bronx Defenders; Robin Steinberg, Jennifer Friedman, Kate Rubin, and Isaac Wheeler, formerly of The Bronx Defenders; Brendon Woods, Raha Jorjani, and Rachael Keast of the Office of the Alameda County Public Defender; Ali Saidi of the Contra Costa County Office of the Public Defender; Daniel DeGriselles of the Law Offices of the San Bernardino County Public Defender; ACLU SoCal law clerks Lizette Ceja and Gaspar Lopez; UCLA School of Law Professors Ingrid Eagly, Jerry López, Hiroshi Motomura, and Noah Zatz; Daniel Sharp of the Central American Resource Center; Caitlin Bellis and Kristen Jackson of Public Counsel; Claudia León and Gabriel Arellano of Esperanza Immigrants’ Rights Project; and the dozens of Los Angeles County public defenders who have spoken with us confidentially. -
Participants Bios
AMY LEMISCH Executive Director California Film Commission As Executive Director of the California Film Commission, Amy Lemisch oversees all of the state's efforts to facilitate motion picture, television and commercial production. She was appointed by Governor Arnold Schwarzenegger in May 2004, and continues to serve for Governor Edmund G. Brown Jr. Under her leadership, the Commission coordinates with all levels of state and local government to promote California as a production locale. Such efforts in-turn create jobs, increase production spending and generate tax revenues. In addition to overseeing the Commission's wide range of support services, Ms. Lemisch also serves as the state's leading advocate for educating legislators, production industry decision makers and the public at large about the value of filming in California. Among her many accomplishments, Ms. Lemisch was instrumental in the creation, passage and implementation of the California Film & Television Tax Credit Program, which was enacted in 2009 to help curb runaway production. The Commission is charged with administering the $500 million program that targets the types of productions most likely to leave California due to incentives offered in other states and countries. Prior to her appointment at the Commission, Ms. Lemisch served for more than 15 years as a producer for Penny Marshall’s company - Parkway Productions. While based at Universal Studios and Sony Pictures, she was responsible for overseeing physical production on all Parkway projects, as well as selecting new projects for the company to produce. Her credits include: producer on the independent feature film WITH FRIENDS LIKE THESE; co-producer on RIDING IN CARS WITH BOYS (starring Drew Barrymore), THE PREACHER’S WIFE (starring Denzel Washington and Whitney Houston) and RENAISSANCE MAN (starring Danny DeVito); associate producer on AWAKENINGS, A LEAGUE OF THEIR OWN, and CALENDAR GIRL. -
Awakenings Les Friedman, Phd, and Therese Jones, Phd, Movie Review Editors
Medicine on the big and small screen: Awakenings Les Friedman, PhD, and Therese Jones, PhD, Movie Review Editors Awakenings Starring Robert De Niro, Robin Williams, Julie Kavner, Ruth Nelson, John Heard, Penelope Ann Miller, and Max von Sydow Directed by Penny Marshall, released December 22, 1990, Columbia Pictures, Rated PG-13, 121 minutes Reviewed by Allison Kavey, PhD ased on British neurologist Oliver Sacks’ memoir Awakenings, the movie of the same title tells Sacks’ storyB fictionalized through American doctor Malcom Sayer (Robin Williams). The movie portrays Sacks’ work with catatonic patients during the summer of 1969. In the movie, Sayer finds a temporary cure for a group of unresponsive patients confined to a mental hospital for several decades. Many of the patients were inaccurately diagnosed with “atypical schizophrenia,” and “fed and watered” by the institution’s staff until Sayer, a research- trained neurologist, was hired. Sayer nearly did not get the job. In his interview, he carefully explains the experimental work he has been engaged in for the previous five years, the goal of which Robin Williams and Robert De Niro in Awakenings. © 1990 Columbia Pictures Industries, Inc. All Rights Reserved. Courtesy was to extract one decagram of myelin from four tons of of Columbia Pictures earth worms. The head of the hospital board cuts him off, noting that his hypothesis was not possible. Sayer proudly announces, “I know that. I proved it!” Collecting all of the schizophrenia cases into a group, However, Sayer stumbles as the interviewers repeatedly Sayer notes, “You’d think at a certain point all of these ask him about his experience with patients. -
Garry E Penny Marshall E Il Mito “Abruzzese”
| 1 GARRY E PENNY MARSHALL E IL MITO “ABRUZZESE” DI HAPPY DAYS di Piercesare Stagni* L’AQUILA – Chi mai potrebbe pensare che tra la mitica e americanissima serie tv Happy Days e l’Abruzzo esiste un legame? Eppure, incredibile ma vero, è proprio così, perché questi celebri telefilm, imperniati sulle vicende della simpatica famiglia Cunningham di Milwaukee e sulle gesta dell’invincibile Fonzie, furono creati da Garry Marshall, regista, attore e produttore originario di San Martino sulla Marrucina, in provincia di Chieti. E sorprendentemente i collegamenti tra la famosissima serie e la nostra regione non si esauriscono qui, perché anche la sorella di Marshall, Penny, recitò in Happy Days nel ruolo della simpatica operaia italoamericana Laverne De Fazio: addirittura, insieme all’inseparabile www.virtuquotidiane.it | 2 Shirley, interpretata da Cindy Williams, divenne protagonista di una serie tutta loro, Laverne & Shirley appunto. Si trattava di uno spin-off, di una nuova sit-com derivata dalla principale, da Happy Days, che in Italia circolò solo in alcune televisioni private dei primi anni ‘80 ma che spopolò negli Stati Uniti, a tal punto da battere negli ascolti anche le vicende di Richie Cunningham e dei suoi amici: un successo talmente grande da far nascere anche una versione a cartoni animati delle vicende delle due simpatiche e spregiudicate ragazze, Laverne e Shirley nell’esercito. www.virtuquotidiane.it | 3 Il cognome di Penny e Garry Marshall in origine era Masciarelli, ma il padre, Anthony, decise di cambiarlo alla nascita del figlio maschio, probabilmente per farlo crescere senza le discriminazioni a cui gli italiani e le altre minoranze etniche erano purtroppo frequentemente esposte: forse è stato proprio il cambio di cognome a non renderli noti come avrebbero meritato in Italia, ma in realtà le carriere dei due artisti sono state eccezionali, purtroppo accomunate anche dalla relativa triste vicinanza della loro morte, nel 2016 per Garry e solo pochi giorni fa, il 17 dicembre 2018, per Penny. -
SAL RENDINO Clear Talent Group - 212.840.4100 Jamie Harris SAG-AFTRA
Legit(Film/TV): SAL RENDINO Clear Talent Group - 212.840.4100 Jamie Harris SAG-AFTRA Ht: Wt: 6' 0'' 190 lbs. Personal Contact Numbers Suit: 40 R Shirt: 16 / 34 Primary: 914.482.3836 Waist: 34 Inseam: 32 Email: [email protected] Shoe: 11.5 Eyes: Blue Hair: Brown PRESS/NEWS ''Fair Market Value'' at Geena Davis' Bentonville 2016 Best Ensemble ~ Film Fest. (Hollywood Reporter article) 2016 Rising Star Award (honored with Ed Asner) The Long Island International Film Expo. 2016 Best Supporting Actor Award ~ Nice [Fr] Film Fest., for ''Second Chance'' [US] from Sundance Film Fest. vet. Ido Fluk, with ''The Ticket'' makes Tribeca ~ Oliver Platt, Dan Stevens, and Malin Akerman Baz Luhrmann casts Sal in explosive multi- 7 out of 13 episodes (first season), opposite ~ episode arc in Netflix's ''The Get Down'' Jimmy Smits and Kevin Corrigan Sal RECURS on ''Billions'' ~ opposite Paul Giamatti and Damian Lewis passes 3 million views for Women In Film, with ''Masque'' film wins Lionsgate/''Twilight'' ~ Stephenie Meyer and Kristen Stewart (''Twilight'' wildcard competition series) Review of ''Junkie Heaven'' ~ ''Rendino...perfect'', says Natalie Lally TV Guide features Sal ~ on set, ''Law and Order SVU'', with Ice T ''Devoured'' gets distributed, ~ writer Marc Landau highlights Sal's performance with Sal opposite James Rebhorn (''Scent of a ''The Perfect Wedding'' wins! ~ Woman'', etc.) CONTACT 212-840-4100, Jamie Harris / Justin Busch, Clear Talent Group ~ AGENTS See link, top of page; do it now, before you get EMAIL ME ~ distracted by that damned Facebook again. DEMO REELS COMEDY (short) ~ www.youtube.com/srendino DRAMA (short) ~ https://youtu.be/sLUhcsdudnM IMDB.COM Sal Rendino (Pro) ~ www.pro.imdb.com/name/nm0719355/ Sal Rendino ~ www.imdb.me/salrendino FILM Kevin Connolly ~ DIR. -
The Circle.’ Back Row, Left to Right, Travis Vaden, Dou- Glas Weston, Nancy Bell, John Hines, Rebecca Dines and John-David Keller
38th Season • 365th Production MAINSTAGE / AUGUST 31 THROUGH OCTOBER 7, 2001 David Emmes Martin Benson Producing Artistic Director Artistic Director presents by W. SOMERSET MAUGHAM Scenic Design Costume Design Lighting Design RALPH FUNICELLO WALKER HICKLIN YORK KENNEDY Composer/Sound Design Production Manager Stage Manager MICHAEL ROTH TOM ABERGER *SCOTT HARRISON Directed by WARNER SHOOK AMERICAN AIRLINES, Honorary Producers PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Elizabeth Champion-Cheney ............................................................................ *Nancy Bell Arnold Champion-Cheney, M.P. ....................................................................... *John Hines Footman ................................................................................................. *John-David Keller Mrs. Anna Shenstone .................................................................................. *Rebecca Dines Teddie Luton ............................................................................................. *Douglas Weston Clive Champion-Cheney ...................................................................... *Paxton Whitehead Lady Catherine Champion-Cheney ........................................................... *Carole Shelley Lord Porteous .................................................................................. *William Biff McGuire Jr. Footman ..................................................................................................... -
Frasier-Lite
1 of 15 [11.12]Frasier-Lite Frasier-Lite Written by Sam Johnson, Chris Marcil, Jeffrey Richman, Jon Sherman, Bob Daily, and Patricia Breen Directed by Sheldon Epps ===================================================================== Production Code: 11.12 Episode Number In Production Order: 252 Original Airdate on NBC: Jan. 6, 2004 Transcript written on Feb. 11, 2004 Transcript {Kelly Dean Hansen} Skyline: Plane with KACL banner. ACT I Scene 1 - KACL Frasier is taking a call. Frasier: Well, Morrie, if you’re not cheating on your wife, and she still suspects you, then we’re obviously dealing with a trust issue. Morrie: [v.o. ] More like a crazy issue. And I know where she gets it, from her mother – who, by the way, came for Thanksgiving and still hasn’t left. Happy New Year! Frasier: Perhaps we should tackle these issues one at a time... Over the line Frasier hears loud knocking. Morrie: I’m in the bathroom, Celeste! A little privacy?! [into phone ] See how she gets? Frasier: Well, perhaps what is needed here is... There is a click as Celeste picks up on another phone. Celeste: [v.o. ] You think I don’t know who you’re talking to in there, huh, Morrie? It’s your little whore, isn’t it? Hello, whore. Frasier: Celeste, if I could interrupt for just a moment... Celeste: A man?! It's worse than I thought. Another click. Mother: [v.o. ] Celeste? Celeste: Hang up, Ma! Mother: You're all on the radio. I'm listening down in the kitchen. Morrie: How about washing a dish or two while you're down there? Yet another click. -
Growing Pains Coming of Age Is a Subject That Never Gets Old
Growing Pains Coming of age is a subject that never gets old. From sexual awakening to peer pressure to work responsibilities, it’s an endless source of material. In a collection of rare set shots, we see how generations of directors have handled it. LIFE COACHING: (above) Nicholas Ray started out shooting Rebel Without a Cause (1955), with James Dean and Natalie Wood, in black and white. But when the studio switched to color, he insisted that Dean wear the now-iconic red jacket. Ray researched the film by riding around with L.A. gangs. (opposite) David M. Evans had intended to use nine and 10-year-olds for The Sandlot (1993), based partially on his own childhood. But when he started casting, he quickly realized that the kids needed to be older. 54 dga quarterly PHOTOS: (LEFT) WARNER BROS./THE KOBAL COLLECTION; (RIGHT) 20TH CENTURY FOX/COURTESY AMPAS dga quarterly 55 STREETWISE: For Crooklyn (1994), loosely based on his own experiences with his GOLDEN GIRLS: Sofia Coppola wanted to shoot the lives of four sisters in The Virgin siblings growing up in Brooklyn, Spike Lee didn’t want to hire professional actors because Suicides (1999) as they would be observed from “the boy across the street. I liked “they stink … they’re not natural.” Instead he cast mostly local school kids. None of them that the story seemed to capture what it was like to be that age … how strong your knew how to play any of the street games in the film, so Lee personally taught them. feelings are the first time you fall in love.