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–Mr Kream Wynwood has a pretty unique vibe for an ice cream place. Run by a group of Miami DJs, the shop is the perfect place for those with a serious sweet tooth and an ear for rap.
-The shop is just over a year old and has become very popular.
-Ice cream flavors are named after famous rap stars. An example?: 2 Live Blue.
-The stated goal is to give people a great desert while also teaching them about hip hop culture and history.
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About the AuthorRich Robinson is the CEO and publisher of Rise News. He is also a journalist and a native of Miami. Robinson graduated from the University of Alabama and can be followed on Twitter @RichRobMiami.
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By Nick Moncy
Secluded within the groves surrounding West Dixie Highway lies a Florida Heritage site you may not have heard of – the Ancient Spanish Monastery.
A North Miami Beach relic, it boasts historic structures containing Romanesque and pre-Gothic architecture. Stretching from as far back as the 12th century, conserved artifacts take visitors into the life of medieval monks in northern Spain.
It is now considered by many historians to be the oldest building in the whole of the Western Hemisphere.
But how this wonder ended up in Miami is a long story
Here’s the condensed version:
From 1133 to 1141 AD, the monastery and cloisters were constructed in Sacramenia, a city in the province of Segovia, Spain. Originally dedicated to the Virgin Mary, it was renamed to recognize its renowned abbot Bernard of Clairvaux after his canonization.
The Cloisters housed Cisterian monks for seven centuries following, after which a social shift in the 1830s had the buildings converted into a simple granary and stable.
In 1925, famous publisher William Randolph Hearst acquired the Cloisters and the Refectory (the original Monastery section still stands overseas). Both were disassembled, numbered by part, packed into about 11,000 wooden boxes and shipped to the United States. After they lay in a warehouse in Brooklyn, New York for almost a decade, most parts were sold at an auction after the Great Depression ruined Hearst financially; the remainders were sent back to storage.
In 1952, Ohio businessmen William Edgemon and Raymond Moss bought the remainder of the stones looking to create a tourist hotspot in Miami.
It proved to be a challenge because the workmen involved in the grand move thirty years ago did not replace the stones in their original numbered boxes. Reconstructing the Cloisters took 19 months and almost $1.5 million (surpassing $13 million in today’s currency). TIME magazine called the effort “the biggest jigsaw puzzle in history”.
After financial struggles in 1964, the Cloisters were once again up for sale. Wealthy banker and Episcopal donor Col. Robert Pentland, Jr. swept in and purchased them for the Episcopal Bishop of Florida. The monastery now houses the Episcopal Church of St. Bernard de Clairveux.
Largely in thanks to Edgemon and Moss’ contribution, this story physically unravels across the space in several parts.
At the front of the property is a moderately-sized lobby area full of ancient artifacts. Though they are protected by glass cases and velvet rope, one can whiff a hint of rust. There are corbels used to support the weight of wall fixtures, a hearse that carried dead bodies, even a hymnarium propped on a refectory table that monks read from while gathered for meals. There are cabinets covered with fresco paintings by a student of Raphael’s done alla prima, a rapid style that required oil paintings to be completely finished before the first layer of paint dried. At the back of the room there is even a full suit of armor from the 1600s.
Double doors open to an outdoor path toward the monastery, an escape from the onslaught of outdated vocabulary. An iron gate introduces the spacious, elegantly-pruned garden, a nursery before the Monastery’s arrival. It resembles a maze: narrow, crunchy gravel paths lead visitors all over.
The Ram’s Head Pillar, Baptismal Font and donated statues of Jesus and Mary stand scattered throughout the garden. One shaded path at the back right goes to the refectory section of the Monastery, which holds the chapel in which North Miami Beach Anglicans congregate.
Getting back on the central path leads to the Cloisters’ foreboding wooden doors. Above them is a detailed relief of Mary’s crowning by angels; lions representing Leon and Castille are visible in the scene. A metal bell up above once clanged boisterously to summon monks for meals long ago, but these days there is only tranquil silence.
The atmosphere inside the Cloisters is still, accompanied only by echoed footsteps and occasional chanting. Its main area is composed of hallways and chambers bordering a roofless, central courtyard. The contrast between the illuminated patio and the dark columned hallways is an aesthetic phenomenon that illustrates the Cloisters’ harmony with Miami tropics. In the halls on opposite corners are life-size statues of both Alfonso VII, king of Leon and Castille during the Monastery’s construction, and his grandson Alfonso VIII. In all, this is certainly hallowed ground.
Though the Monastery is a masterpiece from the past, its history continues to grow today. The twenty-acre attraction alone contains about one thousand unique plant and tree species. Fifty-thousand people visit annually, with sixty-five percent of that crowd being tourists. It also draws in members of the northern Miami community: last year, nine hundred public, private and homeschooled students received educational programming that met Florida’s curricular standards. The Ancient Spanish Monastery Foundation non-profit recognizes local leaders and outstanding figures each year at its Legacy Gala and pours all its proceeds back toward the preservation efforts for the site.
If you stop by for a tour, one figure you’re sure to meet is Tania Witten. An employee at the Monastery since 1999, she organizes bridal events. “It gets crazy here sometimes,” Witten said in an interview. “This place is used for weddings, quinceñeras, and even yoga four times a week.” She also noted the intriguing fact that despite its prominence, the Monastery and Cloisters are hidden gems to most North Miami Beach natives. “No one knows about us, really, even people who’ve lived here for fifty years. They’d say, ‘I never knew this was here.’”
Photo Credits: Nick Moncy/ RISE NEWS.
RISE NEWS is a grassroots journalism news organization that is working to change the way young people become informed and engaged in public affairs. You can write for usPost Views: 556
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By Mariam Ansar
Last week’s MTV Video Music Awards will likely be remembered as a hot-bed of drama, social issues, and controversy, spurned by the likes of Miley Cyrus, Nicki Minaj, and Kanye West. The slightest mention of the awards show is enough to disturb the silence in any room. This is the effect of popular culture at its finest.
But, there is one music video which can be distinguished as emblematic of the whole controversy, released during the award show and drawing attention to the reflective nature of said popular culture: it is fuelled by the cues of our society and what we deem to be acceptable. Or, in this case, what can not be deemed acceptable.
The plot-line of Taylor Swift’s ‘Wildest Dreams’ is easy to understand: intended to complement the sorrowful lamentations of a doomed relationship, Sunday night was witness to a dark-haired Swift posing sadly as the star of a 1950s Hollywood film against a backdrop of what can only be described as the most colonial of images of Africa.
With Scott Eastwood as the object of her affection, her relentless glances at him are not enough to provide the pair with a happy ending and so, the glamour is for nought and the drive into the sunset is non-existent. So too, as many of us have picked up on, is the presence of non-white Africans.
Reductionist at best, Swift’s ‘Africa’ is stereotypically conveyed with all the patronising ignorance of someone imagining what would constitute as The Exotic Land of Africa, a colonial illustration leaving out the knowledge of it being a continent, complex, rich in many histories, and therefore difficult to package and sell so neatly. Still, it did not stop Swift’s creative team from trying.
So Taylor Swift’s Wildest Dreams video was filmed in “Africa” but what country? Also, why does it only contain animals and white ppl #Taylor
— Lena Olson (@LeynuhPawp) August 31, 2015
From the depiction of rolling grasslands, wild animals in migration patterns, dry dust flying as Swift kisses her co-star in her throwback hunter outfit, the video enables the audience to see all of these things as mere accessories.
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes
They are ambiguously, stereotypically ‘African’ enough to contribute to not only the myth of Africa, more at home in a historically out-dated periodical, and ambiguously, stereotypically ‘African’ enough to warrant more attention on Swift and her lover. It would be easy to make the argument that indeed, she is the star and this is her music video. But what must be recognised is the fact that the spot-light is on a truly horrifying image: Swift’s Africa features white people, complicit in acting the role of colonial settlers under the facade of the creation of a film.
Watch The Video:
— Sydney Murray (@sydmurray) September 1, 2015
The romanticism of this history is a clumsy, heavy-handed act which calls to attention an out-dated racial hierarchy and is scarily reminiscent of colonial attitudes: ‘Africa’ can be groomed to fit an image the white person deems acceptable, can be plundered for its beauty whilst the locals remain invisible, and can become the mythical image of exoticism anyone fed on racist stereotypes sees it as.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for
“Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular.”
Swift is not a stranger to the romantic, the evocative, and the unparticular. In fact, these qualities seem to be a staple of her song-writing style, and yet, within the context of the ‘Wildest Dreams’ video, these are not qualities which can be dismissed as simply indicative of her personality.
The video casts a hazy, rose-tinted glow to the white imperialist presence in the African continent, romanticising it so that Swift does achieve that old Hollywood ’50s colonialist film vibe she’s looking for: ‘Wildest Dreams’ can easily be recognised as an example of Western media providing a propagandistic image of the exotic frontier playground, sitting comfortably alongside John Huston’s The African Queen and Sydney Pollack’s Out of Africa in these efforts. It is an achieved goal Swift has every reason to not be proud of.
The video is deceptively portrayed as simply detailing a complicated love-affair. As Zak Cheney-Rice concisely explained for Mic:
“It is remarkable that the insidious nature of the African colonial fantasy is so seamlessly glossed over. This matters. When a pop culture product reaches as many people as a Taylor Swift video does, the images it presents have implications beyond their immediate purview.”
Cheney-Rice has every reason to be wary of Swift’s creative products in light of her influence as one of the world’s biggest female popstars, and especially so when said creative products are as disastrously constructed as ‘Wildest Dreams’.
When it comes to influence, it is a by-product of fame which must be handled with responsibility.
It is exactly this which is lacking in this music video, and while director Joseph Kahn may be comfortable to shirk this one must recognise the importance of contentious, important historical landmarks, like the African continent having to suffer under European colonialism, being treated with more respect and awareness and less lazy nonchalance.
Ultimately, it is the fact that these attitudes surfaced so casually in our modern age omitting the truth of Africa’s history and the Black African presence, whether intentionally or not, in the place of romantic fantasy which deserves to be called to attention.
In this case, Swift’s love-story stopped short of occurring between her protagonists and began to cast back to a part of history which needs no affection. It is this which is truly distressing about ‘Wildest Dreams.’
Cover Photo Credit: GabboT/Flickr (CC By 2.0)Post Views: 222
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