At a superficial glance, classical music and a club atmosphere are the antitheses of one another, but at the endlessly inventive, Frank Gehry-designed New World Center, the two ends of the musical spectrum become strange bedfellows. New World Symphony's "Pulse" brings the loose, anything-goes atmosphere of a neon-lit South Beach club inside a classical music concert hall, an environment that historically has had a reputation for buttoned-up, white glove affairs. But "Pulse," which is just one recurring event of many that beckon younger audiences to spend their evenings with New World Symphony, eschews traditional concert trappings like fixed seating in favor of disco balls, innovative light and visual displays, and guests' ability to walk freely about the theater during performances. Audience members don't have to wait for intermission to fetch drinks, and they can even sit at the foot of the stage to watch performers make music up close.

Getting up for work on a weekday is difficult enough, but getting up on Sunday, when obligations and responsibilities are still 24 whole hours away? That takes some serious dedication. Kulcha Shok's Reggae Sundays at the Wynwood Yard are the best way to bridge the gap between weekend relaxation and getting a head start on the week ahead. Every week brings a rotating cast of the city's most popular reggae bands and special musical guests. Jahfe, Kulcha Kids, and Itawe Correa of Locos por Juana are regulars at the Sunday performance series. The music starts at 2 p.m. and goes to midnight, but with the Yard's bar serving up refreshing cocktails, food trucks like World Famous House of Mac, and vendors like Della Test Kitchen open from noon, it's best to start with an early lunch at the Yard and make a day of it.

Bed Scene's "Day in a Dream" music video is a fantasy tropical trip viewed through the lenses of the Beatles' girl with kaleidoscope eyes. Hallmarks of late '60s psychedelia are splattered throughout, primarily via the video's color palette, which fluctuates between vibrant bursts of primary colors and bright hues of art deco pinks and blues. Directed by Arminio Rivero of Crocodile Deathspin and Nick Aponte, the man behind the music of Bed Scene, the video takes viewers along for a day spent burying treasures in beach sand as mirror images multiply on screen, culminating in vintage VHS home videos of Aponte that emerge into the foreground and elucidate with each viewing, like motion picture Rorschach images.

The millennial R&B resurgence is in full effect with contributions from artists like Solange Knowles, Janelle Monáe, Kali Uchis, Khalid, Kehlani, SZA, and so many more; and there's no good reason to exclude South Florida from the conversation when an artist like Savannah Cristina is making albums as excellent as 2017's Mango Season. To call Cristina a "singer" would be too limiting a descriptor for her artistic range. She is also a gifted songwriter and slam poet who intersperses spoken word between songs during performances and on Instagram posts. From "Afro," a stripped-down ode to natural beauty ("He love my tummy like a cinnamon roll/He say he got a thing for stretch marks") to "Social Media," her take on the ways jealousy manifests in the digital age ("They gon' double tap it, baby/You know what it feels like in real life"), Savannah Cristina is a worthy addition to your next R&B bubble bath playlist.

Miami clubgoers may know how to party into the wee hours, but they sometimes forget to dance. All too often, clubbers can be spotted chatting idly on the dance floor or hovering listlessly around the bar. Leave it to the folks at Klangbox.FM and local promoters More or Less to bring in selectors who give crowds little choice but to move their feet. Since December 2017, the Klangbox crew and More or Less have taken over Floyd one night every month to spotlight international DJs and producers who might not have otherwise made it to Miami. With a focus on cutting-edge emerging artists, Extra Credit has already facilitated the Miami debuts of several choice acts, including Australian house hero Mall Grab and thoughtful techno producer Call Super. As Miami's clubs find themselves in an odd state of transition — with some closing and others changing programming — it's comforting there's still a small, intimate party dedicated to driving a roomful of people nuts.

Not all of The Assassination of Gianni Versace: American Crime Story is set in Miami. The dramatization of fashion designer and South Beach fixture Versace's death at the hands of serial killer Andrew Cunanan focuses primarily on Cunanan, tracing his cross-country murder spree and fall from grace in the summer of 1997. But the story, as told by executive producer Ryan Murphy and series writer Tom Rob Smith, begins and ends in Miami, which is by far the show's most memorable location. Alternating between the lush, warm hues of Miami Beach and the blinding strobe and neon lights of the city's gay clubs, The Assassination of Gianni Versace captures both the city's timeless qualities and the hallmarks of an era long past. With Miami's beauty providing a rich thematic contrast to the inner rot of Andrew Cunanan — a star-making performance by Glee actor Darren Criss — it's a striking backdrop for an unforgettable television experience, as well as a tragic reminder of a harrowing moment in Miami's history.

Crosstown Rebels head honcho Damian Lazarus' Get Lost Miami party has been a perennially popular destination for Miami Music Week attendees for some time now. Stretching a full 24 hours and stacked to the brim with some of the most beloved acts in dance music, Get Lost Miami has more than earned its reputation as an event that needs to be seen to be believed, with its multicolored glass fixtures, blinding lasers, and all-around dedication to psychedelia. This year's edition was the most memorable yet, due in large part to its Lemon City Studios location. The Little Haiti venue, within spitting distance of Biscayne Boulevard, offers plenty of room for creatives to see their visions come to life. It helps that in addition to its indoor and outdoor offerings, Lemon City Studios hits that sweet spot between sun and shade that so often proves elusive in Miami.

For nearly 40 years, Circle House Studios has provided recording artists with the quintessential Miami experience. Along with the requisite mixing consoles, mikes, and gear of a standard recording studio, Circle House offers artists a pool, palm trees, and a spacious outdoor patio, among other essentials. Given the accommodations, it's no surprise this facility has been in business for almost four decades. Founded by brothers Ian and Roger Lewis of the reggae band Inner Circle (best known for its 1987 hit and Cops theme song, "Bad Boys"), Circle House offers an ideal working space for artists to sit back, relax, and produce in a pressure-free environment. With the help of Ian's son Abebe, Circle House has originated countless hit productions, including Pharrell's "Happy" and The Miseducation of Lauryn Hill. The studio also hosts workshops to nourish young local artists, making it an accessible locale for the hitmakers of tomorrow.

It is no secret that the majestic downtown Miami skyline and the precipitous economic growth it represents were at least partly funded by drug money. Throughout the 1980s, the Port of Miami and South Florida's shorelines were the gateway to a thriving narcotics industry made glamorous by Miami Vice and Scarface. Nothing better encapsulated the atmosphere of those Wild West days than Billy Corben's 2006 documentary, Cocaine Cowboys. Nearly all the players in the real-life true crime drama were arrested, with the exception of Gustavo Falcon. The 56-year old former drug runner evaded authorities for 26 years, living under an alias in Kissimmee, Florida. Falcon, better known as "Taby" to friends and associates, was part of a group responsible for smuggling 75 tons of cocaine into the United States, a haul valued at an estimated two billion dollars. According to the U.S. Attorney's Office, Falcon's role in the Miami crime enterprise involved some decidedly unsexy tasks, including collecting debts, keeping ledgers, and organizing transport. He was more accountant or office manager than gun-slinging drug lord, but he was nevertheless slapped down with an 11-year sentence in April, adding yet another chapter to Miami's wild crime history.

Anastasia and Max Brenner, 15 and 19 years old respectively, are making the most of their formative years channeling young adult angst into ominous orchestral pop. The duo recently dropped its debut EP, The Haunt, including the single "All Went Black," named one of the Best Miami Songs of 2017 by New Times. At a young age, Max's mature songwriting combines the eerie with the exuberant, and is buoyed by Anastasia's powerhouse vocals. In February, Anastasia, still in her early high school career, and Max, a first-year college student, volunteered their time to play a Revolution Live concert benefiting the victims of the Marjory Stoneman Douglas High School shooting.