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KEVIN GARDNER HAIR: Bald/Red HT: 5’ 9” AEA / SAG-AFTRA Carrie Macy Talent Agency EYES: Green WT: 175 lbs. 424-281-0256 [email protected] TELEViSiON (partial list) Never Have I Ever Co-star Netflix / Linda Mendoza Last Man Standing Co-star FOX / Victor Gonzalez The Politician Co-star Netflix / Ian Brennan Big Little Lies Co-star HBO / Andrea Arnold Good Trouble Co-star Freeform / Peter Paige Days of Our Lives Principal NBC / Corday Productions, Inc Criminal Minds Co-star CBS / Sharat Raju LA to Vegas Co-star FOX / Jeffrey Walker 10 Days in the Valley Co-star ABC / Sarah Pia Anderson Bellman Chronicles: Hollywood Co-star Jeff Hodsden, Dir Tracey Takes On...Movies Co-star HBO/Takes On...Productions Cybill Co-star CBS/YBYL Productions, Inc Roseanne Guest Star ABC/Carsey-Werner Saved By The Bell: The New Class Recurring (3 Seasons) NBC/Peter Engel Productions General Hospital Principal ABC The Young and the Restless Principal CBS WEB SERiES (partial list) Compton Abbey Series Regular Chris Desmond, Dir Fauk My Life Series Regular Stephanie Neroes, Dir Ginger Living Series Regular Kevin Gardner, Dir FiLM (partial list) What Would Peter Pinter Do? Lead San-San Onglatco, Dir Wendigo Supporting Anthony Sneed, Dir She’s Just Making It Up Supporting T.C. De Witt, Dir Dough Nuts and More Lead Marquel Skinner, Dir Marc Chung Protects His Address Supporting Michael Chan, Dir Minutes Supporting Jim Cummings, Dir The Heist Supporting Luke Harris, Dir The Art of the Handshake Starring Stephen Guerrieri, Dir Confessions Of Sorority Girls Supporting Uli Edel, Dir THEATRE (partial list) The Queen of Los Angeles Patrick Garrity The Robey Theater Company, CA Every Brilliant Thing Narrator Curtain Call Theatre, NY Trump in Space – The Musical Cmdr Sessions 2017 Hollywood Fringe Festival, CA Water by the Spoonful Fountainhead WAM Theatre, MA The Outgoing Tide Jack Curtain Call Theatre, NY 33 Variations Anton Schindler Capital Repertory Theatre, NY A Tuna Christmas 11 Roles (Thurston, et al) Curtain Call Theatre, NY Driving Miss Daisy Boolie Curtain Call Theatre, NY Chicago Amos Hart The Mac-Haydn Theatre, NY TRAiNiNG WAL / Lee Garlington HB Studio / Carol Rosenfeld Intentional Acting / Loren Chadima American Academy of Dramatic Arts – Graduate SAG-AFTRA Conservatory New York University – Tisch School of The Arts SPECiAL SKiLLS Dance– Jazz, Tap • Dialects– Various • Singing– Tenor • Fencing– Foil • Bowling • Ice Skating • Pogo Stick Inline Skating • Tennis (3.5) • Performance Motion Capture • Semi-Automatic Weapons • Standardized Patient .

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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
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Finery at Vinery
SOUTHEAST ALABAMA FLORIDA GEORGIA MISSISSIPPI NORTH CAROLINA SOUTH CAROLINA TENNESSEE Finery SOUTHEAST at Vinery In This Section LEADING SIRES IN FLORIDA BY 2011 PROGENY EARNINGS Florida training center under LEADING SIRES IN FLORIDA Ian Brennan sends out winners in bunches BY 2011 WINNERS BY LENNY SHULMAN ometimes it pays to be contrarian. While other operations have contracted over Advertisers’ the past few years, Tom Simon’s Vinery has gotten aggressive. It has supported Index Sits young stallions More Than Ready and Congrats and turned them into major success stories; it has enhanced its racing stable and come up with horses such as Kodiak Kowboy, a NATC champion in both the United States and Canada who 687 WWW.NATC.CC has now joined the Vinery stallion roster; and last year Vinery made its debut as a consignor of 2-year- VINERY SOUTH olds in training at various juvenile auctions. 689 WWW.VINERY.COM To achieve such success takes coordination among WINNING IMAGES PHOTOGRAPHY/JOSEPH DIORIO PHOTOS Ian Brennan directs Vinery's successful Florida training center 686 BloodHorse.com ■ MARCH 12, 2011 37% of our 2010 Graded Stakes Winning Graduates Won Grade I Stakes “From 2004-2008 buyers purchased 2,310 runners as juveniles for $100,000 or more. An impressive 14% went on to become stakes winners with 26% earning black type..” -The Blood-Horse MarketWatch, Feb. 2011 DAKOTA PHONE-G1 WICKEDLY PERFECT-G1 DEVIL MAY CARE-G1 Find your next Graded Stakes Winner at an upcoming Two-Year-Olds in Training Sale Mar. 15-16 OBS Selected Sale, Ocala, FL Mar.
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Glee: Uma Transmedia Storytelling E a Construção De Identidades Plurais
UNIVERSIDADE FEDERAL DA BAHIA INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS PROGRAMA MULTIDISCIPLINAR DE PÓS-GRADUAÇÃO EM CULTURA E SOCIEDADE ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Salvador 2012 ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação apresentada ao Programa Multidisciplinar de Pós-graduação, Universidade Federal da Bahia, como requisito parcial para obtenção do título de mestre em Cultura e Sociedade, área de concentração: Cultura e Identidade. Orientador: Prof. Dr. Djalma Thürler Salvador 2012 Sistema de Bibliotecas - UFBA Lima, Roberto Carlos Santana. Glee : uma Transmedia storytelling e a construção de identidades plurais / Roberto Carlos Santana Lima. - 2013. 107 f. Inclui anexos. Orientador: Prof. Dr. Djalma Thürler. Dissertação (mestrado) - Universidade Federal da Bahia, Faculdade de Comunicação, Salvador, 2012. 1. Glee (Programa de televisão). 2. Televisão - Seriados - Estados Unidos. 3. Pluralismo cultural. 4. Identidade social. 5. Identidade de gênero. I. Thürler, Djalma. II. Universidade Federal da Bahia. Faculdade de Comunicação. III. Título. CDD - 791.4572 CDU - 791.233 TERMO DE APROVAÇÃO ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação aprovada como requisito parcial para obtenção do grau de Mestre em Cultura e Sociedade, Universidade Federal da Bahia, pela seguinte banca examinadora: Djalma Thürler – Orientador -------------------------------------------------------------
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ELIZABETH MARTUCCI Costume Designer
! ELIZABETH MARTUCCI Costume Designer www.ElizabethMartucci.com Television PROJECT DIRECTOR STUDIO / PRODUCTION CO. SIDE HUSTLE Various Nickelodeon seasons 1-2 Prod: David Malkoff, Chris Phillips, John Beck, Ron Hart DAD, STOP EMBARRASSING ME Various Netflix season 1 Prod: Jamie Foxx, Jaime Rucker King, Chris Arrington PRIDE OF TEXAS Andy Fickman Disney Channel pilot Prod: Betsy Sullenger, Greg Hampson THE RANCH Various Netflix seasons 1-4 Prod: Melanie Patterson, Don Reo, Jim Patterson LIV & MADDIE Various Disney Channel seasons 2-4 Prod: Andy Fickman, Betsy Sullenger Emmy Nomination: Outstanding Costume Design in a Daytime Series GLEE Various Fox seasons 3-4 Prod: Ryan Murphy, Dante Di Loreto, Ian Brennan season 2 (Assistant Designer) SLAMBALL J.D. Hansen Spike TV seasons 3-4 Prod: Michael Tollin, Pat Croce TRUE BLOOD Various HBO season 5 (Costumer) Prod: Alan Ball, Gregg Fienberg SUBURGATORY Various ABC season 1 (Costumer) Prod: Emily Kapnek WORKAHOLICS Various Comedy Central season 1 (Costumer) Prod: Kevin Etten, Kyle Newacheck THE PINK HOUSE Michael Lembeck Universal Media Studios / NBC tv movie (Costumer) Prod: Kenny Schwartz NIP TUCK Various FX seasons 3-5 (Costumer) Prod: Ryan Murphy, Michael Robin CRIMINAL MINDS Various Touchstone season 4 (Costumer) Prod: Edward Bernero VALENTINE Various Media Rights Capital season 1 (Costumer) Prod: Kevin Murphy IN JUSTICE Various Touchstone season 1 (Costumer) Prod: Richard Heus, Terri Kopp SAMANTHA WHO? Various ABC season 1 (Costumer) Prod: Donald Todd, Peter Traugott Film PROJECT DIRECTOR
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Executive Summary
A p r i l 2011 2010 FINAL REPORT EXECUTIVE SUMMARY The Role of the Arts in Educating America for Great Leadership and Economic Strength Consensus is building by the business, philanthropic and public policy communities that if the nation is to succeed in the 21st century global economy, an education steeped in the 4 “C’s” (Creativity, Collaboration, Communication and Critical Thinking) is not a luxury but a necessity. Missing from the consensus however, is the connection between the acquisition of these skills and the study and practice of the arts in schools. To address this challenge, 30 leaders gathered at the Sundance Resort and Preserve for the fifth annual Americans for the Arts National Arts Policy Roundtable on September 23 – 25, 2010, to discuss The Role of the Arts in Educating America for Great Leadership and Economic Strength. The convening examined how to more effectively draw the connection so leaders in business and government, as well as the general public, could be motivated to support the arts in education reform as a critical tool to our national success. Agreement on why the arts must be part of our nation’s priorities in education—and how we can make it happen— was forged by a diverse group of leaders from government, business, education and the arts. Among the organizations and agencies represented at the table included The Conference Board, the U.S. Department of Education, the President’s Committee on the Arts and the Humanities, American Express Foundation, YoungArts, The NAMM Foundation and the CAA (Creative Arts Agency) Foundation, along with artists Kerry Washington, Bob Balaban, and Ian Brennan (co-creator/writer, Glee).
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DAVID KLOTZ Music Editor TELEVISION CREDITS
DAVID KLOTZ Music Editor David Klotz has devoted his career to the music side of the film and tv industry, primarily as a music editor, but also as a composer, songwriter and music supervisor. He has won six Emmy awards for his work on Stranger Things, Game of Thrones, and American Horror Story. He got his start music supervising Christopher Nolan’s critically acclaimed film, Memento. Soon after, he moved into music editing, working on the shows Buffy The Vampire Slayer, Angel, Firefly, and Blade, the TV Series, to name a few. In 2005, he formed Galaxy Beat Media, his music editorial and production company, working on TV shows including Entourage, Prison Break, Glee, and the Marvel feature film, Iron Man. David co-wrote and performed the theme song to the 2001 Robert Rodriguez blockbuster, Spy Kids. He most recently produced and arranged a cover of the 1984 classic “Never Ending Story” for Stranger Things Season 3, available on the show’s soundtrack album. David’s band Dream System 8 has created music for dozens of TV shows including 9-1-1, American Horror Story, Scream Queens, and Pose. TELEVISION CREDITS Perry Mason (TV Series) I Am Not Okay with This (TV Series) Executive Producers: Robert Downey Jr., Susan Downey, Executive Producers: Josh S. Barry, Dan Cohen, Jonathan Ron Fitzgerald, Rolin Jones, Timothy Van Patten, Entwistle, Christy Hall, Dan Levine & Shawn Levy Matthew Rhys, Amanda Burrell & Joseph Horacek 21 Laps Entertainment/Netflix HBO American Horror Story (TV Series – Seasons 1- Ratched (TV Series) 10) Executive Producers:
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Hollywood—The Power of Representation
HOLLYWOOD—THE POWER OF REPRESENTATION MARICA ORRÙ POPMEC RESEARCH GROUP For whoever is familiar with Ryan Murphy's work since Glee (2009)—which made him famous to the big public—his new work's references to themes like discrimination and minorities' representation in the media won't be anything new. Anyway, Hollywood— landed on Netflix earlier this year with a season composed of seven episodes—is an exquisite piece of work born by the idea of reconstructing a “what if” Hollywood of the 50s. Throughout the story, fiction mixes with real events and personalities of the time, giving them different lives, stories, and even opportunities to have more relevant roles in demolishing social prejudices and stereotypes. Hollywood deals with the vicissitudes of a group of actors, directors, producers, and writers who first desperately try to have a chance of working in the big movie industry and then—after being hired by a fictional production house named Ace Studios—try to realize the first movie in history (titled Meg) with a Black leading actress, a Black homosexual writer and an half-Asian director. Meg is the story of a young actress who fails to become the star she has always wanted to be and decides to commit suicide jumping from the Hollywood sign. The movie is fictional, but based on the true story of the late actress Peg Entwistle (on the topic see Zeruk 2013). As these facts are narrated, a series of topics regarding gender, race, and sexuality related discrimination are disseminated throughout the episodes, starting with a special attention to Asian representation in Hollywood productions and the exclusion of Asian actors and actresses from leading roles, in Episode 2.
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Peer Pressure Power
Peer Pressure Power Peer Pressure Power by Lynn Brunelle Going along with the crowd doesn't have to be a risky move. Ever done something you didn't want to do, just to fit in? Or just because your friends wanted you to? That's peer pressure. And just about everyone feels it at one time or another. Peers are people your age, such as your friends, who have experiences similar to yours. Your peers influence your decisions and behavior every day, and they can push you to make bad choices, even dangerous ones. But is peer pressure always bad? Positive Spin on Peer Pressure "Peer pressure can sometimes be a good thing," says Ian Brennan, cocreator and one of the writers of the TV show Glee. That show dealt with the issue of peer pressure all the time, through the experiences of musical kids in a not-so-popular high school chorus. "Friends can give you the courage to try something you normally wouldn't, like a new sport or auditioning for the school play," Brennan points out. Nicole S., 16, of Edmore, N.D., used to be afraid of singing in front of people. One time, her friends convinced her to sing karaoke with them. She ended up having fun! "Now I will sing anywhere, even with people present. Positive peer pressure helped me face my fear," she says. Pressure's On! You are surrounded by your peers all the time, and you learn a lot-both good and bad-by just being around them. You might admire a star athlete.
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Egrove June 4, 2010
University of Mississippi eGrove Daily Mississippian Journalism and New Media, School of 6-4-2010 June 4, 2010 The Daily Mississippian Follow this and additional works at: https://egrove.olemiss.edu/thedmonline Recommended Citation The Daily Mississippian, "June 4, 2010" (2010). Daily Mississippian. 293. https://egrove.olemiss.edu/thedmonline/293 This Newspaper is brought to you for free and open access by the Journalism and New Media, School of at eGrove. It has been accepted for inclusion in Daily Mississippian by an authorized administrator of eGrove. For more information, please contact [email protected]. 1 C M Y K TUESDAY , JUNE 4, 2010 | VOL . 98, NO . 70 THE DAILY this week MISSISSIPPIAN YERBY CENTER T HE ST UDEN T NEW S PAPER OF THE UNIVER S I T Y OF MI ss I ss IPPI | SERVING OLE MI ss AND OXFORD S INCE 1911 | WWW . T HED M ONLINE . CO M COMMUNIVERSITY The overall purpose of this LAFAYETTE COUNTY workshop is to instruct educators to use techniques and activities that will enhance reading aloud SCHOOL DISTRICT and strengthen student compre- hension. ENDURES BUDGET CUTS Friday, June 4, 2010 8 a.m. - 5 p.m. Cost: $25 BY BRITTANY STACK aides-- one retired, and another The Daily Mississippian that didn’t come back, that we’re With education budget cuts on not replacing.” the rise across the country, the Other positions that will not be THE GROVE Lafayette County School District filled include the assistant super- SUMMER SUNSET SERIES: has been forced to cut back in in intendent, a bus mechanic and a THE MISSISSIPPIANS a number of areas to save money.
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JULIAN SCHERLE Composer FILM CREDITS
JULIAN SCHERLE Composer Julian Scherle is a German-raised, Los Angeles-based composer, multi-instrumentalist and performer. Classically trained from the age of six, Julian has developed a wide stylistic background with an expertise in unusual artistic approaches. His music was heard in numerous projects covering a variety of formats such as feature films, documentaries, TV series, and video games. Julian has written music for many hit cable TV shows including the critically acclaimed series Mr. Robot (USA Network), Ryan Murphy’s American Horror Story (FX Network), American Crime Story: People vs. OJ (FX Network) and Scream Queens (FOX). Julian’s recent theatrical credits include the much talked about drama Pause, directed by Tonia Mishiali, feature film Hudson directed by Sean D. Cummingham, the emotional drama feature Princess of the Row, directed by Max Carlson & produced by Morgan Freeman (release in 2020) and the upcoming revenge thriller Disrupted directed by Andre Welsh. FILM CREDITS Swing Blockula Director: Michael Mailer Director: Patrick von Barkenberg Green Light Pictures Disrupted Warning Director: Andre Welsh Director: Sydney Robinson Realization Films Paper Scissors Productions Princess of the Row Alt Space Director: Max Carlson Director: Cody Kussoy Producer: Morgan Freeman Gravitas Ventures/HBO Max Blood Paradise Director: Patrick von Barkenberg Pause Von Barkenberg Productions Director: Tonia Mishiali AB Seashorse Film Productions Let’s Be Evil Director: Martin Owen Light Wounds Let’s Be Evil Productions Director: Max Leonida Dusty Dreams Productions Page 1 of 3 L.A. Slasher (additional music) Gore Vidal: The United States of Amnesia Director: Martin Owen (additional music) JWright Productions Director: Nicholas D.
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Health Care Services
ALAMEDA COUNTY HEALTH CARE SERVICES AGENCY AGENDA _____ December 15, 2020 COLLEEN CHAWLA, Director OFFICE OF AGENCY DIRECTOR 1000 San Leandro Blvd., Suite 300 San Leandro, CA 94577 TEL (510) 618-3452 FAX (510) 351-1367 November 10, 2020 The Honorable Board of Supervisors County Administration Building 1221 Oak Street Oakland, CA 94612 Dear Board Members: SUBJECT: AWARD NEW CONTRACTS TO A POOL OF VENDORS FOR BEHAVIORAL HEALTH CARE TRAINING SERVICES; MASTER CONTRACT NO. 901951; AMOUNT: $49,500 RECOMMENDATION: Approve a new Master Contract No. 901951 for the provision of behavioral health-focused training services for Alameda County Behavioral Health and community-based constituent groups and programs, for the term of 10/1/20 – 06/30/22, in the pooled amount not to exceed $49,500, with the following pool of vendors: A. A Better Way, Inc. (Principal: Shahnaz Mazandarani; Location: Berkeley) Procurement Contract No. 21082; B. Angelyne Arellano (Location: Oakland) Procurement Contract No. 21084; C. Ellen Muir, Systems Coaching & Consulting (Principal: Ellen Muir; Location: San Leandro) Procurement Contract No. 21085; D. Ian Brennan (Location: Walnut Creek) Procurement Contract No. 21086; E. Mind Matters LLC (Principal: Deepa Abraham, PhD; Location: Dublin) Procurement Contract No. 21087; F. Public Health Institute (Principal: Darneshia Blackmon; Location: Oakland) Procurement Contract No. 21088; G. Seneca Family of Agencies (Principal: Ken Berrick; Location: Oakland) Procurement Contract No. 21089; SUMMARY/DISCUSSION: Alameda County Behavioral Health (ACBH) intends to engage a pool of behavioral health-focused trainers who are able and willing to partner with the department’s Training Unit (TU) to provide, on an as-needed basis, a variety of high quality, behavioral health-focused training services to ACBH departmental staff and community-based constituent groups.
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Glee, Flash Mobs, and the Creation of Heightened Realities
Mississippi State University Scholars Junction University Libraries Publications and Scholarship University Libraries 9-20-2016 Glee, Flash Mobs, and the Creation of Heightened Realities Elizabeth Downey Mississippi State University, [email protected] Follow this and additional works at: https://scholarsjunction.msstate.edu/ul-publications Recommended Citation Downey, Elizabeth M. "Glee, Flash Mobs, and the Creation of Heightened Realities." Journal of Popular Film & Television, vol. 44, no. 3, Jul-Sep2016, pp. 128-138. EBSCOhost, doi:10.1080/ 01956051.2016.1142419. This Article is brought to you for free and open access by the University Libraries at Scholars Junction. It has been accepted for inclusion in University Libraries Publications and Scholarship by an authorized administrator of Scholars Junction. For more information, please contact [email protected]. Glee and Flash Mobs 1 Glee, Flash Mobs, and the Creation of Heightened Realities In May of 2009 the television series Glee (Fox, 2009-2015) made its debut on the Fox network, in the coveted post-American Idol (2002-present) timeslot. Glee was already facing an uphill battle due to its musical theatre genre; the few attempts at a musical television series in the medium’s history, Cop Rock (ABC, 1990) and Viva Laughlin (CBS, 2007) among them, had been overall failures. Yet Glee managed to defeat the odds, earning high ratings in its first two seasons and lasting a total of six. Critics early on attributed Glee’s success to the popularity of the Disney Channel’s television movie High School Musical (2006) and its subsequent sequels, concerts and soundtracks. That alone cannot account for the long-term sensation that Glee became, when one acknowledges that High School Musical was a stand-alone movie (sequels notwithstanding).
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