Thursday, March 19, 2020

marilyn monroe essays

marilyn monroe essays Who is Marilyn Monroe and is she the biggest sex symbol of the twentieth century? Most people remember her as a beautiful woman, who starred in a variety of movies and who had many memorable photos. What they might not know is how she acquired this or how she became as well known as she did. People also do not realize that during her life she became one of the biggest entrepreneurs of her time. She had many difficult times, like anybody endures in life, but she was almost always able to overcome them and triumph in the end. She was very beautiful as a teenager and a lot of different men took an interest in her. This contributed to the reason the Marilyn Monroe was married at such a young age. Her first marriage was to a man named Jim Dougherty, when she was only at the tender age of sixteen. She met Jim through her Aunt . Though Dougherty admits his marriage to Norma Jeane (Marilyn Monroe) was arranged, he said they were happy and very compatible sexually. (Wayne 14 ). Just two years after Jim and Marilyn were married (1942), Jim was sent off to Australia and this is when they realized how much they needed each other. While Jim was away Marilyn worked in a defense plant where she packed and inspected parachutes for the war that was going on in the Pacific. While married to Jim, Marilyn became very sexual and she craved for attention. This is what led her to hang out in bars and become what is known as a call girl. This would give her the attention that she wanted and help her make a little extra money on the side. During this time, Marilyn did not have any idea of what she wanted to do with her life and she did not posses any work skills that could take care of her if something was to happen to her marriage. Which, Marilyn knew that it was going to happen because they were growing apart from each other and the war was to blame for this. While all this was going on in her life, she ...

Monday, March 2, 2020

Ritual Objects of Ancient Taino

Ritual Objects of Ancient Taino A zemà ­ (also zemi, zeme or cemi) is a collective term in the Caribbean Taà ­no (Arawak) culture for sacred thing, a spirit symbol or personal effigy. The Taà ­no were the people met by Christopher Columbus when he first set foot on the island of Hispaniola in the West Indies. To the Taà ­no, zemà ­ was/is an abstract symbol, a concept imbued with the power to alter circumstances and social relations. Zemis are rooted in ancestor worship, and although they are not always physical objects, those that have a concrete existence have a multitude of forms. The simplest and earliest recognized zemis were roughly carved objects in the form of an isosceles triangle (three-pointed zemis); but zemis can also be quite elaborate, highly detailed human or animal effigies embroidered from cotton or carved from sacred wood. Christopher Columbuss Ethnographer Elaborate zemà ­s were incorporated into ceremonial belts and clothing; they often had long names and titles, according to Ramà ³n Panà ©. Panà © was a friar of the Order of Jerome, who was hired by Columbus to live in Hispaniola between 1494 and 1498 and make a study of Taà ­no belief systems. Panà ©s published work is called Relacià ³n acerca de las antigà ¼edades de los indios, and it makes Panà © one of the earliest ethnographers of the new world. As reported by Panà ©, some  zemà ­s included bones or bone fragments of ancestors; some zemà ­s were said to speak to their owners, some made things grow, some made it rain, and some made the winds blow. Some of them were reliquaries, kept in gourds or baskets suspended from the rafters of communal houses. Zemis were guarded, venerated and regularly fed. Arieto ceremonies were held every year during which zemà ­s were draped with cotton clothing and offered baked cassava bread, and zemi origins, histories, and power were recited through songs and music. Three Pointed Zemà ­s Three-pointed zemà ­s, like the one illustrating this article, are commonly found in Taà ­no archaeological sites, as early as the Saladoid period of Caribbean history (500 BC-1 BC). These mimic a mountain silhouette, with the tips decorated with human faces, animals, and other mythical beings. Three-pointed zemà ­s are sometimes randomly dotted with circles or circular depressions. Some scholars suggest that three-pointed zemis imitate the shape of cassava tubers: cassava, also known as manioc, was an essential food staple and also an important symbolic element of Taà ­no life. The three-pointed zemis were sometimes buried in the soil of a garden. They were said, according to Panà ©, to help with the growth of the plants. The circles on the three-pointed zemà ­s may represent tuber eyes, germination points which may or may not develop into suckers or new tubers. Zemi Construction Artifacts representing zemà ­s were made from a wide range of materials: wood, stone, shell, coral, cotton, gold, clay and human bones. Among the most preferred material to make zemà ­s was wood of specific trees such as mahogany (caoba), cedar, blue mahoe, the lignum vitae or guyacan, which is also referred to as holy wood or wood of life. The silk cotton tree (Ceiba pentandra) was also important to Taà ­no culture, and tree trunks themselves were often recognized as zemà ­s. Wooden anthropomorphic zemà ­s have been found all over the Greater Antilles, especially Cuba, Haiti, Jamaica, and the Dominican Republic. These figures often bear gold or shell inlays within the eye-inlets. Zemà ­ images were also carved on rocks and cave walls, and these images could also transfer supernatural power to landscape elements. Role of Zemis in Taino Society Possession of the elaborated zemà ­s by Taino leaders (caciques) was a sign of his/her privileged relations with the supernatural world, but zemis werent restricted to leaders or shamans. According to Father Panà ©, most of the Taà ­no people living on Hispaniola owned one or more zemà ­s. Zemis represented not the power of the person who owned them, but the allies the person could consult and venerate. In this way, zemis provided contact for every Taino person with the spiritual world. Sources Atkinson L-G. 2006. The Earliest Inhabitants: The Dynamics of the Jamaica Taà ­no, University of the West Indies Press, Jamaica. de Hostos A. 1923. Three-pointed stone zemà ­ or idols from the West Indies: an interpretation. American Anthropologist 25(1):56-71. Hofman CL, and Hoogland MLP. 1999. Expansion of the Taà ­no cacicazgos towards the Lesser Antilles. Journal de la Socià ©tà © des Amà ©ricanistes 85:93-113. doi: 10.3406/jsa.1999.1731 Moorsink J. 2011. Social Continuity in the Caribbean Past: A Mai son-Perspective on Cultural Continuity. Caribbean Connections 1(2):1-12. Ostapkowicz J. 2013. ‘Made †¦ With Admirable Artistry’: The Context, Manufacture, and History of a Taà ­no Belt. The Antiquaries Journal 93:287-317. doi: 10.1017/S0003581513000188 Ostapkowicz J, and Newsom L. 2012. â€Å"Gods †¦ Adorned with the Embroiderers Needle†: The Materials, Making and Meaning of a Taà ­no Cotton Reliquary. Latin American Antiquity 23(3):300-326. doi: 10.7183/1045-6635.23.3.300 Saunders NJ. 2005. The Peoples of the Caribbean. An Encyclopedia of Archaeology and Traditional Culture. ABC-CLIO, Santa Barbara, California. Saunders NJ, and Gray D. 1996. Zemà ­s, trees, and symbolic landscapes: three Taà ­no carvings from Jamaica. Antiquity 70(270):801-812. doi: :10.1017/S0003598X00084076

Saturday, February 15, 2020

Martin Wong Essay Example | Topics and Well Written Essays - 2000 words

Martin Wong - Essay Example He focused his attention completely to painting. His move to New York came as a friendly challenge. He did drawings and made ceramics at art fairs. He was known as Human Instamatic before then. He made $7.5 per portrait he drew. By 1978, his record had been 27 fairs in a single day. His friends challenged him to move to New York since he was evidently superb at his job. Although the works of Martin Worth inspired the growth of hip hop culture, his creative arts leaves little to be desired in perpetuating societal values. Wong’s mature career began a few years before moving to New York. The works ranged from heartfelt renderings of the decaying Lower East Sides to playful and almost kitschy depictions of China Towns of San Francisco and New York. He drew and painted traffic signs for the hearing impaired too. Perhaps, the best known and remembered collaborative works of Wong is the alliance between him and Miguel Pinero, the Nuyorican poet. His paintings often combined the poetry of Pinero and the painstaking stylized finger spellings and cityscapes he drew and painted. The artist’s Loisaida pieces coupled with his collaboration with Pinero formed part of the Nuyorican movement (Wong 12). Nuyorican Movement that Wong became a significant part of refers to an intellectual and cultural movement that involves poets, artists, writers and musicians who are Puerto Rican descendents or have association with Puerto Rico and live near New York. He joined the group that had his origin in the 1960s and 1970s within the neighborhoods such as East Harlem, South Bronx and Loisaida as a means to validate the Puerto Rican experience in the United States of America. It was meant to better the standards of the poor and the working class populaces that suffered from ostracism, marginalization and discrimination. The term that they gave the group of artists was used as an insult until renowned artists such as Miguel Algarin

Sunday, February 2, 2020

The Broadway show Chicago Personal Statement Example | Topics and Well Written Essays - 750 words

The Broadway show Chicago - Personal Statement Example The most exhilarating shows in Chicago's lively Downtown Theater District contributed significantly to my appreciation of the aesthetic experience of the mind and the stages of the Ford Center for the Performing Arts/Oriental Theatre, the Cadillac Palace Theatre, the Bank of America Theatre, the Auditorium Theatre and the Drury Lane Theatre Water Tower Place are some of the most notable stages that brought to my mind a really high opinion about stage show Chicago. The Addams Family and Jersey Boys are two of the most incredible shows in the Broadway show in Chicago. Significantly, the former is a splendid new show created by Jersey Boys authors Marshall Brickman and Rick Elice at the Oriental Theater, Ford Center, while the latter is a multi-award winning show. "The weird and wonderful family created by cartoonist Charles Addams comes to devilishly delightful life in a new Broadway Musical The Addams Family Jersey Boys, the mutli-award winning Broadway show about the rise to fame of Frankie Valli & the Four Seasons is breaking box office records at the Bank of America Theater in Chicago." (The Best Shows in Chicago) Therefore, my experience in the Broadway show in Chicago has given me an essential opportunity to understand and appreciate aesthetic value of the stage show in Chicago, in which I realized the importance of costume, dance, choreography, musical elements of the show. It is fundamental to note that the Broadway show in Chicago is an absolute beauty, incorporating dance, choreography, music, performances, etc. and the various stages in the show bring before the audience a memorable experience that no one ever forget all through his life. One of the main attractions of the shows here is the costumes used for various performances, dance programs, and musical shows. Significantly, Broadway costumes offer accuracy and professionalism to any performance staged in Chicago. The great wealth of theatrical costumes enhances the beauty of every show presented here, and I was particularly attracted to the theatrical costumes of the Pirates of Penzance and Phantom of the Opera. Another fundamental attraction of the Broadway show in Chicago is, undoubtedly, the pulse-racing revival of the musical 'Chicago' which also incorporates some of the sexiest and most sophisticated dancing on Broadway show. As Ben Brantley maintains, "this new incarnation, directed by Wa lter Bobbie and choreographed by Ann Reinking (who also stars), makes an exhilarating case both for 'Chicago' as a musical for the ages and for the essential legacy of Fosse, whose ghost has never been livelier than it is here." (Brantley) Therefore, the costumes, musical, dancing, and choreography in the Broadway show in Chicago attract a number of theatre-goers today. The Broadway show in Chicago has offered me a great opportunity to recognize my ability to appreciate aesthetic elements of every artistic form. The costumes of the show attracted me very much and the dancers and choreographers seemed amazing to me. Significantly, the stage show in Chicago helped me in realizing the excitement of Chicago tourism and every show I witnessed here will live in my loveliest memories all through my life. The striking revival of Chicago musical and dancing reminded me of the glorious days of the show.

Saturday, January 25, 2020

Aboriginal Beliefs Essay -- essays research papers

The Aborigines had, and still have, a complex belief in creation, spirits and culture, that gives a definite distinctiveness from any other religion in the world. Thousands of years ago, Australian Aboriginal people were living in accordance with their dreamtime beliefs- today, a majority of the Aboriginal community profess allegiance to Christianity, and only 3% still adhere to traditional beliefs. These beliefs have provided the Aboriginal people with guidance and perspective on all aspects of life. There were many variants to these beliefs and practises throughout the many Aboriginal tribal areas, but all Aboriginal people have developed an intimate relationship between themselves and their environment. They see themselves as spiritually bound to the natural world. The basis of Aboriginal religion revolves around their sacred mythology known as “The Dreamtime';. The Dreamtime specifically refers to the period of time when the creators made the territory of a tribe and all it contained. It was a period when patterns of living were established and laws were laid down for human beings to follow. The Dreamtime is linked with many aspects of Aboriginal practise, including rituals, storytelling and Aboriginal lore, and explains the origin of the universe, the workings of nature and the nature of humanity, and the cycle of life and death. It shapes and structures Aboriginal life by controlling kinship, ceremonial life, and the relationship between males and females with a system of responsibility involving people, land and spirits. The aim or objective of traditional Aboriginal people was to live the exact lifestyle that had been created for them by the creators thus, the Aboriginal people strive to perpetuate and continue the never ending dream ing. The creators were the ancestors of all living things, including the Aborigines themselves. Sometimes human, sometimes animal, they were possessed of miraculous powers. Their deeds on earth are enshrined in Aboriginal mythology and are closely associated with animals and other features of the natural environment. Each tribe had it’s own creation myth. For example, the people of the Arunda tribe believed that the spirits cut them from the earth in the Dreamtime. Originally, myths, or Dreamtime stories, were not expressed simply in verbal or written form but were enacted, chanted, painted, cost... ... new growth. Food taboos and totemism had the effect of protecting animal and other species because some people were not permitted to eat certain foods and a person could not always eat their own totem. This had the effect of providing a safe environment for particular species. Many sub-tribes moved around their land following the food chain cycles. This meant that they never stayed in the one place where they could extinguish the food sources. In some tribes particular beliefs were held about dangers that could threaten the life of animals or birds. One tribe (the Wiimbaio) were afraid of blood falling into lakes or rivers, incase storms or other disasters would result, and would kill the fish. Aboriginal beliefs are expressed in a number of ways, including their Dreamtime practices, such as stories, art and corroborees, and rituals, such as initiation, birth, marriage and death, as well as the Aboriginal lore. Such a complex and unique outlook on the universe and humans, and with the assistance of their ability to continue their practices through hundreds of generations, allowed the Aboriginal belief system to evolve to be one of, if not the, oldest surviving race in the world.

Friday, January 17, 2020

Ponyo on the Cliff by the Sea: A better version of The Little Mermaid Essay

Ponyo on the Cliff by the Sea, written, directed and animated by Hayao Miyazaki, in the year 2009 was an animated movie aimed at young audiences and their parents. He took Hans Christian Andersen’s short story The Little Mermaid as a blueprint for portraying this poetic, fantastic work using adorable pictures with interesting and impressive storyline to attract audiences. I would personally consider the movie Ponyo on the Cliff by the Sea as an improved version of Andersen’s The Little Mermaid because Miyazaki had introduced a lot of new elements to make the story look more realistic and interesting by considering the current preferences of children’s. In this movie, Miyazaki has not only described the love between people and people, but he has also highlighted the relationship between creatures and people using a simple story line. Generally, I would perceive Ponyo on the Cliff by the Sea as a great animated movie because it contains various outstanding features such as simple but attractive story, visually appealing animated pictures which are far better compared to other animated movies released recently and the music in the movie is quite pleasant touching people’s soul. In the following part of the essay, I am going to describe how Miyazaki successfully captivated the audiences’ likenesses through his new movie: Ponyo on the Cliff by the Sea. There is a huge difference between the Hans Christian Andersen’s story The Little Mermaid and the Miyazaki’s movie Ponyo on the Cliff by the Sea. In the Andersen’s The Little Mermaid, there were so many children who got upset on her demise and her infatuation towards the prince. While suffering with great pain, she drank the potion and the Little Mermaid lost her tongue in exchange for her tongue, which was considered as the most beautiful part of the story, but still her sacrifice could not get the prince’s love. At last, her body turned into foam and it never existed again. According to Robinson, â€Å"the story’s agony and tragedy [actually loses] the people’s heart† (Robinson). Such a pathetic story used to break the children’s dreams. However, I would consider Hayao Miyazaki’s movie Ponyo on the Cliff by the Sea as an ameliorated story of The Little Mermaid because he slightly modified the ending of the story and introduced a lot of exciting elements to make the story more closely related with children’s preferences. Miyazaki has drawn several cute scenes about the main character girl Ponyo, such as eating noodles with her lover Sosuke and playing around with her pinky sisters. These scenes attracted the current generation of young audiences and made them fall in love into this adorable character and hence got them emotionally attached towards the movie. In addition to that, the climax of the movie was slightly changed that the Ponyo gets transformed into a little girl from a fish, so that she can be with Sosuke forever and it can be considered as one of the major difference when compared to the climax of The Little Mermaid’s. Therefore, I would personally consider the happy ending, the way of presentation and depicting characters as major elements making Ponyo on the Cliff by the Sea better than The Little Mermaid. People regard Ponyo on the Cliff by the Sea, not only as a better version of The Little Mermaid, but also consider it as a great animation movie due to its simple and attractive storyline. Although there are people who criticize that the story sounds weird, and like many of Miyazaki’s previous films, Ponyo is also written from a child’s perspective and with a child’s sense of logic (Rodriguez). Miyazaki has raised the complexity of the movie’s theme to a higher level, enabling both children and adults to think and enjoy. The audiences are provided with three ways to observe the main theme of the story, which is the love between people, families, and creatures. First the audiences could feel the love and the relationship between Ponyo and her father Fujimoto. In the story, their relationship is not so well due to the busy schedule of Fujimoto, which reduced the time spent by him to understand his daughters and vice-versa. As her mother was also busy and hardly available at home, Ponyo had very less time for interacting with her parents. Even though Fujimoto tried his best to take care of Ponyo, such as providing clean food and taking them out for sightseeing at the sea, she didn’t care much about her father’s feelings. The only thing that she wanted to do was to get away from her father. What Ponyo did was immature and completely understandable, because she was just a 5 year-old girl at that time. But I believe that Miyazaki wanted to stress the issue that there does exist children who are bound do the same thing with their parents as well, and he wanted the young audiences to understand that whatever their parents are doing is only for the love they have towards their children. Secondly, the audiences may notice how Sosuke loved his mother. Although his father used to leave him and his mother at home while going for fishing, he realized how to take good care of his mother and carry the responsibilities of the family as a whole. I do remember a scene, when Sosuke’s father called to apologize for not coming back for dinner which left Sosuke’s mother crying about that. At that time, Sosuke’s passes her a napkin, consoling her not to get sad about that. Sosuke doesn’t know the reason for her mother being upset, but his actions represent the second type of love, which indicates how the younger generation shows their love towards their parents. Finally Miyazaki wanted to express the pure love between the main characters, Ponyo and Sosuke to the audiences as the third kind of love. One of the scenes comprised of a test that Nereus had given to Sosuke. Without anybody’s help, any ship to drive, and any lights to walk in the tunnel, Sosuke builds his courage to take care of Ponyo, the one whom he loves a lot and he overcomes all the hurdles that come in his way. These scenes inspired me to think about the children of this era. It is common that children would cry and call for their parents when they encounter difficult situations; however, despite the worry about his mother’s disappearance at that moment, Sosuke tactfully handled all these challenges physically and mentally encouraging Ponyo too to be strong. Therefore, I personally think that the act of the 5 year-old boy, Sosuke should be highly appreciated because it is really not an easy task for a normal child to either handle or accomplish it. The only reason why Sosuke could do it is all because of the love he had towards Ponyo, which gave him the power to raise his courage to get through all the challenges. The factors that decide whether an animated movie was successful or not doesn’t purely depend on the storyline or content that the director wants to emphasize, but it also depends on the way the movie was filmed that embellishes the movie with eye-catchy and enthralling features. When compared with the Disney film The Little Mermaid, Ponyo on the Cliff by the Sea didn’t involve any Computer-Generated Imagery (CGI) work, which meant that the whole film was drawn by animators, and this further heightens the film’s natural characteristics. â€Å"In Miyazaki’s fertile imagination, the ordinary and magical worlds blend into each other; both are full of marvels† (Young). Young adds that Miyazaki’s movie provided softer and more realistic pictures to the audiences as all the things were hand-made. For example, I would personally consider the sea to be the most imaginative part of the movie. Miyazaki used his abundant imaginations in transforming the sea into a living character that can represent the mind of Ponyo’s father Fujimoto. One of the scenes is that, Fujimoto uses his magic to transform the sea into a living creature to chase Ponyo, but the sea couldn’t catch her and it fiercely outbursted onto the land. In addition to the much hyped imaginative scenes, Miyazaki had asked Joe Hisaishi to compose the background music for the movie. The movie became additionally attractive, as Hisaishi had used children to sing all the songs. Hence, these specialties made Ponyo on the Cliff by the Sea so special that it induced people to come and enjoy. In summary, Ponyo on the Cliff by the Sea possesses nice elements for being considered as a great animated movie. First of all, being structured similar to the traditional tale The Little Mermaid, Miyazaki’s movie is more appreciated by the audiences of this era as it had a better climax than the story and the more updated elements are provided to meet the expectations and interests of children. Secondly, the complexity of the movie initiates audiences to deeply think about how people should interpret love and relationship between people, families, or even lovers. Thirdly, with the inclusion of more animated pictures and intoxicated music, audiences felt emotionally attached to the movie, trying to feel the happiness and sadness of the characters in the movie. Even though there are people criticizing the movie, but I believe that it has already qualified as a good animation movie because Miyazaki has designed it to become approachable by both adults and children. I personally feel that people can get inspired by the love of the story, trying to practice it in the real world, and very soon the society will become more harmonious. People would become friendlier to each other, making the world a better place to live on. Works Cited Robinson, Tasha. â€Å"Ponyo. † 13 Aug. 2009. The Onion Inc. A. V. Club. 2 May 2010 . Rodriguez, Rene. â€Å"Review : Ponyo. † 14 Aug 2009. The Miami Herald. Miami Herald Media Co. 02 May 2010 . Young, Deborah. â€Å"Film Review: Ponyo on the Cliff by the Sea. † 30 Aug. 2008. The Hollywood Reporter. 2 May 2010. .

Wednesday, January 8, 2020

Fires in the Mirror Crown Heights, Brooklyn and Other Identities

In 1991 a young black boy, Gavin Cato was crushed when a Hasidic Jewish man drove his car onto a curb. Confusion and passions get in the way of the bystanders, family and media in search of the truth of the situation. Later that same day, a group of malcontent black men find a Hasidic Jewish man in another part of the town and stab him multiple times. The man, Yankel Rosenbaum from Australia, later died from his wounds. These events ignited long-held racist beliefs in both the Hasidic Jewish community and the Black community of the Crown Heights neighborhood and surrounding areas. Playwright Anna Deavere Smith was inspired by these events and she gathered interviews from every person who would grant her one. She recorded and compiled the interviews and created monologues taken verbatim from the interviewee’s words. The result was Fires in the Mirror, a play containing the voices of 26 characters delivered via 29 monologues. Performer Anna Deavere Smith then used her own script and performed all 26 characters. She recreated the voices, mannerisms, and physicality of everyone from a Lubavitcher pre-school teacher to poet and playwright Ntozake Shange to Reverend Al Sharpton. (Click here to view the PBS production of her play in full make up and costumes.) In this play, Smith examines the cultural positions of both communities as well as public figures’ responses and the effects of the resulting riots on the neighborhood and families of those involved. Smith took it upon herself to hold up a mirror to her audience and let them see the reflection of another person’s experience and the collective perspectives communicated through her achingly honest play. She wrote a similar play that explores the aftermath of riots entitled Twilight: Los Angeles, 1992. Both plays are examples of a genre of theater called Verbatim Theater. Production Details Set: Bare stage with the ability for projected images Time: 1991 Cast size: This play was originally written to be performed by one woman, but the publisher indicates that flexible casting is an option. Content Issues: Language, Culture, Anger Roles Ntozake Shange  - Playwright, poet, and novelistAnonymous Lubavitcher WomanGeorge C. Wolfe - Playwright, director and producing director of the New York Shakespeare Fesitival.Aaron M. Bernstein  - Physicist at MITAnonymous GirlReverend Al SharptonRivkah SiegalAngela Davis - Professor in the History of Consciousness Department at the University of California, Santa Cruz.Monique â€Å"Big Mo† Matthews- L.A. rapperLeonard Jeffries- Professor of African American Studies at City University of New YorkLetty Cottin Pogrebin - Author of Deborah, Golda, and Me, Being Female and Jewish in America, and founding editor of Ms. MagazineMinister Conrad MohammedRobert Sherman- Director and Mayor of the City of New York’s Increase the Peace CorpsRabbi Joseph SpielmanThe Reverend Cannon Doctor Heron SamAnonymous Young Man #1Michael S. Miller - Executive Director at the Jewish Community Relations CouncilHenry RiceNorman Rosenbaum - Brother of Yankel Rosenbaum, a barrister from Austral iaAnonymous Young Man #2Sonny CarsonRabbi Shea HechtRichard Green - Director, Crown Heights Youth Collective, co-director Project CURE, a Black-Hasidic basketball team formed after the riotsRoslyn MalamudReuven OstrovCarmel Cato - Father of Gavin Cato, Crown Heights resident, originally from Guyana Production rights for Fires in the Mirror: Crown Heights, Brooklyn, and Other Identities are held by Dramatists Play Service, Inc.