BEST CULTURAL AMBASSADOR 2003 | Craig Robins | Best Restaurants, Bars, Clubs, Music and Stores in Miami | Miami New Times
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The young developer topped even himself this year. Robins has always been involved in the cultural life of Miami-Dade County, from his days rehabilitating South Beach to his move over to the Design District. It's there that he showed the world what we could be if we tried. During Art Basel, Robins's company, Dacra, opened many Design District buildings to local artists, who transformed the spaces into a hub of cultural activity the likes of which we have never seen. The streets were filled with live music, the drinks flowed freely (and for free), the impromptu art galleries were stuffed with locals and international visitors, and performance artists took to the hallways and streets, showing the world that something's happening here. Robins threw open the doors again for Art Miami a month later. While that event couldn't compete with Basel overall, the local artistic life that arose in the Design District was another spectacular success. Thanks, Craig. We needed that.

The Count, as he's known at Miami Beach City Hall, is a small man struggling to balance magnificent obsession with an abiding interest in historical minutiae. Both qualities are satisfied by the Count's 27-year quest to claim a share of the European fortune of distant German relatives, lost somewhere between the demise of Prussia and the Holocaust. But since 1994, when the Count moved from New York to Miami Beach, local politics has been his all-consuming hobby. Nearly every day he can be spotted lurking around city hall's fourth floor, sometimes smoking a cigar on a balcony and keeping a keen eye on the comings and goings of the movers shaking down the latest city deal. "To be honest with you, I have nothing to do," he shrugs. The Count's passions run to public access and the rights of the working class, from opposing the closing of public roads to demanding low-cost housing, to promoting candidates he feels aren't beholden to the Beach's entrenched power structure. "The greed here is unbelievable," he observes. "If I can do a little to upset that, it's a good thing." Of course the Count has his detractors. Some believe he's actually evil, having cast a spell over weak-minded elected officials, and that he has subverted the best intentions of well-meaning bureaucrats. The Count merely laughs at that. "My objections are philosophical, not personal," he says. "I mean, I love these people, but it's one thing after another."

Okay, the art itself wasn't outdoors; it was inside cargo containers clustered on the sand across Collins Avenue from the Bass Museum in Miami Beach. But let's be serious: This was outdoor art at its best. Hundreds of works of contemporary art were displayed in twenty containers, each housing an alternative gallery from around the globe. From Madrid, from Tokyo, from Los Angeles, from London, from Berlin -- cool stuff you'd never seen before landed right on the beach. Some of it was challenging, some pleasing, some outrageous -- and all of it was an amazing contribution to Miami's cultural scene. See you on the beach next year.

The terrible situation that has befallen the country that was once the most solidly middle-class in Latin America has resulted in an exodus. Many Argentineans, especially the younger generation, have relocated to Miami. It is our gain and their homeland's unfortunate loss. Yes, we recognize that a hefty percentage are here illegally, but like other immigrant groups before them, we appreciate their willingness to work (it seems every valet and restaurant hostess hails from Argentina) and the cultural and culinary sensibilities they carry with them. Argentineans have long embraced café culture; even the most humble of their establishments here will have tables and chairs inside as well as outside if there's room. Plus they have a special way with a number of key food groups: beef, pasta, pizza, gelato, dulce de leche, and coffee. ¡Che, bienvenidos!

In an age when nonstop, homogenized hip-hop thumps from virtually every FM station in Miami 24/7, Zeta's morning duo gets mad props for pushing the boundaries of bad taste: encouraging alcohol and drug abuse, subjecting women to ridicule and degradation on Wednesday's popular "Love Connection," enthusiastically promoting wholesale sexual deviancy. Paul and Ron began their "hectic revelry" shtick in 1990 on WSHE (now Miami's latest rap and R&B station). In 1995 Clear Channel, which owns both stations, moved them to Zeta, where their deliciously boorish behavior has been a fixture for the past eight years.

Readers Choice (tie): Kenny and Footy, Y-100 (WHYI-FM 100.7) and Paul Castronovo and Young Ron Brewer, Zeta (WZTA-FM 94.9)

Courtesy of the Museum of Contemporary Art
Last year MoCA featured a large exhibit of works by Jack Pierson, a midcareer American conceptualist in his early forties. While certainly grateful for the attention, Pierson expressed surprise, even embarrassment, at having a museum retrospective so early in his life. But that is exactly the sort of thing we've come to expect from MoCA. Museum director Bonnie Clearwater has made a commitment to show and acquire works by emerging artists such as Pierson, and in doing so has become a national trend-setter, not to mention creating the most dynamic art museum in South Florida. MoCA also has made a commitment to our local community of young artists, and has provided them with exposure and experience they couldn't hope to find in most large metropolitan areas. Not every MoCA venture has met with universal praise, but we applaud the willingness to take risks.

Two words: after workout. A South Beach body cannot live on liposuction alone. After a strenuous ab workout, a girl's gotta eat -- and this brightly lit carbohydrate refueling station is just a brisk walk from Gold's, Crunch, Ironworks, Idol's, and David Barton -- making it a favorite meeting place for the aerobics-enhanced. Remember, for nearly an hour after vigorous exercise she will be flushed with endorphins and look on all around her with love. Good thing Einstein Bros. is always so crowded. Is this seat taken?

The searing image from this year's Fiesta Bowl was the collision that left Willis McGahee's knee twisted 45 degrees the wrong direction. The mighty Miami Hurricanes never fully recovered from losing their top rusher and scorer, a runner who demolished team records with 1753 yards and 28 touchdowns this season. Worse was McGahee's apparent personal loss. Before the gut-wrenching hit, he was slated to go early in the first round of this year's NFL draft, where big-money contracts are guaranteed. After the accident it seemed he might not ever play again. Fortunately McGahee had taken out a $2.5 million insurance policy shortly before the accident. But after just fifteen weeks of rehab and a miraculous recovery, he didn't need to collect on that policy. In the draft, the Buffalo Bills couldn't pass up this kid despite the blown knee. Why? No one came up bigger for the Canes in critical games last year. He made the Gators look hapless on the way to 204 rushing yards. He ground out 159 yards against Tennessee. And he found the end zone six times in the Virginia Tech game that catapulted the team to the national championship.

Readers Choice: Ken Dorsey

Picture an enchanted jungle village with coral walkways leading to cozy stone cottages with arched doorways and Spanish-tile roofs. Picture flowers and birds and some fairy tale only you could write. Gladys Margarita Diaz and Ray Jourdain live here in this secluded estate, built from native rock in the Twenties, and they rent the smaller cottages. But they and all their tenants will move out for anyone who wants to rent the whole place and its Eden atmospherics. Built by Ohio banker and real estate developer Warren W. Zinsmaster, this lushly landscaped relic of a grander age also includes an open dance floor, a 30-foot coral rock tunnel, and a pond.

It's that unmarked warehouse in the warehouse district, down the street from the cluster of services for the poor and homeless. The one that had a show with a giant flamingo made of bubblegum prostrate on the floor, the sole artwork in the otherwise barren space. The one with exhibits titled "Pigs and Lint" and "The Night Crazy Legs Went GQ: New Projects by Miami Artists." The one that is a nonprofit founded by three intriguing young artists: Weston Charles, Elizabeth Withstandley, and Cooper (one name only). Now it's also the one with an assistant director who is another fascinating artist, Gean Moreno. The one that shows alternative works from alternative artists consistently and interestingly. The one that greatly helped form our electric emerging art scene. The one that deserves to be called Miami's best gallery this year.

Best Of Miami®

Best Of Miami®