Hop into the Jalopy

hopJalopy-header-jmc_1000x307Hop into the Jalopy
Tales of “On-the-Road” Genealogical Research

Tuesday, March 15, 2016
6:30 p.m.

Otto G. Richter Library, 3rd Floor
University of Miami | 1300 Memorial Drive | Coral Gables, FL 33146

This event is free and open to the public. RSVP to richterevents@miami.edu or call 305-284-4026

In celebration of St. Patrick’s Day 2016, Professor Bill Walker, former university librarian at the University of Miami and the New York Public Library’s Andrew W. Mellon Director Emeritus of the Research Libraries, invites you to join him on his travels to unlock his Irish ancestors’ pasts.

Travel with Bill as he visits cemeteries and courthouses, small-town historical societies and public libraries, and the villages and streets where these early nineteenth-century settlers lived. This adventure delves into the lives of his great grandmothers, Harriet Bogle and Jane McCullough, two very determined and rugged pioneer women. Using his own work as an example, Walker sheds light on the rewarding process of genealogical research using a variety of resources. In addition to making use of online information, Bill Walker is a strong advocate for stepping away from the computer and taking to the road.

Please join us for a festive reception and genealogy presentation.

Please click map image below to enlarge. Contact us at 305-284-4026 or richterevents@miami.edu with questions about directions and parking.


DVD Picks: Museums

by Terri Robar, Learning & Research Services

The University of Miami hosted the inaugural Academic Art Museum and Library Summit in January, bringing together 14 pairs of library and museum directors from North American academic institutions to address opportunities for deep intra-institutional collaboration. The summit focused on the ways that new pedagogical models and technologies are transforming the work of the academy, and the potential for art museums and libraries to engage more fully with faculty, students, and each other.

In support of this historic moment, we offer the following DVDs from our collection. Some are movies that take place in museums but most are documentaries which give us a glimpse inside these marvelous repositories.

The following films are a part of Richter Library’s DVD collection. In addition to the thousands of DVDs spanning comedy, drama, sci-fi, horror, documentary, and other genres, UM Libraries also houses film-related materials such as screenplays, soundtracks, musical scores, and original book titles. Search the catalog to browse music and print resources related to these films.

A tour of the home built by James Deering, inspired by the Renaissance, Baroque, Rococo, and Neoclassical. Now a museum of European decorative arts, with famous gardens filled with fountains, grottos, and more.

Before this film no one else was ever permitted to film inside the Louvre. Set against the panoramic history of France, the priceless treasures and incomparable art are shared through the eyes of award-winning filmmaker Lucy Jarvis.

The plot: thieves planning a heist. The prize: the emerald-encrusted dagger of Sultan Mahmud I housed among the treasures of the Topkapi Palace museum in Istanbul.

Today’s Library of Congress is not only the repository of the nation’s life story, it’s arguably the “ultimate museum,” documenting civilizations from around the world. This program immerses viewers in history through a selection of cultural treasures archived among the library’s more than 130 million items, including Jefferson’s draft of the Declaration of Independence, the maps carried by Lewis and Clark, and the typewritten script of Martin Luther King’s “I Have a Dream” speech.

Alfred Hitchcock’s first sound film. It’s the story of a grocer’s daughter, Alice White, who kills a man in self-defense and conceals the crime, only to find herself blackmailed by a low-life criminal. The drama comes to a head with a pursuit through the British Museum, including its round reading room and its echoing exhibition spaces, before a nail-biting ascent up onto the domed roof of the library, with the cornered blackmailer shown in silhouette against the sky.

In this screwball comedy, heiress Susan is determined to catch a stuffy zoologist and uses her pet leopard, Baby, to help get his attention. With his thick-lensed specs and lab coat, Huxley is a paragon of scholarly dedication, laboring to finish constructing a dinosaur skeleton for his museum before getting hitched to his starchy fiancée.

Museums in the movies aren’t just places for daring robberies or reanimated mummies. They’re also spaces for characters to show off their cultural credentials. Woody Allen’s black-and-white love letter to New York features scenes at the Guggenheim Museum, the American Museum of Natural History, and the Museum of Modern Art – essential stop-offs for any Big Apple intellectual.

Pierce Brosnan is the eponymous billionaire who, in one beat, bestows generous donations on New York’s Metropolitan Museum of Art and, in another, is ingeniously pinching a priceless Monet from under the noses of the museum’s security. Crown’s sleek, impudent heist makes you want to throw it all in and become a burglar.

Rummaging through a trunk of old clothes in the Grandparent’s Attic display, children are not just trying on clothes; they’re trying on the business of being adults. Play is learning at the Boston Children’s Museum (founded 1913), which revolutionized the American museum experience half a century ago by getting objects out of cases and into children’s hands.

What do the superstars of modern art, such as Picasso, have in common with the Vincent Black Shadow motorcycle and an Apple iPod? All share the stage at New York’s Museum of Modern Art (MoMA). Here the two big questions are: What makes it modern AND what makes it art? MoMA’s scholars along with David Rockefeller prove that the modern art of any age is not the newest; it’s the next.

Every year, hundreds of thousands of people flock to the transboundary waters of Washington and British Columbia to engage in whale watching. This program features the Whale Museum in Friday Harbor, Wash. This organization promotes the stewardship of whales and the Salish Sea ecosystem through education and scientific research.

Located at the historic Saratoga Springs racetrack, the National Museum of Racing and Hall of Fame evokes the clang of the starting gate and the thunder of hooves through its renowned collection of equine art, trophies, silks, and thoroughbred memorabilia. This program is a first call to celebrate the sport of horse racing and the magnificent animals whose grace and beauty have become legendary.

Pop Culture Series: The Super Bowl

by Andrew Wodrich, Library Research Scholar

It was an exciting, confusing, and, unless you are the Carolina Panthers or Denver Broncos, probably disappointing season in the NFL. The Miami Dolphins saw their coach fired in week 5 after starting 1-3, while star players across the country, from Arian Foster to Tony Romo to Jamaal Charles, among many others, went down early in the season due to injuries. But even while the Dolphins and most NFL fans are ready to move on to next season, the final game of this season, the Super Bowl, will be hard to ignore.


Football Referees at Orange Bowl, 1976. From the Michael L. Carlebach Photography Collection

As we approach the 50th anniversary of the Super Bowl, football and non-football fans alike will be tuning in from across the country to the game as well as pre-game specials. In fact, footage from the first Super Bowl game, something long thought lost, was recently found and aired by the organization as part of the lead-up to Super Bowl 50 (decidedly more impressive than Super Bowl L). The milestone reminds viewers of the Super Bowl’s cultural significance, not just as a championship of the season, but as a historical tradition.

In Miami, Super Bowl history also involves the history of one of its once most beloved landmarks, the Orange Bowl: the site of Super Bowls II (1968), III (1969), and V (1971). (Of course Super Bowl VII (1973) is of special significance here as well, as the year in which the Dolphins became the only team to go undefeated all the way–a record still held by the team.)

Now several years since the Orange Bowl was demolished and rebuilt as the Marlins Stadium, the stadium is well-remembered thanks not only to the Super Bowls it hosted early in the event’s history but also for the Miami Orange Bowl Festival, an annual event surrounding the bowl game. It was conceived in 1935 as a way to boost the economy of the region in the wake of the Depression and preceding land bust. The endeavor would have likely failed without the passion and dedication of one man, Earnie Seiler.


University of Miami football inflatable helmet in Orange Bowl, 1992. From the Michael L. Carlebach Photography Collection.

Seiler’s vision and drive led to the development of the traditional New Year’s Day football game, the extravagant halftime shows, and the King Orange Jamboree Parade–likened in scale and spirit to today’s Super Bowl festivities. As the Orange Bowl Festival grew, it accomplished its goals of increasing tourism to Miami and general awareness of the city outside of South Florida. By its 40th anniversary, the Orange Bowl Festival was generating over $45 million in direct revenue for South Florida and attracting the attention of some 75 million television viewers across the country.

The festival, known today as the Capital One Orange Bowl Festival, remains a popular attraction for South Floridians and visitors to ring in the New Year, while the annual Orange Bowl football game, as part of the rotating College Football Playoff, generates over $200 million annually for South Florida.

Original records related to Orange Bowl history are housed at the University of Miami. Explore these and related materials at UM Libraries:

Football and Orange Bowl Related Resources

Books and Collections

How Postmodernism Explains Football and Football Explains Postmodernism : The Billy Clyde Conundrum

Is There Life After Football?: Surviving the NFL

How to Watch Football: Saving America’s Game From Itself

The Little Red Book of Football Wisdom

Pro football Championships Before the Super Bowl

The Super Bowl of Advertising: Are The Advertisers Still Winning the Game?

The Orange Bowl Story : Its Beginning

The Orange Bowl Cookbook

50th Annual Orange Bowl Festival

Fifty Years on the Fifty: The Orange Bowl Story

University of Miami Archives Orange Bowl Collection

Videos and Recordings

30 for 30. No. 7, The U

The Blind Side

Friday Night Lights. The Complete Series

The Dynamic Young Dolphins

Graphic Novels Spotlight: Frank Miller

by Bill Jacobs and Sean Ahearn, Learning & Research Services

Graphic novels are often characterized by the superheroes popularized in modern films. While superhero stories are an important genre in the medium, it is home to a very broad range of storytelling genres and themes.

UML’s Graphic Novels collection of more than 1,000 volumes includes newspaper comic strips, Japanese manga, European bande dessinée, and alternative American comics, in addition to superhero stories. Along with high-flying, wall-crawling, planet-saving scenarios, there are detectives tracking down lost library books, demon-fighting ronan, and wine tasting competitions. Many of the unusual story lines are woven into commentary on deeper issues, such as racial history, mass media, and philosophy. Some graphic novels avoid the fantastic entirely, and instead tell mystery stories, autobiography, and graphic essays.


Frank Miller is best known for dark comic book stories and graphic novels such as Daredevil: Born Again, The Dark Knight Returns, and Sin City. Image credit: pinguino k / Flickr


We at UML hope to pique your interest in some of the many characters that are a part of our Graphic Novels collection. We begin with the legendary comic book artist Frank Miller.

Miller debuted as a comics artist with Marvel’s Daredevil: The Man Without Fear #158 and quickly rose to the top of Marvel’s creative team. Taking over as the series author with issue 168, Miller single-handedly resurrected the dying title in the 1980s with dynamic and atmospheric art and a fresh story line, Daredevil: Reborn. The introduction of assassin/love interest Elektra won readers over and brought new life to the man without fear.

In 1986, Miller changed the comic book genre forever once DC comics granted him creative authority over Batman in Batman: The Dark Knight Returns. This card stock, square bound miniseries opens on Batman returning to the streets of an apocalyptic future Gotham after a hiatus taken due to the death of Jason Todd, the second robin. Now 55, Bruce Wayne’s alter ego is weathered, taking on a dark and gritty persona. The Dark Knight Returns pushed a dark character to be forefront as protagonist, becoming the primary interpretation of Batman and influencing many other modern comics.

Daredevil Visionaries [Vol. 1] / 2000

Miller’s darkness only grew when he began the “neo-noir” comic Sin City, now solely for mature audiences. Readers are taken into the depths of Basin (Sin) City, where crime is rampant and our protagonist is anything but merciful.

Batman: The Dark Knight Returns / 2002

Frank Miller’s depth and impact on graphic novels has been a testament of the growth of the medium itself. No longer just for kids, Frank Miller has taken a once light-hearted and comical platform to gritty, sexy, and violent destinations, allowing the series to explore the many subtleties and extremes of human existence.

Sin City [Vol 1]: The Hard Goodbye / 2010

Check out Daredevil: Man without Fear, Batman: The Dark Knight Returns, Sin City, and other Frank Miller comics from Richter Library. Search the catalog to browse music, video, and print resources related to these graphic novels.

UM to Host First Academic Art Museum and Library Summit

CORAL GABLES, Fla. (November 30, 2015)—The University of Miami will host the inaugural Academic Art Museum and Library Summit this January, bringing together fourteen pairs of library and museum directors from North American academic institutions to address opportunities for deep intra-institutional collaboration. The summit will focus on the ways that new pedagogical models and technologies are transforming the work of the academy, and the potential for art museums and libraries to engage more fully with faculty, students, and each other.

The two-day summit, which will take place January 27-29 at the Biltmore Hotel in Coral Gables, will bring together leaders from Arizona State University, Duke University, Oberlin College, Princeton University, Skidmore College, University of Georgia, University of Miami, University of Michigan, University of Notre Dame, University of Oregon, University of Texas (Austin), University of Wisconsin, Vassar College, and Yale University, all of which are recognized for the leadership they provide in the fields of academic museums and libraries.

The summit, whose participants represent both private and public institutions of varying sizes from across the nation, will open with a keynote address by Daniel Weiss, president of the Metropolitan Museum of Art, and include sessions led by other distinguished speakers with a profound knowledge of and commitment to excellence in the museum and libraries fields. The agenda will allow the invited teams of directors to engage in interactive, participatory programming designed to facilitate the mining of rich collaborative opportunities. The invitees will propose topics for discussion and develop ideas for a collaborative project on their home campuses in advance of the summit.

“Working together, libraries and museums have the capacity to harness the enormous potential to create strong collaborative networks, share resources, and foster dynamic interdisciplinary scholarship,” said Jill Deupi, Beaux Arts Director and chief curator for the Lowe Art Museum. “We are so proud to host this first summit, which has the critical mission of addressing new and innovative ways that students and faculty seek to integrate library and museum collections into their learning and research agendas,” she added.

“Changes in pedagogy and research occasioned in large part by the digital revolution suggest fertile ground for developing shared practices and strategies across the GLAM sector (Galleries, Libraries, Archives, and Museums),” said Charles Eckman, UM’s dean of libraries and University librarian. He added that “we are deeply grateful to the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation for their vision and generosity enabling the University of Miami to host this path-breaking summit.”

The Academic Art Museum and Library Summit is being co-organized by the University of Miami Libraries and Lowe Art Museum, with the Association of Art Museums and Galleries, the Association of Research Libraries, and the Coalition for Networked Information. It is being underwritten with generous support from the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation.

“We are pleased to support the Academic Art Museum and Library Summit,” said Donald Waters, senior program officer for Scholarly Communications at the Mellon Foundation. “Mellon actively supports collaborative and cooperative efforts such as this one and believes that institutions with diverse but complementary talents that work together are more likely to come up with creative solutions to shared problems than if they worked separately.”

“Academic libraries and museums,” said Max Marmor, president of the Samuel H. Kress Foundation, “share a common mission to collect, preserve, and steward cultural collections in the service of education, research, and scholarship. Thanks in part to new and emerging technologies, they have rich opporutnities and compelling reasons to collaborate ever more closely in pursuing this shared mission. We at the Kress Foundation are grateful to the University of Miami for hosting this inaugural summit, which is intended to foster new partnerships in this promising arena.”

The University of Miami’s mission is to educate and nurture students, to create knowledge, and to provide service to the community and beyond. Committed to excellence and proud of the diversity of its University family, UM strives to develop future leaders of the nation and the world.

The Lowe Art Museum (www.miami.edu/lowe), a unit of the College of Arts & Sciences, is located on the campus of the University of Miami at 1301 Stanford Drive, Coral Gables.

The University of Miami Libraries (http://library.miami.edu/) provide faculty, students, researchers, and staff with the highest quality access to collections and information resources in support of the University’s mission to transform lives through research, teaching, and service.

Artist María Martínez-Cañas Sheds Light on Her Photographic Path in Conversation at CHC

by Sarah Block, Library Communications

Artist María Martínez-Cañas

Artist María Martínez-Cañas.

You may have viewed the Quince Sellos Cubanos exhibition at Richter Library without realizing, at least at first, that you’re actually looking at photography. This is not an uncommon response to the style of artist María Martínez-Cañas, nor an unwelcomed one. In visiting the 15 iconic scenes depicting Cuba’s past, reimagined from the artist’s childhood stamp collection, you’re encouraged to take them apart as a way of understanding how they connect and the complex narrative that they together form.

“Photographs can be more than a way of recording the world. They can also be a tool for understanding who you are,” Martínez-Cañas explained during a November 19 event at the Cuban Heritage Collection, where she provided a closer look at how her unique style has helped her explore history, memory, and identity, among many other themes, during a conversation with professor J. Tomás López.

Martínez-Cañas is well known for pushing the boundaries beyond a traditional photograph, experimenting with a variety of materials and formats—analog and digital, color and black-and-white, camera-less and camera-base—in order to capture the image she intends. “It’s ideas,” she explained, “that drive my use of the medium, rather than the other way around.”

J. Thomás López, University of Miami Professor of Art and Art History.

J. Thomás López, University of Miami Professor of Art and Art History

López, a professor of art and art history who serves as head of Electronic Media and Photography at UM, navigated the discussion with topics spanning the course of Martínez-Cañas’ winding and prolific journey, from her early life and fascination with photography in Puerto Rico to the rise of her career and evolution of her work, which she carries out today in Miami.

“I had a curiosity of wanting to understand how the medium works from an early age, developing my first roll of film when I was eight years old. I asked my parents not to park the car in the garage because I wanted to use it as a dark room—and they didn’t!”

Her experimentation with photography in nontraditional forms began while studying at the prestigious Philadelphia College of Art, continuing at the Art Institute of Chicago, where she earned her MFA. She explained that when a Fulbright-Hays grant then brought her to Seville, Spain, she became interested in using the craft as a way to explore her Cuban identity.

“At the time I was trying to figure out what makes me Cuban. I was born in Cuba, but I never had the opportunity to grow up in the country in which I was born…I developed a project working with the maps that Christopher Columbus used to discover Cuba as a foundation for my photographic project. I thought if I used these maps, I will find my background and where I come from and I will connect more with what makes me Cuban. It changed my life.”

After moving to Miami, Martínez-Cañas embarked on the two-year project resulting in Quince Sellos Cubanos (1992). The first series of 15, comprising the 15 gelatin silver prints currently on display at the library, was donated to the Cuban Heritage Collection by Alan Gordich in 2015 along with the limited-edition portfolio Páginas de Viaje (1996).

Quinces Sellos Cubanos will remain on view through spring 2016.

Photos by Andrew Innerarity.



Author Examines Cuban TV’s Remarkable History

By Peter E. Howard, UM News


Historian Yeidy M. Rivero credits the CHC for igniting her passion for examining commercial television in Cuba.

An imposing figure who liked the sound of his own voice, the uniform-clad revolutionary frequently promoted his political objectives on television. Sometimes his speeches went on for as long as eight hours, without a commercial break.When he came to power in Cuba in 1959, Fidel Castro wasted little time taking to the airwaves.

At the time, the television stations were privately owned, and it wasn’t until a year to 18 months later that the government took over. It knew the power of the medium back then, and used it to its advantage.

“Castro was marketing the revolution,” said Yeidy M. Rivero, author of the book Broadcasting Modernity, which examines the history of commercial television in Cuba from 1950 to 1960. “He was very charismatic, and he used it perfectly well.”

Rivero, a professor at the University of Michigan, was at the University of Miami’s Otto G. Richter Library Wednesday night to talk about her book, and engage the audience gathered in the Cuban Heritage Collection’s Roberto C. Goizueta Pavilion in a discussion about the birth of commercial television in Cuba during a period of political and economic upheaval.

It was a homecoming of sorts for the historian. Rivero credits the research she did at the Cuban Heritage Collection at UM Libraries for igniting her passion for the project. From day one, she recalled, she was provided a daily cafecito to enjoy – “with plenty of sugar.”

“I feel like this is part of my family,” Rivero shared.

Cuba’s history with television is remarkable, with the island nation at the cutting edge of production and programming from the beginning. Talented employees helped advance the products. Some fled Cuba because of the instability, enriching television production in other Latin American countries, including Venezuela and Puerto Rico.

Cuba, Rivero said, was the first country in Latin America to have color television, and second in the world to feature it after the United States.


Broadcasting Modernity: Cuban Commercial Television, 1950-1960, published by Duke University Press in 2015.

Rivero added that she has always been “fascinated by the popularity of the medium,” and began researching commercial television in Cuba about a decade ago. She read every newspaper and magazine article she could find on television in Cuba, and was pleasantly surprised to find detailed analyses in documents at the Biblioteca Nacional José Martí Centro de Investigaciones del Instituto Cubano de Radio y Televisión in Havana.

Early television in Cuba, she said, was used to convey the country as modern, emerging, economically successful, educated, and morally sound. Some rumba dances were censored on television because they were deemed too risqué.

“When I began my research,” Rivero said, “I had no idea what I would find.”

Photos by Brittney Bomnin.

Visioning Studio for the Future Learning Commons Opens at Richter Library

The Visioning Studio for the future Learning Commons is now open on the first floor of Richter Library.  Look for the large open space with the orange stripes brightening your path.

The Visioning Studio offers a place for the UM community to begin trying out different types of spaces, services, and technologies that the UM Libraries might offer in partnership with campus academic service units. Here is a sampling of what you’ll discover in the Visioning Studio this month:

    • Free tutoring provided by the Academic Resource Center begins in the Visioning Studio’s Consultation Hub on September 8 at 5 p.m. The service will be provided Monday – Thursday evenings from 5 p.m. to 10 p.m. The sound in the Visioning Studio will increase accordingly to a collaborative, conversational level during these times.  When tutoring is not occurring, the Consultation Hub is available for open study.
    • Brightspot consultants will be leading user experience interviews and workshops with students and faculty in the Active-Learning Environment during the week of September 8. The goal of this research is to involve our students and faculty in the design of our future Learning Commons. We are grateful to all who are participating!
    • Check out the puzzle station in our prototype BrainSpa, where you can relax and reboot your mind. We are hoping to hear your ideas about other activities you might like to be able to do in the Learning Commons.

Share your vision with us!