Television

BBC Three Calls for Viewers with Disabilities Who Want to Be on TV

ewilliams — Thu, 03 Jul 2008 17:57:00 GMT

Don’t be shy. Share your talent with the country! That’s the premise behind Be on TV, a new initiative from BBC Three that strives to find new talent (in many and varying forms) and present it to anyone who’ll watch. Be on TV gives any BBC Three fans armed with a 15-second video clip the chance to get their gigs published on the Web and on TV.

Now, BBC Three is specifically looking for viewers with disabilities who are motivated to share their creativity, senses of humor and, of course, talents by sending in a mini-masterpiece that can be featured on Be on TV.

The search for disability-talent is linked to the groundbreaking new series, Britain’s Missing Top Model, which is helping eight young women with disabilities discover what it takes to be a model (one will win a photo shoot and appear in a top fashion magazine). The models themselves have even created their own 15-second Be on TV clips for inspiration.

It’s all part of BBC Three’s July special, The Beauty Season, which promises to make real strides toward “challenging our ideas of beauty.” Viewers are invited to go behind the gloss with a collection of shows designed to challenge conventional notions about beauty. The Beauty Season features the six-part Britain's Missing Top Model and also a series of high-profile documentaries—presented by well-known young female stars—that highlight young people’s battles with serious social pressures to conform.

According to the BBC Three Web site “The disabled women featured in Britain’s Missing Top Model are just the start. We want to see more disabled people on television—and not just how we so often see them: climbing mountains, ‘overcoming challenges’ or being ever so inspiring. We really want to see the creativity, humour and talent that we know is out there.” That’s where the call for disability-related Be on TV clips comes in.

“Think about whether there’s a disability message you’d like to get across in your clip,” the BBC Three Web site encourages anyone considering submitting a clip. “Do you want to tell the viewers something about yourself as a disabled person? If so, there’s a good chance that you’ll be even more likely to get your bid for telly fame noticed amongst the flood of Be on TV clips that BBC Three receives on a daily basis,” it continues.

The rules for submission are straightforward, encourage creativity and are refreshingly lacking in legal jargon. For instance, if you want to Be on TV, it’s critical to remember that “Flashing us your bits (disabled or otherwise) is not big and not clever. So don't get naked.”

The rest of the rules are just as easy to follow and, provided submitters don’t break any of them, their clip could end up on air, educating viewers (albeit, quickly) about disabilities and contributing to the cause of entertainment with a purpose!

Actress Tracy Ashton: Making Strides for Performers with Disabilities on My Name is Earl

Mon, 30 Jun 2008 22:51:00 GMT

If you watch the NBC television show My Name is Earl, you absolutely know the character named Didi, also known as the one-legged girl. Portrayed by actress Tracy Ashton, Didi is hilarious and memorable.

"It's been really fabulous working on My Name is Earl. They're wonderful people, the entire cast and crew and all of the leads are down to earth. They always come up to me and give me a hug," Tracy says with fondness. "Since 2005, I've done 10 episodes. Everyone is nice. I have a recurring role and my character has forgiven Earl, but executive producer Greg Garcia told me, 'Don't worry you'll be back.'"

When Tracy auditioned for My Name is Earl there was no guarantee of being cast in the role.

"If there is a role for a performer with a disability, they throw everyone out there who fits the role. They wanted someone with one leg because that's what the joke was about. There were four women who auditioned for the role. I never wear my prosthesis because the amputation is so high up. I just walked in there like the other women, but I was the only one not wearing a prosthetic," Tracy remembers.

"The funny thing is that I got a call that same day about a part in a film. When I called back they said it was the office for director David Lynch. When I arrived for the audition for My Name is Earl, I got a call and it was David Lynch saying, 'Let me tell you about your part.' That film was Inland Empire and I have the last word in the film."

In hearing her stories of success, you automatically think she has it made. But, Tracy admits, "It's hard to get auditions if you're a performer with a disability. Last year, I had two auditions and it was a banner year."

Tracy is not only a survivor who is willing to fight for every audition, she is also a cancer survivor.

"I'm missing my left leg. I have hip-disarticulation, meaning everything from the hip socket down is gone. I had a rare form of cancer called myxoid liposarcoma. I was in my late 20s when I noticed a bump on my thigh. I did a lot of alternative therapies and radiation. I eventually had to have surgery to remove the tumor. They removed 13½ pounds out of my leg. A couple of years later, I had the amputation. I noticed the tumor in 1987."

"The big tumor was removed in 1993 and in 1995 a couple more tumors (about the size of an egg) appeared along the scar line. I had those removed and then the amputation about six weeks later when I learned those small tumors came back with a high grade malignancy. The reason I finally got the amputation was because I wanted to raise my son who was four at the time. Although the cancer hadn't spread outside my leg in 8½ years, that could quickly change with the high grade malignancy. I knew it was time to let it go. I was lucky in many ways."

With a degree from Southern Illinois University in dance, Tracy was active in both dancing and acting.

"While I was sick with the cancer, I dropped out of everything and focused on getting well. Once my amputation happened and I recovered from that, I started taking improv classes again with Bill Applebaum. He was a wonderful coach and friend to me. He always encouraged me to write and get out there. I eventually got out there, but it took a good eight years to get to the point I'm at today."

While that length of time can crush the spirits of any actor, Tracy was tenacious about tending to her dreams.

"There's still a very long way to go for the movement to go, but I'm one of the very few lucky ones that has a high-profile kind of role. There are many reasons performers with disabilities aren't seen on screen more. There aren't that many auditions and there aren't roles that are written for us. But it is going to take a community effort for things to change."

Tracy hopes for:
1. More auditions for performers with disabilities.

2. More roles written for performers with disabilities.

3. Casting executives who audition performers with disabilities for regular people roles.

4. Directors and producers who are open to casting performers with disabilities for regular roles.

5. Writers who are open to any ethnicity or disability for the role.

"It's not that we can only play disabled people," Tracy explains. "In my real life, I've been a soccer mom and I'm a single mom. I live a normal life, but in the entertainment industry, people with disabilities are not given those roles. It's very rare. You don't see a soccer mom with one leg."

"Hopefully, in the future, they'll consider someone like me, or someone in a wheelchair or someone who is blind or deaf or has cerebral palsy. I've seen other parents, siblings and even a linesman referee with disabilities. Any role that calls for a person in a wheelchair or whatever the disability, it would be nice to audition people with those disabilities as well. And bring in people with disabilities to audition for roles that aren't necessarily for the 'disabled'!"

The weight of change will automatically fall back on the community of performers with disabilities.

"Everyone is going to have to take part. People with disabilities are going to have to start writing or creating theatre. Actor Danny Murphy is a wonderful activist for performers with disabilities, but it's going to need every voice coming together," Tracy reminds. "I have written sketch scenes and monologues for myself. I've also co-written a book with a friend of mine and we're looking for a literary agent. It's about a young man who goes to New York to become a dancer on Broadway. Someone is trying to turn it into a screenplay, so that's wonderful. Each step leads to the next."

In her own life, Tracy has seen what she hoped for, "My son has seen me accepted by society because that's the way we live. I'm just one of the parents. When he was first going to school and I volunteered in his classrooms, people would ask me to watch their kids or drive them. I've also put myself out there, even though I have one leg, and people forget that I only have one leg. I can't do what everyone does because I use crutches. I can wear a prosthetic but my amputation is so high up it's harder to use them. The leg and the components are older technology. Now, they have computerized knees, but they cost $40,000. I have the finest prosthetic limb that Medicare will buy," Tracy says with a laugh. "My leg, which includes a hip joint, knee joint and ankle joint, requires that I sit in this bucket and it's uncomfortable. That limb 12 years ago cost $14,000. It's not cheap either. I don't have great medical coverage but now I've made enough money that I have Screen Actors Guild insurance."

Tracy is optimistic that the strides performers with disabilities make today will create a more inclusive environment in film, television and commercials in the future.

"I'm constantly marketing. I'm working on a website. I also study with Janet Alhanti and she's a wonderful coach and mentor. She's given scholarships to performers with disabilities for many years to study with her and has been a real champion for the disabled. I think it's important that performers with disabilities to learn the craft of acting so that when we're called to audition, we make a strong case for the movement by being able to do the work, despite our 'disabilities.'"

"That's why I continue to study with Bill and Janet so that when the call comes, I'm ready. By staying in acting classes and getting out there and people hear about me. I'm with a good agency, KSA, and I have agents who are really hot for getting their performers with disabilities into auditions. They're very encouraging. The Media Access Office has also been wonderful. They have an awards show every year and that's where I met the Farrelly brothers and met other people with disabilities who have been champions on my behalf."

In fact, that meeting with Peter and Bobby Farrelly led to Tracy's performance in the film "Stuck on You."

"In Stuck On You, we played casting people who were sitting behind a table. Those are roles any of us could go out for. Actress Ann Stocking and I both play casting agents and we got to work with Matt Damon and Greg Kinear, who were lovely people as well."

With only two auditions last year, the roles were written specifically for performers with disabilities.

"For those two roles, I wasn't right for either one, but I still got callbacks. One was for a pilot calling for a young 20-30 year old hot looking mama in a wheelchair and the role went to my friend, actress Teal Sherer. The other role was for Nip/Tuck and called for a woman with no legs in a wheelchair. For that particular role, you had to agree to do a simulated sex scene and partial nudity. There were only two of us who auditioned for that role. The woman who got the part actually has no legs and uses a wheelchair. I saw her and thought, 'She's perfect for the role.' I was happy for her. I was also happy to audition again. It shows that there are very specific details written into scripts. The role I got for My Name is Earl was a specific role for a one-legged girl. They were looking for a specific disability, which I happened to fit."

While Tracy has not experienced face-to-face discrimination, it's more of a silent discrimination by keeping performers with disabilities out of the process.

"My long term hope is to get a series regular role on a top show and do movies. If I'm brave enough to get out and audition for theatre I'd love to do that again as well. I love to act, I love to perform, I love it, and when I do get a chance to audition, I want to be ready for whatever role – second lead, guest star, or recurring. We're able to do it, especially those of us who are dedicated to the craft of acting. Actors who are not prepared water down the talent pool because casting people see 10 people and only 5 of them can act," Tracy notes. "If performers with disabilities work on the craft, we'll be ready. I am hopeful for all of us because I'm an optimist by nature!"

For more information on performers with disabilities, visit www.performerswithdisabilities.com.

Pictured: Actress Tracy Ashton, photo by Mary Ann Halpin

Quad for a Month: NFL Star Ray Crockett Takes on Life in a Wheelchair

Mon, 23 Jun 2008 17:04:00 GMT

Documentarian Morgan Spurlock of Super Size Me fame is back, this time with the show 30 Days, which drops people (for a month’s time) into lifestyles vastly different than the ones to which they’re acustomed. Spurlock has documented a Christian living with a family of atheists, a border patrol officer living with a family of illegal immigrants, and a hunting enthusiast living as an animal rights activist.

The June 10, 2008 episode finally tackled the issue of disability. To do it, Spurlock chose Ray Crockett, a former NFL cornerback with two Super Bowl wins under his belt, to live as a wheelchair user and have the experience taped. According to the FX network, Crockett wanted to be the subject of the episode partly because, in 1991, his teammate and friend Mike Utley was paralyzed from the chest down during a game.

Crockett began his preparation at the Baylor Institute of Rehabilitation in Dallas. He watched the rehabilitation efforts of 35-year-old Shannon Davis, a recently-paralyzed patient preparing to go home after recovering from a car accident. He also attended support groups and was at his wife’s mercy for car rides to his business meetings (at least until he added hand controls to his own car). “What the hell have I got myself into?” is one of Crockett’s early laments in response to his new, temporary lifestyle.

Crockett also modified his house to accommodate his wheelchair, but acknowledged that most people living with a disability don’t have the funds to go to the lengths that he was able to in order to make life more comfortable. That reality was driven home when Crockett visited the home of a young man who was paralyzed after landing in shallow water during an ill-fated attempt at rope swinging. Crockett experienced first hand how much more difficult it is to navigate the house in which his new friend lives - an older home that has been retro-fitted as well as possible.

As the end of his 30 days approaches, Crockett realizes that life with a disability and independence aren’t mutually-exclusive states of being (and with that, he gains a better understanding of what life with a disability is really like). He even returns to his athletic roots, this time as a member of the Texas Stampede, the wheelchair rugby team documented in the film Murderball.

In addition, the connections he’s made through his time at Baylor seem genuine - Crockett acknowledges the strength of those around him not as people with disabilities, but simply, as his friends. They’re not made out to be heroes but are uniquely portrayed as folks Crockett relates to, has shared his life with, and learned from.

Of course, at the end of the 30 days, Crockett returned to his life as usual. But a closing scene in which he shares with his family his insights into life with a disability makes it obvious that he’s learned a great deal from the experience, that he can now see past the disability and into the person, and that he wants others to be able to do the same. Now that’s cutting-edge television.

Briana Walker: Her SCI Doesn't Prevent Her From Dancing, Surfing and Writing Book

Wed, 21 May 2008 18:53:00 GMT

When Briana Walker joined Colours Wheelchairs as a model, she met Auti Angel, who was a wheelchair dancer and pioneer in the hip hop world. Auti opened the door for Briana to wheelchair dancing.

"Auti introduced me to wheelchair dancing and it's something I love to do. I'm very passionate about it. We perform together at Colours Wheelchairs trade shows. We demo the product together, provide entertainment and show what we can do in their wheelchair products. I also really like the little kids camps where we show kids with disabilities what they can do in a wheelchair," Briana explains. "That is our reward to see their faces light up and show them that anything is possible."

Briana's life changed with an accident on an Orange County, California, freeway in 2002 at the age of 23. When she fainted at the wheel of her black Honda Accord, she hit the cement median at 75 miles per hour. She had planned on marrying her boyfriend, but the accident took her life in a different direction.

"After I got hurt, it was too difficult for him to handle. It ended up being a blessing, because I need someone who won't run away from adversity, someone who will embrace challenge and say, 'Let's beat it together!' While it was heartbreaking at the time, it gave me so much motivation to move forward. We're still friends," Briana notes, "but everyone deals with situations differently and you have to accept that."

Since the accident, Briana has become an author of an uplifting book about her experiences, Dance Anyway. She also serves as an Ambassador to the Life Rolls On Foundation as she's working on a second book.

"My first book, Dance Anyway, is available on my website www.BrianaWalker.com. I wrote it to share my story and my message that life turns out best for those who make the best of the way life turns out. The second book Does This Wheelchair Make My Butt Look Big? is the book that I want people to see the humorous side of wheelchair life. I plan on releasing this book in 2009 and distributing it to the spinal cord rehabs in the USA so they can give it to the newly injured patients to help them develop a sense of humor in this new way of life."

"Laughter is the best medicine I believe. It definitely helped me get through some very trying times and the ability to laugh made it easier to see the light at the end of the tunnel. Hospitals now give my book, Dance Anyway, to people who have recently sustained a spinal cord injury," Briana explains. "As an Ambassador with the Life Rolls On Foundation I go into hospitals and rehabs and talk to people with spinal cord injuries. It's so important who you first meet after an injury as it will determine the path you will take. What type of example will you receive? If you meet someone negative, it may have a negative impact. Life is going to be different after an injury, but you have a choice. You can look at the positive. I try to be positive and use my sense of humor."

As a spokesperson for Overstock.com, Briana does not sit in her wheelchair to sell the products in commercial appearances.

"They gave me a choice and asked me, 'Do you want to sit in your wheelchair or on the couch?' I told them, if I were at home, I'd be sitting on the couch," Briana says, "It's not a publicity stunt or anything like that. I'm promoting Overstock.com and it shouldn't matter whether I'm in a wheelchair or not. Artists with disabilities want to be accepted as normal. In my role with Overstock.com, it's just about being a person."

As Briana has been requested around the world to share her story in person, she carries a strong message.

"I speak primarily to able-bodied communities. My platform is focused on overcoming adversity. Attitude is everything and I incorporate the lessons I've learned in my own life into that theme. Life is about choices and it's your choice how you're going to react to it."

As speaking engagement requests have been growing by word-of-mouth, she's appeared for groups as far away as Germany. Briana receives positive responses to her appearances.

In life, she rarely experiences discrimination but admits it has to do with your own individual attitude and interpretation.

"The way I look at it, if someone is uncomfortable or they stare, I see it as an opportunity first hand to educate. It's how I react to a situation that determines the outcome. There's always a way to turn it into an educational experience that leads toward acceptance. I look back to when I got hurt. I didn't know anyone who used a wheelchair," Briana remembers. "As time progressed, I could turn this experience into anything I wanted it to be. Again, it was my choice to turn it around and share my message with more people."

To be able to continue dancing has been a gift. "I'm grateful to Auti. She's had such a positive influence on me. I never would have been exposed to hip hop dancing without her. We're a lot alike and yet different. She's outgoing and gregarious; we have a nice balance. We do fast beat and high energy dancing, but we enjoy attending other dance performances that include able body and wheelchair dancers alike to expose us to other forms of dancing. Some ideas we incorporate into our own dance routines."

Briana embraces an active life, which includes many of the sports she has always loved.

"I wakeboard and surf. I compete in triathlons. I skydive and bungee jump, everything I did before. I'm more motivated now to participate because I'm more curious about how I can do something. I love trying new things and challenge myself. I haven't won a triathlon," Briana says with a laugh, "but it's still a work in progress."

As an Ambassador for Life Rolls On, Briana also shares her love of sports with people who have spinal cord injuries.

"I teach them how to surf and I believe in the organization. We raise money for spinal injury research while we also motivate and create an awareness that life goes on after sustaining an injury," Briana adds, "Nothing can stop you if you believe it's possible."

For more information on Briana Walker visit http://www.brianawalker.com/, http://www.liferollson.org/, or http://youtube.com/watch?v=qo6dClyk_cQ&feature=related.

To watch Briana and Auti Angel dance, link to http://youtube.com/watch?v=D574RDGXUio.

Pictured: Wheelchair Hip Hop Dancers Auti Angel and Briana Walker

Matt Scott: A Paralympian Basketball Player Who Makes No Excuses

Tue, 20 May 2008 17:54:00 GMT

“My friends gave me no slack at all,” says Paralympian wheelchair basketball player Matt Scott about his childhood. “If I was late on a double play, if I made a bad pass, they were all over me. They didn’t care if I was in a wheelchair. Nobody changed the rules for me.”

Scott, who was born with spina bifida, grew up in Detroit, Michigan, where he participated in a variety of sports alongside his able-bodied peers. Now a member of University of Wisconsin-Whitewater wheelchair basketball squad, Scott has won four national championships. He was also recently selected to the Paralympic squad for the second time. The 23-year-old college senior attributes his achievements to a dedicated work ethic, and to a support structure of friends and family that never allowed him to use his disability as an excuse.

“My mother was always great. If I was whining, she had no sympathy. She really helped me create my independence by not babying me,” Scott said.

It was Scott’s independent nature and strong will, along with his on the court skills, that attracted the attention of America’s most influential sports apparel company, Nike. Nike was searching for an athlete with a disability that exemplified their “Just Do It” trademark, and after auditioning a handful of superstar athletes with disabilities, the company picked Scott to star in a 30 second commercial.

“I think that they were looking for the prettiest face in America and stumbled across me,” Scott jokes about the selection process.

After being picked, Scott flew out to California in December to film the commercial with Oscar-winning documentary director Errol Morris. The ad features Scott dribbling a basketball while rattling off a list of 56 excuses that could be used to avoid practicing or working out. He shouts the final excuse, “My feet hurt,” as the camera fades out to show a shot of his lower body, revealing that he’s in a wheelchair.

The ad aired during the college football bowl season in January, and has been viewed over 230,000 times on YouTube. It’s also elevated Scott to celebrity status in the disability community. He’s been asked to speak at a number of disability-related events, and feels it’s his duty to use the spotlight to advocate on behalf of those with disabilities.

“I’ve been given a voice, and I want to do whatever I can to promote and break down the social barriers for disabled sports and make people realize that disabled athletes are very strong powerful athletes,” Scott said.

Scott’s major is in social work, and he hopes to someday use his degree to work in rehabilitation counseling or other disability-related fields. But for the moment, he’s focused on excelling for the U.S. wheelchair basketball squad in the 2008 Olympics. “Our goal is the gold, nothing less,” Scott says about the squad’s aspirations in Beijing.

After the Olympics, Scott plans to play professional wheelchair basketball—most likely abroad—but he’s vocal about his desire to continue to give back to the disability-sports community that he credits with much of his success. He advises young athletes with disabilities that the best way to succeed is “to set a goal, go after it, and once you hit it, set another one.”

“I don’t feel like my disability has ever prevented from doing anything I wanted to do,” he added.

The Digital Television Transition (DTT)

Tue, 20 May 2008 15:58:00 GMT

On February 17, 2009, all full television stations will begin broadcasting only in digital signals, a switch that will impact approximately 20 million Americans who don’t have cable, satellite, or digital television. The transition was mandated by Congress years ago, and is an effort to free up parts of the valuable broadcast spectrum for public safety communications (such as police, fire departments, and rescue squads.)

How it benefits consumers
Consumers will also benefit because digital broadcasting has the potential to provide improved picture and sound quality. Instead of being limited to providing one analog program, a broadcaster will be able to offer a super sharp “high definition” (HD) digital program or multiple “standard definition” (SD) digital programs simultaneously through a process called “multicasting.” The bottom line: viewers will have many more high quality programming choices.

How to know if it affects you
If one or more of your televisions currently receive free over-the-air television programming with either a rooftop antenna or “rabbit ears” on the TV, you have the potential to be affected. If your TV is digital (meaning it has an internal digital tuner) you’re not at risk. However, if your television is analog, you will need to purchase a digital-to-analog converter box to continue to watch broadcast television. Additionally, this converter will also enable you to see any other multicast programming that your local stations are offering.

Getting more information
The best way to obtain more information about the digital television transition, including FAQ’s, toolkits, and a glossary of relevant terms, is the DTV website, http://www.dtv.gov/index.html. In addition, email queries can be sent to DTVinfo@fcc.gov, and phone calls can be made directly to the FCC at 1-888-CALL-FCC (1-888-225-5322), or for TTY, 1-888-TELL-FCC (1-888-835-5322).

Singer and Actor Wants to Show People with Disabilities the World

Mon, 05 May 2008 16:56:00 GMT

"I'm very passionate about not showing the world people with disabilities but instead showing people with disabilities the world. We all have the potential to be beautiful, wonderful and talented people," singer Tobias Forrest says, "I just want to sing."

And, sing he does. Forrest is the lead singer of the band Cityzen in Los Angeles.

The band offers a great sound and is building a following in clubs and on http://www.myspace.com/CITYZENLA.

"I started the group with Jeff Line. We played in a band in college before my accident. I was almost 23 when I became a C5 quadriplegic. It was May 1998 and I was diving off a waterfall in the Grand Canyon. It was the time of El Niño and the water level was lower. I was told it was safe to dive there, but it was too shallow. I did a little drowning, I did a little dying, but I said Heaven can wait," Forrest explains with a laugh. "I didn't lose my sense of humor."

After the accident, Forrest had no control of his lungs. He was on a ventilator for two months simply trying to breathe again. He couldn't play guitar and he couldn't play the drums.

"I resigned myself to saying that music was done. After I got hurt, I moved to Florida and earned my Masters degree in Psychology. But, I like to talk more than listen and I have problems with people who can't cope," Forrest says with his tongue firmly in cheek. "So, I started doing comedy improv and got involved in acting. I signed on to participate in a walking study at UCLA and moved to Los Angeles in 2003."

Forrest was awarded the Christopher Reeve Acting Scholarship through the Media Access Office and also found a mentor along the way to Hollywood.

"Actor Danny Murphy in many ways is my mentor. He was one of the first guys I met after the accident. My father knew Danny and invited him over. I met him and we became friends. He led the way and had a big influence on me. He was an example of anything is possible," Forrest remembers, "and he showed me that success is possible. People set good examples and Danny is one of them."

Forrest's resume is filling up. He is currently appearing in a Wal-Mart commercial that is airing nationwide. He also performed in an episode of Weeds on Showtime and on the television series In Case of Emergency.

His passions vary from singing to poetry to painting. A true artist in every sense, Forrest plans to open a gallery show to combine his passions one day.

"I create figurative and surrealistic paintings. I love painting and creating artwork," Forrest notes, "and one day I hope to open a gallery show where the first painting is also the first song."

For now, the launch of his band is gaining attention not because of Forrest's wheelchair use, but because they play great live music. In creating their band Cityzen, Forrest and Line were joined by Nick Woods on drums, Tristan Cannizarro on guitar, and Adam Pingleton on bass to round out the group.

"My band lifts me up on the stages. Very few of the stages are wheelchair accessible, but I perform from my chair. I write all the lyrics and we sing original songs," Forrest says. "We play funk, rock, and we're a jam band. The passion of singing overrides any physical obstacle. As an artist, if I'm not creating, a part of me is dying. I also want to have a better excuse for people to stare at me rather than my wheelchair."

When asked about other rock singers who are wheelchair users, Forrest admits there is no one that comes to mind but his fans instantly look beyond the wheelchair. In fact, his success may lead other wheelchair users to consider a singing career.

"Right now, I'm it. You don't see that many rock singers on stage in a wheelchair. People think it's cool, though," Forrest explains. "We premiered at 14 Below in Santa Monica. We played at the Festival of Human Abilities. We played at Safari Sams. And, we're going to play at B.B. King's in Hollywood. We came out of the gate running and it's amazing!"

Forrest's other interests reach beyond Hollywood as he has an active role in marketing Accessible Design, www.AccessibleConstruction.com, to help people transition to independent living by providing a variety of products.

His father is the owner of Robomedica, www.Robomedica.com, which is focused on helping people with spinal cord injuries walk again through rehabilitation technology.

Forrest is also helping to establish a peer mentorship and resource group with other active spinal cord injured people called Ralph's Riders dedicated to the memory of Ralph Fornos.

To listen to a taste of Cityzen in LA, link to http://www.myspace.com/CITYZENLA.

Pictured: Singer Tobias Forrest performing on stage
Photo Credit: Nigel Skeet

Alliance for Inclusion in the Arts: Celebrating Two Decades of Artists with Disabilities

Sat, 03 May 2008 00:28:00 GMT

"Things are opening up in film, television and theatre with respect to issues of disability—there has been progress. At the same time, the surface has barely been scratched," says Sharon Jensen, executive director of the Alliance for Inclusion in the Arts.

Based in New York City, the Alliance, formerly the Non-Traditional Casting Project (NTCP), is a national nonprofit established in 1986 to address and seek solutions to racism and exclusion in theatre, film, and television; Jensen came on as executive director in 1989. Three years in, NTCP expanded its mission to include artists with disabilities. "When I first came on board, I tried to raise cultural awareness," Jensen says. "I routinely asked casting directors, 'Would you consider an actor with a disability?' Nine out of 10 times they said, 'No, not this time,' or 'Maybe, later, which seldom came.' Now, one out of three casting directors will say, 'What an interesting idea.' I hadn't thought of that. Let me think about it.' "

Today, because of its ongoing commitment to full inclusion, the Alliance is considered an established leader in the arts and entertainment field with respect to these issues.

An early environment of cultural diversity shaped Jensen's interest. "My parents had a global view," she says. "They recognized there were many cultures in the world, many ways to think, approach life, and contribute. We often had guests from different parts of the world whom my parents had met on their travels who would stop by to visit and stay in our home, which could barely accommodate our nuclear family, in my small hometown in Michigan—one gentleman stayed for six weeks! Living in a multicultural environment was the norm for me. I went to college with a girl who had cerebral palsy. In my 20s, I made friends in the deaf and hard-of-hearing community and learned sign language," Jensen explains. "One thing built upon another. Prior to coming to the Alliance, I had either worked for or led nonprofit arts organizations for 17 years. When this opportunity came along, it was a perfect fit."

Jensen believes "education—the earlier the better—is critical to understanding the lived experience of disability" and Christine Bruno, Disability Advocate for the Alliance, agrees. Bruno, who has cerebral palsy, understands the hurdles faced by artists with disabilities and the trepidation of decision makers such as producers, directors, and casting directors.

"In addition to my work with the Alliance, I'm also an actor and teaching artist with an M.F.A. in acting and directing. As such, I have an inherent understanding of the challenges performers with disabilities face and am able to answer their questions and help address their concerns," Bruno explains. "I'm also a direct liaison between disabled performers and decision makers, who often have limited knowledge of disability. A large part of my job as Disability Advocate is to guide, support, and educate decision makers through the process of working with disabled artists, from initial consultation through performance."

"As a teaching artist, I visit New York City schools with a team of other artists. We promote disability awareness using a variety of tools, including puppets, monologues and scenes, and theatre games to introduce mostly nondisabled children to disability. With the older kids, I share my personal story and facilitate question-and-answer sessions. The best part is that all my jobs—Disability Advocate, actor, and teaching artist—feed into one another and each influences the other in a positive way," Bruno says.

"What we've found," Jensen explains, "both with respect to artists of color and those with disabilities is that before you can have real change, you need a sensitized environment in which change can occur." To that end, the Alliance works with every sector of the industry and at every stage of the process, from initial idea through production.

Jensen says, "One of the Alliance's strengths is bringing professionals together around these issues. Our goal is to expand thinking that will then lead to a change in practices. Therefore, on an ongoing basis, we invite casting personnel, directors, writers, union and guild representatives, producers, artists, disability experts, network executives, and educators to participate in a variety of discussion formats, from small roundtables to large resource events." Jensen explains. "The feedback has been incredibly positive, including comments that range from 'eye-opening' to 'life-changing.' Unless industry professionals have had a direct experience with disability, most haven't considered the options or thought about it before. People are open to new experiences and to change, but we have to talk about it."

In 2006, the Alliance launched Disability in Entertainment and Arts Link (DEAL)—a direct result of bringing industry professionals together around the issue of disability. "DEAL was specifically born out of two events: The first, a collaboration of the Alliance, Columbia University Seminar on Disability Studies and Columbia University Arts Initiative, focused on theatre and casting practices and was held in 2005 at the Public Theater in New York City. We invited leading disabled and nondisabled artists and decision makers to participate in an open discussion about issues of disability," Jensen explains. "One hundred-thirty five professionals—performers, producers, writers, directors, casting directors, and educators—attended. Following that symposium, a highly respected theatre and television writer suggested we hold a similar event specifically for writers. Partnering with The Dramatists Guild of America, Inc.; New Dramatists, Writers Guild of America, East; and the WGA, East Foundation, Written on the Body: A Conversation About Disability (full transcript available on the Alliance website) was held in April 2006 at HBO in New York City."

DEAL is a collective of arts and entertainment professionals dedicated to the full inclusion of people with disabilities in all sectors of American arts and entertainment whose mission is to help artists and decision makers in every sector of the industry develop projects that reflect the changing landscape of disability, introduce provocative ideas about disability, and put forth a more authentic representation of what it means to be a disabled person in the 21st century. Utilizing the expertise, talents, and access to resources and information of each of its members, DEAL was expressly created to aid industry professionals at every stage of the creative process—from development of the initial idea through production, marketing and public presentation.

The growth that has taken place over the last decade, Jensen and Bruno stress, has been a joint venture. "It's taken like-minded people and organizations with common interests working for change, such as the Tri-Union Performers with Disabilities Committees and the Media Access Office in California. Our mutual efforts have increased opportunities for the available talent pool of disabled artists, and we hope, provided role models for younger, aspiring disabled artists to demonstrate that a life and career in the arts is possible," Jensen says.

"Often our work is behind the scenes and under the radar. We get involved, not only in New York City where we are based, but all over the country." The Alliance has consulted on such projects as Academy Award–winning There Will Be Blood and NBC's Law & Order: Criminal Intent. "We worked with the executive producer of Law & Order: Criminal Intent on the episode "Silencer," which was about a murder on a deaf campus," Jensen explains. "They employed 51 deaf actors for that episode, seven as principals and 44 background actors. That's unprecedented."

"Nationally, the entire talent pool of performers with disabilities is between 900 to 1,000 and that includes actors with years of experience and training, background actors, and actors who are just starting out," Bruno explains. Comparatively, the combined membership of SAG, AFTRA, and Actors' Equity is approximately 150,000. (According to an article in the March 3 issue of Variety, an estimated 40,000 actors hold dual membership in SAG and AFTRA.) Those numbers and the fact that just 1.5% of SAG members identify as having a disability and of that 1.5 percent, just half of one percent has had speaking roles (according to a 2005 UCLA report), are a pretty clear indication that "this profession is lagging behind other professions, because so much of it is about the visual representation of what we see on stage and screen," Bruno says.

Given those odds, how then has this four-person nonprofit become nationally recognized for its 20-year commitment to inclusion in the industry? Jensen explains, "We're a small organization, but we can both initiate and respond to issues quickly. We try to reach people where they are, whether they are new to the issue or more advanced. We try to help them take next steps. Every day we learn something we didn't know before, and we're reminded there's always further to go and more to be done."

For more information on Alliance for Inclusion in the Arts, visit www.inclusioninthearts.org.

Liberty Mutual Produces TV Ads Featuring People with Disabilities

Thu, 17 Apr 2008 20:34:00 GMT

The disability community is applauding one of the pieces included in a new television ad campaign from Liberty Mutual that explores the different ways different people choose to do the right thing. The 60-second spot, titled “Election,” features actress Teal Sherer, who uses a wheelchair on and off screen.

In the ad, Sherer is shown going about her morning, fixing her makeup, and then heading out into the rain only to find her car doesn’t start. She takes her wheelchair out of the car and wheels through the rain to the bus stop. When her ride arrives at its destination, she deftly maneuvers through the parking lot, bending over to dodge a railing between her and her destination: a school gymnasium that houses a polling center. Viewers then see Sherer cast her ballot while a voiceover gently reminds them that, “Every day, millions of people choose to do the right thing.”

Four spots in total were included in the Liberty Mutual campaign centering on the issue of responsibility. “Election” stands out. “Even though the spot is intended to remind us all of the responsibility and privilege of exercising our right to vote, it’s also a masterful and authentic representation of people with disabilities,” reads one comment left on the Liberty Mutual Website dedicated to the project. The comment, signed by C. Bruno of the Alliance for Inclusion in the Arts, continues: “Thank you, Liberty Mutual, for realizing that people with disabilities can live full, productive, and independent lives! And yes, we have money to spend . . . and we VOTE!!!”

It’s clear from this type of response from the disability community that Liberty Mutual did its homework before getting to work developing the ad. The company tested the planned images using focus groups of both wheelchair users and people who don’t use wheelchairs. Sherer herself was also an invaluable resource for the company: “Auditioning for the commercial was an interesting process,” Sherer says. “[Liberty Mutual] just wanted to get to know me. They also were interested in how people treated me and what bugged me about how they did.”

The company even modified some of the original plans for the ad based on Sherer’s real life experience. “I was very much involved in the production,” she says. “They made it clear from the beginning that they wanted the commercial to be as authentic as possible and for me to do everything that I would normally do. For example, at first they had me driving a van. I told them that I don't drive a van but a four-door car and I told them about how I transfer into it and put my wheelchair in it. So, they changed that in the commercial.”

But the ad conveys even more than a “day in the life snapshot” of a disabled person. “The message is also about not letting anything hold you back,” Sherer says. “There are no excuses not to be responsible. If you are faced with a problem, you find a way to get around it. You don't settle for what life hands you; you take control.”

Actors with disabilities are still under-represented in Hollywood in all areas—TV shows, films, and even commercials, which is why projects like this one from Liberty Mutual stand out so much when they’re successful. “The casting call specifically called for disabled female actors and they were the only ones auditioned for it,” Sherer reports. “I think that is groundbreaking, and I hope that it influences others to start casting performers with disabilities”

In the Liberty Mutual ad, Sherer doesn’t once come off as a super hero or someone in need of viewers’ pity. Instead her onscreen portrayal of a person with a disability is close to what her life off-screen is like: she is, simply, a person with a disability, living a productive life, and choosing to do the right thing over the easy thing. Groundbreaking, indeed.

Teal Sherer is a founding member of Blue Zone Productions, a theatre company in Los Angeles that promotes artists with disabilities. She just produced their first show, The History of Bowling. Learn more at www.tealsherer.com.

One Woman's Mission to Include Performers With Disabilities in Film and Television

Mon, 14 Apr 2008 16:37:00 GMT

The moment you start talking with film, television and theatre actress Diana Elizabeth Jordan, her positive spirit is infectious. She makes you a believer that good things are happening all the time.

"If you believe in something, everything is possible. Look at how far performers with disabilities have come. We've come a long way, but we still have a long way to go," Jordan says, "but I don't look back. You can choose to sit around and be frustrated, but I choose to focus on where we need to go. That's what motivates me."

In fact, Jordan has been motivated to reach her dreams her entire life. Born with cerebral palsy, she had a love of acting since childhood. After earning a bachelor's degree in Theatre and Media Arts from the University of Kansas, she began her acting career in Chicago where theatre offered opportunity. Her love of the theatre grew.

"I never wanted to sit around and say 'What if? What if I had gone to Los Angeles?' Life is not about regrets. So, I applied to the California State University at Long Beach to further my education and have another tool so I could teach while being closer to Los Angeles," Jordan explains humbly, "I was accepted into the program."

She not only was accepted, but she made history when she became the first actor with a disability to obtain a Masters of Fine Arts degree at Long Beach.

In 1999, she accepted a position at Performing Arts Studio West, which provides professional hands-on training, career management, and on location support for performers with disabilities.

"Diana has worked with us for nine years. She was extremely important in the very early stages of what we were creating," says John Paizis, Performing Arts Studio West Founder and Director. "As an acting instructor and on-set coach, she provides a tremendous amount of insight as she understands the challenges and helps performers work through them. She has been instrumental in getting our actors prepared."

While she sees her work as part of a team effort, Jordan has probably helped hundreds of students who have taken classes at Performing Arts Studio West over the years. But, her own dreams continue as she's performed on the WB's 7th Heaven, in several independent films, and on stage in many productions including The Glass Menagerie at the Steppenwolf Theatre.

Jordan has had an especially warm relationship with the critically acclaimed Cornerstone Theater in Los Angeles as she prepares to perform in her fourth show with the company.

"Cornerstone is dedicated to diversity. I performed in my first show with them while I was in graduate school. I'll never forget that call," Jordan remembers. "They worked around my graduation and finals schedule. They were very generous."

Jordan is now rehearsing for another Cornerstone show that features characters with disabilities.

"Playwright Julie Marie Myatt wrote a part with me in mind for 'Someday.' An ensemble piece, it's about a single woman with cerebral palsy who fights to adopt an abandoned baby, while a middle-class couple struggles to conceive. It's a universal story and Julie understands that. The fact that a playwright thought enough of me to develop something with me in mind is amazing," Jordan credits. "The majority of the stories in the disabled community are also stories that are universal. We get married and divorced; we have hopes and dreams; we have children; we deal with families; and we live life. My disability is a part of who I am, but it doesn't define me."

In writing the part of a woman with disabilities, Myatt embraced the character's added dimensions as she conducted research for the play.

"Upon meeting Diana in the Cornerstone interviews, I found her honesty about her life and desires for motherhood very engaging and compelling. I was moved. And, I feel motherhood and disability are so rarely talked about in the conversation about reproductive rights. It is certainly, rarely if ever, talked about on stage. It's high time to talk about it," Myatt reinforces. "Diana brings the same depth and honesty in talking about her own life to her acting, and I felt I wanted that lovely quality and voice at the heart of this play."

As a member of the Screen Actors Guild Performers With Disabilities Committee, Jordan envisions an inclusive environment in the entertainment industry.

"I want to create opportunities for other performers with disabilities. We need to see diversity. We need to see people who are wheelchair users. We need to see people with cerebral palsy and people with Down syndrome. I want our voices to be heard," Jordan emphasizes. "This is about authenticity and equal opportunity. The doors are starting to open and Hollywood is slowly changing. We do have great success stories. Actor Robert David Hall is a great example. On 'CSI,' his character is part of society, he's a coroner, while the disability is just incidental."

Jordan makes a point to find acting opportunities. She is currently appearing in an original series for the Internet "Hollywood Acting Class," created by John Walcutt, produced by Fabiola Prieto, and executive produced by K.J. Bowling. She appears in the upcoming film Rule of Three, written by Rhoda and Eric Shapiro, directed by Eric Shapiro, and scheduled to premiere at Fangoria's Weekend of Horrors at the LA Convention Center April 25 - 27. She also performs in the soon-to-be-released film The Young and Evil, written and directed by Julian Breece.

Throughout her life, Jordan has used her enviable ability to set goals and achieve them. Of course, every time she reaches a goal, she sets the next bar higher.

"I would love to make a living as an actress and teach night classes. My long-term goals are to work in more film and television projects. Theatre is a great avenue as it offers opportunity to create a recognition of our universal talents and abilities," Jordan notes, "but I believe there's more change ahead. I'm a positive thinker who is very blessed and I find a way to focus on my blessings each and every day. But, this is a team effort and our work has just begun."

For more information on Diana Elizabeth Jordan, visit www.DianaElizabethJordan.com.

To view the online series "Hollywood Acting Class," visit www.tooniceguysproductions.com/hollywoodactingclass. Jordan appears in episodes 1, 5, 6 and 10.

For information on Performing Arts Studio West, visit www.PAStudioWest.com.

Someday will be performed at The Bootleg Theater, 2220 Beverly Boulevard, Los Angeles, from May 29 – June 22, 2008. For more information, visit www.CornerstoneTheater.org.com.

Fangoria's Weekend of Horrors at the Los Angeles Convention Center will be held April 25 - 27, for more information visit, www.www.fangoria.com.

To read about other Performers with Disabilities, visit www.PerformersWithDisabilities.com.

Marlee Matlin Kicks Up Her Heels on “Dancing with the Stars”

Tue, 08 Apr 2008 16:50:00 GMT

Every week, on Dancing with the Stars, Marlee Matlin does everything that Fabian Sanchez does—only she does it just like Ginger Rogers used to do: backwards and in high heels. But unlike Fabian, Marlee is deaf, which just makes dancing to the music a bit more challenging.

Marlee took some time out of her busy schedule to chat and answer a few questions:

KP: What has this experience been like so far, the several weeks that you've been involved with
Dancing with the Stars?

MM: It's been great. I love the change of pace. It's the hardest work I've ever done and so satisfying. I work with wonderful people and it’s so much like a big extended family.

KP: Is this the most challenging thing you've ever done in your life, if not-- what is?

MM: It's tough physically, it's tough mentally, but it's all good. I love the challenge. It's just a part of who I am.

KP: Tell me what a typical day is like-- what is the process like to learn each dance sequence?

MM: I get the day started with the kids lunches-- make sure they're fed and then I drive to rehearsal to be there usually by 8:30 a.m. We work all day until 2:30 pm with several breaks in between (I have to snack because you just burn so many calories). Fabian maps out the dance, and teaches it to me step by step and we work until we have all the steps down. Then we do it to the music and do it over and over again, perfecting each step, each hand move, each head turn. By the time 2:30 comes around, I'm exhausted but I run home to get the kids from school, go home and make dinner, put them to bed and fall asleep knowing that I'll be starting all over again the next morning!

KP: I have heard that you practice six or seven hours a day-- I can't imagine what your feet feel
like in those heels! Do you wear the heels all day?

MM: I've gotten very used to the heels but they're not red-carpet- style heels. They're ballroom shoes and Latin dance shoes-- and they are not meant to be worn on the street. But my feet were very sore at first; the balls of my feet ached when I got out of bed! Now I'm used to wearing them after weeks of rehearsing, but I still change out of them at times during rehearsal just to give my feet a break!

KP: In the few moments before you begin dancing in front of the audience, what goes through your mind?

MM: Follow Fabian. Follow Fabian. Smile. Hold up my arms. Turn my head right. Don't trip. And then it starts and it all becomes a blur until we're done. The next thing I know, I'm there in front of the judges and I'm thinking, "Did I just dance?"

KP: Your career has spanned more than 20 years-- of all of the projects that you've done, which one stands out in your mind as a major accomplishment and a source of pride?

MM: My first film, Children Of A Lesser God is my favorite and source of pride for me. I began that film knowing nothing about film making, about acting for the camera, and I came away with the honor of receiving the Academy Award for Best Actress. It was humbling to know that I was being recognized for my work in my very first film. I will never forget that.

KP: What do you hope to get involved with or accomplish in the upcoming years?

MM: I want people to be able to say "Wow, she works all the time." I love doing what I'm doing now and want to keep on going forward.

KP: My daughter has enjoyed your books and keeps asking me if you plan to write more. Are there more books in the works? What about a memoir?

MM: In order for me to write a memoir, I think some people would have to retire, move out of the country or pass away! Ha! Just kidding. I think I'm not ready for a memoir yet, but I might write a book about my time just up until I received my Oscar. I don't know and I'm not sure what the benefit would be right now in my career. As for fiction, I loved writing my children's books and I would like to write more, but right now this dancing is keeping me very busy.

KP: Have you found it hard to juggle parenthood and your career? What are some things that you do to strike a balance between both?

MM: I have a great husband and family who support me. They fill in when I can't be there. And I have a very detailed agenda that I am looking at constantly and revising! Otherwise, I'd have to be Samantha Stevens from Bewitched and wiggle my nose so I could turn myself into two people and do it all.

KP: Here's a question from a mom with a deaf daughter: My daughter sometimes tells me that she can't do something because she's deaf. How do I help her get beyond that attitude? What did your own parents do to instill your "can do" attitude in you? What would you tell my daughter if you were sitting down with her?

MM: I would say “just look into your heart and just follow what it tells you to do. Don't let anyone tell you can't do something. And if you really find it hard, just find another way to do it. People can sometimes be mean but they don't know you like I know you and what I know is that you are deserving of everything life has to offer. Make sure to give people your biggest smile and introduce yourself to everyone you meet. In the end, your dreams are right there waiting for you to follow them so do it with pride.”

These are the words my parents gave me when I was growing up. They always made sure that the front door to the world was wide open and they encouraged me to explore. In the end, no one should ever be denied the opportunity to go through that door.

KP: Many people with disabilities have faced discrimination-- have you encountered that over the years? What suggestions do you have for Disaboom readers who have faced discrimination?

MM: Face it head on (even with a smile) and show that what you've got goes way beyond the negative thoughts and words that people use to cover their ignorance. And if they put up a wall to block your path, just walk around it any way you can. Remember that the only "handicap" of being Deaf is the one that's in your head and not the one that people think is in your ears.

Viewers can submit their votes on the Dancing with the Stars Web site and share their thoughts on the Dancing with the Stars Message Board. Fans can interact directly with Marlee on her blog: Marlee Matlin MySpace.

Read more:
For more information about Marlee Matlin, see Marlee Matlin: What My Parents Understood.

See The Reality of Disability for more about television shows that feature people with disabilities.

For more information about primetime television shows that portray people with disabilities, see Prime Time Disability.

Is Blindness on Wisteria Lane Here to Stay?

Thu, 03 Apr 2008 17:00:00 GMT

Those riveted by the more recent plotlines involved in episodes of Desperate Housewives watched in horror as a tornado whipped through Wisteria Lane. In the wake of the disaster, the main characters of this popular ABC drama were left battered, bruised, and—in one case—blind.

That’s right; a disability has infiltrated yet another media-based world marked by seemingly flawless characters with perfect bodies. And it appears to be the perfect twist for a primetime soap with a truly contemporary take on “happily every after.”

Carlos Solis (played by Ricardo Chavira) isn’t the most upstanding Desperate Housewives character. He’s been known to blackmail, tamper with birth control, and cheat, to name just a few of his indiscretions. He also isn’t afraid to lie by omission. In fact, when he was knocked on the head and rendered unconscious during the tornado, he lost his sight but didn’t bother to tell the woman he loves (Desperate Housewives character Gabrielle).

In the midst of the tornado on Wisteria Lane, the writers’ strike hit Hollywood and Desperate Housewives, among other shows, was put on hiatus. In the show’s absence, many viewers have been left to speculate about whether or not Carlos’ disability will be a permanent part of the show. Or, will Desperate Housewives writers and producers adopt the popular television form of disability—one in which the disability comes and goes and sometimes comes again, just for effect?

According to Entertainment Weekly, Carlos’ blindness is permanent. In a recent look forward at the show, EW wrote that, “Gabrielle will learn that ex-hubby Carlos was permanently blinded in the tornado—but not before Carlos tricks her into remarrying him.” We may have a better idea of whether or not the rumor is true on April 13 when Desperate Housewives is scheduled to bounce back from the writers’ strike and again appear on television.

One thing we know for sure: his vision isn’t the only thing Carlos has lost. The large amounts of money he had hidden away and stored in off-shore accounts also went down the tubes. The combination of a blind and broke character has done one thing successfully already for Desperate Housewives: it’s created a lot of suspense and generated plenty of questions.

In addition to wondering about the disability’s affect on Carlos, there are also questions about how Gabrielle will react. It seems unlikely that she may be able to overcome the greed and shallowness that her character embodies. Sure, in the beginning the couple agreed to stick together for richer or poorer, in sickness and in health. But when his doctor suggested that Carlos might give his partner more credit and believe that she will accept the disability for what it is, Carlos responds by saying, “You don't know Gabby.”

While we don’t ultimately know whether Gabby will stay or run in the face of a disabled husband, we do know that she’ll struggle with the reality of disability infiltrating her glamorously glitzy world. And considering some of the more negative stereotypes we’ve seen plague disabled characters on the small screen, this new version of Carlos could be downright worrisome.

Will the campy, comedic and dramatic world of Wisteria Lane do more harm than good to the disability community? Tune in to find out and in the meantime, viewers will have to hope that the Desperate Housewives writers get the blind version of Carlos right.

Desperate Housewives will hit televisions again on April 13 at 9 p.m. on ABC.

Michael J. Fox: The Very Public Face of Parkinson’s

Thu, 03 Apr 2008 16:37:00 GMT

Because he played the part so well, you might think there was always a little bit of Alex P. Keaton in Michael J. Fox. Not so. Like so many Canadian kids, Fox actually grew up dreaming of a career in the National Hockey League. It wasn’t until he was 18 that he moved to Los Angeles and landed the role of America’s most loveable conservative on NBC’s enormously popular Family Ties.

Fox also had time during his busy TV work to become a film star, showcasing his ability to shift between comedy and drama. But in 1991, while on the set of the movie Doc Hollywood, he experienced an uncontrollable tremor in his left pinkie finger. Fox was only 30 years old when he was diagnosed with young-onset Parkinson's disease a year later. Parkinson’s disease has several classic signs and symptoms including tremors, stiffness of the limbs and face, and difficulty walking.

Afraid that his career would suffer if word of his disease got out, Fox kept it quiet when he returned to series television in 1996 on ABC’s Spin City, portraying Michael Flaherty, New York’s deputy mayor. He won critical praise for his role and during his time shooting the show in New York City, Fox did everything from gallop bareback through Central Park to jump into the Hudson River. He also served as executive producer.

But his disease was preventing him from living up to some of his commitments and Fox couldn’t tell people why. So he finally made the decision to share his experience with Parkinson’s.

“. . . I had one goal in mind: to give an honest account of how, over the last seven years, I had integrated the disease into a rich and productive life,” Fox wrote in his memoir, Lucky Man (published by Hyperion in April 2002).

“It was important for me to convey my optimism, gratitude, perspective, and even an ability to laugh about certain aspects of life with P.D., being a firm believer in the joke writer’s axiom that comedy = tragedy + time. I viewed my disclosure as a way for me to move forward in my life and career, not as a summation compelled by catastrophe.”

Part of leading that life meant committing himself to the campaign for increased Parkinson’s research. With his new priorities at the forefront of his mind, Fox retired from Spin City in January 2000. That same year, he launched The Michael J. Fox Foundation for Parkinson’s Research, which is dedicated to finding a cure for the disease within the decade and to helping ensure the development of improved therapies for those living with Parkinson’s today. The Foundation plans to do it through an aggressively funded research agenda.

Fox wholeheartedly believes that if there is a concentrated effort from the Parkinson's community, elected representatives in Washington, DC, and (most importantly) the general public, researchers can pinpoint the cause of Parkinson’s and uncover a cure within our lifetime. And when poised in front of a Senate subcommittee, specifically to talk about the critical importance of federal funding for embryonic stem cell research, Fox didn’t appear to be interested in telling the story of his life for the heck of it. Instead he was eager to convey the massive impact Parkinson’s has on people. This is part of what he said:

“By now, many of you have heard my story. But you haven't heard this story, about a 38-year-old book editor named Anne, whose P.D. caused her to lose her job at a publishing house, plunging her from New York's middle class into poverty. She's now forced to live on Medicare and SSDI benefits, which are nearly consumed by her monthly medication costs alone. Nor have you heard about Greg, a former lawyer, now living on disability, who corresponds with me regularly. Two weeks ago, his friends and family watched in horror as he disappeared into stony immobility while waiting for a prescription delivery that had been delayed . . .”

“None of these people mind that I get more attention than they do. What they tell me over and over is that if I get a shot in front of a microphone, I should start talking.”

“So here I am.”

Batgirl Goes Paraplegic: DC Comics Has Tackled Disability for 20 Years

Tue, 01 Apr 2008 17:26:00 GMT

Looking for a real-world disabled role model—one that may have been through the ringer both physically and emotionally but who still displays bravery, street smarts, and inner strength? You might be surprised to find such an idol living in the very fantastical world of DC Comics.

That’s right, she’s none other than Barbara “Babs” Gordon, the DC Comics character you might know better as Batgirl. Batgirl first appeared in Detective Comics #359 and from 1966-‘88, she was one carefree, smart daredevil. She gave Batman and Robin a run for their money and helped stop Killer Moth’s mass extortion plot. All the while, she kept her secret identity hidden from her police commissioner father.

Then, in 1989, came The Killing Joke, an issue in which the Joker shot Babs through the spine and left her paralyzed. Without missing a beat, Babs quickly rolled up to a computer, honed her hacking skills and assumed the code name Oracle. Oracle provides intelligence to other superheroes and has become one of the most fascinating characters in comics.

Batgirl’s transition to Oracle; however, wasn’t without controversy. Many critics and commentators argued that the character’s ability to walk should be restored. Ray Tate, a reviewer at Comics Bulletin, said, “It’s ridiculous to think somebody wakes up thinking how lucky they are to be confined to a wheelchair, and yet the attitude around DC and among the fans is that Oracle is the better character over Batgirl because of her handicap. Rubbish . . .”

Yet, in the comic book series "Birds of Prey," Oracle continued as a great intellect who just happened to be paralyzed but was also skilled in eskrima, a martial art that emphasizes stick and sword fighting. In one of Oracle’s more stand-out starring roles, she even became Batman’s sole source of information (a partnership that established her as Batman’s intellectual equal).

In 2002 the WB brought a loosely-based adaptation of "Birds of Prey" to television. Actress Dina Meyer, who was not paralyzed off screen, portrayed Oracle and hoped the role would inspire others with disabilities. Speaking about Oracle, Meyer said, “She was Batgirl, a wonderful superhero and has now come into this horrible disability but she grew from it and got stronger from it. She found her calling from this. She was running in Batman’s shoes; it took her getting shot, paralyzed, and confined to a wheelchair to find out who she really was and to become a better person than she ever could have been. She’s the new, improved Barbara Gordon, and I salute her. I think she’s fabulous. It’s an honor to be playing her.”

Despite initially decent ratings, Birds of Prey ratings fell and the series was cancelled after 13 episodes. But Oracle fans can rest assured that, in the comic book world, she is still present, standing up for what’s right and providing critical support to her fellow crime fighters. And her intelleigence remains one of her defining attributes. Even Business Week took notice of her heroics when they listed Oracle as one of the top 10 most intelligent fictional superheroes appearing in American comics. Incidentally, Oracle was the only female on the list.

John Ostrander, one of the Oracle creators, summed up his feelings on the character and her value to comics and comic book readers alike when he said, “We wanted her to cope with what had happened to her and become, in many ways, more effective as Oracle than she ever was as Batgirl. And we knew that others with disabilities might look at her and feel good reading about her. I don’t think people dance around her disabilities. These shouldn’t be stories about a disabled person; they are stories about a compelling, fascinating character who happens to be in a wheelchair and I think that’s correct. Barbara isn’t her handicap; there’s more to her than that.”

Britain’s Missing Top Model Challenges Pre-Conceived Notions of Beauty

Tue, 25 Mar 2008 20:17:00 GMT

It doesn’t take a genius to realize that the disabled community isn’t exactly well-represented (or represented at all) in the fashion industry. But a new project from BBC, tentatively titled, Britain’s Missing Top Model, is working to empower women who shouldn't be missing from that world.

Forget Giselle! If BBC has its way, the next wave of Britain’s up-and-coming top models will be between 18 and 30 years old, dream of becoming well-known in the fashion industry, and—here’s the interesting part—they'll also have a disability.

BBC has launched a search for eight participants who fit that mold and who will live together in a fully-accessible apartment while their lives are taped. The potential “missing models” chosen will receive fashion training from three industry experts who’ll school them on a variety of aspects of modeling, including posing for photo shoots, working location sites, and walking the catwalk. All of it will be in an effort to win the ultimate prize: high-fashion photo spreads in the country’s premier fashion magazine plus representation from a top agency.

“This series aims to challenge the artificial boundaries that seem to exist in the beauty and fashion industries,” BBC Three controller Danny Cohen said. “It would be great if in the future we began to see more disabled models gracing the covers of the world’s magazines.”

Early critics of the show are already pointing out that these are lofty goals considering the subject at hand: modeling. Some have speculated that more harm than good could come of the show if the goal of "Missing Model" is to find a disabled model who can go it mainstream. Should the winner really endeavor to entrench herself in a world sometimes characterized by eating disorders and catty backstage behavior?

Some members of the disability community have also voiced doubt that the show will be brave enough to really represent the full spectrum of disability and showcase bodies that truly don’t conform to the model norms. And still others believe that even if the show is successful, it simply may not have the power to make fashion designers, modeling agencies, and magazine editors suddenly see the error of their ways and begin to use disabled models.

But "Missing Model" would come on the heels of the appearance of 21-year-old America's Next Top Model contestant Heather Kuzmich. Kuzmich made it to the final five of her competition’s cycle and was publicly open about the fact that she had Asperger’s Syndrome. Though she was eliminated before the final runway show, the way Kuzmich navigated some awkward moments with other contestants made her a favorite among fans.

Britain’s Missing Top Model is scheduled to air in the summer. The show’s producers have partnered with the London-based charity, Disability Action Islington, which will act as consultant. In a statement, Disability Action Islington wrote, “Any program that raises awareness of the barriers that society places in the path of disabled people wanting to pursue their chosen career, that has the ability to challenge negative stereotypes and encourage inclusion, is a positive thing.”

Want to read more about Britain's Missing Top Model? See Modeling with a Disability.