Sterfon Demings

Total Page:16

File Type:pdf, Size:1020Kb

Sterfon Demings STERFON DEMINGS Hair Designer and Stylist IATSE local #706 A high school ploy to meet girls and skip out of school early has turned into a fulfilling career for world-renowned hair designer Sterfon Demings. Sterfon, a master hair cutter and exceptional stylist, is known for his unique ability to work with various types and textures of hair. A native of Montgomery Alabama, Demings studied with master hair designers at The Vidal Sassoon London Academy, the John Atchison salon in New York and The Rusk's of Scotland. From salon to set, Sterfon is equally comfortable with features, TV and print work. He’s based in Los Angeles. selected credits as head of department: date production director / production company 2007 YELLOW HANDKERCHIEF Udayan Prasad / Arthur Cohn Productions 2007 INTO THE WILD Sean Penn / Paramount Vantage 2005 BEAUTY SHOP Billy Woodruff / M-G-M 2004 SOUL PLANE Jessy Terrero / M-G-M 2003 THE ITALIAN JOB F. Gary Gray / Paramount Pictures 2002 LIKE MIKE John Schultz / 20th Century Fox 1998 HOW STELLA GOT HER GROOVE BACK Kevin Rodney Sullivan / 20th Century Fox 1997 SOUL FOOD George Tillman, Jr. / 20th Century Fox 1992 WHITE MEN CAN’T JUMP Rob Shelton / 20th Century Fox 1991 BOYZ N THE HOOD John Singleton / Columbia Pictures television 2000 HOLIDAY HEART Robert Townsend / M-G-M / Showtime Nominated, Hollywood Makeup Artist and Hair Stylist Guild Award, Best Innovative Hair Styling - Television 1999 THE WISHING TREE Ivan Passer / Hallmark / Showtime 1999 A LESSON BEFORE DYING Joseph Sargent / HBO 1999 FUNNY VALENTINES Julie Dash / BET 1997 MISS EVER’S BOYS Joseph Sargent / HBO 1992-94 FRESH PRINCE OF BEL AIR (series) various / NBC 1990-92 IN THE HEAT OF THE NIGHT (series) various / M-G-M TV / CBS selected additional credits as personal hair stylist: features 2008 MILK (Sean Penn Personal) Gus Van Sant / Groundswell-Jinks/Cohen 2003 DIE ANOTHER DAY (Halle Berry personal) Lee Tamahori / M-G-M 2001 MONSTER’S BALL (Halle Berry personal) Marc Forster / Lions Gate Films 2001 K-PAX (Alfre Woodard personal) Iain Softley / Universal Pictures 1998 PRIMAL FEAR (Alfre Woodard personal) Gregory Hoblit / Paramount Pictures 1998 DOWN IN THE DELTA (Alfre Woodard personal) Maya Angelou / Miramax Films television 2006 THE WATER IS WIDE (Alfre Woodard personal) John Kent Harrison / Hallmark / CBS 2000 KIDS SAY THE DARNDEST THINGS (Bill Cosby personal) various / CBS Television selected additional credits as hair stylist: features/television 2008-09 HOUSE, M.D. (series) various / NBC Universal / Fox 2001 BABY BOY John Singleton / Columbia Pictures Experienced in period hairstyling, wigs, hairpieces and extensions, Sterfon has worked with many actors including Halle Berry, Anna Paquin, Maria Bello, Bill Cosby, Alfre Woodard, Donald Sutherland, Kristen Stewart, Miles Davis, Ed Norton, Sean Penn, and Angela Bassett amongst many others. Brian Ellis, Dave Kensler ALL CREW AGENCY 2920 West Olive Avenue Suite 201 Burbank CA 91505 818 206 0144 [email protected].
Recommended publications
  • OBJ (Application/Pdf)
    Wednesday, March 3, 2004 Maroon Tiger: Voodoo Economics, What’s in a name? Stubbs: Barbershop 2: A cut below the first Cobb: Past perfect: A stamp of approval? Yeldell: Consolidation of power www.maroontiger.net J 02» THE MAROON TIGER GEORGIA’S BEST COLLEGIATE NEWSPAPER Morehouse celebrates 137 years, Democrats storm Atlanta Winfrey gives five million in campaign blitz Christian Nwachukwu, Jr 137 years ago, the sons of slaves and sharecroppers assembled in the basement of Springfield Baptist Church in Augusta, GA. Augusta Institute, founded by Rev. William Jefferson White, would become Atlanta Baptist Seminary in 1879. In 1885 it would relocate to its present site; 12 years later it would adopt the name Atlanta Baptist College. It was during the era of Dr. John Hope, who became president in 1906, that the College would be renamedMoehouseCollege, in honor of Henry L Morehouse, the corresponding secretary of the Atlanta Baptist Home Mission Society. Morehouse remembered this history during its 137 Founder’s Weekthat began on Thursday, DEMOND DRUMMER/STAFF March 19 and concluded with service at the Senator John Kerry addresses supporters at the Roxy Theater in King Memorial Church. Atlanta. “At the heart of this college was the ‘great WILLIAM WHITTED/TORCH expectations’ of your founders that its sons Demond Drummer University Center, Sharpton encouraged Oprah Winfrey, the first recipient of the Candle for would change the world for good,” Rev. Peter students to take up political leadership through Lifetime Achievement in Humanitarian Service, pledges John Gomes, Nathan Marsh Pusey Minister in In the final days leading up to Georgia's exercising their right to vote.
    [Show full text]
  • GOIN-DISSERTATION-2015.Pdf
    Copyright by Keara Kaye Goin 2015 The Dissertation Committee for Keara Kaye Goin Certifies that this is the approved version of the following dissertation: Dominican Identity in Flux: Media Consumption, Negotiation, and Afro-Caribbean Subjectivity in the U.S. Committee: Mary Beltrán, Supervisor Maria Franklin Shanti Kumar Janet Staiger Joseph Straubhaar Dominican Identity in Flux: Media Consumption, Negotiation, and Afro- Caribbean Subjectivity in the U.S. by Keara Kaye Goin, BA, MA Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Acknowledgements There are many people I would like to thank who have been instrumental and provided unwavering support throughout the five year process that has culminated in this dissertation. I would first like to thank Mary Beltrán for not only serving as my dissertation chair but also my advisor and champion throughout my Ph.D. Thank you for reading countless drafts of papers, articles, and chapters. I know not all of them were exceptional and without you I would not have been able to accomplish half of what I was able to over our time together. Thank you for listening to me vent, giving me direction for my degree and academic future, and always being in my corner. Words cannot even begin to express the level of gratitude I have for you and all you have done for me. I would also like to thank my committee members, Maria Franklin, Shanti Kumar, Janet Staiger, and Joseph Straubhaar.
    [Show full text]
  • In-Class Essay Instructions
    IN-CLASS ESSAY INSTRUCTIONS Contents Date Introduction Topic Research Outline Instructions References Structure of Paper Grading of Paper Date In class, Wednesday, November 20 Introduction Read this before you proceed further: 1. This document contains live links to internet material; therefore, access it while online. 2. Make-up for this assignment is only possible with a legitimate documented excuse and only during my office hours. 3. Writing a biography of a director you have not been assigned will earn you an automatic F. You have been warned! 4. Do not send me e-mails if you have questions about this assignment; instead come and see me during my office hours. 5. Bring to class a one-page outline of the paper. See instructions below. Warning: The outline is not optional, so if you don’t bring an outline as prepared per instructions below, you will get an automatic F for the paper. 6. No references can be from anything written by me, nor can it be from Wikipedia or any other encyclopedia. (However, you can consult these materials while doing your research—you just can’t use them as references.) 7. You will hand in the outline together with the sheets of paper that will be provided (which you must number and have your names on all of them) on which you will write your essay neatly arranged. 8. Your in-class essay must be structured as per instructions below. 9. You will not be permitted to use any other materials besides the one-page outline. 10. You will lose points for failing to follow any one or more of these instructions (including the possibility of getting an F).
    [Show full text]
  • Annual Report
    ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005.
    [Show full text]
  • The Representation of Women in Romantic Comedies Jordan A
    Ursinus College Digital Commons @ Ursinus College Media and Communication Studies Honors Papers Student Research 4-24-2017 Female Moments / Male Structures: The Representation of Women in Romantic Comedies Jordan A. Scharaga Ursinus College, [email protected] Adviser: Jennifer Fleeger Follow this and additional works at: https://digitalcommons.ursinus.edu/media_com_hon Part of the Communication Commons, Film and Media Studies Commons, and the Gender and Sexuality Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Scharaga, Jordan A., "Female Moments / Male Structures: The Representation of Women in Romantic Comedies" (2017). Media and Communication Studies Honors Papers. 6. https://digitalcommons.ursinus.edu/media_com_hon/6 This Paper is brought to you for free and open access by the Student Research at Digital Commons @ Ursinus College. It has been accepted for inclusion in Media and Communication Studies Honors Papers by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Female Moments/Male Structures: The Representation of Women in Romantic Comedies Jordan Scharaga April 24, 2017 Submitted to the Faculty of Ursinus College in fulfillment of the requirements for Distinguished Honors in the Media and Communication Studies Department. Abstract: Boy meets girl, boy loses girl, boy gets girl again. With this formula it seems that romantic comedies are actually meant for men instead of women. If this is the case, then why do women watch these films? The repetition of female stars like Katharine Hepburn, Doris Day and Meg Ryan in romantic comedies allows audiences to find elements of truth in their characters as they grapple with the input of others in their life choices, combat the anxiety of being single, and prove they are less sexually naïve than society would like to admit.
    [Show full text]
  • AXS TV Schedule for Mon. September 10, 2012 to Sun. September 16, 2012 Monday September 10, 2012
    AXS TV Schedule for Mon. September 10, 2012 to Sun. September 16, 2012 Monday September 10, 2012 4:30 PM ET / 1:30 PM PT 6:00 AM ET / 3:00 AM PT Nothing But Trailers IMAX - Grand Canyon Adventure - River at Risk Sometimes the best part of the movie is the preview! So HDNet presents a half hour of Noth- Narrated by Academy Award®-winning filmmaker, actor, and noted environmentalist Robert ing But Trailers. See the best trailers, old and new in HDNet’s collection. Redford. Follow the great Colorado River as it reveals the most pressing environmental story of our time - the world’s growing shortage of fresh water. 5:00 PM ET / 2:00 PM PT Hustle 7:00 AM ET / 4:00 AM PT Mickey and the team are thrust into a daring daylight heist to retrieve stolen diamonds that Hustle are hidden beneath a police station and wanted back by the owner. Mickey and the team are thrust into a daring daylight heist to retrieve stolen diamonds that are hidden beneath a police station and wanted back by the owner. 6:00 PM ET / 3:00 PM PT JAG 8:00 AM ET / 5:00 AM PT Fighting Words - While respected and decorated Marine General Earl Watson has been as- Honky Tonk TV: Your Country signed to lead the joint task force charged with capturing all the remaining high-value targets This week we’ve got Lee Brice and Colt Ford. Our girl Roxy chats with JT Hodges and he in Iraq, a troubling revelation surfaces.
    [Show full text]
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]
  • SELLING ART in the AGE of RETAIL EXPANSION and CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS and the AMERICAN ART MARKET of the 1930S and 1940S
    SELLING ART IN THE AGE OF RETAIL EXPANSION AND CORPORATE PATRONAGE: ASSOCIATED AMERICAN ARTISTS AND THE AMERICAN ART MARKET OF THE 1930s AND 1940s by TIFFANY ELENA WASHINGTON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation advisor: Anne Helmreich Department of Art History CASE WESTERN RESERVE UNIVERSITY JANUARY, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the dissertation of __________Tiffany Elena Washington_________ candidate for the __Doctor of Philosophy___ degree*. (signed) _______Anne L. Helmreich________ (chair of the committee) ______Catherine B. Scallen__________ ________ Jane Glaubinger__________ ____ _ _ Renee Sentilles___________ (date) 2 April, 2012 *We also certify that written approval has been obtained for any proprietary material contained herein. 2 For Julian, my amazing Matisse, and Livia, a lucky future artist’s muse. 3 Table of Contents List of figures 5 Acknowledgments 8 Abstract 11 Introduction 13 Chapter 1 46 Chapter 2 72 Chapter 3 93 Chapter 4 127 Chapter 5 155 Conclusion 202 Appendix A 205 Figures 207 Selected Bibliography 241 4 List of Figures Figure 1. Reeves Lewenthal, undated photograph. Collection of Lana Reeves. 207 Figure 2. Thomas Hart Benton, Hollywood (1937-1938). Tempera and oil on canvas mounted on panel. The Nelson Atkins Museum of Art, Kansas City. 208 Figure 3. Edward T. Laning, T.R. in Panama (1939). Oil on fiberboard. Smithsonian American Art Museum. 209 Figure 4. Plan and image of Associated American Artists Gallery, 711 5th Avenue, New York City. George Nelson, The Architectural Forum. Philadelphia: Time, Inc, 1939, 349. 210 Figure 5. Thomas Hart Benton, Departure of the Joads (1939).
    [Show full text]
  • Fall 2019 Editor: Diane Slomowitz an ESTATE PLANNING TOOL WE’D RATHER NOT USE
    THE E.P. EXPRESS FOS’s Estate Planning Newsletter Volume 7, Issue 2 An ounce of prevention. Fall 2019 Editor: Diane Slomowitz AN ESTATE PLANNING TOOL WE’D RATHER NOT USE This newsletter often empha- problem. her affairs. prove incompetency and the sizes the benefits of powers of need for a guardian. attorney to designate individu- This situation calls for a Take Britney Spears, who als to act on your behalf if you guardianship - an estate has been under Califor- A guardianship may be tem- are unable to do so. (See arti- planning vehicle which may, nia’s version of a guardi- porary, for example during cle on page 3, “A Director if appropriate, minimize anship for over a decade. medical treatment, or per- Who Failed to Direct His Own potential future harm. manent. Her father had long acted Life.” ) In a guardianship proceed- as her guardian, making To ensure that the guardian What happens, though, if a ing, the court determines financial and other deci- is acting responsibly, the mentally or physically im- whether a person is legally sions on her behalf, as she appointing court supervises paired person should not be incompetent. If so, the court resurrected her singing the guardianship, including making financial or other deci- appoints a “guardian” to career and personal life. through the review of annu- sions, has no power of attor- make decisions and act on al financial and/or physical The court has monitored ney, and refuses help offered behalf of the “ward.” condition reports filed by the guardianship as recent- from responsible family mem- the guardian.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES MULTICULTURALISM MUST COME TO A TRUCE: HOLLYWOOD AND THE PERPETUAL BROWNING OF THE NATION By BELLE HARRELL A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2006 The members of the Committee approve the Dissertation of Belle Harrell defended on April 5, 2006. Maxine D. Jones Professor Directing Dissertation R. B. Bickley Outside Committee Member Neil Jumonville Committee Member Maricarmen Martínez Committee Member Approved: David F. Johnson, Director, Interdisciplinary Program in the Humanities Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my sister and my best friend – Heidi Harrell. Janie is fortunate to have her as a mother. iii ACKNOWLEDGEMENTS I would like to acknowledge those professors whose influence is reflected in this work: Dr. Bruce Bickley, Dr. V.J. Conner, Dr. Eugene Crook, Dr. Maxine D. Jones, Dr. Neil Jumonville, and Dr. Maricarmen Martínez. Not only have you made me a better student and a better teacher, but a better person. iv TABLE OF CONTENTS ABSTRACT ...................................................................................................... vi MULITICULTURALISM IN REVIEW ............................................................ 1 THE HUMAN STAIN IS MOST CERTAINLY HATRED: AN ANALYSIS OF THE HUMAN CONDITION…….
    [Show full text]
  • 12YAS Notes FINALX
    ABOUT THE FILMMAKERS STEVE M cQUEEN (Directed by, Produced by) is a British artist and filmmaker. In 2008, M cQueen’s critically acclaimed first feature HUNGER won the Camera d’Or at the Cannes Film Festival among countless other international prizes. He followed with 2011’s incendiary film experience, SHAME, a provocative drama about addiction and secrecy in the modern world. The film received numerous accolades and awards with M cQueen winning the CinemAvvenire Award and FIPRESCI Prize at the Venice Film Festival as well as nominations from BAFTA, the British Independent Film Awards, the London Film Festival, Evening Standard British Film Awards and the Independent Spirit Awards. In 1996, M cQueen was the recipient of an ICA Futures Award, in 1998 he won a DAAD artist’s scholarship to Berlin and in 1999 - besides exhibiting at the ICA and at the Kunsthalle in Zürich - he also won the Turner Prize. McQueen has exhibited at the Art Institute of Chicago, the Musee d’Art Moderne de la Ville de Paris, Documenta (2002 and 2007) and at the 53rd Venice Biennale in 2009 where he represented Britain. His work is held in museum collections around the world including Tate, the Museum of Modern Art, and the Centre Pompidou. In 2003, he was appointed Official War Artist for the Iraq war by the Imperial War Museum and subsequently produced the poignant and controversial project Queen and Country, which commemorated the deaths of British soldiers who died in the Iraq War by presenting their portraits as a sheet of stamps. In 2002, he was awarded the OBE and the CBE in 2011.
    [Show full text]