Join us for a very special Story Time with F.C Rabbath and The Little Flower. For many of us, our hidden potential blooms only later on in life. Mae, the little droopy flower growing on Uncle Al's Pick Your Own Flower Farm, has had bad luck from the start because of a tree that’s casting a shadow over her. She longs to be taken home in a pot but since she looks droopy and sick, no one is interested in her. Throughout the spring she watches kids take interest in every other flower but her. The end of Spring is almost here and yet no one has picked Mae. As she starts to lose hope. Then, a little boy named Leo comes along, looking for something different. Leo finally spots Mae and she’s exactly the kind of flower he’s been looking for.
Join Henry Fonte, Director and Scott Shiller, Executive Producer, as they read excerpts from and discuss their production of The House of Bernarda Alba by Federico Garcia Lorca, playing at the Adrienne Arsht Center through October 30 in the intimate Carnival Studio Theater. Henry Fonte is a professor and the Chair of the Department of Theatre Arts at University of Miami and the Producing Artistic Director at the Jerry Herman Ring Theatre. Scott Shiller is the Executive Vice President at the Adrienne Arsht Center for the Performing Arts. For tickets to The House of Bernarda Alba, visit arshtcenter.org or call 305-949-6722.
Note: This event is in Spanish. Alentando el encuentro desde múltiples perspectivas, para explorar cómo vivimos los efectos de la globalización, Letra Urbana junto a la Escuela de Periodismo y Comunicaciones de la Universidad Internacional de la Florida, presentan: Los Dueños del Periodismo, Presentación del libro del Dr. Ramón Reig,
Ed.Gedisa, Barcelona. El periodismo tiene dueños y, por tanto, los
periodistas, también. La famosa frase de Thomas Jefferson “Prefiero
periódicos sin gobierno, a gobierno sin periódicos” suena muy atractiva
pero a estas alturas de la historia no es rigurosa: detrás de los medios
de comunicación no sólo está la influencia política (y más cuando se
trata de alta política de Estado) sino, sobre todo, la influencia
económica, unida a la financiera y a la empresarial en general. Todos
los sectores productivos de relevancia quieren invertir en las empresas
de comunicación que ya no son tales sino elementos de un sistema, el
mercado. Los dueños del periodismo provocan crisis y sus medios callan.
¿Qué le ha pasado al periodismo de investigación? ¿Qué le ha ocurrido al
propio reportaje de denuncia? ¿Por qué los medios recogen las
filtraciones de Wikileaks pero, sobre todo, las relacionadas con
Sam Shaw (Hatje Cantz, $75) was born and raised on the Lower East Side of Manhattan. Internationally recognized for his photographs of films and movie stars, his interests and talents covered a wide array of subjects including music, theater, sculpture, painting, literature, journalism, and social and political activism. Shaw’s prolific six-decade career is remarkable in its breadth and diversity, and remains a historic record of the twentieth century.Shaw was also an early contributor to the prestigious photographic agency, Magnum Photos. By the 1950's, he had initiated photo-coverage of films, capturing countless stars of the cinema, including Woody Allen, Humphrey Bogart, Marilyn Monroe, Warren Beatty, Alfred Hitchcock, Fred Astaire, Elizabeth Taylor, Sophia Loren, Charlie Chaplin, Sean Connery, Jules Dassin, Dennis Hopper, Audrey Hepburn, Frank Sinatra, and many more. His photographs appeared often on the cover of Life and Look magazines, as well as in Paris Match, Europeo, The Daily Mail, Der Stern, Harper's Bazaar, and Connaissance des Arts.He was a master of publicity for many of the films and stars he worked with. In 1951, he photographed Marlon Brando in a ripped t-shirt—a portrait that came to symbolize A Streetcar Named Desire. A few years later, he created the iconic image of Marilyn Monroe with her white skirt blowing over a subway grate in the film The Seven Year Itch. Shaw’s “Flying Skirt” picture is one of the most widely seen photographs ever taken!In the 1960's, Shaw started producing films, working closely with actor-director John Cassavetes, who is widely acknowledged to be the father of American independent cinema. Cassavetes aptly described Shaw as a “Renaissance Man”. However, Shaw's true love always remained photography. Wherever he was Shaw carried multiple cameras around his neck. For many years Lorie Karnath traveled the world with Shaw, collaborating on a number of writing, film, and photography projects. It was a mutual spirit of exploration and discovery that brought the two together. Throughout the course of their travels, Karnath, who often served as muse for storyboards and far-flung photo sessions, and Shaw held an ongoing dialogue on his special perspective on the world-at-large through the camera lens.Presented in collaboration with THE SHAW FAMILY ARCHIVES, LTD.