Arts & Entertainment

The cycle of gentrification is hard to break: A not-so-hip neighborhood with cheap rent attracts artists. Their galleries increase both the hipness of the neighborhood and demand for its real estate. Before long, the rent is not so cheap anymore, and artists move on to another undiscovered neighborhood. But Locust Projects has not merely survived the development of its surroundings — it’s also thriving. One of a dwindling number of Design District galleries, Locust boasts a uniquely experimental process that brings in exciting talent to create one-of-a kind shows in its ever-evolving space. In the past year, the gallery has commissioned and presented work by artists such as Philadelphia’s Jennifer Levonian and Eva Wylie and Chicago’s Bethany Collins. The gallery has highlighted local talent as well, like the Miami-born Cristine Brache. And though its surroundings have grown fancy and staid, Locust has maintained its alternative, independent spirit. To celebrate its 20th birthday last September, the space staged the exhibit “20/20: Twenty Artists/Twenty Hours,” which was exactly what it sounds like: a marathon art show in which 20 artists or collectives presented newly commissioned works, one per hour. As the geographic center of Miami’s arts scene continues to shift, Locust’s lasting reign over the corner of NW 39th Street and North Miami Avenue is a welcome constant. The gallery’s hours are 11 a.m. to 5 p.m. Tuesday through Saturday.

Readers’ choice: Avant Gallery

By its very nature, being a reporter means having adversarial working relationships with at least a handful of government spokespeople and flaky PR reps. But not all flacks are created equal. As a former TV news reporter, Juan Diasgranados — a public affairs manager for Miami-Dade Corrections & Rehabilitation — understands the demands of journalists’ deadlines and acts accordingly. And he doesn’t stop at simply responding to questions. Diasgranados is continually pitching story ideas, such as telling reporters about an effort by correctional officers to bring hot meals to unpaid prison guards during the federal government’s shutdown in January. Most important, Diasgranados is friendly, frank, and fast — everything a flack should be.

Looking for a royalty-free photo of a South Florida hot spot? Phillip Pessar is your guy. Whether you’re hunting down a picture of the newest Shake Shack, a construction site downtown, or your local Metrorail station, his Flickr feed is almost guaranteed to have it. For more than a decade, the 62-year-old photographer has been documenting the Magic City and its multiple suburbs in all their splendor — but mostly in their mediocrity. Pessar’s goal is to document the changing city as it undergoes development and gentrification. Next time you spot a photo of a building in Miami, check the credit — once you know Pessar’s name, you’ll start seeing his work everywhere.

Scrolling through Instagram can be depressingly corporate these days. Your favorite meme account is secretly sponsored, the influencer you follow is shilling a teeth-whitening system for the umpteenth time, and your high-school acquaintance wastes no opportunity to tell you about the life-changing multilevel marketing company she’s joined. Enter Danny Brito: On Instagram, the Miami-based artist shows his colorful, ultra-relatable art prints, stickers, candles, and pins. But Brito’s grid is also filled with pictures of his bright, plant-filled home, adorable pugs, and quirky illustrations. His posts are sweet, comforting, and always earnest — a delightful respite in an otherwise anxiety-inducing feed.

Of the many street artists and muralists working in Miami — and there are legion — only one has created work that’s synonymous with Little Haiti: Serge Toussaint. Born in Port-au-Prince, Haiti, in 1963, Toussaint moved to the States when he was 12 and found his way to South Florida in 1994. Soon he was painting for local shops, adding style and color to text-based signs and shop windows. From that practice grew a career as an artist. And though Toussaint’s work can be found across South Florida, Little Haiti is the epicenter. His depictions of Haitian cultural figures — everyone from centuries-old political leaders to modern-day dancer Ajhanou Uneek — are a reminder of the neighborhood’s unique and vibrant culture. That’s become more essential in recent years, as gentrification threatens to disrupt Little Haiti residents’ way of life. Toussaint has responded to that threat by adding the phrase “Welcome to Little Haiti” to many of his works, naming his home as a way of protecting it.

Whether it’s in murals, sculptures, zines, installations, or even clothing, Jessy Nite’s colorful, uplifting art is everywhere in Miami. She’s prolific these days, with commissions from Nike on Lincoln Road, Facebook’s Miami offices, Soho Beach House, and others — not to mention an Instagram account that gives viewers a fun peek at her daily works-in-process and artsy adventures. Her latest big commission is the massive, permanent Stay Gold installation outside the famous Robert Is Here produce stand in Homestead, which Nite completed earlier this year in partnership with the O, Miami Poetry Festival.

When Dwyane Wade finally hung up his Miami Heat jersey and retired from the game earlier this year, it marked the end of an era. But there’s one place fans can still go to pay homage to the greatest athlete South Florida has seen in decades (and maybe ever, depending upon whom you ask): Little Havana. There, on a wall of a combination gym and spa, Wade’s visage stands out in front of the characteristic backdrop of Miami street artist Disem, who painted the wall to honor the legend before his retirement. The All-Star guard gazes serenely out of the mural, a calm intensity in his eyes. Viewers can recognize the neon pinks and blues of the Heat’s new Vice jersey resting on his shoulders. Sure, there have been plenty of homages to Wade in Miami throughout his career. Hell, this isn’t even the first or second or third mural with his face on it. But now that Wade has left Miami with a ton of goodwill, a helping of nostalgia, and a number-three-size hole in its heart, this one might be the last.

As Art Basel has evolved into a gazillion-dollar money-making affair, much of Miami Art Week has become traditional, less risky, and, well, predictable. But Satellite Art Show consistently brings the weird and the whimsy. Case in point: At last year’s edition, the first thing to catch your eye as you entered might have been Snoop Dogg Hot Dogs, a collection of giant inflatable hot dogs in buns with the rapper’s face at one end. And there’s more to this fair than mere spectacle. Local artists such as Milagros Collective and Sleeper also contributed creative cred to the show, along with 38 exhibitors from across the nation. It’s a throwback to the days when doing Basel meant witnessing striking pop-up performance art and an exhibit staged in an abandoned storefront that was probably illegal. As Hyperallergic put it: “Miami Beach’s Satellite art fair is not a release from an inundation of art, but perhaps it’s a reminder of why you like art in the first place.”

Going to the theater is cool enough. But going to a theater housed inside a historic venue on Miracle Mile in downtown Coral Gables is even cooler. What was once an art deco movie house is now a three-stage performance center with a main stage, balcony theater, and multipurpose black-box space, perfect for a date night or girls’ night — or when you just feel like taking yourself out. At Actors’ Playhouse, you’ll find classic offerings such as Mama Mia! and Camelot mixed in with contemporary shows like Doubt and Ring of Fire, both showing in 2019. An extra perk of Actors’ Playhouse is its embrace of Miami talent, as evidenced by its scheduled 2020 production of ¡Fuácata! or a Latina’s Guide to Surviving the Universe, created by locals Elena María García and Stuart Meltzer. Even the kids will feel at home here with shows such as Schoolhouse Rock and Puss in Boots, plus theater and film camps are available during the summer so you can keep the drama out of your home.

Readers’ choice: Actors’ Playhouse at the Miracle Theatre

Nestled in the heart of the Design District, the home of the Phantoms is anything but ghoulish. Design and Architecture Senior High, also known as DASH, fosters students’ inner artists through concentrations in architecture, industrial design, entertainment tech, fashion, and visual communications. It’s a topnotch school that prides itself on innovation. Even spending a few minutes on its website is a revelation — the school features standout student portfolios online each month.

The last time downtown Miami had a multiplex was in 1999, when AMC had an outpost at the Omni Mall. It would take almost 20 years until another one opened. But the movie industry changed substantially in those two decades: With the competition of streaming and the fact that at-home 4K videos and surround sound are accessible to the average consumer, movie theaters have had to get creative. That’s where the 17-screen Silverspot Cinema comes in. Instead of offering stale popcorn and sticky floors, the boutique movie chain delivers in-theater dining and cocktails from its restaurant, Trilogy. Tickets range from $14.93 to $17.87 for adults depending upon the time of day. And each ticket includes a reserved fully reclining seat. Silverspot recently debuted its Dolby Atmos Theater, which boasts state-of-the-art audio and video technology. Try re-creating that at home.

Readers’ choice: CMX Brickell City Centre

It’s possible there are no other radio hosts like Andy Slater. Unlike his competitors, who sound drunk at 7 a.m. and scream about Miami Heat assistant-coaching with mouths full of sub sandwiches, Slater is a sports talk-radio host who reports and breaks news. In 2015, he beat every other Miami Dolphins beat writer and tweeted out every single Fins draft pick before they were even announced. He broke that Derek Jeter was touring Marlins Park with then-Fish owner Jeffrey Loria — and Jeter later bought the team. Last year, after the Miami Marlins bizarrely claimed they were based in the Virgin Islands as a ploy to skirt some legal issues, Slater flew all the way there and filmed himself outside the nondescript post office box where the Marlins claimed to be “headquartered.” The team briefly suspended his press pass in retaliation.

Readers’ choice: Elvis Duran

Steve Shapiro began reporting on sports in South Florida almost three decades ago. The Miami Marlins and Florida Panthers didn’t even exist yet. Flash-forward nearly 30 years, and Shapiro is essentially the dean of South Florida sports reporters. His connections in the region are pretty much unparalleled — he even hosts a Sunday-night talk show on WSVN with the Miami-based mega-agent Drew Rosenhaus, who is all but certainly the most powerful player representative in the NFL. As NBA coach Stan Van Gundy said when Shapiro hit his 25th anniversary in 2015: “It’s more of an accomplishment in Miami that they haven’t run him out of town.” (He’s also succeeded on TV in South Florida while speaking with an unabashed Boston accent.) Shapiro covered Alex Rodriguez’s draft into Major League Baseball. Then-University of Miami football star Dwayne Johnson called Shapiro for advice before going into pro wrestling and becoming the Rock. Plus, anyone who’s covered the Dolphins for three decades without committing ritual suicide deserves as many awards as possible.

Born in Miami, WSVN’s Vivian Gonzalez has guided the city through Hurricanes Wilma and Katrina and seemingly every other named storm since 2005. In a climate where the weather can change by the minute, she always keeps it real, explaining some of the most complex scenarios in an easy-to-digest fashion. You can catch Gonzalez on WSVN weekday mornings from 5 to 10 a.m. Regardless of how grumpy your pre-coffee self may be, it’s hard to be moody after she dishes the forecast (regardless of how much rain is coming). Gonzalez doesn’t stop with just the on-air info either: She provides video updates, tweets, and more across her social platforms throughout the day. In addition to fulfilling her role as a meteorologist, Gonzalez is also a proud wife, mother, and dog-mom to Brownie Bear the Schnauzer, all of which fans have come to know through her social media posts. She regularly shows love to local nonprofits too, including La Liga Contra el Cancer and Habitat for Humanity, so her community outreach goes well beyond telling locals when to hunker down.

Jackie Nespral gets Miami. Unlike many TV (and print) reporters, she’s local — she grew up in Little Havana, earned degrees from the University of Miami and Florida International University, and got her start on Univision’s Sábado Gigante before working her way up at the network. Her next major move came in 1991, when she landed a job on NBC’s Today and became the first Hispanic-American woman to anchor a major cable news show at the age of 26. Since then, she’s moved back home and now hosts WTVJ’s Sunday affairs program, NBC6 Impact, where she regularly lobs tough questions at lawmakers. During the 2018 gubernatorial race, Nespral sat down with candidates Ron DeSantis and Andrew Gillum for 20-minute interviews and forced DeSantis to at least answer why he said Gillum would “monkey up” Florida.

Readers’ choice: Jackie Nespral

Erika Carrillo does something that’s oddly rare in local TV circles: She covers city politics closely. A lot of folks in the TV world are known for being wooden, gullible stooges willing to report whatever the hell some local police department or mayor’s office wants. Not Carrillo. When politicians see the Univision reporter approaching, they know they’re in for a grilling: Carrillo recently cornered Miami-Dade County Mayor Carlos Gimenez on-camera and asked him why he flew to China for “research” alongside a bunch of lobbyists and consultants who certainly seemed like they didn’t belong. Carrillo’s reporting has also had serious impact over the years: In 2016, she caught then-Miami-Dade Commissioner Juan Zapata using public money to pay for his Harvard tuition. And last November, the City of Sweetwater presented her with an award to honor a police-corruption series she authored that wound up getting a few cops arrested. There’s a reason Erika Carrillo has won eight Emmy Awards.

The postrecession economy has not been good to the Miami Herald. Neither have the business decisions of the Herald‘s parent corporation, McClatchy Newspapers. The Herald has endured wave after wave of layoffs and budget cuts in recent years. But at the same time, the pay of its executives has remained exorbitant: While McClatchy was announcing company-wide buyouts this year, CEO Craig Forman was negotiating a new contract that gave him a $35,000-per-month housing stipend on top of his already massive salary. In the meantime, tons of veteran Herald reporters voluntarily took buyouts, including Guantánamo Bay reporter Carol Rosenberg, who arguably knows more about America’s illegal Cuban prison than anyone else on Earth. (Thankfully, she’s still covering the beat for the New York Times.) Here’s to the folks who put in hard work every day covering the city, only to get booted out the door as a final gesture. Your work was worth it.

To read Patricia Engel is to be transported. Simply take the first line of her most recent novel, The Veins of the Ocean, and you’ll understand: “The Rickenbacker Bridge suspended across Biscayne Bay was full of night fishermen leaning on the railings, catching up on gossip over beer and fishing lines, avoiding going home to their wives.” Born to Colombian parents, Engel grew up in New Jersey and earned a master of fine arts at Florida International University, making her a transplant that not only stayed but also has made Miami’s literary scene proud. The Veins of the Ocean won the 2017 Dayton Literary Peace Prize, and she’s also the author of It’s Not Love, It’s Just Paris and Vida. Most recently, though, it’s her astounding Guggenheim Foundation Fellowship win that has the literary world kvelling. In her spare time (how, though?) she acts as the literary editor of the Miami Rail and is a writing professor at the University of Miami.

In 1989, Area Stage Company (ASC) was born. Thirty years later, the theater company has become a local and regional model for how to put on a damn good show. In addition to presenting locally inspired works and events, ASC isn’t afraid to take on the big names. Case in point: Its latest season boasted everything from Disney’s The Little Mermaid to The Wizard of Oz to Roald Dahl’s Matilda the Musical. On top of its typically wow-worthy performances, ASC is all about boosting the community’s skills. For example, the company regularly hosts group acting, singing, and dance classes and even offers the Inclusion Theatre Project for aspiring student actors aged 5 and up with developmental disabilities. The company will soon move from its Riviera Plaza home to a venue that’s yet to be announced. But wherever it lands, you certainly won’t want to miss any of the action.

Theater director Joseph Adler famously keeps very tight control over the artistic substance of GableStage. Yet Adler recently entrusted two productions — The Children and White Guy on the Bus — to one of the busiest freelance directors in the region: Michael Leeds. Adler was well rewarded. Leeds delivered some of the most effective and thought-provoking work of the past 12 months in these tales of complex relationships set against a backdrop of social issues such as racism and environmental apocalypse. Leeds is almost never at rest in South Florida, where he works as a playwright, teacher, and choreographer, as well as associate artistic director at the LGBTQ-centric Island City Stage. Theater playbills across the nation have heralded his work, including writing and directing the Broadway musical Swinging on a Star, which was nominated for a Tony Award in 1996. Several directors have a niche in which they are especially skilled, but Leeds’ versatility encompasses trenchant drama, silly comedy, musical revues, and just about anything else. He’s also a quietly integrated part of the theatrical community, often attending other theaters’ productions as much to give support as to spot new talent to cast. His staging is so skilled it can be invisible, but his strength is coaching personal-best-quality performances from his actors whether neophytes or veterans.

Critics have spent a decade trying to accurately describe what Clay Cartland does. He is renowned for his endlessly inventive comic chops, a droll delivery, and a nimble, expressive physicality reminiscent of the early work of Johnny Depp and Robert Downey Jr. But he reminded audiences last season of his abilities as a straight dramatic actor in GableStage’s Gloria. Cartland begins the first act as a party boy, the lord of the office who loves holding court, soaking up the gossip, and engaging in poisonous talk. His character thrives as the center of attention but is quietly unhappy with himself. In the second act, Cartland expertly transitions into a man clearly broken, who has lost his sense of self and might even be aware that any dreams and hopes he once had will never be realized. In a single year, Cartland crooned the Sinatra songbook with a straight face, played the young hero in Gilbert and Sullivan’s The Pirates of Penzance, and took on the role of the preening, over-the-top megastar in Slow Burn Theatre’s Rock of Ages. He is more than willing to be an anonymous member of the ensemble, but something about his charisma radiates so brightly that, like Cassie in A Chorus Line, that Cartland cannot help but be noticed.

Smoky halls, underground clubs, cultural revolution, and music that stirs the soul and curls the spine? Yes, you get all of that and more in the deliciously absorbing Tony Award-winning musical Memphis. Originally on Broadway from 2009 through 2012, it came to Actors’ Playhouse at the Miracle Theatre in 2019, taking audiences out of the smarmy tropics and into 1950s Tennessee. Directed by David Arisco, Memphis is inspired by real-life DJ Dewey Phillips, one of the first white DJs to play black artists on the radio. Onstage, the story follows Huey Calhoun (a wannabe DJ who loves the music he hears in black clubs), who one day meets Felicia, a beautiful and talented black singer, and — you guessed it — he falls hard. They try to build their careers and lives together, but society isn’t having it. Despite the fact that it’s 2019, listening to one of the show’s highlights, “Change Don’t Come Easy,” strikes as much of a chord now as it might have during the civil rights movement.

A lot of people talk the talk, but Karen Peterson & Dancers walks the walk as a full-time dance organization that features choreography performed by dancers with and without disabilities. Peterson — KPD’s founder, president, and artistic director — didn’t start out as an activist per se, but she always believed that all individuals should have the right to physically express themselves and the opportunity to train on a professional level. By providing inclusive and forward-thinking performances, workshops, and classes, Peterson made her philosophy a reality for many in our community. In the process, KPD has challenged its audiences to think about what it is that defines a dancer.

As Miami’s landscape of independent theaters has expanded, the stereotype of the arthouse film fan has shifted: Now, just about anyone you meet in this town could be a voracious viewer of foreign films or eagerly anticipating the arrival of the latest Sundance films to local screens or, at the very least, has watched a movie in a building without the words “AMC” or “Regal” glowing above the entrance. But don’t count out the film students who’ve been the driving force behind arthouse theaters since, well, arthouse theaters were a thing. Bill Cosford Cinema is here to bring the independent, foreign, and documentary features they crave. Located at the University of Miami, the Cosford serves the Godards of tomorrow with a diverse lineup of crowd pleasers such as Spider-Man: Into the Spider-verse, critics’ picks like Ramen Shop, and special screenings of classics such as Silence of the Lambs. But this isn’t just a place for students; the Cosford also hosts screenings during the Miami Film Festival and other special events that draw moviegoers of all ages and walks of life.

Readers’ choice: O Cinema Miami Beach

We’ll freely admit this category is entirely rigged and corrupt. Billy Corben — already the best-known-and-decorated documentarian in Miami — doesn’t deserve any more awards or love from New Times specifically. But last year he made a movie that is in many ways about this publication, so we’d be stupid not to toot our own horn here. At the tail end of 2018, Corben — along with his partners Alfred Spellman and David Cypkin — debuted Screwball, a comedy/documentary recounting the Biogenesis steroid saga, in which whistleblower and tanning-booth enthusiast Porter Fischer leaked a bunch of records to New Times managing editor Tim Elfrink showing that major baseball stars, including Alex Rodriguez, were doing steroids. We promise we’re not lying here — the movie is honestly really, really good. Corben and company reenacted huge portions of the story using child actors. In addition to being Corben’s most top-to-bottom entertaining movie, it also features New Times faces a lot.

No filmmaker tells Miami’s story quite like Billy Corben. And the Biogenesis scandal is so very Miami. With a cast of characters including an obsessive tanner with a vindictive streak and a fake doctor who linked up with a drug dealer to hawk steroids, plus some of the biggest names in baseball, Screwball tells the surreal story of how hurt feelings and a $4,000 debt blew up into the greatest scandal in modern sports history. It’s the kind of thing that’s so absurd it would be hard to make up if it weren’t true, and Corben leans into that absurdity by employing child actors as stand-ins for A-Rod, Tony Bosch, and Porter Fischer. At one point, a baby Pitbull even shows up. Then-New Times managing editor Tim Elfrink, who broke the massive story in 2013, heavily features in the flick and has a pintsize doppelgänger of his own. But we’d name Screwball the best documentary of the year even if it weren’t for tiny Tim. It’s a hilarious take on one of those tales that makes people roll their eyes and say, “Only in Miami.”

Former Broward County Supervisor of Elections Brenda Snipes had a history of screwing up elections long before 2018. Over her 14 years in office, ballots went missing by the thousands. Sometimes they showed up in voters’ mailboxes missing constitutional amendments; other times they didn’t show up at all. Then there was the time Snipes illegally ordered the destruction of a bunch of ballots from the 2016 election. But 2018 took things to a whole new level of chaos. For starters, Broward’s ballots were so poorly designed that many voters completely skipped the crucial Senate race. Then, amid a highly contested recount, Snipes revealed her office had misplaced thousands of ballots. The office missed a recount deadline — whoops! — and Broward turned into a national laughingstock prompting cries of election-rigging by President Donald Trump and daily protests outside the elections office by the likes of the Proud Boys. With Snipes now out of office, here’s hoping Broward gets its act together in 2020 — for once.

Before Matt Whitaker became acting attorney general of the United States, he was a federal prosecutor in Iowa who went on to sit on the board of a Miami Beach scam company. The scheme — a firm called World Patent Marketing — took money from gullible inventors and, in return, promised to help people get their inventions on store shelves. Instead, World Patent Marketing just took the money. The Federal Trade Commission forced the company to shut down in 2017, but not before Whitaker himself threatened whistleblowers via email. As part of the scheme, World Patent Marketing hawked some unbelievably dumb ideas, including a time-travel company, a firm that sold Bigfoot dolls, and a toilet designed so that well-endowed men don’t dunk their gigantic dongs in dirty water.

For a fleeting moment in U.S. history, the top law enforcement job in the nation belonged to a man whose name once appeared in a press release announcing the invention of a toilet for men with big dicks. As New Times revealed last year, Matthew G. Whitaker did a stint on the board of the Miami Beach-based scam company World Patent Marketing before President Donald Trump made him acting attorney general. The now-defunct business hawked a lot of batshit-crazy ideas that came into the spotlight during Whitaker’s term, but none so memorable as the toilet for well-endowed men, officially dubbed the “Masculine Toilet.” Just take a look at the 2014 press release for the thing: “The narrower curvature at the front of the toilet creates limited space for male genitalia when a man sits on the toilet seat. This limited space can cause contact from male genitalia with portions of the toilet, which is undesirable as those portions may be contaminated from human waste.” Put that one in the history books. Seriously, what other U.S. attorney has anything like this attached to their name?

OG Magnum — born Bruce Ryan — is just downright likable. Though he lives in Tallahassee now, Ryan grew up near Fort Lauderdale before joining the military and going to college. But now he’s better known as OG Magnum, the white-haired, tattooed, earring-wearing old dude who went viral after he was filmed dancing to trap-rap at a Florida gas station. Ryan, whose stage name comes from the modded-out Dodge Magnum he drives, runs the Florida Custom Car Association — and truly seems to love everything about hip-hop and custom-car culture. (He even once appeared in a music video with Plies and Kodak Black.) But now that he’s gone viral, he’s committed to using his social media fame for good: During the 2019 legislative session, Ryan lobbied state lawmakers to legalize “underbody” car lights to prevent cops from pulling over (mostly black and brown) drivers for, in his words, “bullshit reasons.” Thanks to his work, the bill passed through the Florida Legislature this year.

For the average Miamian, the name “Aimee Carrero” probably doesn’t ring a bell. But if you’ve got kids in your life — especially if those kids are into cartoon princesses — you’ve almost certainly heard her voice. For years, Carrero has voiced Elena of Avalor on the Disney animated series of the same name, making her the real-life person behind the Mouse’s first Latina princess. And last year, she landed another epic role: She-Ra, Princess of Power, on Netflix’s reboot of the classic ’80s cartoon. Carrero, who was born in 1988, wasn’t around to witness the first run of that show, which introduced She-Ra, twin sister of the bowl-cut bro He-Man, who fights to free her planet from tyrannical rule. Still, between her barrier-busting Disney role and her turn as a badass revolutionary, Carrero is helping redefine the traditional idea of a princess.

When Hurricane Irma hit in 2017, some of us were lucky enough to get out of Miami. But for many others, leaving was never an option. Valencia Gunder, who founded the nonprofit Make the Homeless Smile in 2014 (which has since served more than 38,000 meals between Miami and Atlanta), not only organized volunteers to distribute food to thousands in need in neighborhoods like Liberty City, Little Haiti, Overtown, and West Grove, but also depleted her own savings in the process. Since the storm hit, she’s been part of a necessary conversation on the importance of resilience hubs — places such as schools that can regularly offer services such as classes and financial advice, as well as shelter and emergency supply distribution during natural disasters. She’s also the criminal justice program manager with the New Florida Majority and has advocated for the passage of the “Dignity for Incarcerated Women Act,” which aims to get state prisons and county jails to make tampons and sanitary napkins available to inmates.

We’ll admit up-front that a lot of state Sen. José Javier Rodríguez’s bills don’t have a chance in hell of passing through the Florida Legislature. But that’s because “JJR,” as he’s informally known, is one of the only true, unabashed progressives in all of Tallahassee. In previous interviews with New Times, Rodríguez has stressed that his goals are a bit grander than simply building a few extra roads in Miami-Dade County or bringing a bit of extra cash home for his district. He’d like to see a sea-change in GOP-dominated Tally — which is why he’s consistently allied himself with civil rights leaders, activist groups, and other folks fighting for equal rights across Florida.

With reggaeton and Latin trap reaching new heights in mainstream popularity, it’s only a matter of time before Miami produces a hitmaker to call its own within those genres. Colombiano James Lance has a good shot at being that artist. Since 2017, he’s been working hard on pushing the local Latin-trap scene to the forefront. His style is darker than the stuff by chart-toppers such as Bad Bunny and J Balvin, but his flow remains hypnotic, with hooks in the right place to make sure the songs can’t escape your head. On the lover-scorned track “Traicionera,” he emotes, “Oye, mami, hasta el día que te fuiste/No te diste cuenta del daño que me hiciste/Queriendo regresar del error que cometiste/Pero el amor a ti baby ya lo perdiste.” Lance has also cut tracks in English, such as “Bout It” and “2AM,” but he’s undeniably stronger — and more memorable — when he sings in Spanish.

The original Le Chat Noir was a watering hole for late-19th-century Parisians, but in 2019 it’s a hole-in-the-wall in downtown Miami. There’s a whole lot of joie de vivre in this joint, with live jazz from up-and-coming savants and internationally recognized musical masters alike featured throughout the week. Plus, there aren’t many places in Miami with cellars, making this intimate music venue all the more charming. And if you’re hungry, Le Chat Noir has you covered with affordable paninis: $12 includes a salad or soup of the day plus cheese and charcuterie plates. As for wine, bien sûr, there’s plenty of it, because nothing goes better with live jazz than a glass of vin. Summer hours are 6 p.m. to 1 a.m. Tuesday through Thursday, 6 p.m. to 2 a.m. Friday and Saturday, and 6 p.m. to midnight Sunday. Live music begins at 9 p.m. Sunday through Thursday and 10 p.m. Friday and Saturday.

From experimental Argentine folk-pop to left-field jazz to dubbed-out Caribbean sounds, the North Beach Bandshell, helmed by nonprofit talent booker the Rhythm Foundation, continues to provide community-focused music programming in Miami Beach, even as other cultural venues fade away. In the past year alone, the charming, open-air amphitheater — which in 2009 was named to the National Register of Historic Places as a gem of Miami Modernism — has hosted countless seaside concerts, like the New York Times-acclaimed GroundUp Music Festival and the Miami Reggae Festival. While the Rhythm Foundation clearly has an ear turned toward innovative world sounds and the goal of fostering cross-cultural connections for Miami’s residents, it hasn’t forgotten about the city’s wealth of homegrown talent, often pairing the best local acts with international headliners for a more dynamic bill. Favorite Latin electro-pop duo Afrobeta opened for headliner Juana Molina last September, Spam Allstars set the mood for a special Valentine’s Day evening earlier this year, and local group Nu Deco Ensemble performed its alternative orchestral arrangements alongside visiting Grammy-winning Afro-pop artist Angélique Kidjo. Even if you’ve never heard the performer’s name, you can rest assured tickets to a show at the Bandshell will grant you admittance to a one-of-a-kind cultural experience in a gorgeous setting that puts locals — and local acts — at the forefront.

In a city as young and dynamic as Miami, few venues have as much history and staying power as the Olympia Theater. Opened in 1926, it has survived decades of cultural shifts and even a World War. Although it might be best known for its comedy shows and as a host venue for the Miami Film Festival, the Olympia has beefed up its musical repertoire over the past couple of years. Recent musical performers have included Joe Jackson, Cécile McLorin Salvant, Postmodern Jukebox, and the Mavericks.

Readers’ choice: The Fillmore Miami Beach

The typical millennial wax fiend stays closer to I-95 and Biscayne Boulevard when hunting coveted vinyl, but Yesterday and Today Records, out west on Bird Road at 92nd Avenue, has been serving the record-loving masses since well before the vinyl revival began about a decade ago. This year, Miami’s oldest indie record shop celebrates 38 years of validating vinyl, even at times when it seemed CDs and streaming might render the format obsolete. “There was a change, but we always believed in vinyl,” Y&T owner Evan Chern told New Times earlier this year. The store’s overflowing crates and floor-to-ceiling inventory are proof of that loyalty and faith.

Miami DJ Danny Daze runs his supermysterious, vinyl-only label with partners Anshaw Black and Biz Martinez. Churning out an impeccably curated stream of darker, stranger beats, Omnidisc is distributed by prestigious vinyl distribution companies Kompakt and Clone and is sold at Rush Hour in Amsterdam, Hardwax in Berlin, Technique in Tokyo, and other major record stores around the world. If your record player is out of reach, Omnidisc also regularly streams sets on its SoundCloud page. Recent additions have included mixes by Vivian Koch as well as by Danny Daze and Anshaw Black themselves.

Roger del Pino’s electro project, Monterrey, expanded to new heights over the past year. Its four-song EP, Elapse, continued in that laid-back chillwave tradition that will please fans of Washed Out and M83. Monterrey’s music always had that ’80s synth vibe reminiscent of a lost episode of Stranger Things, but its latest video for “Make Me Feel,” with its camcorder textures, made fans especially nostalgic for a noir New Wave Miami that probably never existed. To translate its hypnotic recordings into a live setting, Monterrey has expanded into a four-piece band with a live drummer, bassist, guitarist, and ever-present synths to take audiences on a dark, groove-filled musical journey.

Some places are perfect for turning up the heat on the dance floor in Miami, and one of those spots is La Victoria. Get ready to sweat it all out as you groove to salsa, bachata, merengue, and more at this Design District hideout. Go solo and low-key or big and bougie with a table reservation or private event. La Victoria offers everything you could possibly want in terms of drinks, including bottles of champagne for a cool $1,400. But you won’t need to break the bank for snacks such as empanadas de carne ($8) and yuca fries ($7) or full-on meals like tostones con carne ($14) and chicken caesar salad ($13). After you’ve done some damage, get back out on the dance floor and sweat off those tostones. Hours are 11 p.m. to 5 a.m. Thursday through Saturday.

Readers’ choice: El Patio Wynwood

It’s named for your favorite caffeinated pick-me-up, and it might just be your favorite Latin band in Miami. As Latin artists top the charts and the world falls in love with the contemporary music coming out of Latin America, Cuban band Cortadito wants to remind listeners that the boleros and son of the 20th Century can still get you dancing in 2019. In late 2018, the band released a set of songs in those musical styles on Canciones de Julio, aptly named for Cortadito’s songwriter, Julio Cesar Rodriguez Delet. The band keeps its itinerary stacked with appearances at festivals such as GroundUp and Afro Roots Fest, as well as performances throughout South Florida. In late June, the band will open for legendary Cuban pianist Chucho Valdez as part of the Rhythm Foundation’s concert series Hollywood ArtsPark Experience.

Wednesday nights at 7 p.m., Pub 52 in South Miami is where you can get your dose of bebop, smooth jazz, free jazz, Latin jazz, and a bit of the blues. Each hump night, the gastropub hosts Jazz and Blues Wednesday, inviting jazz lovers to check out Miami’s vibrant scene. Among the acts that perform here on the regular are the Alan Aldao Jazz Quartet, Mike Levine, the Lindsey Blair Quartet, and Brazilian jazz band Rose Max and Ramatis. Best of all, there’s no pretension at Pub 52. Its low-key, chill atmosphere lets purists, aficionados, and newbies dig into the music while nursing a cold beverage or hot meal. Hours are 4 to 11 p.m. Monday and Tuesday, 11:30 a.m. to midnight Wednesday and Thursday, 11:30 a.m. to 1 a.m. Friday and Saturday, and 11 a.m. to 11 p.m. Sunday.

Hearing a throwback jam on the radio can send your mind spiraling back to a time of high-school parties and first kisses. If you enjoy nostalgia — and God knows we need it when the present is so bleak — unplug your aux cord and tune your car radio to Vibe 92.7. The old-school hip-hop station plays hits strictly from the ’80s, ’90s, and ’00s, so it’s ideal for hip-hop fans who want to remember a time before mumble rap came along. Tune into the station during a short car ride and you might hear Jay-Z and pre-MAGA-hat Kanye’s “The Bounce,” Usher’s “Burn,” or your fair share of Wu-Tang Clan and A Tribe Called Quest. Remembering just how old you are is an unfortunate side effect of listening to the station where “classic hip-hop lives,” but it’s well worth the #tbt journey.

Readers’ choice: Y100

MC Jumanji is obsessed with grime — not the stuff under your fingernails, but the British music genre where fast breakbeats are narrated by gritty rhymes. To help popularize grime on this side of the Atlantic, Jumanji cofounded the local music label American Grime. Its monthly Friday-night parties at Kill Your Idol, dubbed “Proper,” are a sure opportunity to witness Jumanji rock the mike with his distinctive, brooding pitter-patter as he guides guests through a late-night introduction to the genre. Once you’re hooked, continue your education with his 2019 single “Atlantic.”

R&B has enjoyed a resurgence in recent years as new artists remix the basic elements of the genre — soulful lyrics, sexy rhythms, and a helping of heartbreak — with modern messaging and attitude. Nil Bambu, with slow-dance tracks that highlight the clear, whispery tones of her voice, is no exception. And on her 2019 single “Right There,” she adds some feminist revenge to the mix. Lyrically, the song is a seduction, with a chorus repeating, “I wanna kiss it right there/I wanna touch you right there, right there, right there.” But its video imagines Bambu as a spy who’s double-crossed by her partner — with deadly consequences. Watch it; then listen to the song again and hear the double meaning in lines like “Call me crazy, crazy/You know I’m crazy, crazy” and “I would never disrespect you, no/Baby, I just gotta check on you.” This is the evolution of R&B we’ve been waiting for.

Miami boasts a plethora of great DJs who spin hip-hop, house, disco, and many other genres — hell, there are even some great open-format spinners too. Every once in a while, you’ll encounter a great DJ in the making, the kind of sound selector that has the potential to make an impact. Nobody seems to be better equipped to be the city’s next big thing than Gami — that’s if only the major clubs would book her. Often relegated to spinning at underground warehouse parties and queer events, Gami has a sound that often feels like a Tumblr page come to life. Her sound isn’t for everyone, but it’s hard to deny it’s forward-thinking. If you caught her set during the Boiler Room’s Art Basel party at 1306 last December, you witnessed a DJ who is reclaiming dance music’s queer roots while adding sounds that represent her Latinx background. You can’t help but feel she’s sonically ahead of the pack. It’s time to catch up, Miami.

Readers’ choice: Cedric Gervais

Singer-songwriter Megan Morrison has played in her fair share of local bands, including Dorothy’s Surrender and Revolver, but in 2019, she stepped out into a new genre all on her own. The first hint she was headed in a new direction came in March, when Morrison released “Warrior Woman,” a collaboration with beatmaker Miichii. Just a few days later came her solo track “9 Lives,” on which the operatic vocalist keeps her vocals midrange to sing about overcoming dark periods in her life. “Now that I’m living peacefully/No one can take that away from me,” Morrison sings as her voice floats stoically above the beat. She could be singing about the past substance abuse she’s been open about in interviews. Or perhaps she’s singing about overcoming the fear of navigating the ups and downs of the music business as an independent artist. No matter the inspiration, Megan Morrison is crafting songs almost anyone can relate to.

Abbey Loren’s vocals glide effortlessly on her single “Winter Air.” “Can you hear what they say?/About me and you, babe/They’re wondering if you will fall/For me like they did back in the day/Baby, it’s your call.” On the song, the Fort Lauderdale singer known as Baybe — formerly known as Love, Abbey — channels equal parts Lana Del Rey and Gwen Stefani. But fast-forward to her latest cut, “IKYMM,” and she’s more like Ariana Grande. That is to say, Loren, who is in the early stages of her career, is still experimenting with her sound, but her vocal chops are unquestionable. And if South Florida already birthed one pop-vocal powerhouse, who’s to say it can’t do it again? The odds are definitely in Loren’s favor. She grew up around music thanks to her parents, who own 42nd Street Recording Studios in Oakland Park, where her father is a sound engineer. “[My dad] was always very harsh on me with pitch and tone and really trained me to be a well-rounded musician,” Loren told New Times in 2018. Well, it seems like that tough love paid off.

Haute Tension used to rock Miami crowds as Mo’Booty, but its new name offers better descriptors of the trio’s sound. The band — one of the most active in Miami’s rock scene — offers equal parts surf-rock, psychedelic, and tropical rhythms on its self-titled, full-length debut. The album cover pays homage to the band’s home base, with two gators seemingly kissing or eating each other’s faces in the sunlight — it’s all very “Florida Man.” The album begins with the band’s 50-second, self-titled theme song, which opens with a riotous drum fill that could be confused for a spray of bullets. From there, the band slows things down for the jazzy, trumpet-laden “Dano” and the psychedelic-blues haze of “Daily” and then perks back up to toy with tropicalia on “What Would You Say.” In the end, Haute Tension accomplishes an often attempted but seldom achieved feat: bottling the kinetic energy of its live shows and putting it on wax for posterity.

Miami Beach is a sexy place. So it’s only appropriate that the city is home to the only museum in the nation devoted to fine erotic art. Amid a landscape of stellar museums throughout the 305, the World Erotic Art Museum has carved out quite a niche since founder Naomi Wilzig created it in 2005 by using her private collection as the starting point. In 2019, the museum boasts more than 4,000 pieces of art spanning many mediums and eras. Regardless of what kind of sexually infused art may float your boat, there is something for everyone, including an Asian section, a genitalia exhibit, a gay space, and a world culture area. It’s easy to say “sex is everywhere” these days. But after a visit to WEAM ($20 general admission), you’ll see that sex has been everywhere for a very long time. Hours are 11 a.m. to 10 p.m. Monday through Thursday and 11 a.m. to midnight Friday through Sunday.

Readers’ choice: Pérez Art Museum Miami

During former Heat player Ray Allen’s illustrious career in the NBA, his wife Shannon became a pro at whipping up healthy food to fuel his game. When he retired, the couple turned her years of cooking experience into a family business: a fast-casual restaurant that serves healthy organic fare. Their company, Grown, has expanded quickly since its 2016 launch and today has multiple locations and a Walmart partnership. Together since 2004 and married since 2008, Ray and Shannon manage the restaurant chain alongside their busy family life. They have five kids, including a son whose type 1 diabetes makes healthy eating all the more important. It’s also turned the two into activists in the diabetes community. They’ve held fundraisers for the Diabetes Research Institute and nonprofits that research the condition. They’ve been advocates, whether by appearing in commercials warning about the symptoms or by testifying in front of Congress in support of additional research. The Allens deserve credit for making Miami a healthier place.

“But it’s my birthday,” comedian Rudy Wilson says, mimicking a pintsize heckler celebrating his special day at a Monday-night show. “Don’t blow out the candles because it’s my birthday.” Since transplanting from Washington, D.C. about a year ago, Rudy Wilson has become a Miami favorite. Whether he’s hosting a small show in Wynwood or performing at the new Miami Improv in Doral, Wilson oozes confidence onstage. At a recent show, he performed his entire set acoustically after the house’s only microphone shattered to pieces. What followed was ten minutes of raw comedy. Imagine Def Comedy Jam by way of MTV Unplugged. It’s clear Wilson understands — as all professional entertainers do — that no matter what happens, the show must go on.

Are you being shunned from your workplace book club because they found out you were listening to this month’s selection on audiobook? That’s the 305 bibliophile pride talking. Some of y’all were raised in cities without an eight-day literary festival, and it shows. Miami is home to the largest book fair in the nation, drawing hundreds of thousands of book nerds every November for a jam-packed week of events. From readings and discussions with world-renowned authors to the highly anticipated Friday-through-Sunday street fair, the Miami Book Fair is a spectacle that can’t be missed. It’s safe to say Miami is experiencing a renaissance of sorts when it comes to arts and culture. But the real OG is the Miami Book Fair.

Readers’ choice: III Points

A speedier commute is the most obvious reason to ride the Brightline express train connecting Miami, Fort Lauderdale, and West Palm Beach. But when you book your next ride (starting at $17), know that you might just be purchasing a golden ticket to the relationship of your dreams. Brightline stations are comfortable, airy, and bright, easing nerves when you’re breaking the ice. You’ll have a plentiful and diverse pool of potential candidates to choose from, so make sure you’re paying attention when one of them glances up from that cell phone or laptop. Another pro of making this your new place to meet single men: There’s no need to go anywhere else for a drink: The Brightline offers passengers a list of libations for purchase.

Online dating has taken the art of womanizing to a whole new level, but if you prefer face-to-face interaction from the outset of courtship, Sugar, a bar and lounge on the 40th-floor rooftop of the East hotel, can help you put your pickup skills into practice. Charming, successful, confident women visit this hideaway in the heart of Miami’s Brickell neighborhood for its fun and laid-back atmosphere each evening of the week. With panoramic views of the Miami skyline and a lush garden surrounding the bar, you can walk away with a couple of new phone numbers or — if you meet someone really special — enjoy a dinner date of Asian-inspired tapas and delicious signature cocktails. Hours are 4 p.m. to 1 a.m. Sunday through Wednesday and 4 p.m. to 3 a.m. Thursday through Saturday.

Event promoter Out of Service Miami puts on one of the city’s most lit recurring parties. At 1306, El Perreo follows a reggaeton-only format helmed by DJs Pazmal, Coffintexts, and Raiden. Guests are encouraged to show out with their glitter lip gloss, hoop earrings, gelled hair, and low-rider jeans. The party doesn’t follow a regular schedule, but with some of the most original and hilariously branded promo materials in recent memory (to attend its “El Perreo College: School of Reggaeton” party, guests had to RSVP by filling out an “application” on a website mimicking that of Miami Dade College), Out of Service turns out huge crowds ready to throw that ass back accordingly.

Thursdays from 7 to 10 p.m., ladies drink half off at this swanky spot that earns extra cool points for opening as Wynwood’s first rooftop bar in 2017. Offering unobstructed views of downtown from its perch atop the Wynwood Arcade, the tropical-chic No. 3 Social serves elevated street fare and craft cocktails. Bring your girls out for music by DJ Hilda Jay and imbibe fancy cocktails such as the Dirty Beet, made with tequila, beet juice, jalapeño, and ancho reyes for a paltry $7 a pop on ladies’ night. No. 3 Social is open from 4 p.m. to 1 a.m. Tuesday through Thursday, 4 p.m. to 3 a.m. Friday and Saturday, and 2 p.m. to 1 a.m. Sunday.

Readers’ choice: Blackbird Ordinary

The stairway to Heaven exists in an unsuspecting Kendall strip mall. On the second floor, tucked away above a TJ Maxx, lies a hidden gem that’s been a local staple for almost 30 years. The suburban pool hall is a no-frills joint with plenty of tables, cheap specials, and a laid-back atmosphere. When you’re stuck in gridlock in your hot car, the only thing that keeps you chugging along are the cold drinks that await at Sharp Shooters. Unwind from the grind at the daily happy hour from 5 to 8 p.m. with half off well liquor, Miller Lite and Yuengling draft, and wine. Two happy-hour drink purchases score you free pool. Who says you can’t have fun in Kendall? Hours are noon to 2 a.m. daily.

Readers’ choice: Lost Weekend

On a cloud in the depths of the 305 live the lo-fi garage pop goddesses better known as Las Nubes (formerly Smvt). Ale Campos’ solo project evolved into a trio and now features Emile Milgrim and Nina Carolina delivering raw and grungy dream fuzz with ’90s sensibilities. “Songs meant to be listened to on headphones while lying prostrate on the floor” is how the emerging band instructs fans to listen to its The First Three EP’s + Emotional Debris on Las Nubes’ Bandcamp page. The group’s catchy Spanish single “QSW,” from its upcoming first full-length album, SMVT — out this year on Sweat Records Records — recently landed the bandmates on NPR’s alt.Latino, BrooklynVegan, and Remezcla. File under “cloud core.”

Readers’ choice: Locos por Juana

Looking for a special thrill? Tootsie’s offers plenty, from a sports bar where you can play pool and videogames and catch major sports events, to various levels of illicit fun. This strip club offers 73,000 square feet of full nudity, pole action, stages, private champagne rooms, sky boxes, and a full-service kitchen that stays open until 5:30 a.m. Enjoy a full-contact lap dance in the Transit Tootsie’s Car — a scaled replica of a New York subway car — or throw your bachelor (or bachelorette) party with one of the club’s special packages. A very happy hour takes place daily, with no cover charge and drinks half off. Just be sure to bring a wad of cash: Hundreds of gyrating dancers in g-strings await your tips. Hours are noon to 6 a.m. daily.

Readers’ choice: Tootsie’s Cabaret

Located inside a hip hotel and sauna, this SoBe hot spot offers two interior bar rooms with plenty of space for mingling and dancing. Modeled in the spirit of a sexy summer camp lodge with long wooden communal tables, Gaythering also boasts some of the area’s most thoughtful programming, such as queer film screenings and themed discussion nights where the community can come together over topics ranging from politics to HIV treatment. If you’re looking to hone your domestic skills, stop by for one of Queef Latina’s sewing classes and learn how to craft your own jockstrap. Hôtel Gaythering also recently recruited Karla Croqueta as its host for Monday-night karaoke, so start practicing those tunes in the shower.

Readers’ choice: Twist

The Miami queen who gifted the city with the multiday drag festival Wigwood — which New Times honored with the title of “Miami’s Best Festival” in 2018 — is the glue that binds the Magic City’s newest generation of queer artists, performers, and partiers, from South Beach to the mainland. Whether she’s teaching kids how to sew at the public library, curating a queer art exhibit in collaboration with Hôtel Gaythering, or welcoming any LGBTQ+ in need into her House of Shame, the slender, bearded, and always chic Queef Latina (Antonio Méndez out of drag) is altering the fabric of queer Miami forever.

Readers’ choice: Karla Croqueta

There’s a punk ethos to Miami’s newest generation of drag queens, kings, and queer performers. These performers don’t necessarily emulate the divas and pop icons of yesteryear, as generations before them have done. That’s still fair game, but Miami’s younger drag generation is doing for drag what the Ramones and Sex Pistols did for rock ‘n’ roll: They’re making it easier for the average person to get involved in the cultural moment. Counter Corner is where many of these performers’ wildest ideas are born. They often try their acts out on the crowds who gather monthly at the Corner, and audiences respond in kind with their own elaborate getups. At Counter Corner, everyone is welcome — and you’re just as likely to see a baby queen trying out her lace front for the first time as you are to see the vets show them how it’s done.

“Sweet Caroline/Good times never seemed so good.” Yes, Neil Diamond’s catchy 1969 track is a karaoke cliché at this point, but Brickell’s Sweet Caroline Karaoke Bar leans into it hard, because who doesn’t love a great sing-along? Since the closure of Studio at the Shelborne, there hasn’t been a true dedicated space for amateur singers to belt out tunes to group of strangers. That’s because unlike the Japanese-style karaoke bars that have opened as of late, Sweet Caroline doesn’t offer any private rooms. In fact, the bar is pretty tiny, so the crowd will sit up close as you croon your off-key rendition of “Bohemian Rhapsody.” If you want to reserve a table, do it well in advance. Tuesday is comedy night hosted by Miami Comedy, featuring buy-one-get-one-free drinks with RSVP. Wednesday is ladies’ night, with select drinks free from 6 p.m. until midnight. Signature cocktails — such as the Hey Jude (bourbon, Amaro, Campari, and lemon) and Purple Rain (peach, raspberry, orange juice, pineapple, and red wine) — cost $12. Hours are 6 p.m. to 4 a.m. Tuesday through Sunday.

Readers’ choice: Sweet Caroline Karaoke Bar

Just as Miami’s coastal areas are endangered, so are the city’s evolving nightlife spaces. As gentrification has encroached on areas once considered undesirable, nightclubs that once took advantage of few nearby residents are now finding themselves threatened by noise complaints. Nowhere is there a better example of this phenomenon than in Miami’s once-thriving Park West neighborhood, home to the city’s 24-hour nightclub district. For 19 years, Space has been a pioneer of the area, and parties continue every Saturday. In 2016, the club went under new ownership led by veterans Davide Denese, Coloma Kaboomsky, and David Sinopoli. The trio has been able to inject new life into the grande dame of Miami nightlife, bringing with it a refreshed sound that focuses more on what’s bubbling up from the underground. They also rechristened the downstairs room as the Ground — a live-music venue — while Floyd acts as a space for alternative electronic sounds that perhaps aren’t yet ready to be heard upstairs. Hours are 11 p.m. Friday to 7 a.m. Saturday and 11 p.m. Saturday to Sunday afternoon.

Readers’ choice: Electric Pickle

Over the years, Miami has unfairly earned a reputation as a subpar live-music town. But all one has to do to break out of that faulty line of thinking is hop over to one of the Afro Roots Fest’s shows. And, yes, that’s plural. Because the Afro Roots folks are not simply satisfied with a day- or even weekend-long affair, the festival’s performance schedule often goes on for months leading up to a final blowout. In 2018, when the fest celebrated its 20th year in Miami, curator Jose Elias took the show on the road, with performances from Jupiter to Key West. Now in its 21st year, Afro Roots is celebrating across South Florida once again, this time spotlighting women in world music. This season’s performers have included Cuban singer and poet Danay Suarez at the Seminole Theatre in Homestead and Malian singer and guitarist Fatoumata Diawara at the North Beach Bandshell. Afro Roots’ concluding showcase will include a performance by Elastic Bond at the Murray Nelson Center in Key Largo June 29.