BEST RAP ALBUM YOU NEVER HEARD 2002 | Dirty Life | | X-Con | Best Restaurants, Bars, Clubs, Music and Stores in Miami | Miami New Times
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Most of Miami's rap hopefuls dream of the day their big break arrives in the form of a major-label record contract. Once they've signed on the dotted line, so their thinking goes, everything else is automatic: fame and fortune, groupies and gold teeth. Right? Not always. Take local emcee X-Con, whose independently issued single "Whoa! Lil' Mama" generated enough of a buzz to snag a deal with major Elektra. And if you opened up glossy hip-hop mags such as The Source, XXL, and Vibe last winter, you were greeted with full-page ads announcing the imminent arrival of X-Con's debut album. But good luck actually finding a copy of Dirty Life in the stores: The execs over at Elektra unceremoniously dumped X-Con from their roster immediately upon his album's release, cutting all promotional support, even refusing to answer questions about the matter. A somewhat chagrined X-Con isn't talking either about this mysterious career setback; rumors have been flying, citing everything from an aggrieved CEO with a personal beef to an abrupt change of heart over the rapper's commercial prospects. As to the latter charge, the curious can decide for themselves by rooting around Morpheus or other sites. Your downloads won't get X-Con any closer to MTV, but they won't put any change in Elektra's pockets either -- a dirty life, indeed.

This is no joke. Jim Clark, a former WAMI-TV (Channel 61) sports producer with otherwise good credentials, began whipping Channel 9 into shape in the fall of 2001. Under his guidance we can still witness extraordinary performances by one of South Florida's best acting troupes, the Miami Commission, but now we can enjoy the show without the garbled audio. The station also transmits meetings of other bodies that occasionally make important decisions, including the Code Enforcement Board, the Historic and Environmental Preservation Board, the Parks Advisory Board, the Planning Advisory Board, the Urban Development Review Board, the Waterfront Advisory Board, and the Zoning Board. But there's more. Viewers, and perhaps some of our elected officials, can bone up on the basics of our system of government in the United States by watching On Common Ground. This program is funded by various state governments and the U.S. Immigration and Naturalization Service. Channel 9 also offers the PBS-produced show Crossroads Café, which is designed for people learning English as a second language. For those of us whose first language is English but still need a little more practice, the station presents TV 411, a production of the Adult Literacy Media Alliance. Call for current program times. The station is carried only on cable within Miami city limits, but Clark hopes to have it streaming on the Internet in the near future.
Really, this is more an award for founder/director Robert Rosenberg than it is for a collection of films. As we saw this year with the Miami Film Festival, there's more to creating a successful event than meets the camera's eye. Rosenberg started his fest four years ago with a combination of love, enthusiasm, a good curatorial eye, and a healthy respect for organization. That great mix shows. Each year the festival has grown, but at a controllable pace. The offerings are not so disparate as to lose cohesion, but fresh enough to give us something out of the ordinary. Films were selected well in advance, as were the dates and times they would screen. Thematically this year the issue of identity broke new ground -- gone are those teenage coming-out stories; in are ones about gay men falling for straight women. Not all the films worked, but the festival itself has a firm grasp of its own identity, the best template indeed.
You'll have to provide your own sweat, smoke, and spilled mojitos, but this live document of the Allstars residency at Hoy Como Ayer's Fuácata party (edited and spliced together in dizzying Miles Davis Bitches Brew fashion) is still one of the slinkiest set of grooves around. DJ Le Spam (that's still Andrew Yeomanson to his mother) drops salsa turntable samples and Fidel's speeches over double-time beats; funky guitar riffs butt up against rapid-fire timbales. And somehow the whole concoction coheres, becoming much, much greater than the sum of its parts.

Pit stop not really required, though for joggers and bikers it's ideal. This roadside fresh fruit, vegetable, chocolate brownie, and fruity milkshake stand, located on an otherwise residential stretch of Red Road, is worth a trip all by itself. Located far (and not so far) from the madding crowds of U.S. 1 and the Shops at Sunset Place, and just down the street from Parrot Jungle, Wayside is a true oasis, a quiet little spot with outdoor tables and chairs beneath a lush South African sausage tree and tall, lanky bamboo, where you can bring a friend, a pooch (dogs are welcome), or a good book. The perfect refueling station for the long, strange, never-ending trip we call daily life in South Florida.
A newcomer arrived in Miami. He drove from the airport through the jungle breeze and sharp metallic colors. He switched the radio on and heard: "Lift up your leg! You must!" in a froggy, urgent roar from an artist he'd never heard. The station, he discovered, was WAVS-AM ("The Heartbeat of the Caribbean") and the DJ was Jamusa, who went on to become the newcomer's favorite after-work unwinding guy, rolling out spools of sound by Beres Hammond, Maxie Priest, Inner Circle, Luciano, Shabba Ranks, and Morgan Heritage -- all citizens you're not going to hear real soon on Power Radio or Mambí or the BBC loop from NPR. The newcomer learned that Jamusa has been at this stuff for 40 years and that he recently received a well-deserved testimonial at Stinger's. But when the newcomer tried to speak with him, he couldn't get past one of Jamusa's deputies, who warily observed, "Me tink you tryin' to headrest wit Jamusa, but Jamusa only headrest wit jah!"
Critics have been proclaiming the death of rock and roll for so long now, the genre's aesthetic demise is almost taken as a given. Buzzsaw guitars? Crashing drums? A lovesick singer whipping his microphone through the air? Uh, what else ya got, grandpa? So why the Strokes were able to take those three familiar fuzzed-out chords and whip up so much unalloyed excitement during their January Billboardlive concert is anybody's guess. The reference points were certainly clear enough -- a taste of Lou Reed's jaded snarl here, a dash of Television's dueling Telecasters there, even an old-fashioned sing-along. But somehow it all seemed fresh again, full of crackling energy, and the packed audience ate it up with a sweaty, body-tossing frenzy.
This bar, restaurant, and marina is more than merely a pit stop for hungry tourists on their way to Key West. It's a piece of Islamorada history, a place to bask in the warm sun and the spirit of the Keys, and it's a popular watering hole for locals. Start your visit with a fresh fish sandwich and a cold beer inside the unpretentious restaurant or on its shaded patio. If you can manage to pull yourself away from the table, stagger a few steps through the hot sun over to the Lor-e-lei's waterfront bar, where you can have another cold beer, gaze out at the calm waters, and eavesdrop on the relaxed conversations. If you're looking to cool off, just walk a few steps to the water and take a dip. Closer to sunset the mood changes as the fishing boats glide in after a day out on the flats, breathing new life into the lazy afternoon. The quiet bar begins to bustle as fisherfolk make their way to the barstools to share perfectly accurate, self-deprecating accounts of the day's adventures. There's no better place to watch the sunset. You didn't really want to drive all the way to Key West, did you?
We know he's duller than dirt. Hell, he knows it. And as soon as he loses a game and/or doesn't win a national championship, New Times, shallow and fickle publication that we are, will hold it against him. But until then, Larry, congrats: You da man!
Whatever alternate moniker he's going by at the moment -- Hova, Jiggaman, or simply Shawn Carter -- New York City's Jay-Z remains one of hip-hop's most talented rappers. And while his paeans to all that glitters (preferably if it's wrapped around somebody that glitters) aren't going to win too many fans from the backpacker contingent, even Jay-Z's harshest critics have had to grudgingly concede that his lyrics, misogynist bile and all, are some of the most head-scratchingly inventive around. But who knew the man was also a bona fide entertainer? At his Billboardlive gig this past September, Jay-Z rolled out much more than simply a greatest-hits revue. Where most rap concerts these days consist of little more than an emcee hollering into his mike, trying to avoid tripping over the half-dozen members of his posse also stumbling around the stage, Jay-Z put on a genuine show. He worked the room, flipped his music's dynamics, and kept the audience rooted to his every gesture (even having them mimic his guttural grunts in unison) for his set's entire 90-minute duration. Minus his "Cristal break," of course.

Best Of Miami®

Best Of Miami®